BCN:MCR - 28/03/2014
ATIPUS
Poplano
Six people
Two web developers
Two graphic designers
Conceptual creative and simple design
Geometric and triangular
Madchester
Mad
M
Peter saville colour code
Always start with sketches
Recognition over fame/success
Easy to become known with money
Counter-brief
CLASE BCN
Creative director
10 people
7 different places
Diversity is important
City centre
6 designers
All work on one table
Communication within studio is important
Always need fresh stimulation
Age range is important
Not believe in clients brief. Listen carefully but not believe
Clients are to close to their own projects
Ask many questions and put own perspective on it
Strip right back to roots do develop concepts
Closer to signage rather than packaging
Work with fashion - can take great interesting risks. Does not have to be long lasting
Not a definite style
Much more fun to adapt
Mixing language
Make the user/viewer work as well
John brosa
Extra studio
Adapted type
Poster as program. Change every two months. Change colour, reverse colour
Postcard becomes folded program/poster
Overprint - image and logo
Fashion work
Pedro Garcia
High end handcraft
Caslon 540 meets industrial - logo
Logo became a stamp
Built system for identity
-Lower case
-Arrange left
-specific keening and leading
Date used as headline
Logo was not always focus - only stamp
Wanted it typographically perfect
Black and white to allow any imaged to stand out
Raw materials to reflect handmade qualities
Fashion publications
Authentic
Not over the top shots/images
Don't use stylist, research into locations
Straightforward images in real locations
Video work
Use little or no props
Turned catalogues into publication
Newspaper format
Supplement
Special design
Show rooms
Environmental
Work with interior designers
Eina
Wanted orthodox identity
Conceptually driven
Frame
Customised type face - wanted to create balanced identity
Two colour
Templates to allow school to use it again and again
Wanted to involve users
Promotion
Idea spread across omi-channels
Across web and print
Exhibition and catalogue
New typeface designed - four possible letter options - rational, humanistic,
Bound in silk cover and rubber band - posters folded down
Posters were tear off - folded by viewer
Work with experimental jetset - Tour de France - risky
TOORMIX
Branding
Art direction
Graphic design
Editorial
Website
5 people
Space next to offices
Multifunctional
For new ways of thinking
Not an office space
Thinking space
Changes mood
Idea and objective - experimentation
Catalan Wines
Adaptive brand - changes
Brand and communication
Idea, manifesto, tip message coins, fair
BCNMCR - critical view on Barcelona
Massive tourism
Illustration - not usual process
Created characters for a story
Old written postcards - create story
Classify material
Choose postcard for character
Erase Barcelona - make noise in image
Draw lines
Needed a character for Barcelona
Collage
Reflection on impact of tourism in city
Created stamps so you can make your own posters
Designing but first of all thinking
We think, then design
Website design
Simple
Typography choice - monosten
Monospaced rounded
Two parts
Think and design
Visualise
Unusual navigation - filtering needs and interests
LAURA MESEGUER
From lettering to lettering
From a printing family
Type&tones
Cortada type
Rumba type
Calligraphy as a starting point
Focus on logo type
Works for designers and art directors
Tipofino
Original sketches by hand
Always growing and adapting
Draws letters everyday
Type design
With every project she try's to do something new
Replicating curves are hard
Dauro
Existing typeface
Grows and is adapted from a base typeface
Full alphabet and numbers
Are any of these your type?
Photographs any lettering she sees
BCNMCR
Select photos
Sketch
TWOPOINTS.NET
Barcelona and Berlin
Visual Identity
Editorial
Design editorial
Visual identity
Design system not just a logo
Logo is a strategic tool of communication
Flexible visual system
Structural value
Helsinki Design Lad
Cross communication of expertise
Empty room
Scale matters
'D' present throughout
Look at website - creative collaborations
Shoot messages into space
UV/glow in the dark inks
Visual vocabulary
Literal or break rules
Start with rigid grid
Start to open up the grid
Poster folded and cut into leaflet
Communication tools
Complex and fragile
Human feature, not machine driven
Tools not automisation
MIT Lecture Series
Publications
Posters
Brand guidelines
Type dresser
System always the same even if image and typography change
Way to control designing. Control with the designer
Context matters
Bacoa
Wanted unpretentious looking Barcelona bar
Created typeface - purposely rough
Burger bar
Flexible logo
Typeface is the main visual identity
Has flexibility for collateral
No repetition of corporate colour
Do involve and archived and do the interior design themselves
Researched into language
Used exact colours on everything
SOLO
Lists
Lots of lists
Manifesto
Phisolophy
- We look for great ideas
- Only one colour or two or three
- We work for joy. So we charge for it
- We always say what we think. We are really bad liars
- We look for clients. If they are looking for solo
- We are just designers. But this is business
- We only use 10 typefaces. Or maybe a few more than that
- We only work with talented people. If they are nice people as well
- It is just one letter. But it does work doesn't it?
- Small studio in Barcelona for clients outside of Barcelona
Share happiness
27 logotype
Colour stock
Poko
Identity only using times
Calendar
Manifesto
Posters with uncomfortable quotes (advertising)
Simon Miller
Solo Art director
Did not send brief but sent images, songs, quotes, typography, colours
anything that the thought was relevant to the brand
Create bespoke typeface from single letter
Rough and almost unfinished look
Applied to brand - omni channel
4 company sectors:
Design quality
Small team
Business profit
Personal life
Need to find middle point between all for
Cuban music poster
El Pais Semanal
Sunday supplement for big Spanish newspaper
Branding and editorial issue
Losing brand over time
Brought in external designer
As the challenge was big
Collaborate with Portuguese illustrator
Work with another illustrator and photographers
Constant project with constant collaboration
PATRICK FROM CREATIVE REVIEW Q&A WITH THE ABOVE STUDIOS
Economic crisis;
Be more clever than ever
Optimise resources
Less pay
Can bring new solutions and options
Revert to essentials
Companies want to be safe rather than take risks
Travel if you can
More smaller studios
Not as much support for studios
Barcelona mentality;
More experimentation
More original
Political and cultural differences
Communication is easier
Work more for clients outside of Spain
Greatest amount of design schools in the world
Multicultural studios
Change in students;
Has education become a commodity
Need to have communication between university and business
Combined learning maybe the way forward
3 years is not long enough to learn of graphic design.
Even in 5 years you may not be readily educated
Preference of studios;
Political issues
Work with people you want to work with
International clients;
Skype contacts and meetings
Emails
Different time zones
Important to meet face to face at least once
Some things can only be explained face to face - ensures you are on the right page
Plan the meetings to avoid timing issues
Respect other peoples time zones
Treat as a speciality - the designer that they want to work with
Adaption to cultural changes
What is Barcelona missing;
Design awards judging needs to be more varied
More connection with international associations
Too much political direction
Needs more business drive
Top tips;
Self critical
Honest with yourself and clients
Passion
Take it as it is, your not the centre of the world
These talks and the Q&A have been especially helpful as they come at a prominent time.
Forour group business, we have decided to base it in Barcelona and therefore this gave
me a great insight into existing studios in Barcelona, the competition, the difficulties they
have and the type of work they do.
No comments:
Post a Comment