Creativity for scientific environments requires a very different kind of talent from that of a blank canva

I always emphasize that there is no science more human and more creative than medicine. Art is a strategic ally both for medical communication, in areas such as infographics, for example, and for supporting therapeutic processes. Art relaxes, moves, entertains, informs; it is the perfect companion for any journey, including the journeys required by healing processes. (…)

The process of dissemination seeks to make information accessible to the public in a simple way. It aims to promote understanding and participation. In the case of science and medicine, which are fields whose knowledge is complex and requires specialization, dissemination means making that knowledge understandable and clear. In this sense, the fusion of creativity and digital tools helps create a multiplicity of platforms, media, and formats to structure and distribute this content, while also amplifying its reach through digital spaces. The vision and unique signature of each creative professional, placed at the service of this creation process, can foster a stronger connection with the audience and create communication that is effective, efficient, and precise. (…)

We are talking about a process that involves a great deal of technical knowledge. The result should not only be “beautiful,” but also absolutely understandable and faithful to the source content. It is essential to understand the environment of each project: the target audience, the space where it will be published, the traceability it will be subject to, the communication strategy it will require, its lifespan, whether or not it will require updates, etc. From there, the tools are defined, and since these are constantly evolving, creative professionals must remain in continuous learning. Once all of this is clear, the creative process begins, paying very special attention to creating in accordance with the content itself. The artist’s style will define an important part of the personalization of these projects, but always — and this is a non-negotiable condition — the design must serve the content. Here, we are talking about understanding scientific-medical content, hierarchizing it, organizing it, creating a simple and precise narrative without losing its original meaning, and finally translating it into an attractive, understandable, and engaging space so that the audience can understand it, participate around it, and assimilate the scientific-medical message. This is not a superficial, short-term, or merely ornamental task. Combining art and science requires time and deep knowledge across multiple disciplines. (…)

Every project is a world of its own and requires planning aligned with its objectives and target audience. However, in our immediate environment, the scientific-medical field still demands “classic” media — if you allow me the term “classic” — such as websites, audiovisual material, or catalogs. I refer to them as “classic” because we are already working with scientific-medical knowledge in Web3 environments. Not to mention the impact of AI, both as a generator and facilitator of content and spaces for medical dissemination. Both cases clearly require expert knowledge in the field, the ability to select the right tools, and a commitment to continuous learning to guarantee quality, accessibility, and participation. In these contexts, “classic” media acquire a completely different dimension and impact. The same applies to social media use: creating visual educational content for these platforms requires a profound understanding of the subject matter, along with critical and analytical judgment. Here, I would like to highlight the very interesting reflections of Dr. Josep Brugada on this topic. (…)

On the other hand, the fusion of creativity and new technologies is also very common in EdTech projects. In this context, the value of creativity is not merely additive — it is the protagonist. We are talking about gamifying scientific knowledge, creating immersive spaces through augmented reality, transforming physical documents into interactive and multimedia materials where presentations, infographics, podcasts, or video tutorials acquire a different level of interest, etc. This opens education beyond spatial, generational, and temporal limitations. (…)

When approaching digital projects, we must lose our fear and abandon prejudice. This can only be achieved through deep knowledge. It is important to stay aligned with the times we live in. It is not about experimenting recklessly, but about training ourselves, understanding what exists, and implementing it with sound judgment. We must seek results that go beyond what is already known and functional. We should embrace new technologies not only as dissemination and communication tools, but as tools that drive growth, foster inclusion, improve accessibility and usability, reduce production times, and allow measurement and personalization. We must think fearlessly about opening new scenarios for the dissemination of science in particular, and for everything else in general, where the “classic” and the future that is already within everyone’s reach can coexist. What matters is doing it in time, before that future has already become part of the past. (…)

First and foremost comes the artist’s personal style — something unique and irreplaceable. Then comes creative ability, the capacity to create impactful visual strategies that are effective and attractive. But most importantly, as mentioned before, is focusing the creative process on the content itself and on the versatility of tools and formats. It is about maximizing the personalization of every piece of content, complementing traditional narratives with impactful creative work that encourages participation and collaboration, and creating unique experiences around scientific-medical knowledge through the artist’s distinctive style. (…)

This work also requires great responsibility y and continuous reinvention in many areas; it is not just about creativity. We work with extensive briefs and documents that are hundreds of pages long that are placed in the hands of creative professionals so we can shape them — not only with our aesthetic signature, but also by being capable of first translating scientific language into understandable language and then structuring it visually through different formats and platforms without losing its meaning, among many other things. Creativity for scientific environments requires a very different kind of talent from that of a blank canvas. (…)

Read the full interview in Barna Diario. Barcelona and James Magazine, Italy.