[…] it’s part of evolution. You can embrace it or you can just fall behind. Anything new generally causes people to be speculative. I know with crypto I’ve done it. NFTs in particular I was never super fond of. They’ve been around a long time, but I would say language learning models have already been used and you can benefit from them. So I’d say embrace it because it can make you. […]

[…] it’s almost so easy to spot when something’s been generated by AI. So you could sit here and say, ‘Oh yeah, we don’t have to worry about that because it’s easy to tell whether or not somebody made it.’ But it would be foolish to say that there’s not going to be a day when you won’t be able to tell. And when that happens, society will either reject it or embrace it. And I would assume that it’s going to be an embrace, because humans naturally fall to whatever creates the least amount of friction in their lives. […]

[…] I think we’re looking at it too black and white. It’s just a tool, so it’s part of our job. People are looking toward us for expertise, and to better understand how these tools may benefit their business. Maybe it’ll help spark an idea, but I don’t think it’ll ever fully replace humans. You can almost always see when someone tries to completely remove the human part of it. Machines can’t feel. […]

[…] It’s encouraging to see niche studios pop up that have high taste levels and are also highly capable. At the same time, you start to see traditional agencies fading. These very traditional agencies that grew so big that they became top heavy, large corporations almost. So I’m really excited to see more of the niche, highly capable, self-sustaining teams cross-collaborate; there’s something there and we’ve experienced it firsthand. […]

[…] Just as DJing evolved since the ’70s, so has graphic design. It’s relatively young as a profession, and a bit of uncertainty can be healthy. If a design studio or creative agency can establish a strong visual language and reputation, it might endure changes in personnel, similar to how fashion brands evolve with different designers while maintaining their legacy. […]

[…] 15 years ago, it was all about starchitects and spending everything you could and who could show the biggest building. And today it’s the opposite. That’s why I think Europe is looking to these other countries, to what is called the Global South. We’re not the Global South exactly, but they call us that. It’s about looking again to the lockout, to the artisans, to the basic knowledge that has been lost, but seeing it in a contemporary way and transforming it into something else. […]

[…] The major evolution coming, I think, and I would be the first to invest in it, is 3D printing. It’s amazing, we already use it a lot in the office. I think everyone will have 3D printing at home in the future. You’ll buy your files and make your furniture with them. We’re looking to buy a 3D machine for printing armchairs made of recycled plastic. That’s your production tool. It’s total freedom. You launch, you do the 3D, you print, you sell. […]

[…] We are in a big machine, and we have developed bad habits over many years. A lot of re-educating needs to be done as far as that is concerned. Many clients think that they’ll be able to replace us with artificial intelligence, that that would be easier, that they could just pay for a software… And it’s true that certain clients wouldn’t be able to tell the difference in terms of quality of work. Luckily, there are clients that value what we do and that can tell the difference… but not all clients… […]

[…] There are many metaverses, and therefore many platforms. Second Life was a metaverse. To me, Fortnite is also a metaverse because you make your avatar, you have your money, your little custom clothes, and all that… a Travis Scott concert.
You can go to a concert and do things you can’t do in real life. For me, that’s what the metaverse is all about. I don’t see the point in creating an alternate reality to replicate our world. On some of the platforms I’ve tried, there’s already a consumerism aspect. We’re going to reproduce shops, all the consumers, all the brands. The first idea they have: let’s recreate a store. […]

[…] AR
This modern fixation with conversion is quite interesting to us as a concept. It’s something we certainly have to think about when we are creating web experiences. Now we know a lot more about it. You can see through a lot of these dark patterns that these large social media companies employ. Whether it’s Adobe hiding the unsubscribe to creative cloud or Instagram using invisible algorithms to distract attention from or attract attention towards certain topics. It’s all quite fascinating, the more you understand about this. This stuff is, for me, is the foundation of what should be taught in school. Everyone should be learning media studies and semiotics. […]

[…] When I think about game-changing technologies, they start out as being utopian and useless and only later is a use ascribed to them. But when you see new technology that arrives already monetized — like fashion in the metaverse — well, it’s not interesting. I was part of the first generation that grew up when the internet was invented. It was a paradigm shift. On the other hand, I think the decentralisation that the blockchain allows will have a similarly profound impact. […]

[…] Yes, brands want a different perspective because, ultimately, they want to become — or stay relevant. They want to invest themselves in culture. And this is something that the classic agency model can’t do. […]

[…] Big picture, I also imagine a paradigm shift happening, as it did years ago when I was a 3D designer executing ideas for brands and individuals. Nowadays, I envision myself as a digital artist and I feel like in 10 years we’ll be even more a part of the broader art world. […]

[…] Physical design, the digital component with new technologies, the combination of techniques, artificial intelligence, image generation through AI, I’m trying to do projects on that as well. […]

[…] JB
We just turned down an offer. Of course it’s interesting to have access to larger machines, bigger productions and all. But there is hardly anything that we couldn’t facilitate through collaborations, I think. Maybe it will be more a question of joining forces. Foundries coming together in offering services, maintenance and support. Streamlining the more repetitive stuff and freeing more time for creation. That could be great. […]

[…] Nowadays, being interesting and attractive means being digitally relevant. […]

[…] Nowadays, typography is about democratisation and globalization. Which is good, if it means that more people will now be doing typography. It tends to be such an obscure discipline that it’s nice for once to see a light shining on it. But it may be that a typography fad is right around the corner and might, following the reign of the Swiss, herald a return to the Emigre spirit, with experimental type fonts and destruction of the grid. […]

[…] 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
There are a lot of changes in the market and a lot of clients are asking themselves: “What am I supposed to do with technology in my business? I see technology is everywhere now and how do I work with technology in a way that doesn’t feel cold and stale but also allows me to make money?” So the domain we are in – which is the digital and the merging of the digital and the physical – is actually a very relevant domain for a lot of industries. In that sense, anything we do somehow resonates with a lot of different clients. […]

[…] DL
A lot of people realised – because of the pandemic – that we have to change our ways. There is a change in the way we look at ourselves, at others, and the world as a whole.
We are looking to become a B‑corp within a few months, we hired a sustainability manager and in our works we try to put humans first. How can we surprise people, give them a sense of wonder, make them aware – of themselves, the others and the space they are currently in? […]

[…] DL
Funnily enough, I still see a lot of graphic design in people. And I don’t see a lot of people who work with technology in the design world. That is strange because technology is so incredibly present in our daily lives… […]

[…] RM
we’re seeing a lot of positive progressive activity from younger makers (…) We have to change, adapt and develop, and this is the opportunity. I guess bigger, heavier entities will take a longer time to do that. Creative practitioners have always been agile, moving with the times, we call this the flow! In a sense we’ve always had to be reactive and agile. So, I don’t see any reason why that shouldn’t encourage positive creative activity. […]

[…] OK
There’s a lot of questioning going on of status quo at the moment, and that can only be a positive thing when it comes to the potential for creativity. That’s the most optimistic thing. There are a lot of fashion projects that are starting to do that, and also we see developments in the way architecture’s being practiced and questioned. Architecture in many ways got hijacked by property developers for so many years, but in many cases it’s really taking on a more cultural, social, political role now, at least in our viewpoint. And that also happens in fashion, and I think in art, too. It’s a fertile time I’d say […]

[…] A
I get the impression that entrepreneurship is increasingly important; there’s also a kind of atomisation, since you’re contacted by smaller and smaller entities. The agency model seems to be disappearing. Brands and designers are more and more often in direct contact. Many studios have been set up, I don’t know if it’s a consequence of this. […]

[…] A
Naturally I wonder about the end of it all. I say to myself that there’s going to come a time when the CGI aesthetic is going to level off. Soon the entire aesthetic we’re producing will become something future generations are going to wax nostalgic about, so I believe people are going to return to the roll of film and VHS. […]

[…] A
I believe people are going to return to the roll of film and VHS. […]

[…] It would appear that things are improving in terms of logo redesign. It’s a long‑haul battle. That’s the quixotic side: constantly combating windmills. While faced with the complete and utter disinterest of the public and business leaders. […]

[…] Mathieu Lehanneur summed it up for me when he said he wanted to be an author rather than a service provider. […]

[…] I’ve increasingly been wondering about the possibility of automation taking over my profession. I mean, nowadays someone talented enough might create an app, a system using the best layout table, best font associations, best balance… you press a button and it comes out. […]

[…] How do we know that very soon somebody isn’t going to come up with an app that can take care of graphic design, even logos? (…) What I find rather reassuring is that you soon realise that designing a logo really isn’t that easy. I have a hard time imagining how automation could work. Certain projects necessitate hundreds of tests before I get it right, on paper and on the computer. […]

[…] I don’t know how it is in France right now, but in Germany, so many people have lost their jobs in the creative business, so it’s really easy for clients to get them to do whatever they want. The problem is that the more people are out of work, the lower the prices get.
Let’s see how that develops, it’s such a weird phase. Even here in Munich, and even more in Paris, when that curfew stops and you can go out again, it’s going to be interesting to see how many agencies still exist, how many of your old bosses – the crappy ones – remain. My feeling is that all the people who went into it are going to be gone. I don’t know what this is going to mean for the whole industry. […]

[…] with the studio in the last years, we focused more and more on motion. This didn’t happen accidentally, it’s something that we really looked into, something that we wanted. It felt comfortable in the development of our work but also, we felt that within design, it was the next step. If motion is the next step, then that means you need to make room for designers to learn more motion, or the next person you hire needs to have motion skills. […]

[…] Every year for the past 15 years a good three dozen type designers have appeared on the scene fresh out of a training course in “type design.” Whereas before they had studied “graphic design and typography”. So you do see more typography in portfolios, on websites, in pitches. You see more typographical work overall, mostly in the media. I think this is a cyclical phenomenon. In fact the current wave might already be behind us. […]

[…] I get the impression that something new is brewing.
It was easy to start an e-business and produce typography rather quickly. The reason why I think we have reached the end of a cycle is because I have yet to see anything new on the horizon. Something is going to happen; it just hasn’t happened yet. […]

[…] You can do all this shit from a laptop and you can learn all the software. If you sit down, you can learn all of adobe suite in a few months. It’s not the medium that’s stopping people anymore. When I started graphic design, a scanner was cost prohibitive, a scanner cost $5000 when I started doing graphics. You’re going to see a generation of film makers slash graphic designers slash architects slash etc […]