Diseño Gráfico · Creativo Visual
Following on from the previous article, I would like to emphasise the importance of the design brief. It is a highly underrated tool that I consider essential for approaching a project with clear knowledge and foundations from the outset.
The design brief is a powerful, well-structured document that acts as a bridge between the client and the designer. When well crafted, it is an important ally throughout the creative development of the brand.
We know that creativity flows better when we have a clear path. But if your potential client comes to the first call or video conference with more enthusiasm than clarity, you will most likely end up trying to decipher their idea as if it were a hieroglyphic, without references, without context and with typical phrases such as “I really like your work! I need something similar but different” or “I’m looking for something modern but with a minimalist retro vintage touch”.
Continue Reading “Potential client: Necessary preliminary information”
You may not know it, but if you’ve ever admired a minimalist logo, geometric typography, or a well-thought-out colour palette, you’re probably appreciating the legacy of the Bauhaus. This German school, founded in 1919 by Walter Gropius, not only revolutionised furniture design and architecture, but also planted the seeds of what we now understand as modern graphic design.
Continue Reading “The Bauhaus: its impact on modern graphic design”
Every company needs to be able to communicate and connect with its audience. It needs to have a strong, consistent and coherent visual identity. To achieve this, its communication cannot rely solely on one of its assets; rather, all of them must ‘speak the same language’. In branding and visual identity, consistency is key. This is where a corporate identity manual comes into play.
Continue Reading “Identity Handbook: what it is and why it is important for your brand”
Many of you have asked me about AI, especially if I have noticed its impact on this industry. Will it take our jobs? Will we be able to distinguish what is real and what is not? What about the ethics surrounding it? I personally feel very optimistic… at least when it comes to any branch of art or visual design.
If you’ve ever flipped through a magazine, browsed a website, or simply stopped to look at a sign on the street without becoming confused or overwhelmed by the information, it may be due to visual hierarchy. We already know that the graphic designer’s main objective is to communicate, and to do so correctly and ensure our message is read in the correct order, we rely on visual hierarchy. Even if you don’t see it (well, you’re actually seeing it but don’t realize it), it’s there, working in the shadows and subconsciously for the graphic designer.
Has it ever happened to you that you start designing with so many ideas that you don’t know how to organise them and you feel like they’re slipping away? You have a client who asks you for ‘something minimalist, but elegant, and at the same time modern, without losing the classic’ and you’re left with a poker face trying to organise all that in your mind? Well, this is where a moodboard can be very useful.
Typography, that discipline that seems so simple, actually has a fascinating history dating back centuries. From the invention of the printing press to the rise of digital typefaces and their sleek modern designs, lettering has evolved impressively. They are typefaces with a history. Fonts that have influenced all kinds of products and platforms from books to mobile apps.
Have you ever been afraid of being considered an impostor in the workplace? Do you lack confidence in yourself and your abilities? Do you not think you can meet the needs of a new project? Are you afraid of not being up to the demands? When these questions arise, what is known as the impostor syndrome often appears.
Continue Reading “Impostor Syndrome: How it affects the designer”
The last 1st of March marked the first anniversary of the death of Akira Toriyama. An artist who left an indelible mark on my childhood, as he did on many of my generation. When, a year ago, I heard of his death, I could not believe that the illustrator and narrator of such emblematic drawings of my childhood had left us.