Fermin Guerrero: Taking the charrúa identity across the globe through design

Fermin Guerrero 's journey from the vibrant streets of Uruguay to the dynamic cultural landscape of the UAE is a testament to the power of design to transcend borders. As a graphic designer and the founder of Fuerte Type , the first independent type design studio in the UAE, Guerrero has woven his rich Uruguayan heritage into his innovative creations. His work seamlessly blends cultural heritage with modern aesthetics. In this exclusive interview, Guerrero shares his experiences, challenges, and insights into the evolving world of design and typography in the Gulf region. We invite you to know more about Fermin’s artistic mind and free spirit through this interview, which will take you on a journey across the globe through captivating design. Can you tell us about your journey from Uruguay to the UAE and how you came to be involved with the Sharjah Architecture Triennial? I initially studied Industrial Design in Uruguay, where we had a couple of courses on Graphic Design. These courses covered the basics of typography (in terms of type usage, not type design) and Visual Identity. The goal was to equip us with the skills to create decent presentations and to have a holistic view of the products we conceived, particularly in terms of commercializing them and imagining their possible visual identity (naming, logos, etc.). These courses had a huge impact on me, as I found Graphic Design to be incredibly fun and interesting. During this time, I had the opportunity to design a couple of visual identities for businesses that became quite successful in Uruguay, which gave my work some visibility. This opened the door for new opportunities, bringing me more graphic design projects that I worked on parallel to my Industrial Design studies. By the end of my Industrial Design studies, I decided to change my path and move abroad to study Graphic Design. Switzerland was the best choice given its unique combination of a strong typographic and graphic design tradition. Switzerland possesses a design heritage few other countries can match. I completed a BA in Visual Communication at the Haute École d’Art et Design (HEAD) in Geneva, where I was awarded a scholarship from Rolex to pursue a Master’s in Typeface Design at the prestigious University of Reading in the UK. After finishing my studies in Reading, HEAD offered me a position as a professor. I returned to Switzerland briefly before heading back to Uruguay. After three years in Uruguay, working as a freelancer in graphic design and typeface design, and returning to Switzerland every summer to teach various graphic design and typography courses as an invited professor, I received an email from a Swiss friend. This friend had come across a job offer from SAT and thought I would be a great fit, so they sent it to me. The timing was perfect, as after three years in Uruguay, I felt the need for a change. The job offer was a unique and exciting opportunity. I’m very interested in discovering new cultures and places, and this felt like the right type of challenge I was looking for, so I decided to apply. Less than a month later, I was on a plane to the UAE. As the founder of Fuerte Type, the first Type Foundry in the UAE, what inspired you to venture into this niche field? Typography has always been a central part of my work. Whether it is a visual identity, a poster, or a packaging design, my visual solutions tend to lean towards a typographic approach. As a child, I loved drawing, and one of my favorite things to draw was my name in as many different letter styles as I could come up with. For instance, I was fascinated with Metallica and Iron Maiden’s logotypes, so I spent hours figuring out how to write my name in those styles. Without realizing it, I was engaging in a form of lettering exercise. During my second year of studying visual communication, I felt the urge to know more about typefaces from an empirical standpoint. It wasn’t enough for me to play with existing typefaces; I wanted to create my own. Unfortunately, at that time, HEAD University did not offer a course in typeface design. Thus, my journey into type design became one of self-discovery and self-teaching. I sought information through online resources, printed materials, and books, and I reached out to individuals who could provide feedback or advice. My initial typefaces were experiments with geometric, modular display typefaces—those have fewer constraints compared to “text” typefaces, as in designed for long-form reading. Creating text typefaces requires a wider set of skills and experience, since they have to perform well at smaller sizes, be more consistent in terms of rythm, and offer a high degree of comfort. This call for a better understanding of type anatomy, letter drawing, software, and a much more trained eye. Later on, I began creating more ‘serious’ text typefaces, especially as I prepared to apply for the MA in Typeface Design (MATD) program. Only a limited number of students are accepted each year; my cohort had just fifteen students. After completing my MA and with the set of skills this provided me with, I was able to embarc on much more complex projects, publishing them with renowned type foundries such as Colophon (UK) and Typotheque (NL). My type design work started receiving attention from the international press and earned prestigious awards, such as the European Design Awards and the Latin American Design Awards, among others. While I don’t place significant importance on the awards themselves, these competitions provided an opportunity for my work to be evaluated by respected experts and individuals I truly admire. Having them recognize my work as noteworthy among many other talented designers was a sign that what I was doing had value. Drawing typefaces has become an integral part of my professional career, and it is something I envision myself doing for a really long time. [caption id="attachment_2267" align="aligncenter" width="2560"] Poster designed for the exhibition Jeu De Regards by Fermin Guerrero [/caption] How does your Uruguayan heritage influence your design and typography work in the UAE? Although I grew up in Uruguay and began my studies there, I have been living abroad for over 17 years. The majority of my academic and professional life has taken place outside of Uruguay. Hence, I believe that my work is a reflection of both my Uruguayan upbringing and my Swiss formal education and practice. Switzerland has shaped my conceptual approach, theoretical foundations, and references. Uruguay is internationally known for its progressive mindset, evident through its social policies, its resourcefulness, its resilience, and its friendly and welcoming people. Despite being a small country surrounded by the giants of Argentina and Brazil, Uruguay has found its own voice and has learned to maximize its limited resources and differentiate itself to stand out on the international stage, both as a tourist destination and in terms of business opportunities. These characteristics deeply influenced my approach to design and life in general. I strive to find my own voice wihtin the design field, and create unique and challenging solutions while making them as accessible and warm as possible. I believe that my background and heritage aligns really well with the UAE, a forward-thinking mindset country, that also values innovation, creativity and resourcefulness. What are some of the unique challenges and opportunities you’ve encountered working in the UAE’s design and architecture scene? Working in the UAE has been a uniquely enriching and challenging experience. The country’s dynamic growth and youthful energy continuously create new opportunities, making it an exciting place to be as a creative person. One of the most striking aspects of working here is the multicultural audience, which has allowed me to engage with a vast diversity of languages, scripts, and cultural contexts. As a graphic designer and art director with a deep love for letters, working with Arabic and other Asian scripts has been both a rewarding and demanding endeavor. Coming from a background with little exposure to these scripts, it has been a fascinating learning curve. Designing editorial pieces that seamlessly integrate both Latin and Arabic scripts, and sometimes up to four different scripts, despite their significant differences, has required deeply thought-through and innovative design solutions. Over time, I have come to greatly appreciate the unique features and flexibility of the Arabic script, recognizing how it can enhance the visual language of a design. At SAT, I have had the luck to be entrusted with shaping and directing the visual language of one of the region’s most innovative cultural institutions. The UAE is a country of contrasts, where a forward-thinking, quasi-futuristic mindset coexists with a strong adherence to traditions. I find Sharjah to be a particularly nuanced place within the UAE in this regard. While Sharjah embraces a progressive outlook, it places equal importance on preservation and cultural heritage. I understood that for my work to be successful in the UAE, I needed to strike the right balance between pushing boundaries and maintaining a connection to tradition and, in a way, to the past. Fortunately, this approach is familiar to me, especially in my type design work, where I often explore the idea of rescuing elements or ideas from the past and giving them a contemporary reinterpretation. This resonates with me because I believe that to develop successfully relevant, forward-thinking solutions, we must first understand and learn from the past. [caption id="attachment_2264" align="aligncenter" width="2560"] Sharjah Architecture Triennial's international exhibition (SAT02) [/caption] Can you share a bit about the process of creating a new typeface at Fuerte Type? What are the key steps and considerations? What truly drives my work is a sense of discovery. I feel naturally attracted to putting myself in unfamiliar, exciting and challenging situations. I prioritize projects that provide these avenues of exploration, and this personal quest for discovery often shapes the direction of my work. The inspiration for a typeface can come from anywhere. It might be an abstract idea, a specific reference, or even the desire to explore an unfamiliar genre, which is the focus of my latest project, Impura, that I’m currently working on. Whether it’s lettering I find on the streets of Zurich or a historically rooted concept like neo-grotesque, my goal is always to create something unique—something that feels distinctly mine and that only I could have realized in that specific way. With so many excellent typefaces already in existence, I believe it’s crucial to bring something new to the table. If I don’t feel I can offer a fresh perspective or innovative solution, I don’t see the point in investing so much of my time and energy into creating a new typeface. I don’t aim to have all the answers before I start; instead, I allow myself to explore and see how far the project can go. The more I work on a project, the better I understand what feels right for it. I don’t believe typefaces are ever truly finished—there’s always room for expansion or refinement. However, it’s also important for me to put my work out there at some point, and see how people respond. I don’t follow a strict roadmap or sequence of steps. In fact, I enjoy challenging the conventional methods taught in type design. Typically, designers are advised to start with lowercase letters due to their creative potential (vis-à-vis the uppercases), and then move to uppercase letters. However, with my typeface Brick, I began with the uppercases and then designed the lowercases, which proved to be a fascinating exercise and I love what came out of it. I took this approach further with Sakral by starting with a Display version of uppercases, which is quite unconventional since type designers usually begin with the Text version. I believe that by shifting these traditional methods, I can gain new perspectives and foster further innovation. Additionally, traditional practices in type design emphasizes the importance of printing frequently to check a typeface’s performance. I must admit that I rarely print my typefaces during the design process. Screens today have reached a level of accuracy that gives me more confidence in the feedback I get by working on my computer than from printed materials. Moreover, the reality is that most typefaces will be used far more on screens than in printed material. The primary reason for creating Fuerte, my own type foundry, was to have greater freedom and control not only in terms of design but also in presentation and licensing, which are two crucial aspects of type design that influence how fonts are used and perceived. I’ve always admired Swiss Typefaces, not only for their groundbreaking work but also for their attention to licensing and distribution, and their trust in their clients, being the first foundry to offer free trial fonts. That’s why fuerte offer not only free trial fonts but also a comprehensive single license model that encompasses both desktop and webfont files and covers the most common design scenarios, including branding, publishing, websites, apps, social media, motion graphics, merchandising, and more. What are some of the projects you are most proud of, both at the Sharjah Architecture Triennial and Fuerte Type? This is a tricky one, as I honestly don’t have a single favorite project in either field. However, I’d be happy to highlight one from each that I believe you’d enjoy. For SAT, I’m particularly proud of the Brand Identity and campaign I developed for the second edition of the Sharjah Architecture Triennial’s international exhibition (SAT02), titled The Beauty of Impermanence: An Architecture of Adaptability. which took place at the end of 2023/begining of 2024 and was curated by Tosin Oshinowo. This project was truly multifaceted and included an extensive advertising campaign across Sharjah, going far beyond traditional posters to feature billboards, double banners, lamp posts, and LED screens with a series of stunning animations created in collaboration with the talented Berlin-based designer Marinus K. The identity also encompassed environmental graphics across four venues, social media assets, a guidebook, tote bags, lanyards and badges, and a dedicated website, among other components. My goal with this identity was to surpass the previous edition in terms of scope, quality, and attention to detail. Despite being a small team, I’m thrilled with what we achieved and the positive responses we received from those interacting with the various elements of the identity. As for Fuerte, I’m eagerly anticipating the release of a new typeface that I’m currently working on. While I can’t reveal too much just yet, I encourage you to follow us on social media @fuertetype for updates and previews of its progress. [caption id="attachment_2257" align="aligncenter" width="2000"] The Beauty of Impermanence: An Architecture of Adaptability [/caption] What role do you see typography playing in the future of design and communication within the Gulf region? Power dynamics have historically shaped resource allocation and development across the globe, and typography is no exception. For the past 600 years, type design has predominantly centered around the Western world, focusing primarily on Latin typography. However, as the UAE and other Arab countries rise as significant hubs for culture and financial exchange, we are witnessing a shift that will inevitably influence typography. As these regions continue to gain prominence, there will be a growing demand for more nuanced and effective communication at all levels. This increased focus on diversity and quality will drive a more profound attention to Arabic typeface design. Typography in the Gulf region will certainly evolve at accelerated speed to better meet and reflect the needs of this dynamic cultural and economic landscape. How do you ensure your designs remain relevant and innovative in a rapidly changing industry like design and typography? In terms of relevance, I focus on letting the context inform my approach. Each project has its unique context—its location, cultural backdrop, and temporal setting—which significantly influences how I go about solving them. By listening closely to these specifics, I can create solutions that resonate with their intended audience and environment. As creatives, it’s easy to fall into the trap of our own stylistic preferences, which can lead to designs that feel repetitive. However, when the context drives the design process, it minimizes the risk of ending up with similar-looking results. When it comes to innovation, I believe it arises not only from the context but also from my unique perspective, design sensitibities and problem-solving approach. I believe there are multiple ways of succesfully solving a design problem. Finding the solution that best reflects my vision and effectively solves the problem is key to creating something truly unique. What advice would you give to aspiring designers and typographers looking to make their mark in a diverse and dynamic environment like the UAE? I’m not a big fan of giving prescriptive advice, as what works for one person may not necessarily work for another. However, I guess that maintaining an open mind, staying curious, and not letting the fear of failure hinder your experimentation are probably valuable principles to follow in general. More crucially, it’s important to stay engaged with the world around you. Keep up with current events, interact with diverse individuals, and learn from their experiences. Design is fundamentally an exercise in empathy—understanding and connecting with others enhances your ability to create meaningful work that resonates and makes an impact. (C) Latin&Gulf – 2024

Fermin Guerrero: Taking the charrúa identity across the globe through design

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UAE to open Embassy in Paraguay, strengthening bilateral relations

Reem Al Hashimy meets with Uruguayan Minister of Foreign Affairs during official visit

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