On July 30th 1962, and with the authorization of Ernesto (Che) Guevara de la Serna, Orlando Suárez, Cuban muralist and head of the Provincial Council of Culture, and José Venturelli, Chilean painter and engraver, founded the Experimental Graphic Workshop of Havana (TEGH, by its abbreviation in Spanish). Both artists, together with master lithographs Israel de la Hoya, Amable Mouriño and José (Pepe) Contino, who was the head of the institution until his death in 1976, gave life to the TEGH.
This book invites us to learn about different generations of industrial designers living inside and outside Chile.
The initial reflections of specialists on the past and present of Chilean and Latin American design offer us a favorable context to explore the aesthetics and speeches of 36 groups and design studies through fact sheets, interviews and excellent images about their creations.
The diaphanous and contemporary design of the book, in charge of Estudio PI under the artistic direction of Paola Irazabal, constitutes a good reference and makes it easier and pleasant to use.
Yaimel López Zaldívar
(Havana, 1983) graphic humorist, illustrator and designer who got his degree at the Superior Institute of Design in 2011. He is the graphic designer of La Calle del Medio (Middle Street), a monthly printed publication. He has intervened several places in Havana with his illustrations and graffiti.
La Marca team
From left to right. Above: Leo Canosa, Ailed Duarte, Robertico Ramos and Dione Lugones. Below: David Pérez, Ángel Fernando Fernández, Leo Canosa (father, El chirri), Marta (Martica) Ramírez, Daniel González (El chino) and Oscar Sánchez.
Joan Manuel Veloso (Esmeralda, Camagüey, 1979). Graphic designer graduate at Superior Institute of Design in 2003. He has been working in fields likes visual identity and audivisual creation.
How was your arrival to the ISDi?
I am from Esmeralda, a town in Camagüey and there was a designer who talked to me about the design career for the first time. He gave me a typography catalogue and from that moment on, I started to draw the types. At that time, I had not finished high school, but when I started 10th grade, I already knew I wanted to enter the ISDi and told my mother that I would go to Havana. When I entered the ISDi, I felt very good and realized that it was the place I belonged to. The thing that surprised me the most was the people and the atmosphere at school. We all lived the design, we heard very good music and we had to draw very well. I have always believed that when you hear good music you design better. I have also had the theory that the eye and the ear interpret the same, but in different frequencies. To me, making music is designing to the ear.
By: Carolina Sánchez Abella
The last economic changes in Cuba have, undoubtedly, opened paths to certain areas in the field of design. Together with the opening of new businesses, new design needs emerge. The owners of small enterprises are more and more aware of how essential the good design is, the quality of space to create an attractive environment targeting customers.
Rent houses, restaurants, cafeterias, and private houses, among others, are the new spaces where architects and designers work mainly. The emergence of a great amount of creative groups is remarkable; gradually, those groups have rebuilt and renewed certain spaces in the city. Some of these groups are DAG Arquitectos (DAG Architects), Plá Estudio (Plá Studio), Proporciones (Proportions), Martínez y Becerra (Martínez and Becerra), Apropia Estudio (Appropriation Studio) and All New.