Interviewe mat Alberto March

The main idea behind the Assistive Technology Data Toolkit is to make complex scientific and public health information more accessible, understandable, and useful to the people who need it. Assistive technology plays a fundamental role in enabling people to live independently, participate in society, and improve their quality of life. However, the data and information surrounding assistive technology can be difficult to communicate effectively.

My inspiration came from the opportunity to use editorial design as a bridge between scientific knowledge and its audience. I wanted to create a clear, coherent, and visually engaging design that would help readers navigate information, understand its relevance, and recognize the importance of assistive technology in building more inclusive societies.

My main focus was to transform complex information into a clear and accessible visual experience without compromising the accuracy or integrity of the content. I wanted the design to support comprehension rather than compete with the information itself.

The objective was to establish a strong editorial hierarchy, improve readability, create consistency across the publication, and help readers navigate different types of information intuitively. Above all, I wanted the design to reinforce the message that access to assistive technology is not simply a technical matter; it is an essential component of inclusion, independence, and human dignity.

I see this project as an opportunity to demonstrate how thoughtful editorial design can contribute to the communication of scientific evidence and public health priorities. My goal is to continue developing design solutions that make complex information easier to understand and more accessible to diverse audiences.

The recognition from the A’ Design Award also encourages me to explore further opportunities to apply these principles to publications, data toolkits, and information resources addressing global health and social development. I hope the project will inspire other organizations to recognize visual communication as an integral part of making knowledge accessible and actionable.

The time required for this type of project depends on the scope of the publication, the volume and complexity of the content, the review process, and the requirements for accessibility and multilingual adaptation. The design process involves more than creating an attractive visual identity; it also requires developing an editorial structure that works consistently throughout the publication.

For the Assistive Technology Data Toolkit, I approached the work as a systematic design challenge, balancing visual coherence with the practical requirements of communicating technical information. The final timeframe should reflect the actual duration of the project, from initial concept development through final production.

The project reflects my professional commitment to using design to improve access to scientific and health information. Through my work with GRAFMARC LLC, I have spent many years designing editorial materials for organizations working in public health and international development.

The Assistive Technology Data Toolkit gave me an opportunity to address a subject that directly impacts people's lives. With more than 2.5 billion people worldwide estimated to need one or more assistive products, communicating this information clearly is essential.

My motivation was to support the effective dissemination of knowledge in a field where information can improve understanding, inform decisions, and support more inclusive policies.

The Assistive Technology Data Toolkit was developed within the context of professional design work for scientific and public health communication. My role was to translate the publication's content and objectives into a coherent editorial design that supports its intended use.

The project demonstrates how design can contribute to the communication of information produced by organizations working to improve health and well-being. Any future use, reproduction, or adaptation of the design would depend on the applicable project agreements and intellectual property arrangements.

My specialization in digital editorial design for scientific publications has taught me that the presentation of information can significantly influence how people understand and use it.

Scientific publications often contain valuable evidence, data, and recommendations, but their complexity can create barriers for readers. I am particularly interested in solving this problem through information hierarchy, typography, visual organization, and consistent design systems.

The Assistive Technology Data Toolkit brought these interests together in a project with a meaningful social purpose. It let me apply my experience to a subject where clarity, accessibility, and effective communication matter most.

Rather than following a particular designer or visual trend, I was guided primarily by the principles of information design, editorial clarity, accessibility, and consistency.

My approach is influenced by the understanding that the best design solution is the one that serves the content and its audience. In scientific communication, visual sophistication must be balanced with accuracy, usability, and respect for the information.

I therefore approached the project by considering how readers would encounter, navigate, and interpret the content, allowing these requirements to guide the visual decisions.

The primary audience consists of professionals and organizations involved in assistive technology, public health, disability inclusion, policy development, and international development.

The toolkit can also be relevant to researchers, healthcare professionals, service providers, policymakers, and other stakeholders seeking to understand assistive technology needs and related data.

Ultimately, the broader purpose is to support the communication of knowledge that can help improve access to assistive products and services. The design must therefore work for readers with different levels of technical expertise and diverse professional backgrounds.

What distinguishes this project is its emphasis on using editorial design as a functional tool for communicating complex scientific information. The intention is not merely to make a publication visually attractive, but to establish a visual system that helps readers understand and navigate its content.

The design balances structure, readability, and visual consistency while recognizing the importance of the subject matter. Every editorial decision should contribute to a clearer reading experience and reinforce the publication's purpose.

For me, successful design in this context is measured not only by its visual qualities but also by its ability to reduce barriers between knowledge and the people who need it.

The name Assistive Technology Data Toolkit describes the practical purpose of the project. Each word communicates an essential aspect of its identity: assistive technology identifies the subject, data emphasizes the information at its core, and toolkit suggests a resource intended to help people work with that information.

The name is direct and functional, which suits a scientific and public health resource. I wanted the design to support this practical identity by making the publication feel organized, approachable, and easy to navigate.

My work in digital editorial design combines graphic design tools with a structured production process. The tools are selected according to the needs of the publication, including page composition, typography, image preparation, and the management of complex content.

For a project like this, the key consideration is how effectively the tools support consistency, precision, readability, and production quality across the publication.

The final answer to this question should name the specific software and applications used in the original project.

The most distinctive aspect is the relationship between design and purpose. The project treats visual communication as an essential part of making scientific information accessible rather than as a decorative layer added after the content has been developed.

I believe that a well-designed publication can help readers approach complex subjects with greater confidence. Through clear hierarchy, thoughtful typography, and a consistent editorial system, the design supports the information while making the reading experience more approachable.

The project also reflects my belief that accessibility begins with the way information is communicated. Knowledge can only achieve its full potential when people can find it, understand it, and use it.

The project required an understanding of both editorial design and the specialized subject of assistive technology. My contribution focused on translating the publication's content and objectives into a coherent visual and editorial framework.

In projects involving scientific and public health information, effective design depends on respecting the expertise behind the content while ensuring that the final publication communicates it clearly.

The specific collaborators and their roles should be identified according to the project's actual credits and working arrangements.

Technology plays an important role in the development and delivery of contemporary scientific publications. Digital design and production tools make it possible to manage complex layouts, establish consistent visual systems, and prepare information for different formats and audiences.

However, technology is not the central idea of this project. Its value lies in how it enables the design to serve the information.

The most important decisions remain editorial and human: how to organize the content, establish priorities, guide the reader, and make the information as clear and accessible as possible.

Yes. The subject matter itself is grounded in data and research related to assistive technology. Understanding the context of the information is essential to developing a design that communicates it responsibly.

My approach to research-led editorial design involves examining the content, identifying its key messages, understanding the intended audience, and determining how the information can be structured to support comprehension.

The wider global context is also significant. The World Health Organization and UNICEF have estimated that more than 2.5 billion people need one or more assistive products, highlighting the scale and importance of this field.

These considerations reinforce the need for clear, accurate, and accessible visual communication. The design must help readers engage with the evidence without distorting its meaning or diminishing its complexity.

One of the main challenges in scientific editorial design is balancing the complexity of the content with the need for clarity and readability. Technical information must remain accurate, but the publication must also be approachable and easy to navigate.

Another challenge is maintaining visual consistency throughout a publication while allowing different types of content to communicate their specific messages effectively. The design system must be flexible enough to accommodate the information without losing its identity.

Accessibility is an additional consideration. Typography, hierarchy, spacing, contrast, and information organisation all shape how comfortably readers engage with a publication.

For me, these challenges are not obstacles to creativity. They are the conditions that make the design process meaningful and require every decision to have a clear purpose.

I decided to submit the Assistive Technology Data Toolkit to the A’ Design Award because I believe that design work serving an important social purpose deserves to be shared with the wider design community.

My professional practice is closely connected to scientific and health communication, where the impact of design is often measured by how effectively it supports the dissemination of knowledge rather than by visual recognition alone.

Submitting the project was an opportunity to present this approach to an international audience and demonstrate the value of editorial design in addressing complex communication challenges.

Receiving the award in the Graphic Design, Illustration and Visual Communication Design category for the 2025–2026 competition was a meaningful recognition of the project and of the principles that guide my work.

This project reinforced my belief that design is most effective when it begins with listening to the content and understanding the needs of its audience.

It reminded me that clarity is not the result of simplifying information indiscriminately, but of organizing it thoughtfully so that its meaning becomes easier to understand. It also strengthened my appreciation for the role of editorial systems in maintaining consistency and quality across complex publications.

The award was personally meaningful because it recognized work connected to my broader professional mission: improving access to scientific and health information through thoughtful design.

It encouraged me to continue exploring how visual communication can make specialized knowledge more accessible and contribute to a more informed and inclusive society.

For me, this award represents more than recognition for a single design project. It reflects the importance of a professional philosophy that places communication, accessibility, and social value at the center of the design process.

Through GRAFMARC LLC, I have dedicated much of my professional career to editorial design for scientific and public health publications. I believe this work has a responsibility that extends beyond aesthetics: it must help people access information that can improve understanding, support decisions, and ultimately contribute to better outcomes.

The Assistive Technology Data Toolkit embodies that belief. Its recognition by the A’ Design Award encourages me to continue working at the intersection of design, science, and public health, helping organizations communicate important knowledge to the people and communities who need it most.

Ultimately, I see design as a way of making knowledge more accessible. When information becomes clearer and easier to use, design can become a meaningful force for positive change.

The editorial brand pieces were inspired by the increasing importance of food safety in the supply chain.

1. The safety of food products has become more challenging due to the global nature of the food supply chain.

2. Food safety incidents, like outbreaks of foodborne illnesses, have shown the risks of consuming unsafe food.

3. Food safety is crucial for public health and can impact millions worldwide.

4. New technologies for detecting and monitoring foodborne pathogens have improved food safety measures.

5. Establishing international agreements and standards, such as the Codex Alimentarius, provides a global framework for ensuring food safety.

The design of the report effectively conveys and recognizes food safety information. The content creation process received guidance from the Technical Advisory Group on Food Safety: Safer Food for Better Health.

The report's five strategies were developed through a comprehensive consultation process that involved member states and governmental institutions, United Nations agencies, other intergovernmental organizations, academic institutions, and non-governmental organizations.

The input gathered from these entities was incorporated into the report to provide a well-rounded perspective on food safety.

March 2022 to March 2023, Geneva-Switzerland-Barcelona, Spain. The image for the program's brand name, Global Strategy for Food Safety, and the report's cover and layout design took one year to create. This included searching for the right image to represent each segment, creating icons and figures, and making corrections per the editors' suggestions.

It's important to note that the WHO Nutrition and Safety Food Department commissioned an exceptional design. This design is a testament to their commitment to excellence in all areas of their work, and it's worth taking notice of.

The World Health Organization distributes all the pieces created through its website, and some pieces are printed to be distributed among health departments worldwide.

I have been developing and designing editorial publications and social campaigns for health departments in the United States and Europe since 2004, to spread awareness globally.

Country health departments, stakeholders, scientists, nurses, and doctors.

There is no other concept design that is similar to this one.

The World Health Organization (WHO) has received support from the Technical Advisory Group on Food Safety: Safer Food for Better Health to develop a name and strategy. WHO has also consulted extensively with scientific experts, Member States, WHO regional advisers in food safety, and international partners. Existing regional food safety action plans and food safety strategies have been taken into account, as well as the recommendations and guidelines of the Codex Alimentarius. Additionally, the draft Strategic Priorities for Food Safety 2022–2031 from the Food and Agriculture Organization of the United Nations (FAO) was considered during the development of the strategy.

Illustrator, Photoshop and Indesign

The first step was to create a logo for the program that incorporated semi-circle bands to represent data analysis and healthy food consumption. The client also wanted the colour palette to align with the Sustainable Development Goals (SDGs) related to the report's content. The second step was to create five icons to represent the central core of the report consistent with the five strategies. Each strategy aims to build proactive, forward-looking, evidence-based, people-centred, cost-effective food safety systems with coordinated governance and adequate infrastructure. The third step was to create the cover report to convey a robust natural and organic food environment. Step four involved designing the report layout, using the brand's colour palette to differentiate sections and reinforce its identity. I created internal covers with colours linked to the logo's palette to distinguish chapters. The fifth step involved creating PowerPoint slides aligned with the report design and logo and a roll-up banner for conferences worldwide. The project began with the creation of a logo for the program. The logo incorporated semi-circle bands to symbolize data analysis and healthy food consumption. The client requested that the logo's colour palette align with the Sustainable Development Goals (SDGs) related to the report's content.

The second step was to create five icons to represent the central core of the report. Each icon corresponds to one of the five strategies. These strategies aim to establish proactive, evidence-based, people-centred, cost-effective food safety systems with coordinated governance and adequate infrastructure.

The third step involved designing the report cover to convey a robust natural and organic food environment. The fourth step included creating the report layout, which used the brand's colour palette to differentiate sections and reinforce its identity. I created internal covers with colours linked to the logo's palette to distinguish chapters.

The fifth and final step involved creating PowerPoint slides that aligned with the report design and logo. Additionally, a roll-up banner was designed for conferences worldwide.

The main challenge faced was to choose an appropriate layout design that was structured by sections, colors, and relevant photographs that could effectively depict the specific themes mentioned in each section of the report. The objective was to engage the audience and encourage them to take an interest in the proposed policies and actions related to food safety. Finding suitable photographs was difficult as each photo had to be linked with a specific chain of food systems related to scientific fields and surveillance programs. Food safety is a crucial determinant of human health and access to safe, nutritious food is a basic human right. Since its establishment in 1948, the World Health Organization (WHO) has been dedicated to reducing the impact of foodborne diseases on global health. WHO has played a leading role in assessing global food safety, aiding countries in establishing or strengthening national surveillance systems for food-borne diseases, promoting control and prevention strategies through educational programs, and raising international awareness.

Food safety is a topic that deserves our attention! It's essential to spread awareness about the importance of food safety and educate people on the subject. Let's work together to ensure that everyone has access to safe and healthy food options.

My father was a Spanish painter who inspired my interest in all aspects of art. I obtained my Bachelor of Arts degree in Graphic Design in 1985, followed by another Bachelor of Arts degree in Advertising and Marketing in 2000. At the age of 14, my immersion in art and music became the foundation of my artistic journey.

In 1985, I collaborated with renowned artists such as Victor Valera, Alirio Palacios, and Luisa Richter. This experience greatly contributed to my development as a photographer, artist, and graphic designer. From 1980 to 1990, I participated in collective exhibitions throughout Venezuela, Argentina, Peru, Brazil, Colombia, and Central America. My artistic achievements were recognized with the Tito Salas Special Recognition Awards in 1982 and 1984 for my paintings.

In 1985, the Museum of Contemporary Art of La Rinconada and the Galería de Arte Nacional in Caracas, Venezuela, hosted an exhibition featuring my black-and-white photographs titled "Portraits of My Inner Self." This exhibition toured contemporary art museums across South America for two years. Additionally, I presented 14 pieces under the title "Giants of Chicago" at ArtPrize in Grand Rapids, Michigan, as well as at the Consulate of Venezuela, UNAM University of Mexico in Chicago, CuCut, Paspartu Gallery in Barcelona, Spain, and The Thompson Center in Chicago, IL.

Notably, my most recent exhibition, "Victoria," was showcased at UNAM University of Mexico in Chicago from September 26 to October 26, 2013. It was also presented in Barcelona at Casinet D'Hostafrancs during the International Month of Dance. Furthermore, "Giants of BCN" was exhibited at Cucut, Osbar, and BY, Paspartú galleries in Barcelona from 2014 to 2015.

The ultimate motivator for graphic designers is passion. Passion makes you love what you do, and for graphic designers, passion serves as the primary motivator. Designers who are passionate about their work develop a genuine love for what they do, which fosters excitement and curiosity in their projects. This enthusiasm not only leads to a greater sense of pride and fulfilment in their results but also enhances their creativity, productivity, and overall quality of work. Cultivating this passion can lead to continuous growth and innovation in their craft. They are excited and curious about your projects and proud and happy about your results. Passion fuels your creativity, productivity, and quality.

I decided to pursue a career as a graphic designer.

I specialize in creating accessible PDF/UA documents, as well as delivering professional editorial design and layout services for corporate communications. My expertise extends to developing brand identity, marketing materials, and comprehensive social media campaigns in both print and digital formats.

Young designers can take several steps to achieve success in their careers:

Build a Strong Portfolio: Create a diverse portfolio that showcases your best work. Include projects that highlight your skills, creativity, and versatility.

Seek Feedback and Mentorship: Connect with experienced designers for mentorship. Constructive feedback can help you grow and refine your skills.

Stay Updated: Stay informed about industry trends, tools, and technologies. Follow design blogs, attend webinars, and participate in workshops to enhance your knowledge.

Network: Attend design events, conferences, and local meetups to connect with other professionals. Networking can lead to job opportunities and collaborations.

Develop Soft Skills: Communication, teamwork, and problem-solving skills are as important as technical skills. Work on these abilities to improve collaboration with clients and colleagues.

Experiment and Innovate: Don’t be afraid to take risks and try new styles or techniques. Innovation can set you apart in a competitive field.

Freelance or Intern: Gain practical experience through internships or freelance projects. Real-world experience helps build your portfolio and understand client needs.

Use Social Media: Share your work on platforms like Instagram, Behance, or Dribbble to reach a wider audience and attract potential clients or employers.

Be Persistent and Resilient: The design industry can be challenging. Stay motivated, keep improving your skills, and be open to learning from failures.

Understand the business side to navigate your career effectively, and familiarize yourself with the business aspects of design, such as contracts, pricing, and client relations.

To be a competent designer, one must understand design fundamentals and apply them intuitively while considering the end user's needs. A good designer creates visually appealing designs, ensuring proper font sizes and colour contrast.

Nevertheless, becoming a great designer involves more than meeting a client's expectations; it requires delivering work that surpasses their initial vision. A great designer elevates the client's desires by incorporating unexpected elements, prioritizing user needs, and balancing form and function.

A great designer achieves these objectives by producing a visually striking final product that satisfies both the client's and the user's requirements.

I have the opportunity to be a judge, and my criteria to determine if a design conveys its purpose are as follows:

- Is the message or action clearly articulated?

- What is the intended message or action for the viewer?

- Will this design effectively engage the target audience?

- Are the messaging and visual components appropriate for the intended audience?

- Have colours and fonts been selected purposefully and with design tools?

- Does the design maintain a high standard of quality?

- Are the images clear, the text legible, and are the colours and elements suitably aligned?

Investing in professional design demonstrates a dedication to professionalism and conveys a persuasive message to potential clients or customers. The importance of creating a positive first impression is immense; therefore, enlisting a professional designer is crucial for enhancing this initial interaction.

If given the chance, I would redesign the brand image of my hometown to create a more modern and striking identity that showcases the benefits of living near the capital of Catalunya while enjoying the beauty of the Mediterranean Sea and its natural parks. My town, Calella, is a municipality in the Maresme region of Spain, situated 50 km from Barcelona, 50 km from Girona, and just 6 km from the Montnegre-Corredor Natural Park.

When I lived in Chicago in 2008, I had the opportunity to develop the Giants of Chicago series, which offers a hyper-realistic view of the city’s iconic architecture while studying digital photography. These rising icons are transformed in the theatrical space of the photograph with blurs and splashes of colour. The multiplicity of viewpoints that March depicts in these works adds an extra dimension to the buildings. The imagery evokes a sense of awe for these monumental structures and invites a longer look at the urban landscape. In reimagining his surroundings, March creates an entry point to appreciate where he lives.

I felt completely at home in the city's vibrancy, which includes its festivals, eclectic neighbourhoods, and fervour for sports teams. The photographs resonate with the rhythm of a bustling and dynamic place. This series underscores the cultural and historical significance of these giants.

I would like to dedicate my time as a graphic designer to exploring the possibility of creating Giants for any city with skyscrapers around the world.

In my opinion, it is not quite an issue in our field. The ingredients are not just one; they include listening to clients' needs, evaluating and understanding the message to be conveyed, knowing the target audience, and conducting research to grasp the value of the content that the design must deliver.

Saul Bass, Stefan Sagmeister, Chip Kidd, Michael Bierut, and Jessica Walsh.

Saul Bass earned recognition for using kinetic typography—animated text—in film title sequences and end credits. His outstanding work is showcased in classics like Psycho, Vertigo, West Side Story, The Man with the Golden Arm, and The Shining. In addition to film posters and credits, Bass designed logos for brands like Quaker Oats and Kleenex. While these logos have since changed, they still reflect their beginnings as designs by Saul Bass. I have always admired his design work because he followed unconventional trends instead of imposing a singular style, effectively conveying messages tailored to the intended audience.

The most notable design I created was a poster in 2013, during my time in Barcelona, representing the major festivity of my neighborhood. The poster for the Festa Major de Sants participated in a contest organized by the city of Barcelona to select the winning design. The jury consisted of ordinary people, including a housewife, a secondary school teacher, and an electrician—none with a background in design or related fields. Moreover, winning the contest held sentimental value in honouring my roots as a Catalan citizen.

The first and most important aspect of our career as graphic designers is to keep our technological skills up to date. Additionally, we should observe how the world evolves in conveying messages from other cultures and remain open-minded.

I would have engaged in digital art photography.

Design is a field focused on exploring how individuals — known as ‘audiences’ — interact with the constructed environment while taking into account aesthetic, functional, contextual, cultural, and societal factors.

The individuals who helped me become a graphic designer are Victor Valera, Luisa Richter, Alrio Palacios, Picasso, Saul Bass, Ciro Marchetti, and Cruz Diez. My greatest supporters are my clients, who trust my abilities and services to deliver designs that convey their work and address society's needs.

It has taught me to "be present." By this, I mean that I pay attention to what, who, where, and why the message is meant to be conveyed.

Creative Barriers and Exhaustion.

Effective Time Management and Strict Deadlines.

Client Interaction.

Harmonizing Creativity with Practicality.

Staying Updated on Technology.

Handling Criticism and Rejection.

Attracting Quality Clients.

Utilize distinctive presentations to optimize time and enhance consistency. Begin by delineating the client's initial brief. Elucidate any research that significantly influenced your decisions. Methodically document the process, highlighting the correlations between design choices, research, and the ultimate objective.

I have several projects that spark my passion. One of them is a campaign to raise awareness about sodium consumption and its effects on human health. The other is an accessible and interactive publication aimed at spreading the message of obesity prevention and its repercussions.

Make the design approachable, understandable, and friendly for the audience using it.

Creating for social good involves designing products, services, or experiences that meet social needs or challenges.

Trends and styles evolve with time. Effective design conveys a message rather than just a trend or aesthetic.

Technology is simply a tool; it does not define your identity as a designer. Lacking design knowledge or experience means you cannot depend solely on technology to address challenges or produce quality designs.

Adobe products for MAC.

My father was a Spanish painter who inspired me to be interested in all aspects of art. I obtained my B.A. in Graphic Design in 1985, followed by a B.A. in Advertising and Marketing in 2000. At the age of 14, my immersion in art and music served as the cornerstone of my artistic pursuit. In 1985, I engaged in collaborative efforts with acclaimed artists such as Victor Valera, Alirio Palacios, and Luisa Richter. This experience significantly contributed to my development as a photographer, artist, and graphic designer. I participated in collective exhibitions across Venezuela, Argentina, Peru, Brazil, Colombia, and Central America from 1980 to 1990. My artistic endeavors were honored with the Tito Salas special recognition awards in 1982 and 1984 for my paintings.

In 1985, the Museum of Contemporary Art of La Rinconada and Galería de Arte Nacional, Caracas, Venezuela, hosted an exhibition featuring my black and white photographs titled "Portraits of my Inner," which subsequently toured South American Contemporary Art Museums for two years. Additionally, I presented 14 pieces under the title "Giants of Chicago" at ArtPrize, Grand Rapids, Michigan, the Consulate of Venezuela, UNAM University of Mexico in Chicago, CuCut and Paspartu Gallery in Barcelona, Spain, and The Thompson Center in Chicago, IL. Notably, my latest exposition, "Victoria," was showcased at the UNAM University of Mexico in Chicago (Sept 26-Oct 26, 2013), in BCN at Casinet D'Hostafrancs during the INT. month of Dance, and "Giants of BCN" was exhibited at Cucut, Osbar, and BY, Paspartú galleries in Barcelona from 2014 to 2015.

Established by Alberto March in 1996 in Miami Lakes, Florida, GrafMarc specializes in providing design, marketing, and visual communication solutions to clients. Over the years, the company has expanded its operations to include full representation in Chicago, Illinois, and Barcelona, Spain.

GrafMarc's services encompass a wide range of offerings, such as web solutions, accessible PDF/UA, print and digital editorial design, layout for corporate communications, brand identity, marketing and communication materials, social media campaigns, and direct marketing strategies. Additionally, the company has expertise in the editorial layout of products in six languages: English, Spanish, French, Russian, and Chinese.

Expressing oneself through various artistic mediums serves as a means of connecting with others and actualizing our innermost aspirations. Unbeknownst to many, we each serve as the architects of our own lives, methodically shaping every facet, including our professional endeavours, interpersonal relationships, pastimes, and personal ventures.

Accessible PDF/UA, print and digital editorial design, layout for corporate communications, brand identity, marketing and communication materials, social media campaigns

I do not have a specific favourite design. Each design project I have developed and received approval for from clients effectively communicates the accomplished objectives. This is the essence of design success.

In 1988, my first professional design project was for an optical brand campaign in Venezuela.

In the visual arts, I specialize in working with oil and acrylic paints on a range of surfaces, including canvas and wood. In graphic design, I am proficient in using Adobe software on Macintosh operating systems.

During the early mornings.

After analyzing the briefing, conducting research, and reviewing the marketing objectives, it is essential to identify the intended audience for the message, product, or service. Thorough research and a comprehensive understanding of the marketing objectives are vital to this process.

My emotions are focused on developing an idea that conveys the purpose of the message: happiness, satisfaction, and commitment.

When a design is approved and fulfills its purpose, I experience a tremendous sense of fulfillment.

When the design is well received by the intended audience, it fosters brand loyalty.

Let us focus on the purpose of the message, the art of typography, illustration, photography, and the effective use of space.

Design is a potent instrument used by designers to meet specific requirements or appeal to targeted audiences. Fundamental to this endeavour is the imperative for design to communicate effectively with the intended users. This mandates the astute amalgamation of aesthetics and semiotics. Frequently, the seamless fusion of these components renders their individual demarcation challenging. While the uninitiated users or target audience may not consciously discern these constituent elements, their collective impact remains profound.

In the ever-changing design world, extensive cross-disciplinary collaboration will be crucial. This will involve bringing together designers, engineers, philosophers, ecologists, and professionals in care, technology, and AI. This shift will prioritise the economic value of design output alongside its broader social and environmental significance. Additionally, designers will increasingly involve diverse stakeholders, including non-human entities, in the design process. This expansion of co-design will encompass businesses, communities, AI systems, and the natural environment.

During my career as an artist, my work has been exhibited at several prominent venues. In Chicago, I displayed 14 pieces under the title "Giants of Chicago" at ArtPrize in Grand Rapids, Michigan, as well as at the Consulate of Venezuela, the UNAM University of Mexico, and The Thompson Center. Additionally, my latest exhibition, "Victoria," was showcased at the UNAM University of Mexico in Chicago from Sept 26 to Oct 26, 2013, and at Casinet D'Hostafrancs during the INT. month of Dance in Barcelona. "Giants of BCN" was exhibited at Cucut, Osbar, and BY, Paspartú galleries in Barcelona from 2014 to 2015.

My creative process is guided by relevant keywords associated with the content or message intended for dissemination. Additionally, I carefully consider the specific target audience that will engage with the product, campaign, service, or publication.

As designers, we are aware that imposing a singular style is incompatible with our role as communicators. Our primary responsibility lies in translating messages and content into visual representations and layouts.

Throughout my life, I have had the privilege of residing in three distinct countries: Venezuela, the United States, and, presently, Spain. Each nation possesses unique characteristics, and I have experienced firsthand the diverse cultures, values, and societal norms each one cultivates. The vibrant colours and rich cuisines of these countries have indubitably left a lasting impression on my senses as an artist, photographer and designer.

By enlisting my services as a vendor.

To find the perfect designer, it's essential to explore their background, expertise, accomplishments, and awards.

To effectively meet the client's needs, it is important to understand the service or product to be promoted or launched. This involves asking questions about the company's history, values, vision, and mission. Additionally, studying the marketing and communication plans and understanding the target audience are crucial.

1. Identifying the problem

2. Researching it in depth

3. Identifying possible solutions

4. Evaluating and selecting a promising solution

5. Creating a prototype

6. Testing and troubleshooting

7. Making improvements and releasing the final product

Lamps, furniture in general, a coffee table and the trophies won.

In my daily routine, I rise at 6:00 a.m. and start with a fitness session, followed by personal grooming. I then take my loyal canine companion for a stroll and have breakfast at a nearby eatery before returning home to begin a day of professional endeavours. From the 1990s to 2008, I led a team of around 42 people with diverse expertise, ranging from engineering to graphic and web design. Currently, I work as a graphic design consultant, leading a group of skilled professionals with whom I collaborate closely on a project-by-project basis.

Listen, observe, stay updated, be part of a non-profit campaign, and be humble and open-minded.

I don´t see anything negative about being a graphic designer; on the contrary, it is a blessing.

Together as a team, we involve the client in our step-by-step process.

Listening, observing, researching, keeping your skills up to date, and being aware of all aspects of art and culture worldwide are important.

I create the designs using Mac and Adobe products. Nikon is my favourite photography brand, a true symbol of innovation and excellence. I search for new trends in fonts, colour palettes, fashion and art.

Each project is assigned a specific timeline for the design and delivery process, tailored to the type of service or product and aligned with the client's deadline.

The timeline for completing projects varies based on specific requirements. For instance, the timeframe for finalizing a 120-page report ranges from 7 to 15 days, depending on the inclusion of photographs, illustrations, or infographics. Designing a brand identity typically takes between 15 days to 60 days and, in some cases, up to a year, influenced by various contributing factors.

What kind of design projects interest you?

As CEO, I have gained valuable experience in three distinct sectors: beverages and food, beauty and health, and the science industry.

The World Health Organization in Geneva. Before Ericson, Bayer, Pepsico, Lafarge, Holcim, Oracle, Taca Airlines, Avianca Airlines, Cornell and South Miami University.

I take great pleasure in developing health reports, guidelines, and products for the World Health Organization. This work provides me with a profound sense of purpose, knowing that my contributions have a positive impact on the health and well-being of billions of people around the globe.

I want to stay updated on what is necessary to enhance design for conveying crucial messages and content.

Usually, I receive the briefing and formulate the design approach. If necessary, I have a team to assist with specific aspects.

I am currently involved in three projects that significantly affect public health. These projects include developing a new branding strategy for the World Health Organization's bone-aging department, addressing salt consumption, and launching an awareness campaign focused on obesity and salt.

https://www.linkedin.com/in/grafmarc/

albertom@grafmarc.com

+34648083859

Thank you for this opportunity. You have asked comprehensive questions. I genuinely appreciate it.

Visual semicircular bands chosen as design elements are essential communication tools in today’s society. In marketing, they attract attention, provide sensory perceptions, and communicate brand information. For individuals, visuals enhance aesthetics, convey information, and assist audiences in understanding their surroundings.

The colour palette used in Safer Food Editorial Design corresponds with the 17 Sustainable Development Goals (SDGs) colour scheme, emphasizing a critical call for action from all nations—both developed and developing—in a global partnership. It acknowledges that eradicating poverty and other forms of deprivation must be pursued alongside initiatives to enhance health and education, decrease inequality, and foster economic growth.

Both print and digital formats serve as visual connections to engage distinct audiences on each platform. Print materials reach health state departments, while online users can easily access the digital publication, enhancing its accessibility to a broader audience. The design of the Safer Food publication acts as a strong vehicle for conveying messages and information. This design not only captures attention but also promotes comprehension and interaction. In today's age of excessive information, a well-thought-out layout is crucial for making content prominent and meaningful to the target audience.

The selected images are essential for transforming straightforward text into a visually engaging experience that resonates emotionally, feels authentic, and is visually appealing, thereby capturing and maintaining the audience's attention. Working alongside the WHO nutrition team, the choice of suitable images is instrumental in establishing the visual hierarchy of the content, attracting viewers and sustaining their interest. Quality images elevate professionalism and credibility, enhancing the brand's reputation and fostering greater engagement and interaction.

Since 2008, I have engaged in collaborations with health departments to enhance awareness concerning social issues affecting individuals' physical and emotional well-being. Subjects such as AIDS, malnutrition, unsanitary food systems, and healthy dietary practices are fundamental to our existence as members of society. However, each of these issues is approached differently during my design process. I take into account the content, the intended audience, and the specific country or continent to which the information will be published or disseminated.

The Global Strategy for Food Safety uses line-style icons based on universal symbols. These icons follow the Global Strategy for Food Safety brand identity governance, incorporating a circle and leaf associated with the GSFS logo for a clean, modern look.Strategy priority one (SP1): A rule-of-law symbol represents the strengthening of national food control systems. SP2: An alert symbol identifies and responds to food safety challenges resulting from transformations and global changes in food systems. SP3: The use of a microscope represents scientific evidence and risk assessment in making risk management decisions. SP4: Strengthening stakeholder engagement and risk communication. SP5: Promoting food safety as an essential component of domestic, regional, and international trade.Other icons were created to represent the incidence of foodborne diarrhoeal disease;the icon will represent the surveillance of foodborne diseases and contamination;an icon to represent a multisectoral collaboration mechanism for food safety events.

As an editorial designer focused on print and digital publications in public health and scientific topics, my role involves crafting easily comprehensible designs for both audiences. These publications often contain dense content; in this case, we produced a detailed report and a summary. The comprehensive report is tailored for industry professionals and health departments globally, while the summary is intended for events like conferences and webinars, targeting those managing the food chain. Utilizing colours, infographics, icons, and carefully chosen images was crucial in directing and enhancing the reader's understanding of the content.

The World Health Organization provides a style guide for its designers and editors. As a result, the font used aligns with WHO recommendations, while the hierarchy is established by the editors. In this instance, a review was conducted in collaboration with the content-generating department, and I proposed several adjustments to enhance readability and the clarity of information.

The initial phase of the project focused on establishing the program's image. The second phase involved editors gathering and comparing content, which took about two years to collect data and secure approval from all relevant departments. After receiving approval, I started crafting proposals for the cover image. Once a design was chosen, I proceeded to develop the content. Finding suitable photographs to complement the material was a lengthy and meticulous task; ultimately, over 200 photographs were gathered, yet only around 40 were selected for use. Additionally, promotional materials were created for the project, including banners and PowerPoint presentations.

The immediate effect demonstrates that a publication containing scientific and public health-related data can have a more varied design. Presenting a visually appealing layout that effectively communicates the message clearly and engagingly yields more favourable outcomes in reaching a worldwide audience and eliciting positive responses.