Chapter 9. Resume
DESIGNS CONNECTING STRATEGIC THINKING, VISUAL COMMUNICATION, AND DYNAMIC STORYTELLING.
WITHIN 10 YEARS OF WORKING IN the ADVERTISING AND FILM INDUSTRY, LILIANA HAS ACQUIRED A UNIQUE SKILL SET IN STRATEGICALLY DEVELOPING CONCEPTS FOR PERIOD AND CONTEMPORARY GRAPHIC PROPS, CREATING THESE PROTOTYPES AS ESSENTIAL PARTS OF THE Movie’s PLOT AND SETTING. For the last 2 years, she has been working in Human-Centered Design, using elements of Service Design, Business Innovation, and Design Research principles to be able to design with great impact for a client base in Scandinavia, Brazil and beyond.
for the camera and the actors with a level of detail that supports the creation of the fictional world for the cast to work within and interact with, rather than simply concentrating on the details that a cinema audience might see on screen. Liliana’s aesthetic derives from researching a wide and varied range of periods and cultures. Her signature and mastery lies in storytelling through the medium of tangible ethnographic pieces with an interactional function, be they antique photographs, book covers, telegrams, signage, newspapers or magazines.
HER ACQUIRED KNOWLEDGE
from working in the film industry has translated directly into her work with complex consumer and business opportunities. Both require intense research, analysis and the ability to transform concepts into graphic solutions. While making films means to let yourself go and to indulge in a story in order to depict visions and fantasies for actors and audience, designing interactive products, services and technologies requires a similar creative process that best serves the needs of the user.
A FEELING AND UNDERSTANDING
to utilize what is needed and how it is needed, by analyzing problems, collecting data and searching for hints, is essential to create prototypes and scenarios for useful and meaningful solutions to ever-changing challenges. Scenarios and prototypes are the key to visualize and put stories and theories into action to turn design fiction into reality. This is where fantasy meets reality. From a strong concept to visually engaging context – Liliana’s film experience paired with Human-Centered Design knowledge enables her to tell and sell stories, in a way that makes people believe in them and want them to exist.
Liliana has been part of
various high-profile projects. Her work has been showcased in successful international films such as Academy Award winning ›The Grand Budapest Hotel‹ directed by Wes Anderson, Quentin Tarantino’s ›Inglourious Basterds‹, Steven Spielberg’s ›Bridge of Spies‹ and many more. She has a diploma in Visual Communication Design from the BTK – University of Applied Sciences (2007) and completed the select Master Program ›IDP‹ at CIID – Copenhagen Institute of Interaction Design (2015).
Please find a short resume to download.