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Ibán Ramón Rodríguez (Valencia, 1969) studied design in his native city and at the University of Portsmouth, in Britain. He put his studies into practice at RSCG Conran Design in London and then created his own Ibán Ramón office in 2001, where he works on projects in the areas of corporate identity, publishing design and graphic communications. He has received several awards, such as the Spanish Young Creatives Award in 1997, and took part in the latest benchmark exhibitions of Spanish design: Other Quixotes, 2004, Spanish Designers Interpret the Bullfight Madrid 2002 and Observatory 2000 Valencia.

Question: How do you go about mapping your work process, from the client to the final solution?
I analyse the conditions of the job and draw conclusions about the needs that have to be satisfied and the aims to be achieved. Then I draw up ideas to respond to them and, if possible, to enrich the project with new interpretations. Lastly, I tackle the actual graphic design, ensuring that the ultimate solution not only expedites its function technically, but also benefits the original concept.

Question: One of the characteristics of much of your work is the graphic relationship you establish with previous models of graphic design, though with an absolutely contemporary interpretation. Could you explain these influences and what effect you want to achieve?
I have always been interested both in historical research and in revision, so my benchmarks – and there are lots of them – come from all ages and not only from the design community. On the other hand, I try to use colour, typography and layout on the fringe of trends: I believe that graphic solutions that follow fashions on top of anything else tend to interfere with the message, diluting it or conveying a parallel one, which I prefer to reserve for personal projects or very concrete jobs. Logically, I try to make contemporary, but effective, designs: I do not claim to make works of art, but I always remember the reciprocal bond between professionals in days gone by, which demonstrated their worth.

Question: Another characteristic is the freedom perceptible in your works when you develop projects in relation with culture. What is the fundamental difference between working for a private concern and a public authority?
The margin of freedom I take in all my undertakings is similar, but I manage it responsibly. This means that it is more discreet in certain cases. Basically, the difference between jobs done for private enterprise and for public institutions is in their messages, which determine the ultimate appearance of each design.

Question: You are a young designer. Do you think that the path you have to tread in Spain for your work to be acknowledged is a difficult one?
Each job certainly implies acknowledgement and the level of some jobs presupposes greater acknowledgement. That is enough for me.

Question: What projects are you working on right now?
I am preparing a major image catalogue for one of Spain's leading contemporary furniture concerns, the image for a new department at the University of Valencia and some publications about architecture and town planning for the Spanish Public Promoters Association, among others.