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Hi and welcome back again.
This particular session now I'm super excited about,
although one slight disappointment is that we've lost one of our presenters
back in Barcelona who was unable to make it out.
Bruno injured his back the other day and was unable to make the flight.
So Bruno, if you're watching this in bed in Barcelona, wish you were here.
But I'm super excited to introduce to you a really good friend
and an absolutely awesome guy, Enric Godes.
I pronounced that really badly, I know. >>That's fine.
Enric from Vasava.
So Enric, welcome and thanks for joining us today.
Thanks. Thanks for inviting me. >>Okay.
Vasava is a design company, a design and development company
based in Barcelona,
but you're doing incredible work for some really, really major brands across the world,
including brands like Nike and Diesel and, in fact, Adobe as well.
Adobe as well, yeah.
How long has Vasava been going?
The company started up in 1997,
and today we are a communications studio with 18 young designers.
So we take of crucial media projects, which means print, Web, typography,
illustration, 3D animation--a bit of everything.
So I've prepared for you today a small reel to show you what we're doing
so you can get a clear picture of what we do. >>Cool. Let's have a look.
[♪♪]
[The energy of the impact]
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[has generated a unique collection]
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[glass breaking]
Wow! [chuckles] That's pretty incredible work.
I just wanted to remind people who are watching at home
if you'd like to ask Enric or any of the presenters some questions,
don't forget that you can do that on Twitter using the hashtag Design4Impact.
So feel free to ask any questions and send them through and we'll try and answer them.
And also just a quick welcome.
I don't think we've actually welcomed the people that we've got here in the studio today.
So guys, thanks for coming along and being very quiet sitting in the studio
watching what's happening.
Enric, that's some incredible work that we just saw in that.
But you talked about how in the studio you've only got--what?--18 people, you said?
Yeah. Yeah, yeah. >>How do you manage to do that?
When we think about ourselves, we always think in this way.
We have 6 pillars which are the basis of our work.
The first one is teamwork.
Since we have people from different profiles,
we really need to be good in working in teams.
The second pillar is effort.
Everybody can have good ideas, but the only way to go from point A to point B
is putting some muscles on the process.
Inspiration.
For us it comes in from different ways, not only from graphic design itself
but from movies we see, from the books we read,
from the music we listen to.
Cohesion, which what experience tells us is the only way to perform a nice project
is working with clients hand in hand,
building projects together.
Also evolution is one of the important things for us,
which for us, for instance, in 2000 we didn't have any motion department,
in 2010 we didn't have any multitouch applications.
So we have changed. >>Always building and changing.
Exactly. We don't fear to evolve, to change the way we see the kind of works we do.
Last one is, of course, technology.
Technology helps us to develop better projects.
We need to use state-of-the-art software and hardware,
research, to deliver the best projects to our clients.
So you've really got quite a structured way or a concept or a belief
about the way that you work, and you've thought it through.
Yeah. We have had since 1997 to think it out. [both laugh] So yeah.
So it's built up over time. >>Yeah.
Okay. So you've got maybe some examples of your work here.
Yeah. Again, we have seen some videos.
Let me show you some print projects we did;
for instance, a flyer we did for Budweiser.
This is some work we did for Schweppes for a tennis tournament.
That's a key visual for the launching of Hennessy cognac in China.
Illustration we did for Citroen C4.
There's a little toy we did for Diesel.
There's a cover for a video game magazine.
A typography board, which I believe is one of our obsessions.
We do a lot of typographic research, typographic design.
For instance, here you have a poster where we made the text.
Also for this project for Hewlett-Packard,
they wanted to have some print tests.
When they go to a fair, they need to print.
Printing out the big posters? >>Exactly. That's the idea.
So instead of using these landscapes that everybody has,
we offered them to develop different typography.
So you have burger, bacon, onion, tomato.
You go to their stall, you order your burger,
and at the end you have a print test with your name at the top.
[Burnett] So you've actually developed these fonts.
[Godes] Yeah, yeah, yeah, totally, totally. >>That's awesome.
Mixture between illustration and typography work.
More stuff. This is a PR book we did for a hotel in Madrid.
So for this one we couldn't find the right typography,
so we decided to do our own typography.
Also we wanted to explore style that you can see on these pages.
So again, when we explore one style and we're happy with it,
we swap to another thing. >>Okay.
I have two case studies I want to show you today.
The first one is Adobe. Of course we are on the right frame. >>Yeah.
We have been working for you guys for, say, 2009.
You have Adobe MAX, which is an event where you show your launchings,
new things to come.
So in 2009 we were commissioned, together with 2 other studios,
to develop an image for this event.
So we created the image of this guy running
and having the city behind him.
They used this image on location.
[Burnett] I was at MAX in 2009, and it was awesome.
The graphics were everywhere, all around the entire event.
Yeah. It was really a nice experience.
Also we were asked to develop a Flash piece
where we need to combine several features of CS5.
So particularly, we create a runner constructing a city under his tread.
So he is running, and the city behind him starts being very simple.
Then using mouse gestures like this thing, you unlock some tricks.
It starts to be interactive? >>Exactly, exactly.
So the idea is the more tricks you perform, the better city you have behind.
Also the music, if you can get it, it gets more and more complex.
You are adding more layers and layers.
So at the end you have kind of a total-- >>Experience.
Yeah, yeah, yeah. Exactly.
The trickiest thing is we need to use Photoshop, Illustrator, After Effects, Sunburst,
Flash on the whole process. It was like a playground.
Just to build that project you were using all the different products. >>The whole CS.
Wow. That's awesome.
That was MAX 2009.
The next year we were asked to develop for the visual of 2010.
This is the mood board you sent us, like the brief.
[Burnett] So in order to brief you for the project, we sent you a couple of pictures of flowers.
[Godes] Exactly, yeah. Flowers and some inspiration.
This really helps.
When a client sends us an idea but he's able to find some mood boards,
it's really helping to focus and to be on the same page.
So out of this we developed first a sketch.
I don't know if you can see it from your computers back at your place,
but it's small drawings and putting technology and mix it with nature.
So this is just pencil and paper. >>Yes. Yeah, yeah, yeah.
This is how we start the process, right? >>Yeah, yeah.
Once we have an idea, then we move to, for instance, modeling characters.
So we have this branch with the computer screen.
Then we use a lot of multitouch devices,
so we developed bugs, these flying things.
[Burnett] So it's a real mixture between sort of the organic and the digital.
[Godes] Exactly. That's the idea.
This is the actual key visual.
This is the file we sent to you guys.
So you just need to replace the blank spaces. >>[Burnett] All the blank screens.
Put some mnemonics on. >>[Godes] Put the mnemonics on.
We have several executions of the same illustration.
Also, you used that for the stage design. >>Yep.
And the big projection in the theater, which was huge. >>Yeah, yeah.
So also we developed some videos.
The idea is we need to show people what they are going to see if they come to MAX.
So you have presenters, you have this technology all together.
Also, we developed seamless animation,
which means that you have this animation at the very end.
It needs to be well integrated. >>Seamlessly loops. >>Exactly.
So it will happen in 3, 2, 1. There we go. >>Yeah. >>Cool.
As you mentioned before, last week we had MAX 2011.
For this event we created an illustration where we wanted to picture the interaction
of a human, represented by this female figure on the left.
Since it's a human, we draw it with pencil.
On the right you have technology, which is photography.
So where human is a classical dancer,
technology is a contemporary dancer.
What we wanted to-- >>Okay. So the two--
In fact, you can see it really clearly on this image.
The female dancer there is very analog, sort of drawn pencil traditional.
Exactly. We wanted to have this idea where with the tension of human and technology
you have the creativity. >>Cool, cool, cool. Okay.
More applications of this.
This is how it looks on the website.
I was actually at MAX.
In fact, Michael Stoddart and I both came here directly from MAX last week.
And the intro with the dancers, both the content and the development, was unbelievable.
It was just beautiful. >>Cool.
Another project we did for you guys, it's the Adobe & Project, where we need to--
like we have behind here. >>Sitting behind? >>Yeah.
Okay. >>[Godes] We have Adobe & Creativity or we have Adobe & Applications.
So here, for instance, using the ant trail,
we want to show how from a basic idea we did some sketch,
then flow chart, and then coding, and then at the end you can deliver an application.
Right. >>So there's a story behind the illustration.
And Adobe & Imagination. That would be all for Adobe.
Let me talk to you about another project.
We work for 55DSL, which is the young brand for Diesel.
They have this product in alliance with Adidas.
To celebrate the 15th anniversary they launched shoes.
It's the 15-year anniversary of these-- >>Yeah.
I actually think that I had these boots 15 years ago. >>Yeah, when you were 17.
[both laugh] I wish. >>Okay.
So we were asked to create a campaign including key visuals,
digital activation, and assets for stores.
So we think, "Okay, it's a shoe that is 15 years old. Where were we 15 years ago?"
So this is when we discovered music, this is when we discovered the skateboarding
sports stuff, this is where we discovered video games and stuff.
This is a really cool retro design. This is really, really funky. >>Yeah.
We also did a website where you can upload your pictures, the most embarrassing ones.
I see it's called the Wall of Shame.
Exactly. The Wall of Shame, where you can see your most embarrassing pictures.
We also did a small video that we can see now.
[♪♪]
[Experience Enhancer Device - XV Years Living Kick Ass Experiences]
[Godes] You get the idea. >>[Burnett] Yeah, I do. That's awesome.
On the last block of this presentation I would like to show you
some of the stuff we do for the fashion industry.
We develop a lot of T's, graphics for shirts.
So these are some samples of things we did for Diesel again.
That's some stuff we did for Rocawear, the brand of Jay-Z.
Basically, they send us a topic, and we need to develop this topic.
This was about this global economy problem,
so we developed several images around it,
like Black Monday.
Sometimes Jay-Z is wearing it, so this is really cool. >>Okay.
Also we did some projects not only for Rocawear, his brand,
but also for Jay-Z himself.
These are some shirts we produced for some special edition of the CD
and even of concerts. >>Right.
One thing--not this particular image, although I really like this one--
what's really clear across all of your work is that common theme of typography
where there's a lot of care taken to really choose the right font
or, if it doesn't exist, create a font.
Yeah. It's part of the project.
You can have nice illustrations, you can have nice color picking,
but typography is really part of the project.
And lastly, I want to talk to you about another big client we have, Nike.
We started working for them doing graphics for Futbol Barcelona, the local team.
I think they needed someone local to have an insight about Barca.
From there we started working with other clubs like Arsenal, Manchester United,
T90, which is the division of football of Nike Sportswear.
For instance, this is a good sample. That's for basketball.
That's a sample of typography, 3D, then vector design, photography.
So it's a bit of everything.
Let me show you a few more designs. >>Yeah.
Again, basketball.
Excuse me if I am-- >>Wow. This is an incredible range.
This is an amazing amount of work for a reasonably small--
or not small but small to medium studio based in Barcelona.
It's an incredible range of work for some pretty major customers, isn't it?
Yeah. We are really lucky to work for such big brands. >>Yeah. That's cool.
Watching today there's a lot of graphic designers out there
working in all sort of different areas in the industry.
If you had one piece of advice--now, I know we looked at your 6 pillars,
which really seem to structure your business.
But if you had one piece of advice for graphic designers out there, what would it be?
I guess all the designers globally are watching the same websites
and watching the same movies or reading the same books.
We are going to have the same results.
So the thing is, think out of the box.
Try to do something different.
Instead of right turn, what if left turn?
Try to do that. >>So that's awesome advice.
Think differently, think outside the box. I think that's really cool.
Enric, thank you so much for coming along today.
After the break I'm going to ask you to join me in the Master Class
and see if you can help me out a little bit there. >>I'll do my best.
Thank you very much. >>Thank you. >>Cheers.
