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world with legs goes 3D an era
Vancouver Vincor's in- Print becomes The industry
hosts global house team interactive with mourns the
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convention 22 &e uncorks a new
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augmented
reality 7
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DESIG NEDGHx
GRAPH - AISIGN NEWS & TR ENI- www.d esi g ned eca nad a.com Mar/Apr 2010

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 COVER

Foreig n correspondence
We temporarily interrupt our Canadian
coverage to bring you inspirational design
dispatches from around the world
AS VAI{COUVER welcomes the design world in April for
the first Icograda Design Week ever hosted on
Canadian soil (see page 22), Duign Erlge Canada looks
beyond our borders to bring you design news and
trends from aboard.
The world is a big place. At last count, our global
population is nearing seven billion people. And yet,
thanks to warp-speed advances in communications and
technology, it's a small world after all.
That sentiment really rings true once you discover
that designers from clear across the globe are struggling
with the same challenges that designers face here at
home - be it speculative work, smal1 market size or the
constant pursuit for creativity. Designers are all cut
from the same c1oth. It is their individual experiences
that set them apart and inspire others.
In this international cover story five designers - each
from a different continent - share their stories, their
struggles and their successes from their uniclue perspec-
tive in the world.

What are your impressions of Canadian design?

"One of the agencies that I have looked up to because I feel they are "Robert Bringhurst,
Marian Bantjes, Jeff
far ahead in their thinking and they've done really, really well with
Wall... I spent several
awards is IMontreal advertising and design agency] Sid Lee. They are days in Vancouver on
proper integrated branding specialists." my way to Alaska in
2O0B tandl I felt
&a'*.q 4c A*r*i.e, gre*p **, *witt*. **siq* G;'*:":p, J*hanne*br.:rq, 3**th A€ri*e I was moving
through Jeff Wall's
photographs..."

'j--t,,,.e ft,,l 'r", i,'*i..., **ii:*ricae Griffi€hs

r j1 Jl-r t\'! fi. I i) t lf,' Fes!q*er a** Work by Marian

t*si*ft*r ! r*$**et
,J!
typ*qragher
Yd*llinqt*n, **ew
Bantjes, a designer
and typographer in

I*t
ili* !!IVJ!, Za*ier:d Bowen lsland, B.C.

4^*i*lrzir* ?*r:*ke
TtlEJ&4*t *n* *reati'Ec d?reet*r
Fr*jeet*r Bruce Mau, head of Bruce Mau Design
Tnki-'* - !e*a* in Toronto and Chicago
,4r,,,,,

"l've always enjoyed the

elegance and clean aesthetics
of Paprika's designs. Marian
Bantjes, on the other hand,
keeps surprising us with her
amazingly detailed works."
Design work by Montreal graphic design H*Rne: LJ*t, feus:d*r *nd er**tiE* dir**tcr
and strategic marketing firm Paprika L**VVG#L, i***q K**q, Chi::a
Canadian maple leaf, designed in 1965
While working as a secretary for the
Canadian International Development
Agency in Uruguay, "[there] was
always the impeccable red maple leaf
on everything."
fl*ti*i* d* Aseved*, dasiqner
ffi+::tevEd*e, Lir*gu*y

l0 lrilar/,qpr. 2O1O I www.designedgecanada.com

 A world full of wonderful work
Design Edge Canada searches the globe for inspiring design
.....sd
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::::::l-i
......-
Felicia de Azevedo
Montevideo, Uruguay
lN A male-dominated and increasingly com-
petitive marketplace, Uruguayan designer
Felicia de Azevedo defines herself as a "very
independent woman."
The graphic designer, and single motheq
is featured on the Bio Graficas website,
which showcases successful female Latin
American graphic designers. Shet also
involved in Tipos Latinos, a biennial mobile
design and rypography exhibit. The next
exhibition begins in April, with de Azevedo
participating in workshops and lecrures
about Uruguayan design.
Computers arrived late to Uruguay, says
de Azevedo who is self-taught. Tivenry
years ago, there were no schools for graphic
design. In fact, when de Azevedo started her
career in 1989, she was one of the only
female designers in country. Since then,
she's noticed an increase in the number of
women in the industry thanks to several
new design programs.
While there are no hard stats on the
Uruguayan design industry arts and culture
en masse contribute around three per cent
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of the country's GDR and has done so con-
sistendy since the mid-1990s, according to
the Institutional Capacity and Finance
Department of the Inter-American
Development Bank. But the number of
Uruguayans employed in the cultural
industry is high, at around 4.9 per cent. By
comparison, the United States'creative sec-
tor employs approximately 5.9 per cent of
its workforce (in Canada, it's roughly 3.8
per cent).
Smal1 market size, however, is definitely a
challenge for de Azevedo. Uruguay has a
tiny population of 3.5 million, where less
than half of its residents use the internet.
Compare that to Canada, which has a 75
per cent user rate. "We have very few buyers
and advertisers," she says. "\441en I began
I was focusing on things like brochures,
corporate identity pieces." Currently, de
Azevedo is doing a lot of editorial design
work for clients such as Universidad ORT
Uruguay and Vayaen magazine. Contactl
b g.bio grafi cas.com,/Azevedo. php
. Lyndsie Bourgon Editorial design by Felicia de Azevedo
www.designedgecanada.com I var/npr 2OiO ll