The catalogue I just completed for Nodo will be out soon. Sneak preview of the cover, sporting the logo I recently designed for them. Check out the crafty Nodo accessories here n-o-d-o.co.uk and follow their Instagram feed. Cover image by Silvia Falcomer.
More pictures after the break
I have a job interview tomorrow and they asked me to bring a printed portfolio. It’s somehow an unusual request these days, and since I have moved around the world a couple of times recently, I actually don’t have one with me so I usually go to interviews with my laptop and some magazines. That said, I made one. It’s not perfect or anything, it’s a little stiff, the print-service round the corner didn’t have inkjet and some other issues but… I kinda like it!
Why do we design stuff? No really, why do we do that?
Well, stuff need to be designed, in the same way food needs to be cooked and roads need to be paved. There is a basic necessity of arranging and ordering things so they can be understood and experienced by other human beings out there.
Problem is that during this process, in between rough materials and finished work, there’s our craftsmanship at work, and inevitably, our ego. This is something I have been thinking a lot about recently. Of course there is nothing wrong in having an ego, everybody has one, and there is nothing wrong in trying to please people. Ultimately, one of the reasons I chose this career is because I really – really! – like it when people tell me “good job Carlo” (there must be some parental issue at play here, relationship with mom & dad and stuff but I don’t want to investigate further).
The fact that we want to be appreciated and relevant can be a very powerful driving force – in a positive way – but it easily distances ourselves from the original purpose of what we are doing. We want to do beautiful design, get compliments and even awards, and we easily forget about the people who are going to pay for what we have done, the public, the readers, who have no interest in who have done what, in why the type is like this or like that, in your grid and so on. They just want to read the damn story.
So, most of the time my work is to try to balance the irresistible tendency to showing off and begging for attention with the ultimate goal of presenting a story in an engaging, readable and enjoyable way.
click to enlarge
A practical example is what recently happened when I was asked to do a story about Knoxville, Tennessee for the good folks of American Craft magazine. I was over the moon reading the headline: “Mountain Meets Modern”. Oh-My-God, I have to do something with all those M’s, what a great opportunity for a luxurious type treatment, maybe three big M’s all across the spread and this and that. I doodled around for hours trying to find a brilliant solution, something that would get me a big applause or at least a couple of retweets. I was – again! – in designer mode. Designing design for designers. I can’t imagine anything more boring and useless.
The only way out here is to get back to the story, the only thing that really matters. I scaled down my ego a bit, I reduced type size to a more approachable level, and placed the headline in a way that was respectful of the picture chosen for the opening and that could actually be read by people. So (1) first is the picture, (2) second comes the headline which has to be readable and comfortable, and then, just then, (3) I put my twist in it. This sequence is very important and it’s exactly the opposite of what I was doing before. Once everything was set, I could throw a Futura M in the mix, just because it looks like mountains and then place chunks of text as peaks here and there, so that everything is balanced but not too much. I know, it’s not that Jantschicholdish (which, btw, I deeply love) but I can have some fun, right?
So what I am trying to say is that ultimately we design for the people out there and not for ourselves, and this is very important. When we design we’re just arranging things so people can access them. Our job is humble, more a service, behind the scenes, invisible, and one of the greatest accomplishments for a designer is to trigger a little smile and/or some (visual) pleasure without interfering in the reading experience. It’s simple, but not easy.
That wasn’t exactly easy.
Again another map that is an hybrid between a list of places and an actual map. I had to super simplify the intricate roads system of Tel Aviv and use some colour coding in order to match the sections in which the story is divided (yellow for downtown, purple for north side, etc). I am not a big fan of extensive use of colour but in this case it’s been really helpful: I used colour across the whole story – to identify different areas – so readers could be “prepared” once they got to the map (which is the final page).
Here you can find the whole thing.
Everybody has Google Maps on their phones today so a map to show where a gallery or a shop is located is not exactly a must-have for a magazine feature in 2014. That said, people love to have a quick comprehensive glance to the area they’re reading about, so I have to find different ways to show them this piece of information.
One is to create a path, a tour, so readers can put in relation different locations in order to plan an itinerary.
One other way, useful for bigger areas, is to isolate different clusters, so to point out where is more likely to find a good number of interesting locations and which areas are less interesting and can be avoided.
Keeping everything simple is key in this process, unnecessary elements can be fancy but in the end, they don’t help.
Click on images to zoom in.