To do it, they dropped the magazine’s serious masthead, added a more image led approach to its opening pages and used typography to enhance the rhythm, look, and feel. A lifestyle magazine that speaks to a broad, varied and multicultural art loving audience.” They took the revered cultural magazine into a more accessible, aesthetically intriguing and less formulaic style and tone.Īt the time of the redesigned issue’s release, Stavro described it as “more in line with the accessible look of a well-designed Sunday supplement. This democratic and dynamic form of storytelling can be seen in Stavro and Martín’s redesign of Elephant which was released in 2014. The participatory nature of today’s audience transforms all of us into modern day storytellers.” “This takes us closer to ancient bonfires where dialogue and emotional response were part of the process. Having something to say has become less important than having something to share,” she explains. “Instead of listening to stories, we are now not only able but welcome to create our own. It’s the substitution of traditional storytelling by interactive engagement. Stavro says that while this has been the biggest challenge of the last decade, this new progression is more reminiscent of the nights when cavemen were regaled with colourful stories around a bonfire than ever before. Now, whether through social media, blogs or sharing websites like Medium, user-generated content has changed the game for both creators and distributors.īut as stories become increasingly user-driven, immersive and temporary, where does the designer find themselves in this new paradigm? When stories were first shared on the television, radio or in a newspaper, the relationship between the teller and the listener was clear. People who were once passive listeners are now the active, welcomed creators of their own stories. The foundation of creativity, it’s an age-old tradition that dates back to before the craft of writing or painting became the chief ways to relay a narrative. Storytelling often sits at the centre of her work. This makes it impossible to ever get bored,” she says, adding, “there’s too many stories to tell.”
“The magic of graphic design is its collaborative nature and the fact that it sits at the intersection of many other disciplines. Later she completed her degrees at the Central Saint Martins school of design and the Royal College of Art in London before persuing a career in graphic design. She soon began drawing, compiling books and more. "It was a very magical and priviledged life," she recalled during a talk in 2016. Along with her younger sister, they'd travel around Europe in a green VW camper van, called Green Pea, to visit the illustrators of the children's books her father published. She was also influenced by her father's dream to publish children's books. Born to a printing-press owner in Trieste, north-eastern Italy, Stavro spent her childhood around ink and paper, and the old-school type metal she'd use as her legos.
#ASTRID STAVRO ATLAS GRAPHIC DESIGN STUDIO FULL#
To use her full potential, she curates exhibitions, writes design-related articles for specialised publications, organises discussion forums and never shies away from new personal projects.Īt the same time, a lot of her soul comes from her background. She’s known for creating brand identities, editorial projects, signage, exhibition design, posters and more, but if that’s all there is to her career it would be like using only one side of her brain, she says. Her work speaks volumes because not only does she design with soul, but she has also mastered a number of design disciplines to create work that is completely unique. Stavro and her partner, Atlas co-founder Pablo Martín have also consistently won major design accolades around the world in the last two decades, including multiple medals at D&AD, ISTD (International Society of Typographic Designers), Art Directors Club of New York, Art Directors Club of Europe, Type Directors Club of New York, Laus Awards and SPD (Society of Publication Designers) amongst many others. The London-based graphic designer has had a hand in many the iconic project, including the redesign of renowned British art publication Elephant (of which she is the editor-in-chief) and the brand identity of the Barcelona Design Museum.
Working as Astrid Stavro Studio or as the co-founder of Atlas, there’s a longevity to her career that makes Stavro an obvious pick for the Design Indaba Conference 2018. If you do a quick Google search for Astrid Stavro, the word “soul” would be among the first results to appear, and it's not hard to see why.
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