INTERVIEW NO. 24
Filippos Fragkogiannis is an Athens-based graphic designer, with an MA in Visual Communication, and a BA in Graphic Design from Vakalo Art & Design College and the University of Derby. His research-based approach is rooted in semiotics, symbolism and the mechanics of visual language. His projects center around visual identities, posters, and print collateral, and he regularly enhances type foundries with bold imagery.
How do you describe your work?
My design approach could be described as sharp, transparent, and plain-spoken. It calls for the viewers attention and tries to earn their trust, all the while allowing for multiple interpretations. I want the outcome to be direct and honest, to serve its purpose, and get the message across in a straightforward manner. I’m all for a simple, truthful, and type-centered design.
I try to avoid adopting one style or another. Instead, I develop a creative methodology that moves from research and accumulation to condensation and abstraction. In our saturated times, my intention is to communicate, through design, messages that speak a universal language and appeal to a wider audience.
A designer o studio you admire?
Artists working conceptually with typography and text in public space such as Barbara Kruger, Jenny Holzer, Lawrence Weiner, John Fekner and Josephine Kaeppelin always interested me. At the same time, my designs reflect my affection for fonts, and I’m always eager to collaborate with exciting type designers such as Panagiotis Haratzopoulos, Milos Mitrovic, David Súid and Valerio Monopoli. Typefaces, to me, are a true inspiration. I think of them as vessels for concepts, moods, and gestures. To spark my creativity, type foundries are my go-tos.
Could you tell us about any of your projects?
A project reflecting my type-oriented approach is my work for NOMAS Magazine, a travel edition for visually wandering the world. Among other things, I got to imagine the code system of the featured countries for which I picked National Codes Pi with the aim of highlighting the font’s application both on paper and online. On the masthead of the magazine, I colored three codes in red, green and blue to hint at both the RGB system and the online continuation of the project.
Another great experience was enhancing Fonts.gr online presence with new features, pushing the envelope further. Along with Georgia Harizani, we created the company’s Instagram and Facebook shops, a Google My Business listing with a comprehensive font directory, and added the finishing SEO touches to their website. Needless to say, designing the foundry’s first AR filter on Instagram was so much fun. You should try it!