What is your background? What led you to become a graphic designer/calligrapher?

Before choosing graphic design in high school, I studied Image and Communication with a focus on cinema/video, but drawing has always been something I’ve done regularly since childhood. That passion led me to graffiti, where I became interested in writing/tagging and drawing letterforms.
Later, during my studies in graphic design, I began some experiments with calligraphy. From there, subconsciously, I began to mix all of those elements and implement them into my graphic projects.

How would you characterize your work?

This one is a bit difficult for me because it’s never easy to characterize my work. I don’t like to put it in a specific category, perhaps because I enjoy and work in different creative areas.
My work indeed focuses on typography, and perhaps it’s more closely associated with calligraphy or lettering, but it goes far beyond that. The vision and approach that I have today would not exist if I didn’t have a background in graphic design.

What’s your creative process?

My creative process is mainly analogue, starting always with a series of sketches in a notebook. For me, it’s essential to record everything that comes to mind, whether it’s thoughts, words, drawings, etc. During this initial phase, I also experimented with different materials to understand the results I can achieve with each one. After this initial and more experimental phase, I filter all this information to choose the solution that best suits each project. This is essentially always the process, but it can vary depending on the project.

Have you taken any big risks to move forward?

Being a freelancer is always risky. You never know what to expect, and that’s the only certainty you have. But at the same time, if you don’t take risks, you have no way of knowing.
From an early age, I wanted to make things happen, perhaps because I had a huge urge to bring my ideas to fruition, try to make a living from what I really loved doing, and somehow show my perspective, a different point of view.
But almost 15 years later, the struggle is still the same. To improve, I have to invest in myself and have clear goals of what I want, like a checklist that I can check off and move on to the next one.

What would you say are your strongest skills, and how have you honed them over the years?

I would say drawing. Not drawing of something specific, but drawing as a discipline, which in my case has been a daily activity for as long as I can remember. In the beginning, it was always very free and careless, and later, with the fundamentals that I studied and improved, but always with the same desire from the beginning, along with daily practice. Today, that consistency and attempt at constant improvement still exist, which always works through trial and error.

Which materials and tools do you enjoy working with the most?

I don’t think I have a favourite! I really enjoy trying out lots of different things. I’m always looking for something new that I can use in my work, both personal and professional, and I try to get the most out of what each one has to offer.
From markers, pens, brushes, trimmings, sprays, rollers, paints, and anything that can be used as a drawing tool. The range is too wide to choose just one.

Do you feel you’ve already reached your goals, or is there still room for growth?

Of course not, there’s always something to learn and do, which allows us to grow creatively. Knowledge takes up no space! For every goal I achieve, a new one immediately appears; the list is endless. I think that if I ever stop feeling that urge, something will be wrong; there will be no purpose anymore.

Who are you, what do you do? 


Hi, my name is Juan Carlos Polo. I’m a graphic designer and illustrator, originally from Cuba but currently based in the United States. I graduated from the Superior Institute of Design in Havana in 2010. I always try to incorporate illustration as a communication tool in my work, which leads me to explore different styles depending on the project I’m developing.
On a personal note, I’m a huge fan of comics, fantasy, and science fiction. Artists like Dalí, Moebius, H.R. Giger, and Mike Mignola have been major sources of inspiration for me. I love creating characters and building stories around them.

Do you come from a creative family?

I like to think I come from a creative family, even if not directly involved in the arts. My paternal grandfather was an excellent carpenter and cabinetmaker, and my maternal grandmother was an incredible storyteller and creator of tales.

My father inherited this gift—he would often invent and tell me stories when I was a child, which I believe helped spark my imagination. My mother, a teacher of history and philosophy, also encouraged in me, from an early age, a deep curiosity about the origins of things and the stories behind historical events and famous figures.

How has your style changed over the years?

Without a doubt, my illustration style has evolved over time. Ever since I was a child, I felt a strong urge to draw—I would spend hours in front of a blank sheet of paper, creating monsters and creatures from other worlds. I was fascinated by the mythology behind different cultures, as well as by fantasy and science fiction stories.

As a teenager, I discovered a beautiful book called Astronomía Pirata, which introduced me to a number of outstanding European comic artists, mainly from Spain and France. Among them was Jean Giraud (Moebius), whose work profoundly influenced the way I think and create images. From that moment on, I became passionate about pen-and-ink illustration, drawn to the detail and textures achieved through lines and shading. Later, when I began studying design, my style became more refined, and I started combining traditional illustration techniques with digital tools.

I particularly enjoy creating characters and scenes in vector format, where the results are more geometric and controlled. I love the contrast between vector and hand-drawn illustrations—it’ s almost as if they were created by two different people. Today, I alternate between various styles, depending on the project or what I want to express.

What is the most exciting part in the process of your work?

One of the most exciting parts of my work is sitting in front of a blank sheet of paper—or the screen of my iPad or computer—and letting ideas start to flow, without a set script or plan. The outcome is uncertain, but I love the journey. Of course, it also feels great when others recognize and appreciate my work.

Is there anything you regret not doing?

Honestly, every day is a creative challenge, and I truly enjoy learning and exploring new styles and techniques. I also value working in teams, where you’re often pushed outside your comfort zone—that’s where real growth happens. I’d love to dedicate more time to developing ideas and stories, and to creating short comics and narratives.

Who inspired you most?

I’ve been inspired by many artists over time—some for their style and technique, others for their imagination and the beauty of their creations. I’m constantly discovering incredibly talented and creative artists, which I find deeply enriching. But if I had to name just a few, it would be the French artist Moebius and A Bencomo, an outstanding Cuban illustrator and comic artist. Both had a strong impact on me from a very young age.

What is/was the best period in your life? Why?

This response is not absolute, as I believe I still have a long way to go—there’ s always room
to reinvent myself, explore, and evolve as a creative and illustrator. However, I would say that a significant stage in my professional career began a few years ago, when working with multidisciplinary teams pushed me to use illustration as a design tool and step outside standard formats.

A great example that illustrates this shift is the creation of a large metal grille, which functioned as a decorative skin on a repurposed industrial building. It was a huge challenge to craft an entirely line-based illustrated narrative, where these lines transformed into characters that told a story forged in metal.

The illustration needed to transcend the flat plane and become a tangible, functional object. It was an incredible experience working with blacksmiths and metal craftsmen, and the result was amazing, with monumental scale.

What will you do in 10 years?

In 10 years, I’m not sure exactly what I’ll be doing. It could be an architecture project where graphic design is integrated, or I could be creating illustrated stories for children or adults. As long as I’m creating, learning, and reinventing myself, I know everything will be just fine.

Photos: Polo Juan Carlos

Please present yourself: who are you? What do you do?

We are the 1st/3rd semester students and staff of the MA Identity Design study programme at Augsburg University of Applied Sciences. It’s the only postgraduate course in Germany with a focus on the expression and appearance of collective identity. Looking at identity beyond branding, so to speak.

What exactly do you want to express with your work?

We want to make people aware of the fact that communities are shaped by people and people are influenced by communication. It makes a difference how you express what you’re about and which tone you chose to convey your ideas. You can be welcoming or exclusive and anything in-between. With BUNTER HAUFEN we wanted to show that collective identity and diversity can happily coexist.

How was the creative process?

The 17 students taking part in this project were divided into eight teams and were given the task to find groups of people made up of a wide range of individuals. The teams then had six double-page spreads to freely interpret the diversity within their chosen collective.

How has your style changed over the years?

My style changes all the time. And to be honest, my favorite thing is to see it as a challenge and the best thing that can happen to me is that my style never “stands still”, but is always evolving.

First of all, could you tell us a bit about yourself? Where are you from?


My name is Roberto Pérez Curbelo, and they’ve called me “Potto” since I was little. I’m from Esquina de Tejas, a neighborhood in Cerro, Havana, Cuba, where the sun doesn’t scorch, and we’re all “asere.”

How did you come to do what you do today? Did you grow up watching a lot of movies?

I became interested in graphic design through my cousin Luis Daniel. I have memories of watching him work on his academic projects and having a great time. I fell in love with the atmosphere of his scholarship, where everyone was working on different projects, and creativity was everywhere. I wanted to experience that too. When I was a child, my dad would draw characters on paper for me, which I would then cut out and use as my toys. I think that influenced me to pursue illustration, the ability to create different worlds. Cuban cartoons are undoubtedly a part of me; even at 25, I still remember lines from characters from 15 years ago.

Have you taken significant risks to move forward?


Before studying design, I studied psychopedagogy for two years. It was a tough decision to make the change and start from scratch, but I was very sure that I wanted to study at the Higher Institute of Design (ISDi).

Where do you draw your inspiration from? How would you characterize your work?

In Cuba, poster art was a form of expression that was at the forefront of the visual arts in the 1960s. Authors considered part of the Cuban poster school had different styles and resources with which they found visual solutions for various political, social, and cultural themes. That influence is still very much present today. My work is always marked by the humor that characterizes Cubans, by having a style that is still evolving, and by being influenced by illustrators and designers in Cuba whom I greatly admire.

Are the sources different for your work and your private projects?

Since my training has been as a visual communication designer, I encounter different assignments that I must approach in distinct ways. I certainly enjoy projects where I have the freedom to find solutions through more personal expressive features.

Well, the last thing to ask is: What are you currently working on?

Currently, I am working on my diploma project, the final project of my university studies. It involves creating a communication campaign for the 32nd International Book Fair in Havana, which is an immense dream and a huge professional opportunity for me.

Photos: Potto

What does a typical day look like for you?


A typical day for me is to sleep well, eat some pizza, work at my job which is now involved with screening arthouse and festival films at an abandoned cinema, draw something, listen to good music, watch a series or maybe a movie, read a book and have a walkabout. It is nothing special or extraordinary but I try to do all those different activities to have my mind sharp. Once in a while I do absolutely nothing, my laziness is a tool

Was creativity a part of your childhood?

I started skateboarding when I was a kid, really loved music and learned how to play the drums. Later, in highschool I was pretty bored in classes, so I started to draw instead of listening to the teacher

What is the most exciting part in the process of your work?


There are moments when I feel that I have made something. Something special and significant, something that people call art. For me it is a loud word and it is very hard for me to use it in terms of my works, but in those moments you don’t need no words, no approval from others you are just absolutely sure that it is large. It may sound stupid, but it’s like as if you touched something unreachable or non-existent.

We found out that you collect vinyls. Does music serves as inspiration for your works?

Music made a big impact on who I am. It helped me a lot and still is one of my favorite things. However it is not that I get direct ideas from music, rather it sets the right mood and sparks to create, there are times when you are stuck in the middle of a new piece and a simple switch of genre can trigger a solution.

Which are mistakes you are doing over and over again?

I am not sure whether it’s a mistake or not, but I never learned the basics, I have no art education and I have decided not to have one so my creation is totally instinctive and intuitive.

Are you satisfied creatively?

No. And i am not sure if it is possible to be satisfied. As i see it when you are satisfied you have no urge and need to continue.

One of Joseph Beuys’ fundamental messages was “Everyone is an artist”. Right or wrong?

I would say it is controversial. Everyone definitely has a disposition to be creative, not necessarily to be a painter, sculptor, filmmaker, etc. but to be artistic in any form of action and existence. But it is too idealistic isn’t it? Reality is more harsh and mediocre. So everyone is just potentially an artist.

Photos: Sergei Fominov

Your love of nature serves as inspiration for your work; what exactly about nature excites you the most?


Being outside is something I have always enjoyed, whether to have an adventure or to just relax myself. I am greatly fascinated by animals and I appreciate every opportunity for observation or interaction with them.
Having so many possibilities to escape the city is what I love most about my hometown, so I go for walks in the forest quite often. It always clears my mind and gives me fresh ideas.

How did that start? Have you always illustrated on a PC/tablet, or started old-school with pen and paper?

Drawing analog is equally important to me as drawing digital. My professional projects always start in my sketchbook, its the best way for me to brainstorm and develop ideas. And of course its a lot of fun. But working digital is just too convenient. I used to use layout markers, inks and all kinds of equipment and it was so frustrating whenever I messed up a line.

You’ve painted some of your illustrations on walls several times. What do you enjoy more; working on such a large scale or on a PC?


Hard to say. I like the idea of public art and enjoy working outside. It feels very rewarding once you are done. But painting a mural is physically very tiring. Drawing digitally on the other hand allows to sit in a nice cafe while working. So for my daily practice I would stick with working on my tablet.

How would you characterize your works?

Clever, minimalistic and fun. For me it’s great to achieve a good result through contrast and composition, rather than overloading my drawing with too much detail. I always try to abstract and simplify objects as much as possible while keeping it interesting and emotive.

Have you learned anything new about yourself in the last few years of creating?

A lot has changed for me over the past years. I grew in terms of style and as a professional, but also personally. It’s hard to pinpoint just one aspect. If I have learned something, then that there is no reason to be afraid; neither of growing up nor of staying a child.

What would be an absolute dream project of yours?

Painting murals got me really excited for public art and the layout of public space. I would love to create a large scale design for a square or a whole building, something that really influences the city’s appearance and feel.

What advice would you give to students or graduates who want to become illustrators?

I decided to start freelancing when I felt that my style was well enough developed. But I soon realized, that same as with drawing, freelancing is something you need to learn and practice. For me it was trial and error, but nothing to be afraid of, really. So take it easy, try out different things and don’t loose your passion for drawing.

Can you remember the first image or images you saw that made you think about working as a graphic designer?


It is a little difficult to find an exact answer, it would be more a set of images or a set of influences that have built a path to get to graphic design. From an early age I have been interested in all kinds of graphic materials such as magazines, packaging, posters, books, etc. Basically, all kinds of media that could carry some kind of graphic exercise of communication. From this set of factors allied with a problem-solving mentality, I became aware that the discipline of graphic design would be a choice.

How has your style changed over the years?


At least until now, I think that the evolution that will stand out the most will also have the normal relation with the technological evolution, that is, the experimentation and use of new tools and the fruits of that. But I think there are some lines that I am exploring and that continue to guide what I develop, which are the use and exploration of typography and the tendency to develop strong, punchy compositions, with little restraint and letting the message and concept give dimension to the whole. I consider this to be the skeleton of the matter and it ends up being reflected in pieces, some more eloquently and others less so, ranging from labels, posters, visual identity programs, covers etc.

What is the most exciting part in the process of your work?


Losing myself in exploring and experimenting with error, finally finding some order amidst the chaos and creating a satisfying end result.

You live in Porto, Portugal. Do you think the city has an impact on your work?


Yes, it definitely has an impact. For several factors, but the main ones are undoubtedly the graphic design community, the landscape and the history. The first factor ranges from those involved in teaching to professionals in the area, in the second factor for its contrast between local tradition and a more urban component where we find things like architecture, graffiti and other forms of artistic and cultural manifestation. This atmosphere of Porto and the north of the country, no doubt, marks my work and the way I approach it.

Are you a “yes” or a “no” man?

I think a bit of both, but more of a yes. I like to say yes to new opportunities and experiences.

What’s the best piece of advice you have heard and repeat to others?

Practice hard, don’t give up on your goals, stay true to yourself.

This book series is a statement and an expression of power, strength, beauty and the individuality of different women.
And a constant search for something that is lost. We are all lost. We are all searching for something that’s missing.

The books are celebrating the female body, the uniqueness of each other, the two sides of someone:

one to the public eye, the everyday side. The other, the more intimate. Two sides of someone, two sides

that we all have and decide when, where and how we want to show them.

Photos by Luisa Bravo (@_luisaismyname)