A WORK IS NEVER DONE: IN CONVERSATION WITH BRÁULIO AMADO

Graphic designer and illustrator Bráulio Amados thrives in the space between order and chaos.
From underground music posters to international collaborations his work doesn’t care for clean grids or safe ideas. His designs and paintings embody raw experimentation bold colors, twisted type, and restless energy.
In this interview he tells us why creative freedom isn’t always what it seems, why design should always feel alive and how not taking yourself too seriously might be the best design philosophy of all.

Bráulio Amado will speak at Forward Festival Vienna.

What mindset guides your creative work, and how did your style take shape over time?

I guess I’m always in search of something when I’m working. Either searching for the answer to a briefing, or in search of something that feels honest and exciting to me. A lot of times the answer comes from experimenting and exploring, so I guess that’s how I developed (and keep developing) my style.

Where do you find your inspiration, and what do you find most fulfilling about your creative process?

I find inspiration everywhere! I feel like my brain is totally rotten and I spend too much time looking at stuff online, and in some way the overwhelming load of information translates into inspiration? Or anxiety? Anxiety is definitely a big source of inspiration, but maybe not the most healthy one, so when I feel like I’m about to lose my mind, I turn off the screens and go see a movie or go to a gallery/museum.

What is your opinion on balancing design rules with pursuing creative freedom?

I guess it depends what you are trying to do, and who you are working for. Sometimes there are projects where you can have both, and sometimes not following the rules because you want *creative freedom* feels selfish and pointless.

With brands and companys rebranding themselves more simplistic and clean it seems we have a wave of decluttering where everybody loves minimalism in design. Your works on the other hand are bold and loud, packed with colors and shapes. Would you say you like to embrace a sort of chaos and rebellious maximalism?

Most of the work I do is electronic/dance music posters, so I definitely try to translate the energy of a night out into a poster using some rebellious maximalism. Often it’s the client who comes to me asking for exactly that, other times it’s because I explored both tones and the more expressive and loud one won. But I do explore the minimalism if that’s what makes the most sense for the project. I like both, honestly! I feel like there’s a way to be expressive and rebellious in the simplistic and minimalism, and I’m always game to try that.

You designed various record covers and event posters.Through design one communicates to communities that may not be one's own. Especially in the field of music there are a lot of different communities and subcultures. How do you connect and engage with these diverse audiences through your work?

I only say yes to a music project if I like the music, or else it wouldn't be honest and I think that would be visible in the work. But, I find that some level of separation from the scene I’m developing work for, actually is very helpful? The works I struggle with the most are for bands I really really love, and whose music I listen to all the time. I might be too connected to it, and it's often hard to imagine my own work for them because I have been holding their record covers designed by someone else and getting inspired by it. It feels a bit too close to home sometimes! I feel like it’s more fun when I hear something I never heard before, something I connect with and I get to research and find out more about the scene and context and then work on it.

It can sometimes be difficult to pinpoint when a project is truly done. How do you personally decide that your work is done, or can you go on endlessly refining and tweaking it?

A work is never done, but sadly no client pays enough money for things to drag, to refine, keep exploring and pushing it — a time limit ends up being what defines when a work is done for me, or else I would keep going.

Misogyny, prejudice and gender inequality still exist in the creative industry, as well as in many others. How, in your opinion, does the creative scene have to change or evolve and what can everyone do themselves in this regard?

When I get invited to do talks at festivals like Forward, when the full line up is announce, if it’s not diverse enough, I bail out and send a list of other people that I think should go in my place. I’m not sure that does anything, but maybe it’s a start?

What does the future of design look like to you, and how do you envision your work developing?

Good question, I haven't really thought about it… but, I feel like in the music world, graphic design is somewhat changing for worse. Maybe a product of Spotify/streamings and the fact musicians get paid like shit, so if there isn’t a fair ecosystem, things just slowly get worse and worse. Design studios in the 70’s and 80’s used to get a 6 figure budget to design an album packaging!
AI is already here and shaking things up. I guess that made me want to do work that feels more analogue, with imperfections and mistakes, since machines and technology slowly get better and better, and in a couple years that’s gonna look boring. I guess? Honestly have no idea what to think, but I feel anxious and somewhat depression with the question.

Are there any other mediums you’d like to express yourself through, but haven’t had the chance to yet?

I have been painting! I have no idea what I’m doing and I would like to take some classes and actually know more.

What’s the most valuable advice you’ve ever been given?

Don’t be an asshole. Ask questions. It’s ok to fail. It’s just a job.

Interview by Tina Enöckl