This interview is part of our Designers We Love series, crawling inside the heads of wonderful illustrators, photographers, photoshoppers, doodlers, and generally super talented artists that we’ve had the pleasure of working with. These folks make The Book of Everyone beautiful.
Bruno Veloso is all about teeny details woven around big bold lettering, skipping and dancing all over the page. He designed several options for the dedication page in our book (the very first one! and first impressions count!). And he doodled all over our “Haven’t you been busy” page, that tells you how many bull elephants’ worth of food you’ve munched and how many years you’ve spent dreaming.
Since my own writing is one step beyond chicken scratch, I was eager to interview him to find out how he keeps his playful lines so clean.
Describe your style in three words.
Letter, Line, and Levity.
You call yourself “a graphic designer with the eyes of an illustrator.” Can you talk a little bit more about what you mean?
That quote works in reverse as well. It means that, having worked as a graphic designer first, I will approach illustration jobs with more discipline when it comes to process and execution. And if people laugh when they hear me talking about “discipline,” just ignore them.
What was it like collaborating with The Book of Everyone? What was fun about it, what was challenging?
Fun: they are open to letting you do what you do best. Challenging to craft a a page chock full of information, some of it dynamic, and make it both look good and read well. Also, to make an M that does not look like a N.
I grew up one block away from a very busy avenue, no doubt the constant background noise and contamination somehow made it into my blood. I think there’s a mix of people, noise and movement that only happens in big cities, and, while I can appreciate solitude, I can’t see myself building a hut on that idyllic island just yet. And if I influence somehow the people in my building, that’s a lot already.
Who are your influences?
Hardware shops, Italian pasta packaging, and Moebius, who made quite a strong impression on me for the obsessive detail in the drawings.
You’re currently working on some German sayings. We loooove life lessons from different countries. Can we get a sneak peek?
First, thank you Jag. I say: always take a notebook with you and try stuff freely whenever you have a little time. Never a boring train ride again…It’s a great way to build confidence and does not have the weight of it being “real work,” even though a lot of good work ideas do come out of that. And I would also try to scan flat illustrations/type and color and combine them in the computer. That way you can bring the new style into a workflow you are already used to. Get to it!
What’s the coolest place your work has ever been displayed?
On a beer can.
How do you balance commissioned work with the artistic drive to create what you want to see in the world?
Try to make them into the same thing is the goal.
Name somewhere you’ve been that you think more people should know about.
Hamburg, where I live now, is hardly obscure, but does not get the rep it deserves: a fascinating, multi-faceted city with killer nightlife.
If someone loves your work, what other artists should they look into?
What’s your favourite YouTube video?
Let’s go there and randomly select somet… no, this compilation [above] is great.
What’s the best thing to combine with anchovies?
Still need to test a watermelon salad.
Besides your own, what’s your favourite page in our book? Got any questions for that artist? (I’ll be passing it on to that person when I interview them!)
I love what Kyle Platt did, and I’d like to know: any great memory of smelling your fingers?
Kyle Platt did a blindingly colorful piece for our launch exhibition – we’ll add in his odiferous answer to Bruno in an upcoming interview.