Kiko Farkas: Brazil’s Iconic Poster Designer Shares his Creative Process

Designer and Illustrator Kiko Farkas shares his tips on how to develop projects that push the boundaries of the publication experience

At the head of Máquina Estúdio since 1987, Kiko Farkas made his name with an integrated approach to editorial projects and their graphic design that enhances the visual experience of publications, books and posters. He always asks how graphic design can give new meaning and create a new reading experience.

Kiko’s work is a major milestone in contemporary Brazilian poster design. His career highlights include Máquina Estúdio’s coordination of visual communication for OSESP (the São Paulo Symphony Orchestra). A collection of these posters was published as a book, which is often featured in exhibitions in Brazil and internationally. Kiko also won the 2007 Jabuti Award for the Best Cover of the Year, for his work on Ferdyduke, a book published by famous Brazilian publisher: Companhia das Letras. He’s also a founding member of Brazil’s Association of Graphic Designers (ADG). And Máquina Estúdio is responsible for the iconic Marca Brazil logo: the international brand for Brazilian tourism.

The secret to great graphic design

The secret to great graphic design lies in considering the visual identity as a whole, from the information you wish to convey to the feel and handle-ability of the object that will house that content’s physical characteristics and purpose. Kiko notes that “books have become objects, text is available online.“ So it’s important to consider the material nature of a publication.

When developing the editorial design for the latest edition of George Orwell’s 1984 published by the Companhia das Letras, Kiko wondered what he could say about it, which contemporary elements he could bring to the graphic design and how he could make its language relevant.

Essential tools: language and looks

Kiko thinks that language and visuals are two of the essential tools used by any graphic designer: “Drawing is a language, a tool for communication and reasoning, while visuals are a form of perception, they’re what people see and how things are absorbed.” It’s all a question of awakening the viewer’s senses and the way in which you invite them to see the product.

His OSESP posters were a milestone in his career. They provided a new perspective of classical music by using a design style that modernized the orchestra’s visual identity.

Exchange and feedback

Technological and academic progress have made plenty of design information available. We have witnessed incredible evolutions in the fields of typography, software and printing techniques. But Kiko worries that people aren’t giving feedback any more, we’ve stopped talking, analyzing and exploring the important issues in more depth. “If you take what you like, what you admire, and include and combine it in your work... you make it grow,” he affirms.

English version by @studiogaunt

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