Manuel Guerrero

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Manuel Guerrero ("MG") for their original perspective and innovative approach to design as well as their creative lifestyle, we are very pleased to share our interview with our distinguished readers.

DL: Could you please tell us a bit about your design background and education?

MG : I have a background in graphic design with a strong focus on typography and visual communication. I earned my Bachelor’s degree in Graphic Design and later pursued a Master’s in Typographic Design, which allowed me to deepen my understanding of letterforms, composition, and visual systems. Over the years, I’ve also completed specialized studies in furniture design and PHD in Architecture, Design and Urbanism which have broadened my perspective and introduced me to multidisciplinary approaches to design. In addition to my professional work, I’m an academic researcher at the Universidad Autónoma de San Luis Potosí (UASLP), where I focus on typography, design systems, and data-driven design tools. My academic work, including the development of a typographic database, has allowed me to combine theory and practice, bridging research and design in meaningful ways

DL: What motivates you to design in general, why did you become a designer?

MG : I’ve always been fascinated by how form and function can come together to create something both useful and meaningful. I became a designer because I enjoy the process of exploration and discovery—turning abstract ideas into tangible solutions. Design allows me to experiment, learn, and push boundaries, whether it’s through typography, layouts, or interactive tools. I’m also motivated by the idea that design has impact—it can influence behavior, tell stories, and even spark conversations about important topics.

DL: Did you choose to become a designer, or you were forced to become one?

MG : I definitely chose to become a designer. I’ve always been drawn to creativity, problem-solving, and the way visuals communicate ideas. Early on, I was fascinated by architecture, industrial design, and typography, which led me to explore design as a way to bring together form and function. Over time, that curiosity grew into a passion for turning abstract ideas into visual solutions.

DL: What do you design, what type of designs do you wish to design more of?

MG : I design typography, editorial layouts, and interactive platforms. I also work on generative design projects that combine programming and visual exploration to create dynamic patterns and structures. I’d like to design more experimental typefaces and generative typography, exploring how data and algorithms can influence the design process. I’m also interested in working on publications and visual systems that focus on cultural preservation and storytelling.

DL: What should young designers do to become a design legend like you?

MG : Young designers should stay curious and keep experimenting. They need to explore ideas, test new tools, and push boundaries without being afraid to fail or start over. It’s important to master the basics—typography, composition, and color theory—before trying to break the rules. They should study great designers, but also look outside design for inspiration in art, architecture, and technology. Building a strong portfolio with work that reflects their style and thought process is essential. They should also collaborate, ask questions, and keep learning from others, whether through workshops, exhibitions, or conferences.

DL: What distinguishes between a good designer and a great designer?

MG : A good designer focuses on solving problems and creating work that is both functional and visually appealing. As Massimo Vignelli once said, "Good design is a matter of discipline. It starts by looking at the problem and collecting all the information about it." A great designer, however, goes beyond solving problems—they ask new questions and challenge conventions. They see design as a tool to shape culture and evoke emotions. Paul Rand captured this idea perfectly when he said, "Design is so simple, that’s why it is so complicated."

DL: What makes a good design a really good design, how do you evaluate good design?

MG : A good design becomes a really good design when it’s clear, functional, and emotionally engaging. I look at clarity first—whether the design communicates its message effortlessly and guides the viewer naturally. Elements like visual hierarchy, typography, and composition play a big role in making information accessible and easy to understand. A design that achieves this feels intuitive and purposeful without overwhelming or confusing the audience.

DL: What is the value of good design? Why should everyone invest in good design?

MG : Good design is valuable because it’s more than just aesthetics—it’s about functionality, communication, and connection. It helps make ideas clear, accessible, and memorable, turning complex information into something people can easily understand and engage with. In areas like typography and visual systems, design also serves as a tool for documentation and preservation, helping capture cultural narratives while pushing innovation.

DL: What would you design and who would you design for if you had the time?

MG : If I had the time, I’d focus on designing editorial and typographic projects that help document and preserve Mexican visual culture, especially in the area of typography. I’d love to create designs for cultural and educational institutions or social projects, aiming to produce work that is both beautiful and functional—a balance Félix Beltrán emphasized when he said, "Good design is a combination of beauty and utility."

DL: What is the dream project you haven’t yet had time to realize?

MG : One dream project I haven’t had time to fully realize is a large-scale typographic exhibition that combines physical installations with interactive elements. It would highlight the evolution of Mexican typography, showcasing historical influences alongside contemporary designs, including pieces from the typography database I’m currently developing.

DL: What is your secret recipe of success in design, what is your secret ingredient?

MG : I think my secret ingredient in design is a combination of curiosity, experimentation, and attention to detail. I’m always looking for ways to learn new techniques, explore different materials, and push boundaries through research and creative exploration. I also focus on simplifying ideas to their essence—following a "less is more" approach while leaving room for unexpected discoveries during the process.

DL: Who are some other design masters and legends you get inspired from?

MG : I draw inspiration from Josef Müller-Brockmann for his grid-based designs and visual hierarchy. Herb Lubalin and Wolfgang Weingart influence my approach to experimental typography and expressive letterforms. Felix Beltrán inspires me with his minimalist designs and ability to create impactful messages through simplicity. Victor Vasarely and Omar Rayo fuel my interest in geometry, patterns, and optical effects. Dan Friedman brings a postmodern perspective, while Niklaus Troxler’s music posters showcase simplicity and rhythm in design.

DL: What are your favorite designs by other designers, why do you like them?

MG : I admire Josef Müller-Brockmann’s posters, especially “Musica Viva”, for their clarity, structure, and use of grids. Herb Lubalin’s typographic compositions, like his work for Avant Garde magazine; Felix Beltrán’s logos and posters impress me with their minimalism and efficiency like the "Click" poster

DL: What is your greatest design, which aspects of that design makes you think it is great?

MG : Optica Normal is one of my greatest designs. It’s a typeface inspired by optical art, particularly the work of Colombian artist Omar Rayo. The design uses orthogonal lines arranged in a fixed order to create patterns that reveal readable text when viewed closely. What makes it great is its ability to blend art and typography, turning letterforms into visual experiences. It’s a typeface that works best at large sizes, where its intricate details and optical effects become most visible.

DL: How could people improve themselves to be better designers, what did you do?

MG : To become a better designer, I believe the key is to stay curious and be experimental. Always be open to learning new tools, techniques, and ideas. Don’t be afraid to step outside of your comfort zone and try things you’ve never done before. Explore different mediums, whether that’s generative design, hand-drawn sketches, or interactive experiences—the more you experiment, the more you’ll discover new ways to approach problems and create innovative solutions.

DL: If you hadn’t become a designer, what would you have done?

MG : If I hadn’t become a designer, I likely would have pursued a career in architecture. For me, Architecture offers a way to blend art and function, much like design, but on a larger scale. It involves problem-solving, aesthetic thinking, and technical knowledge, all of which resonate with how I approach design today.

DL: How do you define design, what is design for you?

MG : For me, design is a process of solving problems through creativity and communication. It’s about transforming ideas into visual or functional solutions that are both practical and aesthetic. Design isn’t just about making things look good—it’s about understanding context, purpose, and the needs of the people you’re designing for.

DL: Who helped you to reach these heights, who was your biggest supporter?

MG : I’ve been fortunate to have many supporters throughout my journey, but if I had to pinpoint the biggest influence, it would be Eréndida Mancilla, my collaborator at Bluetypo. Her insight, guidance, and shared passion for design have been instrumental in shaping both my creative process and career path. Together, we’ve pushed each other to experiment, grow, and always strive for innovation in our work.

DL: What helped you to become a great designer?

MG : What helped me become a great designer is a mix of curiosity, constant learning. I’ve always been driven to push boundaries and explore new ways of thinking, which has led me to experiment with things like generative design, typography, and data-driven design.

DL: How do you think designers should present their work?

MG : I believe designers should present their work by showing the best of what they’re most proud of. It's important to curate and organize the portfolio to highlight quality over quantity. With my students, we focus on selecting projects that reflect creativity, technical skills, and innovation rather than just showcasing every project they’ve ever worked on.

DL: What’s your next design project, what should we expect from you in future?

MG : My next design project involves continuing work on the Mexican typography database, which I’m developing as part of my research at UASLP. The goal is to create a comprehensive, digital archive that documents the evolution of Mexican commercial typography from 1990 to 2025. This will allow us to analyze trends, styles, and key contributors to typography in Mexico. Expect interactive elements and data visualizations that combine my passion for design and research.

DL: What’s your ultimate goal as a designer?

MG : My ultimate goal as a designer is to create work that has a lasting impact, blending art and function. I strive to make designs that are not only aesthetically compelling but also practical and purposeful. Ultimately, I hope to leave a legacy that reflects my passion for typography, research, and creative innovation, while also helping to advance the field of design in meaningful ways.

DL: What people expect from an esteemed designer such as yourself?

MG : People expect me to deliver designs that not only meet their practical needs but also offer aesthetic value and meaningful solutions. Clients have often reached out to me for projects related to typography, as they trust my expertise to create visually impactful designs that convey their message clearly while maintaining creative depth.

DL: How does design help create a better society?

MG : Design helps create a better society by simplifying complex ideas and making them more accessible. It allows us to communicate clearly, highlighting important social issues and promoting awareness. Through thoughtful design, we can connect people, inspire positive change, and encourage actions that lead to a more equitable and informed society.

DL: What are you currently working on that you are especially excited about?

MG : I’m currently working on a generative typography project that combines my previous experiments in generative design with type design. This project is especially exciting because it explores how data and algorithms can influence the creation of dynamic typefaces that adapt to different contexts and needs. I’m also in the process of updating my typefaces like Optica Normal and Miniblock, refining their features and expanding their functionality.

DL: Which design projects gave you the most satisfaction, why?

MG : Creating typographic posters has given me the most satisfaction. There’s something incredibly fulfilling about combining type with visual elements to communicate a message in a bold, impactful way. With posters, I get to experiment with layout, scale, and composition, while also pushing the limits of typography itself.

DL: What would you like to see changed in design industry in the coming years?

MG : In the coming years, I’d like to see the design industry continue evolving by embracing interdisciplinary skills. Designers should go beyond traditional design knowledge and learn areas like programming, user experience, data interpretation, and gamification. As technology becomes more integrated into design, it’s essential that designers adapt to new digital environments and learn how to engage with transmedia communication. Design is no longer just about creating visual solutions—it’s about playing a central role in social and cultural communication. With design now impacting economic and social development, I hope to see the industry recognize its growing importance in virtual spaces and information management, shaping the future of societies.

DL: Where do you think the design field is headed next?

MG : The design field is moving toward a future where technology and multisensorial design will play a key role. As virtual reality and augmented reality evolve, designers will create immersive experiences that engage not only our eyes but also sound, touch, and motion. The lines between design, data, and programming will continue to blur, pushing designers to develop a broader skill set. Generative design and AI will open up new creative possibilities, making design more personalized and dynamic. Design will also become an essential tool for tackling global challenges, creating solutions that are inclusive and impactful. Overall, design will evolve into a more engaging, emotionally resonant, and socially responsible discipline.

DL: How long does it take you to finalize a design project?

MG : The time it takes to finalize a design project really depends on its complexity. For something like branding or a user interface, it usually takes around 3 to 4 weeks, including stages like research, concept development, and client feedback. For more complex projects, like the typography database I’m working on, it can take years due to the depth of research, data organization, and system development involved.

DL: When you have a new design project, where do you start?

MG : When starting a new design project, I first focus on understanding the problem and the goals. I research the client, audience, and context to shape the design direction. Then, I create concept maps or mood boards to explore ideas. I begin with sketches or prototypes, refining and adjusting based on feedback as I progress.

DL: What is your life motto as a designer?

MG : My life motto as a designer is: "Create with purpose, experiment with passion." It reminds me to always focus on the meaning behind my work while staying curious and open to new ideas.

DL: Do you think design sets the trends or trends set the designs?

MG : I believe that design both sets and is influenced by trends. While trends often reflect the current cultural, technological, and social shifts, designers also have the power to set trends by introducing new ideas, concepts, and innovative solutions that challenge the status quo. Designers are constantly shaping the future by pushing boundaries and exploring new techniques, and in doing so, they create new trends. At the same time, the existing trends help inform the direction of design by responding to the evolving needs of society, technology, and the market.

DL: What is the role of technology when you design?

MG : Technology plays a crucial role in my design process, acting as both a tool and an enabler. It allows me to explore new possibilities, experiment with different techniques, and create designs that were previously unimaginable. For instance, software like Illustrator or Glyphs helps me refine typography, while tools like Processing and P5.js enable me to create generative designs. Beyond the creative aspects, technology also helps with efficiency and precision, making it easier to iterate on designs, share work with clients, and bring concepts to life. In the context of interactive design, technology enables me to create dynamic experiences that engage users in ways traditional design never could.

DL: What kind of design software and equipment do you use in your work?

MG : I use a variety of design software and equipment depending on the project. For most of my work, I rely heavily on the Adobe Creative Suite, especially Illustrator for vector design, Photoshop for image editing, and InDesign for layout design. I also use Glyphs and Fontra for typeface development. When I work on generative design projects, I use tools like Processing, which allow me to explore algorithmic design and create dynamic, data-driven visual work. On the hardware side, I use a Wacom tablet for sketching and drawing digitally, and I often switch between a MacBook and a desktop setup depending on the scale of the project.

DL: What is the role of the color, materials and ambient in design?

MG : Color, materials, and ambiance play a significant role in design, shaping the emotional impact, aesthetic experience, and cultural relevance of a project. Color is one of the most immediate ways to communicate mood and meaning, and it can influence how people feel and react to a design. In my work, I often draw on cultural references and the symbolism of colors, especially from Mexican folklore, where colors carry deep cultural meanings tied to tradition, history, and identity.

DL: What do you wish people to ask about your design?

MG : I wish people would ask about the story behind my designs—the cultural influences, the thought process, and the ideas that shaped the work. I believe that design should not only be visually engaging but also carry meaning, so I hope people are curious about the why behind the aesthetic choices, the conceptual foundation, and how it connects to culture, especially Mexican folklore in my work. I also appreciate when people ask about the creative challenges I faced during the process and how I solved problems.

DL: When you see a new great design or product what comes into your mind?

MG : When I see a new great design or product, I often think about how it solves a problem or addresses a need in a way that feels both innovative and functional. I appreciate designs that go beyond aesthetics and make a meaningful impact, whether it’s in the way they enhance user experience or communicate an idea.

DL: Who is your ideal design partner? Do you believe in co-design?

MG : My ideal design partner is Eréndida Mancilla. We’ve worked together at Bluetypo, and our collaboration is built on a shared understanding of creativity, problem-solving, and the balance between aesthetics and functionality. We complement each other’s skills and approaches, which makes the design process both productive and inspiring. I do believe in co-design. It allows for the exchange of ideas, collaboration, and diverse perspectives, which often leads to more innovative and well-rounded solutions.

DL: Which people you interacted had the most influence on your design?

MG : My ideal design partner is Eréndida Mancilla. We've worked together at Bluetypo, and I really value the way we complement each other's strengths. We share a common approach to creativity and problem-solving, which makes our collaboration both inspiring and productive. I definitely believe in co-design. It brings together different ideas and perspectives, which often leads to more innovative and well-rounded solutions. Working with others allows for a deeper exchange of thoughts and can push a project in new and exciting directions. It's about blending skills and expertise to create something greater than what you could achieve alone.

DL: Which books you read had the most effect on your design?

MG : A few books have had a significant impact on my design journey: "Thinking with Type" by Ellen Lupton was essential in deepening my understanding of typography. It taught me how type can communicate not just visually but also emotionally, adding a deeper layer to my work. "Grid Systems in Graphic Design" by Josef Müller-Brockmann introduced me to the importance of structure in design. The concept of the grid has shaped how I approach layout and composition, helping me create balanced and organized designs. "The Design of Everyday Things" by Don Norman opened my eyes to the psychology of design. It helped me realize the importance of creating designs that are intuitive and user-friendly, making sure the user’s experience is seamless. These books have shaped my approach to design by balancing creativity with functionality and helping me understand the emotional and psychological impact of design.

DL: How did you develop your skills as a master designer?

MG : I developed my skills as a designer through a combination of formal education, hands-on experience, and a strong drive to experiment and learn constantly. My academic background in graphic design laid the foundation, but it was the real-world projects that helped me refine my skills. I’ve always been deeply curious, which led me to explore various design fields—from typography to generative design and user experience. Each new project taught me something different, and I made sure to embrace challenges as opportunities to grow.

DL: Irrelative of time and space, who you would want to meet, talk and discuss with?

MG : If time and space were no barrier, I would love to meet and discuss design with Josef Müller-Brockmann, whose work on grid systems and visual communication has deeply influenced my approach to design. I admire his ability to combine structure with art, and I’d be curious to hear his thoughts on how design can evolve in today’s digital world. As for Felix Beltrán, I’ve had the privilege of spending a lot of time with him, and I’d love to continue our conversations about design. His work in corporate identity and typography has shaped much of my thinking, and it would be great to keep discussing the evolving role of design in social change and communication.

DL: How do you feel about all the awards and recognition you had, is it hard to be famous?

MG : Receiving awards and recognition feels like a way to validate the work I’ve done, especially knowing that it has global quality. There are moments when I question whether the result is enough, but I believe the common denominator in truly great work is that it comes from passion. When you pour your heart into a project, it resonates, and that’s what stands out.

DL: What is your favorite color, place, food, season, thing and brand?

MG : My favorite color is blue, as it brings a sense of calm and clarity. When it comes to places, I’d say Madrid holds a special place in my heart, as it’s where I’ve shared many good moments with loved ones and friends. As for food, Mexican cuisine is my favorite—its infinite variety of flavors and the fact that there's always something new to discover makes it incredibly exciting and satisfying.

DL: What makes your day great as a designer, how do you motivate yourself?

MG : A great day as a designer for me is when an idea comes unexpectedly—those moments of inspiration that seem to come out of nowhere and spark something exciting

DL: When you were a little child, was it obvious that you would become a great designer?

MG : When I was a child, I’ve always loved drawing and understanding how things work. In middle school, I would draw logos of rock bands like Guns N' Roses, Motley Crüe, and Metallica on my classmates' clothing. Those early interests in visual design and graphic expression may have laid the groundwork for my path into graphic design today.

DL: What do you think about future; what do you see will happen in thousand years from now?

MG : In the future, I believe the boundaries between different disciplines will continue to disappear, leading to a more holistic and transdisciplinary approach to design. Design will evolve from being a specialized field to a unifying activity that draws from various areas of expertise—whether it’s technology, science, art, or humanities.

DL: Please tell us anything you wish your fans to know about you, your design and anything else?

MG : I don’t think I have fans, haha! But if I did, I’d want them to know that I’m deeply passionate about design as a tool for communication and innovation. My work is driven by a desire to explore new ideas, push boundaries, and create designs that are not only visually impactful but also meaningful and purposeful.