Interviews with Ioanna Milopoulou

I became a designer in my 40s, so it was actually a very mature decision. Prior to that I studied a discipline that charmed me a lot, that of Political Science and International Relations, later on worked in advertising industry as a Client Service person and finally became a designer. I took my late University degree in Graphic Design some years ago. Obviously, no one forced me. Lots of the tools I use today in my methodology and approach are skills learned from my previous roles.

Branding and logo design are among my favorite projects. Posters, too. I enjoy working with copy and messaging, that I also do myself, I consider text as an integral part of the design. Both as form, but most importantly as messaging.

Banknotes.

Honesty. Imperfection. I don’t particularly appreciate “perfection” in forms and design. No one is perfect. I take a lot of pleasure of seeing the person behind it, of seeing something not all-rounded and polished, artificial or plastic. On the other hand, production values, of the same imperfect design, have to be, oh well, perfect. For some reason I have the feeling that this makes design more appealing, people can relate better to it. Depends on the project too, and obviously I am not the right person for many polished projects.

Saul Bass for sure. And Massimo Vignelli.

Never satisfied. I keep seeing flaws and potentials that we not realized. It never stops. I still consider myself an apprentice. And I think I always will.

Basically one. The decision to expose myself and my work.

I find that each project and client demand a different approach. I generally try to make my thinking process visible to clients. To involve them in my creative path. I use materials and means that serve best this practice. I think designers we should present our work with honesty and extroversion. No black box, no golden rules. It worked so far great for me.

Involve people. To make them feel or get motivated or get interested.

I don't have a clue. Probably not make mistakes. But I am full of them so that makes this a sad thought. I prefer that they expect that I will give all my imperfect design self to my discipline.

Good design translates into harmony, internal order, care, respect, freedom, peace. These are valuable both to the individual as well as the society as a whole.

Researching. Reading. Taking notes. Writing or sketching on my note book. Talking with the client. This off-computer stage of the design process is the most valuable, to me. It allows me to fantasize of the design and of the style of the project. If you allow yourself a good head start, then everything evolves smoothly.

Good design for good people.

Both color and materials are paramount. A wisely selected material can turn something neutral to something wonderful and powerful. This is the basic reason I like working on projects that get physical (not digital I mean). Color is my favorite tool. It conveys messages and feelings. Color is a language that doesn’t involve logic, so messages conveyed through it are instantly perceived. Felt. Colors and semiotics are key. As for the ambient, I keep wondering what does it mean. I never seem to manage to create ambient. That stresses me. But you can still be in love without staring at the full moon.

Respect for the team that got it through. Enthusiasm, excited that a great job managed to get produced, to get public.

Philip Roth, the American writer. A unique master of the (written) language and of human nature.

Turquoise, Greek island sea side, sushi, pencil, Moleskine notepads.

I never have the same daily program, try to differentiate it, I don’t like routine. I swing between ideas, projects, people. When I don’t feel well or creative in what I am doing, I stop doing it. It always pays me back. It is wise to respect your instinct and limits. It allows me a better time management too.

Design is a process. The process of turning a conceptual message, feeling or idea into a visual representation. Aesthetics matter, yet they are so relative. For me the question is: Does design have to be beautiful or/and meaningful? I am thinking that if it is meaningful then it is functional and that means that somebody is taking pleasure out of it. This is why I aspire to color code so much: it carries feelings, extends beyond us, is a humanitarian code of conduct.

When there are no expectations. Working in a context of approval of my work and what I am doing, acceptance of the way I think and approach design problems. A design project is like a mathematical equation I have to solve. There is not only one right answer in a design problem. I need to work with people that are interested in my unique solution. I have to come up with my own answer. Time constraints don’t bother me really. In certain cases, they get me going. Ideas come up in a split of seconds. 24 hours.

Enthusiasm. And stress. Lots of it. Combined. While you design, you feel always under attack.

Satisfaction for a successful birth. Meanwhile, I keep seeing potentials that were not realized, keep questioning myself. Quite controversial feelings. Both useful.

There is not one good designer for a company. Design takes two. The best, most acclaimed designer cannot work for one company, while can do miracles for another. It is a matter of professional skills, talent, personal taste, but most importantly of chemistry. It is after all a relationship, between client-designer, that has to be smooth, have respect, trust, goodwill and flow of information. Without information and trust, void results happen. The worst examples of co-operation come from lack of trust. You don’t have to pay me that money if you don’t trust me and think that you can do it yourself. Right? Would you interfere with your electrician’s advice? No. Well, it is absolutely the same.

There is a first off-computer stage and then the second one, on-computer stage. I personally value a lot the first. There is where basically the design style of a project and its strategy are developed. It is the stage of research, I read, I google, working on my note book, creating idea maps and coming up with key words. All on paper. I try to understand the dynamics of the project, the topic, the client’s expectations. I don’t do art for the sake of it, each design has to be functional and targeted. I evaluate different options and directions and then proceed to working on-computer. If the first stage is done correctly, then the on-computer stage is really creative and good things happen. I do the on-computer stage in doses; I take time away from each design and then return back with a cleared perspective. I refrain from presenting to the client multiple ideas, I stick to 1-2 ones. This requires a final stage of time-off, devoted to final evaluation. Many times, I ask for feedback from other designers that I value their advice. And all of the times I ask the opinion of kids. They see things that we don’t.

I like the gallery style on home decoration, diverse prints and painting on the walls, all my house walls are full of them.

A replica of a Cycladic sculpture. The most advanced form of art, for me.

A wax sculpture, made by the design team Greece is for Lovers, Aphrodite of Milos, casually accessorized.

A Venetian mask.

A weird candle holder I brought back from a trip to Italy, made of red hose.

Develop your personal style. Learn and study well what is it that your clients want to say, and then say it your own distinctive way. Don’t copy. Respect your clients and your work, time and effort.

Overall, I have a good time management, I believe. It is a skill I learned not as a designer, but while working in the advertising industry for quite a few years. There, if you don’t have good time management and organizational skills, you are dead. Just think of deadlines!

“Where does your inspiration come from?” or “How did you come up with this idea?” Basically, we live in a time when everyone has access to “inspiration tools”, such as Shutterstock for example, so some people try to understand why they cannot do a logo or a brochure or a poster by themselves. They miss the point that while someone cooks at home, that does not make him or her, chefs. As simple as that.

Branding and print projects, such as posters or stationery for example, give me great pleasure. I love physical products, tangible, that I can see around me and have around me. Plus, the printing process is always a challenge, how to take something from screen and make it real. Paper is a fetish. Digital of course is also useful (and necessary), I do design websites, more so out of necessity (demand from my clients) rather than pleasure.

Creative challenges come from all sort of directions, sometimes unexpectedly. One has to be open. I am currently preparing to participate in an art show in Athens (June 19, titled Stranger in a Strange Land), which is a very interesting exercise for me and involves co-operation with different artists (painters, photographers, performers) from different countries and cultural backgrounds. Quite a thrill. Working on various branding projects in the meantime (such as branding for a top law firm or for a business non-profit association) as well as other commercial/advertising projects for Food and Beverage, cosmetics and services.