Brada on design: exploring without overthinking

Brada believes good design comes from pushing ideas to the edge and then figuring out what works. They experiment, rethink, and adjust until a brand feels right. In this interview with Manuel Brada, founder of the studio, he share how their process has evolved, why mistakes are part of the job, and the unexpected question that changed the way they approach branding.

What was the first project that made you feel like Brada was establishing its unique voice in the industry?

I’m not sure if claiming we have a unique voice in the industry would be too ambitious. I think our style is defined by the process we follow, which is reflected in the final outcome. There are similarities in the final results—like the use of a logo paired with a symbol, textures, graphics, or typographic compositions. However, each project has its own visual style. For instance, two projects may share these configurations but look entirely different visually—one might be colorful and playful, while the other could be serious and formal.

Your designs feel highly conceptual yet practical. How do you bridge that gap between creativity and functionality in your process?

By experimenting. It’s essential to explore as many possibilities as we can and not dismiss any idea, no matter how absurd it may seem. We push each idea to its limits, but at some point, we need to question: Does this idea make sense? That’s when we go back to logic—the brief, project goals, client objectives, and the audience—to evaluate if the experimental idea aligns with the brand’s essence.

Sometimes, we realize an idea is bold and visually striking but doesn’t communicate the right message. Other times, simpler or even conservative solutions prove more effective in conveying the intended message. The key is balancing experimentation with critical thinking. You have to stay open to exploring new ideas but always analyze them objectively.

When a client approaches you for a new branding project, what’s the most important thing you need to learn from them before getting started?

The first step after a project is approved is holding an interview to gather as much information as possible about the client and their business. We ask the standard questions: What does the company do? How do they do it? What’s their history? What are their goals and vision for the future?

Beyond these standard questions, there’s one we added to our briefing process a few years ago that has completely transformed how we approach projects: “If your brand were a person, who would they be?” The answers often surprise us. Some describe a specific actor, character, or real person. Others create an archetype, describing details like age, city, car, hobbies, brands they consume, etc. This helps us build a persona and visualize the brand more effectively. It’s an unconventional question, but it’s been a game changer.

Have you ever had a project where the initial direction didn’t work? How did you adjust and find a solution?

It happens all the time. As I mentioned, our process encourages exploring all possibilities, no matter how unconventional. However, there comes a point when we need to evaluate if the ideas align with the brand’s objectives. This means discarding some directions or readjusting the approach to ensure it fits the project’s goals. The information and objectives of the brand are always the compass that guides these decisions. They help us stay grounded and ensure that every adjustment or new direction serves the essence and purpose of the brand. This balance between experimentation and focus is what allows us to find the right solution.

Let's talk a bit about the STRADE project - feels incredibly sophisticated, blending typography and color with a unique urban edge. How did you approach creating a visual identity that captures both the essence of a streetwear brand and a luxury product?

For STRADE, both the streetwear and luxury aspects were essential pillars of the brand. Additionally, there was a third key element: technology. The challenge was to merge these diverse worlds into a cohesive identity with a single personality.

There’s no easy answer for this—it’s deeply tied to our process. We experimented a lot, generating multiple symbol and logo ideas. The final logo is a heavy sans-serif typeface, which might seem simple or even lack personality when seen alone. But within the brand’s context and alongside other elements, it makes perfect sense.

In short, this was achieved through experimentation, testing, and keeping an open mind. There’s no formulaic solution for these types of projects.

The typography in STRADE plays a huge role in its branding. How did you decide on its style, and what role do you think it plays in communicating the brand’s identity?

In this case, the typography and compositions speak strongly to the world of fashion, which is central to the brand. Of course, these are combined with more disruptive elements, like neon-green text strips, seemingly chaotic layouts, or spray paint strokes that evoke graffiti. These details reflect the other pillars of the brand, like streetwear and technology. However, the choice of typography primarily aligns with the fashion world.

Is there a particular project that you feel most personally connected to? What makes it stand out for you?

Between 2023 and 2024, I designed a magazine called Dysprosium, where I had total freedom to experiment like never before in an editorial project. The magazine explores the concept of "Publics," reflecting on the boundaries between public and private, both in its content and design.

It includes features like a transparent insert revealing the design grid—something typically private for designers—digital file names instead of captions, and a foil-silver cover that reflects different audiences. The vibrant palette, inspired by Mexican visual folklore, uses three types of paper to create textures and blue spot ink reminiscent of the early Internet, blending digital and print elements.

I connect deeply with this project because it allowed me to stretch the limits of unconventional design without sacrificing functionality while adding significant aesthetic value

Brada’s work often feels bold and daring. How do you ensure your team stays inspired and continues to challenge traditional design norms?

I often find myself creating designs that feel too similar to existing projects in the industry, our past work, or predictable outcomes. When that happens, I step away and look for inspiration in entirely different fields. For example, if I’m working on a chocolate brand, I might explore clothing brands, fast food projects, or even the automotive industry.

While these might seem unrelated, they offer fresh perspectives. Of course, there’s always a common thread—if I’m designing an elegant chocolate brand, it makes sense to study luxury fashion or high-end cars. The “luxury” aspect becomes the anchor that connects these diverse industries.

Another key aspect is research. Beyond the brief and client-provided information, we dive deep into the product. For instance, if it’s chocolate, we study how it’s made, where cacao is grown, and the conditions required to cultivate it. This in-depth understanding often sparks ideas that connect conceptually and visually with the brand’s identity.

What’s a key lesson you’ve learned from a project that didn’t go as planned, and how has it shaped the way you work now?

Many! These moments happen constantly and have shaped the process and methodology we use today. I think it’s a result of years of learning from mistakes, and it’s a good thing—it shows we’re still evolving.

For example, when I started working as an independent designer, I once had a client who requested endless rounds of revisions. By the 15th round, I realized I hadn’t established a limit upfront. After that experience, I added a clause in my proposals specifying the number of revision rounds, and it hasn’t happened again.

This is a simple example, but similar situations happen all the time. Sometimes it’s about improving internal processes rather than client communication, and we implement these lessons in future projects to make things work better.

The design world changes so quickly. How do you balance staying relevant with staying true to your studio’s unique identity?

The design world changes so quickly that you only notice when you pause and reflect. Looking back, I can see how much my work and understanding of design have evolved. Ten years ago, my style was more minimal, focused on black and white. Now, I’m more open and adaptive, as my understanding of design and the world has grown.

This applies to the industry as well. Today, young designers have access to countless tools, resources, and typefaces—things like AI didn’t exist a decade ago. Staying updated and learning new tools is crucial, but I try not to follow trends blindly. While trends can work in specific cases, I prefer to focus on creating work that’s timeless and aligned with each brand’s essence.

Design can be intense—how does your team recharge or find new sources of inspiration during demanding projects?

By looking in less obvious places. I believe inspiration is everywhere: on the streets, in nature, in old signs, in movies, in objects, etc.

And of course, by resting. You can spend hours working, designing, and researching to find concepts or achieve an interesting result, but overworking can backfire. Nowadays, I’m certain that when something isn’t coming together, the best thing to do is step away for a moment (or even for a few days if the project timeline allows). Taking a break could mean switching to another project, going for a walk, listening to music, having dinner, or even just taking a shower. When you come back more relaxed, you see the project with fresh eyes, and everything flows much better.

Is there a design medium or industry you’ve yet to explore that you’d like to dive into?

One area I’m passionate about and deeply interested in is fashion design—clothing design in general. As a team and personally, we’ve had the opportunity to work on projects related to fashion, mainly streetwear, which fascinates me. However, I’m eager to dive even deeper into designing clothing.

In fact, you can see this passion reflected in our branding projects, where we always deliver more brand applications than what the client asks for. One thing we always include is a clothing item—like a hoodie, sweatshirt, or t-shirt. I also have a clothing brand called Loca People, which I started purely for fun and personal enjoyment. It’s like my playground, a space where I can experiment and create freely. This is an industry I want to immerse myself in even more, and I’m actively working toward that goal.

If you could collaborate with any brand or designer in the world, who would it be and why?

I’d love to work with Bureau Borsche. Their projects are incredibly diverse, and they take experimentation to the extreme, often achieving unpredictable results. As a designer, I’m very curious about pushing those boundaries of creative freedom to create something that stands out and truly works.

For young designers hoping to break into the industry or even start their own studio, what advice would you give them?

It might sound obvious, but design a lot. If you want to do packaging design, create as many packaging projects as you can. If you want to work in a specific industry, develop concept projects for that industry.

Your first client will come to you after seeing your work, and if you don’t have work to show, that’s unlikely to happen. That’s why I recommend creating conceptual projects where you can fully showcase your skills, and then document them properly to build a portfolio.

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