The evolution of the Morillas studio is linked
to the evolution of the sector, and its story is
that of the appearance, development and
consolidation of design in our country.
Antoni Morillas’ way of doing things and his
personal approach to design still determine
the vision and attitude of Morillas.
Even today, we continue to face and overcome
challenges which, in hindsight, never stray
far from those of our roots.
Antoni Morillas i Verdura was born in 1932, in Barcelona.
Following in the footsetps of his father, who was
an expert plaster sculptor, he began working in artificial
stone workshops, which awakened his
interest in the three-dimensionality of objects.
In 1948, he studies artistic drawing at the Llotja school
in Barcelona, where he learned a trade, that of the
drawing artist, integrated into the dynamics of printing.
He went on to work as a graphic artist for various
workshops, pulishers and advertisin agencies.
Morillas forms part of a group of design
pioneers in Spain: the protagonists of
an eruption in this sector in our country,
who succeeded in shaping, exercising and
living from a profession that was entirely
The profession of graphic
designer was in constant evolution,
and its progress was inextricably
linked to the processes of
This generation of pioneers intervened in
the main debates of the times: the
definition of the profession, and the
investigation and preservation of
the graphic quality of design projects.
They also fought to raise awareness
and dignity for the sector.
In 1962, he set up on his own and
founded the Morillas studio.
Design, due its industrial
nature, was no longer a factor
of progress, which drove many
graphic designers to focus
their interest on cultural
activities and on the
Many moved away from advertising
and branched into corporate identity
services, in search of greater
longevity than conventional
campaigns could offer.
Antoni Morillas taught Advertising Arts
at the Massana School in Barcelona.
That was the time in
which a need emerged to design
emblems and logos that would
create brand images for companies
and their products.
The pioneers also had to face
challenges in the packaging and
wrapping of products that began to
be marketed, as well as in company
stationary, manuals, business forms,
posters and displays.
The crisis of ’66 and the May ’68
movement generated a review of
the development concept, of the idea
of industry as a factor of progress,
and, consequently, of the very
notion of design.
The sixties were characerized
by the institutionalization of
the profession: these first graphic
artists got together and formed
the Grafistas FAD association.
As the years passed, they joined
and became professors at schools
that progressively incorporated
graphic design workshops.
The seventies and eighties
heralded the progressive
strengthening of the profession, until
it became a strong and lucrative
sector highly connected to the rise
The Morillas studio experienced a
huge growth during the ninetees as
a result of the close collaboration
with Fast Moving Consumer Goods
teams, which were the new trend
setters. Under the direction of
Lluís Morillas, it completed
With the change of millennium, it
began an internationalization process,
with new offices in cities like Madrid,
Tel Aviv and Guatemala City, and
most recently Miami, in response to
the appearance of more global clients
and the consolidation of design that
was “made in Barcelona”.