Raissa Pardini always knew what she wanted to be when she was little – but perhaps more importantly, she always knew what she didn’t want to be. “I wanted to produce art but I didn’t want to be an artist, and that’s when I realised that design could give me all the art I needed in my life without [becoming] an artist.”
These projects have become her playground for bending conventions and pushing the envelope as much as she can within the confines of the brief. “I like playing with rules. I love having to deal with letters, spacing, colours, messages, briefs. It’s challenging to me,” she says. While “an artist creates their own rules”, she feels she’s better at breaking pre-existing ones.
For Pardini’s own line of work, she enjoys playing with this dynamic. “Pushing my creativity to the limit of legibility but at the same time don’t over kill it as the message needs to be delivered – that’s my favourite challenge,” she says. Pardini has applied this approach to a range of designs for music gigs, tours and other events, working across posters and music videos for bands such as Snapped Ankles, Pond, Houseplants, Awesome Tapes from Africa, and hit band Idles. “Those are all graphical compositions made out of only letters and colours,” she says. “I want to push the typography until letters becoming the real artwork feature.”
Working predominantly in tandem with the music industry can pose challenges. “The music industry can be tricky, and working with other artists (and their managers) can be really awkward at times. I feel lucky to be approached to work with someone because of my own style, and bands usually trust me to deliver the best piece of work I think would suit them. But it isn’t always like that and it can get frustrating,” she says.