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Olivier Gourvat originally
worked as a graphic
designer for various
agencies, producing
artwork, logotypes,
corporate publicities,
and print layouts. He
later joined the team
at Chronicle Editions
to create image
content, cover designs,
illustrations, and maps
for numerous books
on the history of the
twentieth century. Now,
he owns and operates
Mostardesign–a sort
of “dematerialized”
studio, in his words. He
makes multi-disciplinary
practice the base for all
of his creative efforts,
being active in print
and digital design.
His expertise also
encompasses motion
graphics and typeface
creation for clients
worldwide. Judging from
his work, typography is
the favorite playground,
creating bold works
and communication
strategies that do not
stop at image level,
striving to deliver a
product that can contain
a message rather than
just deliver it.
Mostardesign
www.mostardesign.com
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591 FOLLOW THE WRITTEN WORD. I
recommend reading a great book written
by John T. Drew and Sarah Meyer called
Colour Management for Packaging.
This
excellent guide is a consolidated resource
for the graphic designer who wants to
create packages. This book covers both
theoretical and practical packaging design,
with many useful considerations.
592 4/4
THS CONCENTRATION TECHNIQUE.
Music helps me to be more creative and
it’s very hard for me to work without it. It’s
really like a second tool when I’m designing!
593 S
MALL YELLOW IDEAS. My favorite
organization tool is the Post-it™! Really a
great idea in itself!
594 S
TART TO PRINT, LEARN TO BROWSE. My
favorite media is the web even if I began to
work on print. I turned towards interactive
design when I fi rst got on the Internet. I
remember being immediately fascinated
by this new media and the broad creative
possibilities it offered.
595 U
SE A LIMITED NUMBER OF FONTS. I use
Avant Garde type in some projects, but
my favorite font is Helvetica. I recommend
installing a limited number of typefaces on
your computer. Ten typefaces are really
enough. This will give your future works
more identity and more unity.
198 1,000 Ideas by 100 Graphic Designers
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600
H
AVE A TRADEMARK COLOR COMBO. An olive
green, a light blue, and a classic
black—these three colors are the
identity of the studio. I have also
created a section on my web site with
combinations for each project to have
as a kind of bank of combinations to
refer to.
596 PLUG-INS, SCHMPLUG-INS. I
recommend you to forget about every plug-
in installed in your computer. Photoshop
plug-ins limit creativity and should be
forbidden! Also, I believe they give your
creations a certain feeling of déjà vu.
597 S
KETCH!
598 P
ROMOTE EACH AND EVERY PROJECT.
Generally I promote each project made
by the studio with a photo. Try to fi nd the
best way to promote each work through a
beautiful photo for the main page of your
website or for an insert in the next version
of your portfolio! For one project I staged a
high resolution visual adding our very own
Mostardesign cocktail to help display the
works created (business card, booklets,
visual identity, etc.). The offi cial recipe is
available on our website.
599 R
EGARDING PORTFOLIOS. My philosophy
is to fully dematerialize self-promotion
material. I always have a light version of my
portfolio in PDF format in order to make it
easily e-mailable.
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601 INSPIRATION, THEN LOGIC. Generally,
when I get the commission and attend the fi rst
meeting, I draw the fi rst impression I had
associated with the project. Most of the time,
this fi rst image remains through the whole
project. But of course, if I can fi nd a better
solution and persuade myself with other ideas,
I’ll change. I’m also known to dig the hole all
over again, after throwing it all away without
hesitation. But the process of “logically
persuading myself” is very important.
602 W
ORDS, THEN SKETCHES. Brainstorming
with keywords can help some part, but this
is only for supporting ideas in your brain and
providing descriptions for your commissioners.
Drawing and sketching
by hand is best.
603 J
OT DOWN, THEN HANG UP. My wall is
usually full of found materials and sketches.
It has a great infl uence on me in various
processes and provides me with strong
energy. I believe there is some kind of
connected spirit. For this reason, I keep these
small papers when I move my work places.
604 S
HARE, THEN COLLABORATE. Clients
are diffi cult to get and even more diffi cult
to pick. As an independent designer now, I
work with some clients who are interested in
my work, they usually fi gure as people who
share common interests with me. There is
no specifi c way to fi nd this out at fi rst. But
naturally, people can notice someone who has
connection with them, like an impression.
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605
A
BSORB, THEN CREATE. I try to absorb as
much as possible around myself. That
can be a landscape, a small fl yer on
the street, a junky magazine, or even
a good meal. Anything can be! Not
just something that we can refer to
as a standard “source of creation.”
Creativity feels like a strange word
for me, that forces me to make
something. But of course, all of these
sources build up my personality and
way of attitude thus affecting my
work and design process.
606 POISED, THEN SMILEY. I have to say you
have to be friendly. But in certain occasions,
being serious can be a friendly way, and vice
versa.
607 C
HOOSE MEDIA, CHOOSE STRATEGIES.
Different media have different strategies of
getting through to people. In most cases, I
work on printed matters and I love the paper-
based media. I studied product design before,
so I’m also familiar with 3D media and textile
materials. But I’m not so attracted to web-
based digital media, it’s such a fl at and cold
way of communication.
608 T
HINK, THEN FOLD. Grid systems are very
important in design, but you must not start
with a rigid grid structure. It creates strong
principles in design detail, but it prevents
you from seeing the wider picture. Draw the
sketch and fold the paper by hand.
609 L
OCAL, YET GLOBAL. It is essential
to think about what you are doing as an
independent designer. Unlike artists,
designers are needed to follow directions. But
the brief shouldn’t prevent you from losing
your own language and expressing who you
are and what you want to say to the world.
You have to be aware of your infl uences and
interaction with the public. Even if this cannot
change the world, every small activity is
signifi cant in itself.
610 Keys, then words. Thin paper, black
and white, paper cutting, stickers, craft-
paper, open binding, type press, A0 size
poster, photocopy, silk-screen, tape, stationery
shop, cold glue, archive, wall graphic, label,
map, supermarket, black square, red line,
color paper, wallpaper, rainbow, folding-paper
tool, minimal, accident, 10mm square note, A3
printer, street signs, blue wall, inventing tools,
drum and bass, acrylic plate.
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