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Amsterdam-based Jop
Quirindongo is the man
behind Lowres, his
trademark and digital
alter ego. Originally
educated in interactive
media conceptualizing
at the Hogeschool voor
de Kunsten Utrecht and
Portsmouth University,
Jop developed himself
as an all-around
creative with a broad
experience ranging
from advertising art-
direction, photography,
inter-active graphic
design, and music. His
latest projects include:
Blidfrukt Vit—concept
and visualization for a
Swedish wine brand,
digital illustrations for
Freemagenta.nl and
De
Volkskrant
, identity and
packaging design for
Tremolo Recordings,
a minisite for the
introduction of the
Nissan 350Z, identity
and packaging design
for Carnal Records,
Polar State Records,
and Phenom Records,
and an honorary mention
for a book cover design
contest.
Lowres
www.lowres.nl
Lowres 173
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511 Be nice to people.
512 Breathe. Don’t overestimate
the power of design. Oxygen is much
more important.
513 Don’t show your clients the
proposals you’re not fully happy with.
They will like them.
514 Do a lot of other
creative stuff like making music or
photography. Sooner or later it will
all come together.
515 Look around you. Design is
in everything.
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516 Do stuff your own way. It will
always give you the best result.
517 Don’t always follow the rules.
518 When you’re stuck on an idea
start all over again.
519 Go. Think before you start.
A bunch of typefaces, colors, and
shapes are nothing without an idea.
520 Put a lot of time in your work
and also in the way you’re presenting
your work.
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521 ENTERTAIN THEM. Beauty is
a concept that depends on current
trends, while irony isn’t. Graphic
designers have the possibility to
play with concepts through images
and forms, even when they do it in a
subtle way. It’s that understated ludic
element that sparks awe and interest
in the viewer’s eye. Most people are
bored and look for emotions.
522 L
OOK ELSEWHERE. Being up-
to-date with the state of the art of
graphic design is important, but there
is also a danger of homologation.
Today’s designers should be active
in society as content creators. If the
content you propose in your work is
self-referential it will turn out to be
redundant and sterile. Search for
ideas in books, exhibits, in travels,
folklore, under the ground and in the
toolbox. While you’re at it turn off
your computer, your head will work
better.
523 L
OOK FOR A RATIONALE. Every
communication project starts with
a problem and ends with a valid
solution. This is why we need a
rationale for every decision, it will
not only help you motivate your
line of reasoning but it will also
help you to focus on the objectives.
Back in university I once found
myself completely unprepared for a
scenography project. I improvised
a terrible scenery with my shirt and
other found objects. The professor’s
only comment was: “If you are able
to justify your choices in a serious,
satisfying and coherent way, then it’s
good.” A lesson to remember.
524 T
AKE HEED OF WHAT HAPPENS
AROUND YOU. Reality that surrounds
you is often more incredible than
fantasy. Me and my business
partner were trying to fi nd a name
for our newborn magazine. Lars,
our German roommate at the time,
had a poor grasp of Italian, but a
capacity of inter-synthesis between
the languages he spoke that made
him the perfect candidate to study
to come up with something original.
And in fact, he gave us a great idea.
Why not combine the English word
“cool” with the Italian adjective suffi x
“-issimo?” The name was perfect;
it was exotic enough, and balanced
between the phonetic resemblances
with the Italian slang word for “luck.”
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530
L
EARN TO PLAY CHESS. STRATEGY IS
IMPORTANT. As a contract worker or
a freelancer you’ll have to deal with
other people’s ideas. All of them
will try to steer the project towards
their own visualization, and frankly,
some people’s visual taste is terrible.
Diplomacy is key; sometimes it’s useful
to dribble the question, because
stubbornness doesn’t help. Try to get
to know the person or people you
have to work with, learn to negotiate,
and earn their trust. While proposing
a visual identity for the township of
Ravenna, we encountered resistance
from our client, suggesting that our
proposal—two boxers facing each
other—was too chauvinistic. We
resolved the question noting that
the township coat of arms was also
a perfect graphical solution for the
problem. In fact it represented two
lions in the exact same posture as our
boxers—with the exception that it was
impossible for the client to reject!
525 PERFECTION DOESN’T EXIST.
Vincent de Rijk’s studio (www.
vincentderijk.nl) makes beautifully
detailed mock-ups for the biggest
names of worldwide architecture.
He’s an advocate of aiming for
perfection in design, but at the same
time, he believes that imperfection
breeds the most interesting
particulars.
526 N
ETWORKING IS IMPORTANT,
AND SO IS RECOGNIZING ONE’S LIMITS.
Surround yourself with people
you like and of whom you respect
the work and ideas. Your work
environment is vital to your quality of
life and consequently to the outcome
and quality of your projects. Often an
assignment will require the work of
more than one professional fi gure.
Don’t be seduced by the malicious
idea of “do-it-all-yourself;” it’s
always better to divide more work
between talented individuals.
527 C
REATE A REAL-LIFE WORKING
MODEL AS A BENCHMARK. This will help you
to avoid wasting time on fallacious
solutions and to better the overall
outcome of the project.
528 D
ON’T DESIGN ANOTHER MONSTER.
Your predecessors have already
generated enough even for your
descendants.
529 W
HEN IT’S NOT NECESSARY, turn
off your computer and have fun.
Luca Bendandi 177
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