10 rooms filled with projects, 12 people and 10 hours of jury to choose the best graphic design projects in Europe. If design is not art and therefore is due to the context and function, can a project be evaluated without knowing the audience, objectives, cultural context and the circumstances surrounding the project? How can we compare projects born in such different conditions? How can we evaluate a Ukrainian project from Barcelona? How much time do we need to present a project to a client? How much time can the jury devote to each project? What can be measured and…

The fast evolution from local agriculture to food industry created a mismatch between the production behind most supermarket products and the food narratives embedded in western cultures. Accessibility to remote or non-seasonal products elonged the supplier chain up to a level were production and consumption are almost disconnected. This gap created an opportunity for companies to create narratives around the products to reinforce branding as a competitive tool, and consumer demand for authenticity urged design to counterbalance that with hyperreal material narratives that are now possible with the current advanced printing technologies. This article identifies four categories of material simulations and examines how they are used as a communication tool. The relationship between brand narratives and product attributes is analysed using Jean Baudrillard’s four stages of simulacrum, and lastly, the relationship between actual and simulated materials is explored using Boris Groys concept of media sincerity.

Shopping at the supermarket I am striked by a soup broth. The packaging features the iconic tablecloth pattern as a background that covers all the sides of the Tetra Brik. Inevitably, the pattern reminds me of my grandparents and all the times I had lunch at their home as a student. The product does not have a creative naming, just a plain description including a vernacular Spanish word for home soup (“puchero”) and “natural”, the only word that appears twice in the frontal. The logotype looks clunky, the illustration looks like a cookbook from the 70s and the only font…

Pau de Riba

Graphic Design Coordinator at @bau_bcn. Now focused on design culture and criticism. www.pauderiba.com

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