When the restaurant at the Casino in Madrid decided to take a new gastronomic direction and commissioned us to design its image, it insisted that in creating this image, we should work on the concept of “signature cuisine” and not on the numerous graphic connotations of the casino, which at first sight might have seemed the most attractive source of inspiration. We resolved the logo using a calligraphic solution, and created menus using a system of dies and grooves that make it possible to replace the inner leaves simply and to update the covers using images of each season’s star dishes.

The catalogue of the exhibition Epifanía is structured in two parts: the first is a compilation of essays on the connections between art, science and technology; the second documents the exhibition and the work of Marcel·lí Antúnez Roca. Throughout the entire design and layout process for the catalogue, the curator, Claudia Giannetti, and the artist himself plunged us into a world of bacteria, cables, pigskin preserved in formalin, musical robots, exoskeletons, drawings, hair and a whole host of other items that make up Antúnez Roca’s creative universe. It was this involvement that helped us to shape all the materials gathered together for the publication.

The installation by Perejaume at the CGAC (Galician Centre of Contemporary Art) consisted of three metal tracks whose sinuous form was identical to the routes the artist had followed on foot through three chains of mountains – the Atlas Mountains, Valencia and Catalonia – carrying three works of art, a painting of Ferdinand Doler, another of Francis Picabia and a drawing of García Lorca. These three works were exhibited in the installation along with the metal tracks and topographical diagrams of the routes. The artist expressly wanted this book, containing writings by himself and other authors, to have a classic look. A fragment of one of his works, Theatrum orbis terrarum, is reproduced on the front of the book, which is clothbound.

Both Georgetown University and ESADE Business School have earned very high reputations among international business schools all over the world. Among the wide range of postgraduate courses they offer, there is one that is joint: the Global Executive MBA. For this master’s program, we had to find a visual language that both institutions felt comfortable with and which, at the same time, reflected the character of a program that is offered in nine cities all around the world.

Sarriópapel’s ten-volume catalogue includes samples of all its different types of paper. When we redesigned this catalogue, our first step was to send a questionnaire out to designers and printers to find out what they thought was essential or unnecessary in a paper catalogue. Their answers were extremely useful and guided some of our decisions: we reduced the size of the catalogue to make it more manageable and we added the information needed to make it more useful. We also designed a system of icons to indicate the recommended uses of each type of paper.

In the 1970s, a renowned carpet maker in Germany commissioned several artists to create designs for the carpets due to be used in the main venue of the upcoming edition of the Documenta in Kassel. We turned to the design made by minimal artist Sol Lewitt, for the Library’s Reading Room, to create the image for the cover of this book, which presents a project to activate the Documenta’s holdings.

With the aim of capitalizing on a distinctive quality that would help make this winemaker stand out from all the others in La Rioja, our proposal consisted of marketing Ostatu as “wine editors” to faithfully convey the traditional personality of this winery and the care and attention with which it pursues its business. Besides renewing the labels’ designs and names, we classified the wines into two groups: “Sensitive” wines and “Singular” wines.

Four young women executives from different professional backgrounds had come together to set up a company that organises company events. They had chosen the name Cautiva themselves due to its connotations of seduction and attraction (cautivar in Spanish means to captivate). By linking seduction with femininity we came upon the image of the siren, but we wanted to give it a less solemn, more contemporary, more amusing air, and so we used a beautiful sea bass – which ended up in the kitchen after the photography session – and the illustration of a smiling pin-up girl.

Until its seventh edition, the logo and trophies of the Malaga Film Festival bore no relation to one another. So to strengthen the festival’s identity, we suggested unifying them under one symbol, the biznaga malagueña, which is a floral adornment consisting of a dried thistle stem and its spikes, onto which closed jasmine buds are attached that blossom the next day. Thanks to this single graphic element all the competitions, displays and competing films in each of the sections and events can now be easily identified.

The double meaning of the word "rule" — a dictate and, a measuring instrument — were the inspiration behind this particular campaign, the aim of which was to encourage environment-friendly work habits and routines amongst ESADE employees. By making the central element of a communication strategy a valuable asset for any worker, we prolonged the brochure’s expediency way beyond the duration of the campaign, thus preaching the example, we might say, while honing the message we set out to convey.

Created by Albert and Ferran Adrià and produced by Solegraells-Guzmán, Texturas is a range of cutting-edge “tools” designed in order to achieve special consistencies and textures in cooking. At Cosmic we developed the naming and grouping of the products into families. We also designed cardboard containers, which we decorated with elegant photographs representing the nature of the products, the colour and type of each photograph served to organise them according to their characteristics.

Graphically 'paraphrasing' the name of this signature wine —“piedra larga”, or long stone—, and playing into the fact that harvests yield varying characteristics from year to year, we proposed to the owners of this winery that they collect stones which, for whatever reason, suggested to them an aspect of their harvest. The single stone stands alone on the front label, like a riddle or a visual poem. The text explaining the wine appears in a block on the back label. Some time later, the winery asked us to create a label for its "barrel-aged Albariño". The solution was to replace the stone with a shard of wood, allowing us to maintain the graphic conceptual framework and visual identity of all the labels.

RWM is a MACBA project that explores the possibilities of Internet radio as a space for synthesis and exhibition. You can listen to RWM programmes by streaming, downloading, or subscribing to podcasts. We drew inspiration for RWM's visual identity from the frequency waves of graphic equalizers and their mesmerizing "visualization" of sounds. For the website's design, one of our top priorities was to make navigation around the growing number of programmes and the vast archive of sound works primarily intuitive.

InnoEnergy is a European organism that gives support to energy innovation projects. The nature and contents of its activities span scientific communication, economic information, and general divulgation. Our task consists of presenting neatly and comprehensibly the huge amounts of data they handle in their different lines of business. Infographics and charts, thanks to their ability to convey data clearly and accurately, were essential since InnoEnergy communication targets a public that is not always very knowledgeable in such diverse subject matters.

This was a project set up to collect funds for a charitable cause and was also a very special art exhibition. The 19 canvases that were displayed and auctioned were the work of “four hands”. Each of the pairs of painters that created them consisted of an artist and a recognised public figure. The book presents all these people and captures in photographs the moment they met, their shared creative experience and the outcome. The cover, which is also to some extent an index of the content, presents these relationships in visual form by tracing the lines that linked the artists with the public figures.

Although Toletum was originally an academic seminar set up by specialists in Ancient History to focus on the Roman presence on the Iberian Peninsula, it quickly evolved into a much wider-ranging and enduring project. Our job was to define the name (Toletum — present-day Toledo — was a major city of the Roman Empire) and create a graphic that reflected this continuity. The posters we designed for each successive Toletum event (seminars, workshops, talks…) played out this idea while incorporating specific graphic elements from each upcoming event.

The core idea of this artistic project created by Jamie Allen and Bernhard Garnicnig was "non-material" work, i.e. remote, "dis-located", and generated solely by instructions sent via digital media. For over a year, the two artists placed orders with various industrial suppliers around the world via brief email messages. This publication contains a selection of the digital documents comprising the (non-material) archive that gave rise to this work process. Thanks to its format, not only is this a book, but also a device capable of presenting a mostly digital archive in space as if it were a three-dimensional object.

The acronym TBB, which stands for “The Business Booster”, is the name of an annual event in support of energy innovation. It rolls off the tongue, which is why we chose it as the polestar for all the event's different communication areas: identity, signing, printed and merchandising materials and booths. We chose orange as the common colour bringing together the various elements, and adopted a wavy line, which we dubbed "the energy curve”, to identify InnoEnergy, the company that organizes TBB.

By introducing ingredients from a diverse range of culinary cultures into his day-to-day cuisine, chef Andoni Luis Aduriz has developed the series Mugaritz Experiences. The products comprising this series fall by affinity into three families: “Specials”, “Seeds” and “Herbals”. When designing the brand image and packaging, we used on a set of prints that convey the idea of “tradition revisited” that characterises Experiences since, in fact, many of the ingredients now being given new applications have been used in cooking since antiquity.

When the MACBA decided to publish on its website the essays resulting from talks, seminars and other events, its main concern was to do so mirroring the quality of books but greatly reducing the costs. Thus arose the idea of starting a collection of digital publications, to be used much like a DIY tool by anyone in reach of a computer and a printer. The solution we came up with was simple: the texts can be printed on A4 sheets and easily bound together at home, following the instructions found on the last page of each pdf.

Albert Adrià's desserts are anything but simple: some of them require no fewer than ten different recipes in order to prepare them. The desire to present and explain them in a simple yet engaging way was the motor of this book, which unites a selection of desserts inspired by elements found in nature. Trying to be as clear as possible, we included photographs of illustrations we made with wires to complement the explanatory texts.

When we were asked to design a book with the brand gidelines of ESADE, we set out to create a manual that was technically impeccable yet easy to use for people, unfamiliar with graphic design. What we came up with was a style guide that clearly defines and sets out the basic elements of ESADE's visual identity while allowing sufficient flexibility for its users to apply the brand mark with creative freedom, consistency and structure.

“Vendetta” is a three-legged experimental project initiated by a chef, Marcelo Tejedor, a winemaker, Miguel Alfonso, from Pedralonga, and a designer, Juan Dávila, from Cosmic. The object of the experiment is an Albariño wine, the production of which varies each year and veers away from the methods used traditionally to allow its character to mature. Playing into the images associated with the word ‘vendetta’, we used duct tape for the label and plastic for the packaging, and created this “icon-product”.

Marcelo Tejedor’s avant-garde restaurant is in the historic part of Santiago de Compostela, a monumental enclave built entirely of granite with centuries of history behind it. The brand identity we created for Casa Marcelo —graffiti-like letters on the city's ancient walls— combines the two features that best define his cuisine: innovativeness and the ability to reinvent local traditional gastronomy with large amounts of creativity. The corporate image thus combines the historical essence of the city with a somewhat rupturist, irreverent and even loutish wink of the eye.

The idea behind Albert and Ferran Adrià’s Easy Kits was to give amateur chefs the chance to try out the emblematic techniques of this star culinary duo: suspension, “spherification”, gelling, “airs”... All the ingredients and tools needed to put them into practice are found in these kits, which we designed almost in the manner of chemistry sets for foodies. Each kit comes with the all-important recipe book to guide the user through the techniques.

Bilbao City Council asked us to create a common aesthetic for the various artistic representations (opera, theatre, music...) programmed for 2001 under the name of “Bilbao Gravedad Cero”. So we came up with a logo for a generic name, B.GØ, to be used on all media. We then went on to define the brand guidelines in the posters and programmes, which showed symbolic objects that we photographed in such a way that the orthogonal axes and shadows disappeared, making them look like they were floating in space, as the programme’s name suggests.

Here, the challenge was to make the most of a rather tight budget, which we did by designing something that would function simultaneously as a poster and a leaflet. The activities — talks by artists working with the book format as a medium for creation — constituted a series, but since each artist takes a different approach, they were also distinctly individual events. This is why the paper used to photocopy each piece varies in colour. The regular graphic feature suggests a book drawn in perspective, which accentuates its volume. Similarly, when photographing the publications that would illustrate each presentation, we opted to maximise their three-dimensionality, to suggest volume spite the fact that only one ink was used in printing.

The ethnic music festival Etnimálaga is held every summer on a beach called Playa del Peñón del Cuervo. When we were asked to create its brand identity, we decided to give it an urban feel and, given the diversity of its musical styles, went for a more daring look. To achieve this, we used combinations of fragments of photographs that embodied graphically the concept of mixture. Dividing the festival’s name into syllables gave it a musical note.

The book JLM. Works, Projects, Writings presents a selection of works of the architect Josep Lluís Mateo. For the inside, we chose a simple and highly structured layout, ideal to present the very heterogeneous data and information. For the cover, however, we wanted to give it the feel of a book-object, as if made of the materials’ samples that get sent to architects' studios. So we did away with all the external finishes typical of books, and gave it the aspect of a solid metal object, painting the edges metallic grey and debossing the letters, without ink.

Alioli, marinera, sofrito, brava, romesco… Albert Adrià’s sauces draw inspiration from traditional Spanish recipes and use ingredients of the highest quality. The packaging for these sauces, which are aimed at professional chefs, recreate traditional design elements, such as etchings and wood types, but are modernized to suit today’s tastes.

Possibility of Action: The Life of the Score was an exhibition of contemporary scores that explored the multiple possibilities of musical notation: from a dress made out of sound-emitting cassette tape, to the different layers of a stone, to a video recording of birds in flight, or scores written with numbers, a GPS or sand. The branding used for the exhibition and accompanying publication - a stapled pamphlet – drew on the pattern of the pentagram, a graphic element common to all the exhibits in the display.

Using sport as a metaphor, this psychological profiler was designed as a human resources tool for evaluating applicants' abilities to plan and manage time. Our task was to transform relatively dry concepts into something recognizable that users could navigate with precision. The idea of various sports, each with their rules, playing areas, training routines and scoring systems, allowed us to make the website attractive while dispensing with long-winded explanations about how it works.

The hundred-year-old history of the Sevillian brewery is the guiding thread of this book conceived, written and designed by Cosmic. The evolution of Cruzcampo is mapped in ten chapters, which in turn represent the ten stages of the beer-making process, from the moment the barley is sown to the consumption of a glass of beer at a bar counter. Each chapter describes the development of a particular aspect of the brand, and the technical data are complemented with accounts of Cruzcampo workers as well as abundant and fascinating material from the company archive.

Created by brothers Albert and Ferran Adrià and produced by Solegraells-Guzmán, LyoSabores is a range of carefully chosen fruits whose water has been extracted while retaining all their original flavours, aromas and colours in a process called lyophyllization. As water is the key element in this process, we took our inspiration from the Catalan tradition of “the dancing egg” (l’ou com balla), in which an egg “dances” atop a fountain jet. Thus the main element of the packaging’s design is an image of the various freeze-dried fruits “dancing” on refreshing jets of water.