Reworking Ideas and Rethinking Design Gilberto López’s Perspective

Transmission 166: Interview with Gilberto López

Gilberto López, aka BigGil, is a vector artist, art director and illustrator based in Caracas, Venezuela. He spent several years working for Caracas advertising companies after growing weary of the routine, he decided to do something on his own. Gilberto and his closest buddy established a digital studio and a graphic studio and the things went really well for them for a while, but because he kept being dissatisfied, he finally got the chance to “employ” his creative alter ego, BigGil, and eventually he made the decision to create a company called “Magnifico” and walk the path that allowed him to unveil his bold graphic and unique visual style.

Several companies, national and international, that shared his aesthetic and perspective on art got in touch with him throughout time. His personal endeavour, in a new professional stage, led him the freedom to develop a series of extraordinary designs, and brought him to work in an laboratory that has allowed him to create very catchy artworks.

Which illustrators, designers, or art movements have had the biggest impact on your work? Can you share a memory from your childhood that motivated and inspired you in this field?

My work has been heavily influenced by many artists and varied references, such as Jim Lee, Soto, Zapata, Manilla, Posada, Osamu Tezuka, Lee Falk, among many others. They inspired me and left their mark on my design style and compositions. Additionally, their influence shaped the way I think and approach projects, which ultimately reflects in my style.

BigGil‘s Behance | Instagram

Can you tell us a little about you and what inspired you to become an art director, vector artist, and illustrator?

I was born in Valencia, Carabobo, and at the age of 8, my family moved to Caracas, the capital of Venezuela. I clearly remember when I was a child, drawing in my school classroom and at home in my room, copying illustrations from comics and magazines. I loved how a simple line could transform a page into something full of life. That act of creation inspired me to explore visual art and eventually dedicate myself to graphic design and illustration.

What were the challenges that you found at the beginning of your career? What did you do to overcome it, and what did you learn from the experiences?

In the beginning, one of the biggest challenges was gaining confidence in my abilities and finding my own style. Along the way, I received many critiques, some difficult to process. But what this taught me is that patience and perseverance are key. I learned that every mistake is an opportunity to improve, and that constructive criticism is essential for growth as an artist.

Vector art has a distinct clarity and precision. How does working with vectors shape your artistic approach compared to other mediums? 

Working with vectors allows me to achieve precision and clarity that I can’t reach with other mediums. The flexibility of vectors lets me experiment without the fear of making irreversible mistakes, and it always gives me control over the details. This aligns with my design approach, where form and composition are just as important as fine details.

What is the most unexpected problem solving you’ve faced when translating a concept into a full illustration?

One of the most unexpected problems was realizing that, although I had a clear concept in my mind, translating that concept into a visual illustration didn’t always work as I expected. Sometimes, color or proportion didn’t communicate the same message, which made me more flexible and open to the possibility of reworking certain aspects until I found the right balance.

How do you manage the precision with the desire for a more organic or hand-drawn feel in your illustrations? Do you mainly work digitally or do you also create analogue drawing?

Precision and proportions are crucial in my art, but I also enjoy adding an organic touch. I often begin sketches analogically, with pencil and paper, to capture spontaneity, and then I digitize the work to refine it. This allows me to combine the fluidity of hand-drawn style with the precision of digital lines.

How do you reconcile the client’s vision with your own artistic sensibilities when directing a project? What are some key strategies you use to ensure the project, not be too altered, and  maintain a high creative level?

Clear communication from the start is key. I make sure to fully understand what the client wants, but I also ask questions to explore if there’s room to incorporate my creative vision. Throughout the process, I make small adjustments to balance their desires with what I consider best, ensuring the visual integrity of the project. But I also tell all my clients a phrase that is my philosophy and mantra: “Let yourself be surprised.”

Gilberto López’s fascination with Japan, its people, history, art, and customs grew to the point where he traveled to Tokyo, Japan, for the first time, and it undoubtedly influenced his development as a graphic designer even today

Your profession also involves balancing client expectations with your creative integrity. Have you ever had to defend an artistic choice?

Yes, there have been times when I had to defend my choices, especially when the client didn’t understand the value of a visual detail, the concept, or the color choice. In these cases, I try to explain clearly and logically why I chose that approach, always showing examples and how that choice will contribute to the final impact of the design.

Have you ever started a project where you had to rethink your entire creative approach? If yes, can you please share what led to that shift?

Once, while working on a campaign for a product, a logo, a record cover, or a graphic or corporate image, I realized that the initial approach wasn’t resonating with the target audience. After some testing and analysis, I decided to completely change the concept, color palette, and graphic style to make it more attractive and accessible, resulting in a great success and a valuable experience.

How do you stay inspired and keep your work fresh in a world saturated with visual content?

I stay inspired by seeking new sources outside of graphic design, such as literature, fashion, architecture, and music. I also try to travel, explore new cultures, and expose myself to different experiences, always observing and analyzing my surroundings to keep my work innovative, fresh, and interesting.

What’s the most unusual or unexpected source of inspiration you’ve ever had?

One of my most unusual inspirations was a couple arguing in a café. The complex nature of their glances, gestures, and changes in the ambient color led me to imagine a whole fictional world, giving life to characters and narratives that I later reimagined. This became a beautiful custom—reimagining things in unexpected ways.

With the rise of AI-assisted design tools, do you see them as a complement or competitors to illustrators and art directors?

AI tools are a powerful complement to illustrators and designers, not a competitor. They can speed up processes and offer new perspectives, but the human touch is always needed to provide context, emotion, and authenticity to the work. I believe that combining both enhances the creative process.

Dominique Musorrafiti

Ciao! My name is Dominique. I’m Italian and I’m proud to be a mix. My father was an Italian chemical engineer and high school teacher, with Greek and Polish heritage. My mother is Haitian, she was high school language teacher, with Dominican, Spanish, French, Portuguese, African and Native American heritage. Being a mix makes me appreciate to want to understand different cultures and lifestyles. I grew up in Italy, lived few years in Haiti, travel around main European capitals, lived many years in China, in Spain and UK. Traveling makes me feel that we can learn something from every situation in every part of the world.