Gonzalo Alatorre

I studied Graphic Design at the Universidad Iberoamericana in Mexico City, but actually, I started working in graphic design during high school for a local design firm doing newspaper ads. I did not grow up wanting to become a designer, but it is something I discovered late in high school. However, I come from a family of architects and art collectors. So art and design were always a topic of conversation in our house.

We are an award-winning creative agency for brands committed to standing out in a market saturated with sameness. We are composed of a culturally-diverse team with an unstinting commitment to our client's vision and an unwavering commitment to do the right thing the first time around.

Many things. Design, to me, is the oldest profession in humankind. Hammers have been around for at least 3.3 million years, but someone had to design them! The discipline of design as we know it looks above all to solve a problem, yet what differentiates it from engineering is the pillar of aesthetics. Without having the aesthetic philosophy behind it, then it is just engineering. However, without the problem-solving foundation, it is just art as it would lose its purpose, its essence. So, in summary, design is that intersection between science and art that elevates human existence.

I like working on the brand strategy and understanding the difference that exists between how our clients position themselves and what position they actually hold in their customers' minds. From that position of actionable intelligence, I love working on building the different components that make a brand identity and pushing my design team to produce work that makes our clients proud.

In 2003 I was lucky enough to win the national competition in Canada for the 2010 Olympic Games logo. Over 1800 designers from Canada entered the contest. My logo submission (and winning logo) represents my experience as an immigrant to Canada, whereas a 25-year-old Canada welcomed me with open arms. The 2010 Vancouver Olympic logo project is my favourite, not because of the outcome of the logo itself or because my logo won the competition, but because of everything that resulted from it. It allowed me to meet other designers from around the world, Olympic athletes, and seeing your work change the look of a nation is exhilarating. Even more than 12 years later, I still see people wearing clothes with the emblem. However, the greatest sense of pride I got from the design was inspired by the inukshuk (a man-made stone landmark or cairn built for use by the Inuit), representing a person with open arms. At the time, these inukshuks were somewhat known. However, I felt they did not have the recognition they deserved. After the Olympic logo was unveiled, people took an interest in these, and you could see inukshuks everywhere, from beaches to hiking trails, rivers, and on top of mountains. This was the most rewarding aspect of this project: people paid attention and learned about the Inuit culture from Northern Canada.

The brand identity for a local charcuterie, Oyama Sausage, in Vancouver. It is inspired by the flags used in the Palio Di Sienna horse race and pays homage to the Iberico pigs from Spain.

It is still the good old-fashioned brain and a pencil and piece of paper. The material, platform, or technology are just tools, but the great ideas still come from thinking and hard work, not from the tools used.

Anytime during the deep explorations we have with our clients. Great conversations can be exhilarating and accelerate the creative process.

On the bigger picture: What does it all mean? What does our target audience leave thinking about?

Everything! I've always described my design process following the same sequence of events as any Tom Cruise movie: Arrogance: I come in thinking I am a superstar. Crisis. I crash and burn; I can't live up to my self-imposed expectations and standards. Humility and lack of confidence: Maybe I am not as good as I think, and I should quit. I find my muse and obsess: I find that one perfect idea. And I obsess about it until I get to the solution. The exhilaration when I see the solution. I ride a motorcycle to the sunset with my muse.

A lot of pride, but I also see the last 10% that could be better, and if given the opportunity, how I would improve it. I also become obsessed with understanding the change and impact we have brought to our client's organizations.

Success in our field is measured by many different metrics. However, to make it simple to understand, I consider a project successful if it allows our clients to stand out in a market full of sameness. If our client's brand becomes meaningful to consumers and different from its competitors.

I only judge designs where I know the context of how it was created and what problems it was trying to solve. Otherwise, I find it disrespectful to other design professionals. If I do know the context and problems it is trying to solve, I ask myself: Does it work? Does it elevate the world of design? Does it challenge the status quo? Does it propose something new? In 2005 I gave a TEDx talk in Mexico about how design should be like a liquid quesadilla. In this talk, I mention these points above.

We have an ethical responsibility to inform and not deceive. To guide our clients to adopt more environmentally-friendly solutions and more inclusive practices. To support each other as design professionals, rather than attack each other. We should all work to elevate the design discipline!

There seems to be an intense fight between those who want to commoditize design and those fighting against that. In my opinion, this will create a big divide between great design and the rest. I don't believe design as a discipline is in danger from artificial intelligence, yet some design jobs may be in danger. However, I think the roles of some designers as production designers may change from a position of utility to a place of intelligence. Those that understand how to get there will survive the threat of being replaced by computers.

I am not an artist, so I don't have exhibitions. However, our work represents our client's brands every day in over 45 countries, and I consider these our exhibitions. Every day, prospective clients judge our work, compare it to the alternatives, and decide positively or negatively. We are successful in our work if we have communicated the brand attributes clearly and tip the balance in favour of our clients.

Our ideas always come from a position of actionable intelligence, and our inspiration comes from learning everything about our clients, competitors, and markets.

I don't believe I have a style, as I don't design alone. We design as a team at Etude Digital. So it is impossible to have a defined style as it combines everyone's input. My hiring philosophy is to only hire people that are better designers than me and design with a universal sense of aesthetic. As a Creative Director, I am often faced with the reality that I may not like what our designers present as the solution for a project. However, I believe that if I don't like it purely because it is a matter of taste, then I need to let the designer's work see the light of day. Having many styles can only enrich the work that comes out of a design agency. For example, at the moment, our design team is composed of people from Canada, China, and Iran. They all bring in their own sense of aesthetics, yet we all pursue the universal truth of beauty.

I live in Vancouver, Canada. Yes, I believe Canadian design and culture play a vital influential role in our design; however, I also have a strong influence from growing up in Mexico. Yet it seems to me that Vancouver being a multicultural city, we are immersed in many cultures at the same time. It is impossible to not be influenced by the cultures that thrive in this beautiful city.

We believe we should be considered as part of our client's teams. We need to make sure our clients think of us as part of their organization and that we have their best interests in mind.

Work with designers who understand that you, the client, are the expert in your business and understand your needs better than the designers. If the designers are not humble enough to acknowledge this, they are not worth working with.

100% committed to our client's success. We don't believe in doing things quickly, and we believe in doing things right the first time around. Regardless of how long it will take, it will not have to be redone later on if it gets done right.

A pocket knife. The keyless lock. The sprinkler system in the garden (which I designed myself), Yeti coffee mugs, the Jura coffee machine.

Every day is different, but every day is a blessing. We are trusted by our clients to represent their brand. My day is spent pushing my team to be better and making sure they thrive, collaborating with our clients by understanding their business objectives, and finding a way to meet their needs.

You are much better than you think you are. Just work hard, and learn from others. Pay attention, and don't be jealous of other designers' work. Appreciate what other designers come up with and how different they solved the problem. Also, this is a critical message to younger generations: Creativity does not come from technology. Creativity is found between your ears and eyes, in your brain. Grab a pencil, and learn to use it. Get out, experience art, life, nature and cultures; pay attention to the world around you. Learn about all your client's businesses and their needs. Stop staring at screens.

I believe everything is positive. It is up to us to educate clients and society that what we do is important.

The ability to see the big picture, as much as be obsessive about the details. The rest can be learned.

Time mastery has to be part of the toolbox of any great designer. In the role of a creative director, my time is dictated by the needs of my clients and staff. I need to support both sides.

The necessary time to make it outstanding. You cannot take shortcuts: a project can take one hour or 300 hours, but it will be done when it perfectly represents the objectives set forth.

The most important job experience was working for the worst designer and human being I had ever worked for. She was dishonest with staff and clients alike, and though she could fool the world. She taught me everything to not do in life.

We have multiple clients across many sectors. Too difficult to name some and leave others out. But we believe in not specializing in any particular industry, we believe in the richness that comes from cross-pollination.

Being involved in all aspects of the design process. From the initial strategy sessions to seeing the projects take life and impact our client's organizations. I also genuinely enjoy the long-standing relationships we have built with these clients, as the more work we do for a client, the better the work becomes.

Growth, professionally and personally. Take Etude.Digital to its full potential and vision we have for it. Support and grow young designers into professionals that elevate the discipline of design.

We always work as a team. We have a fundamental belief in Etude.Digital: We all win and fail together. When we succeed, we always talk in the "we. We own our mistakes, and we share our successes.

We have about 100 projects on the go. All of our work is confidential until it becomes public as it represents a competitive advantage for our clients, so we are never in a position to talk about what we are working on.

I can be reached at my email: gonzalo@etude.digital or phone number +1 (604) 739-1915.

I have been working as a designer since 1992 while I was studying Graphic Design at a university in Mexico City, Mexico. Since then, I have been actively working as a designer, except for the period between 1997-2003, when I studied mathematics and evolutionary biology at the University of British Columbia in Vancouver.

I studied Graphic Design at the Universidad Iberoamericana in Mexico City, but actually, I started working in graphic design during high school for a local design firm doing newspaper ads. I did not grow up wanting to become a designer, but it is something I discovered late in high school. However, I come from a family of architects and art collectors. So art and design were always a topic of conversation in our house.

My priority is to make sure our clients feel well represented and that all of our work stands out in a market saturated with sameness and mediocrity.

Everything! I've always described my design process following the same sequence of events as any Tom Cruise movie: Arrogance: I come in thinking I am a superstar. Crisis. I crash and burn; I can't live up to my self-imposed expectations and standards. Humility and lack of confidence: Maybe I am not as good as I think, and I should quit. I find my muse and obsess: I find that one perfect idea. And I obsess about it until I get to the solution. The exhilaration when I see the solution. I ride a motorcycle to the sunset with my muse.

I believe everything in your life shapes you as a designer. For example, my studies in Mathematics and Evolutionary Biology would appear to have, at first glance, no relevance to design. Yet, I would argue quite the opposite. They taught me to observe the system, not the organisms we studied. This plays a fundamental role in how I approach our projects. We don't look at just our clients. We look at our clients' competitive landscapes, understand their roles within it, and study the system to know how to make them stand out!

Our growth path is to get involved in more brand strategy and implementation areas. Get involved in the customer experience beyond the brand touchpoints that do not include face-to-face interactions. One of my passions is hunting, and I try to feed my family as much wild game meat as possible as a healthier alternative to industrially farmed meat. A dream project would be to work with Italian brands like Beretta, Perazzi, or Renato Gamba; brands with immense brand equity in the hunting world yet are radically underleveraged.

Listen twice as much as you talk. Appreciate other designers' work, don't envy it or criticize it! You just don't know the context of the project.

I've learned that authenticity is essential to success in design. Take risks; it is not heart surgery. When we design something so that nobody hates it, nobody will love it either. Design for the few that will get it.

Every day is an adventure and a blessing. My day is spent supporting my team to become better than they think they are and, interacting with clients, learning about how we can support them better.

I have never believed in trends. A trend forces you as a designer to put style before function. It is the equivalent of designing from an emotional position and not from a place of actionable intelligence.

If it is fit for purpose. If it makes our clients feel properly represented and makes them stand out.

This moment is hard to describe, it is the moment when I feel at peace with the project when I can stop fighting to find a solution.

There are a few. I designed the emblem for the 2010 Vancouver Winter Olympics. We also designed the brand identity for Tonic Active, an activewear company actively competing with large brands like Nike, Adidas, and Victoria's Secret, in 48 countries worldwide. As well, and most importantly, the brand identity that won this award for BTY Group. We've worked with them since 2010 when they only had five offices across Canada. 12 years later, they have a presence in 4 continents with over 17 offices worldwide. I am proud to say that we have collaborated with them since, allowing them to respond to opportunities.

Dieter Rams. Massimo Vignelli. Both of them understood the importance and elegance that comes from simplicity.

My favourite city is impossible to define! I feel alive in Madrid. I feel humbled by Paris; it is a monument to humanity! Music plays such a special role in my creative process that my design firm is named after Philip Glass's Piano Etudes.

We believe in working with humility, leaving any egos behind. Always think about learning from each other, as opposed to trying to outdo each other. Our objective is to ensure our clients feel properly represented in their market landscapes.

I don't make any philanthropic contributions to society as a designer; my philanthropic contributions are focused on nature and habitat restoration.

It pushes you to work even harder; it enriches you as a designer as you see the wealth of work presented and how creative people were with their particular projects. It is a humbling experience overall!

I studied Graphic Design in the Universidad Iberoamericana, in Mexico City, Mexico. I also have a Bachelor's in Science degree in Mathematics and Evolutionary Biology from the University of British Columbia, in Vancouver, BC.

I love the problem. I believe I have an innate understanding of what a brand is, and how to make that brand stand out. I thrive emotionally when presented with a problem and tasked with

I don't have a clear answer to that. I did not grow up being into art or music. I have always been into sports and the outdoors. Yet, somehow I ended up in design, and I have a particular affinity for brands and the effect they have on the world and people.

We have clients across many industries and sectors, so we have the opportunity to experience every type of design. We like them all. We love the system, not the client.

This is difficult for me to answer, as I don't consider myself a legend; that is a title for others to give me and their reasons why. I believe I am still in the stage of my life where I need to learn from others more than I can teach other people.

Humility. Attention to detail. Seeing the big picture. A designer than understands the importance of simplicity and the elegance that comes with it.

God is in the details. Does it propose something new? Does it challenge the status quo? Have all the unnecessary elements been removed?

I believe Steve Jobs said: Great design is great because of how it works. This is a great statement, but in a way it is incomplete. Design also looks to elevate the aesthetic into a universal beauty. Without this pursuit of beauty, it becomes just engineering.

We love the system of design, not necessarily the design project itself. Design in many ways, for me, is like food. Even if you have a particular food that you love so much, having it every day makes it banal and stops being special. Variety is the spice of life.

One of my passions in life is hunting. By hunting, I get to spend many days in the mountains alone, connecting with nature. I also get to feed my family wild meat (the ultimate organic)n and avoid supporting industrial farming, where animals are raised in cruel conditions. One of my dream projects would be to work on the brand strategy, identity, and touchpoints of brands like Beretta or Sako, which have immense brand equity, yet are underrepresented by poor brand touchpoints.

Pay attention to your clients. They know their business better than anyone else. As well, make decisions from a position of actionable intelligence. Otherwise, you are just leaving it to chance.

From every designer out there. I love seeing other people's work. I always get amazed as to how they solved the design problem and learned from it.

So many to name a few, but the one thing they all have in common is the fact that they proposed something new, and have the elegance of simplicity.

I hold all of our work at the studio in the same regard because we only have one level of quality we provide to our clients. We do not accept providing our clients with anything that is not exceptional.

The opportunity to solve a problem in the human context, where part of the solution includes the pursuit of universal beauty.

Everyone around me. From my family and wife to those who accepted working with me, especially the clients who trusted us with their brands.