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Alfredo Genovese - The Book of Filete Porteno PDF
Alfredo Genovese - The Book of Filete Porteno PDF
Alfredo Genovese - The Book of Filete Porteno PDF
Genovese, Alfredo
The book of filete porteño. - 1a ed.
Buenos Aires : Grupo Ediciones Porteñas, 2011.
120 p. ; 17x22 cm.
ISBN 978-987-22958-7-5
1. Fileteado. I. Título.
CDD 745.7
All rights reserved under international Copyright conventions. No part of this book may be reproduced, stored in
or introduced into a retrieval system, or transmitted in any form or by means (electronic, mechanical, photocopy-
ing or otherwise), or for any purpose, without the express written permission of the copyright holder. Deposit mark
according to law 11723
2
Alfredo Genovese
The book of
filete porteño
3
Index
Purpose 6
Chapter 1.
What is filete porteño ? 9
1.1 Review of filete porteño - Alfredo Genovese
1.2 Theoretical definition - Norberto Pablo Cirio
1.3 Anthology of filete legends
Chapter 2.
Filete iconography 31
2.1 Design
2.2 Topics
2.3 Ornaments
2.4 Motifs and figures
Chapter 3.
Technique 55
3.1 Brushes and materials
3.2 Handling the brush
3.3 How to Make a Filete panel
3.4 Fonts
4
Chapter 4.
Filete on Vehicles 81
4.1 Carts
4.2 Trucks
4.3 Buses
4.4 Cars
Chapter 5.
Filete today 97
5.1 Signs
5.2 Advertising
5.3 Objects
5.4 Paintings
5.5 Clothing
5.6 Body painting
5.7 Tattoo
5.8 Murals
Backstage 116
Bibliography 118
5
8
What is Filete Porteño?
The work of man must be under-
9
30
Filete iconography
The ornamentation and shaping
31
2.1 Design
The first designs date back to filete edges and when it is excessive, the Parallel to the band, towards the
ornaments painted in square panels motifs appears to be floating in the inside, the firulete, is painted. It is a
on the sides of carts and lines or media space. thinner width line and has no vol-
filetes that were made on their rails When the heel is equidistant from ume. If there is enough space, it can
and rods. all edges, there is a little more space also be painted out, i.e inside the
Those basic early panels were of left on the bottom, the same width as heel.
simple composition and were paint- the shadow cast by the motif. The bottom part compositions tend
ed using flat colours, without light or This balance between drawing to be more filled with motifs than the
shadow effects but as time went by, and the space left free is the first upper, which is usually completed
fileteadores refined and enriched their factor to consider in the composi- with straight-bands for the whole
techniques, making the designs more tion. Moreover, the equilibrium is rests on this heavier base. Several
complex. obtained by the symmetry of the examples show how the scrolls of
A relevant compositional aspect grounds and the distribution of ele- acanthus leaves were used to give
that can be found on these pan- ments throughout composition space. more or less weight to the base.
els is the location of the design, Where the motifs are asymmetrical,
where a free space can be found in the heaviest part is placed on the There are also many levels of com-
between the design and the board left and the right space belongs to position, taking into account the
edge. Nowadays, this free space is the band. The banda, or band, is a development from the edge toward
observed in most of the art work straight line that is painted inside, inside. The main level or external is
and it is called “talón” parallel to the edges of the panel, defined by external or ornamental
(heel). When the heel of variable thickness and volume. forms which are thick and heavy
is insufficient the It can be detached from the base of and are located near the outer edge,
motifs appears the acanthus leaf or may be on the acanthus leaves and the main-band
compressed top, occupying the space between are also painted the same color, to
between the the two leaves when the subject is give unity to the whole panel and act
symmetrical. The band, with acan- as a harmonic framework combining
thus leaf usually structures the whole straight lines and curves.
composition.
32
Typical elements Talón:
The “Talon”, is the heel of the panel, meaning the space between the architrave
of a filete moulding band and the sign edge.
Bird:
highly stylised animal pattern.
Banda:
or band, is the thickest volumed line, (often accompanied by the Acanthus Leaf)
providing the basic compostional structure.
Bolita:
the Spheres, Balls or Pellets are generally used to fill spaces 33
within the design, to decorate letters or punctuate corners.
2.4 Motifs and figures
1- Flowers:
There are three types, based on in that shape. They are more closed, Another type of flower that was
their shape: flat, tulips or little as if looking at a cup from slightly used in the past in fileteado is the
bells. above, and they can be more open poppy (amapola). It is a very com-
Flat flowers are drawn from a or less open. The inner and outer mon ornamental flower represent-
circular, which is divided into four, faces are divided into different pet- ed with the convexity of an inside-
five or more equal parts, where the als and are normally painted in dif- out tulip, and profusely used by
petals can be brushed either in a ferent colours. These flowers have a Carlos Carboni. All of these types
circled, heart-shaped, or lobed way. central axis that many times guides of flowers can be used in different
All petals are equal in size, some or determines the direction of other combinations with each other.
space is left among them which elements in the composition.
highlights the flower even more Little Bell flowers are more close-
from the background and usually, ly knit together than tulips and are
they are painted with a concave built from a cone or a triangle. The
shape with interior shadows. outer side has a big fold or cut,
Tulip flowers are built from a through which the inner side –dark-
hemisphere, and they are painted er in colour– can be observed.
42
Description of the most popular motifs used in fileteado porteño
1.Flat flower 5 petals 2. Flat flower 4 petals 3. Tulip flower 4. Poppy 5. Little bell
43
3- Acanthus leaves:
They are ornamental designs which the centre from which the leaves that
can be seen in the arts of diverse cul- make up the foliage emerge, that are
tures from ancient times. In the case of distributed all throughout the outer
fileteado art, plant motifs are taken pri- part of the composition. The second
marily from architectural ornaments, type has this very same foliage adjoined
and, usually, acanthus leaves form the to a stem that goes on uninterruptedly
structural part of a composition. along the band.
There are two main types: the leaf The acanthus leaves foliage is made
ending in a curl or the leaf integrated up of smaller leaves -adjoined to a
with the ribbon previously mentioned. common stem- that must be set apart
The first type has its foliage adjoined from each other, either in their shape
to a stem that ends in a curl. or in their direction. This difference
There is a balance between emphasizes the dynamic essence of
the foliage and the fileteado and avoids monotony in the
curl, so that no one design.
of these elements Each acanthus leaf has its volume
dominates the other accentuated, and the leaf can be con-
in the compositional vex or concave. The leaf structure
frame. The curling is built from its veins or axis, and,
can be considered together with the sharp edges, they
constitute the most outstanding part
where the light hits the panel, and are
emphasized with a bright tone.
Top:
1.Acanthus leaf curl ending.
2.Acanthus leaf integrated with the band.
46
Left:
cantilever detail with acanthus leaf
Bottom:
samples of acanthus leaves
47
54
Technique
In despite of materials used,
55
3.1 Brushes and materials
The filete brush can be recognized If the brushes are intended to
by the length of its bristles. The most last for a long time, they should
common ones are made with hair be cleaned extensively with mineral
from cow’s ear. The metallic part that spirits if synthetic enamel is used, or
holds the bristles is called the ferrule, with soap and water in case of acrylic
and it can be round if it is a filete paint. It is also desirable to keep
brush, or flat if it is a lettering brush. these smeared with vaseline or grease
Another variety of filete brush is and keep them inside a tube, so that
the “banda”, that is a handle-less fer- the bristles are kept in shape. If the
rule loaded with five-centimetre-long bristles accidentally bend, they can be
bristles, which is used for longer easily straightened with hot water.
strokes.
63
Drawing the Fonts
81
4.3 Buses
Fileteado bus scheme by Alberto Pereira
7 10
1
8 9
11
5
12
2 13
14
4
16
15
18 19
3 17
6
20
86
References
87
Filete today
Working like a designer and
an artist, I managed to do
97
5.1 Signs
Top:
Painted bottles on differents brands, synthetic Villa del Sur, design for place mat
enamel on glass
Button:
100 Alejandro Dolina books covers Club del vino, cover magazine
Top: Evian bottle artwork
101