[…] The focus has never been on skill set, in terms of craftsmanship. The focus is on ideas. And we don’t limit ourselves, because technology will change all this stuff, right? […]

[…] But there’s this extreme crazy level of trust in which not every idea has to come from a strategist or a creative director or a designer. Good ideas can come from anybody. And especially as we’ve maintained that level of trust amongst the four of us, one thing that we’ve noticed is that if somebody on our team really believes in an idea and feels it can push the needle for us, then the other three people most of the time do whatever they can to help make that idea come to life. […]

[…] Drawing is my language. Le Corbusier said, “I would rather draw than talk.” This is clearly the case for me. But you can be fooled by a drawing. […]

[…] I was lucky to realise very early on that you could quickly become an architect who let himself become overtaken by his projects. That is to say, tomorrow, you offer me one, two, three, four, or five projects. Financially, that’s cool, but creatively, not so much. If first, you see the money, the opportunity, you’re gonna get into it, make your schedule. You’ll get crushed by your work, and your creativity will vanish. […]

[…] I do this to move people. I want you, when you look at my pieces, whether you buy one or not, to feel something. If I want to keep moving people, there has to be a sense of sincerity in my work. It has to look like me. It has to be 100 per cent me. To make ten pieces, I design 100. […]

[…] I always force myself to go towards the unknown, even in food or in music. And also a lot in the library. The relationship with books, the temporality of the book. To have one image after another […]

[…] I understood that our industry is completely wrong; if you pitch for a project, you are getting very little time and money; and that’s wrong. People should pay for the ideas, for the concept, for the big system we manage to create, all these items, the posters, the flyers, that is work based on the set of rules that you designed. At that time, the way I was speaking with clients changed. I started trying to educate them, to teach them that ideas have value and not the product because anyone can design a product. […]

[…] AR
Learning by doing is important. Obviously, reading, listening, and talking about subjects you find interesting. That’s the key. Maintaining that level of interest in subjects that inspire you. Whenever I find myself having a debt in creativity, it’s so simple to get out of it by just reading something interesting, which triggers your brain to start making connections between subjects and finding new context. […]

[…] It might sound counterintuitive, but my advice would be to avoid perfectionism. You should ask yourself two questions. Is it done enough? And, is it good enough? If the answers are yes you should move on. Perfectionism ultimately limits and inhibits creativity. […]

[…] Production is easy to scale, but creativity is more fragile. […]

[…] Doubt is essential to creativity. It’s what keeps you up at night, but also what drives you to question and improve your ideas. If you’re absolutely certain of something, it means you haven’t thought deeply enough. Doubt isn’t the antithesis of confidence. […]

[…] As I continue growing in the professional and technical realms, and with advancements in technology, I start getting new ideas.
Today, with renderings almost in real time, you have the opportunity to create certain experiences in real time, like with the Metaverse, where spaces are fully explorable. A few years ago I never could have imagined myself making flours and plants in 3D, and now I’m creating a short film and we’re designing all the flora. These advances in technology allow me to stay connected to more creative themes. […]

[…] I go running or I spend time on my own with my thoughts and nothing else, and sometimes that’s how ideas come to me. It’s about taking my head out of what I’m doing all the time, because I’m always in the studio.(…) So alone time where I can go swimming, running, or biking – just being by myself in nature, basically, that’s when I get ideas. I also find ideas by trying and doing. Sitting down and being alone, I’ll get a mini idea and then it grows from there. […]

[…] I always try to look at projects through the lens of: “How is this thing going to age?” […]

[…] Design is my occupation, and I’d say painting is my personal hobby. I paint every morning, when I arrive at the office. Doing so, there are chances this hobby turns into design opportunities, making them into a product, such as a carpet and furniture. Eventually, when I turn over 70 and retire, I’ll become an artist. […]

[…] Besides the time I spend with clients discussing projects, all the time I have, I think about ideas and design, even in the bathroom or while sleeping. Which means, I have to wake up a lot of times in the middle of the night to write down or sketch those ideas. Actually, the moment when I come up with ideas are either in the bathroom, or in the bed sleeping. […]

[…] Creativity is not about age hierarchy, it’s not because you are an elder designer that you have better ideas, and with the classic vertical hierarchy it’s not easy to communicate. The horizontal one makes it easier, more efficient, that’s probably why creative occupations function more like that. […]

[…] To remain creative and inspired I use music, contemporary art, film, and other unrelated things such as watering my plants and travelling. I sometimes stop monitoring to enjoy things afresh, and seek out personally enriching things. That’s key. If not I might end up in the soft underbelly of creativity […]

[…] I don’t want my studio to get too big: the mechanical side sets in, it becomes all about organisation and logistics and that can really kill you in terms of creativity. […]

[…] intuition rules because intuition makes sense. There is obviously a reason for spontaneously choosing this or that artistic or graphic solution. […]

[…] I feel like there is enough room for everyone. The whole problem of over‑saturation is a construct, honestly, and you can view it like that. Or you can view it as a perseverance thing, where, sure, there is a moment in time where it seems there are a lot of people, but then how many people are there who really combine all the qualities that you need to persevere in them? You will always find it’s physically impossible to have too many of these people out there. Because even if they have all the qualities, they might not have the interest in the end. Or they might have the interest and the talent, but then not all the qualities. So it’s never really oversaturated and everyone who wants to be somewhere will be there. […]

[…] I feel there is a big interest in being really creative. I feel people are more free, and they are more interested in unique visual solutions – which include a big range of different methods like opening themselves up to really interesting visual solutions. Obviously, video is a big part of it. But not only. Even the fact that people are interested in someone like me is a really good sign that people can be more open, more experimental, more daring with what they do. I obviously don’t think that everything’s good but that everything is always equally good and bad, and that the good things can be enjoyed. And then, the bad things can be used as opportunities to create new solutions. […]

[…] DL
We have an intrinsic motivation to make new things, to explore: this could be new collaborations, new clients, new tech, new domains. The search for the new feeds our creativity… […]

[…] OK
When you’re starting something it’s always useful to have a counterpoint, or something you’re rejecting. I think we definitely started with a strong realisation that we needed to do something differently than what we had experienced. […]

[…] JE
you have to be willing to tear things down and start again. As hard as that can be, it can be very rewarding. Both personally, as a business and creatively, you have to be willing to tear things down. […]

[…] JF
Just study the career of Aphex Twin and you will learn a lot about the meaning of creativity. […]

[…] We don’t go to enough exhibitions, movies, we’re missing the stories and things that usually stimulate creativity. […]

[…] A
You need to have material set aside. If you have a thousand ideas per second, it’s because you’re always coming up with the same thousand ideas. […]

[…] I love what Ben Gorham, the founder of BYREDO says: that he makes his money with perfume and reinvests everything in the narration, because the stories he tells will always contribute to better defining the brand’s conceptual and artistic identity. […]

[…] All artistic directors nowadays are incredibly spoiled by the corpus of references at their disposal. That definitely wasn’t the case in the 1970s. It’s the gift and the curse. You have an enormous amount of pressure on you to come up with something original even though it’s almost impossible and that all that remains is intertextuality. You just have to grieve the loss of originality. […]

[…] GH
Once we get the brief the three of us read it and then we might decide to have a meeting to talk about it. But that never happens. The effort that goes into having a brainstorming meeting is hardcore and never works. Because that’s not how creativity works. […]

[…] If you lose your curiosity for a designer, or for design thinking, or your curiosity for the way things look or how they are made, then you lose your ability to find inspiration. […]

[…] Design just sort of pours out of me and I don’t know any other thing I would do, it’s just who I am, my nature. Some designers find this is similar to exhaustion and being burnt out, but you can find new places to experience visual media, you take a break, have a conversation with people and it reinvigorates that. […]

[…] you’re creating ingredients for designers to make meaning. […]

[…] Always make work for yourself even if you have a job. Make sure you don’t just clock and do
work and go home and not make anything. It’s important to always use your time as a designer, it’s a form of your own expression, how you use your work to be personal, whether no one sees it or not. […]

[…] We really try to push this idea of not thinking as an individual, but thinking as a whole. We try to all sit in one room, on one table, and everyone is there with their laptops, so it keeps distances very short. Everybody can help each other out, as well […]

[…] But, you’re never going to do the whole thing in your whole life, or you’re just a one-man-show. I mean, obviously you can do everything alone but coming from graffiti, I always used to be in a group, or working together with a lot of people, being inspired and learning from the way others work. It’s more fun to be creative in a group of people rather than sitting alone at home and thinking that you’re a genius. […]

[…] We believe in the trinity: pure, simple, and powerful. We strive to get to the essence of a brand, strategically and creatively – that’s the purity. Then we bring it to life with a design as simple as possible. If you succeed in this approach, by definition the visual identity will be powerful and live beyond trends of fashion and taste […]

[…] following trends and fashion is not bad, there is a reason for it, and it comes and goes. But it’s just you need to be conscious of it and try to create your own answer and reality, that’s what is important. […]

[…] I wish things were less trendy. I love idiosyncrasies, the weird guy in the corner. I appreciate the courage it takes to be different and that’s who we should embrace. People that take real risks in their opinions and expose their guts to the public. That’s what we should embrace as artists, designers, etc not the one super on trend, those are the vampires, the one taking from those who have real ideas. […]

[…] The creativity is this amorphic, amoebic thing, super old guys do incredible stuff and brand new kids do incredible stuff. There is not a current. If there is one thing that is incredible about arts, the arts, art and design is that we all have a common thread. I’m fascinated by somebody who is 80 years old who is doing work that’s cool, as much as I am by a kid who is 14 years old and doing some work. And we can all hang out and learn from each others. And there is a necessary youth to creativity, to be able to play with things, to make mistakes. […]