Interviewe mat José Miguel Cardoso

I have a degree in Design from the University of Aveiro 2005. I have an MA in Design from the University of Barcelona in 2008 and an MA in Design and Printing Techniques from the University of Porto 2013. At the moment I am a PhD candidate in Design, At University of Aveiro.

I think I always remember liking to draw, even since I was a kid. In a way I've always known that I wanted to study fine arts or something related. My mother says I used to draw on the bed sheets. Design came later. Only during my adolescence I discovered what design was. It was only a matter of adapting the drawing practice that I already had, to a more projectual activity.

I chose to be a designer, because I discovered that I liked to relate aesthetic issues of image creation, with the pertinence of the objects.

I like to design everything that is related with landscape depiction, like maps and city guides.

I am not a legend. What i can say to young designers is that to become good at something, first we must like doing that thing. Pleasure is always connected with quality.

If the designers use the metaphor to give a second sense to the objects. Perhaps the great designers can give a third sense. A layer of thought, yet to be thought.

In addition to the well-known 10 commandments of good design, it seems to me that more and more we feel a need to feel special empathy for objects. This emotional side has become essential and all domains of design. In an increasingly digital and less material world, drawing has a special ability to create empathy.

Because good design is not just about selling more products, is also about contributing for a better life with those products. Above all, the design is for people.

I would like to make city maps, for all the city halls across the world.

I would love to draw the landscape along the Great Wall of China

My secret is about creating special empathy through the sense of touch of observational hand-drawing.

I like a lot of drawing masters from the past. I really appreciate the work of Chris Ware. His work with graphic novels reflects his design background.

As I was saying in the previous issue, I like many of Chris Ware's graphic novels, the way he manages to mix different graphic languages and the way he uses typography and lettering. The format of the books, the irony of the stories are also amazing.

My favorite work so far was the Catavino's Port Lodge Map. It was a map of the Port wine lodges in Vila Nova de Gaia. It was the first professional work in which I was able to put into practice a mixture between the cartographic code and the landscape observation drawing.

This topic about observational drawing is very important for me. It is one of the best ways to differentiate a designer's work, from all other forms of landscape representation, supported by the immediacy and quantity of mobile platforms, such as mobile photographs.

I think that improving our design activity is like philosophy. We should keep questioning: what are we doing? This way our design will always have meaning.

I think i would be a landscape artist.

I believe that design is the manifestation of a desire, through drawing.

I prefer to generalize. My best supports were my teachers and my co-workers. I think I've been lucky enough to learn something from everyone I've worked with.

I think to be good at doing something, you have to do something that you like very much.

Never give up on a drawing. All problems have the potential to become obstacles that call for withdrawal. But without problems, if there is no design either.

The best way to present a design work is to show it as close to the end product as possible. Not only is it easier to convince, but frustrations are avoided in the end.

I want to continue to produce maps and landscape views of the city of Porto. That's the territory of my Design research.

My goal is to live well.

I will continue to draw, with or without utility.

Just as the design exercise goes by wishing and anticipating a more advanced state in the objects. These objects can also be a source of reflection for the people who use them.

I am currently developing an infographic, that tells the whole process of producing port wine, from the grape to the glass. It is a project that has a strong component of drawing and illustration that excites me.

The design projects that satisfy me the most are those that consume observation design with computational graphic production. The Catavino´s Port Lodge map is a good example. In this map, we again have a direct relationship between the landscape drawing and the cartographic code.

Lately, news has been published about the importance of crafting in the future of he production of objects. Perhaps this is a way of counteracting the continuous dematerialization of objects, with the passage to the digital world, which seems to make design ever more invisible. I would like the design to become more visible.

There are a few emerging areas in design. The one that has caused me the greatest curiosity has been Food Design. Also because I'm in love with good food and good wines.

I would say that a month will be the ideal time. But many objects continue to be developed, updated and improved throughout the year, already in production. Particularly when it comes to industrial design.

I think a design should always put itself in the design user's shoes. This is the best way to understand a project's relevance.

Nothing too special. Just try to always be honest with my work.

I think that most of times, design follows trends. But there are also some designs that do not follow the trends and are not outdated when the trends change.

Technology has a low importance during the conception fase, and gets fundamental during the production fase.

My favourite tools are Bib Ballpoint pen and paper. And the softwares are Adobe Illustrator and Indesign.

All those elements are related with our product experience. Color can have very different roles in design, like seducing or preventing an error. Materials are more related with confort when they stimulate the sense of touch. For exaple cold and hot materials are direclty related with parts were to to touch or not to touch. Controlling environments can help make the identity of a compagny, more recognizable.

I like when people ask “why to draw outside?”.

I think there is a reflexive level of judgment that is activated when we use a great design. It is more than fulfilling a function, it also involves understanding or questioning the meaning of what we are doing. Great examples of design have that capability.

I dont see co-working necessarily with other designers. The best team mates are complementary, so many times the best co-workers are form other areas, like engeneering.

The influences turn out to be quite diverse. I had some teachers who scored a lot, but the co-workers and bosses of the places I went through also had a very important influence on my training as a designer.

I recently re-read Treasure Island, which was the first printed book to bring an impression of a map. I find it remarkable how important that illustration is in all the action of the book. I think I'm more influenced by the novel literary genre than by actual picture books.

I have an MA in Drawing, but more than the academic title, is about drawing a lot of hours.

Leonardo da Vinci, definitly. Even today his works, specialy his drawings are a great source of knowledge.

I am not famous.

My favourite color ir blue, wich o think is the common favourite color in Portugal. My favourite place is the beach, during summer, eating fish. I like adidas sneakers.

I draw recurrently in the public space, for example in places very frequented by tourists. What I find funny is that from a certain point I become a tourist attraction. Sometimes I do not know if the praise they give me is not motivated by the holiday enthusiasm.

What makes a great day is a diversity of moments. I laki to have coffe in the morning by the sea. Then i like to draw outside during several hours, and. Finish the day, working some hours in front of the computer. At night i like to drink a beer with friends. This is the perfect day.

The only thing my parents tell me it was obvious, it is that i have always loved to draw.

I think we are witnessing a total dematerialization of the objects that surround us, with an increasing predominance of the digital world. Sometimes I wonder if the hand that draws is not be anachronistic today? Perhaps in the future this technological ubiquity will become part of our own body. Or the body itself, become anachronistic and outdated.

I think I always remember liking to draw, even since I was a kid. In a way I've always known that I wanted to study fine arts or something related. Design came later. Only during my adolescence I discovered what design was. It was only a matter of adapting the drawing practice that I already had, to a more projectual activity.

Currently i dont work at a studio. I am a PhD candidate with a research grant from FCT. I dedicate exclusively to research in the area of mapping and representation of places.

I believe that design is the manifestation of a desire, through drawing.

My work is always in some way related to drawing. Specially observational drawing of landscape. I like to draw in the places were i go. In this sense I prefer works that relate to the identity, culture and spirit of places. For example tourist guides related to gastronomy or enology, maps and infographics.

My favorite work so far was the Catavino's Port Lodge Map. It was a map of the Port wine lodges in Vila Nova de Gaia. It was the first professional work in which I was able to put into practice a mixture between the cartographic code and the landscape observation drawing. This topic about observational drawing is very important for me. It is one of the best ways to differentiate a designer's work, from all other forms of landscape representation, supported by the immediacy and quantity of mobile platforms, such as mobile photographs.

The first project I did for a company was the creation of the corporate identity, and consequently its application in the different printed and digital media, as well as in environments.

My favorite material is white paper and a bic pen. But of course after conceiving a project, its production fase always requires software. I prefer vector drawing software.

I feel more creative when I've been drawing for some time. It works a bit like writing, our thinking flows in a superior way while we are scratching.

I always get more focused on the visual aspect and the empathy that it provokes with the user. I believe that a design object that provokes positive emotions in the user can be more effective than an object that focuses only on functionality.

The design process is never very peaceful. Emotions vary a lot between positive, like excitement and enthusiasm, or negative, like fury or frustration when things are not going well.

I can underline some enthusiasm and excitement to show the result, when the projects are finished.

I think the projects that are most successful are those that result from an opportunity well identified by the client and that are then developed with a good rapport with designers and other areas of knowledge.I do not think the designer's role is enough. There are always many things that surround design, with important implications for the success of a design.

I always consider two aspects; first, what is the meaning of the project? Second, I pay attention to the details and the quality of the finishes.

I believe that a designer must always have the moral that supports projects, which leads him to decide how to design, allowing the creation of meaning. I do not believe in neutral social positions.About the environment, now is the biggest cause to take into account not only in design, but in all areas.

I am often afraid that the "design field" is evolving in a sense of great indifference. In which software begins to decide what is or is not design, leaving aside the role of the designer and his authorship. I often wonder, if the hand that draws is not anachronistic today?

My last presentation was the presentation of the “Illustrated Map of São João da Madeira” in the event — 9º Illustration Encounters of São João da Madeira — October 2016

The inspiration for my work stems from the daily practice of drawing and touring the public space, mixed with the study of works from ancient times. The flaneur through the city mixes with the history of places.

The strongest authorship marks of my work are manifested in the recurrent use of the drawing of observation. A hand-drawn, usually linear drawing.

I think we are experts in appreciating the good things in life, from wine, gastronomy, and leisure. Of course this has positive and negative influences on our work. Still I think there is a sense of scale and beauty that sets us apart from others.

I have worked with companies on an exclusive basis, but nowadays I work in the provision of regular or punctual design services.

I think the best way to choose a good designer for a company is through experience. A regular relationship with some closeness allows the evolution of the designer according to the needs of the company.

I try to reconcile a disciplined approach to the functions and tasks of a project, with the freedom to change things. Someone one day said that the design is about moving things until they look good.

Bic pen, Casio digital watch, Desk Lamp, Mappa-Mundi at the wall, adidas sneakers.

I like to wake up early in the morning and go have coffee and read by the sea. Spend the day outside, drawing. Finally work a little in front of the computer, in the production of the drawings that I made during the day.

Do not put too much faith in software. It becomes quickly outdated.

I find it positive when we realize that we can see the world in a different perspective from other professions. That gives us a purpose, we feel we add something.It is problematic the incomprehension of the majority of the population in relation to the role of design.

To be honest.

The designer has a role of mediation between several areas of knowledge, industry and commerce. In this sense in addition to being able to draw, it is necessary to know how to put ourselves in the shoes of other people and see the world in its perspective. In this way we will be able to communicate with them.

I have a lot of different pens, bic pens and fountain pens. Os meus softwares preferidos são da Adobe, illustrator, photoshop e indesign.

Over time, I started to put rules that imply time management. I do not like working at night, I only do it exceptionally. This way my lifestyle has become healthier.

I would say that a month will be the ideal time. But many objects continue to be developed, updated and improved throughout the year, already in production. Particularly when it comes to industrial design.

How long did it take you to do this?

I had the opportunity to train for a year and then be hired by an industrial catacter company -Chatron Lda.- where I developed industrial and communication design. It was a very important experience to realize how we should integrate into a great structure.

I have done some work for clients related to wine tourism, such as the Catavino company and the Esporão winery.

My work is always in some way related to drawing. Specially observational drawing of landscape. I like to draw in the places were i go. In this sense I prefer works that relate to the identity, culture and spirit of places. For example tourist guides related to gastronomy or enology, maps and infographics.

In the future I would like to combine a professional design career with an academic career in the field of drawing and design.

When I design product, I usually work as a team. When I design communication, I tend to work alone. However it is not a rule.

I am currently developing an infographic, that tells the whole process of producing port wine, from the grape to the glass. It is a project that has a strong component of drawing and illustration that excites me.

People can contact me by email: zemiguelcardoso@gmail.com

Thats all.