Rosenheim, Germany

“Good print design can be anything: simple, clean, clever, colourful, abstract, playful or whatever you want it be. However, it should always be executed properly and deliver a clear message. Behind every good design there is always a good concept and great execution. It’s not only what you do, it’s how you do it that counts.”

New York, USA

“One of the first designers that made me aware of graphic design was Tibor Kalman. I saw some of his issues of Colors magazine at a young age, and was struck by his minimalist approach to editorial design. Many spreads were composed of just big, powerful images and bold, simple type. The best pages were boiled down to one pointed idea, expressed in a very blunt way, such as depicting Queen Elizabeth with brown skin and two words: ‘What if?’”

Montevideo, Uruguay

“My style is a mixture of different techniques, whether digital or analogue. I do work using different materials or software to generate a final piece. With elements located in an elegant but untidy way, I try to strike a balance between art and design.”

Montréal, Canada

“My working process has always begun with an evaluation of the space in which the work will appear. This involves an assessment of the various aspects of the space, including its architectural, geographical, historical and social characteristics to name a few. It is one or more of these elements that will help anchor the piece within a given space.”

Montevideo, Uruguay

“We are interested in design being simple yet interesting. We don’t like to underestimate people. We live in a culturally complex world, and we are interested in working together with our clients for them to get added value that goes beyond their specific message. We understand that our discipline influences people’s visual landscape, and that represents a responsibility for us. We are also interested in our designs offering a plus: a reflection, a game, a comment.”

Rome, Italy

"We pasted up a poster of paper on a canvas and then we cut the stencil directly on the canvas. Once painted on the stencil, we destroyed the matrix, the paper of the stencil being shown as the final image."

New York, USA

"I don’t think I could possibly pick a single finish as my favourite. I love using a simple silver Pantone 877 with black or gold foil stamped onto brown kraft paper... or thick uncoated card stock with a blind deboss. Most exciting, however, is when the most simple of techniques are used in unexpected and new ways to elevate the final design. I’ve seen economical 1c jobs on newsprint that are more impactful than jobs that employ multiple expensive finishes."

Cologne, Eichenau, Germany

“Our works are experimenting with the interaction of linguistic awareness and pictographic association, the ability of word and image to interpret and create.”

Munich, Germany

“I cannot name a specific finish as my favourite because a finish should be chosen that is appropriate to the content of the design piece. But in general, I like a coloured edging on books and magazines as well as embossing, neon colour or varnish.”