Clearly, we’re scrambling to understand the implications of a change so big and so fast we can barely wrap our heads around it.

Before we get into how we got here, and what the consequences of AI will be for branding and design, it’s important to start with one grounding idea:

The inherent value of creativity is that it is an expression of the human condition.

Branding and design are creative outputs. Creativity gives voice to the human experience, emotions, struggles, aspirations, stories. It helps us create connection and empathy. It helps us process life’s complexity and meaning. It helps us create cultures and a sense of belonging to them. It helps us solve problems and adapt to new challenges.

Creativity is one of the things that makes us human, and we should never forget that.

Now, how did we get here?

AI Shouldn’t Be a Total Surprise

Stanley Kubrik’s 2001: A Space Odyssey—a creative masterpiece of a film released in 1968, based on a book released a few months earlier authored by Arthur C. Clarke—anticipated this moment. Spoiler alert, the film is Clarke and Kubrik’s way of processing the potential impacts of advanced technologies like AI on humanity. Set mostly in space, the film actually begins in prehistoric times to make its main point: that humans have always had the disturbing tendency to turn technological tools into weapons for self-defense, self-advancement, dominance, and destruction.

Fifty-two years later, it’s easy to see how ChatGPT’s release in 2022 puts us on a path where HAL 9000, the conversational AI with “emotional intelligence” trusted with literally keeping the movie’s astronaut protagonists alive, is not such a crazy idea. Add it to a growing list of predictions the movie made, which, ironically, mostly started materializing after the year 2001: space stations as habitats (2000), predictive algorithms (2000s), video calling (2003), tablet computers (2010), voice-controlled interfaces (2011), virtual assistants and multimodal communication (2011), smart homes and centralized systems (2014), artificial intelligence (2016), autonomous systems (2016), human-machine relationships (2016), reusable spacecraft (2015), augmented reality & advanced interfaces (2016), AI-powered diagnostics (2018), space tourism (2021). Yet to materialize: cryosleep, artificial gravity in rotating space habitats, fully autonomous spacecraft decision-making systems with advanced general AI and emotional intelligence (like HAL, the villain of the movie).

I won’t get into the philosophical, ethical, and existential considerations of a HAL 9000-like situation. I’m just hoping we can learn the fundamental lesson most sci-fi movies try to teach us: Yes, we’re brilliant at inventing technology and we’re great at seeing the upside. We’re less great at seeing or dealing with its potential harms.

But I will take a look at how all of this is affecting branding and design, a domain I’m much more comfortable grappling with than the survival of the human race as we know it.

Confronting Reality in An Increasingly Artificial World

First, a confession: I use AI regularly as a research assistant. It’s exciting. The access to information is intoxicating. The computing power is mindblowing. The research capabilities are astounding. It would have taken me forever to compile the list of technologies predicted by Clarke and Kubrik without ChatGPT to conveniently fetch that for me. AI tools are great at finding things that exist—much better than a simple Google search. They’re great at synthesizing them, organizing them, and adjusting to every request you throw at them. They’re great assistants. But my experience of them so far is that they aren’t great “creators.” As 2001 foreshadowed, they are also prone to errors in judgment and embedded with the same biases and flaws as the humans who created them.

So how is the broader creative sector experiencing these tools? Warning: These numbers are going to feel like a gut punch. According to recently published research in the Harvard Business Review: “After the introduction of ChatGPT, there was a 21% decrease in the weekly number of posts in automation-prone jobs compared to manual-intensive jobs. Writing jobs were affected the most (30.37% decrease), followed by software, app, and web development (20.62%) and engineering (10.42%). A similar magnitude of decline in demand was observed after the introduction of popular image-generating AI tools (including Midjourney, Stable Diffusion, and DALL-E 2) were introduced. Within a year of introducing image-generating AI tools, demand for graphic design and 3D modeling freelancers decreased by 17.01%. Additionally, we noticed that over time, there were no signs of demand rebounding, revealing a growing trend of job replacement.”

Uh Oh, Is Creativity Dead?

If you’re like me, your heart sank to the floor as you read those numbers. You probably had some feelings of guilt, too: “Oh shit, I use ChatGPT all the time. Am I digging my own grave?”

There’s no denying that the employment landscape in creative industries will continue changing as AI evolves. As the HBR article highlights, the shift has already begun and it will only accelerate. The changes ahead will be significant. Some roles will evolve, others may disappear, and new opportunities will emerge. It’s a realignment, much like the ones brought on by the advent of Photoshop or the rise of the internet—but bigger. Rejecting a technology that is becoming omnipresent around us is not a winning strategy. The key to thriving in this transition is in quickly identifying what parts of the creative process are replaceable or “automation-prone,” which are harder to replace, and which new roles can now emerge.

AI and Branding

As we integrate these technologies into branding and design, a critical question arises: Can AI ever replace the human strategy, creativity, and authenticity that make brands meaningful?

I’m no futurist, but based on my experience, the answer is a resounding no. While AI can help streamline tasks and amplify our abilities, it cannot replace the uniquely human elements of collaboration, instinct, unpredictability, empathy, and ethical responsibility. As one of our clients, Nick Fabiani, Creative Lead at the Robert Wood Johnson Foundation, puts it: “At the end of the day, my take on AI is anything that is worth time for someone to consume—any piece of written media, visual media that is worth someone engaging with and trying to get meaning from—is worth the time for a human to create it.”

Why the Human Element Matters

People want to feel ownership over the ideas they help shape. They want to be part of something bigger, and they want their values to shine through in the work. AI might assist in the execution, but it can’t replace the emotional intelligence, intuition, and cultural awareness that define truly impactful branding. Even if it was possible to create a facsimile of emotional intelligence, how would it be believable without real experience to back it up?

The process of collaboration and co-creation is central to building brands that resonate.

As Harvard Business Review points out, “AI is shifting the focus of work away from predictive tasks to those requiring human judgment and decision-making.” AI excels at speed and efficiency. It can crunch data, predict trends based on patterns, and attempt to generate (more like regurgitate) creative outputs. But the content it generates is only as interesting as the prompts that guide it and the human editing that makes it fresh, surprising, and authentic. Outputs aside, branding and design are not just about the deliverables—they’re about the journey of getting there. As Fabiani notes, “How we get there, how we arrive at it, is the important part, really. So that’s sort of where I draw the line on AI—how do you replace actual human experience?”

Preparing Creative Leaders for an AI-Augmented World

As AI takes on more technical and repetitive tasks, the next generation of creative leaders must be equipped with new skills. It’s no longer enough to just master design software or write compelling copy. Creative leaders need to know when to prioritize intentional, values-driven work over the speed and quantity enabled by AI. We must think critically and holistically about our work: who it’s for, why it matters, and how it brings people together. But beyond that, we have to focus on the thing that will never be replaceable: human-to-human relationships. Brands are ultimately about the humans behind them: humans who need to feel listened to, guided, validated, represented, dignified, motivated, inspired, driven by purpose and meaning.

AI as a Tool, Not a Replacement

AI has become an indispensable assistant in creative work. It can accelerate and enhance workflows. But it should always remain just that—an assistant. It is not a replacement for the creative processes that connect people to ideas and to each other. Humans must stay in the decision-making seat, driving the strategy and meaning behind the work.

The most successful brands are not built on efficiency alone but on meaning and resonance. AI can help us get there faster, but it’s the human experience that makes the destination worthwhile.

This essay is by Deroy Peraza, partner at Hyperakt, a purpose-driven design and innovation studio that elevates human dignity and ignites curiosity. Originally posted in the newsletter, Insights by Hyperakt.

Header iIllustration by Merit Myers.

The post AI Won’t (Completely) Replace Us appeared first on PRINT Magazine.

Matt van Leeuwen is a graphic designer in New York with a love for typography and a keen eye for color, his work spans a 20-year career of making bold and iconic work in New York and The Netherlands. He and I recently found ourselves in an animated discussion about the color red—its influence, its meaning, its everywhere-ness.

Try naming ten blue or yellow brands off the top of your head. It’s not as easy as it is with red.

Matt van Leeuwen

The color red is ubiquitous in the world of brands. “Consider this: Ferrari and Coca-Cola. Louboutin and McDonald’s. Prada and Heinz. Red moves seamlessly between luxury and accessibility. It’s a color that brands across the spectrum trust to make an impact,” says van Leeuwen. Countless others appear across all industries: Adobe, Netflix, Target, Lego, UniQlo, Marvel, Levi’s, YouTube, Pinterest, and RedNote (a newcomer hoping to welcome people migrating from TikTok). Somewhere between 20% to 30% of Interbrand’s Best Global Brands incorporate red into their identities. “Try naming ten blue or yellow brands off the top of your head,” van Leeuwen continues. “It’s not as easy as it is with red.”

This ubiquity isn’t accidental. Red commands attention like no other color. Thanks to its long wavelength, it’s one of the most visible hues on the spectrum, second only to yellow. So, it makes an obvious choice for brands wanting to cut through the visual noise of our consumerist lives. That visibility is also why stop signs, fire trucks, and sirens are red. It’s a color designed to make you stop, look, and pay attention. This visibility extends beyond physical warnings. In language, red is used to convey caution and danger: being “in the red” signals financial trouble, and a “red flag” warns of impending issues. Red is fire, blood, and in some cases, poison. It taps into primal instincts, evoking both fear and urgency.

Red’s dominance is rooted in both history and human psychology. Anthropologists Russell Hill and Robert Barton’s 2005 research suggests that, across nature, red is tied to aggression, dominance, and heightened testosterone levels. In the animal kingdom, flushed skin and vibrant red displays signal readiness to fight or mate. Applied to humans, wearing red can subconsciously prime individuals to feel more aggressive and dominant, making it a natural choice for sports teams—and political movements. The red MAGA cap wasn’t just a branding choice; it was a psychological trigger. Imagine that cap in blue—it simply wouldn’t have had the same impact.

This cultural duality underscores red’s remarkable versatility as a symbol, capable of embodying both hope and hostility depending on context.

“Historically, red has been the color of revolution. During the French Revolution, red caps and flags symbolized popular revolt. In 1917, the Russian Revolution solidified red as the color of socialism and communism. For Americans during the Cold War, red wasn’t just a color—it was the enemy,” he says, continuing, “The term ‘Red Scare’ captured the nation’s fear of social ideologies. Maps painted the Soviet Union red, embedding the color deeply into the national psyche as a symbol of danger. Yet today, that symbolism has flipped. Red now symbolizes Republican, and Trump has taken it a step further, commandeering the color red to brand his own movement.”

This shift isn’t just political; it’s profoundly visual. In design history, red was beloved by early 20th-century modernists like Kandinsky, Lissitzky, and Malevich for its bold, disruptive energy. Kandinsky even reserved the central square of his three elementary shapes for red, acknowledging its commanding presence. Red has always been the color of change, of defiance. It’s no wonder it has become the face of modern populism.

But it’s important to recognize that red carries a different significance and meaning in other cultures. In Eastern cultures, red is a symbol of luck, joy, and prosperity. It adorns wedding dresses, envelopes gifted during the Lunar New Year, and temple decorations. It represents vitality and celebration—a stark contrast to the West, where red often signals danger, aggression, or defiance. This cultural duality underscores red’s remarkable versatility as a symbol, capable of embodying both hope and hostility depending on context.

“Western association of political red with Republicans is a relatively recent development. It wasn’t always this way,” says van Leeuwen. “In 1976, NBC’s John Chancellor introduced the first color-coded electoral map, lighting up Democratic states in red and Republican ones in blue. It wasn’t until the chaotic 2000 election that networks standardized red for Republicans and blue for Democrats, etching this visual language into the political landscape. Before that, the colors were interchangeable.”

Populist politics demand a populist color, and red delivers.

As we watch this new wave of red rise, we wonder whether we’re witnessing branding at its most elemental. Trump’s campaign, wrapped in red, taps into centuries of symbolism—revolution, power, defiance. Like the biggest global brands, it’s designed to provoke and polarize, to be both loved and hated. Populist politics demand a populist color, and red delivers.

The question now is how we respond. Will brands pivot away from red to avoid unintended associations? Or will they double down, embracing its boldness despite its political baggage? Perhaps, like every revolution, this one will force us to rethink our symbols.

In design, as in politics, every color choice carries weight. But red? Red carries history, emotion, and power. It remains the ultimate provocateur—bold, commanding, and impossible to ignore.

And that’s why red will always matter.

The post Red: The Color of Power, Passion, and Populism appeared first on PRINT Magazine.

A flourishing branding campaign blossoms with enduring impact, nurturing deep-rooted loyalty and inspiring meaningful actions, all while remaining steadfast to the essence of the brand’s unique identity. This year’s PRINT Awards jury members are an exemplary group of experts from leading agencies as well as highly regarded, well-known brands unto themselves.

Mike Perry

Mike Perry is the founder and chief creative officer of TAVERN, a Brooklyn-based creative agency focusing on food, beverage, cannabis, and hospitality brands. Across 13+ years, Perry has built successful, industry-leading brands through bold, ambitious, and beautifully crafted creative. A veteran of the food and beverage industry, Perry has gone from slinging drinks behind the bar to creating some of the biggest brands in the industry, with clients including Budweiser, Beam Suntory, Burger King, Diageo, and many more.

Perry’s dynamic and strategic approach to design blurs the lines between branding and advertising, turning every touchpoint into an opportunity to build brands at the lightning-fast speed of culture today, making him a perfect jury member to review full brand campaigns. 

Scout Driscoll

DesignScout has been crafting brands for over two decades with a passion for authenticity and rebellion. As founder and CEO, Scout Driscoll champions startups and rejuvenates established brands with strategic brands that move the needle. With a talent for decoding consumer behavior and a genuine connection to her craft, Driscoll leads an all-woman studio committed to empowering founder-driven brands unafraid to stand out. Together, they craft genuine, relatable brands that speak directly to today’s diverse audiences. Her industry accolades, including the Harper’s Gold Award and her role as a speaker and judge at top design events, underscore her expertise and dedication to excellence. Her approachable style and creative insight make her a trusted ally in navigating the dynamic landscape of branding and design.

There is nothing more exciting in branding than brands daring to stand out. In a sea of look-alike brands, bold branding, when steeped in the right strategy can make all of the difference in a company’s success.

Scout Driscoll

Courtney Brown Warren

Courtney Brown Warren is the CMO at Kickstarter where she oversees all aspects of Kickstarter’s marketing strategy, including product and lifecycle marketing, creative, communications, content, social, experiential, partnerships, and sponsorships. Warren also oversees Kickstarter’s sales and community outreach strategy, focusing on developing integrated, full-funnel approaches that cultivate a passionate, engaged, and empowered community on the Kickstarter platform.

Warren has over two decades of experience working with global brands across diverse industries like tech, media, entertainment, and more. Before Kickstarter, she served as Twitter’s global head of brand, managing a global team across go-to-market brand strategy, brand campaign management, talent brand, and emerging markets as well as digital, content, and editorial strategy. Prior to that, Warren was head of creative at Audible, where she launched two high-growth subscription startups and revenue streams—Audible Escape and Audible for Business. 

If your work helps to bring brands into focus through comprehensive, cohesive marketing initiatives, these extraordinary design leaders are eager to see your work.

For more information about our full 2025 PRINT Awards jury and to enter the competition this year, visit the PRINT Awards site and be sure to submit your work by January 21 for the best rates of the season!

The post Meet the 2025 PRINT Awards Jury for Full Branding Campaigns appeared first on PRINT Magazine.

Vimeo, the pioneer of high-definition video sharing, sought a brand identity as innovative as its platform. The result is a dynamic design system where resolution isn’t merely a visual detail but a central, functional element.

Uncommon’s approach involved creating traditional brand components — logo, color palette, and typography — but with a twist: they employed generative tools to modulate the resolution of these elements. This concept was vividly brought to life during REFRAME, Vimeo’s inaugural video innovation conference.

In the lead-up to the event, outdoor media installations showcased posters with resolutions that varied based on their proximity to the venue. Distant locations featured low-resolution images, which progressively sharpened to ultra-high-definition as one approached the event site. This clever use of resolution not only mirrored the evolution of video technology but also engaged audiences in a playful, interactive narrative. Fascinated by this activation, I reached out to Nils Leonard, Uncommon Creative Studio’s co-founder. Our conversation is as follows (lightly edited for length and clarity).

How does incorporating ‘resolution’ as a core element of the design system challenge traditional branding conventions?

Without knowing it, we all often work within confines we don’t question. There are the common and accepted tenets of design systems: logo, typography, colour, layout, etc., but when we approached this project with true innovation in mind, we really asked ourselves how we might challenge the very nature of a design system rather than begin a process inside of it. We landed on a very simple insight, which is that if Vimeo were the original video innovator then surely our design had to represent that in an innovative way. Rather than try to create something within the existing framework of a design system, we sought to redefine the system itself. The task then became working out how the system might be able to play with resolution in an additive and remarkable way and how it might feature in the storytelling for the event and the brand itself.

We loved the idea that media could work like vision, or like resolution itself – that the closer you got to the venue, the sharper and more hi res the executions would get.

The proximity-based resolution concept for outdoor media is unconventional. What inspired your approach, and how did you ensure it would resonate with audiences attending REFRAME?

We loved the idea that media could work like vision, or like resolution itself – that the closer you got to the venue, the sharper and more hi res the executions would get. It was the perfect canvas for the resolution part of the identity to play in and was a game we felt the Reframe audience would enjoy as they made their way to the event. Once we had created the various executions using the generative web-based tool we developed, the task was then to plot the media along the routes to the venue we knew the audience would take. Some careful planning and media scouting took place, then we ensured each execution occurred in the right place for the overall effect to be felt. We weren’t worried about the lower resolution executions making little sense to people as we knew the repetition of the media and the buzz around the event would land the idea through the media mix and the noise around the idea. It was fun, though, seeing completely indecipherable posters around town. They were strangely beautiful and simple in comparison to overloaded and messaging-saturated posters. A little like Vimeo, nothing tried too hard: the overall experience was premium, simple, remarkable.

How did the partnership between Vimeo’s in-house design team and Uncommon Creative Studio influence the project’s outcome?

Dan and the excellent team at Vimeo really understood and shared the vision of the idea from the first moment. Of course, the identity had to work hard inside the venue and across all of the event’s touchpoints (including beautiful merchandise, publishing, and the myriad screens and media present). But we all recognised the power of the idea behind the branding to further reinforce Vimeo’s credentials as the original video innovator to everyone that came across the identity and the event. The project was a balance of pragmatism and trust as we went about the task. The design practice within Uncommon always strives for the work to have a deeper story, a more famous narrative, and something that could become a reference point – the team at Vimeo had desired an idea like this from the start and the partnership flourished in this shared ambition.

How do you anticipate the resolution-based design system will impact audience perception and engagement during the REFRAME festival? How does this approach align with Vimeo’s broader goals? And how did you approach crafting a visual narrative that embodies the evolution of video in the 21st century?

Whether new or old, branding always has conventional tasks to fulfill. The approach here was to satisfy those needs, but go further finding a narrative in how we branded the event to create deeper conversations around Vimeo and its place in the world. This role is usually reserved for internal comms or marketing tasks, but we saw the opportunity for the body language of the brand to say something that most marketing couldn’t: If the simple design of our event is this innovative, the brand must live and breathe this commitment to the future of video in every aspect. More than answering a brief, this work asks a question, where else could video go? What else could it do? What else could be a screen? Magic in design can exist in more than a clever logo or the beauty of a typeface. What you make can be magical, but so can how you make [it].

What is the potential for applying the resolution-centric design concept beyond REFRAME? How might this approach influence future branding strategies for Vimeo or other platforms in the digital space?

Vimeo is a true innovator, whether through our partnership or in countless other ways, they will never stop showcasing the power of video to challenge, change, and improve our work and lives. We look forward to asking the questions inside this work of other media, environments, and opportunities as the studio moves forward.

Dan Brooks, Vimeo’s VP of creative & brand, remarked, “For REFRAME, our first video innovation conference, it was great to partner with Uncommon, a studio who embodies inventive thinking and design. It was a great collaboration between Vimeo’s in-house design and production team, a bold, flexible design system with a core idea around ‘resolution’ at the center.”

This approach not only reinforces Vimeo’s identity as a leader in video innovation but also exemplifies how design can transcend aesthetics to become an experiential journey.

The post Uncommon’s REFRAME Identity for Vimeo Challenges Design Norms Through Resolution appeared first on PRINT Magazine.

Biophilia-Inspired Branding for This Year’s Awards

When PRINT presented biophilia as the central theme to the designers at The Collected Works, the team dug right in to explore and deliver a brand for the 2025 PRINT Awards. The biophilic brand system highlights our innate human connection to the natural world, evoking a parallel theme of the cultivation of creativity.

Nature certainly takes center stage with this year’s brand identity. Utilizing a combination of Pangram Pangram Foundry’s luxurious Playground typeface along with workhorse Instrument Sans, the primary logo balances professionalism with organic appeal. The addition of a second typeface, Pangram Pangram’s Pangaia provides an opportunity for us to carry that charm into other promotional formats.

Beyond the brand mark for the PRINT Awards, the talented team at TCW worked on a complete array of brand assets, including a short film to announce the regular registration period of the competition. Below, Justin Colt, partner & creative director, and Christian Townsend, senior design & 3D artist, share the full brand case study.

Concept Overview

Justin Colt: Here at TCW, we were excited to take on the design and short call-for-entries film for the 2025 Print Awards. After an initial chat with the PRINT team, we were all inspired by the concept of biophilia—the connection between nature and humans. It felt like a cool metaphor—the idea of creativity and exploration represented through growing, evolving plant structures interacting with more “solid” elements, like rocks and typography. Kind of like creativity and exploration weaving their way around structure and grids. You know, something like that?

As with most of our studio projects, we kicked things off with a research and development phase. What should this environment feel like? How were we going to create and animate our plant life? We also liked the idea of keeping the whole video contained to just one scene—a small rock alcove where plants could grow, creep, and bloom. From there, we planned to pan through different moments and vignettes to highlight how the plants interacted with the rocks and typography. Since the entire growth process was generative and procedural, we got to take on more of an observer role—capturing where the plants naturally wanted to grow and bloom.

Process & Key Visual Elements

Christian Townsend: Conceptually, we loved the idea of creating simulations that run on their own—producing unexpected behavior and interesting emergent forms, which we could then explore and capture with the camera. Visually, however, we always want to ensure that the final product feels intentional and directed—not necessarily the easiest feat when working with procedural simulations.

Our process for this film involved a continuous back-and-forth—workshopping individual systems separately, then merging them back into the larger scene to see how they interacted with the rest of the world. As we built and layered in more and more systems, the world really started to come alive. Houdini, our 3D tool of choice for projects like this, was absolutely integral to the workflow. It allowed us to approach these films in an extremely modular way—building recipes for effects used throughout the project, running simulations on top of other simulations—really anything we could imagine. Houdini gave us the tools to attempt it.

Sculptural Rocks

We start with stacked geometric shapes, some of which add to the form, while others cut away from it. We then process these geometric sculptures into organic chiseled-looking forms. These sculptural rocks are the foundation on which every other piece grows.

Generative Flowers

Petals are automatically generated to fit along hand-drawn curves, then animated with bone deformations and run through a cloth simulation at the end to remove any intersections and add flowy movement. These are really fun to play with and create new alien forms of flowers.

Ivy Growth

Simulated particles explore the surfaces and trigger the growth of flowers and leaves along their paths. You can also hand-draw specific curves to convert them into vines.

Some of our typographic exploration.

Refinements

Christian Townsend: As we added new layers of detail and continued building up the scene, we also refined and pushed the existing elements into a more harmonious state—integrating them with the typographic system that was developing alongside the film. We began introducing more vibrant and ethereal colors and incorporated moments where the 2D and 3D elements of the design system could interact with each other. We brought in our friends at Roju Sound to complement these visuals with some amazing sound design. This was also the stage where we locked in camera angles, pacing, and cuts—allowing all the individual ingredients to finally come together into a cohesive package.

Justin Colt: From a sound perspective, we wanted this piece to feel partially grounded in reality while also carrying an otherworldly quality. For instance, what does it sound like when a flower—symbolizing design and creativity—blooms? Overall it was also important for us to strike a balance, blending deeper undertones with lighter, more sparkling audio moments.

Vibrant stone materials

Additional ground cover flora & moss

The first fully rendered flower bloom exploration

A collection of flower renders

The Finale

Justin Colt: In the end, we’re really excited about how everything came together. Our rock alcove is overtaken by generative vines, blooming and flowering. By allowing the procedural plants to essentially “grow themselves,” we became observers of the process, dropping cameras in to capture naturally occurring moments. It’s a fun way to approach these kinds of short films.

At just over 60 seconds, it feels like a nice duration—telling a quick story and (hopefully) leaving people wanting a bit more.

Christian Townsend: We really appreciate PRINT’s openness to a more exploratory way of working through the production of this film. It was the perfect brief for the studio to be able to really nerd out and deep dive into new and exciting processes, and we think the end product turned out so much better for it.

We’re very thankful to PRINT for trusting us with this one.

A collection of stills from the final film.

And the final film in all its glory!

For more information about the 2025 PRINT Awards, the 28 categories for your work, and to find out how to enter the competition this year, visit the PRINT Awards site and be sure to submit your work by January 21 for the best rates of the season!

The post The Collected Works Cultivates a Bold Design for the 2025 PRINT Awards appeared first on PRINT Magazine.

Storytelling that highlights the region’s vibrancy, traditions, and people anchors the campaign. Adam Stewart, Sandals’ executive chairman, narrates the campaign film, emphasizing the brand’s intimate connection to the islands. The campaign moves beyond generic notions of all-inclusive resorts to focus on experiences that embody the soul of the Caribbean.

Wolff Olins brings a new visual identity rooted in what they’ve dubbed “Natural Vibrancy.” The refreshed look and feel integrate local influences with modern design principles, striking a balance between heritage and contemporary appeal. It’s not just about looking tropical—the look feels genuinely connected to the culture and environment of the islands.

Travelers today are looking for the authenticity that Sandals and Beaches resorts stand for, so it’s an incredible opportunity to help a family business born in the Caribbean to continue innovating from its legacy and delivering all-inclusive hospitality for the next generation of travellers.”

Brian Meyers, executive strategy director at Wolff Olins

This shift speaks to a broader trend in branding: the move toward authenticity and storytelling. Sandals isn’t just competing on luxury; it’s carving out a distinct narrative space that resonates with travelers seeking meaning in their experiences.

By placing the Caribbean front and center—visually, verbally, and experientially—Sandals takes a confident step in defining its brand not as a destination, but as an extension of the region it calls home. This is branding that feels personal, thoughtful, and perfectly timed for today’s travel audience.

“Made of Caribbean encompasses the true heart and soul of our organization,” said Adam Stewart. “We are so deeply grateful to the teams at Leo Burnett and Wolff Olins for beautifully capturing who we are at our core. My father and Sandals Resorts’ founder Gordon “Butch” Stewart, built these world class brands through celebrating the place he cherished so deeply. He believed with unwavering certainty that the Caribbean was worthy of deep exploration – and that its people, the most welcoming in the world, are a constant source of joy. His vision lives on in everything we do and it is with great pride and gratitude, that we declare to the world, we are ‘Made of Caribbean.’”

The post Wolff Olins Crafts a Brand ‘Made of Caribbean’ for Sandals Resorts appeared first on PRINT Magazine.

While some teams in other women’s professional sports leagues are upping their branding games as well—with clubs like Angel City FC and the San Diego Wave setting the bar in the NWSL— there is still ample room for growth (and investment) across the industry.

The newly launched Professional Women’s Hockey League, for example, unveiled its six inaugural franchises last September, each of whom has puzzlingly rudimentary logos and even worse wordmarks all in drastic need of some TLC.

And lest we forget the shambolic brand rollout of BOS Nation FC of the NWSL. TooManyBalls.com might be gone, but it will live on in infamy forever.

The WNBA continues to set and elevate the standard for women’s sports branding in the US, with franchises like the NY Liberty leading the charge. After diving headfirst into the mania surrounding the NY Liberty’s mascot, Ellie the Elephant, this past WNBA season, I had the pleasure of speaking directly with the Liberty’s chief brand officer, Shana Stephenson, about the brilliance of Ellie.

Since then, I’ve continued thinking about the state of branding in women’s sports, and the nuances of branding professional women’s sports teams versus their male counterparts, and once again sought out Stephenson for her expert insights. I also reached out to sports branding professional and graphic designer Britt Davis for commentary, who has worked with the likes of the WNBA, NBA, NFL, MLS, MLB, New Balance, ESPN, and collegiate teams through LCKR ROOM and B.CRTV Brands.

Stephenson and Davis’s thoughtful responses to my questions are below, lightly edited for clarity and length.

How important is the branding of a women’s sports team to their ultimate success on the court or field? One might think that only the players and their performance matter, but can you elaborate on how a franchise’s total package affects how a team plays?

SS: It’s essential to create a strong brand identity and an impactful platform to generate visibility, build a strong fan base, and connect with your players. Not only will you see the best basketball at New York Liberty games, but we are incredibly deliberate in ensuring fans will see the best fan experience as well.

The New York Liberty has been intentional in how we cultivate our fan base, and simultaneously bringing our brand identity to life through the in-arena atmosphere and experience at Barclays Center. We’ve designed our home venue to be an immersive, cultural experience, and our fans take it a step further by bringing the energy game after game, helping motivate, hype up, and create excitement for the players.

It’s no coincidence the Liberty just won our first WNBA championship in franchise history— this was always part of our long-term vision.

We’ve elevated our mascot, Ellie the Elephant, in unimaginable ways, hosted A-List celebrities and influencers from all different industries to sit courtside and perform at our games, and now we’re seeing an increase in media presence, fans, and attendance. We’re seeing everything come together so serendipitously, and it’s no coincidence that the Liberty just won our first WNBA championship in franchise history— this was always part of our long-term vision.

BD: Branding plays a pivotal role in shaping the overall experience, not just for the players, but for the fans as well. It’s the spark that fuels excitement, energy, and emotion, creating a dynamic atmosphere that resonates with both sides. This connection sets the tone for unforgettable moments that forge lasting bonds between fans and teams— bonds that solidify loyalty and passion. 

For me, these moments are the heartbeat of creative assets, from taglines to merchandise, inspiring everything fans wear and share to proudly express their unwavering support.

How do you see branding for a women’s sports franchise different from branding for a men’s franchise? What aspects are the same?

SS: The WNBA and many professional women’s sports teams and leagues are newer to the industry, leaving room to push creative boundaries and build something truly unique and authentic to the market. That growth opportunity can allow women’s sports teams to capture attention in uncrowded spaces and help brands meaningfully engage with some of the most diverse and loyal fans in sports.

One way the Liberty has pushed a creative boundary is through the team’s Xbox partnership. We created a custom gaming-inspired basketball court to celebrate the launch of one of the year’s most-anticipated video games. Our mascot Ellie is another example of how our team has pushed creative boundaries, with our fresh take on this part of a team’s branding, we’ve not only helped attract new audiences, but we’ve also created opportunities for new brand partnerships with Nike, Bumble, Lyft, and others.

WNBA players understand their role in growing the game, so they’re more accessible. They also speak out about women being undervalued and underrepresented in society overall and understand the value of using their platform to be vocal about social issues.

An aspect of branding that is the same for both women’s and men’s sports franchises is highlighting the elite athletes who are the heart of our team and the face of our league. This is something we are incredibly intentional about so that our players get the name recognition they have earned and deserve.

I’d also add that WNBA players understand their role in growing the game, so they’re more accessible. They also speak out about women being undervalued and underrepresented in society overall and understand the value of using their platform to be vocal about social issues.

BD: Having worked on both men’s and women’s sports projects, I approach them with the same level of intention and research-driven creativity. The process is fundamentally the same— understanding the team’s vision and goals and crafting a brand that speaks to the heart of the sport. 

That said, during the exploration phase, teams might highlight specific visuals or tones they want to emphasize or avoid in order to keep the focus on the game itself. I respect this direction, but I also believe there are unique ways to celebrate and elevate women’s sports beyond just the brand identity. From compelling storytelling to amplifying fan voices, there are countless ways to showcase what makes women’s sports so meaningful. As a woman working in the sports design space, I can’t help but feel an extra sense of excitement when I see the branding of women’s franchises making its way into the spotlight on my timeline.

There are unique ways to celebrate and elevate women’s sports beyond just the brand identity. From compelling storytelling to amplifying fan voices, there are countless ways to showcase what makes women’s sports so meaningful.

Which women’s sports franchises stand out to you for their successful branding? What elements of their branding set them apart and have fueled their rise to the top? 

BD: This is a tough one! The teams that truly stand out to me are the ones that deeply integrate into local culture, creating a genuine connection with their communities. Teams that tap into the nostalgia of a rich legacy and long-standing presence also leave a lasting impression. In terms of digital content and blending lifestyle-driven elements like retail, I’ve really enjoyed what teams like the Las Vegas Aces, NY Liberty, and Atlanta Dream have done. Their city-inspired branding and mascots have made them fun to follow over the past few seasons. 

I also have to give a shoutout to Team USA Women’s Soccer and Basketball— these athletes bring such incredible energy and personality, and the content surrounding them is both entertaining and empowering.

What strides have been made in women’s sports in general, and women’s sports branding specifically, since you’ve been involved in the industry? In what ways is there still room for growth?

SS: We’re in the midst of an explosion of popularity for women’s sports, which has opened new avenues of growth in the industry. In 2024, experts predicted that for the first time, women’s elite sports—like the WNBA—would generate over $1 billion in revenue, which would be a 300% increase from just three years ago in 2021.

In the WNBA specifically, the Liberty’s successful 2024 championship run was part of a WNBA playoffs which saw a 142% increase in viewership compared to 2023. And Game 5 of the WNBA Finals, when the Liberty won their first-ever championship, was the most-viewed WNBA Finals game in 25 years, with ESPN broadcast viewership peaking at 3.3 million.

A key business focus for our team over the past few years has been to increase brand visibility through broadcast viewership and unique brand partnerships. This year, the Liberty signed a broadcast deal with FOX5 in New York, bringing Liberty games to 7.5 million households across the Tri-State area, and we also launched our first direct-to-consumer streaming platform, Liberty Live, further increasing accessibility by bringing games directly to our fans.

A unique advantage of being a women-led franchise is that we are able to create new sponsorship categories and opportunities. We’ve collaborated with notable brands—many of which are new to sports and/or new to the WNBA—spanning fashion, beauty, health, and everything in between. In every partnership, we prioritize working with brands that share our core values, commitment to player benefit, and the larger narrative we are pursuing as an organization. Off-White, Hero Cosmetics, NYX Cosmetics, and RMA Network are just a few examples of some of our recent, successful partnerships.

Our strategic approach is working. The Liberty has continued to break barriers and set new records—from viewership, attendance, merchandise sales, social media engagement and more—numbers are up across all areas of the business, but there’s more to be done. We must continue the momentum and build on the foundation we’ve created in order to achieve long-term, lasting success for women’s sports overall.

Numbers are up across all areas of the business, but there’s more to be done.

BD: In recent years, it’s been exciting to see the growing coverage and visibility of women’s sports. This increased attention not only sparks greater interest in the sports themselves but also opens up more opportunities for creativity within the space. With more eyes on their teams, we’ve seen a wave of intentional outreach to creatives—especially women-owned agencies and independent creators—to help shape brand identities and retail collections. There’s also been a push to develop community programs that introduce young girls to sports, fostering deeper connections and experiences. As the space continues to evolve, I’m excited to see even more innovation around key campaign moments, like schedule releases, and how these moments further strengthen fan engagement.

The post Enter the Golden Age of Branding in Professional Women’s Sports appeared first on PRINT Magazine.

These stories not only captivated audiences but also offered a blueprint for how brands can navigate a rapidly evolving cultural landscape; sparking conversations to set the tone for what’s to come. Here’s a look back at the year in branding that had you talking, debating, and inspired.

Pentagram Makes a Splash with the Monterey Bay Aquarium Brand Refresh

Led by partner Abbott Miller, the Pentagram team developed a new brand identity for the Aquarium that creates cohesion amidst disparate touchpoints.

A Colossal Brand Refresh for the Boston Symphony Orchestra

The renowned Boston advertising agency Colossus redefined the visual language of BSO and its affiliated brands: The Boston Pops, Tanglewood, and Symphony Hall.

Do Right by Nature: Unpacking Wolff Olins’ New Brand for NYBG

From a local gem to a global force, in February the New York Botanical Garden unveiled its first significant brand update in over a decade. The central idea behind the updated brand by Wolff Olins is “Do right by nature.”

Jane Austen’s House Unveils a Celebratory Identity for Her 250th Birthday

When tasked with celebrating two and a half centuries of literary brilliance, you want to do it with style. So Jane Austen’s House in Chawton, England, partnered with Pentagram to craft an identity every bit as enchanting as the author’s novels.

Coca-Cola Embraces Imitation with the Campaign, “Every Coca-Cola is Welcome”

While many brands are quick to protect their copyrighted materials and likenesses, Coca-Cola launched a 2024 campaign that does the opposite, celebrating the many interpretations of their logo created around the world for generations.

Oui or Non? Design Experts on the Paris 2024 Olympics Branding

To help keep the splendor of Paris 2024 alive, PRINT tapped a handful of design experts to share their reflections on the Olympics brand system and offer their hottest takes.

Another Olympics highlight? PRINT dives into designers’ favorite sport: the pictograms.

A Redesigned National Geographic Bridges Print Heritage and Digital Experience

The globally recognized magazine unveiled a significant design refresh in March. PRINT interviewed the in-house team behind this redesign about holding 130+ years of tradition while addressing the evolving needs of print and digital audiences.

Five Industry Leaders on the State of Branding

In the spirit of “What’s Next?,” PRINT asked five brand leaders whose agencies are represented at OFFF Barcelona in April to share their perspectives about the state of branding and what the future of the profession might look like.

Rebranding an Icon: American Girl Gets a New Look

While our American Girl dolls might be stashed in attics, American Girl remains a central touchstone in our culture, and with a little help from Pentagram, the brand continues to evolve for the modern child.

The Brooklyn Museum Unveils a Bold Rebrand for 200th Anniversary

A new logo, a sleek website, revamped signage, and a line of exclusive merch pay homage to the museum’s rich history while charging into the future. The refresh by Brooklyn studio Other Means and the museum’s in-house team celebrates art, community, and a courageous and evolving conversation between the past and the present.

The post PRINT Year in Review: Heritage Brands, a Global Stage, & Community Ties appeared first on PRINT Magazine.

Once accepted methods of change are being questioned, values are shifting, and new ways of working are emerging. For many of these organizations, it’s harder than ever to know who they are and how to tell their story with confidence.

The tectonic shifts in politics and culture over the last few years have been big, but beyond this particular moment in history, change is a constant. Every 5-7 years, organizations undergo the natural evolution caused by staff turnover, new leaders, and new strategies that meet the moment.

This cycle of change means that it’s important for organizations to regularly reflect on how they present themselves and how they use their brand voice to make sure it authentically conveys who they are and where they’re headed.

Setting the Stage for a Rebrand

For organizations, it’s important to know when and why a rebrand is in order. The process must first be embraced by the people closest to the organization—those who represent the brand to the world every day. Bringing them into the process early will make them feel more invested in the brand in the long run. That means starting with shared language around what “branding” means and assessing the organization’s current brand so there is a basis for agreeing on the goals of a rebrand.

How it Works

Built from decades of experience working with social impact organizations, Hyperakt’s Nonprofit Brand Score benchmarks confidence in a brand’s effectiveness and offers insights for maximizing its potential. The free tool consists of just 16 questions that help teams take quick stock of the different dimensions of their brand. In just 5 minutes, the assessment will generate a report for each person who completes it with scores on a 1 to 100 scale across 4 measures:

Clarity: Is your brand clearly and consistently expressed?
Resonance: Do you understand and believe in your brand?
Distinction: Does your brand stand apart from competitors?
Influence: Do your peers and partners look up to your brand?

A Concrete Way to Measure Your Brand’s Impact

Having a quick, concrete visualization of your people’s scores across these measures and an overall score for your brand makes it much easier to have informed conversations around your brand’s strengths and weaknesses. The average nonprofit scores 65 on the test, so immediately, your overall score will give you a sense of how your brand compares to the field. Digging into the individual metrics and seeing which ones generate the greatest variance among your team members, you’ll be able to identify where you have the most misalignment on your brand.

Brands are hard to measure. The Nonprofit Brand Score removes that barrier and helps teams build the alignment they need to get to the heart of their brand challenges. An organization’s brand is one of its most valuable assets in creating meaningful impact. Do you have a sense of how much confidence your people have in your brand?

This essay is by Deroy Peraza, partner at Hyperakt, a purpose-driven design and innovation studio that elevates human dignity and ignites curiosity. Originally posted in the newsletter, Insights by Hyperakt.

Header iIllustration by Merit Myers.

The post How Much Confidence Does Your Team Have in Your Brand? appeared first on PRINT Magazine.

This time last year, we declared 2023 as The Year of the Rebrand. Now, with 2024 coming to a close, we turn our gaze to 2025—peering into the horizon of the branding world to uncover what lies ahead. 

I’ve spent this year chatting with design pros, dissecting pitch decks, and analyzing emerging campaigns to uncover where the branding industry is headed. Spoiler alert: it’s anything but business as usual. From AI-crafted design systems to purpose-driven storytelling that actually feels authentic for once, brands are showing up in ways that make me want to stand and applaud.

Without further ado, here’s what we’re predicting for brands in 2025:

Brand Strategy Trends

1. Hyper-Personalization at Scale

Brands will leverage AI and data analytics to deliver more personalized customer experiences, from product recommendations to dynamic branding elements that adapt to individual user preferences.

Spotify Wrapped; Nike By You

2. Purpose-Driven Branding (Refined)

While purpose remains critical, 2025 will see brands focus on authenticity and measurable impact rather than broad claims. Brands must show clear alignment between their stated values and tangible results.

Patagonia promoting repairable products; Ben & Jerry’s backing up activism with specific partnerships

3. Community-Centric Strategies

Building engaged communities will take precedence over traditional marketing. Brands will invest in digital and in-person spaces that encourage connection and co-creation with their audience.

Nike’s sneaker drops through its SNKRS app; LEGO Ideas

4. Decentralized Brand Ownership

With Web3 and blockchain technologies evolving, brands may experiment with decentralized ownership models, such as letting customers co-own or shape the brand through tokenized loyalty programs.

Starbucks’ Odyssey program rewards loyal customers with NFTs that unlock exclusive perks; Red Bull’s The Paddock loyalty program

5. Regionalization Over Globalization

Instead of creating universal global identities, brands will adopt hyper-localized strategies that reflect the values and aesthetics of specific markets. Case in point: Coca-Cola’s “Every Coca-Cola is Welcome” campaign.

Coca-Cola adapts its packaging, flavors, and campaigns to resonate with local cultures; McDonald’s offers region-specific menu items.

Design Trends

1. AI-Enhanced Design Systems

Designers will lean heavily on AI tools to generate brand assets, optimize user interfaces, and create real-time adaptations of logos, packaging, and experiences across platforms.

Canva’s AI-powered “Magic Studio”; Adobe FireFly

2. Neo-Brutalism & Playful Imperfection

While minimalism dominated the past decade, brands will embrace bold, imperfect, and human-centric aesthetics that feel less polished and more approachable.

Glossier street campaigns, Tony’s Chocolonely identity

3. Tactile Design in Digital Spaces

Inspired by material textures and tactile interactions, branding will incorporate 3D and haptic-like designs for digital experiences that mimic real-world sensations.

Moncler uses subtle shadows and layered visuals to mimic fabric textures; Apple macOS Sequoia introduces visual effects like window shadows and blur for depth.

4. Typography Revival

Custom fonts and expressive typography will take center stage as brands seek to differentiate themselves. Expect a mix of retro-inspired serif fonts and modern sans-serif combinations.

Burberry’s return to a custom serif typeface; L’eggs reintroduces Herb Lubalin’s iconic logotype

5. Color Gradients with Substance

Gradients will evolve to include nuanced, story-driven applications, reflecting mood, time of day, or cultural moments, rather than being purely decorative.

Instagram’s background color shifts to evoke emotion and moments; Duolingo uses gradients to create dynamic and playful digital assets.

Emerging Practices

1. Eco-Aesthetic Branding

Sustainability will drive not only materials but also design language—muted earth tones, recycled textures, and visuals that communicate environmental care will become more common.

Everlane’s muted earth tones and recyclable packaging; Aesop’s recyclable materials and minimalist designs.

2. Inclusive Visual Systems

Representation will extend beyond tokenism as brands develop truly inclusive design systems that adapt to different audiences and accessibility needs.

Fenty Beauty’s diverse skin tones and body types; Microsoft’s Fluent Design System prioritizes accessibility and inclusivity by offering tools and guidelines for creating interfaces that work for everyone.

3. Multi-Sensory Branding

Beyond sight and sound, brands will explore taste, touch, and smell through innovative packaging, physical experiences, and AR/VR interactions.

Sonos integrates tactile textures and calming soundscapes into its store displays; Apple’s use of haptics and subtle sounds enhances physical interaction with products.

4. Dynamic Brand Identities

Static logos and color palettes will give way to flexible systems that adapt based on context, mood, or audience, offering a living brand experience.

Coachella’s branding adapts colours, shapes, and themes annually to align with the festival’s evolving vibe; Google Doodles adapts to celebrate cultural events and milestones.

5. Metaverse-Ready Branding

Brands will design for the growing intersection of physical and virtual worlds, ensuring their identity and assets translate seamlessly across AR, VR, and immersive platforms.

Gucci’s digital Gucci Garden; Balenciaga and Fortnite collaborate on branded skins and virtual events.

The Takeaway? Be Bold. Be Brave. Be Fun.

Here’s the thing: the brands winning in 2025 won’t just be selling products. They’ll be connecting with us on a human level. They’ll be playful, purposeful, and sometimes a little messy—but that’s the magic. The best part? These trends aren’t just for the big players. Small businesses can dive into this brave new world, too.

• Invest in Authentic Relationships: Build strategies that foster genuine connections rather than transactional interactions.
• Design for Flexibility: Ensure your brand identity can adapt to multiple touchpoints, from screens to immersive environments.
• Leverage Data with Empathy: Use insights responsibly to create meaningful, personalized experiences without crossing privacy boundaries.
• Sustainability as a Baseline: Greenwashing will no longer suffice—brands must integrate sustainability into their core ethos and design.

See you in 2025. I’ll be the one wearing Nike AI sneakers and chomping down on a Tony’s Chocolonely.

Imagery: sourced via Google Search and on the brands’ websites.

The post Forecasting the Future: Brand & Design Predictions for 2025 appeared first on PRINT Magazine.

PRINT’s social feeds have become a dynamic stage for celebrating fresh talent, exploring design trends, and connecting with our ever-passionate audience. We shined a spotlight on groundbreaking artists and pulled on some threads of our industry’s most thought-provoking topics. But, as always, a few posts rose to the top, sparking the most likes, shares, and conversations across our platforms. So, without further ado, let’s revisit the top moments that defined PRINT’s social media in 2024.

Instagram

1. The Daily Heller: This Election is Not Yet in the Bag

2. Stuart Semple Calls Out Hostile Architecture with Powerful OOH Campaign

3. You Are All Wrong About the Jaguar Rebrand

Threads

1. (Our very first Thread!)

At last, but not least. PRINT Magazine has been at the forefront of design, showcasing the best in visual culture and creativity.

2. Call Yourself a Graphic Designer? You Have W.A. Dwiggins to Thank

3. Carolyn Mazloomi Uses the Power of Quilting to Honor Black History

Twitter

Most Clicks: In Conversation with Plains of Yonder, Title Sequence Creators for ‘The White Lotus’

Highest Retweets: Pantone 2025 Color of the Year is an Understated and Harmonious Hue

Top Likes: Decolonizing Design: Ukraine’s Fight for Visual Identity

Facebook

1. You Are All Wrong About the Jaguar Rebrand

2. ATX’s Guerilla Suit Delivers a Double-Dose of Hometown Brand Love

3. The Daily Heller: Wild Lines on the Loose at the Design Museum in Munich

LinkedIn

1. Bald’s Branding for Lazy Tuesdays Makes “Just Being” Fashionable

2. Dieline Awards 2024 Studio of the Year-Winner Wedge Breaks Down Its Big Wins and ‘Special’ Process

3. Stitches Meet Pixels in this Typeface Inspired by Norwegian Embroidery

Looking for more ways to stay connected with what’s happening in design in 2025? Follow us on Instagram, Threads, Twitter, Facebook, and LinkedIn.

Here’s to another year of creative discovery and connection!

The post PRINT Year in Review: 2024’s Most Loved Posts appeared first on PRINT Magazine.

In the mess and uncertainty of 2024, our writers found ample fodder for discussion, not least of which are topics around diversifying the design industry. There will always be a home on PRINT for discussions around decolonizing our industry, and we’re happy to report that these topics resonated with you, too.

As an alternative to doomscrolling while we sit around our holiday tables and wait for what 2025 has in store, we present …

NWSL Soccer Franchise Launches a Brand so Bad it Feels Like Satire

As an avid soccer fan, I awoke to the news yesterday morning flooding my various social feeds and group chats that the newest NWSL team had been revealed, writes Charlotte Beach. So she unpacked the branding horror show of the BOS Nation rollout. (It has since been rolled back.)

13 African American Designers You Should Know

While studying in the early 90s, we learned of famous designers like Saul Bass, Milton Glaser, Paul Rand, and more, writes designer Glenford Laughton. So, he compiled a celebration of African American graphic designers who left an indelible mark on him and our field.

The Eames Archive is Open to the Public for the First Time Ever

After launching their An Eames of Your Own guide last year via their online magazine Kazam!, The Eames Institute has set its sights on an exciting endeavor through its newly opened headquarters in Richmond, California. You might want to sit down in your Eames Molded Plywood Chair for this one …

Seeing is Unseeing: Bianca Bosker’s Immersive Time in the Art World

We can have that experience of art where our mind jumps the curb.

Bianca Bosker

Why do world cultures honor art as essential as air, food, and shelter? Why do artists toil away in their studios for years in obscurity with little financial reward? When artists do ‘make’ it, why do they put up with the incredible heaps of bullshit from the art-capital machine? The why is the essence of Bosker’s research in Get The Picture.

What 0.1%? The Undervalued Force of Women Founders

As a fractional design leader for brands like Airbnb and Dropbox, Rachel Gogel’s practice reflects one under-recognized way that women, including queer women, can claim their agency in a male-dominated, disproportionately white industry. She explains why solopreneurship is one undervalued and important way self-identifying women and non-binary individuals can start to right the balance.

2024 Paris Olympics: The Good, the Bad, and the Ugly

Paris 2024 provided us with much to chew on by way of design, writes Charlotte Beach. State-of-the-art facilities in the shadow of the Eiffel Tower, dazzling looks and fits on athletes, and a unique Opening Ceremony on the Seine that was just so French. Of course, there were less successful design displays, including questionable kits and even aspects of the Games’ overall branding.

What is the State of DEI in the Creative Industry? Uncertain.

Agency leaders–if you want to support Black ad talent, understand the obstacles we face, listen to our stories, and provide growth opportunities.

What is advertising’s responsibility to address [diversity] shortcomings? What changes will we make within agencies and industry-wide to reflect the diverse population of America that we are marketing to? Will we, as an industry, succumb to the ‘DEI is Dead’ narrative? Or, stand firm and protect Black talent? A must-read by Adrienne Lucas, global head of DEI & strategic partnerships at The One Club.

Airbnb “Icons” Bring Imagination to Life

At the Icons launch event, writes Charlotte Beach, it was clear that the Up! house was the room’s favorite—and not just because the house itself was on-site for the attendees to tour. It was an exact replica of the house from the movie, down to the most minuscule detail.

Why Bad Design is Good

For years, I had an uncomfortable desk chair, writes Elliot Vredenburg, ACD at Mother Design. It stood as a testament to the idea that we pay more attention to those experiences that challenge and discomfort us than our seamless, frictionless experiences, like sitting in good chairs.

Migrating Herd of Elephants Bring a Message of Hope & Coexistence to NYC

Once a district known for the heavy footsteps of cattle headed to slaughter, and the clatter of Louboutins headed to Pastis, in October, New York City’s Meatpacking District was home to a very different kind of animal gathering. Get up close with the herd.

Editor’s Pick:

Identity Politics is a new PRINT column written by veteran journalist Susan Milligan, covering the big issues in the socio-political ether as they intersect with design, art, and other modes of visual communication. Catch up with these three recent features!

What the Age-Old Campaign Against Childfree “Cat Ladies” Doesn’t Get

On the pervasive and nasty crusade against single women. It’s nothing new, but demographics tell another story: We’re not going back.

Pantsuits, Kitchens, and Cleavage Oh My! Running for President While Female

Milligan dives into the evolution of campaigning as a woman for the highest job in the land, from Shirley Chisholm to Hillary Clinton to Kamala Harris.

The Dame Persists Undeterred by Human Follies

On the grand re-opening of Notre-Dame de Paris after the devastating 2019 fire and what architecture can teach us about human resilience.

The post PRINT Year in Review: 2024’s Buzziest Features appeared first on PRINT Magazine.

Up until recently, NBT’s digital presence far from adequately reflected these accolades or the theatre’s importance as a cultural institution in New York and beyond. But after working with Noami Usher of her eponymous Studio Usher in concert with a brand refresh with Isometric and in partnership with Digital Citizen, National Black Theatre got the new website it needed and deserved.

Below, NBT’s Executive Artistic Director Jonathan McCrory reflects on the development of the institution’s new website, and how this new digital presence honors and elevates its mission.

(Conversation lightly edited for length and clarity.)

What does this new website say about NBT? 

The new website says that we are here and we are a national home. It shows that we are available, present, imaginative, and thinking about the future. It shares the cultural community that we are a part of and how we are a community center for culture to be birthed from. 

The new website is a calling card— one that allows old and new family members to get to know NBT in a richer, fuller, and more interactive way. It’s a way for us to radio out who we are, and a way for folks to begin to understand the legacy and social impact work NBT has done and will continue to do. We are not simply a theater meant for transactional relationships— we work to have transformational ones. It’s quite powerful to think about how this website will grow with us over time as an added member of the team.

What were the team’s main goals for this new website? What was the project’s overarching mission?

The main goals of the new website were to create a fun, urban-chic reflection of Harlem, the National Black Theatre (NBT), and the Black arts and culture movement. We wanted to capture the legacy and future-forward innovation that NBT has and will continue to steward, especially with the growth of the organization through the rebuilding of our physical home in Harlem, NY. 

We needed our digital home to be able to invite people to fully understand more of who we are and where we’ve come from, and provide the opportunity to engage with our future. Thanks to the generous support of Bloomberg Philanthropy’s Digital Accelerator Program, we at National Black Theatre were awarded the tools to dream and build a website that we could grow with. 

This was further amplified through the major capital redevelopment project NBT has embarked upon, which is radically transforming our current home into a new state-of-the-art building. Moving out of our physical space to help make this happen, NBT has had to work outside of our historic home since 2020 and launch a public-facing digital program called NBT Beyond Walls. This program has been in need of a robust virtual home that was reflective of our vision for the “theatre of the future.”  As the new facility continues to be constructed (slated through 2026), the new website becomes the singular landing space for us to connect with the community and showcase our values and our work, celebrate our legacy, and amplify the significant brand IP that we have cultivated for over 50 years.

Can you speak to any specific offerings on the new site that bring it to the next level in terms of function and user experience, as well as look and feel?

We surveyed the websites of our peers and wanted to generate something that would be reflective distinctively of NBT. Through the many conversations we had around our brand and how we can define it even further within the sector at large and amongst our peers within the Off-Broadway non-profit theatre world, we came up with a design that is continually adaptable, fun, clear, and interactive, with tools that will allow for the user to have an efficient yet informative experience. 

With the work done by Studio Usher and Digital Citizen, National Black Theatre has been able to generate an interactive website that has intuitive navigation, responsive design, and comprehensive event information and allows us to truly reflect and represent the multifaceted verticals that NBT participates in. It was quite remarkable to collaborate with both Studio Usher and Digital Citizen because they allowed us to dream outside of the context of our standard practice and to make sure we amplified the unique attributes that make NBT a powerful, visual, and interactive digital space for folks to engage within. In addition, the new site eloquently displays the vast visual language that NBT is known for.

As the new facility continues to be constructed (slated through 2026), the new website becomes the singular landing space for us to connect with the community and showcase our values and our work, celebrate our legacy, and amplify the significant brand IP that we have cultivated for over 50 years.

What aspect of the new website are you proudest of?

What I’m most proud of is not what you visually see, but how we worked as a team in a pressurized setting to get the work done. Creating a site of this scale is no small feat, and takes tons of time, thought, and attention to detail. Reflecting on the process, this small yet mighty team embodied the slogan, “Teamwork makes the dream work.” 

This website was made out of love and a true commitment to creating a beacon that would reflect the best values of the National Black Theatre in digital form. Our newly hired Director of Marketing and Communications, Nikki Vera, stepped into the middle of this process and partnered with me to see this through. Sade Lythcott, our steadfast CEO, kept checking our impulses to make sure the finalized design we were optimizing was future-forward thinking. The teams at Studio Usher and Digital Citizen blended together to create the best final product, while still addressing the questions we had so NBT could really be in the driver’s seat moving forward. 

Lastly, I want to give a big thank you to Bloomberg Philanthropy’s Digital Accelerator Program consultant, Brenda Berliner, who was with us from day one of this process and gave us invaluable guidance through NBT’s first time doing such an expansive website revamp. 

So, what I’m proudest of is the blending of functionality and soul. It embodies NBT’s energy and is soulful yet modern while remaining rooted in our rich history. The website feels welcoming, alive, and vibrant, and that would not have happened without the tribe that showed up to make sure that what you get to experience and what you get to click through is a reflective vibration of this institution. 

The post National Black Theatre Launches New Website Reflective of its Future-Forward Mission appeared first on PRINT Magazine.

Goodman, known for his bold, playful illustrations, has reimagined the iconic Rao’s label by infusing it with festive holiday charm while staying true to the essence of the brand. Vibrant doodles of basil leaves, garlic bulbs, and tomatoes dance alongside snowflakes and other seasonal touches for a label that’s as flavorful as the jar’s contents—crafted with simple, high-quality ingredients like whole peeled Italian tomatoes, fresh onions, and garlic.

This creative collaboration isn’t just about a pretty package, though. Rao’s Homemade has launched the limited-edition jars in celebration of their 12 Days of Holiday Giveaways. And if luck isn’t on your side, you can snag the jar for $10.99 at raos.com starting December 11th—until supplies run out.

Here’s the cherry tomato on top: 100% of proceeds from the jars will go to City Harvest, a New York-based charity that rescues and redistributes food to feed millions of New Yorkers in need. So, not only will your pantry be stocked with something delicious, but your purchase will also help fight food insecurity this holiday season.

This limited-edition jar represents more than a clever marketing move; it’s a testament to the creative possibilities of branding when it goes beyond the expected. Rao’s is bridging the gap between its rich heritage and contemporary culture by collaborating with a celebrated artist, proving that holiday campaigns can be both heartwarming and head-turning.

So, whether you’re a fan of art, great marinara, or giving back, this is one limited-edition offering worth savoring—both for its flavor and its purpose.

The post Rao’s Homemade Gets a Festive Makeover with Timothy Goodman appeared first on PRINT Magazine.

As one of the first major corporations to unite diverse design disciplines into a single team, the work at PepsiCo Design + Innovation is founded on and driven by collaboration. Innovation is not only part of their name, it’s a mindset for each of the 350+ designers working across branding, experience, structural packaging, fashion, and more.

This year, PepsiCo Design + Innovation is not only supporting the PRINT Awards as our Presenting Sponsor, but we’re also tapping into the company’s deep bench of creative leadership for our jury in the Packaging Design, In-House Design, and Brand Collaborations categories.

Brand Collaborations

Alongside Jessie McGuire and Chay Schmidt, Courtney Jimerson will be reviewing campaigns that join brands with other brands, artists, organizations, or influencers where the collaboration partners add artistic value to a product, expand access to diverse audiences, push industry boundaries, or address social issues.

At PepsiCo, Courtney “CJ” Jimerson is a senior design director, where she is responsible for developing design experiences and strategies across the Gatorade beverage portfolio. Jimerson has built a career by blazing new trails and fostering innovation and culture at every opportunity. For the past two decades, Jimerson has led talented, dynamic teams to create industry-leading brands, experiences, products, and innovations.

Jimerson brings a deep perspective to reviewing brand collaborations. This year, when Gatorade entered an entirely new category: premium unflavored water, Jimerson and her team believed that the design needed to be simple and functional to appeal to their target audience. Supporting the design, the campaign also included a collaborative marketing campaign titled “Always in Motion,” which featured a range of “movers” — athletes, performers, choreographers, and others — who exemplify movement and flow the same way that water moves.

Packaging Design

We’re excited to welcome Juan Carlos Martínez to the Packaging Design jury, a creative design director with over 20 years of experience transforming ideas into meaningful brand experiences. He specializes in crafting strategies and visual identities that stand out while resonating deeply with audiences. Known for his passion for storytelling and design innovation, Martinez leads teams to uncover insights and deliver solutions that inspire. 

As the leader of the PepsiCo Foods LatAm design team, he oversees the identity of over 80 brands across the region. His career includes nearly a decade at Interbrand, where he contributed to redefining global brands through conceptualization and execution. Throughout his career, Martinez has embraced challenges, built strong teams, and fostered a collaborative environment that empowers creativity. “This dynamic exchange of viewpoints not only reinvigorates our approach but also leads to groundbreaking solutions that wouldn’t have been possible otherwise,” he said. “It’s a reminder that growth comes from embracing diverse voices and evolving together.”

Driven by a commitment to excellence and a tenacity for problem-solving, he thrives on turning complex projects into opportunities for growth and impact.

The one thing that excites me most in my practice is collaborating with new generations of creatives. Their fresh perspectives and innovative ideas constantly challenge established ways of thinking, pushing us to step out of our comfort zones and explore uncharted territories.

Juan Carlos Martίnez

In-House Design and Self-Promotions

Kelli Albaugh is an award-winning design leader with over 15 years of experience crafting creative strategies and leading design teams for some of the world’s most iconic food and beverage brands.

Albaugh’s portfolio includes designs and brand identities that have garnered recognition from prestigious design institutions including Fast Company and The Dieline. Most notably, she created the blueprint for design-led athlete collaborations with world-class athletes like Serena Williams, Sydney McLaughlin, and the Muhammed Ali Estate for the Gatorade personalization platform, Gx.

She has a reputation for being a culture catalyst who creates high-performing, unified teams that develop visually compelling and human-centric solutions that transform complex business challenges into elegant, intuitive design solutions.

Albaugh is a passionate mentor and advocate for diversity and inclusion in design. Her leadership philosophy centers on fostering a culture of collaboration, empowerment, and creative risk-taking, enabling teams to push boundaries and deliver groundbreaking work.

Whether leading high-level strategy or guiding day-to-day design execution, Albaugh combines visionary thinking with meticulous attention to detail, always striving to elevate both the role of design and the impact of design in the world.

For more information about the PRINT Awards 2025 jury, PepsiCo Design + Innovation’s sponsorship, and the 28 categories that are open to entry, visit the PRINT Awards call for entries site and enter your work. And if you’re inspired by the work of these amazing design leaders and believe that you have the skills and commitment to be part of the PepsiCo Design + Innovation team, there’s lots of information for you here!

The post PepsiCo Design + Innovation Joins the 2025 PRINT Awards Jury appeared first on PRINT Magazine.

Peet’s invites customers to slow down and reconnect with loved ones. Grab a complimentary Sparkling Tiger’s Eye, The Bestie, or The Derby mocktail from their special holiday menu, and you’ll also receive a beautifully postmarked postcard featuring Congdon’s vibrant design.

“Partnering with Peet’s Coffee this holiday season has been such a joy,” says artist Lisa Congdon.

For me, both art and coffee are about bringing people together – even when they’re miles apart.

Lisa Congdon

The postcards are more than just a festive touch. Each one includes a $10 discount to Peets.com, and digital versions are also available online, ensuring everyone can spread holiday cheer near or far.

“With an increasing desire for real connections,” says Jessica Buttimer, Peet’s SVP of Brand, “‘Postcards from Peet’s’ invites Peetniks to slow down and cherish the people who matter most.”

Ditch the stress and embrace the warmth of the season at your local Peet’s with a nostalgic dose of holiday cheer, courtesy of one of our industry’s most celebrated artists.

The post A Lisa Congdon Postcard Holiday at Peet’s Coffee appeared first on PRINT Magazine.

I lick my finger and hold it up to see which way the wind is blowing. I do this metaphorically, of course. (I need dry fingers to type.)

But that’s the method. A radar game. What appears on my radar each week?

And this week, while there were some interesting currents on ageism and creative ways to set up creative departments, the biggest wind — a veritable hurricane — was Jaguar.

The teaser heard ’round the world fomented so many conversations on so many different media platforms, that I simply could not escape it.

All that said, I think the best way I can help this week is to provide a wee bit of context.

I call it, “A Brief History of Weird Ads.”

First things first, if you haven’t seen the Jaguar teaser called, “Copy Nothing,” watch it here.

Ok, it’s weird.

It reminded me of one of the first weird ads I recall seeing, Reeboks Let U.B.U. campaign.

A Chiat/Day classic, I remember this bursting on the scene with its weird casting, weird imagery, weird words for an ad (courtesy of poet Ralph Waldo Emerson), and weird spelling! This was a campaign for sneakers? Where were the athletes? Where were the courts and fields? Where were the close-up shots of the shoes?! This. Was. Weird.

That was followed up by another weird campaign for the carmaker, Infiniti. Made by Hill Holliday, this was a car campaign with no car. It was dubbed “Rocks and Trees” because that’s what it showed us: rocks and trees and rain and waves. It was a philosophical campaign that focused on the intent of Infiniti to create a new kind of luxury car brand — a Japanese luxury car brand. And while the world may have devoured the book, “Zen and the Art of Motorcycle Maintenance,” the world was somehow not ready for Zen car ads. It was too…weird.

Next up there was a weird campaign that tried to explain the internet (and the future of communications) without computers or screens or wires. It was for MCI, a telecommunications company, and it featured a then-six-year-old Anna Paquin and an epic and desolate New Zealand coastline. (All inspired by the wonderful film, “The Piano.”) And while the commercials do an incredible job of explaining the digital world we live in today, the audience had a hard time wrapping its head around the profound notion that, “…there will be no more there, there will only be here.”

(These ads are fantastic and truly hold-up, I think: ad number 1, ad number 2, and ad number 3. There are six in total and YouTube has the rest.)

Finally, there was the delicious weirdness of the Cadbury Gorilla. A chocolate bar ad sans chocolate, without morsels, and no cliche, beautiful 30-something woman enjoying a first bite. No, here we had a gorilla, a drum kit, and Phil Collins’s “In the Air Tonight.” Buda buh-duh buh-dum-dum boom!

Of course, there was outrage generated from all of these adverts when they first launched, just like there is outrage generated across the combined 160 million social media views of the Jaguar teaser.

So will all of this noise turn into sales for the Jags which won’t appear in showrooms until 2026?

Only time will tell.

For now, all we have is weirdness and outrage. Not often a recipe for success.

Rob Schwartz is the Chair of the TBWA New York Group and an executive coach who channels his creativity, experience and wisdom into helping others get where they want to be. This was originally posted on his Substack, RobSchwartzHelps, where he covers work, life, and creativity.

Header image: Simone Hutsch for Unsplash+

The post When the World Zigs … Jag? appeared first on PRINT Magazine.

Always curious about how color reflects culture, Pantone’s Color of the Year 2025 is PANTONE 17-1230 Mocha Mousse, which offers plenty to unpack. A rich, earthy brown, it’s positioned as a color that balances sophistication and comfort. But does it capture the mood of the moment?

This year, much of the design world has been focused on themes of sustainability, simplicity, and connection. Mocha Mousse seeks to tap into those ideas, evoking warmth and stability. It’s a grounded shade that nods to nature and the pleasures of everyday life—a safe choice, perhaps, but also a versatile one.

Pantone’s reveal, featuring a light show on the London Eye, certainly adds some drama to the announcement. The collaborations, too, are impressive: Motorola’s vegan leather phones and Joybird’s plush fabrics demonstrate how Mocha Mousse can be used across industries. Other product collaborations include Pura’s smart fragrance diffuser with custom scents, Wix Studio’s web design assets, Libratone’s UP headphones, Spoonflower’s print-on-demand home décor, IPSY’s limited-edition beauty products, Society6’s artist-driven designs, Ultrafabrics’ premium interior textiles, and Post-it® Brand’s special collection celebrating expressive color.

Still, the color feels understated, even subdued, compared to the bold selections of previous years. Perhaps this choice reflects a response to the chaotic and unpredictable events of 2024, offering a sense of calm and grounding in a time of upheaval. “The everlasting search for harmony filters through into every aspect of our lives, including our relationships, the work we do, our social connections, and the natural environment that surrounds us,” said Laurie Pressman, vice president of Pantone Color Institute. “Harmony brings feelings of contentment, inspiring a positive state of inner peace, calm, and balance as well as being tuned in with the world around us. Harmony embraces a culture of connection and unity as well as the synthesis of our mental, spiritual and physical well-being.”

…for Pantone Color of the Year 2025, we look to a color that reaches into our desire for comfort and wellness, and the indulgence of simple pleasures that we can gift and share with others.

Laurie Pressman, VP Pantone Color Institute

For designers, Mocha Mousse has potential. It’s a great neutral for grounding palettes, and its tactile qualities make it appealing in interior design and packaging. But it’s not the kind of shade that demands attention or inspires an immediate wow factor. Instead, it’s a quiet presence — more about being a harmonious complement than a leading show-stopper.

As we move into 2025, it will be interesting to see how this color plays out in real-world applications. Will it resonate with audiences craving simplicity and comfort, or will it fade into the background? Time will tell. For now, Mocha Mousse offers designers a tool for creating warmth and subtle elegance, even if it doesn’t quite steal the spotlight.

Imagery courtesy of The Pantone Color Institute.

The post Pantone 2025 Color of the Year is an Understated and Harmonious Hue appeared first on PRINT Magazine.

At the heart of this rebrand is the idea of inspiring brighter workdays for everyone. Workday has always been about people, whether it’s revolutionizing how organizations handle HR, finance, or business planning. And now, with a design system that blends optimism, rigor, and a little bit of joy, that philosophy shines through in every detail.

Take the logo, it’s an evolution of Workday’s ‘Horizon’—a nod to new beginnings—refined with custom letterforms that are both confident and approachable. There’s even a shorthand version called The Dub (yes, it’s as versatile and fun as it sounds). The color palette’s energizing yellows paired with calming blues, symbolize the rhythm of a workday, with vibrant gradients adding depth across digital and print.

A custom Workday Sans typeface is in the works to ensure clarity and sophistication across all communications. And the motion design? Seamless and intuitive, it mirrors the natural flow of time and reinforces Workday’s message of progress and transparency.

But what really ties it all together is the brand’s visual personality. The photography feels natural, aspirational, and authentic, with subtle movements that reflect progress—whether it’s a forward glance or a task in motion. It’s all about balancing big-picture vision with the everyday moments that make work meaningful.

Working with the Workday team was about more than just building a brand—it was about capturing the heart of their culture and sharing it with the world.”

Caroline Fox, Koto creative director

“Over the past year, we became a true extension of their team, collaborating across brand and digital to ensure every detail felt authentic and resonated with HR and Finance audiences,” Caroline Fox, Koto’s creative director said. “We’re proud of what we’ve created together and grateful for the trust they placed in us to bring this vision to life.”

For me, this rebrand is proof that even in the world of B2B software, design has the power to connect on a deeply personal level. Workday’s updated identity doesn’t just reflect a brighter future for work—it makes you believe it’s already here.

The post Koto’s Refresh for Workday Brings Optimism to Enterprise Software appeared first on PRINT Magazine.

This summer, I was taking a stroll through Barcelona with my 7-year-old daughter, Vega, and I decided to ask her a few questions about branding. This isn’t something we had ever really had a conversation about before. I was curious about what she would say and how aware she was of branding.

Vega’s answers surprised me, mostly because she was able to explain things I deeply believe with a whole lot of efficiency. Here’s the full interview transcript. Watch the video on the original post.

The Interview

What do you think a brand is?

A brand is like a company 🏭. If there was no brand then there wouldn’t be a company. So like a brand is like a brand of shoes 👟. So like Nike is a brand.

Why do you think there wouldn’t be a company if there was no brand?

The brand is what makes the company.

What do you think a logo is?

I think a logo is like something that like represents the company and the brand. I think it represents the brand.

What is the difference to you between a logo and a brand?

Well, a logo is maybe like a drawing or like a letter or a number.

A brand is like… I’m the boss right? It’s like my brand, so like I made the brand up. I made all these people to come together to make the things that we make.

So a brand is something that helps you bring people together to make the things that you make?

Mmhmm.

If we look at a clothing store 👗, and I’m the boss, I would be the one who’s bringing all the people together to like make the clothes or like buy the clothes.

Yep, and the brand helps you do that?

Yeah, like a whole community make a store and people earn money 💵 from gathering around.

Why do you think, if you’re the boss and you want to bring people together to make something, why do you think you need a brand to do that? Why can’t you just say, “Come together and let’s make something.”

Because, if we have a store, we can’t just do it all by ourselves 🙄. You know how, we’re not an octopus 🐙. So we can’t just do it all by ourselves 🤷‍♀️ We need a community to help us. We need more people to help us. It can’t just be like one or two, it has to be like 20 or 10.

So what you’re saying is that brands help you build a community?

Yeah.

If you were to make a brand, what would you want your brand to mean? What would you want people to think when they see your brand?

If I had a company 🙇‍♀️ and it sold like, medicine 💊, I would probably want people to like know, that like, I want them to be happy 😀, I want them to be well.

If it’s like a pharmacy 👩‍⚕️, then there would be a little sign thing that’s the pharmacy logo. So it would be that cross (pointing at a pharmacy sign on the street in Barcelona).

Why is it important that you know that the cross is a pharmacy?

I kinda think that the green 💚 represents you being well. Green means like happy 🙂.

So you’re saying colors mean things?

Yeah. If I see, look, a little logo (pointing at another green cross pharmacy sign) like that, then I’ll know it’s a pharmacy.

Right, so it just helps people to be able to identify things quickly.

Yeah.

It sounds like brands are good for helping people identify things, so knowing what a thing is, and it sounds like they’re good for helping people work together to make something, right?

Yeah. Mhmm.

Do you think that there’s any other good use for a brand?

I think also, that brands, they’re just all about friendship 👯, and being nice 😊.

Brands are about friendship and being nice? How?

So like, if you work with someone, with someone that you like know, it’s important to start like knowing the person that you work with. To like know who they are, to then, you can be like nice with them and ok with them. Brands are good for like umm, coming together and like knowing different people to work with.

Alright, I think we’re gonna stop there for now and we can continue later. Thank you, Vega.

OK

This essay is by Deroy Peraza, partner at Hyperakt, a purpose-driven design and innovation studio that elevates human dignity and ignites curiosity. Originally posted in the newsletter, Insights by Hyperakt.

Illustration by Merit Myers.

The post Branding 101, Through the Eyes of a Seven-Year-Old appeared first on PRINT Magazine.

Left image: 404 Branding, Right image: Co-founders (left to right) Renan Monjon, Rafael Caldeira, Saulo Monjon

Their debut project, The Cruise Heist, is a masterclass in creative risk-taking. Tackling a Netflix campaign when the company was less than three weeks old, with just five people on the team, is the kind of audacity that defines 404. Co-founder Rafael Caldeira put it perfectly: “Our name ‘404’ celebrates the idea that mistakes and risk-taking are essential parts of the creative process.”

And it’s not just a nervy concept—they’ve proven it works. In its first year, 404’s design-first approach and lean, two-department structure have delivered results that rival even the most established agencies. From partnerships with global heavyweights like Google and Natura to snagging awards at Cannes Lions, Effies, and El Ojo de Iberoamérica, 404 is shaking up the industry. They fully embrace their tongue-in-cheek, “error-prone” ethos by leaning into the spirit of a 404 error — playfully owning the fact that they don’t even have a website (yet!?) to showcase their award-winning work. You can, however, find them on LinkedIn and Instagram.

What stands out about 404 isn’t just the awards or the high-profile clients. It’s their philosophy: innovation thrives in uncertainty. In a world increasingly dominated by AI, the team champions the power of human creativity and thoughtful design. By blending cutting-edge tech with a distinctly Brazilian flair for bold ideas, they’re redefining how creative problems are solved—not just in Brazil, but anywhere.

As they enter year two, 404 Design & Innovation is on a mission to grow even bigger. Their rapid rise is a testament to the idea that with the right mix of creativity, collaboration, and courage, even the newest player can make waves in a competitive industry. Keep an eye on this agency. PRINT is excited to see what’s in store for 404’s next chapter!

The post 404 Design & Innovation Celebrates a Year of Bold Moves and Big Wins appeared first on PRINT Magazine.

This isn’t just a book—it’s a time capsule. Inside, you’re presented with 1,000 symbols and logotypes crafted by Pentagram’s legendary partners since the firm’s founding in 1972. Each mark tells a story, capturing brands from all corners of the world, from grassroots nonprofits to multinational corporations to cultural institutions (there’s even a logo for a country). The beauty lies in their diversity: bold wordmarks, intricate symbols, and abstract designs—all stripped back to black and white, letting the forms take center stage.

Pentagram—founded by graphic designers Alan Fletcher, Colin Forbes, and Mervyn Kurlansky, architect Theo Crosby, and industrial designer Kenneth Grange—has always been about pushing boundaries. While the tools and trends of design have evolved, one thing hasn’t changed: the logo remains a keystone of identity design.

What struck me most while flipping through 1000 Marks is how timeless great design can feel. These marks aren’t just logos; they’re cultural symbols that connect us to brands and experiences. And for designers like me, this book is pure gold—equal parts inspiration and education.

Whether you’re a designer, a brand enthusiast, or just someone who appreciates good design, 1000 Marks is a reminder of why logos matter. They’re more than just pretty pictures; they’re visual ambassadors for ideas, values, and stories. And Pentagram’s collection shows us just how powerful a single mark can be.

The post A Journey Through Pentagram’s Legacy in Logo Design appeared first on PRINT Magazine.

Here’s the thing about rebrands: they’re not just about slapping on a shiny new logo. A brand is an ecosystem of meaning, emotions, and experiences that lives far beyond the design. Jaguar hasn’t been top of mind for a while—except maybe when you see a vintage E-Type cruising by and think, “Wow, remember when Jaguars were cool?” A legacy brand being “forgettable” is way more dangerous than a controversial logo. Forgettable is death in today’s market. Controversy? That’s life support with a megaphone.

A New Roar: Why Standing Out Matters

The modern car market is crowded as hell. Luxury brands like Porsche and Tesla dominate mindshare, and electric upstarts are making disruption their personal brand. Jaguar was stuck in a lane of lukewarm association: luxury-ish, performance-ish, but ultimately not commanding enough ish to compete. They needed to do something radical to reclaim attention.

This rebrand plants a flag: Jaguar isn’t here to linger quietly in the background. Love the change or despise it, but the sheer volume of reaction shows one critical fact—Jaguar is back in the conversation. And for a brand that was fading into irrelevance, being talked about again is invaluable.

Here’s a hard truth marketers and brand owners often forget: most of the loudest voices online aren’t actual customers. They’re cost-sumers—people who cost you time, resources, and emotional energy without contributing a dime to your bottom line. These are the people loudly tearing apart Jaguar’s new look without ever intending to step foot in a dealership or open their wallets.

Forgettable is death in today’s market. Controversy? That’s life support with a megaphone.

Cost-sumers vs. Customers

Brands that chase approval from cost-sumers are doomed to dilute their identity and focus on the wrong metrics. The purpose of this rebrand isn’t to pacify Twitter branding enthusiasts; it’s to reignite interest in actual potential buyers. People in the market for a $100,000 electric luxury vehicle aren’t rage-posting about font kerning—they’re evaluating how this aligns with their lifestyle, aspirations, and future purchases.

This is why brands need to adopt selective hearing. The real measure of success is whether Jaguar can now attract modern luxury buyers who might have otherwise dismissed them.

The Real Critics: Branding People

It’s worth noting that much of the backlash is coming from branding professionals. Why? Because Jaguar broke an unspoken rule: don’t mess with the playbook. Many in the design and branding community love to shout “disruption” but cling to convention when it actually happens. The same people who roasted Gap for their logo swap or ridiculed Tropicana for reimagining their packaging are likely leading the Jaguar backlash.

What these critics miss is that sometimes different works. Gap abandoned their logo refresh in fear, but Tropicana recovered from initial backlash to remain one of the most recognizable OJ brands globally. Change takes time to settle, and public opinion is often a knee-jerk reaction driven by nostalgia and resistance. Jaguar’s job isn’t to win over designers; it’s to sell a vision of luxury, performance, and exclusivity.

Rebrands Are More Than Logos

Let’s zoom out: a logo is not a brand. The rebrand isn’t just about Jaguar’s new emblem or typeface; it’s a shift in how the company positions itself for the future. It signals a focus on modern luxury, electrification, and a younger, affluent demographic who care about sustainability and aesthetics over tradition.

Will it work? That depends on whether Jaguar follows through. Rebranding isn’t magic—it’s a promise. If the cars, customer experience, and marketing campaigns fail to deliver, the critics will be right. But if Jaguar uses this rebrand as a foundation for meaningful change, they’ll prove that the haters are just noise.

Stop Freaking Out. Start Watching.

To everyone freaking out about the rebrand: chill. This isn’t the end of Jaguar; it’s the start of something new. Whether that something is a roaring comeback or a quiet whimper will take time to see. But at least Jaguar is taking a chance, and for a brand that was teetering on the edge of irrelevance, that’s a hell of a lot better than standing still.

Critics might say this is the death of the brand, but I see it differently. It’s the rebirth of a brand willing to take a stand, turn heads, and claw its way back into the conversation. And that, my friends, is exactly what Jaguar needed to do.

Saul Colt is an award-winning and somewhat notorious real-world and online marketing leader and the founder of The Idea Integration Company, a 29-person creative shop staffed with alumni from Facebook, Wall Street Journal, Mad Magazine, Disney, and The Simpsons, specializing in marketing, advertising, word of mouth, and experiences for his clients that exceed expectations. Saul has been transforming the world of experiential marketing and community building for over two decades and has no plans to stop any time soon.

This was originally posted on Saul Colt’s LinkedIn newsletter, Saul’s Ideas.af.

Images: “Copy Nothing” ad © Jaguar.

The post You Are All Wrong About the Jaguar Rebrand appeared first on PRINT Magazine.

Design creativity blooms in spaces where curiosity meets intention, where ideas are nurtured into forms that resonate and inspire. It’s a process marked by exploration, experimentation, and the willingness to challenge conventions to uncover new perspectives. In this fertile ground, creativity is more than a spark—it’s a cultivated journey, drawing from diverse influences and blending intuition with technique.

Celebrating our 45th year, the 2025 PRINT Awards honors design in every shape and form. And, as our industry continues to evolve and our practitioners continue to explore new mediums and methods to advance their creativity, the PRINT Awards have found new ways to recognize outstanding work.

2024 PRINT Awards First Place Winner in Self-Promotions. The Office of Ordinary Things and D&K Printing. D&K Printing also printed the beautiful 2024 PRINT Awards certificates.

Categories for 2025

The 2025 PRINT Awards offer 28 categories for entries, ranging from Illustration to Motion Design & Video. In recent years, we added In-House, Design for Social Impact, and Packaging and expanded our branding categories. We also expanded the awards to offer students a chance to enter work in each category instead of only one student category. And, this year, our jury will also consider entries in Social Media + Content Design, Title Sequence Design, and Graphic Novels.

Learn more about the 2025 PRINT Awards categories.

2024 PRINT Awards Third Place Winner in Packaging, CF Napa Brand Design; Second Place Winner in Logo Design, Onfire. Design.

Citizen Design Award

Each year, the PRINT Awards highlight a free-to-enter Citizen Design Award to celebrate design work focused on one annually chosen social issue. With societies facing global challenges like climate change, economic instability, and technological shifts, our Citizen Design Award this year will honor work that speaks to social justice.

Social Justice ensures that all people are entitled to human rights and societal respect regardless of race, gender, religion, health, and economic status. Discrimination in the form of economic and educational inequities, combined with enduring legacies of oppression continue to impact many communities, creating toxic cycles of privilege and disadvantage.

Design can profoundly influence social justice through graphic tools that amplify awareness and drive change. Design can make complex issues more accessible, spark debate, inform audiences, and motivate positive engagement. This year’s PRINT Citizen Design category recognizes and celebrates the most impactful work that fosters empathy and action. From social awareness campaigns to apps, community-centered design projects, infographics, posters, social media graphics, and interactive experiences, Citizen Design will honor work that strives to make our world more compassionate and just.

2024 PRINT Awards First Place Winner in Design for Social Impact, Clinton Carlson and Team.

Our 2025 Jury

With a global jury representing a wide range of disciplines, each entry will continue to be judged on four key criteria: Craft, Longevity, Innovation, and Originality. Top winners will be featured on PRINTmag.com and receive trophies, certificates, and social media promotion. We’ll be adding jury members in the next few weeks. In the meantime, we welcome a few here!

A few of the 2025 Jury Members: Marisa Sanchez-Dunning, Bennett Peji, Jennifer Rittner, Eleazar Ruiz, Lara McCormick, Mike Perry, and Miller McCormick. More jurors are to be announced soon!

The 2025 PRINT Awards Presenting Sponsor

The team at PepsiCo Design + Innovation believes that good design is a meaningful experience. A functional product. A rich story. A beautiful object. Design can be fun, convenient, precious, or fearless, but good design is always an act of respect, empathy, and love.

That’s why PepsiCo Design + Innovation has joined PRINT this year as our Presenting Sponsor—to recognize, honor and, above all, to celebrate the joy of design in all its forms. That’s why PepsiCo Design and Innovation has joined PRINT this year as our Presenting Sponsor—to recognize, honor, and, above all, celebrate the joy of design in all its forms!

Dates and Deadlines

As in years past, we’ve broken the deadline schedule for the awards into four simple tiers—Early Bird, Regular, Late, and Final Call. The earlier you enter, the more you save because it helps us plan judging schedules and other tasks in advance. Enter now for the best price! (And it’s worth noting that to enable students to enter, the pricing is consistent across the board no matter when they submit their work.)

Join us as we recognize the talent that colors our world and celebrate the beauty of fresh ideas, bold solutions, and impactful storytelling. From emerging talents to seasoned visionaries, each submission is a testament to the boundless growth of design.

Submit your work today, and let’s cultivate the next generation of creative vision!

The post Announcing The 2025 PRINT Awards Call For Entries appeared first on PRINT Magazine.

With bold flavors, nostalgic branding, and a playful mascot named Sando Sam, Ayoh! isn’t just a condiment—it’s a love letter to America’s sandwich culture. Designed to bring the spirit of the classic deli counter into your kitchen, Ayoh! seeks to redefine what it means to make a great sandwich at home. Collaborating with CENTER Design to build a brand as flavorful as its sauces, Ayoh! promises to revolutionize home-cooked sandwiches by combining chef-level flavor with playful Americana-inspired branding. I was lucky enough to speak with Alex Center about Ayoh!’s creation and talk brand strategy and direction; find gems from our conversation below.

Baz’s journey from recipe developer to condiment creator was fueled by a love for sandwiches and a frustration with boring, dry options at home. “Ayoh! is all about taking the sandwich shop and everything that means—from American culinary heritage to its vibrant energy—and bringing it to today’s countertop,” explains Alex Center, founder of CENTER Design​.

Ayoh! is about taking the sandwich shop and everything that means—from Americana heritage to its vibrant energy—and bringing it to today’s countertop.

Alex Center

The brand’s creative direction leans heavily on nostalgia, with a nod to mid-century sandwich shop culture. The Ayoh! logo draws from vintage deli signage, combining art deco script styles with a modern gloopy twist. The custom-designed typeface even includes a subtle drip in the “o,” hinting at its saucy DNA. “We wanted the brand to feel like it’s always been here—a tribute to the enduring charm of the great American sandwich,” Center shares. Vibrant hues inspired by Formica diner surfaces and zany illustrations complete the aesthetic​.

What inspired the nostalgic-meets-modern design for Ayoh!’s branding?
Alex Center: We wanted the brand to feel historic without feeling vintage, and modern without being trendy. It’s about bringing the American sandwich shop’s heritage to the countertop—infusing nostalgia from the ’40s, ’50s, and ’60s sandwich shop culture while ensuring it feels fresh and relevant today. Molly’s vibrant energy and love for sandwiches were central to this design, and her unique color palette, inspired by elementary school hues, added an approachable and educational touch.

At the heart of Ayoh!’s branding is its mascot, Sando Sam—a cheeky sandwich character with a penchant for accessories that change with each flavor. “Sando Sam embodies the fun and levity brands used to have,” says Center. “It’s a storyteller and a nod to classic mascots like Mr. Peanut and the Morton Salt Girl, adding personality to every bottle.”​

What was the rationale behind incorporating Sando Sam as a mascot?
AC: Molly’s ethos of making cooking approachable and enjoyable called for a character that could inject personality into the packaging. A little sandwich character with boots and a cap felt like the perfect way to echo the Americana vibe while adding a playful twist. It’s not just about sandwiches; it’s about celebrating the joy and creativity of making them.

Launching with four bold flavors—Original Mayo, Dill Pickle Mayo, Tangy Dijonayo, and Hot Giardinayo—Ayoh! aims to end boring sandwiches once and for all. Packaged in squeezable bottles reminiscent of deli counters, the sauces invite culinary creativity, encouraging users to “Pass it! Squeeze it! Spread it! Dip it!”​

How does Ayoh! stand out in the crowded CPG market?
AC: Ayoh! doesn’t aim to be another trendy startup—it’s designed to feel timeless, as though it’s been part of the culture for generations. The design avoids overt nostalgia or modern clichés, instead blending both into something era-less. Molly’s storytelling and passion for sandwiches shine through, turning Ayoh! into more than a condiment—it’s a tool to elevate home cooking with personality, fun, and purpose. It’s a true reflection of her brand DNA.

With a mission to make home cooking more accessible and exciting, Ayoh! perfectly encapsulates Baz’s ethos: “Cooking has to be fun and easy, or no one will do it.” Whether you’re elevating a Thanksgiving leftovers sandwich or experimenting with bold flavor pairings, Ayoh! is here to bring the joy of the sandwich shop to your kitchen.

A sandwich isn’t just food; it’s democratic, timeless, and for everyone. Ayoh! celebrates that spirit by ending boring sandwiches with fun, flavor, and a bit of personality.

Alex Center

To get your hands on this delicious sando sauce, visit Ayoh! and follow them on Instagram at @eatayoh.

The post CENTER Design Brings Sando Shop Nostalgia to Molly Baz’s Saucy New Brand appeared first on PRINT Magazine.

Age: 24
From: Jakarta, Indonesia
Living in: Los Angeles, CA
Currently working at Thinking Room
Studied at: ArtCenter College of Design

The PRINT community has spoken! Among a stellar class of New Visual Artists this year, we asked our audience to vote on the designer they felt should be named the 2024 Community Choice Winner, a significant recognition that highlights the artist’s ability to connect with an audience on a personal level.

This year, that well-deserved honor goes to Danu Ardhata!

Ardhata Sans, type-design student initiative project.

Atheneum, type-design student initiative project.

The Art of Biomimicry, A narrative-driven, typographic poster series.

Ardhata’s work is driven by a balance between idealism and the practicalities of contemporary branding, to create transformative brands that influence consumer behavior and set new standards.

His focus is on exploring the essence of humanity in brand identity. Ardhata feels that in the same way, humans adapt and evolve, brands must remain dynamic, responding to their environment. This adaptability is central to his philosophy, alongside a commitment to continuous learning and openness to new perspectives.

Looking ahead, Ardhata envisions a future of boundless possibilities, emphasizing the importance of crafting narratives that resonate deeply with the human spirit and forging meaningful connections. His ultimate goal is to shape brands that leave a lasting, authentic impact.

We can’t wait to see where his thoughtfulness, openness, and outstanding talent take him in his career. And we know the design community will be better for his efforts.

Congratulations, Danu!

We’ll see you next year for a new crop of PRINT New Visual Artists. In the meantime, consider submitting your work for The 2025 PRINT Awards. Look for announcements this week!

The post The PRINT New Visual Artist Community Choice Winner is… appeared first on PRINT Magazine.

The New Look of Money

Remember when financial brands looked like, well, financial brands? They evoked trust and solemnity in shades of blue, with clean layouts and sophisticated type conveying decades (centuries-even) of dependability. Chime and Klarna are rewriting the rulebook, building sleek, mobile-first apps that feel more like social media platforms than bank branches. Chime uses inviting, saturated colors and uncluttered visuals, making money management feel intuitive and, dare I say, friendly. Klarna has also nailed the balance of simplicity and style but with a hint of playfulness. It’s as if these brands are saying, “Money doesn’t have to be a chore,” which resonates deeply with a generation empowered by quick, user-centric digital experiences.

Chime brand refresh by jkr.

Radical Transparency

Klarna stands out here with its “Pay Later” options, which are communicated upfront and without fuss. It’s all about empowering the user with knowledge and then trusting them to make informed decisions. On the crypto side, transparency is even more crucial given the complexity and volatility of the market. The best crypto brands don’t just list risks; they break down what those risks mean in a practical way, bridging the gap between excitement and informed caution. It’s refreshing to see brands lean into candor, and young consumers are responding with trust.

Klarna brand by their in-house team.

Personalized and Empowering Tools

For many young people, managing finances still feels intimidating. Enter brands like Check My File, which offers simple, comprehensive views of credit standing across multiple agencies. The service is not just about delivering numbers; Check My File offers insights, making credit monitoring feel like a useful, even empowering habit. Personalization isn’t just about flashy algorithms; it’s about creating tools that users actually find helpful and that build loyalty in an authentic way. For younger audiences, this type of personalization makes finances feel less abstract and more like something they can control.

Check My File brand by Ragged Edge.

Creating Community and Social Connection

It’s no secret that social media plays a major role in how young people make financial decisions, and these brands are tapping into that big time. Klarna and 1inch are turning financial management into a shared experience. Klarna, for instance, collaborates with influencers and uses a social commerce approach, embedding itself into the lifestyle and aesthetic young people are drawn to. Meanwhile, 1inch builds communities for shared learning, making finance feel inclusive rather than exclusive. These new brands are not just selling services; they’re creating spaces where people feel a sense of belonging (and dare we say, fun!), even when dealing with something as traditionally daunting as personal finance.

1inch campaign by Talent in collaboration with the Bruce Lee family

These fresh brand aesthetics and marketing strategies signal that financial companies are finally catching on to what young audiences have long wanted: accessibility, straight talk, personalization, and community. By embracing the values of younger audiences, financial brands can become more like guides than institutions. And as they continue to evolve, it’ll be exciting to watch just how far this new wave of finance brands can take us.

The post From Intimidating to Empowering: Financial Brands for the Next Generation appeared first on PRINT Magazine.

The Power of Legacy in Law Firm Brands

Many of these law firms have built their reputations over generations. Their logos, colors, and visual identity have become synonymous with trust, authority, and dependability. These elements are not just design choices; they are symbols of the firm’s history, representing its core values and the relationships it has cultivated with clients. Tampering too much with these symbols risks alienating the clients who have come to associate the firm’s brand with excellence, consistency, and expertise.

However, in today’s digital-first world, relying solely on tradition can be a double-edged sword. As the legal industry becomes more competitive, clients increasingly seek firms that demonstrate both stability and forward-thinking innovation. This is where many firms struggle. The challenge lies in respecting the legacy while adapting the brand to resonate with new audiences and emerging digital platforms.

Why Modernization is Essential

Modernization is not just about aesthetics. It is about ensuring the firm’s brand resonates with the expectations of today’s clients, employees, and stakeholders. Younger clients and associates, in particular, are looking for signs that a firm is future-oriented, adaptable, and in tune with the digital age. Firms that resist change risk being perceived as outdated, even if their legal acumen remains unparalleled.

Furthermore, a law firm’s digital presence is often its first impression. Whether through a website, social media channels, or email communications, an up-and-coming generation of clients will judge a firm’s relevance and professionalism based on its online identity. A modern, cohesive brand that works seamlessly across digital and physical touchpoints signals that the firm is both competent and up-to-date.

Keys to Modernizing Without Losing Tradition

Audit Your Brand’s Core Identity. Before embarking on any redesign, it’s crucial to conduct a thorough audit of the existing brand. What elements of the firm’s identity are deeply tied to its legacy? This could be a logo, specific colors, or even the tone of the firm’s communications. Identifying these essential elements ensures that they remain central to the brand, providing continuity even as other aspects are updated.

Evolve, Don’t Overhaul. The goal of a brand update should be evolution, not revolution. A subtle refresh of the logo, typography, or color palette can often do the trick, modernizing the brand without alienating existing clients. Law firms can look to the corporate world for examples of successful evolutions: companies like Coca-Cola, IBM, and even the New York Times have modernized their identities multiple times without straying far from their core visual elements.

Incorporate Digital-First Thinking. A key part of modernizing any brand today is ensuring it functions well in digital environments. Established firms need to consider how their brand translates across devices, from websites and social media to mobile apps. This might require simplifying logos for smaller screens or adopting more flexible typography that looks equally professional on a smartphone as it does in print.

Embrace Storytelling. Modern branding is as much about narrative as it is about design. For law firms with rich histories, there’s an opportunity to leverage that legacy through storytelling. Use the firm’s long history as an asset in marketing materials, website copy, and even social media. While there is a value in stability and heritage, clients want to see how those qualities are being leveraged to solve contemporary legal challenges.

Maintain Professionalism with a Contemporary Edge. While it’s important to remain professional, modernizing a brand can bring a contemporary edge that appeals to a younger generation of clients and employees. This could be as simple as choosing modern fonts or incorporating more dynamic website features like animation, video, podcasts, or client testimonials in innovative formats.

Seek Client Feedback When modernizing a brand, it’s often beneficial to involve clients in the discovery process. What do they value most about the firm’s identity? What do they see as outdated? Gathering this feedback can help ensure that your brand update strikes the right balance between old and new. It also signals to clients that their opinions matter, which helps strengthen client relationships.

Redesigning the brand identity of a legacy law firm is no small feat, but it is essential in today’s rapidly changing landscape. By balancing tradition with innovation, law firms can create a brand that honors their history while positioning themselves for continued success in the digital age. The key is to evolve thoughtfully—preserving the core of the brand while embracing the opportunities that modern design and technology offer. In doing so, firms can continue to project trust, stability, and professionalism, while also appealing to the expectations of modern clients.

This post was originally published on Lynda’s LinkedIn newsletter, Marketing without Jargon. Lynda leads a team at Decker Design that focuses on helping law firms build differentiated brands.

Header image: Unsplash+ with Resource Database.

The post Strategies for Reimagining Legacy Law Firm Brands appeared first on PRINT Magazine.

Since its founding in 1969, L’eggs has been a trailblazer in hosiery, famously breaking ground as the first pantyhose brand sold in grocery stores, with its unforgettable egg-shaped packaging. The brand quickly became synonymous with accessibility and everyday style, revolutionizing how women shopped for and wore hosiery. Now, with a refreshed identity, L’eggs is embracing its legacy while stepping forward to captivate a new generation.

Téllez pulled out the stops for this reimagining, bringing in design firm Family Office — started by ex-Collins designer, Diego Segura — along with Britt Cobb, formerly of Pentagram, and type designer Schwartz, the creative mind behind The Guardian, Esquire, and T Magazine. Together, the team had one goal: update L’eggs’ legendary wordmark while preserving its distinctive charm.

Britt was tasked with updating the logo without losing its original charm, inviting Schwartz to subtly redraw and refine the letterforms. Schwartz’s adjustments included fine-tuning proportions, relaxing some of the old-school rigidity, and transforming the uppercase “L” to lowercase for a more flexible and approachable look.

For L’eggs, which pioneered the hosiery market in 1969, this redesign nods to both heritage and adaptability. The updated logo keeps its retro spirit intact, while making it at home in today’s digital and physical spaces. In its quiet way, L’eggs continues to show that the best updates don’t replace the old—they just give it room to breathe.

Project Credits

Executive Creative Director: Cami Téllez, L’eggs
Brand Identity: Family Office (Collins alumni, Diego Segura and Eliz Akgün)
Wordmark: Cobbco (Pentagram alumni, Britt Cobb, Jonny Sikov, and Commercial Type’s Christian Schwartz) + Family Office.

The post L’eggs’ Iconic 70s Logo Gets a Modern Twist appeared first on PRINT Magazine.

In a snapshot of today’s AI-driven design landscape, over 10,000 designers from 135 countries shared their thoughts, and the results are clear: designers are finding that a future with AI could be, well, pretty darn exciting.

The survey reveals that over half (52%) of freelancers are now harnessing generative AI to level up their work—up from 39% last year. And they’re not just dabbling; they’re diving in with excitement. A whopping 56% say they’re thrilled about the potential of AI in their field, with most using it to brainstorm ideas, knock out copy, or take care of mundane tasks (hello, automation).

But it’s not just excitement for efficient practices in their work; it’s dollars and sense, too. For 61% of freelancers, AI has already impacted their income, up from 45% in 2023, and nearly half expect the tech to give their earnings a boost down the line. Sure, a third of responders are a bit anxious about AI’s economic effect, but optimism appears to rule the day.

“Disruption in the design industry is something we’ve all experienced first hand,” says 99designs by Vista CEO Patrick Llewellyn. “We believe in the power of human creativity, and it’s inspiring to see both the excitement and pragmatic approach to the opportunities created by this new technology. These optimistic survey results, alongside the fact that our designer community has now earned over half a billion dollars through the platform, reassure us that while the landscape is evolving, the future of design is bright.”

The combined optimism and pragmatism of designers suggests an evolution rather than a revolution. And with designers’ earnings on the platform recently surpassing a cool $500 million, the data points to a future where AI may just be the paintbrush to human innovation’s canvas.

In an industry that’s no stranger to disruption, it seems designers are welcoming AI as a collaborator, not a competitor. And with the majority looking to upskill and keep pace, they’re proving that AI might just be the muse that creativity’s been waiting for.

The post From Hesitancy to Hope: How Freelancers Are Embracing AI appeared first on PRINT Magazine.

“All of our surfaces, our skies, our trees are painted by human beings. There’s no geometry covered by rubber-stamping. With hand-painted backgrounds like these, we’ve come full circle to where this whole craft began. Miyazaki’s backgrounds, Bambi’s backgrounds, The Lion King’s backgrounds: they do the best job of creating a world that you can get. Our goal was to get the finished film looking as close to the initial exploratory development drawings as we could get: so abstract and colourful, loose and free and beautiful, and they reminded me a lot of some of the inspirational art by Tyrus Wong that guided Bambi.“

The Spider-Verse films, Klaus, Puss in Boots: The Last Wish, The Mitchells Vs The Machines, Teenage Mutant Ninja Turtle: Mutant Mayhem – do we have a name for this new era of painterly animation? New Artistry? Craftcore?

Animation Obsessive Staff help me out here.

Ooh a colour Kindle is finally here. That sound you hear is a thousand cover designers gently weeping with joy! Curious that one of the promo shots has Ms Marvel on the display, but there’s no mention of Marvel Unlimited integration. I realise these things are essentially shop windows for Amazon and only Amazon, but MU plus a dedicated e-ink reader would be incredible.

Sean Baker (The Florida Project, Red Rocket, Anora) talks to MUBI’s Adrian Curry about his ongoing use of Aguafina Script Pro and how a simple design solution turned into a unique brand identity.

My current favourite jam¹ is LCD Soundsystem and Miles Davis playing in side-by-side browsers. Somehow this works.

Couch to 100k – John Grindrod’s tips for non-fiction writers:

“I’m firmly of the opinion that no subject is a bad subject for a book per se, it’s what you do with it. Perhaps you have the desire to write a book about frogspawn. Or gravel. Or ribbon. Sure, that one word might taunt you. Who is going to be interested in that? But nothing is innately boring. Not when you can communicate what is actually exciting you about the subject. Frogspawn contains the miraculous secret of life; gravel a doorway into the ancient formation of geology and stardust; ribbon the tale of industrial revolutions, global culture and the history of fashion. Actually, why am I writing this blog post, all of those books sound amazing.”

I used to get excited about boring subjects every month for my MacUser column² – “you write interestingly about any old crap” was basically my editor’s pitch. Not sure I have the stamina or attention to go beyond a two-page spread, but maybe one day I’ll give it a go.

In Hidden Portraits, Volker Hermes reimagines historical figures in overwhelming frippery. Great name for a band right there.

Revisiting the Horst P. Horst monograph Style and Glamour after seeing Jack Davison’s incredible Saoirse Ronan shoot for Vogue. He’s captured and modernised Horst’s already-ahead-of-its-time 1940s style³ impeccably.

Oh dear lord I’m trying Bluesky again. Basically just biding my time on this social network carousel until somebody revives mySpace.⁴

That is all.

1. Jams? Do we still talk about our jams? Or did we kick out the jams? ↩︎
2. They’re all pretty much lost to the sands of time now, unless anyone is hoarding old copies of MacUser in their basement … ? If anyone fancies a read, I’ll see if I can dig them out and upload them here in some manner. ↩︎
3. Running with Scissors’s Lisa McKenna put it perfectly in her reply to a recent note: “I’ve always appreciated how [Horst] kept his cover design behind the lens”. ↩︎
4. Seriously, it baffles me that something that still has so much brand recognition and clear purpose – social media based around music – is still up on the shelf, gathering dust. ↩︎

This was originally posted on Meanwhile, a Substack dedicated to inspiration, fascination, and procrastination from the desk of designer Daniel Benneworth-Gray.

Header image courtesy of the author.

The post Meanwhile No. 217 appeared first on PRINT Magazine.

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Luigi Maldonado, an Argentine immigrant, and Michael Tabie, a New York expat, landed at Austin, Texas-based creative agency Guerilla Suit for different reasons. Maldonado, partner and art director, started as an intern in 2011 and, over the next 13 years, has played a crucial role in the agency’s brand and culture. Tabie joined Guerilla Suit as design director in 2020. In four years, he has earned his title as a production pro, working with clients such as Yeti, Academy Sports+Outdoors, ESPN, and Nike.

The pair have made their mark on Guerilla Suit and the design world, bringing home first and second place in The 2024 PRINT Awards Branding Campaigns category.

SXSW

Luigi Maldonado – First Place in Branding Campaigns

Founded in 1987, SXSW is best known for its annual conference celebrating the convergence of
the interactive, film, and music industries. What began as a vehicle to showcase Austin’s creative and music community to the world has done its job. The first year saw around 700 attendees. Today, it’s an essential destination for global professionals, welcoming over 300,000.

Since 2021, Guerilla Suit has collaborated with SXSW to develop the theme for each year’s conference and refresh the design system as the foundation for all visual communications and wayfinding for the annual SXSW festival. In 2024, with the pandemic era in the rearview, the team, led by Maldonado, landed on the theme of Global Reframing.

The design team’s challenge was to create a look and feel inspired by the new generation of global citizens bringing about change from the ground up. Guerilla Suit provided art direction, campaign, social media, content, guidelines, graphic design, merchandise, motion graphics, signage, and wayfinding. The team’s innovation won them first place in the Branding Campaigns category.

East Side Pies

Michael Tabie – Second Place in Branding Campaigns

Four years into his role as design director at Guerilla Suit, Tabie seems to have grown accustomed to the Texas sun. He’s also made his mark on beloved Austin institutions, like East Side Pies, the pizza choice for many a team lunch.

There’s more to East Side Pies than meets the eye. Its Austin-style pizza is bigger than its signature thin crust or sauces. ESP takes pride in quality ingredients and community by working with local farms and ranches. For 20 years, East Side Pies has marched to the beat of its own drum, delivering the best culinary-inspired cracker crust pies using fresh, handpicked ingredients. ESP tapped the Guerilla Suit team to refresh their iconic look and feel as they entered a new growth phase, opening their first brick-and-mortar restaurant.

Guerilla Suit’s work helped to deepen the brand and allow East Side Pies to embrace their status as a hometown original. The identity showcases Austin and leans into the acronym ESP by refreshing the All Seeing Pie logo and introducing mystical taglines and motifs across the brand story. The team’s work earned them second place in the Branding Campaign category.

The post ATX’s Guerilla Suit Delivers a Double-Dose of Hometown Brand Love appeared first on PRINT Magazine.

For deeper insight into this evolution, I turned to some of the branding industry’s most prominent voices to explore how gender and identity are shaping political branding today. These design leaders shared their take on everything from the challenges of timing to the balance between visual consistency and policy focus to the future of branding for women in politics.

Our lineup includes Jessica Walsh, founder of the creative agency &Walsh (top left), Jolene Delisle, founder and head of brand creative at The Working Assembly (top middle), Holly Willis, founder of Magic Camp (top right), Ruth Bernstein, CEO of Yard NYC (bottom left), and Jaime Robinson, founder and CCO of JOAN (bottom right).

We asked, and, wow, they delivered! Their responses have been condensed and lightly edited for length and clarity.

How does the increasing alignment between political candidates and personal brand strategies, especially in the cases of Hillary Clinton and Kamala Harris, reflect a shift in how voters perceive leadership qualities?

Jessica Walsh: The way political candidates are now using personal branding is a lot like how companies build their brands to connect with customers. Candidates like Hillary Clinton and Kamala Harris are doing more than just talking about policies—they’re creating a narrative around who they are, their values, and their image to really connect with voters on a personal level. It’s similar to how brands tell a story to make you care about their product.

“Clinton’s pantsuits, for example, became a symbol of her identity, just like Harris’s story as the daughter of immigrants and her career as a prosecutor became key parts of her brand. This shift shows how candidates are using personal storytelling and visual cues, not just policy, to create trust and stand out in a crowded political field, much like a company would build loyalty with its customers.”

— Jessica Walsh

Jaime Robinson: Personal brand has always been huge for presidential candidates. Who can forget the Camelot visions of JFK and Jackie Kennedy?  The old Hollywood glamor of Ronald Reagan? Bill Clinton’s “cool guy prez” saxophone and sunglasses moment? 

What we’re seeing today that IS exceptional is that the personal brands of presidential candidates are being absorbed by their audiences as part of their OWN brands and identities….  who in turn reflect their own versions of the brand… which in turn influences the candidate’s brand, and so forth.

Donald Trump has become more blustery and right-wing as his audience paints him that way.  Kamala Harris has become more BRAT with each passing meme. And their fans – because that’s what they are, fans, not constituents  – become even more entrenched in the brand narratives that the candidates are spinning and reflecting back.

Ultimately, it’s showbiz, where Brand reigns supreme.

Jaime Robinson

Jolene Delisle: Personal branding is more important than ever, and as we see in almost every industry, it bleeds into your professional reputation as well. Especially as women, it has the power to shape the narrative, good or bad.

Holly Willis: The alignment of personal branding with political strategy speaks to a broader evolution in how voters perceive leadership. Today, candidates are expected to resonate not only through policies but also through personal narratives and cultural fluency.

One trend we’re seeing, particularly from millennials and Gen Z, is an expectation for leaders to be culturally aware and socially attuned. For many in these generations, cultural literacy in a candidate signals empathy and adaptability, qualities seen as essential in navigating today’s rapid social shifts. Harris has engaged with this expectation by leaning into modern cultural references—such as “brat summer” or her appearance on Call Her Daddy—to connect with younger audiences. On the other hand, Donald Trump’s appearances on podcasts like Theo Von’s reflect an appeal to a younger, more skeptical demographic, reinforcing his base while broadening his reach.

This approach raises an important question: if candidates are not engaged with the cultural zeitgeist, does that make them less attuned to future generations’ needs? For political leaders, balancing generational appeal is no small feat. In contrast to brands that target Gen Z for long-term loyalty, political campaigns must manage the tension between Gen Z’s social influence and the reliable voting power of older generations.

Leadership perception is increasingly shaped by empathy, cultural understanding, and relatability. As candidates integrate personal narratives within broader sociopolitical contexts, it underscores a shift toward leadership that prioritizes genuine connections with diverse communities, moving beyond policy alone.

Does focusing on personal identity as part of a candidate’s brand strengthen or dilute their political message, and how can candidates ensure their brand resonates without alienating key voter demographics?

Walsh: Yes! Focusing on personal identity as part of a candidate’s brand can strengthen their message by making them more relatable and authentic to voters. However, it can also dilute the focus on their policies if not handled carefully as they need to integrate their personal story and brand in a way that complements their political platform rather than overwhelming it.

“In today’s world, I don’t think a candidate can even be heard unless they develop a brand, and remain true to it. And while Kamala Harris might risk alienating voters when she dances or belly laughs at a joke, the WAY bigger risk is being boring. This has been true for a few decades. Who can forget snoozy John Kerry or Al Gore? (or maybe you CAN forget them, and that’s the problem?)

But I’ll even go a step further…

Today, personal brand IS the political message.” 

— Jaime Robinson

Jaime Robinson: Kamala’s converse and meme-ified social presence signals she’s for a younger, more progressive future. And Donald Trump, shutting down his town hall after four questions and then swaying awkwardly to a 1990s Andrea Bocelli ballad, says he’s content looking backwards.

Delisle: We are in unprecedented times where running for political office is like running in some ways in a popularity contest, and it has less to do with the political objectives and policy and more with how people “feel about someone.”

It’s alienating to me as a voter because these are public service jobs, and the fact that most of the commentary online and on television is about someone’s likability is really sad.

Jolene Delisle

Willis: The integration of personal identity into political branding has become a more sophisticated exercise, reflecting a shift in both strategy and voter expectations. Modern candidates face the challenge of weaving their identity into their campaigns in ways that resonate authentically, yet don’t overshadow the substance of their policies. This balancing act is increasingly crucial as younger generations, especially Gen Z and Millennials, value leaders who are socially and culturally engaged while also addressing issues with depth and relevance.

In recent years, political figures have embraced subtler forms of identity politics—where their personal stories, values, and cultural touchpoints are integrated naturally into their campaigns rather than positioned as the primary focus. This approach allows candidates to embody key aspects of their identity in ways that enhance relatability without detracting from the core message.

This evolution underscores a strategic shift: instead of directly emphasizing aspects of identity like gender or ethnicity, candidates increasingly use cultural moments and platforms to convey these elements implicitly.

Holly Willis

This approach reflects a larger trend where identity becomes a part of the fabric of a candidate’s brand without dominating it, allowing for a broader, more inclusive reach. By engaging with diverse media channels, like podcasts that resonate with distinct demographics or tapping into trending topics, candidates can address different voter needs without isolating any particular group. It is also reflective of a deeper understanding that leadership is not solely about direct representation. It’s about showing an awareness of and alignment with the broader cultural landscape.

For future candidates, the challenge will be finding ways to make personal identity resonate across various voter demographics. To achieve this, candidates can look at how consumer brands blend authenticity with relevance — using personal stories to establish a connection, but grounding that connection in the shared values of their audience.

Harris’s campaign appears to subtly embody modern feminism without directly emphasizing gender, unlike Clinton’s more explicit feminist branding. How does this reflect the changing role of identity politics in shaping brand strategy, and how might this influence the future branding of female candidates?

Walsh: Kamala Harris’s subtle embrace of modern feminism, without directly emphasizing gender, reflects a shift in how identity politics shape political branding. Unlike Hillary Clinton’s more explicit feminist messaging, Harris integrates her identity in a way that feels natural and resonates with a diverse yet increasingly scrutinizing voter base. This approach signals a new trend for female candidates, where they can highlight their identity without making it the focal point of their campaign, allowing them to appeal to a broader audience. By focusing on qualifications and policy, while still embracing their personal story, candidates can balance the celebration of diversity with the need to connect on issues that matter to a wide range of voters.

Robinson: It’s smart that Harris isn’t playing on gender, and also a sign of the times. Hillary Clinton was running during a cultural moment where gender identity and struggles were front-page headlines. They were the big news.

That moment has passed, and it would seem outdated if Kamala Harris leaned on being a woman. In fact, today, Harris has a better chance of getting elected if she doesn’t go into gender identity. She knows she needs to dial up a more relevant aspect of her personal demographics  – that she’s younger than her opponent by 20 years, with a spirit to match.  She’s leaning into the memes, the BRAT, the inside jokes. She is signaling that she’s for the future, not for the past.

When she wins, we’ll celebrate that she’s a woman. Not a second before that.

Jaime Robinson

Bernstein: Kamala running for President as a woman isn’t seen by the American public as such a big deal because Hilary already did it. Hillary comes from a different generation. Her feminism was defined by needing to play in a man’s world. She had to play by men’s rules and ‘man up.’ She broke the glass ceiling in her run for President. Her feminism was about fighting for women’s rights and the need to show a woman could do a man’s job.

Kamala comes to a Presidential race by not having to play the same game that Hillary did.  She embodies another generation – GenX vs Boomer. She understands that to win as a brand, she needs to be defined relative to her competition. Being a woman is irrelevant. Her brand is “not Trump.” And her age is more important than her gender – it’s what also separates her from Trump and Biden.

Running on one’s identity now – and in the future – is not enough. Voters today are not choosing a candidate based on gender alone.

Ruth Bernstein

This is a different race. This is a changing of a generation. These are the moments when choice can’t be defined by identity. This is a race that is bigger than that.

“It’s interesting in the summer of Brat/Demure we almost have that prime example of the shift with the two candidates. Hillary was definitely in her demure era; she was trying to play nice and stick to the typical playbook. Harris’s campaign has definitely embraced the Brat vibes and is decidedly more on the offense, and is really embracing social, memes and culture. It’s been cool to see how fast her team can create response content and immediately jump into the conversation. It’s an incredible brand strategy, and I think it will definitely influence how candidates, both male and female, activate and strategize their social in the future.“

— Jolene Delisle

Willis: Kamala Harris’s campaign underscores a shift in how gender is integrated into political branding. Where Clinton’s explicit feminist messaging highlighted her role as a groundbreaking figure for women, Harris embodies a more subdued form of feminism. She integrates her identity into her platform in a way that feels authentic and organic rather than overt. This approach allows Harris to resonate with voters who value diversity and representation without risking the perception of identity politics overwhelming her platform.

This progression mirrors the changing cultural landscape, where diversity is increasingly celebrated but must be balanced with a broader message that appeals across demographics. As diversity becomes a more central expectation, female candidates may have more freedom to weave their identity into their political brands subtly. They can express modern feminism not as a standalone brand pillar, but as one of many facets that make up a well-rounded candidate. This more nuanced approach could help future female candidates navigate an increasingly scrutinized political arena by resonating with voters who see their identities as a natural part of their brand narrative, rather than its primary focus.

Clinton’s pantsuits became a symbol of her campaign, often diverting attention away from policy discussions, while Harris’s fashion choices seem to escape such scrutiny. How crucial is it for candidates’ brands to balance consistency in their visual identity with the need to focus on substantive policy?

Walsh: In political branding it’s all about balancing consistency in visual identity while keeping the focus on substantive policy. Hillary Clinton’s pantsuits became an iconic symbol, but that could distract from more important policy discussions. While visual branding creates a recognizable and cohesive image, there’s a risk when it becomes the story rather than supporting it. Kamala Harris, on the other hand, has managed to maintain a strong visual identity without her fashion choices becoming the center of attention, allowing her policies and leadership to take the spotlight.

Robinson: Visual identity is everything and these candidates know that. Picture Trump –  what is he wearing? Not a leather jacket or some True Religion bootcut jeans. He’ll be in a dark suit with a red tie or golf whites and a MAGA hat. Picture Kamala Harris. She’s in a blazer and skinny jeans and Converse, or she’s in a modern designer suit.

These are brand moments—sartorial choices that are picked because of the policies the candidates are endorsing, not despite them. Donald Trump is projecting the image of the rough businessman cutting taxes for the rich. Kamala Harris is the image of the cool aunt who is gonna kick someone’s ass for taking away your reproductive rights.

But the good news? These branding elements are really not the focus.

We’re not talking about the clothing choices, unlike Hillary Clinton’s pantsuits, which is a great thing. A lot has happened since 2016, and we don’t have time for that shit.

Jaime Robinson

Bernstein: For most candidates, it is important to build a visual identity that is inclusive and contrasts with that of your opponent. Obama had one of the strongest visual identities of any modern politician. It let him own the idea of ‘Hope and Progress.’ While that is not substantive policy, it provided a platform for him to put forward ideas that lived up to that visual promise such as healthcare for all.

Delisle: I think millennial voters were much more into political branding – I think in the time of Obama and his Shepard Fairey prints, it was much more about visual identity shaping the campaign. Now because things have shifted so much away from printed collateral, the visual identity piece to me seems less important in this election. Obviously, with MAGA, they had a very strong visual thread that was helpful for them in the last election and likely this one, too, but I think it’s smart that the Harris campaign isn’t putting as much significance on her logo or graphic elements and putting much more effort on social media like video and UGC.

“Misogyny in American culture has often resulted in undue focus on female candidates’ appearances, on both sides of the aisle. This was seen in Clinton’s campaign, where her pantsuits became a symbol that sometimes distracted from her policy platform. In contrast, Harris’s style choices are less scrutinized, reflecting a shift in the way voters and media perceive female candidates. However, this shift doesn’t imply that the biases have disappeared—they’ve just evolved.”

— Holly Willis

Holly Willis: A candidate’s brand is enhanced when visual identity serves as a subtle extension of their narrative, reinforcing their platform without distracting from the policies they champion. For example, a well-coordinated wardrobe choice can be strategically symbolic, drawing connections to the communities they represent without being explicitly gendered or politicized. It’s essential to maintain this balance to ensure the conversation remains focused on their vision and substance.

Can too much focus on visual elements risk diminishing a candidate’s brand? How can they avoid this?

Robinson: I think the conversation around Hillary Clinton’s pantsuits was problematic – it made her more lovable to her core demographic, who were finally seeing themselves represented and loved her boss bitch vibes.  But the sensible pumps and pantsuits served to “other” her to her detractors, who found her power dressing off-putting for the same reasons that her core loved it. 

But today, unless that visual element is a negative or unattractive thing, it’s not a problem. Even the infamous “orange” hue of Donald Trump’s skin is just as accepted and in some camps, celebrated as part of his brand.

Willis: An overemphasis on visual elements can indeed dilute a candidate’s brand, potentially reducing their persona to superficial traits and drawing focus away from their platform. Visual identity should be a strategic tool, enhancing the message and helping convey a sense of strength, consistency, respect, and relatability, but not becoming the focal point. Political figures can avoid this pitfall by aligning visual identity closely with their core values, reinforcing it as an extension of their messaging rather than an attention-grabbing element on its own.

For candidates today, the goal should be to integrate these elements as part of a comprehensive brand that resonates with voter segments. By thoughtfully choosing elements that reflect broader narratives—such as inclusivity, relatability, and authenticity — they can create a memorable visual presence that supports, rather than overshadows, their policies. This balance is especially important in a media environment that often emphasizes imagery, where strategic visual choices can enhance a candidate’s connection with voters.

Clinton faced relentless negative media coverage, while Harris appears to have avoided similar levels of personal scrutiny. How should political candidates handle the branding impact of personal attacks? What strategies from the private sector can help create resilient brands that can withstand media controversies and misinformation?

Walsh: Political candidates can handle personal attacks by focusing on consistency, transparency, and staying true to their core message—much like successful brands in the private sector. Just as companies respond to negative press by controlling the narrative, candidates should address false claims directly, clarify their stance, and reinforce their values without letting attacks overshadow their campaign. By using crisis management strategies from the business world—such as clear communication, proactive messaging, and staying authentic—candidates can build resilience and maintain focus on their leadership and policy goals, ensuring that negative media doesn’t dominate or derail their brand.

Robinson: If you’re running for president, criticism from someone (or many someones) is part of the job description. The key is, no matter the heat, to stay true to the brand. Candidates must stay authentic, and not waver just because they ruffled some feathers. They likely also strengthened some feathers, and if they change course because of the criticism, everybody will register them as fakes. 

As with marketing brands, you can’t be everything to everybody. And the most vital thing is to be “on brand” to yourself.

Willis: One key strategy is to establish a clear, positive narrative around their identity, consistently highlighting their values and achievements. This creates a “brand foundation” that can anchor public perception, making it more challenging for opponents to erode their credibility. In the face of attacks, it’s also effective to address issues head-on when appropriate, deflecting distractions but responding thoughtfully to misinformation.

Resilience also comes from transparency and trust-building. Private-sector brands often use authenticity to connect with audiences, and candidates can similarly counteract negative coverage by being candid and accessible. Misinformation is a constant threat, and successful brands emphasize fact-based storytelling, engaging directly with audiences to set the record straight and offer a counter-narrative that reinforces their values.

Directly addressing a baseless claim not only clarifies their stance but also builds credibility with voters, showing an alignment with the facts over spin.

Holly Willis

With Kamala Harris benefitting from the cultural groundwork laid by Clinton and Shirley Chisholm, how important do you believe timing is in a candidate’s branding success?

Walsh: Timing is critical in a candidate’s branding success, and Kamala Harris’s rise is a great example. She built on the groundwork laid by figures like Clinton and Shirley Chisholm, and her campaign’s timing was key. As many grew weary of Biden’s traditional leadership, Harris brought fresh energy and hope, representing diversity and progress. The joy surrounding her candidacy was not only about her qualifications but the emotional response to seeing a leader who people were excited to get behind. Harris’s timing allowed her brand to resonate at a moment when the public craved new, dynamic representation.

Robinson: Timing – for candidate brands and brand brands – is everything. Is the world ready for what your brand has to say?

“Timing is very important to a candidate’s ability to brand themselves. There are moments like the one we are in today, when it is a coming of age, or generation. It is an inflection point that speaks to a readiness to embrace something new. We saw that with Obama. And I believe we are seeing that now.”

— Ruth Bernstein

Bernstein: Kamala’s womanhood is not as important as other factors. Her age, for one, is a more important factor than her gender. With Kamala, we are seeing her flex her GenX attributes more than her femaleness. And that is relevant to the moment we are in – the age of Biden and the age of Trump and the desire for a new generation of leadership.

Willis: Timing is a critical factor. Harris, for example, is benefiting from the cultural groundwork laid by earlier trailblazers who helped shift societal perceptions of female and diverse leadership. These predecessors opened the door for a more complex, intersectional understanding of identity in politics, allowing Harris to subtly embrace her own diverse background while focusing on policy-driven messaging.

Furthermore, Me Too shifted public consciousness around gender, power, and representation, allowing the political landscape to adapt. Harris’s ability to incorporate her identity without making it a constant focal point reflects this change.

A candidate’s success depends on how aligned their brand is with the public’s evolving expectations and the cultural zeitgeist. As society increasingly values diversity and inclusion, candidates like Harris are better positioned to capitalize on this shift, embodying leadership that resonates with a multi-dimensional, multi-generational electorate. Today, aligning personal identity with policy is as important as having the right message—it’s also about delivering it at the right moment, in a way that feels timely, authentic, and relevant.

In what ways do you see candidates balancing their personal narratives with the evolving societal context during their campaigns? Take Harris’ approach to highlighting her gender, for example.

Walsh: Candidates today must align their personal stories with the shifting cultural zeitgeist, where representation and authenticity are highly valued. Kamala Harris’s nuanced approach to highlighting her gender reflects a broader trend of political figures adapting their identity strategies to align with the cultural moment. Rather than making her gender the sole focus, Harris weaves it into a larger narrative of competence, experience, and representation, allowing her to connect with diverse groups without being reduced to a singular identity.

Robinson: Harris is smart. She’s not taking the gender bait, for either the positive or the negative. Even more interestingly, nobody else really seems all that concerned with it. We’re all so entrenched in our political sides that either party could run a hippopotamus and still get votes. In fact, Moo Deng would probably crush it.

Willis: Harris’s approach illustrates a broader trend in which political figures integrate aspects of their identity into their brand strategies without necessarily making them the centerpiece. This allows candidates to connect with voters on shared values, using their identity as a touchpoint that builds relatability while focusing on policy. In today’s social climate, where identity is often deeply intertwined with political beliefs, this balanced approach enables leaders to reflect the diversity of their constituencies without alienating key voter demographics.

As societal expectations evolve, political candidates are finding ways to weave personal narratives into their campaigns subtly. They leverage cultural references, such as Harris’s allusions to trending topics like Beyoncé or Taylor Swift, to underscore their connections to various communities. This nuanced branding strategy suggests that candidates can benefit from staying attuned to cultural shifts and adopting a flexible approach that allows them to resonate across generations. At the same time, it acknowledges that while identity politics remains a powerful tool, it must be wielded thoughtfully to avoid alienating groups with different priorities.

However, aligning with cultural trends in this way carries risks. In today’s fast-paced media environment, one misstep can lead to accusations of inauthenticity or pandering, undermining the intended connection. Voters, especially younger generations, are highly attuned to authenticity and quick to call out anything that feels disingenuous. Therefore, it’s a delicate balance: candidates must lean into their personal experiences and core values to connect with cultural topics and trends genuinely, rather than opportunistically.

We are less than a week away from Election Day, Tuesday, November 5. For all of our futures, this election is critical and your voice matters. If you need any voting registration help or info finding the nearest polling booth to you, learn more here.

Campaign imagery © KamalaHarris.com and Harris campaign social feeds.

The post Five Design Leaders on the Evolution of the Female Presidential Candidate appeared first on PRINT Magazine.

“We noticed that athletes today are increasingly seeking ways to personalize their experiences, and they’ve been early adopters of athletic equipment personalization,” said Xavi Cortadellas, Gatorade’s Sr. Director of Marketing, Athletic Equipment. “Through these AI innovations, we’re so excited to help athletes showcase their unique styles, passions, and personalities.”

Gatorade guzzlers can go to www.gatorade.com to generate their own water bottle designs through the brand’s partnership with Adobe Firefly. Gatorade also collaborated with digital product agency Work & Co, part of Accenture Song, to ensure the new AI experience was seamlessly integrated into their site and was user-friendly.

“Our ambition is to serve athletes better than anyone else, so we’re incredibly proud to be one of the first brands to put the power of an AI-fueled experience in the hands of athletes,” said Cortadellas. “This technology allows us to meet athlete needs with fully customizable solutions no matter their journey.”

“This is just the start of how AI will continue to fuel athlete personalization at Gatorade,” added Cortadellas. What the next AI pursuit for the brand will be, however, remains to be seen. An AI flavor perhaps?

The post The Classic Gatorade Water Bottle Gets the AI Treatment appeared first on PRINT Magazine.

“Our focus has always been on understanding people,” said Jay Houston, president of talent solutions for Addison Group’s Finance & Accounting division. “This brand refresh emphasizes what makes us unique while delivering a clear and compelling message to the marketplace.”

With the talent acquisition landscape becoming more competitive, Addison Group’s new digital presence ensures that businesses seeking specialized solutions continue to see Addison as a trusted partner. To bring this vision to life, Addison partnered with VSA Partners, a creative and branding agency, who worked with Dapper and Associates to craft an engaging, people-centric user experience.

As Addison Group continues to grow—with eight brands and 28 offices across the U.S.—this brand refresh is the latest move to showcase what sets them apart: a deep commitment to connecting businesses with the best talent.

Celebrating 25 years of success, Addison Group’s new branding is a testament to its dedication to delivering exceptional talent solutions and staying ahead in a rapidly evolving industry.

The post Addison Group Celebrates 25 Years with a Brand Refresh appeared first on PRINT Magazine.

As an avid soccer fan, I awoke to the news yesterday morning flooding my various social feeds and group chats that the newest NWSL team had been revealed: BOS Nation Football Club. 

You heard that right, BOS Nation. Begging the questions: What?, Why?, and How?

BOS Nation FC is a terrible name for a sports franchise because, to put it bluntly: it’s corny as hell. “Lady Boss” culture and the “Girl Boss” discourse is over. In fact, it never started. It’s an inherently dated and regressive concept that is the opposite of empowering. “BOS Nation” is trying too hard. It wants so badly to be cool, and there’s nothing less cool than wanting to be cool. It’s unnecessarily overcomplicating what simply should have been “Boston FC” or “FC Boston,” which are reportedly two of the options that were rejected in favor of their cringey counterpart. Apparently, “BOS Nation” is an anagram of “Bostonian,” which is one of those bad ideas reeking of the original brainstorm that should have been dismissed immediately—not taken seriously and then turned into an actual NWSL franchise. Alas, here we are. 

The BOS Nation design and branding aren’t doing the franchise any favors either. The stacked logo is especially baffling, with the “FC” split up oddly and placed galaxies apart on either side of the “BOS” and clipart-looking starburst icon. The brand names for the colors in the brand system are eye-roll-inducing in their own right: “championship green,” “relentless raspberry,” “loyal charcoal,” “daring pink,” “rise yellow,” and “orange press.” 

But while the name and branding are puzzling, the roll-out campaign unleashed by BOS Nation to officially announce the franchise is downright offensive. 

NOTE: The original video used for the rollout campaign has since been removed from all platforms by BOS Nation and the NWSL. A downloaded version can be accessed here.

I am far from alone in my incredulity toward every aspect of this campaign. For the first time ever, the internet is aligned in patently agreeing upon something: this is SO BAD. There are so many layers to how the roll-out so egregiously misses the mark, so let’s dive right in. First off, using men’s sports franchises as the main framework for the launch video is, in itself, infuriating. Why are we making a women’s sports franchise about men? What are they even doing here? But then on top of that, making the roll-out about male genitalia? Now that’s beyond the pale. 

In an attempt to be edgy and subversive, BOS Nation is simply being transphobic and misogynistic, reducing gender to genitalia in a tired and childish joke about balls. They double down on the joke by encouraging people to go to toomanyballs.com, which then redirects to the BOS Nation website. The whole concept sounds like a parody, satire, or comedy sketch, or perhaps an idea that was proposed by some frat boy intern at an NFL-themed podcast. 

Another layer in this lasagna of disrespect is the erasure of the many women’s professional sports teams that are, in fact, already playing and thriving in Boston. As The Athletic reporter Meg Linehan rightly points out, Boston’s women’s professional hockey team in the PHWL, the Boston Fleet, not only exists but made it all the way to the league championship series last season. Boston is also home to a women’s professional rugby team, Beantown RFC, and a women’s professional football team, the Boston Renegades, who have won five national championships over the last six seasons. Forgot about all of those incredible women athletes, did ya, BOS Nation?

So who’s to blame? Colossus Creative Co. was the agency behind the BOS Nation integrated campaign and brand identity, smugly posting about the work on their Instagram yesterday in which they thanked their “brave clients for having the guts to be wildly provocative with this launch.” They also thanked the various men’s sports franchises featured in the launch (for contributing creatively, as well?), for their “incredible sense of humor.” 

As a teaser for yesterday’s hard launch, more than 200 billboards and other OOH placements sprung up around Boston for 48 hours, which proclaimed the campaign’s idiotic refrain: “There are too many balls in this town.” The “cryptic (and entertaining) message” was meant to inspire shock, confusion, and intrigue from onlookers who would then be enticed to visit everybody’s new favorite website, www.toomanyballs.com. You simply can’t make this stuff up!

The lingering question is, of course, what comes next? Will BOS Nation FC (every time I type that out I can’t believe it’s real) see the error of their ways and pivot in a new brand direction before they’re in too deep? Or will they dig their heels even deeper into this name and brand system, despite literally everyone hating it? Only time will tell! Maybe they should ask Tom Brady what he thinks they should do.

Story update as of October 16 at 1PM ET / 10AM PT

The “too many balls” roll-out is actively being rolled back by BOS Nation, who have removed the brand launch video from their socials and posted this statement:

The post NWSL Announces a New Boston Soccer Franchise With a Brand Launch so Bad it Feels like Satire appeared first on PRINT Magazine.

In today’s rapidly evolving creative landscape, the importance of collaborative teams and de-siloing design departments is becoming increasingly clear. As agencies seek to break down barriers between creative, strategy, and design, the role of design has shifted from a final aesthetic touch to a core driver of the entire process. At McCann NY, design is not just a service but an integral part of the creative journey, embedded within the agency’s core teams. By fostering cross-department collaboration, McCann has created a culture where design not only informs the work but also elevates it, challenging traditional agency models. This approach has resulted in more cohesive brand identities and inventive campaigns that drive meaningful client outcomes. I was thrilled to chat with McCann New York’s Shayne Millington, chief creative officer (left), and Matt van Leeuwen, head of design (right), to discuss the transformative impact of de-siloing design within McCann and the lessons other agencies can learn from their approach.

In what ways does McCann Design integrate design processes throughout the agency and within various departments?

Shayne Millington (SM):
At McCann, design is not an afterthought. It’s not just there to make things look pretty or to dress up a deck at the end of a project. From day one, our goal has been to make design a true partner in the creative process. 

We are becoming more visually driven, so design has become a necessity rather than a nice to have. It is crucial to a brand or agency’s success. Our team of about 20 designers is deeply embedded within the agency. They are present in every corner of our business, from new business pitches to social strategy.  

To make sure the practice is integrated, you can’t overlook where they are physically placed within the agency. That is why our designers sit alongside our creatives—at the center of where everything happens. This isn’t a separate department tucked away somewhere. It’s an integral part of our creative brain, collaborating closely with the teams to shape work that’s both visually compelling and conceptually powerful. 

For us at McCann, design is about making things that challenge people to look twice, experience things deeper, and connect with brands in unexpected ways.

How does McCann Design’s de-siloing approach challenge the traditional agency model, and what specific benefits have you observed from integrating design across all aspects of your work?

Matt van Leeuwen (ML):
In the traditional agency model, design and creative operate separately or not at all. And often times, the design team is siloed and brought in after the fact. On the other hand, if you’re working with a brand design agency, what often happens is that they will design the brand identity, then hand it off to the creative agency, who will take it and often times break the rules by giving it its own spin. It’s not efficient. Coming from a branding background, the disconnect comes when the work is different than what we designers intended.  

SM:
At McCann, we knew we wanted to take a different approach. With timelines getting shorter, we noticed that the craft and experimentation were starting to become an afterthought. So we took a different yet simple approach. We combined creativity and design under one roof with McCann Design embedded within the creative teams. We’ve brought on some of the best brand designers in the industry and have created culture-defining work for our clients like TJ Maxx with its first custom font inspired by its logo, Smirnoff’s entire global design system, and the Last Prisoner Project’s Pen to Right History campaign.

ML:
It creates exciting work, but also new ways of working and types of work. We are currently helping multiple clients with the design of their brand identity. When you combine that, with crazy cool creative ideas, the sky is the limit.

In an industry often segmented by specialized departments, how has McCann Design’s commitment to removing silos transformed the way you collaborate internally and deliver value to clients?

SM:
Designers are some of the most conceptual people in the industry. We include design from the beginning of every project. From conception to execution, it’s a collaboration between the teams. It allows for greater debate and challenges the work and learning on both sides. You start to see the lines blur and that is when you know it is working. 

The success of this is creating new opportunities within the agency. We have begun to take on design specific assignments and are entering new areas with our client’s business. In the last year, we have been embedded in all of our clients’ design systems and brand architecture.

ML:
I think of creative and design as cross-pollination, inspiring and challenging each other. For the client, design is an awesome added value; we can truly look at a client’s brand in a holistic manner. From the communication side and the purer brand side, we are bridging those worlds.

Can you share a case study or project where de-siloing had a significant impact on the outcome? What lessons did you learn from that experience that could inform other agencies looking to make similar changes?

ML:
Our work for TJ Maxx on their visual identity is a great example of creative and design collaboration from the beginning. Surprisingly it didn’t start as an identity exercise. Our work was born out of our campaign work. We noticed that the retail space TJ Maxx was operating in, was flooded with Helvetica typography. So we wanted to change that – especially as designers, we wanted to create something unique and ownable for the brand. We proposed something simple; a bespoke typeface, born out of their iconic wordmark. 

The simplicity of the typeface, designed with Jeremy Mickel, forced us to revisit the identity. We couldn’t typeset things the old way. Step by step, we are working through the visual world of TJ Maxx, ultimately resulting in new brand guidelines. In parallel, we are developing campaigns in the same new look. It’s extremely exciting, the way this all comes together. 

To me, it’s living proof that silos don’t have to exist, but we can operate fluidly.  

SM:
Another great example is our most recent work for the New York Lottery. As its agency of record for the last decade, we’ve produced some of the category’s most impactful campaigns. Now, we are incorporating ideas around the design for the scratch cards (most recently for the “Grande” games) that align with the creative communication allowing for a much more holistic and surprising way to engage with the brand.

As agencies continue to evolve, what do you believe are the most pressing challenges to fully integrating design across all functions, and how is McCann Design addressing these challenges?

SM:
One of the most pressing challenges is breaking down the siloes between departments and fostering a culture where design isn’t just an afterthought – it’s a core driver of the creative. When you include more creative voices in the conversation, something amazing happens. It ignites the culture of the agency. The conversations get richer and the solutions become more unexpected. You can move quicker, and the community grows. It’s because you are bringing new experts with new capabilities and new energy to the table, which allows for impactful creativity to flourish.

In the last two years, with Matt heading up the McCann Design practice, we’ve done that. Built design from the ground up – the team, the capabilities – a home for design to shine and a culture where design is celebrated.

ML:
It’s very hard to explain the amount of craft and time that goes into design. The development of a visual narrative, the workings of color, typography, and image. It’s a delicate exercise that doesn’t always abide by the same timeframe of let’s say a campaign idea. So, time. Time to develop, tinker, and play, is of extreme importance. I like to say that design is a playground. We don’t have a house style. We don’t operate within a fixed framework. Every project is unique with its own set of challenges. With all those variables, it’s important to create time to make the best work. If we truly are creating a playground for design, we need to make the time to play.

Bring design into the process as early as possible. This gives designers the time they need to create and iterate throughout the creative process.

How does the de-siloing of design at McCann Design influence your agency’s creative process and strategic thinking? What role does leadership play in fostering a culture of integration and collaboration?

SM:
As soon as a project kicks off, my first question is – where is design? I bring them in from the beginning and they are with us for the journey. Collaboration across all departments is key to getting the best creative product.

McCann Design has been recognized by Fast Company’s Innovation by Design Awards, MONOCLE’s Design Awards, and leading industry creative accolades like ADC’s Best in Show, Designism, Best of Discipline in Typography, Cannes Lion for Design Driven Effectiveness, Epica’s Grand Prix, and One Show’s Best of Discipline, to name a few, and there’s no doubt that their approach to collaborative creativity is a reason for these accolades.

I’m all about tearing down walls, and I have no doubt that more agencies and big corporations will follow suit—especially with today’s remote, agile workforce making it easier than ever to rethink how we work together.

The post De-Siloing Design: McCann Reimagines Collaboration in the Creative Process appeared first on PRINT Magazine.

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Podpunkt is an award-winning multipurpose creative studio based in Warsaw, Poland that specializes in design systems. The company is a crossover between a design studio and a digital agency making visual literacy accessible across a multitude of platforms for a larger audience. Consisting of ten core team members, the company has earned 35 awards and attended/hosted 12 juries and conferences in just over a decade, creating a level of international credibility within the design field.

Podpunkt’s work with The National Museum in Krakow, led by Emilka Bojańczyk and Zuzanna Charkiewicz, earned the studio first place in the Branding Identities & Identity Systems category of the PRINT Design Awards. The National Museum in Kraków (MNK) is the largest museum in Poland and the main branch of Poland’s National Museum. The Museum consists of 21 departments divided by art period: 12 galleries, two libraries, and 12 conservation workshops, holding approximately 780,000 art objects.

Taking on the rebrand for such a major museum was an endeavor but emphasized the studio’s capability to balance umbrella-ed coordination with stark individuality. The museum’s new identity was based on the metaphor of weaving threads of inspiration and artworks into the vast body of art—as the basis and DNA of the collection. In the workshop and strategy phase, the team homed in on alterations to the names of the Museum’s branches to best encompass the main MNK brand and form a more harmonic big picture. Accompanying the modified branch names is a dynamic serif that changes form in correspondence to the art or building that it represents. The typographic system is based on the Sangbleu typeface by Swiss Typefaces. Its letterforms are at once classic and modern, and have the elegance and finesse to fulfill all the different identity needs. The reimagined logo is a graphic rendering of the abbreviated name of the Museum-MNK and is based on a meticulously designed geometric grid that is timeless while innovative.  

Receiving the Print Award has been a truly special moment for both us and the team at the National Museum in Kraków.

Magdalena Dobruk, Partner at Podpunkt Studio

The brand identity design for the National Museum in Kraków not only won first place in the Branding Category for the PRINT Awards but it was also recognized by other design media, including PRINT’s friends at Brand New. However, back in Poland, the reception was somewhat lukewarm according to the Podpunkt team.

It’s an unconventional design that encourages playful engagement with art and creative exploration. It allows for the fusion of various art movements, creating a fresh visual identity. Even though the local response was not as robust as expected, our award reassured us that we made the right creative decisions for the Museum’s brand.

Most importantly, the brand identity system continues to serve the Museum well. As a versatile tool, the brand system enables them to create eye-catching campaigns for new exhibitions and events with ease.

Based in Warsaw, Podpunkt also had a rewarding year in the Polish design awards scene taking the main KTR Award (Polish Creative Club) in the Design category for the brand identity of OAcademy—the Orchestra of American Group. Inspired by these accolades, Podpunkt recently focused on its own brand image and, after ten years, designed and launched a new website that beautifully explains its mission and expertise.

We feel like we should set out with our works across the ocean more often—this year, a lot of good has come our way from the other shore of the Atlantic!

The post Podpunkt’s Timeless Brand for the National Museum in Krakow appeared first on PRINT Magazine.

Centered around a festive family gathering, the campaign features a little sister, big sister, and Mom, serving up eye rolls, side-eye glances, and sibling rivalry with full drama. Set against the backdrop of a holiday dinner table, the characters are dressed to the nines in head-to-toe glamour, with a focus on Morphe’s stunning holiday drama looks.

The idea behind this campaign was to highlight the real, unfiltered dynamics that happen at family gatherings during the holidays—characters that consumers can actually relate to. You’ve got the overbearing mom, the annoying little sister, and the tension that we all know too well.

Pum Lefebure, Chief Creative Director, Design Army

Executed as a series of mini-episodes, the campaign captures the essence of holiday family antics—complete with sound effects and over-the-top thrills. The scenes reflect the relatable moments of stress and flawed familial love we all experience during the season, but with a stylish twist, thanks to Morphe’s bold, festive beauty products.

Every detail was thoughtfully considered in executing this campaign. Photographer Greg Swales expertly captured the drama in the stills, while DP Chevy Tyler brought those moments to life through video, seamlessly blending the two to create a cohesive and dynamic visual story.

The result is a series of beautifully crafted images that capture the essence of holiday drama with a playful touch and striking visuals.

It was also important for us to show different age groups in the mix, because makeup is for everyone, no matter your age. We wanted to create something that feels true to life but still full of that glam and fun Morphe is known for.

Pum Lefebure, Chief Creative Director, Design Army

The post Design Army Brings the Glamour to Holiday Family Drama for Morphe Cosmetics appeared first on PRINT Magazine.

From beauty to food to fashion, Latinx entrepreneurs are bringing their rich cultural heritage to the forefront, building brands that honor tradition while pushing innovation. Discover these Latinx-owned brands that stand out not only for their exceptional products but also for their unique visual identities, which reflect the passion, creativity, and pride that drive their success.

Sallve

Founded by Bruna Tavares, a Brazilian beauty influencer and entrepreneur, Sallve has taken the skincare world by storm. With a focus on clean beauty that celebrates diversity, Sallve’s products cater to a wide range of skin types and tones, reflecting Brazil’s vibrant, multicultural population.

The brand embraces bold, lively colors that echo Brazil’s tropical environment, with minimalist packaging that feels fresh and approachable. Its identity combines a balance of modern typography and playful design, reflecting its youthful, inclusive spirit.

Loquita Bath & Body

Based in Southern California, Loquita Bath & Body is the brainchild of Jessica Estrada, a proud Latina with roots in Mexican-American culture. The brand offers handmade, artisanal bath and body products that blend nostalgic scents from Latinx childhood, such as churros and conchas, with high-quality skincare.

Loquita’s packaging is both whimsical and nostalgic. The brand features vibrant pastel colors and playful illustrations that transport consumers back to fond memories of Latinx sweet shops and family gatherings. The brand captures its cultural essence while keeping the design modern and inviting.

Somos

Somos, founded by former fast-food executives Miguel Leal, Rodrigo Salas, and Daniel Lubetzky, brings authentic, plant-based Mexican meals to the forefront of the food industry. Their ready-to-eat meals and pantry staples make it easy for consumers to enjoy traditional flavors without compromising on health or sustainability.

With bright tones, playful typography, and illustrations inspired by Mexican folklore and agriculture, Somos’ branding feels deeply connected to its roots. The packaging is bold and colorful, immediately evoking a sense of authenticity and joy in Mexican cuisine, and appealing to both foodies and environmentally-conscious consumers.

Cuyana

Cuyana, co-founded by Karla Gallardo, offers timeless fashion pieces that focus on sustainability and “fewer, better” items. With roots in Ecuador, Gallardo and her co-founder, Shilpa Shah, have built a luxury brand that emphasizes craftsmanship, quality, and mindful consumption.

Cuyana’s visual identity is elegant and minimalistic, with neutral color palettes and refined typography that reflect its luxury ethos. The brand uses clean lines and high-quality imagery to underscore its commitment to timeless design and sustainability, making each piece feel like a thoughtful, long-lasting investment.

Hija de tu Madre

Founded by Patricia “Patty” Delgado, Hija de tu Madre is an unapologetic celebration of Latinx identity through clothing and accessories with the goal of creating fashionable statements of identity. With a candid, authentic voice and culturally relevant designs, Hija de tu Madre serves as a reminder for Latinx women to embrace their heritage and take pride in their roots.

With its bold typography and striking color palette—often incorporating golds and deep reds—the brand exudes confidence and a touch of luxury. Its use of symbols, such as the Mexican lotería and phrases like “jefa,” create a deeply personal connection with its audience, blending cultural pride with fashion-forward sensibilities.

Through their distinct visual identities and innovative approaches, each brand serves as a powerful example of how culture and commerce can beautifully intersect. Whether through flavors, fashion, or self-care, these brands invite us to embrace the warmth and richness of Latinx culture in our everyday lives—reminding us that celebrating heritage can be as vibrant and meaningful as the products we love.

The post Five Latinx-Owned Brands Infusing Culture and Creativity Into Everyday Life appeared first on PRINT Magazine.