[music] [Nubia Navarro] Thank you so much for coming to my talk. I also want to thank Adobe for inviting me for the third time in a row. So yeah, thank you. I feel so grateful for that. And I feel so grateful to have you here and to get this space to know each other a little bit, not only what we do, but how we do it and how we approach the stuff, even though it's a lot of shit going on in the world right now. So yeah, it's an open door to everyone's processes, doubts, questions, and to understand why on how design unites us, you know? So for people that don't know me, my name is Nubia Navarro. Yeah, it sounds better in Spanish, right? Better known as Nubikini. I'm a graphic designer, very passionate about typography, lettering, color, a lot of shit. And that last colorful stuff is not so visible in this slide, but you will understand it later. So I currently live in Colombia, in Bogota, specifically, but it wasn't always like that. My native language is Espanyol, which I could someday speak in Spanish here with you.

Yeah, I really hope. And I swear I'm more intelligent in Spanish than in English. Yeah. You have a few personalities related to that. But I'm making my best, even though I'm shaking. But to break the ice a little bit, how many of you were this-- were in my last session last year? How many of you? Okay. So you're the crazy ones. Nice. Now I know you.

Well, before getting into the main topic and telling you who I am, I'm going to tell you first what I do.

Yeah. Whoo! Thanks.

So yeah, as you could see, it's been a lot of colorful shit going on. But I consider this part of my essential work. And during the time I was creating this talk and knowing, like, I'm of the last of the people that have been talking incredible stuff, what can I tell you that you haven't already learned these past two days, right? Well, we will see. And as I told you, I am a graphic designer. I'm a woman, gay immigrant, Latina, like the combo of the combos. But I'm also many, many more things. So these things that you read here that represent what I am or what I like to do, might have lost a few ones. I mean, they're missing-- I left out, but I hope we can connect together with some of the ones I brought today. So since, in the end of the day, I think we're made up of what we believe we are and what we are not as well. And speaking about what I am not, I tell you that I'm not a full time independent freelance graphic designer, powerful, blah blah blah blah blah, those kind of stuff, as some of you may think. People say, "Hey, how you study, are you independent? How many people work with you?" And I tell you the truth, there's only one person in my team, and we create most of it together. So it has not-- Like, this has not been an impediment to discover how to work on what I'm passionate about and that personal projects can be that great excuse to help us grow in design. And, yeah, also to discover what make us unique, right? So this project for me has been kind of a daily practice in my career, and it had been, like, constantly repeating and practicing stuff day by day. So people can identify something or elements that says, "Oh, you have a creative voice or you have a style." Now I want to bring a little bit of context. Let's go back a little bit where I was born. I was born in Cabimas, Venezuela. Hey. Thanks. Thank you. Yeah. Maybe Cabimas, this name is not familiar to you, but one thing can help you, and it's that Cabimas was the first city that had the oil boom in Venezuela. Interesting, right? I mean, we're not going to talk about oil, but how this influenced my life. Thank you to the oil world, my small city was known, and I was able to see the world with my family because of this. So this allowed me to have new perspectives of the world, like, travel with them, and have stuff in my visual repertoire, to show as a cabinet of visual elements. Even I met Disney World with my family because of this, because my father used to work in the oil industry. So this is the little map of Cabimas. As you can see, it has ten streets. I don't know. It's very small, compared to other cities. And I want to highlight this specifically right now because of the nostalgia that Cabimas has brought me throughout all my work. Even though it's very colorful, somehow I might have been kind of sad, missing my friends that are not with me anymore. So yeah, I even-- I don't even talk about Cabimas daily, but it has been like in the nostalgia I put in my work. So now with that kind of context, I'm going to quote the great Lisa Congdon in this part. And she says, "The truth is that we are all like that, full of things even when we think we're not." True, right? I mean, however, what are those things that make us up and at what point they become our voice or our style so people can recognize your work? And when I ask myself if I have a voice where I start, I find myself a lot of questions. So I warn you that today I brought more questions than answers. So I think this talk will not surely tell you what a voice is so you can come away if you are expecting that. But what I want to tell you is that I will show you-- Okay, yeah. Thank you for that. You know what you want. That's good.

This talk will make us, like, wonder what are those paths that we need to follow in order to find our own. So one of those questions is can an artistic voice and a design voice exist in the same person? I say this because sometimes I feel confronted by what design tells me to do and what art tells me to express. So that is sometimes I feel the Hannah Montana of design. Like, from 9 to 6, I am a person who works at an agency. I'm Nubia, Nubia Navarro, and I create content, storyboards, etcetera. And after 6:00, I am Nubikini. Like the lettering artist, the businesswoman, and see all of my four walls and just my employee.

So in that intermediate between art and design, some of us can find a lot of confusion, right? So to better understand what an artistic voice is, I wanted to ask our new friend, ChatGPT, it's so weird, right, to ask a machine what is art and voice and stuff like that. They're very human. So it named a few essential aspects of how to build a voice and how each person can address them. So it talks about style, themes, technique, narrative, emotional resonance, what the fuck, consistency, recognition, a lot of stuff. So the point that appears as the last that talks about this cultural and historical context caught my attention because I thought that that one could be the first one for me. So now with that, historical and cultural context. We are not going to talk about history of Venezuela, yeah? So thanks. Although we could, because there's a lot to say about how this influenced me throughout my career. But the point here is that my childhood was very nice, was very happy. Everything went well, and then my sister died when we were nine years old.

This was such a difficult and unexpected time for me like, physically, emotionally, mentally, that I was so young to understand it, you know? So since then, everything I tried to do was to overcome those moments where I was feeling a lot of things, but I could not show it to my family because I wanted to feel that I was a strong person, that they didn't have to worry about me. And side note, by doing therapy and going to the therapist, I have learned to understand and recognize that this was the best I could do at the time. And many of my reactions and opinions, and where they arise from, most of the time have to do with my childhood, which is like 99% of us unless we are ChatGPT.

So what I learned from this is that you should enjoy everything you do and do it the best you can because you never know what will happen tomorrow. Yeah. Shit happened with the pandemic, you know? Now we all know about that. So I invite you to start digging into this, and the personal historical context that you have that this will help you understand and answer and also generate new questions about who you are. And again, I warned you because you can find some deep shit you don't want to find in there.

So getting back to topic, digging into this will tell you a lot of stuff about how you relate to people and how you communicate with them. So at the end of the day, design and art are communication and expression, right? And along the way, it's where we understand how to learn to relate to others.

So there are more questions. And sometimes I sit down and I question things like, what things about my story do I want to tell people? Or what concepts are tied to my story that can help me connect with others or express myself in some way. How can I relate and create a visual coherence between that story and the other stories I want to tell? Among many other questions that probably I don't know the answer, but that somehow will help us understand from where we can extract relevant information that is present throughout our work, even aspects of the childhood, as I told you. So just as when we're children and we begin to learn names of certain things, we're also filled with moments and experiences that shape that language, visually speaking. So your voice is how you communicate that perspective and what you enjoy, what you don't like, your culture, your memories, and that's how your language begins to form everything that you are today.

Now here are some more questions about style. So is design something you discover one day or something we build over time? And what about design? What does it have to do with your style, what you do? Sometimes when I'm designing in my computer, I bring a few references and try to combine things that most of the time doesn't have anything to do with each other. So there is this kind of spark that we always wait for. And I said, "Okay, visually, how can this be different from what I'm seeing or from what I do?" And I keep following this path and these questions until I start getting something that I haven't seen or that would be great to keep exploring on. And we are often told that design must solve a problem, right, since they say the first day of our lives as designers people tell us and every day I hear it, I see it on blogs, and blah blah blah. But what lies beyond solving a problem or meeting a certain need? It is also important to go beyond functionality and usability, personality, aesthetic representation, diversity. There are many, many things you have to attach to when creating a design project. And then you got to find this problem, think about possible solutions, and solve the problem and yeah, make people's life easier. Okay. With this product, with the signage, with this poster, with this service, with this many, many things. So at some point in my career, everything was nice. I was solving everyone else's problems, and I was happy with that. And then my father died. So another unexpected event in my life. And yeah, I had another hard moment where the only thing I could think about was my problems, not everyone else's problems. And how could I try to concentrate and create something when I was tearing apart at that precise time? So I almost got fired. I got a lot of shit going on in there because I couldn't concentrate, but then I need to find the path back again. So I ask you, do we always have to find someone else's problems? What about our personal problems? Can we solve them through design, at least? Many questions again. So for me, art and design are those vehicles of creation of visual culture. So where we, as designers, most of the time, have this responsibility to communicate a message, right? And we talk a lot about what we do within the projects, but we talk a little of what the projects do to us. So here, I want us to analyze how sometimes these projects are also that vehicle that not only changes behaviors and stuff to other people, but how this can also change things in ourselves. So when we decide not to solve other people's problems but our own, we decide to work on personal stuff and something that allows us to give our best and to learn along the way. But we start to look at the work of other designers, and then we start comparing yourself with many other people. So suddenly wanting to be someone else or some other designer which sometimes led us to frustration, right? So we don't understand what we're feeling, then the freaking imposter syndrome shows up, that little *****, and everything goes to... pop.

So precisely, I think that one is the moment where we must turn that frustration into something valuable for us. I'm telling you this because it happened to me. I have found myself in situations where I have the initiative to create something from what I like, but in the process of searching what I want to say or what I want to do, I get frustrated and I close myself up again, like when I was a child. So until the day's passed and that initiative returns or someone else's wants to pay me to do it.

So I think the hardest part of understanding whether you have a voice is being self-aware of it. So I think we all have one. I mean, no matter how quiet it might be, you have to investigate, you have to look, you have to search, feel and think.

To dig into what always you think about, I mean what you're passionate about, and what we can stop thinking about, I always tell my partner that for me, it is very difficult to stop being a graphic designer. And how's that? I mean, it's not like a chip where I get off from the computer and I stop thinking about it. For me it's exciting to create. So if we think about it better as a designer, we never stop being designers, neither in your own head or in the real life. Like, you go to a freaking restaurant and all you keep thinking is, "Oh, why is this vertical? And why they used this layout?" So yeah. You can even have a nice time without thinking about the design of the space or the experience you're having. So everything around us is designed and someone thought about it before. So maybe it does not solve a problem, but I think it's not always the case. So how that we begin to know ourselves and become more aware of ourselves? About our dislikes or likes, what is the intention when we create something? Take design out of context for a while, and look outside of it, like how we interact with stuff and how we connect with this stuff we can relate.

What books we read or what patterns are, like, repeatedly appearing when we face certain stuff. Also, write about your guilty pleasures, how we can open our minds to take other people's perspective and turn it our own. And finally, try to see how some visual codes can accompany that.

On the other hand, there's also the freaking purpose. I mean, there are movies about it, you know? And something that I think our friend ChatGPT did not mention clearly, but that can be read between lines. It is not essential to have a clear purpose in the beginning, but it is important to ask ourselves if we really have one. So how to build a statement as a designer or as an artist, do we want to change someone's perspective about something or do we simply want to, like, build some skill or create a new technique that supports the purpose we're having? And in that search, consistency also appears. How many, like, internal voices can we have without reaching the point of going crazy? Like, what is the objective of each personal project we create for ourselves? Because I honestly believe that we can go through different skills and voices throughout our artistic life, but we'll always be faithful to certain things that we build over time. Those obsessions we have. So the references will exist always, and we will be like talking about this kind of fundamental parts, like, really briefly in the creative process. In the end, they said everything is a remix, right? So that nothing is unique, and we are all that combination of the things we like and the things we don't. So I take this opportunity to share this quote from my friend, Luis Palencia that says, "As a designer, I am nothing more than the failed result of imitating my references. In the attempt, there was a detour along the way that ended up fucking everything up or giving me a voice and a style." So let's not be afraid to imitate in our privacy. There's something very, very interesting about imitating and copying that word. So people say that when you use one reference, you are copying, but when you use a few ones, you're finding inspiration, isn't it? So when you combine things you like and adapt them to your context and the background, you start creating something that looks kind of familiar but with a nice touch, right? That's how you start building something that can be polished with the practice I was telling you about. I think that imitation for me at some point has been one of the ways that I can understand the path that others have been taking in the creative process. So they might have gone through many paths, but by trying to break their own, I can create a new road map that has kind of imprinted my way of seeing the world and reinterpreting the things that I see. Last time I was talking to a friend, I think he's here, about that, about style. The ideas are not protected. In fact, ideas are everywhere. And what I think it is is that they don't belong so much to the people that thinks them but the people that executes them. At the end of the day, what copyrights protect is the style, not the execution.

We are often drawn to what we think is familiar.

And today, I brought some projects that talk a little bit about myself. And at the moment that I feel which things that complete me as a graphic designer at this point. So I get a funny anecdote, and that is when I was a child, I used to read a lot of magazines. There's a magazine called Revista 2 in Venezuela. I can't show it because of copyright issues. And I used to read this magazine a lot. And those texts that say things about your first kiss and those kind of, yeah, adults and stuff. But I mean, by then I don't think I haven't had my first kiss, but I wanted to take that taste. Anyways, the look and feel of the magazine is something that I used to like a lot. And now that I analyze my work, it is kind of familiar to that. So my head kept what resonated with it. And now, unconsciously, I create stuff that is very colorful, such as the magazines that I used to read when I was in high school. So anyways, I wanted to mention that because sometimes we like stuff and we don't know why, so it might be because, in some way, this was part of your younger self or your childhood too.

So as I told you, I brought these projects. These are four words that describe me. The first one is immigrant, sensitive, gay, versatile, great combination for this section, right? So the first project talks about me as an immigrant, and it's called Cha Che Chi.

I invite you to scan this code. You don't have to download anything, don't worry, to enter to the world of Cha Che Chi. The Che is much more than three letters. And I don't want to get deep into that theorical stuff because it's not relevant. But what I mean is that when I read the name of this conference, I thought about how Cha Che Chi was part of my school days, among learning lessons too. It also helped me understand that beyond a catchy sound, it was something that could allow us to connect cultures to the continent and serving as a common thread between diverse people and their passage through language.

For those that don't know it, Cha Che Chi was a conference directed by Type Directors Club, to highlight the knowledge and the work of South American designers, to strengthen the communities and open spaces for design and culture conversation. So I received this project, and my task basically was to create a language on visual system that could encompass my vision and interpretation of what I thought Latin America was. Of course, without falling into cliches, and that was also going to be aimed at designers all over the world, something that made me feel a lot of emotion but also a lot of pressure. You know how fucking hard it is to design for designers? I mean, they don't like anything. So yeah.

And I started my research and also heard everyone involved in this project. In calls with the teams, this is like, yeah, a sketch of it. And, yeah, we were saying that Latin America is noisy, rhythmic, exaggerated, colorful, diverse, from which I wanted to take the team of the rhythm and the craftsmanship as a visual element of communication. So my intention here was to develop something that could be as visually noisy as it could and communicate my versatility and diversity in our different cultures in the continent. So as we said before, Latin America can be so many things that it was so hard to select something or some path to go with. So based off the main objective of Type Directors Club in this conference, I also found common points that would leave us a clear concept to create the system. I asked myself, how could I express connectivity in Latin America? And I remember the calls with the team, we talked about, like, the crafty stuff and how people would make traditional fabrics. So fabrics have existed in many, many of our countries throughout history. They represent beliefs and values shared by Indigenous communities. So even knowledge that passes to one from another.

Representing the main objective of this conference at this time, visibility, knowledge, and community. So based on that, I started to explore and that started to make sense. And how could I take this to other formats, like, extract stuff from other references, such as graffiti, stencils, and making more pop. Yeah, make it more pop, so even though I wanted to give some refinement to the layout and the letters at the end.

I think this is a video. I hope it-- Yep. So cheese mess, Alchica Chinchorro, chimichurri, among many traditional and noisy words expressed through a system composed of typography, movement, and digital fabrics as I call them. A striking and happy and catchy sound that permeates people. It's a sound of collective emotion.

So the aim was to create this mix between traditional and modern because traditional dances and clothing among Latin America have contributed not only with color but with visual narrative, such as corner strokes, parking lots, hair salons, taquerias, and many businesses. The letters that sign makers created and adopted as part of their daily lives have also become part of this identity too. All of this serve as an inspiration to create this distinctive aesthetic. And since this project was very, very digital, I wanted to see how this element will be part of a printed series, like how we could play around with color type and make some photography treatment.

It had also very special guests during the conference. If you don't follow these people, please do. So it made it even more fun to play around with their photos and test out this Photoshop effect called Threshold. And then I explored the contrast on how the colors and the background will blend with their photos. I also tried to stretch type and add some effects, etcetera. And this comment might generate, like, different opinions, but in this project, stretching, breaking, and damaging type, what's part of the experimentation at the first point. So I opened this space to play and have fun in the process while creating something that not only speaks about Latin America but about me as an immigrant. And I have always considered myself a highly sensitive person, faced with good things, bad things, etcetera. You might or might not agree with this, but I don't know if the world is the ideas, like, for the ones that feel a lot. So I have heard many times that I must learn to control my emotions and something that is not so simple. *But over time, I have learned to understand that doing this emotional catharsis through my projects is also valid. So in order to stop involving my emotions and feelings where they shouldn't be, tada, I created emotions. So yeah. Thanks to this constant questioning, I decided to create this to understand my feelings and to make some visual games as the main objective of this. So this project was born from the intention of bringing new emotions that will replace The old ones and generating this study of color and illustration through design. It was made up for, I don't remember, like, more than 30 exercises and explorations that represent an emotion or a feeling. So color and shape were main elements that helped me build the illustrations. It was aimed at healing my process and understanding that when it comes to getting to know each other and to know ourselves, there is always a learning curve, you know? And it takes patience and practice to learn to accept what we don't like about ourselves. So all of these posters gave away to a daily practice where I could develop and generate this kind of exercises and make some connections with friends. All of this taking information from what I believe that were emotions and how they could be represented in visual analogies. It even developed so much that it also ended up being a collection of NFTs that no one bought, surprisingly, but that's another topic, maybe for next year. This is one of the last projects I wanted to show you. And what can I tell you about being gay? I mean, I think here's my friend, Supensu, who is the gayest person I know, I think he might tell us, but I mean, over time and with personal exploration, I wanted to do something that will help me understand and share things that could generate visibility and recognition to those communities that exist and I think that made the world a little kinder. And a while ago, I read something that says, "Pride is important because tonight someone probably thinks that it would be better off that than being themselves." Deep shit, right? I was like, okay. Yeah. And it made me think of all those days when I felt like I didn't fit in, and I was feeling wrong.

This is where this project was born. And years later, I understand that it's okay to feel different and that many people have also fought before me so I can feel good being who I am. Because I can feel good loving who I love, you know? And that is why Pure Queerness arises. It's a night of identity and expression that brings together this series of posters, yeah. Surprisingly, again, posters. Yeah. And combine illustration, typography, and the desire to, like, carry out this message of inclusion, acceptance, and respect. So Pride is not just a party, as many people call it. It is a protest where the space is open for various forms of expression.

So this personal project is an exhibition that pays tribute to various characters of the LGBT community but beyond my process as part of it and how using what I like to do, I tell who I am and what I support. So as you can see, color is very present. It was like a playground of shapes, visual games, etcetera. I ended up selling a few ones. And, yeah, side note, part of the earnings of this project were donated to Marsha Pete Johnson's community in New York. And, yeah, here's kind of another of the static explorations. And another side note of this project is that I started-- It started from a rejected illustration for a renowned client that I cannot mention here. And then when I posted one of those exercises, a friend approached me, and he said, "Hey, can you develop more of this stuff so I could animate them?" And here's the result of the work I made with Gino. Which is not going to play sound because, of course, rights and stuff, but it's here.

I promise with sound, it's much better.

But yeah, I created this with my friend Gino.

Yes.

Thank you. So yeah, the last project I want to talk about speaks for me as a versatile person and about my interest like in pushing the boundaries of my work. And, like, not to limit myself because I don't know any specific skill or something like that. But it's also, like, how to create a way of approaching that skill. So this project is called 36 Days of Type 2023. For the people that don't know about this project, which I'm pretty sure you might have seen it, because we spam a lot when we do that project. So it's an annual kind of digital event that was created by Nina and Rafa, two graphic designers from Spain. I have been trying to join every year with a different technique or style to improve. And this year, I wanted to take it to another level, like, literally. So all my work is very flat, as you can see. And I thought, what can I do to get me out of that zone? What can I create? And my friend David appeared.

So this year's challenge was to learn a new skill, basically. So I approach my friend, David, who is someone who knows a lot about 3D and stuff. And I asked how we could create a collaboration and something together where I could put on the table what I know, which is lettering, and he could share his knowledge related to 3D. So we started creating a few mood boards and stuff, and then I decided to draw every letter. So the workflow started basically with me drawing the letter of the day, for both of us, and then send it to him so he could interpret it with his style. Well, I was trying to learn a lot of tutorials and looking for stuff on the internet. And I was very afraid of this because I did not prepare anything. So I could post daily without any concerns and stuff. So in this case, every letter I could do, it will be learned that specific day in the morning, and then I could post it in the evening.

So this kind of practice under a lot of pressure to see how I could learn something very fast and how this could be applied in the same day is what I think I learned the most. So I had in mind I wanted to create materials such as hair, plastic, silk, etcetera. And my real objective was to learn the most basic thing possible with shared tutorials. And if I had some doubts, I would call my friend, David.

Oh, here's another example.

And the process was very simple. I drew the letters, I vectorize them, I convert them into that OBJ. And while I was creating some patterns, then I could add them on the OBJ using other tools and our tools too, yeah. And make each letter unique. So in the end, I created these weirdo that had different materials, patterns, animations, and they were very basic but taught me how to replicate my style using other techniques. And the most interesting about this project is that even though David and I started with the same asset, but outcomes were very different. These are the letters I ended up creating. And as you can see, it's very fun versatile, even though it has determined a color palette and some elements that can make it cohesive in some way. If you want to know more about this project, me and my friend David will teach a little workshop soon, so stay tuned for that one. So now that I ask you, can we use our voice as a vehicle for personal expression or you can also engage others in that message and impact society in the way? I think the answer is yes to everything. And are we solving a problem? Not sure. I don't know. I think we can with our voice create more than design tell us we can do. So we can create spaces or involve whoever we want. It could be other people or just ourselves.

So now every day, we receive a lot of information through so many places, and people who learn, people who teach, people that teach about aesthetics, look at TikTok, blah blah blah, and trends and stuff, so we are so overloaded that it's very easy to lose our voice in all of that wave of shit and noise, right? So we limit ourselves because we think we need certain type of tools to stand out and sometime those are things that we cannot afford and things that we don't need. That's why I invite you to go back to the basics and, from time to time, understand how to redirect your goals in design. And sometimes we don't need, like, very sophisticated tools to share our voice and our style.

Like, the most important thing here is to be able to understand how this tool we want acts and enhances our projects. In fact, I would like to quickly show you how a simple technique has helped me visually enhance each of the projects you have seen previously.

So yeah, this is how I created the patterns of Cha Che Chi. So the first thing is create this shape, then duplicate it, change the colors and stuff, maybe change your mind if you are not happy with that color. And after you give that color vibe, go to Object, hit Pattern, I mean, I cannot see it in, like, live. I need to look at it in there. And then you can create various patterns and tie them as you wish and change your colors and make repetitions of it. And that's how I created that one.

And this is how I created the brushes that were part of emotions. First, I create some shapes. Again, these shapes can be lines, at this specific case, they are rectangles. And then I give the color vibe and then group them.

And I dragged them to the Brushes panel and hit Okay, and blah blah blah. Okay. So there you have your... brush. So I mostly applied this brush to a shape. It shows in the Brushes panel, and you can add these kind of things to letters, to strokes, to shapes, whatever you like. And then I tried to experiment, like, duplicating and taking away some parts of the shape or the path.

In this case, I created a word, the word okay, but I used this exact same technique to create the analogies of these illustrations in emotions-- in my emotions project.

So yeah, that's how you can write with brushes.

And the last one is how I use basic 3D to give some dimension to Pure Queerness. So I created my shapes, it can be used in editable text too. I select my shapes and start coloring them. I create a palette that was extracted for, like, my version of the Pride flag, and then go to Effects. Hold on. I was very slow at that tutorial, I guess.

So yeah, I hit Inflate. You might have seen it a lot, right? And you can add the source slices you want. So also you can add symbols to the artwork so it can have a pattern or an illustration on it. And, yeah, I think that was the main or the base to create these elements inside of this Pure Queerness project. Another way in which believe it is possible to develop a voice or a style is to surround yourselves with those people who drive us to create, together or alone. Something that has helped me a lot is to understand those people I admire. And it has been like looking who they are admired to. And then you start to understand a lot about that designer when you see who their professors were and who their teachers were. In progress are completed, projects always say a lot about where we come from and who have we met and specifically, I'm sorry, how this has influenced your design. So once again, we can become participants of this creation of visual culture and be part of other people's lives, even though we don't stick to it. So why don't you use this as a powerful tool it is to change our environment? I hope these projects and reflections have inspired you to use design to build collective tool or to discover yourself in the process. So to wrap this a little bit, I want to give a list of small statements that can resume this talk, that I would like you to analyze and interpret it as you wish. The first one is, tell your story. It is what makes us unique. Create your own rules. You're talking about your tastes. So you can break some of them along the way. The other one is try different styles. Everything you do, no matter how different it is from each other, will speak about you because you made it. And the last one is, remain true to your values. I mean, our voice can change over time and how we express it can change too. Even our perspective is never constant. So the important thing is to remain true to that and use design as a tool to shape you. So I leave you with this little quote that now makes a lot of sense to me, "Life is not about finding yourself. Life is about creating yourself." So people say that you're not what you do, which I find true, right? But I also believe that we are not just what we do but what we find in ourselves while we are doing it. Thank you.

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