By Design: How Alexandre Correa Moura Brings Empathy into Design
A visual creative originally from Curitiba in southern Brazil, Alexandre Correa Moura is design director at Deutsch NY.
He has worked at creative agencies including Master Comunicação, WeShapeCreatives and OpusMúltipla on global brands such as Nike, Ferrero Rocher, 3M, Ambev (now ABInBev), and Vaio. Passionate about the creative process, the craft and its challenges, at Deutsch NY Alexandre works on multiple lines of business, including PNC Bank, VillageMD, Dr. Praeger’s and new business initiatives. Coming from a family that undoubtedly values the arts, he earned his Graphic Design Degree from Pontifical Catholic University of Paraná and has been published in Brazilian Biennial of Graphic Design (Bienal Brasileira de Design Gráfico) and the Creation Club (Clube de Criação).
Always exploring his aesthetic sense, outside of the office he can be found painting canvases and playing guitar. But today, we picked his brains on all things design.
LBB> Tell us about your current role and design specialism(s)?
Alexandre> From the beginning of my career, I have always been very careful to conceptualise solutions before going to the practical/technical part. This has always helped to be accurate, creating a solid foundation so that the craft/graphic part could be explored to its fullest, bringing unique and effective results. As a design director, I can see that all the baggage and experience I have acquired over the years helps me to identify situations and act quickly. Having worked at several advertising agencies, not just design studios, allows me to have a holistic and integrated view of how these fields are composed.
LBB> What drew you to design in the first place, and how has your design career evolved?
Alexandre> Since I was little, I've always loved drawing and art classes at school. I always say that everybody draws when they're kids: most stop at some point, but others don't. That's my case. When it came the time to choose a college to attend, I was in doubt between architecture and graphic design and what led me to the choice were the books on Bauhaus my grandmother gave me. I was very attracted to how the work with shapes and colours could be applied in such a functional and practical way in everyday life. From there I discovered Alexandre Wollner and Aloísio Magalhães, pioneers of Brazilian graphic design, with the creation of the Escola Superior de Desenho Industrial (ESDI) in the ‘60s. Based on my admiration for all this, I started working with branding, then with advertising and the infinite creative possibilities that these fields allow.
LBB> What aspects of design do you get really nerdy about personally?
Alexandre> For me the most important are the basic concepts: colours, contrast, balance, blank space, movement, repetition, typography, etc. A strong foundation is key. Everything is constantly being updated, platforms change quickly, but these concepts are always the turning point for building a good solution. It is necessary to understand and master them, even to be able to deconstruct it all. In short, my focus is always on creating a strong foundation.
LBB> There are so many new design tools out - what tools do you like to use and why?
Alexandre> My creative process always starts with pencil and paper, I have piles of Moleskines that I've used over the years. Only after defining the path to follow I then reach for the computer. I bought my first computer when I was in college and fell in love with the possibilities that software allowed for ideas to develop. Much of this learning was, and still is, self-taught. I've been an Adobe ecosystem user for a long time, mainly because of the integration between the software, which saves a lot of time in the process. The ones I use daily are Photoshop, Illustrator, InDesign and After Effects.
LBB> Design Thinking - thoughts?
Alexandre> In my opinion, Design Thinking is a new name for a practice that has been used for a long time. Placing the user as a central part of the problem, contemplating through a multidisciplinary lens, working empathetically, etc., are processes/concepts that were already here before the term was created. There is no ready-made recipe, processes are changeable, each situation is unique and will need to be envisioned, prototyped and tested uniquely.
LBB> What are the most persistent misconceptions about your particular design specialism that you see across the advertising and marketing landscape?
Alexandre> What I see happening the most are some practices that come from a certain insecurity or fear. If all stages of the process were well-developed, there is no need to present numerous options. We are sought after for our expertises and specialties, presenting too many variables for solutions creates friction that is not positive for either part. You might even come out looking like you don't know your stuff. Co-creation with the client is important, but this should happen at the beginning of the process, not at the end.
LBB> Accessible design is an increasingly prominent topic - from your experience what are the most challenging facets of accessible design? And what does best practice in accessible design in your particular design specialism look like?
Alexandre> A very important topic, which is little mentioned and often forgotten. The few occasions I have come across projects where this was on the table have been around government projects, where accessible design is legally required. Some examples I follow in my daily work are: be aware of the type size, use of sans serif fonts, avoid using italics, follow a standard reading pattern from left to right. In summary, keep it simple and clean but always beautiful.
LBB> What design controversies or challenges do you find trickiest to navigate, or do you find yourself thinking about most frequently?
Alexandre> Usually, controversial situations are more about people than design itself. It can happen for different reasons, such as a different background or way of thinking. I focus on good arguments and to have empathy, so the situation has the best possible outcome.
LBB> How do you think about the ethics of design?
Alexandre> Ethics is a human thing, it goes far beyond design and, because it is something subtle and little demanded, other interests often overshadow it (budget or time, for example). But I am an optimist, I see that this topic is, as it should, gaining more and more attention. Usability, privacy and sustainability are, and will continue to be, the first ones to change.
LBB> What are some of your favourite examples of creative design solutions that inspire you?
Alexandre> I'm a fan of the classics, the creation of Helvetica by Max Miedinger and Eduard Hoffmann, in 1957, is one of them. A project so well done that it lasts until today, in the subway system of NYC, for example. But I love all of them, Otl Aicher, Herb Lubalin, Massimo Vignelli, Saul Bass, all that old school stuff.
Web: I think the company that has the best level of web design is Stripe. Technically fantastic and very detail oriented, interactions and the like.
Product: Wise (TransferWise). Global credit card, simple and direct UX. In three minutes, you have a credit card to use in different countries without worrying about banks and cash. I had a very good experience recently, and it left a great impression on me.
Hardware: Here I have no doubt that it is all Dieter Rams did at Braun.
LBB> Which design projects throughout your career have been the most satisfying to work on, and why?
Alexandre> Personally, I really like the projects of smaller clients, normally involving art, from people who admire my work, trust it and give me complete creative freedom. An example of this is a cultural festival that takes place in my hometown, Subtropikal (instagram.com/subtropikal). They approached me to create their visual identity and the creative process was very rich, reflected in the incredible outcome. The project also got published in the Brazilian Design Biennial.
On the other hand, having worked with large clients, the three years I spent focusing almost exclusively on Nike projects made me understand the behaviour of a brand of this size, the benefits and limitations that impacted my work.
From recent projects I've done, I can say that being assigned to redesign Deutsch NY’s website is one of my favourites. Why? For what it means, the trust that was given to me and my work and the creative freedom. I am proud of it.
LBB> What’s going on at the moment in design that’s getting you particularly excited?
Alexandre> AI, I'm currently immersing myself in these new tools and the ways to apply it in my creative process. It's something that a lot of people see negatively, but I don't, I think it's just a matter of time for us to understand the applicability of all this and how to get the most out of it. I’m excited about it and its possibilities.
LBB> Who are your design heroes and why?
Alexandre> Again, it depends. I'm a big fan of the pioneers like Milton Glaser, Paul Rand, Saul Bass, etc. Contemporary, I love the graphics solutions and way of thinking of Paula Scher and Stefan Sagmeister. Last but not least, I'm passionate about the underground work of people like Raymond Pettibon and Paul Nicholson.
LBB> Thinking of people at the beginning of their career, what advice would you give them for navigating this constantly changing field?
Alexandre> Keep it real, test everything, then grab whatever you love the most and focus on that. It's going to hurt, but it's worth it, trust me.
