Mal de Mar is a visual project created by Mexican architect and photographer Mauricio de la Garza, based in Monterrey, Nuevo León. Originally launched as an online journal and visual diary covering art, design, architecture, photography and travel, the project has since evolved into a curatorial platform for limited edition prints and books inspired by world travel, culture, art and architecture [1][2].
Design and History
The Mal de Mar identity was developed by Face, a Monterrey-based design studio described as an “intelligence-driven supermodernist” practice founded in 2006 [3][4]. The branding first appeared in 2011 on the studio’s website, and by 2012 the identity had won a Premio Quórum in the graphic design category, covering both the logo and web design [1].
According to a design review published by BP&O in April 2012, the identity combines a broadly spaced serif logotype with a complex monogram. The logotype is described as a solid, medium weight serif executed with generous horizontal spacing and an underline detail, which the reviewer connects to the traditional craft of writing and academic exploration of the arts [5].
Meaning and Symbolism
The monogram, built from loops and intersections rendered in consistent fine line work, was intended to offer a contemporary contrast to the classic serif logotype. The reviewer notes that its geometry introduces ideas of technology and infrastructure, the union of various artistic interests, and journeys made through modern metropolitan transport systems [5].
The project’s name, Mal de Mar, translates from French as a kind of “seasickness.” De la Garza has explained that he always related the term to his great fondness for the sea, describing it as a desire to be in motion, creating and reinventing [1].
Typography and Design
The identity’s visual system extended beyond the logotype. The business card and website incorporated a slab serif detail that added an almost vintage editorial quality, resonating with journalism and field writing. The overall palette used black and cream, with a gold and embossed foil treatment on the stationery introducing a subtle sense of luxury against the craft-like aesthetic of uncoated, unbleached paper stock [5]. A separate portfolio description similarly characterizes the design as classically elegant, with serif typographies, shiny gold foil, thick black and cream stationery, and an intricate monogram [6].
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