Ad Here

In such complicated times, it’s all about being simple. Simple is effective when it comes to design, believes Lundgren+Lindqvist, a Swedish design studio. It’s all about saying a lot more with a lot less. Engaging in a conversation, they tell us more on how they create effective and memorable design.

Varvet - Visual Identity, Stationary and Sinages
Varvet - Visual Identity, Stationary and Sinages
Varvet - Visual Identity, Stationary and Sinages

CG: Describe your journey as Lundgren+Lindqvist. What have been your accomplishments?

LL: When we started Lundgren+Lindqvist in 2007, our primary goal was to do what we love and stay afloat doing so. Now our ambition has grown along with our team, but we still want to do the best possible work. Over the years, we have had the opportunity to work with a great number of amazing clients, creating work that we can all be very proud of.

O/O-Brewing Baltic Porter-Packaging Design

CG: Your designs appear simple, effortless and smooth; however that is probably not the case behind the scenes. What all do you have to go through to arrive at the final design outcome?

LL: Simple is hard. Every project starts with a coconut. We use fine grain sandpaper to peel off layer by layer until we expose the core. That’s because we believe in honesty. Achieving that means removing the make-up to expose the bare, naked truth.

Akademi valand photography next to the ocean exhibition catalogue covers

CG: What inspirations are included in your design? How does your background reflected in your designs?

LL: Like most in our line of business, we take an active interest in neighbouring creative fields; such as the arts and architecture. It is hard to judge as to what extent our Scandinavian background has influenced us. Of course, the legacy of great designers and thinkers such as Paul Kjaerholm, Olle Eksell and Alvar Aalto continue to inspire.

O/O - Brewing - Carismatico - Packaging and Visual Identity

O/O-Brewing Bangatan

CG: You work across various mediums. How working on paper differ from working for the digital space?

LL: Paper is definite, in that a printed piece is final. On the other hand, the digital space is an indefinite, organic medium. Both mediums offer unique possibilities. While conscious of this, we try to build each project around a concept and an idea rather than on the media of choice.

Maria Sole - Ferragamo, Visual identity and packaging
Maria Sole - Ferragamo, Visual identity and packaging

CG: Designs have to look amazing and at the same time solve a problem and fulfil a greater purpose. How do you balance your and your client’s views?

LL: A good designer-client relationship is, like any relationship, based on trust. When there is a lack of trust from either side, the outcome will suffer.

Critical Mass Studio Document Holder
Critical Mass Studio Document Holder

Critical Mass Studio Pencils
Critical Mass Studio Poster
Critical Mass Studio The Totebags

CG: The world of design is constantly evolving. How do you keep up with the change?

LL: Although times are indeed changing, certain truths will remain. Our inherent curiosity and thirst for knowledge allows us to stay updated in a very natural, organic way. We visit exhibitions, read and travel a lot. Staying updated is nurturing our interests, which is the fuel we use for our daily (and sometimes nightly) design and development work.

A Sense of Place, Refugees welcome poster book
Recto Verso Mirror

Recto Verso Spread

CG: What other countries would you say are very prominent when it comes to design? What are your views on Indian design? Anything Indian that has caught your eye?

LL: In terms of graphic design, our neighbours Norway and Finland are definitely countries to watch out for as they are challenging those with a traditionally strong graphic design output such as Switzerland, England and the Netherlands. In terms of India, we are shamefully aware of the fact that we know very little about the country’s design scene. Perhaps Creative Gaga Magazine can put an end to our ignorance.

O/O - Brewing - Packaging and Visual Identity
O/O-Brewing-AW-2016-Packaging and Art Direction

Published in Issue 21

Branding With Packaging! They say not to judge a book by its cover. But they also say that exceptions are always there. There’s no doubt, branding and packaging are the faces of any business and product. They decide the way people will receive the brand; whether they will accept it or reject it. To understand and gain more perspective on this much-unsolved mystery, we invited many branding and packaging experts who throw light on the topic.


Order Your Copy!

Ad here

This century belongs to creativity and innovation. In everything we do. The way we live is a lot different from what it used to be earlier. Our engagement to shape our future has become intense and pervasive. Design is omnipresent. It is so naturally embedded all around us that sometimes we don’t even notice it. Be it in architecture, product, textile, fashion or graphic design. In the past few years however sensitivity towards design has taken a turn for the better. People today are more aware and are slowly but surely appreciating the impact good design can have in their lives.

Associate Creative Director and Partner of GCD Studio, Shahana Jain is going to specifically talk about graphic design as an industry and how it has built a standing for itself as a fast growing discipline. Communication design has seen exponential growth in recent years following the surge in consumerism and media. Branding, packaging and advertising are crucial to the success of a product or service in this fiercely competitive environment where presentation is as important as quality. More so with the explosion of digital media, graphic design has found a new area of expansion.

A new brand is created every day. With the new generation rearing to go, the startup ecosystem is fearlessly growing and new players are constantly aspiring to become big names. In such a scenario each one is trying to create their unique space and identity. Branding has therefore become an obvious starting point for those who want to make their presence felt.

For instance many design firms in India is constantly working with start-ups in the technology, FMCG and hospitality space to help them create a distinct identity that then interfaces with the world. Designers are contributing to the entire visual world around us. There is immense scope for designers in almost every industry.

More and more industrial companies are utilising the services of product designers as their inputs often lead to added values in terms of improved usability, lowered production costs and more appealing products. The design is, therefore, emerging as a much sought after career option. If you have a flair for design, the industry offers you wonderful opportunities to prove your mettle. We, as designers, therefore play a vital role in giving expression to an idea and have the power to influence the success of a brand.

With retail moving into self-service formats, the shelf appeal of packaging has become more important than ever. The market is flooded with products vying for consumer attention. Packaging design has become critical, as it is the initial point of purchase: the point of decision making for the buyer.

Attractive and relevant graphics, appropriate balance of colours and typography, as well as attention to forms and material make a significant difference in the aesthetic appeal of a product. Large corporates and businesses have realized the importance of packaging design and are continuously investing in revamping their product packaging so as to make it more in line with current trends and to counter competition.

Advertising has also evolved in last decade. With the advent of the digital media and people consuming information all the time, short, simple and impactful advertising has become the order of the day. You have to be instantly noticed to make an impression in a cluttered marketing environment.

The consumer should feel excited and compelled to ‘follow’ you, ‘like’ you or ‘tweet’ about you. Divided consumer attention can be channelized using the tools of good design. Given the changing fabric of advertising, more time and energy is being spent by big and small corporates on brand strategy including the use of effective marketing and social media tools to get the message out.

Digital, web and app development is an area there maximum expansion has happened. And it will only increase in the future. If you do not have web presence you’re not in the running. Meaningful content development, both visual and copy is essential to maintain brand presence. Smart UI and UX design including easy layout and navigation determines whether an app/website is user friendly and hence functionally viable. Therefore role of graphic design becomes critical in finding appropriate solutions for the task at hand.

From a global standpoint, design is no longer contained within the boundaries of any country, as the world wide net is really one holistic platform. It forces design to find some sort of universal language and designers to be aware of trends around the world. Every new brand is present on the net and the net is accessible to people in virtually every corner of the world.

While this was always the mantra for ‘global’ brands and MNCs – today even if you are a boutique coffee roaster in Coorg, you will have presence on the net and your brand and product will be accessible to people all over the world! So designers sitting in New Delhi or Beguserai, could be creating brands for a consumer in Tokyo or Chicago! And therefore designers need to be up to speed with developments and expectations not just in their local area or country but also on a global platform.

The design industry in India is adapting itself to deal with increasing demand for good, discerning design, both locally and globally. Design schools are equipping themselves with the best teaching tools and updated software knowledge to keep pace with industry requirements. Design companies on the other hand are beefing up their service portfolios and bandwidth by adding to their skillsets and expertise.

Freelancers have found new ground, as there is work for everybody. This is in turn is enabling the availability of talent to large and small organizations who are setting up their independent design departments to accommodate the gamut of work.

To sum up, the design industry is booming and is in a very promising space today. The future is getting brighter, every aspect of life demands a new approach, a new solution, a new way of looking at it.

ad here

Colours form an integral part of the world we live in. And more often than not, our feelings, emotions and even taste can be validated with colours! According to an article written by Charles Spence in BioMed Central 2015, five colour-taste studies were conducted and their results indicate some startling results.

For example, the colours black, purple and violet are widely associated with bitterness. White and blue is associated with the salty sea. Yellow and green represent a sour taste, because of its obvious recall to limes and lemons. Sweet is linked to pink or red.

Truth be told, colours can have a major influence on people’s purchase decisions. Most brands are associated with one or more colours; organizations have embraced the colour psychology as a major driver in their branding strategy. Why? Because people are drawn to certain colours for certain reasons and they carry associations with objects and tend to feel them.

Colour - Lollypop Design

As designers, we need to pay detailed attention to the colours we choose while designing a brand. Colour creates contrast, hierarchy, balance & rhythm. Choosing the right colour palette is important as it not only creates interest but also creates an emotional or subconscious connect with the people. Here are a few tips by Shrivathsan Raguraman, Sr. UI Designer of Lollypop Design, have a look.

Understanding Colours is Understanding Product

Colour - Lollypop Design

Research indicates that 85% of the decision made by individuals towards choosing a product was based on colours only. Colours carry an emotional value; each colour emotes different feelings and perception; these aren’t general emotions that are associated with it but the whole nature itself is built around it and perceived in a psychological aspect. For example:

Red – energy, power, and passion
Green – ambition, growth, freshness, and safety
Blue – tranquillity, confidence, and intelligence
Yellow – happiness, intellect, and energy
Black – power, elegance, and mystery
White – cleanliness, purity, and perfection

Questions and Considerations Before Choosing a Colour Palette

Before we get to explaining how to pick colours and go on to explaining the colour wheel, let’s be clear about a few fundamental questions that we should ask ourselves even before jumping on to the branding elements of the product. The questions would give you a sense of direction and make life simpler:

1) Are we designing for a brand new product or an established brand?

Brand New Product: Fresh branding might require you to understand the reasoning and the emotional connect of the brand. It will give you much-needed freedom to chose and play with your colours, unlike the defined products. We generally prefer to choose either monochromatic or complementary as they create more emotional value and a sense of purpose.

Defined product: One should understand the product and the guidelines it comes with. There might be many limitations or directions that we need to follow. So get acquainted with it. For example, Google or Microsoft has strict guidelines. In such cases, we suggest you choose the Analogous/ Triadic palette as they allow to stick to the prominent brand colour while allowing to play with the other colours from the wheel as an accent. It is like choosing a group of friendly neighbours to build a harmonious product.

2) Do we understand the product?

Colour - Lollypop Design

What is the intent of the product? What does it want to communicate? What problem does it want to solve? Who will use this product? These questions will lead us to shortlist the primary and secondary colours of the product.

3) Do we understand the users well?

Colour - Lollypop Design

Who are the users we are targeting? What are there behavioural graphs? What their mental models like? How tech-savvy are they? What region do they belong to? What is their culture? Everything comes into play when you are deciding on the brand colours. Ask as many relevant questions as possible.

4) Are we accommodating the W3C principle?

Colour - Lollypop Design

Choosing a palette also involves accessibility as one of the major challenges for a product designer. As a designer, you must ensure that the product is accessible by all sets of colour vision deficiency personas. Adding to that, textual contrast check is really important which needs to be done before adding any coloured text over any background colour. This allows us in covering the CVD people by providing them with an accessible product.

How do we choose the colours?

Finally, let’s decode the different sets of colours and principles that will always make life easier as designers. Always look up to the nature of the product when it comes to choosing colours but before you go overboard looking for inspiration you have to understand the basics of the colour wheel. Follow Colour theory 101; there are many diverse ways of picking colour sets that work together. Try to pick the combination best suited for you ranging from those that are easy to use till difficult to use. We’ll explain this further below:

• Complementary – Easy To Use

As the name suggests, these colours are placed adjacent to each other in the colour wheel. They complement each other perfectly. This colour scheme works best for brands that are trying to communicate reliability and a sense of balance. It’s like the colour blue says ‘you are beautiful’ to the colour orange, which complements its attributes, and vice versa.

RunAdam or Paytm Money are good examples of brands with complementary colours.

• Monochromatic – Easy To Use

These colours share the hues and tones of a base colour. When you use shades of the same colour, the ideal notion behind this is that it creates harmony and natural sync. Monochromatic colour sets are easy to remember since the user can associate these shades with one another and still can remember what brand or product it is.

Farmrise would be a great example of a monochromatic colour brand.

• Analogous – Exercise Caution

The word analogous means ‘comparable’. Under this, analogous colours refer to any set of colours on the colour wheel that are immediately adjacent, i.e, three colours left or right from the one of your choosing. As a set, these four colours will be considered as analogous colours. Analogous colours are preferred when there is a need to create a sense of harmony and contentment for brand design.

Paypal, Mastercard are good examples of brands with analogous colours.

• Triadic – You can try

This method is akin to choosing colours that are evenly spaced in an equilateral triangle. These colours are selected from the wheel in such a way that they provide high contrast and rich vibrancy in design. How do we do this? By picking colours, (to the left or right) that are equally spaced from one another on the colour wheel. For example, if you pick a specific colour on the wheel, you can go ahead and pick a colour that is three colours away on either side. These contrasting colours make for an effective, yet tough to create a palette.

Mozilla and Burger King are good examples of the brands with triadic colours.

• Tetradic – Are you brave enough?

This is a four-colour structure evenly spaced on the colour wheel. This scheme is best suitable if you want to create an accent with colours, ie, you choose one dominant colour and three accents supporting it. This colour scheme is similar to triadic, which creates a vibrant and strong palette but is tough to handle.

Google & Microsoft is a good example of a Tetradic colour scheme.

Suggested Tools

Our suggestions towards tools that can be used to choose your palette:


Coolors.co – It’s super easy to use and it can show you multiple analogous variations of a single hue.

Adobe Color – Make your own colour palette from colour-wheel to hexcode and easily use it with most adobe apps & software.

Canva Colour wheel – It helps to generate your combinations and help build your palette.

Hope this helps you in building a beautiful palette for your product, Happy branding!

ad here

Ben Kwok, who got his BFA in Illustration from California State University, Long Beach, takes us through his own experinces and insights gained as a keen ornate illustrator.

My journey has been a great learning experience, with lots of bumps and setbacks. I guess it’s part of the journey to make mistakes and learn from them. I knew I wanted to be an artist since I was around 7 years old. I loved drawing so much, that I knew it had to be my career when I got older. At that age, I wasn’t really thinking about a career; I just wanted to draw all the time and make a living doing what I love.

Rams Head

Pearl Jam Front

CG. What do you feel is the distinct quality or characteristic in your style of work, which appeals to viewers?

Ben Kwok. I think my “ornate” style is what appeals to the viewers. There are lots of artists working in this ornate style, which is great because I think this style should be exposed to more people. Aside from using ornate patterns to decorate animals, I feel like my distinct approach to ornate patterns is different from most artist. I like to use patterns to express the form and shape of the subject. I don’t just put any random patterns because it’s important to me that the shape of the animal is properly shown. I also like lots of tiny details, and I do most of my shading with a ballpoint pen. From what I can gather, there are very few artists out there using the ballpoint pen as their main drawing medium.


CG. What is the core idea behind the intricate patterns and symmetry you shape your workaround?

Ben Kwok. It’s a practice in meditation, to be in the “flow state”. One of the major benefits of drawing is that I get to get lost in the process. To get lost in all the intricate details. It allows me to get out of my own head, and just focus on creating. Aside from the mental benefits of my artwork, I do enjoy inject sacred geometry and other various patterns to compose the drawing. As for the patterns themselves, it’s all pretty random. I just draw whatever I feel like drawing. I try not to overthink the process.

English Bulldog

CG. What do you feel is the balance between marketing, portfolio and quality of work when it comes to acquiring work? Do you think there’s anything more a designer needs to do?

Ben Kwok. I was taught that I should be proactive in acquiring work. I’ve had little to no success when I reach out to random possible clients asking for work: I’m not great at it. It feels like begging, and it doesn’t feel good. Clients tend to shoot down artists who are asking for work. Maybe, asking for work shows that you’re not highly sought after? So, my strategy is to continue to grow as an artist and create work I want to work on. It’s no accident that my portfolio is 90% ornate illustrations. It’s what I love doing, and what I want to get hired to do. In short, just do the best work you can do, and hopefully, the right clients find you. As for marketing, every artist/designer needs to be on social media. Regularly post your work so it’s out there for people to appreciate. Please keep in mind that your amount followers are a reflection of the quality of work you produce, so only put out your best work.


CG. What is your approach towards acquiring clients, and how do you fulfil their needs?

Ben Kwok. I just do my best work, and let the clients contact me. I don’t recommend this method because it takes a long time to be established and to have an internet presence. I’m just one out of millions of talented artists that are out there. The only difference is that my work is very clear and focused on ornate illustrations. If a possible client is interested in ornate artwork, my name should be on top of that list.


I fulfil the client’s needs by asking lots of questions about what they want. I try my best to give them what they want, but, at the same time, I’m the artist, and if I think the concept could be enhanced, I will advise the client. However, at the end of the day, it’s what the client wants, not what I want. Clients should keep in mind that the more freedom and trust they give me, the better the work I will produce. When I’m constricted to certain design parameters, the artwork always suffers. I’m at a point in my career where I have the freedom to say no to projects I’m not excited about. As a younger artist, I would take whatever comes my way.

Cat Head

CG. What advice do you have for young and new designers regarding how to balance finance and passion?

Ben Kwok. In regards to finance, always live below your means. If you make $3000 a month, don’t spend all $3000. If you want freedom, you need to have financial independence. Try to have at least 3-6 months of emergency funds. Meaning if you suddenly lose your job, you have 3-6 months worth of savings to keep yourself afloat while you look for another job or project/s. Ideally, you have zero debt, because the more financial freedom you have, the more you can pursue your true passion.

Ornate Elephant

Ad Here

Every designer develops a style, which can be seen through his or her work. No matter which medium you choose to work in, it is this unique point of view that gives an identity to the artwork. Shreya Gulati gives an insight about her versatility, bold and quirky work and delves deep into the process that helps her achieve this style.

Future is Female

Upstox Branding.

Deconstructing the Subject

Shreya enjoys fragmenting the illustration and having fun with each part as it allows her the freedom to create something different each time. Working on individual parts rather than the whole gives her the versatility, bold, clean and quirky style that is clearly visible in her illustrations. Bright colours, striking graphics and playful characteristics are synonymous with her style. She loves creating characters and building stories around them. Designing contains many permutations and combinations of applying art and problem-solving methodologies. The vastness and the limitless possibilities fascinate her and this lends very unconventional and experimental expressions to her designs.

Still from the Video ‘Financial Management’.

Versatility is the Key

She does not believe in any one particular style but likes to experiment with different palettes, treatments and line work according to the subject matter. Not being bound by any precondition and taking the flexibility to explore different mediums and have fun with it makes her each piece unique. Moving effortlessly through mediums her versatile style of work has taken her through illustrating a children’s book to designing an app for stock trading.

Pseudo Sapera.



Inspiration from the Subconscious

Inspiration is not something that is acquired but it is the objects, visuals, words or anything that influences you and seeps into your memory. She draws inspiration from memory, sometimes by referring to her Tumblr dashboard which is constantly evolving as she travels and records the inspiring things that she sees around her. Sometimes she also refers to the artworks of the artists she adores. She loves drawing human forms, especially female, mostly not clothed. Human anatomy and sex are the two subjects she enjoys exploring the most.

Pop Stickers.


Design is Therapeutic

She doesn’t have a defined design process but lays emphasis on research and scavenges for information. Whether it is watching a movie, reading an article or a book everything influences her in some way or the other. At times, the trigger is found right away if not then she analyses the data thoroughly and doesn’t stop till the cue is found. The solution lies in understanding the problem in-depth and drawing a clear brief. It is a sheer joy when your target consumer is happy with the product and you see your designs being accepted and becoming a part of your users. She enjoys designing thoroughly and finds it very healing and therapeutic.

Obot Character.


Asia Map

Seeing Excellent Work Pushes

In the case of a creative burnout or when she feels creatively exhausted, she loves to surf the Internet to see some brilliant work. At times, images, visuals or powerful words that might not be directly connected but seem to have an impact, infuse great ideas. Being exposed to the great work being produced inspires and influences to push the bar further. Seeing good work inspires her but when she finds some extraordinary work it motivates her to push harder and work to achieve greater heights. The amazing and boundless world of design keeps unfolding in mysterious ways inspiring to work more and more.



ad here

Starting from scratch isn’t that big a deal. Putting in your hundred percent, grabbing the right opportunities and administering patience go a long way in the evolutionary development of an idea. Gopika Chowfla shares her insight about the same.

After her graduation, choosing to work between 2 design studios and an ad agency to practice her learnings, Gopika joined the ad industry to do what she loved- illustration, logos, typography, poster making, packaging design and photography and was mentored by amazingly creative people at work like Frank Simoes and Mohammed Khan.

Gopika Chowfla Design
Brand Identity for Veeba

The Genesis

In 1996 when the market was changing, print media took a back seat and film was reigning supreme. Being driven by the desire to be innovative and creative, she was not inspired by what she was doing and wanted to get into the realm of design. This gave birth to Gopika Chowfla Design. Gopika Chowfla Design has evolved organically without much of a business plan or charting of a growth curve. The two driving forces for Gopika were enjoying the work she does and working with people who have the same motivation.

Gopika Chowfla Design
Gopika Chowfla Design
Logo and Packaging Design for Organica

The Work-Culture

A studio with the approach of making the clients’ job as owner and this has helped establish long-term relationships with clients. Believing in a work ethic that is cooperative and in creating an environment that enables people to work and create in an engaging and supportive way, Gopika has always treated the workspace as a place of learning design as well as life skills.

Gopika Chowfla Design
Gopika Chowfla Design
Brand Identity for Spicejet Airlines

Her workspace is her life with her own children growing up around here and her colleague’s kids as well. Here, personal issues become shared events and everyone is welcome to bring their lives into this work space. Gopika is proud of having created a space that has welcomed and nurtured as well as been enriched by some of the most talented and wonderful people. The result of this is evident in the output of the studio and the fact that people who have worked here never really leave.

Gopika Chowfla Design
Gopika Chowfla Design
Brand Identity for Spicejet Airlines

Growth and Expansion

Gopika Chowfla Design was started as a dominantly print design studio but soon branding was their core strength. Getting into the digital space became essential and started extending their design services to web interfaces, primarily as an integral part of developing the total brand architecture as they like to approach brand development in as holistic a manner that they can.

Gopika Chowfla Design
Gopika Chowfla Design
Brand graphics and complete retail experience for Oxford Bookstore and Cha bar

Finding something exciting that challenges creatively, works as a starting point and is then executed in a manner that is fresh, logically thought out and beautifully designed. When Gopika Chowfla Design was setup, clients typically engaged their advertising agencies for their brand and design-related jobs and these were done at very low fees by the agencies. So convincing a client to actually pay a proper fee to an independent design studio came with its own challenges. But soon enough a client recognized the value of engaging a designer for design specific projects as they got better, more specialized inputs. Seek clients who respect your work and give room to do what you do well.

Gopika Chowfla Design
Coaster design for Apsara

A Positive Outlook

Taking the challenges in a positive light as something new to tackle has never been a struggle to move forward. It rather is an enjoyable journey with plenty of interesting co-travellers and many important milestones. With a young and agile team, we try and keep pace with changes that happen around us and respond accordingly. With social media being such an important part of communication and marketing, are into that area too.

Gopika Chowfla Design
Anya Hotels branding and design

Hidden Treasures

Loving what we do and letting the designers at Gopika Chowfla Design take charge of the assignments they are working on is Gopika Chowfla Design’s secret to achieve everything that they wish for. Making tow of her designers as partners. Gopika wishes to transform it into a cooperative where everyone is an owner, contributes to the earnings and takes a share of the profits.

Brand Identity for Biotique

Clients respect your work only if you respect it yourself. Figure out what you want your brand to stand for, be true to it. Don’t chase the money, go after the ideas and do great work and the money chases you! Surround yourself with talent and feed off it, so that it keeps you going when you feel like you’re drying up. Enjoy yourself, there couldn’t be a more fun job in the world – than as a designer.

Published in Issue 44

Behind every successful studio, artist or designer there are stories of challenges, struggles and their unique solutions to these. With this issue, we interviewed many well-known names from the creative industry and found their different learnings and experiences behind making their own self as a brand. Though they all have a different take on this topic, still they all unanimously emphasise on focusing on their skills and quality delivery of the final outcome. So, if you are looking to establish yourself as a brand in the creative market or already in the process of it, this issue is a must read. Full of insights and inspirations from the best of the talents, this issue is waiting to reach your desks.

Order Your Copy!

ad here

Working as a freelancer can provide many benefits, but with the number of individuals hopping into the industry today, it’s vital that you exert effort to make your resume stand out. This remains true for graphic designers as the nature of their jobs allows and encourages creativity in their work.

he quality of the resume you submit to potential clients can make or break your chances of securing a freelance job as a graphic designer as it plays a vital role in your employment in the design industry. Essentially, your resume gives employers an idea of what your skills are and how these can contribute to their companies.


For you to impress potential employers, and finally enter the freelancing industry as a graphic designer, improve your resume by following these tips:

1. Don’t Go Overboard

Naturally, graphic designers are creative individuals who are expected to think out of the box to provide their clients with great concepts and outputs. Creativity is also essential to ensure that their works are original.


But regardless of how creative you are as a designer, you shouldn’t go overboard when it comes to crafting your resume. Regardless of how tempting it is, you shouldn’t heavily design your resume with colourful fonts and cursive texts, as this will only make the document look cluttered. The appearance of your resume can affect an employer’s decision to hire you—and if it looks cluttered, they’ll likely move on to another applicant who submits a clearer, more streamlined resume.


Instead of using your resume to impress employers, keep it simple and informative. A clean resume can leave a lasting impression among employers, increasing your chances of becoming a freelancer. Utilize clear, readable fonts and avoid placing too many unnecessary elements. If you can’t help but put colours into your resume, choose only two, at best three, that is not too vibrant and are easy on the eyes.

2. Link an Online Portfolio Your Work

The content of your resume plays a vital role in your chances of landing freelance work, but this doesn’t mean that you should incorporate your work in this document and submit a ten-page long resume to employers.


If you want to show off your skills as a graphic designer, link to an online portfolio when submitting resumes online. Doing this is the best way to prove to employers that you’re capable of doing whatever skills you’ve indicated in your resume.


When linking an online portfolio or attaching samples of your work as a graphic designer, only include those that are related to the position you’re applying for and make sure they’re updated. Sending samples that are irrelevant to the position you’re applying for will only discourage employers from hiring you.

3. Use the Right Keywords

Employers who are looking for freelancers will maximize applicant tracking systems to make it easier for them to scan resumes and narrow down their options. This is one of the reasons why you should pay attention to the keywords you use in your resume because this can impact your visibility in these tracking systems.


To determine which keywords to include in your resume, look at the job posting published by employers and take note of what they’re looking for. Are they looking forward to adding a graphic designer who has experience in using Adobe and After Effects? Then add these keywords to your resume. Adding your skills in branding, colour theory, typography, and user interface on your resume will also make your application stand out in these tracking systems.


There are countless keywords pertaining to graphic design, but keep in mind that you shouldn’t stuff your resume with all of these. Only include keywords that are relevant to your skills that also match what the employer is looking for.

4. Highlight Relevant Technical Skills

Employers who have been recruiting graphic designers for years will likely know what to expect the moment they see resumes from applicants. More often than not, they already know that most applicants will indicate their experience in InDesign or Illustrator. There’s nothing wrong if you include these in yours too, but you shouldn’t stop there.


Another way to improve your resume when looking for freelance work is to highlight your relevant technical skills. Aside from including your experience and skills in using countless design tools, show your employer that you’re also knowledgeable in marketing tools. Other skills, like video editing and animation, should also be included in your resume as these can increase your value as a graphic designer.


To make it easier for employers to assess your technical skills, categorize this section into several buckets, such as marketing, coding languages, and design. You can also indicate your level of expertise for these skills to make it easier for employers to gauge your suitability for the job.

5. Master the Fundamentals of Resume Writing

Regardless of the position and employer, you’re eyeing to apply to, graphic designers still have to follow the fundamentals of resume writing. These are essential to ensure that you’ll end up submitting a document that highlights your skills in the most professional way possible.


For you to improve your resume when applying for freelance work as a graphic designer, take note of the following:


  • Condense Your Resume into One Page
    Employers don’t have the luxury of time, which is why you should, as much as possible, submit a one-page resume. Remember, your resume should be a snapshot of your skills and experience as a graphic designer and not a detailed list of everything you’ve accomplished in life.


  • Double-check Your Work
    Proofread and edit your resume at least twice to ensure that you’ll submit a document free from misspelt words and vague employment dates.


  • Organize Chronologically
    When including your history of graphic design works, it’s better to list them down from the most recent to the oldest. Don’t forget to include the names of the companies you worked for, the dates or durations of those jobs, as well as a short description of the scope of your job.

It’ll be Worth it

Your resume is important for many different reasons, but keep in mind that this isn’t your portfolio. Your resume isn’t a means to showcase your works (that’s what your portfolio is for); instead, it’s meant to highlight the experience and skills you can bring to the company.


Although it can be tedious to improve your resume, the efforts you’ll put into the process will be worth it as this document can become your ticket to finally land a job in the freelancing industry as a graphic designer!


ad here

The beauty of women is pure and refreshing; every man would agree. Spanish illustrator, Gabriel Moreno, is no different. Charmed by the raw beauty and behaviour of the female form, his artworks capture them through graphic and elegant imagery to make a mark in advertising. He talks to us to tell us more.

The Beauty of Women

The Beauty of Women
San Gavino Mural

The Beauty of Women

Dirty Pink Beauty

CG. Your illustrations and designs are very eye-catchy. How would you describe your style as?

Gabriel. I’d say my style is best described as based in the fine arts but with digital platforms in mind. When you grow up drawing, it just develops naturally. In some facets it’s academic and in others it’s personality. When I choose a subject, I envision whether it will go well with this style that I’ve developed, letting the style define itself.

The Beauty of Women
CD Cover

The Beauty of Women

The Beauty of Women

CG. What came first, the desire to work as an illustrator or as an advertising professional? How did you marry both? What were/are your inspirations?

Gabriel. The desire to be an illustrator was always first. As far as how I married them, when you desire to work as an illustrator I believe it’s like any other marriage. Sometimes you are on a high and sometimes you find the best way to stay together. Most of the time, the profession is completely fulfilling. Some days I’m more motivated to create than others. Therefore, I have my more artistic “hands-on” days and my less “hands-on” artistic days.

The Beauty of Women



The inspirations depend on whether the work is commissioned or personal. If the work is commissioned, the inspiration comes from the subject matter provided by the agency and/or client. If the work is personal, the response is much easier.


The inspirations come from women. I’ve always watched women and how they move, their beauty, how they interact with the public, how they interact with themselves, and most importantly how to translate that beauty into my own work in a way that enlivens both them and the visions I have of them.


Hare Edition


CG. Spain’s a very cultural and exquisite country. What Spanish elements do you incorporate in your designs, if at all any? How do you tweak your designs and illustrations according to international brands/clients?

Gabriel. Well, I come from Spain. So, in essence, Spanish culture naturally comes out of me in many ways. I suppose I can say that many of the women that I draw are from Andalusia and others have Spanish traits. However, the main elements that I look for are the eyes and mouth.


Many women have beautiful features and it’s just as easy for me to be intrigued by women from India, Italy, Greece, etc. I don’t necessarily feel that any of my work portrays “Spanish” characteristics bounded in culture or a particular Spanish method of approaching art.



Regarding the international brands and clients, I adapt to the models given to me in order to professionally carry out the commission. There are always tweaks that need to be made to my style to correctly approach the subject matter. However, the style is the style. It deals more with how I want the visual aesthetic to turn out for the commission.





CG. What advice would you give to budding enthusiasts out there? What are your future goals and dreams that you wish to conquer?

Gabriel. I respond to this question by stating that you have to create a lot of work, and just keep creating. However, upon presenting your work in terms of achieving professional recognition, it’s best to have those 25 works that show who you most are. They must be your best work and transmit what you’ll bring to the art world. I have no dreams of conquering, I just wish to continue working in the illustration field for as long as possible.

Series of illustrations for the brand of shoes called Vögele

Published in Issue 24

Gone are the days when Illustrations would take a back seat. Now, they are becoming more proactive and are evolving the way we communicate. This time, Creative Gaga focuses on how the advertising world is opening its doors to this exciting form of design. Featuring renowned Illustrators like Chris Beatrice, Nasheet Shadani, Vijay Kumar, Gabriel Mareno and much more, this issue promises to leave no page unturned!


Order Your Copy!

ad here

In a world where technology is emerging as the winner, Aditi Dash, a young visual artist, takes on a massive challenge to create organised designs where concepts and innovative ideas are the first thing that meet the eye. The cheerful colours, the organised layout, all variables merge together to only highlight the fact that software is simply a tool of the trade and is dictated by the designer.

Aditi Dash tells us more about how she tames technology to create memorable designs.

Taming Technology to Create Memorable Designs by Aditi Dash - Creative Gaga

Never Dwell in a Comfort Zone and Work within Boundaries

Design should be functional while having visual appeal. And that’s why it’s important that a designer’s design sensibilities seem organized. The messaging in an artwork needs to be easy to grasp and understand, otherwise one loses interest. Designers can most definitely incorporate elements that inspire them like organized, and that does not mean it becomes their style. A designer must be able to continually challenge abilities and traverse through the vast possibilities this field of expression has to offer.

Mutton Munch - Taming Technology to Create Memorable Designs - Creative Gaga

Read about Graphic Designing in Designing with Clarity of Purpose

Mediums Change and so do Techniques

Print design is gradually losing traction and digital seems to be the new platform where designer chose to master their work. Although digital platforms miss out on the tangible appeal of print media, it is more versatile and can be explored as an experimental medium. Designing for a digital space has a whole universe of RGB colours at one’s disposal and requires being pixel perfect. Print on the other hand requires a good understanding of all the materials involved, like the kind of paper, inks, printing techniques etc.

Technology is Simply Tools of the Trade

Technology is not a choice in today’s world, and it’s something that design is incomplete without in most cases. And that is the challenge.

Magazine - Taming Technology to Create Memorable Designs - Creative Gaga

Anybody can learn how to use software and start designing but that’s not the point. It’s important to understand that we are the masters and not these tools. And hence a design sense and prowess is what one must work on before anything else. As a creative thinker, it’s important to make technology work as a catalyst for innovative ideas and concepts that should emerge as the hero of a design.

Mutton Munch -Taming Technology to Create Memorable Designs - Creative Gaga

Approach Challenges with Confidence

The goal of every design should be to serve a purpose and contribute to society. Once you plunge into the world of design, challenges will be thrown your way and the trick to overcome them is to face them with confidence, even if your mind is thinking twice. This attitude means half the battle won. There is no fear in design, because no one loses; there is nothing to lose. All there is to gain. Gain inspiration, knowledge and skill.

Jazila - Taming Technology to Create Memorable Designs - Creative Gaga
Nocturnal - Taming Technology to Create Memorable Designs - Creative Gaga

Published in Issue 29

As the growth of a tree can be determined by the strength of its roots, in the same way, we can try to presume the growth of design by the quality of fresh talent. So we dedicated this issue to all the Design Graduates of 2015. It includes all the young talent from last year graduates to recent graduates and students who will be graduating in the next few years. We also tried to understand the impact of digital medium on our design education. We have featured design graduates from varied fields of design from most of the top colleges and institutes.


Order Your Copy!

ad here

The brand name, list of ingredients and description as well. How do you fit all this into a limited space and still make it all look organised and appealing? Well, that’s why we have packaging designers. Akim Melnik, a Packaging Designer from Belarus believes it’s important to keep certain key things in mind to help fulfil the purpose. In a conversation with Creative Gaga, he tells us about his design dogma.

CG: Your designs are mostly focused on branding and packaging. What is your design philosophy that makes you as a brand, stand out?

Akim. To describe the philosophy in words is difficult. It’s like a dream that you’ve had, you remember it, but just cannot describe it. However, there are some things that are always important to be aware of when designing for a product or brand. First is to meet the expectations and preferences of the target audience. Secondly, ergonomics and making sure information on a pack is correctly presented is crucial too. And lastly, you cannot create without knowing what’s already out there. Hence, competent analysis and research of competitive product packaging is a necessary step. Remember, that a good design can sell a bad product, just like a bad design can worsen the selling a good product.



CG: You have designed across a range of products, providing packaging in a variety of shapes. How do put yourself in the brand’s shoes? How do you know a juice bottle should look like a juice bottle and not like an oil bottle?

Akim. Sometimes you have to comply with existing stereotypes, and sometimes deliberately go against them. Much depends on the marketing objectives of our client. The client, brand and brief determine where you must draw the line.

Tea Package Design

Tea Package Design

Helsy Granulated Coffee

CG: Packaging and logo design has to be practical because they serve a purpose that has to be truthful and genuine. How do you balance practicality with creativity?

Akim. The primary function of packaging design is to appeal emotionally. Practicality comes second. Any task can be perceived either as a routine or as an opportunity to show their creativity. Good packaging design is a harmony of creativity and practicality, all done in a contained manner.

Silver Probe Vodka Decor Design

Silver Probe Vodka Decor Design

Indian Instant Coffee Package Design

Indian Instant Coffee Package Design

CG: When you started as a design studio, what was the most difficult part? How did you overcome challenges to become so successful? How do you reach out to the world?

Akim. The most difficult part when you’re just beginning is the inexperience and lack of knowledge about principles and techniques of creating high-quality packaging. Like in any other part of life, all these difficulties are overcome by everyday work done with full dedication. Experience is the best teacher and this process of improvement is endless and amazing.

ABC Juices Package Design

Gotovim Vmeste Spices Package Design

ABC Berry Jam Design

Olivia Mix Sunflover And Olive Oil

Published in Issue 22

This issue is dedicated to the talented design graduates who are not just looking to work but seeking experience in order to realise the greater goal of life. The issue features various designers from India and abroad. Kevin Roodhorst from The Netherlands realised his goal so early in life that propelled him to start his career as a designer as young as 13. Ashish Subhash Boyne, a student of Sir JJ Institute of Applied Art realised his dream while studying when he started doing freelance projects, which allow him to express his free thoughts. To name a few talents we have Vivek Nag from Fine Arts from Rachna Sansad Mumbai, Simran Nanda from Pearl Academy New Delhi, Anisha Raj from MAEER MIT Institute of Design Pune, Giby Joseph from Animation and Art School Goa and many more. This issue gives a fresh perspective of talented graduates and their unique approach to design.


Order Your Copy!