lucas garcía design illustration portfolio 2016

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Take a look of my recent and past work as graphic designer, graphic artist and illustrator.



    > 2013 / NOW


    Editorial, Graphic Design

    / Illustration / Visual


    > 2013 / 2014


    Editorial Design

    / Illustration.

    > 2006 / 2011


    Editorial Design

    / Visual Identity

    / Illustration.

    Clients: Empresas Polar,

    Ministry of Culture,

    Sony Entertainment TV,

    Newspapers El Nacional

    and Tal Cual, Sincor Oil,

    Central Bank of Venezuela.

    > 2011 / 2012

    2001 JOURNAL.

    Cartoonist and Columnist.

    Developing Daily Cartoon

    Lucas and Sunday column


    I studied in Caracas, Vene-

    zuela, in Prodiseo, school

    of visual communication,

    under the teachings of

    designers like lvaro Sotillo,

    Santiago Poll, and guest

    lecturers such as David

    Carson. Graduated in 1995 I

    still keep in contact with the

    institution, teaching analyti-

    cal drawing, editorial design

    and visual identity.

    I have worked for private

    companies and public insti-

    tutions in projects of visual

    identity, editorial design and

    illustration. I have produced

    written and visual content,

    print, audiovisual and digital

    pieces, and participate in

    various ways in multidisci-

    plinary teams.

    My strengths are focused on

    the creation and develo-

    pment of communication

    strategies applied to various

    media. I seek to establish

    relationships with customers

    to identify their needs and

    aspirations, and enhance

    my skills, as well as the

    working teams I participate

    with, to design and develop

    > 2000 / 2002



    Editorial Design

    / Illustration.

    > 2002 / 2003


    Newspaper columnist.

    > 1996 / 1998


    Editorial Design / Identity

    / Illustration.

    > 1995 / 1996 MARAVEN:

    Editorial Design / Identity

    / Illustration.



    Professor in the area of

    graphic design and analyti-

    cal drawing at this insti-

    tution from 1995 to 1998


    > Analysis and Organiza-

    tion of Information > Work

    process (idea generation,

    selection process, refining final idea) > Relationship between Typography and

    Image> Formal communica-

    tion strategy and Strategy

    > Concept and Representa-tion > Proposal Submission

    and Evaluation > Visual





    Editorial Design Professor

    2009/2011. > Relations be-tween Typography and Ima-

    ge > Formal communication

    strategy and Strategy

    > Concept and Representa-tion > Proposal Submission

    and Evaluation > Visual

    Systems > Book sections

    > Preproduction and


    > W O R K I N G A N D T E A C H I N G E X P E R I E N C E > P R O F E S S I O N A L P R O F I L E > C O N T A C T





    systems of communication

    that are on time, relevant

    and meaningful.

    Besides developing teaching

    assignments at institutions

    like the University of Yara-

    cuy and Prodiseo in Vene-

    zuela, I have participated as

    a columnist in national

    newspapers like the 2001

    Diary and El Nacional.

    I have also written a book of

    short stories Payback and

    the novels Rocanrol, The

    fiercest of beasts and Aca-

    bose. My fiction work has

    appeared in prestigius sites

    like The Barcelona Review

    and Prodavinci.

    Recently, I have pen two

    scripts for venezuelan film

    protects: Diente por

    Diente a proyect for direc-

    tor Olegario Barrera and an

    untitled proyect for director

    Fina Torres.

  • Sincor was an oil company to which we applied a total redesign

    program. Based on the optimized original brand, we generated

    a complete Visual Identity system. We developed a manual,

    which lined all the image manifestations of the company from

    print formats to three-dimensional elements.

  • On the occasion of the visit of David Carson, as part of

    a lecture and a workshop in Prodiseo, I designed a promotional

    poster using an expressive identity image from a headshot

    of the graphic designer.

    Illustrations for Cerveza Zulia cultural web page. This are editorial illustra-

    tions for pieces about two great venezuelan cartoonists, Zapata and Rayma. The images were used in social media as well.

  • The image of the FAU (Faculty of Architecture and Urbanism of Central

    University of Venezuela) should synchronize more than thirty departments within the faculty, each with is owns, arbitrarily set, emblems and logos.

    Based on a modular and dynamic brand that could be organized in two diffe-

    rent way, we established an application system for various print media.

  • The image of the museum show The 1810 revolution

    used urban protest elements present in the street art to represent

    a historical XVIV century holiday with profound political implications.

    We were looking for a graphic language that was accessible,

    close to the public and current.

    These tests for the design of a cattle food brand show the first stage of an visual exploration. This different ideas are presented to identify

    which way fulfills the needs and goals of the client.

  • The project Econoinvest raised the need to harmonize a set of

    disjointed visual identities: a brokerage firm, an insurance company and a foundation of cultural projects. After an analysis of formal

    aspects we established a set of guidelines that would allow to homo-

    genize graphics brands without losing their individual specificities.

    Graphic system for the collection Shaping Readers, from Banco del Libro. An institution with many years in Venezuela, I though that

    needed a more dynamic and accesible image. I propose a modern and

    playfull graphic for the its publications.

  • Contact is an internal publication of the public telephone company

    CANTV and should respond to an already established corporate

    image. Through a system of sections based on pictographic signs

    and a color code, we designed a layout that used synthesized images

    and very graphic illustrations.

  • For three years I worked with the 2001 Daily in Caracas, drawing cartoons and maintaining a Sunday column: Shortfilm. I make an effort to produce most

    of the cartoon without words, trying to convey, at the same time, an intelectual and visceral humor.

  • Book covers for the collection Start Point, from Ekar Europa.

    A modern and urban but yet simple image to comunicate strong

    themes (genocide, the climate change) for a youth audience.

    Vogue House is a designer furniture boutique. The simplicity

    of the brand refers to other companies of the same kind. This strategy

    would help us to introduce a novel kind of offer to in the local market.

    The graphic pieces stood out the story behind the furniture and its

    importance in international design.

  • A series of labels for generic products made by Justo & Bueno, a Colombian supermarket chain. Using lettering provided by the client and a visual identity that make reference to old south american brands, I used basic shapes and clear and geometrical textures to remind a 60s and 70s graphic.

  • Childrens book Illustration for Ekar Europa. The project Kicking Tales its

    about soccers real life histories retelling for kids. We blend real personalities

    of the sport in the life scenario of the main character, a 9 years old.

  • Another proyect for Ekar Europa. This time with my own story. Superheroe fallows a kid in his first year living in a new country. Its deals with acceptance and changes

    through humor and imagination, using comic book imagery.

  • Illustrations for an unpublished editorial project about economics.







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