Camilla Dinardo

I design with an excitement to create, dress up for all occasions and put Sriracha on almost everything.

About

Hi there! My name is Camilla and I am a passionate creator who is fascinated with how colour and shapes can interact in the making of dynamic visuals. My curiosity lies in how I can use the tools at hand to create imagery that visually exaggerates underlying themes in order to establish a cohesive narrative. This part of my design process is influenced by my love for reading and essay writing, which has also contributed to my ability to communicate in-depth topics. I am always trying to discover new image making and patterning techniques through experimentation.

Favourite or most effective re-brand you can think of?

One of my favourite re-brands is a visual identity for MOCO (Musee d’art Moderne et d’art Contemporain) that was Art Directed by Victoire Baigts. The letters in the wordmark, specifically the “o”, are incredibly dynamic because they stretch and change depending on what content or text is featured. There are endless opportunities with what can be done within the visual system, which is what I love about this brand.

Other than design, what creative fields interest you most?

I grew up painting portraits, so I have a interest in visual art and art history. I love looking at works of art to see how the style used to render the subject matter correlates to the time period it was created in. I especially love portraits because they create a conversation between the artist, the sitter and the viewer. My interest lies in engaging with this sort of dialogue and learning more about the various approaches to depicting the human form throughout history.

You’re a new addition to the crayon box. What colour would you be and why?

I would be a silver holographic crayon. The rainbow effect it creates represents the wide variety of colour I love to work with in my designs. I am also really interested in the ways that light and reflection can create imagery. My hope would be that this crayon makes it into the the large crayon boxes with the built-in sharpener. Those were the best.

If you could learn any new skill or talent, what would it be?

I’d love to learn how to sew and make my own clothing. My workshop project has made me really interested in the process of creating a piece from start to finish.

Design Interests

Editorial and Book Design
Branding and Identity Design
Design Studies and Theory
Typography

catastrophize

Introduction

One of the very first design projects I worked on in YSDN involved creating a series of black and white compositions using only circles, squares and triangles. I didn’t think much more about the project after I completed it, but looking back, I now realize it was when I started to fall in love with the process of creation. Repeating, duplicating, arranging and resizing shapes into intricate arrangements had begun my fascination with symmetry and patterns. I decided to pursue this aspect of design that I’ve been interested in since the start of my education for my workshop project.

Learning about Patterns

This yearlong project started with a semester dedicated to research. After reading various books and articles about patterns, I discovered that they are all around us. Not only do they cover walls or rugs, but they also determine the migratory patterns of salmon and form the mathematical sequence of a sunflower’s center. People carry out their own daily routines, which act as personal patterns that determine everyday actions. Our brains are also highly skilled at pattern recognition; basic psychology studies prove how naturally it comes to us. Patterns also allow for room of individualistic characteristics. For instance, a rose follows its own blueprint, almost like a pattern, but it ends up becoming different than the one growing beside it. Broadening my understanding of patterns and learning where they existed ended up demonstrating the subtle yet persistent role that they play in the world around us.

Pattern Experimentation

I began experimenting by using vector-based shapes as the basis of different patterns. From this, I learned new ways that I could layer, duplicate and arrange shapes in interesting ways. I collected the shapes from these patterns and created a vector library for more experimentation later on. Going through this process demonstrated that I needed to find a way to complicate the final patterns, so that the final result was visually dense and intricate.

Moving away from the vector method for creation, I pursued photography as a way to generate shapes I could use in my patterns. I took photos of the reflections of plastic diamonds and holographic surfaces to see what the results would be. This part of my experimentation proved to be the most successful because the shapes within the images were unidentifiable and unknown to the viewer. I ended up combining the vector shapes I made early on in my process with these photographs to make more intricate designs.

A Personal Pattern

Patterns have played a role in my personal life. In this past year, I learned that I had developed a negative thought pattern that was contributing to my anxiety. This way of thinking is referred to as catastrophizing, which is defined as “an irrational thought a lot of us have in believing that something is far worse than it actually is” or “hyper-imagine negative outcomes to a situation that have no basis in reality.” I drew upon this experience to inform my design methods and develop a final deliverable that communicated my personal experience with patterns.

The Final Deliverable: catastrophize

catastrophize is a gender neutral clothing exploration that relies on unidentifiable imagery created through raster and vector shapes to visualize the often unknown source of our thoughts that can manifest into patterns.

We can so clearly recognize patterns around us: math shows us that seashells and sunflowers, for instance, rely on the Fibonacci sequence to form their unique shapes. Through personal experience, I have come to realize that the ones within us can be the hardest to identify.

The clothing pieces allows for individuals to metaphorically come to terms with their own patterns through the physical act of wearing them, which introduces these new patterns to the natural world alongside others in formation. With every pattern, there is a unique visualization that depicts the chaotic beauty that comes with a negative thought pattern.

Check out catastrophize.com to see the rest of the images and engage with the patterns in an interactive experience.

Thank you to James March for guiding me through this project!

Photography: Hankyul Oh

Dulcedo Models: Sean Kemp and Shain Hanson

See more of my work at the graduate showcase