Design for communication

The highest graphic level

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The highest graphic level

Tau Design is recognized for excellence in its graphics approaches tailored to the needs of the project. We do not impose a style of author, each job has the style you require its features.

No rates

Tau Design has no fixed rates. The economic approach responds only to the complexity of the project. For Tau there are no small jobs nor great prices.

Fellow travelers

In Tau Design we have the same interest as our customers in turning every job into a success: for them and for us.

History

Founded in 1980, Tau is a design studio that offers an integral service capable of meeting the needs and requirements of our clients and covering all facets of visual communications for businesses and institutions.

More than 30 years of business bears witness to the breadth of experience of Tau Diseño, representing a company capable of delivering solutions to the level of a much larger company, while maintaining the personal treatment and attention of a small business.

Creativity, experience and service are the core values of our company.

We have extensive business relations with a broad range of companies and individuals who have all entrusted their corporate image and communications to Tau Diseño.

More than 30 years helping businesses and institutions to develop cohesive visual identities and communications

Emilio Gil – Tau Diseño Founder

Awards and Press

Awards

  • Donside Special Award. United Kingdom 1994. Editorial design
  • Laus Gold 1994. Editorial design. Spain
  • Certificate of Typographic Excellence, 1995. Type Directors Club. New York
  • AEPD Annual Design Award 1995, Spain
  • Laus Award 1996. Editorial design. Spain
  • Donside Awards. United Kingdom 1997. Gold for Best Magazine Spanish international and better work overall
  • Certificates of Excellence in 1996, 1998 and 1999 Editions. ‘The European Regional DesignAnnual’, Print-Rotovision
  • Letter 2003. National Awards for Visual and Graphic Communication Environment
  • AEPD Annual Design Award 2005, Packaging
  • Quality Award in the National Health System by Signage System for disabled people in Virgen de las Nieves Hospital. Ministry of Health. 2009 Edition.

Press Mentions

  • Our works have been selected for the following publications:
  • ‘Typography 16’ (Watson-Guptill Publications, New York)
  • ‘Windows of European Design’
  • ‘Spanish Design and Architecture’ (Emma Dent Coad. Studio Vista/Rizzoli, London)
  • ‘Laus 3-4’ and ‘Laus 25’ (ADGFAD, Barcelona)
  • ‘Graphis Book Design I’ (Graphis Press, New York)
  • ‘Print’ (European Design Annual, 1996 y 1998)
  • ‘Made in Spain’ (Index Book, Barcelona 2001)
  • ‘Type at Work’ (Andreu Balius. Index Book, Barcelona 2003)
  • ‘Select’ (Index Book, Barcelona 2003)
  • ‘Signos del Siglo. Cien años de Diseño Gráfico en España’ (2000) (‘Signs of the Century. One Hundred Years of Graphic Design in Spain’)
  • ‘Pasión. Diseño Español’ (2002) (‘Passion. Spanish Design’)
  • ‘Megg’s History of Graphic Design’ (5th Edition. 2010)
  • Works in ‘Todo es diseño’ (‘Everything is design’) in Icograda Design Week. Fine Arts Circle. (Madrid. 2010)

Our Services

We apply our quality standards throughout the production process, from the first sketch to the final product. We are happy to assist you with our knowledge and experience for any issue arising from the project.

Creation of visual identity

Naming, the design of the basic elements of identification (symbols, logotypes and logomarks), the application of visual identities, copywriting, the design of manuals and style guides for print or digital publishing.

Institutional and corporate communication

Annual reports and corporate publications, both internal and external.

Editorial design

Creation of identities for publishers, signature design for book collections, design of periodical publications, corporate style guides and manuals.

Environment, architectural and events design

Signage systems for both exterior and interior – including ‘inclusive design’ for people with disabilities – stands and design solutions for permanent and temporary exhibitions, global identities for public meetings, seminars and summits.

Packaging

Design & development of special packaging that help our customers highlight their products.

Web Design & WebApp

Web design and development under the latest trends and programming technologies. HTML5, CSS3, JS, PHP and MySQL. Specialized work in WordPress and Prestashop platforms.

Apps Development

Specific applications for Smartphones and Tablets in Apple, Android and Windows environments, and developed with Adobe DPS.

Wordpress Themes

Template design and development of specific themes for projects under this platform.

Online advertising

Creation of online advertising campaigns with all kinds of pieces and newsletters.

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Digital editorial design

In Tau we have developed a new concept of digital publishing based on open source (HTML5 + CSS3 + JS + PHP + MySQL), which results in a webApp available from any device.

More info
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Selected Artwork

In this section we include workpieces which size, complexity or visibility make them very representative examples of our work. We show different aspects of their production process and results, with the aim of providing an updatable showcase.

somos Magazine – Telefónica

somos Magazine – Telefónica

  • Diseño editorial digital: Webapp

Our relationship with Telefónica dates back to 2007, when we were entrusted the custom layout forsomos magazine, dedicated to all employees.

Since then we have been evolving in parallel with new technologies, developing new formats as new alternatives to printing on paper arised.

This long road leads us now to make a web application available for any device, self-managed and open source.

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Editora Social y Cultural

Editora Social y Cultural

The Editora Social y Cultural trusted us to carry out its new website in 2013.

In addition to a complete graphic redesign, we have restructured the information to facilitate the user experience when locating content. The extensive catalog of ESC is supplemented by a series of multimedia content accessible via Web, for both teachers and students.

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Expo Grafistas in MNAD

Expo Grafistas in MNAD

Graphic Line and Commissariat Expo Grafistas in the National Museum of Decorative Arts in Madrid for the Ministry of Culture

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HUVN

HUVN

In 2004, Tau were asked by the Virgen de las Nieves hospital in Granada and the Andalucian regional government to research and design a complete wayfinding and signage system that responded to the needs of people with a disability – whether cognitive or physical – and also enabled the illiterate, or non-spanish speaking users of hospitals to find their way around comfortably and efficiently.

The HUVN hospital itself was the perfect testing ground for this exercise in ‘Inclusive design’. The complete installation comprises 5 buildings, built over distinctive periods during which some have been refurbished or assigned a use other than their original purpose. Over 1 million patients use the building every year, as well as the large number of patient family members, employees and suppliers, making use of the broad spectrum of medical specialties available.

Although the main target group of the project was the disabled, it goes without saying that the finished investigation represents a complete all-inclusive solution for able bodied citizens aswell.
The project was conceived as a complete global system rather than a collection of independent pieces, that had at its core the following fundamental objectives: create a signage system that accompanies the user at all times through resources incorporated into the design that allow for a personalised level of interaction, in this way an individual within the sytem is not left ‘unattended’ at any moment of their journey. This ‘personal treatment’ is accompanied by a general universal orientation that uses established supports such as maps, plans and traditional markers.

The system incorporates the following elements:

  • Information kiosks
  • A wayfinding floor trail
  • A wayfinding wall trail
  • Orientation and directional porticos
  • Destination point signage and markers

These elements all form specific points on the journey of a user in reaching their desired destination, and are further complemented by easily recognisible images specific to each zone of the hospital.

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El Corte Inglés

El Corte Inglés

  • Informes anuales: Cartas
El Corte Inglés is the giant of the distribution in Spain and a business reference for the sector worldwide.

Since 2011 Tau Design has been working on various projects of strategic importance to the firm.

Annual Reports for the last two years designed by Tau maintain a strong institutional character, while redesigned Menus for Restaurant and Café Dining assume a total renovation respect to its previous image.

Supported on a graphic line of new illustrations, El Corte Inglés restoration centers new image transmits excellence both in its culinary level and the environment where it is applied.

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Signo Editores Comic Collection

Signo Editores Comic Collection

  • :
Signo Editores proposed an ambitious project: the creation of a set of ten volumes dedicated to ‘Mortadelo y Filemón’: two comic strip detectives drawn by Francisco Ibáñez who have become a Spanish national institution.

Together with another classic and much loved comic character ‘Capitan Trueno’ (drawn by script writer and artist Luis Gasca), the bumbling detectives at last have a collection designed and presented to a level worthy of their status…

The production of both collections involved an in-depth historical study, iconographic analysis and chronological cataloguing carried out by the specialist Toni Mañac.

The general design of the collections sought to reflect the impact of the original artwork, at the same time creating a unique visual identity that stood apart from previous editions designed principally for sale in news stands.

The starting point was an impactive collection of covers and strips that represented various points in the long and varied history of the characters. Each of the covers in the collection features blow ups of details designed to highlight distinctive characteristics and commonly recognised facial expressions and traits. These graphic cuttings served to draw the readers attention to the signature styles of Ibáñez and Gasca.

Each tome is protected by a dust jacket featuring an aspect of the universes of Mortadelo and Filemon: gadgets, secret entrances to the HQ, inventions of ‘Professor Bacteria’ etc. and in the case of ‘Capitan Trueno’ studies of the arms and armour and secondary characters found in the comic strips. The use of colour on the covers: a spot black printed on another contrasting spot colour adds another facet in creating a signature style, and easily recognisible collection.

The screen printed case-bound cover contains a further surprise in the interior: a collection of original covers. As a gift to the readers, each tome also contains a thematic poster featuring the graphic signatures of each of the characters, with the intention of creating a set of collectors items.

The spine of each tome is printed with a section of an image divided into 10 ‘strips’, the complete image is revealed when the tomes are viewed together inside their presentation box, decorated with similar comic ‘excerpts’. Overall, an attractive item for everyone from fans to serious collectors.SIGNO_MyF_reverso-poster#

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Suma Flamenca Festival

Suma Flamenca Festival

  • Línea gráfica: Piezas de comunicación
The identity of ‘Suma Flamenca’ – a flamenco festival organised by Madrid’s regional council and directed by Juan Verdu – sought to create a strong graphic presence for the event. The festival programme was not limited only to a series of live performances throughout varied venues across the madrid region; the ‘suma’ (meaning ‘whole’) was completed with poetry recitals, exhibitions, publications and workshops.

Flamenco is one of the few artistic genres where the public is present in the moment of its creation, it is reborn each time it is interpreted, constantly shifting its boundaries and reinventing itself.

These were the parameters within which we developed the identity of Suma Flamenca, respecting the aesthetic tradition of the genre while avoiding easy solutions and clichés, and aiming to encapsulate in a graphic image all the characteristics of the musical genre.

The identity created for the first edition of Suma Flamenca in 2006 has since evolved with each new festival, adapting itself to a range of presentation formats ranging from banners for theatre façades to stage backdrops, press advertisements, public transport adornment and printed collateral.

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Spanish presidency of the UE

Spanish presidency of the UE

  • LÍNEA GRÁFICA: desarrollo

For the first time in the relatively long history of the EU, it was proposed that the presidency of the council be a shared task. In 2010 Spain launched a new formula for this system of co-presidency: the trio. During the 18 months between January 2010 and July 2011 the responsibility would be shared with Belgium and Hungary.

To launch this co-operative spirit it was agreed between the three countries to hold a competition in order to produce a single logo that would be used during each of the three tenures. The competition was aimed at graphic design students who were given a brief to produce a logo that would symbolise shared knowledge and cooperation in a modern Europe. The winning design by Belgian student Antoine Durieux was chosen by a jury of representatives from each of the three presidency countries. The idea of a shared logo transmitted the principles of shared objectives and dialogue – values reflected in the winning design featuring entwined ‘eu’ letters, and a colour from the flag of each country.

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The brief
The three countries of the presidency decided that Spain would be the country responsible for developing the full visual identity taking the winning logo as a starting point. We were charged with this task, and with the application of the completed identity to elements that the following tenure holders could also utilise.

Development of the Spanish visual identity
Taking the official logo as its starting point, the Spanish graphics system was based on two core elements: ‘surfaces’ and ‘lines’. The objective was two-fold; to create an instantly recognisible ‘visual umbrella’ for all presidency material, and also to design a flexible system that could be very easily adapted to a broad range of applications without incurring any technical complications.

The two core elements worked together within the overall identity. ‘Surfaces’ employed the letters of the logo as a nexus at which various coloured surfaces would meet. This meeting point of colours created varying forms that could crop the letters ‘e’ and ‘u’ in a range of configurations, resulting in a myriad of backgrounds used principally in the design of signage, banners and promotional elements. The resulting applications of this ‘resource’ created a vibrant and attractive backdrop for presidency meetings and events, reflecting Spain as a positive, agile and modern country fully committed to the European project.

The second resource: ‘Lines’, represents an illustrative reflection of the logo letter forms: lines of two widths – fine and thick – intersecting in a variety of configurations that could be adapted to all manner of stationery, publications and printed material.

The typeface chosen for the identity was ‘Eureka sans’, employed both in secondary titles accompanying the logo, and also as a text face for all communications material across the identity. Eureka was chosen for its legibility, ease of use, distinct character and multi-language support.

The flag – and more
Another important element in the identity is the colour palette, designed in this case to be both attractive, and have its practical uses – such as in colour coding to aid legibility in signage systems.

For the Spanish identity the palette centred on three principle colours: red (from the flag), EU blue, and a neutral grey. These three colours were also used as central elements of the cover designs for publications that accompanied meetings held in Spain during the presidency period.

The support unit for the Spanish presidency also asked for a set of publication guidelines that incorporated covers and interiors, with the objective of creating an extra element that could integrate into the larger homogenous identity. The publications use the intersecting lines motif on a background colour selected from the main palette, with the configurations of lines forming a continuous pattern when the publications are placed together in a line.

General identity guidelines
The Spanish presidency of the EU brought together many different groups in its daily operations, from official institutions and sponsors to specialist suppliers.

In order to orchestrate the application of the basic presidency image a set of 5 manuals were produced so that any individual could work effectively with the various visual elements, and apply the identity correctly. A general manual was created, as well as a manual dedicated solely to the logo, with three more for public institutions, merchandise/products, and publication design.

The manuals were distributed to all the ministries, embassies, sponsors and suppliers involved in the project. Material was also supplied on CD and online, ensuring that the identity was distributed in every possible format and accessible by every possible user. The general state administration depts. could also download material accompanied by instructions through their own intranet network.

The many varied applications of the identity include an official stamp circulated by the post office to mark the occasion, a celebratory coin, a whole plethora of menus and programmes, personal security coded ID cards, a souvenir poster, livery graphics for Iberia’s aircraft, pendrives, t-shirts, mugs, umbrellas and other merchandise, and an annual report.

The image of Spain in Brussels
The creation of the two core graphic elements mentioned previously achieved the aim that all visual identities aspire to: recognition.

During the presidency, there were various applications of the identity to both the exterior and interior of the Justus Lipsius building, headquarters of the Council of the European Union in Brussels. From the 1st of January through to the 30th of June 2010 banners and signs adorned the exterior with the image also applied to material distributed by the support unit to the more than 3,000 meetings organised as a part of the tenure in Brussels and Luxembourg.

First Belgium. Then Hungary.
The success of the Spanish Presidency identity – both in its visual appeal and the methods of its application – was appreciated by the other members of the ‘trio’. So much so that Spain was immediately asked to adapt the identity to the following tenure holder: Belgium, with Hungary following suit.

Beyond the implications that the success of the presidency had for Tau, the identity also helped to contribute to the exterior image of the three tenure holding presidents, and the EU itself during the 18 months of the ‘trio’.

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Pioneers book

Pioneers book

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‘Pioneers. Spanish Graphic Design 1939-1975’ is a book dedicated to Spanish design – more particularly the generation of ‘pioneers’ who laid the foundations of a profession that today has many practitioners, and a growing amount of followers.

The period covered by the images collected in this blog begins in 1939 (the end of the Spanish civil war, and beginning of World War II) and ends in 1975 (the year of the death of General Franco, and the beginning of democracy in Spain). During this time cultural and artistic expression were subject to the restrictions of a dictatorial regime, and if we add to this a geo-political isolation that left little in the way of design reference or outside influences in a society with no design culture to speak of, then the talent of the pioneers and the magnificent work they produced in spite of such limited means is even more startling.

As well as enabling this finished graphic material to be presented and viewed together in one volume, the objective of the book was to pay homage to this generation of professionals who, with limited resources, managed to create a body of work capable of transcending both time, and geographical borders. With an introduction by Anna Calvera; professor of design history at the University of Barcelona, ‘Pioneers…’ features over 1000 images, with an accompanying timeline chronicling key dates and events within the trajectory of the design profession, both in Spain and abroad, between 1939 and 1975.

Published by Index Book, one of the premier publishers of visual communications and design related books in Spain, Pioneers has been a tremendous success, so much so that it has been rapidly translated into english for publishing by New York editorial MBP.

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AMETIC identity

AMETIC identity

  • Cliente: AMETIC
  • Proyecto: Línea gráfica

AMETIC is the resulting association formed by the fusion of two previously existing bodies: AETIC and ASIMELEC. The new association comprises companies from the worlds of electronics, information technologies and telecommunications and covers a wide range of sectors such as consumer electronics, electronic components, professional electronics, the telecommunications industry, digital contents industries, operators, manufacturers, distributors, installation specialists and commercial agents.

The Ametic identity was devised as a graphics system rather than a static logo, capable of reflecting various concepts:

  • the open character and nature of constant evolution and progress that typifies the sector,
  • the diversity of environments, services and products that the companies within the sector represent,
  • the most dynamic and advanced economic aspects of the industry, expressed in one of its mottos: ‘The solution is digital’ and
  • the potential for growth, with the Association able to incorporate new companies in the future.

The graphic identity created for AMETIC has a strong potential for ease of recognition while at the same time being able to reflect a series of fundamental principles:

  • the constant evolution and change within the sector,
  • a state of the art industry at the ‘cutting edge’ of technology,
  • variety and
  • modernity.

The graphic system designed by Tau allows the application of the identity in a coherent and effective manner to dynamic or static material, screen or print, for uses ranging from seminars to stationery.

The letter ‘A’ forms the core of the AMETIC logo, representing a simple geometric form, the equilateral triangle, within which the outline of a letter ‘D’ (for ‘digital’) is knocked out to form an open portal.

Although the manual does specify a limited colour palette, the idea is that there is no fixed colour scheme – the continuity of the identity rests in the strong geometric form, acting as a ‘frame’ that can be filled with a constantly changing plethora of images, colours, or even animations. The infinite possibilities of the final appearance of the identity within an easily recognisible form perfectly reflects the character of the association.

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“Un toro negro y enorme” book design

“Un toro negro y enorme” book design

  • Laus de Oro en Diseño Editorial:
The title of this book comes from a verse by poet José Bergamín, and pays homage to all the artists, writers, designers, sculptors, illustrators and photographers who have all produced work inspired by the mythical Osborne bull designed by Manolo Prieto. The interior of the book features differing stock, screenprinting and dye cut pages that help to reflect the diversity of the work included.

The book includes collaborations from: Alberto Corazón, Isidro Ferrer, Emilio Gil, Oscar Mariné, Peret. Fernando Gutiérrez, Juan Gatti, Javier Mariscal, Enric Satué…

The book won various design prizes at both a national and international level, including a gold Laus for editorial design, Type Directors club and British Donside Gold award.

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Patrimonio Nacional

Patrimonio Nacional

The way that such an important institution for Spain as National Heritage is presented to Spanish citizens and foreign visitors, is crucial to what is today considered “Country Brand”.

On behalf of its Board, Tau Design designed a new image and developed the Heritage Corporate Identity Program respectfully with tradition while chasing a new way to communicate.

The work was completed on a new drawing of the crown -respecting heraldic standards but providing better reproduction by cleanign lines and overlays- the creation of “Heritage” a new typography drawn expressly for the logo, and related graphics to be applied in publications, signage of historic buildings and events communication.

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