Diego Lara was not strictly a Spanish graphic design pioneer although this definition could be attributed to him for many reasons. He is from a previous generation of designers to those who normally appear in this blog, Lara (Madrid, 1946-1990) employed his short but splendid repertoire of resources and good work in different areas that today continue to amaze: editorial design, various brand identities for cultural projects and an artistic production that materialized in unique collages.

If only for the collection of graphic gifts is the first series of the magazine “Poesía”, Diego Lara can be considered among the best that Spanish graphic design provided during the XX century. The magazine “Buades” –with its great recovery of the “Veloz type” by Trochut at its head–, the graphics of the first editions of the “Arco” (Madrid art fair) or the Juan March Foundation are examples of refinement and delicacy when working with cultural references in your work.

The time span covered in this blog limits us to publishing on this occasion only a few examples of his editorial covers: “Fundamentos” (1970-1976), “Siglo XXI” (1971 -1974 ), “La Fontana Literaria” (1972-1973) and “Nostromo” (1973-1979), the latter two founded along with fellow designer Mauricio D’Ors.

In a notebook he kept during the years 1974 and 1975, the designer wrote some notes that reveal his world and the care with which he worked his ideas: “Photomechanical test. The BG faces. Reproduction of black and white to be coloured later. Eyelids embossed with marble dust. Fluorescent printing inks on canvas embossed with marble dust. First scratch and silhouette surface. Second emphasize volume.”

Diego Lara was for all designers of my generation someone to emulate.