david mimila

visual
communication
I know of the importance of communication. Of
its power to transform individuals, of its role in
the construction of social conscience. For bet-
ter or worse. I think the purpose of advertising
is to communicate. I think the society in which
we live needs to leave behind the messages
that rely on spreading stereotypes and on the
readers passivity. There is no reason for mes-
sages to work that way. Advertising has to fulfill
a specific purpose. I believe it shoud do so
using messages that question, that challenge
and that take us beyond.

I have still to define my role in communicating.

I am probably a better leader than creator. I am
more a thinker than a producer. But I have
chosen, no matter what the role, not to remain
passive.

All works shown here have been done entirely

by me, except when noted otherwise.
 second place
quórum awards
2006
social awareness

¿una
poster

línea? poster
adobe photoshop

Drugs kill. The likeness between

the chalk used to draw the silhou-
ettes of victims of violent deaths
and a certain white powder of
nasal consumption allows me to
make it clear that drugs kill, pe-
riod. ¿A line? The proposition
might be tempting. But one must
know that a line of cocaine and
the line that draws the corpse
end up being the same.
 cocodelamor
What happens when you force
a creative mind to sit through
Economics classes? Bittersweet
big-eyed characters happen.
Then it’s just a matter of having a
friend color them and the perfect brand image / web
excuse to build a brand and a with: lorena martínez
web site is born. Coco del Amor adobe illustrator / adobe photoshop
embodies the spirit of Lorena’s
art: “...with his love for fish and
every living creature. He’s a really,
really sensitive guy…but don’t be
fooled, he’s also a mocking, love-
obsessed pain in the…”
kingston
advertising campaign
illustration: luís roberto ramírez
graphic design: cristian cerón
direction, photography: david mimila
adobe photoshop

The campaign for Kingston’s

DataTraveler should commu-
nicate simplicity and, above
all, give strength to the
brand’s identity. The colors
and a touch of humor attract
the consumer and tell him
what he wishes to know: the
hard works has been done,
all that is left is to benefit
from it.
 steam
One brewery, one beer. No
line extension until this beer
whistle
advertising campaig
adobe photoshop /
is Canada’s number one pil- adobe illustrator
sner. Steam Whistle’s unique
selling proposition was taken
to the next level in order to
make a significant reposition-
ing for the brand. Like a good
work of art, Steam Whistle is
Unique. By comparing the it
to a work of art, not only is the
brand set apart from its com-
petitors, but also it directly
appeals to a highly profitable,
loyal niche market.
Sketch was a magazine whose
only issue was devoted to
WE3 the masterpiece of Grant
Morrison and Frank Quitely.
Everything in the magazine
works to keep the reader in
the comic’s same vibrant and
saturated mood. All this while
keeping a certain economy in
spaces and shapes in order to
give each word and each im-
age its specific weigth, so that
it transcends just like it does in
WE3.

sketch magazine
illustrations: luís roberto ramírez
adobe pagemaker / adobe illustrator / adobe photoshop
cortazianas
Cortaziana 1/4

Cuando la figura de rosa salió de alguna parte y se

acercó lentamente a la rayuela, sin atreverse a pisarla,
Oliveira comprendió que todo volvería al orden, que
necesariamente la figura de rosa elegiría una piedra
plana de las muchas que el 8 amontonaba al orden del
cantero, y que la Maga, porque era la Maga, doblaría
la pierna izquierda y con la punta del zapato proyec-
taría el tejo ala primera casilla de la rayuela.

Rayuela, Julio Cortázar Capítulo 54

postcard
adobe photoshop / adobe illustrator

Cortaziana 2/4

La página contiene una sola frase: “En el fondo sabía

que no se puede ir más allá porque no lo hay.” La frase
se repite a lo largo de toda la página, dando la
impresión de un muro, de un impedimento. No hay
puntos ni comas ni márgenes. De hecho un muro de
palabras ilustrando el sentido de la frase, el choque
contra una barrera detrás de la cual no hay nada. Pero
hacia abajo y a la derecha, en una de las frases falta
la palabra lo. Un ojo sensible descubre el hueco entre
los ladrillos, la luz que pasa.

Rayuela, Julio Cortázar Capítulo 66

Constant remainders of how

absurd life is make up Julio
Cortazar’s great work Ra-
yuela (Hopscotch). This se-
ries of postcards that seem Cortaziana 3/4

like the chapters of the book, -Sos de una delicadeza que me parte literalmente
el alma -dijo Oliveira.
-Gracias. Estábamos en que yerba y clavos. ¿Para
qué querés los clavos?

unrelated to each other, por-

-Todavía no sé -dijo Oliveira, confuso-. En realidad
saqué la lata de clavos y descubrí que estaban todos
torcidos. Los empecé a enderezar, y con este frío ya
ves...Tengo la impresión de que en cuanto tenga
clavos bien derechos voy a saber para qué los
necesito.

trait different moments of the

book to show its nostalgia
and humor, that which makes Rayuela, Julio Cortázar Capítulo 41

the book a whole: its spirit.

Cortaziana 4/4

-Yo soy blanca-dijo Talita-Y es una lástima que vos

no hayas nacido bajo el signo zodiacal capricornio,
porque me encantaría que fueras un espadachinero.
O por lo menos un chasqui o un propio.
-Los chasquis son Acuario, che. Horacio es
Cáncer, ¿no?
-Si no lo es, lo merece-dijo Talita cerrando los ojos.
-Le toca modestamente la aviación. No hay mas
que imaginárselo piloteando un Bang-Bang de esos y
ya te lo esta escarchando en al Confitería del Águila a
la hora del té con masitas. Sería fatal.

Rayuela, Julio Cortázar Capítulo 133

eighteen seconds
before sunrise packaging
adobe photoshop / adobe illustrator

Eighteen seconds before sunrise

is not only the name of Sigur Rós’
fan club, but also of this fake great-
est hits album. In the band’s music
there is always a game of textures
and shapes that surrounds and
seduces. This package reflects
that feminine complexity, a trans-
lucid paper for the booklet printed
in both sides, a cotton paper for
the box, a self containing shape,
the hair that surrounds itself and
dominates everything.
metztitlán
photography

Out of a tale of magical realism

the Metztitlan Lake is full of life.
Even without any water during the
dry season, one could not say the
lake is dry. And those three roads
that lead the spectator to the pro-
tection of mountains, and from
there towards infinity are the last
ingredients to transform the lake
into a bit of paradise.
Two worlds meet. In this beach
in the north of France the snow
and the sea almost touch, at
least this time. The passivity of
both great bodies is broken by
the waves on one side and on
the other by the trails left by ca-
sual walkers. A peaceful image
still very much alive.

fécamp photography
tarahumara photography

Life is hard and the world cru-

el. And yet that is not reason
enough to justify looks like this.
Is it a programmed behavior ex-
ecuted to please tourists that
want to see the suffering of
the marginalized? Maybe, but
maybe not. And it really does
not matter. What matters is that
there are kids with looks like
this, and that means we are do-
ing something wrong.
 bestias illustration
adobe illustrator / adobe photoshop

first place quórum awards 2006

student illustration

What would happen if coming

out of the bus we saw a stalking
griffin? Or if six legged antelopes
were used to running on the side-
walks? From Jorge Luis Borges’
Fantastic Zoology Manual I tried
to give new life to these fantastic
beasts. Like in ancient times, they
walk the streets, they hunt their
prey on the roads; they are part
of the landscape, now, an urban
landscape.
 david.mimila
@sheridaninstitute.ca
dmimila@yahoo.com