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23 excerpts on the topic “Communication”
Studio Blanco
[…] We weren’t keen on being the public face of Studio Blanco. In today’s social media era, it’s rare to find many images of us. We often say no to our social media manager when she suggests promotional ideas that we prefer to avoid. We prefer to focus on the work itself rather than on personal fame. Our approach has evolved, but the essence of Studio Blanco remains.(…) I’m open to the idea that Studio Blanco might continue even without our direct involvement in the future. […]
Benjamin Grillon
[…] The idea behind The Colour Journal’s Instagram account was to start growing a fanbase. That’s exactly what we do in music: before releasing an album, we go on tour to build a fanbase so that the day we release an album, there’s already an audience waiting to buy it. I said to myself: if I start my magazine and spend two years working on it, I should already have some kind of fanbase of people who follow the project. But I didn’t want to reveal the magazine’s content on Instagram before it was released. I found it quite fun to play Instagram at its own game and do the opposite: a visual mood board based on the colour, even though the magazine is the opposite of that. […]
Rozana Montiel
[…] We are learning new ways to communicate what we do and how we do it. Transforming our gaze is a way of transforming reality, the way we represent things is a way of sharing our ideas. So I really put a lot of attention into how we show things and why, because it will speak to the work we do at the office. It’s a constant search. […]
Rozana Montiel
[…] When I studied architecture, there were few architects that you knew from other parts of the world and there was no social media (…) Now we are all over the world because of social media. People from Europe, for example, are very interested in the social work that we do. And the architecture that is being done in Mexico. This visibility has brought the spotlight on Mexico to be recognized and seen internationally. […]
Joris Poggioli
[…] I wish I had known that communication was the most important thing. You can be very talented, but no matter how talented you are, there are circles you need to be in. I wish I had known… […]
Joris Poggioli
[…] People buy brands. They buy names and signatures but not designs. So that creates a blurry line that is pretty difficult to manage, you know. […]
Formafantasma
[…] Most of the time, when I visit a website, I want to understand what or who I have in front of me and maybe even see a brief word saying, “I’m this.” And then when you go more deeply into the site, you discover things.
The page that consumes the most energy is the homepage, especially those new websites that have videos and a lot of images. And we really wanted to go beyond that because what we do here is really about the content, so we wanted to remove as many images as possible at the beginning. Our website consumes 80% or even less energy than a normal website of similar structure and content. […]
Formafantasma
[…] You know, fantasma means “ghost,” so it’s a form that changes. We decided to keep it and not put our names on it. We still put our faces. Sometimes we think we should remove them. And, in a way, we’ve started to do that. If you go to our website, you don’t find our portraits anymore. But then there is also the narrative around design and authors. It’s also okay, we are the heads of the studio, and we speak for the studio. But it’s not just me and Simone: it’s a group of people that work with us. We are a voice for the group. […]
Ines Alpha
[…] Having your work scattered across a thousand platforms, it’s a pain. I’m a visual person and I want to have all my pieces in one room, one place where everything is pretty and well presented. It’s not about feeling you are better or worse than other artists, but sometimes you want to be on a platform with artists who are doing what you are into. You can consider the curation of this or that platform because they won’t expose you to the same audiences. […]
Ines Alpha
[…] It’s not my job to be political. And I’m not an expert on all subjects. I don’t want to repost information that I don’t know a lot about, so from time to time, I repost information that other people have thought a lot about, that I find well written, that opens the discussion and allows for reflection. Any statements that are a bit too radical, I don’t share, even if sometimes I agree with them. What is important is to open the discussion and say, “This thing exists. This problem might exist. Let’s talk about it.” […]
International Magic
[…] AR
Stefan and I have both been more active in doing talks and educational seminars with students, so now we’ve had a bit of practice in that side of things. We’re planning on being a lot more open-source with our process and our workflows and creating a discourse for students, etcetera, and making the process a little more real-time so that it’s more of a resource for students. I suppose Virgil [Abloh] was a massive inspiration in that respect. His way of thinking and his way of pushing culture forward through education was very inspiring. […]
International Magic
[…] SE
That’s part of open-sourcing. Showing it. Don’t be secretive. I think those times are over. Not saying that you should reveal every secret, but you should give the information or knowledge away for free and not expect anything back. You get it back anyway. […]
Ezequiel Pini
[…] Then for the brand identity side, that’s really me. I do it in my free time. Sometimes at night an image comes to me of something we did a long time ago and I post it. I got on Twitter because it’s very connected to communities and to the NFT world, and also my idea for the future is to have my own community of collectors, of fans, of people to talk to peer-to-peer. Instagram is more like a portfolio. I manage all the social media […]
Ezequiel Pini
[…] Broadly speaking, what generates success is perspective, authenticity, what you do with your own language, your own way of communicating, which is what I rely on a lot in terms of how I interact with people in general, with my family, with my friends, with new people. […]
Jonghwan Baek
[…] We were reading those international design platforms online and offline, but we did not even imagine our projects on those magazines. It was something related with the Korean tradition of being modest, of not showing off too much. But when we saw that it was working out, we started to proactively send out every projects to the international press, hoping to be published. Not sure if all these were “strategic”, but it was persistence. We kept sending out our names and projects to the world. […]
Dinamo
[…] JB
Before, we wrote all things ourselves for Dinamo, in plain and beautiful Art School English. The personal bits and anecdotes around any creation always felt more interesting to us. There are other foundries constantly nodding to history and making that part of their own identity. We respectfully tend to take history as a point of departure, a source we admire. But our communication is less “how it started”, but more “how it’s going”, and who was involved? We might publish a font and you could say “I feel some royal vibes, let’s make up a story with an old king. Maybe he’s a bit mad and sips Coca Cola. We can make this tangible, a fantasy mystery.” And it works. […]
Ada Sokół
[…] You need to be focused on your work, and advertising is time-consuming. I don’t have any strategy. I’m pleased to be interviewed by you, but on the other side, this is not my work. I feel that I am working when my entire focus is on creating. Maybe I should start working with a PR person with more experience, plan, and general knowledge? […]
Random Studio
[…] DL
How we contextualise these case studies in a way that they talk about our holistic vision and not only “OK, we got a job from this client and we produced this in this, and it was open to this and this store blah blah blah”. I think it could be more contextualised by what we believe in. […]
Services Généraux
[…] A
Instagram and the press don’t offer the same thing. One generates audience, the other an authoritative argument (…) which reassures the client. Those are the two parts of the media that interest us. For visibility we depend on digital; for authority we need print. […]
Yorgo Tloupas
[…] It’s very rare for someone to be successful without working on visibility. […]
Mirko Borsche
[…] We had a big call in here where I said that we should maybe change the website, the whole Instagram account, and the way we communicate on these channels. I don’t know how, I was just saying that somehow it’s like the same thing, the website and Instagram: we’re just showing pictures. It’s not telling any story, it doesn’t feel that modern anymore. It’s not fitting for the media and not questioning Instagram as a tool. How much effort should we put into a media, which is actually – in my opinion – not that interesting anymore. […]
Jean-Baptiste Levée
[…] If you don’t create your own organic buzz, if you don’t go viral or if you’re not Swiss — that is to say if your reputation is not already made — it all comes down to investing in communication. However, if you don’t have the money to do that you have to build by focusing on your company’s core values, and the talented designers whose work you promote. […]
Jean-Baptiste Levée
[…] Part of my communication strategy is to remain present in the minds of the decision-makers. When a client sees a list of three, five, ten typographies, it’s imperative for us to be on that list. To reach this goal, first we need a catalogue that makes us relevant as well as present in the mind of the buyer. This goal can be met rather easily. The second one is harder. It’s a daily effort to put your reputation out there, and build and increase brand awareness. […]

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