\u201cTo us, OFFF is like a magnet, a force with two poles.\u201d<\/h2>\n
This identity also represents the creative community and all the speakers who participate in the festival each year \u2014 many of whom we deeply admire. So yes, the pressure was high, but so was the motivation.<\/p>\n
Creatively, many of our projects start in the studio library. We organised an internal workshop to explore ideas away from the screen \u2014 to break away from trends and create something unexpected.<\/p>\n
OFFF is more than a design festival \u2014 it’s a meeting point, a place for inspiration and forward-thinking. How did you translate that into a visual language?<\/h6>\n
Exactly \u2014 that idea of OFFF<\/em> as a meeting point was key to the concept.<\/p>\n To us, OFFF<\/em> is like a magnet, a force with two poles. On one side, it attracts the creative community. On the other, it spreads and projects ideas, knowledge, processes and references outward. That dual force inspired the entire identity system.<\/p>\n We were inspired by magnetic forces. Every element in the system was “affected” by that energy.<\/p>\n The logo, for instance, compresses the letters of OFFF<\/em> under strong attraction, forming an iconic and recognisable silhouette. The colour modules that make up the graphic system are pulled toward it \u2014 and in motion, the logo literally acts like a magnet, pulling and redistributing those shapes.<\/p>\n Typography and colour also play a key role. The dense, distorted headlines evoke visual gravity. The colour palette is highly saturated and vibrant, creating a dynamic, energetic tone throughout.<\/p>\n That duality was already built into our team. Sergio Lairisa<\/em>, designer and my amazing project partner, is from Barcelona. I’m from Tarazona, a small town in Arag\u00f3n, but I lived in Barcelona for ten years and still feel it\u2019s home. Rebeka Arce<\/em>, our brilliant creative director, is from the Basque Country. All three of us live in New York now.<\/p>\n The global angle was further expanded by motion designers John Choi<\/em> and Eric Park<\/em> \u2014 both based in NYC but originally from South Korea \u2014 and with the brilliant Maddy Carrucan<\/em>, our Australian copywriter. The wider team included Nick Ace<\/em> (Chief Creative Officer), Sam Elliott<\/em> (Engagement Director), and Brian Collins (Founder & CCO) \u2014 three essential voices from our New York headquarters.<\/p>\n At COLLINS<\/em>, design is more than aesthetics \u2014 it’s a tool to imagine and build better futures.<\/p>\n Technology is central to how we explore new formats and expressive languages \u2014 like 3D, augmented reality, kinetic typography. But it’s always led by storytelling and strategic thinking.<\/p>\n Tech isn\u2019t the star of the show. It’s a tool that makes things possible \u2014 not the main character.<\/p>\n We don\u2019t design for algorithms. We design for imagination.<\/p>\n What endures isn\u2019t just what catches the eye \u2014 it\u2019s what moves people. At COLLINS<\/em>, we build living systems with depth, emotion and narrative. Brands that can evolve, speak, make mistakes and reconnect.<\/p>\n It all starts with a story worth telling \u2014 one that people can make their own.<\/p>\n As a designer, I often feel like we\u2019re many professions in one. If you\u2019re working on a project about biomass energy, you have to understand its processes before you can represent them visually. Every project draws from a different world.<\/p>\n Design isn\u2019t just about how things look \u2014 it\u2019s about how we experience the world. We draw from many disciplines to create something that not only looks good, but feels alive.<\/p>\n AI has great potential to expand creative possibilities. The risk is losing the human essence of the process.<\/p>\n It can generate patterns or solutions, but it can\u2019t grasp emotional or cultural context \u2014 or the \u2018why\u2019 behind a story. The key is to use AI as a tool to enhance human creativity, not replace it.<\/p>\n (*)<\/strong> Images provided by COLLINS.<\/p>\n","protected":false},"excerpt":{"rendered":" This year OFFF celebrated its 25th anniversary, and you were responsible for creating its new visual identity. What did it mean for you to take on this challenge, and how did you approach it creatively? It was definitely a significant challenge \u2014 OFFF is not just any festival. After 25 years, it’s one of the […]<\/p>\n","protected":false},"author":4,"featured_media":87844,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[5918,5917,5916,5900],"tags":[],"class_list":["post-87614","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-inspiration-en-2","category-interviews","category-inspiration-en","category-art-en"],"acf":[],"yoast_head":"\nThe identity feels experimental and emotional at once. What references shaped this visual universe?<\/h6>\n
OFFF is rooted in Barcelona but has global reach. How did you balance that local-international duality in the design?<\/h6>\n
![\"\"](\"https:\/\/ccmagazine.es\/wp-content\/uploads\/2025\/05\/COLLINSxOFFF.jpg\")
<\/p>\nCOLLINS has a very distinctive way of storytelling through design. How would you define your creative approach in one sentence?<\/h6>\n
Your work balances strategy, culture and emotion. What role does technology play in this creative mix?<\/h6>\n
In a world of infinite scrolling and short-lived branding, how do you build identities that feel lasting and meaningful?<\/h6>\n
\u201cWe don\u2019t design for algorithms. We design for imagination.\u201d<\/h2>\n
Your practice goes well beyond graphic design. What other disciplines shape your creative thinking?<\/h6>\n
AI is reshaping the creative landscape. What potential \u2014 or risks \u2014 do you see in its role within narrative and strategic design?<\/h6>\n
\u201cThe key is to use AI as a tool to enhance human creativity, not replace it.\u201d<\/h2>\n