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Vertigo Design
www.vertigodesign.it
An acclaimed Rome
design agency, Vertigo
Design tries to propose
a method rather than
a style because they
consider that all styles
are equally functional
depending on what they
aim to communicate.
Consequently the
firm tries to attain
goals following a
rational, logical path
and sharply focusing
in on the message,
thus limiting possible
misinterpretations.
Vertigo Design works
on the many aspects
and applications of
visual design: corporate
identity, corporate
publishing, brand
image, advertising,
multimedia design,
and exhibit design. The
founders, Mario Fois
and Mario Rullo, also
teach Graphics and
Visual Communications
at Università di Roma
(department of industrial
design) and at the ISIA
Roma Design (Higher
Institute of Industrial
Design).
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931 Inspiration can come at anytime—
while sitting, eating, driving, or in the offi ce.
However, inspiration has to be focused and
the important thing is to fully understand
what clients want and, above all, their
worlds. In this way, developing a visual
identity system can truly be customized to
last and potentially evolve in the future.
932 A very interesting book which can
inspire many ideas at the beginning of a
project is
The Art Of Looking Sideways
by
Alan Fletcher. Here, a completely un-biased
and open-minded approach is employed
to explore the complex world of visual
communications.
933 Contacting new clients is one
of the most diffi cult and least defi ned
activities. Word of mouth and being passed
on by other clients is a frequent method
of getting new clients. Once the potential
clients have been contacted, a presentation
kit of material and, in particular, a (hard
copy) portfolio and our website are very
useful; normally any choice is based on
past projects that clearly show the levels of
skill and capacity developed. However, the
best way to demonstrate the appropriate
expertise successfully is by showing how
any visual communication problem can be
effi ciently resolved despite limited time
frames and unpredictability.
934 Professional relationships can be
established very differently: they can be
reserved with state institutions and large,
formal hierarchical companies; or they can
be informal with smaller companies where
the staff is younger. Perceiving these
differences immediately can contribute to
avoid an unsuitable presentation.
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938 The most practical and
economical solution for project
self-promotion is the Internet—
both through our own website
and other websites specialized in
graphic design. However, we have
ascertained that with new clients a
direct approach with small printed
books that set out our case history is
the most complete and thorough way
of presentation.
939 Our approach is based on
“a method, not a style.” This means
that we can adopt any visual style
for potential projects. It is important
that each visual feature effi ciently
contributes to the development of a
defi nitive communications project.
With this in mind, we also endeavor to
begin developing our projects without
any pre-conceptions, listening to
our clients and interweaving their
proposals and our suggestions into
the visually stimulating foundations
on which we develop these projects.
940
The type of world we live in implies
being overwhelmingly stimulated.
The initial inspiration for any new
project can appear in many ways
and not always in front of the desk
or computer. So now and then it is
useful to shut down from the world
and end up all alone with a pencil
in hand or a laptop. Often jumping
from one tool to another seems
unintentional but eventually the time
comes when all the ideas have to be
put in order, in order to select those
to be developed further.
935 For project presentation
meetings, slide shows are very useful
in showing different stages of idea
development—from what the client
initially requested to the different
solutions proposed.
936 The use of formal grid
systems to set out different visual
elements (like in layouts) or the use
of concept planning to develop a
communications system (for instance
using coordinating images) can
be useful. This approach should
however only be adopted once the
project is well defi ned; early on, rigid
frameworks can restrict creativity.
937 Vertigo Design has
always preferred DIN—an
acronym for Deutsches Institut für
Normung [German Institute for
Standardization], a font we also use
for our own logo. Its typesetting
origins might have contributed to give
it fl exibility and that makes it suitable
for a coordinated image approach.
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941 ON IDEAS. Brainstorm! Keep
your thoughts functional and smart.
Leave time for experimentation and
production. Jot down as many ideas
as you can, it can be useful for future
projects. Creating an idea is like
making a cake; the fi nished product
must be delicious, not just fi lling.
942 O
N UPDATES. Keep your mind
updated as much as you keep your
computer. Archive resources such as
books, magazines, design tools, left
over design conferences material,
fonts, photo stocks. This is how you
build up a resourceful workspace.
943 O
N BEING STUCK. Spending long
hours and staring at your screen
makes you forget the real objective.
Ask for feedback.
944 O
N IDEAL CLIENTS. Push the
envelope. Ideal clients are the ones
who get you carried away with
your creativity, and the ones who
buy your ideas.
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950
O
N HOW FAR YOU CAN GET. A perfect
design is pure time management.
Leave yourself at least 40 percent
of your timeline to improve, tweak,
and refi ne your design. Research
different techniques to enhance and
add this special touch to your work
and client presentation.
945 ON INSPIRATION. Walk the dog,
cook, watch commercials, take a
break, it helps you keep your focus on
design. Watching commercials is a big
source of inspiration; it triggers and
stimulates your imagination process.
Always make sure to write your ideas.
Ask yourself what would you have
done if you were the designer...
946 O
N PORTFOLIOS. Always keep
your portfolio up to date. Customizing
your portfolio to clients’ needs and
expectations is key to success in your
presentation, research the clients
background on the Internet, market
research tools or even by asking
targeted questions, a questionnaire
would help. I have a printed PDF and
website portfolio, it is practical to
have all three, especially if you work
with long distance clients.
947 Have a favorite font—
Gotham.
948 Hate one font—Gill.
949 O
N PRODUCTION. You can
hate some techniques, but master at
least one or two. Great ideas can be
transformed into disaster if not well
realized.
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