Over the past 13 years, Guilherme Nóbrega, PRINT’s latest Designer of the Week, has produced many award-winning print campaigns for global brands like Coca-Cola, Unilever and Apple. In his current role as senior art director at the innovative cross-cultural agency the community, he’s developed campaigns for Converse Latin America, Nutcase Helmets and the Buenos Aires Public Bike system. Prior to joining the community, Guilherme served as an art director at Ogilvy & Mather and held various roles at Widen + Kennedy London, DM9DDB and AlmapBBDO.
Name: Guilherme Nóbrega
Design school attended:
I actually went to a communications school, so the focus on design remained somewhat minimal. I would consider furniture design at Central Saint Martin London and a woodworking workshop at Cose Di Legno in São Paulo the most design-related courses that I took.
How would you describe your work?
Since I work in advertising for various clients, my work can’t hold a consistent visual style. It has to adapt to different brands, which, in a way, pushes me to constantly explore new tools and techniques in order to keep the work fresh. Sometimes, I can make things a bit difficult for myself; for example, I once used analog film cameras to create GIFs. However, at the end of the day, the exploration strengthens my craft, and the end result proves worth the effort.
Where do you find inspiration?
Movies probably inspire me more than anything. I look at everything from title design to frame composition. That being said, I also can’t get enough of a good photo book.
Who are some of your favorite designers or artists?
I admire the work of Rinko Kawauchi, as her photography strikes me as very sensorial and calm. In addition, the work of Urso Morto resonates strongly with me as I spent the majority of my life in São Paulo. [Morto’s] work depicts the rawness of São Paulo in such a unique way.
Do you have a favorite among all the projects you’ve worked on?
One of my favorite pieces of work that I’ve created includes a campaign for Converse entitled “Bedrooms.” Comprised of a documentary short, the campaign explored the struggle of young artists in Latin America. Having never worked on a documentary prior to that one, the work felt very freeing from traditional scripted advertising. We shot it guerrilla style and integrated the artists’ aesthetics into the final look of the film.
Is there a project that stands out to you as having been the biggest challenge of your career so far?
While working at Ogilvy London, I was tasked to come up with the photography style for a mining company called Anglo American, which at first glance didn’t strike me as particularly exciting. But once we learned more about the company, chose a humanistic approach and began working with hundreds of miners around the world, the photography of Robert Wilson revealed its heroic side. I think we succeeded in giving the company an honest, timeless look without shying away from the workers’ everyday struggle.
What do you hope to accomplish in the future?
To work with more up-and-coming and challenger brands. With established companies, you have brand equity and a reputation to uphold. With up-and-coming brands, you have the ability to create something from scratch; I would love to get the opportunity to create something from nothing.
What’s your best advice for designers today?
Indulging in your design fetishes where you can always has the potential to make your work more interesting.
Announcing this year’s Print Magazine Typography Issue! With a cover by John Keatley and Louise Fili, we dive into the turning tides of typography. Join the discussion, question the standards and give things a fresh look. Grab your copy of the Print Summer 2017 Special Typography Issue today.