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April Krause
September 2006
The decorative and computer generated patterns of Zuzana Licko will be the focus of
discussion for today’s talk. Licko and her partner Rudy VanderLans began a graphic
design based publication, in 1984, called Émigré which had a focus towards computer
drawn designs. Licko’s main interest is font design and her experiments using font
design technology have also resulted in the creation of two series of patterned
illustrations. The illustrations have varying applications and can be referenced to the
visual values of Arts and Craft designs. This raises questions about the process of
using the computer as a creative medium and the aesthetic quality in creating a digital
form of craft.
The personal attraction of these designs is the ability to begin with a small and
uncomplicated form, such as a line, arc, circle or square, which expands to become a
varying spatially defining structures. Licko acknowledges that these relatively simple
elements support each other and are formed through a process of scaling, reversing,
rotating and using multiple repetitions in order to compose these macro patterns. 1 She
describes the design process as the evolution of a single element that grows into an
intricate structure and forms a dialogue between a viewer and image. Similar to that
1
Z. Licko, “Whirligig”,
www.emigre.com
1
of the world being projected through a microscope, telescope or kaleidoscope.2 Using
the computer as a drawing tool has made it possible, or easier, to achieve these levels
In 1993 Licko designed a series of patterned forms titled Whirligig, a descriptive word
for anything that whirls about, spins or moves in a circular or giddy way.3 The choice
of name directly reflects the dynamic forms of the singular motif elements. These
elements are a composite arrangement of geometric and organic forms, which are
balance between the positive and negative spaces. The arrangement of the internalised
negative space becomes a vortex of hypnotic motion that captures the viewer’s gaze
and causes an illusion of depth. Combining a number of these motifs together creates
new spatial relationships between the elements and presents a reconfigured visual
continued in Licko’s computer generated patterns of the 2005 series called Puzzler.
2
Ibid.
3
Collins English Dictionary, edited by G.A Wilkes, (Sydney: Collins Publishers Pty. Ltd., 1985), 1652.
2
The patterns and forms found in blown-up, halftone photographs and the relationship
between casted shadows of tree leaves on the footpath were the foundation for the
Puzzler illustrations.4 This series reduces the repeated form to a singular element,
often a circle or a line. Through the use of precise scaling and exact positioning,
various tonal definitions are achieved. Similar to the Whirligig series, the Puzzler
patterns create an uneasy tension between the positive and negative spaces, though the
viewer’s gaze is not enticed into the works by a defined focal point, but rather is
surface unable to fully engage with the design, in a manner reminiscent to the
Both series rely on the interweaving of spaces and forms to create the decorative
arrangements and relationships between spaces and forms to occur. This is evident in
Licko’s wrapping paper range, comprising of both Whirligig and Puzzler illustrations.
The level of detail and use of attractive colours achieves an ornamental quality and
4
Z. Licko, “Puzzler”,
www.emigre.com
3
accentuates the precise shapes and placements within the patterns. There is almost an
The Whirligig illustrations have also been used as a decorative design feature in an
edition of Émigré magazine. The front of the magazine has a printed block of a
complex pattern system which covers the title of the publication enhancing the
the illustrations. The contrast between the elements and colours and the clean forms
create a harlequin effect similar to the patterns used on wallpaper and fabrics in the
1950s.5 Printed in red and black ink, the patterns become bold illustrations, as well as
ornamental frames supporting the text. The negative space between the forms, again
5
L. Jackson, ‘Contemporary’: Architecture and Interiors of the 1950s, (London: Phaidon Press Ltd., 1994), 133.
4
Zuzana Licko, Émigré magazine design, Computer Generated Images.
The use of illustrations in the Émigré magazine has similarities to the ornate book
designs of the Arts and Craft movement. The Arts and Craft movement was a reaction
against the emergence of industrial production in Britain in the 19th Century and the
the Middle Ages was encouraged by William Morris. He argued that the machine
would not encourage people to think and work creatively and generate a lack of
individuality to products.7 Morris’ book designs returned to the ideas of the hand-
crafted decorations that were popular in Gothic manuscripts in the 16th Century.8 For
Morris, the decoration should consist of a well-drawn line, be crisp and clean and
have a balance of simplicity and beauty. The illustrations should form part of the page
and be in harmony with the type on the page.9 The illustrations in Morris’ book
designs are slightly more organic than Licko’s patterns, but there are similarities in
6
Art, “Arts an Craft Movement”,
www.encyclopedian.com/ar/Arts-and-Crafts-Movement.html
7
Peter Hughes,, FST200 Art and Design Theory 2/3 Lecture, Howard Becker: The Arts and Craft, University of Tasmania,
2006.
8
Susan Thompson, American Book Design and William Morris, (New York: R.R Bowker Company, 1977), 221.
9
Ibid., 227.
5
the process and ideas behind both of the works. There is a cleanliness to the
decoration in the Émigré publication, in both the lines of the shapes and the strong
arrangement of the forms. The decoration is confidant, but yet frames and
Antwerp, 1565.
The decorative designs of books had an emergence in the late 1950s with the covers
Schmoller. The covers are heavily boarded to the edge of the paper, while neatly
containing space for the details of the book. The covers use single elements such as
lines and circles, which are copied and rotated creating a strong and geometric
patterning system similar to the Émigré publication. The strong use of shapes and
colours and the neat composition of the forms in Licko’s magazine illustrations can be
6
Hans Schmoller, The Penguin Book of Spanish Verse, Penguin Books, London, 1960.
The ability to achieve the careful precision and perfectly formed shapes of Licko’s
patterns can perhaps be attributed to the use of the computer as the drawing tool. The
illustrations are constructed using programs designs to create fonts. Each element is
designed separately and given a ‘letter’ reference allowing a letter key on the
keyboard, when pressed, to produce the element.10 The shapes are effectively a new
system of lettering. The font design programs generate vector forms, which unlike
pixel based shapes that are constructed using small squares; these forms are made
using lines that at each scale produce a clean and pure finish.
The use of the computer as a drawing tool allows the maker to achieve a greater level
of control in all aspects of the creation and production of the design.11 The computer
becomes more than a tool and perhaps can be referred to as an extension of the body.
10
Z. Licko, “Puzzler”,
www.emigre.com
11
Z. Licko, R. VanderLans, “Ambition/Fear”
www.emigre.com
7
In Ellen Lupton’s essay, Body of the Book, she refers to Laszlo Moholy-Lagy ideas of
the camera being an instrument that allows the eye to capture a frozen moment in
time, magnify landscapes and cross extreme distances.12 The computer also becomes
the eye, allowing one to draw and view in extreme levels of detail, as well as an
extension of the mind and the hand. This does allow the opportunity to see and create
in ways that the human body is unable to do. It can be argued that the computer can
restrain one’s expressiveness, because of the lack of physical contact between the
maker and the medium. It also demands a lesser level of understanding in the crafting
of the materials due to the computers ability to edit, undo and delete.13
Designing the patterns with the computer as the medium, Licko has produced ornately
detailed forms with perfectly smooth lines and precise compositions which are able to
be reproduced efficiently. These illustrations are perhaps too crisp and clean and have
a rather restrained aesthetic quality to them. The patterns when printed on paper, or
even more so on screen, reduces the relationship between the surface and the image
and lacks the texture and the hand-made quality seen in the woodcut prints from the
Arts and Craft movement. The lack of the direct contact between the hand and
material, in Licko’s illustrations, contradicts the ideology of the Arts and Craft
production methods. There is a sense of spirituality and character lost with machine-
made objects. With the practise of digital craft steadily increasing, will the ‘bits’ that
make up the structure of computer produced work ever have the same aura to that of
12
Ellen Lupton, J. Abbott Miller, Design, Writing, Research: Writing on Graphic Design, (New York: Kiosk Ltd., 1996), 50.
13
Malcolm McCullough, Abstracting Craft: The Practiced Digital Hand, (Cambridge: MIT Press, 1996), 213.
8
Bibliography
Encyclopedian,
www.encyclopedian.com/ar/Arts-and-Crafts-Movement.html
Books, 2005.
3. Bartram, Alan, Five Hundred Years of Book Design, London: The British
Library, 2001.
4. Blumenthal, Joseph, The Art of the Printed Book 1455-1955, London: The
www.emigre.com
9
8. Hughes, Peter, FST200 Art and Design Theory 2/3 Lecture, Howard Becker:
10. Lupton, Ellen, Abbott Miller, J., Design, Writing, Research: Writing on
12. Thompson, Susan, American Book Design and William Morris, New York:
10