This book is a testament to the micro details of art and science, function and aesthetics melding together. Pastoureau’s text is spirited and filled with ideas. “The history of pink,” he writes, “is an uncertain and tumultuous one, difficult to trace because for so long this color seemed elusive, fragile, ephemeral, and as resistant to analysis as to synthesis.” Being the latest volume in his investigations into the colors blue, green, black, yellow and white, his “plan” is to go chronological. He looks at color not only in artistic terms but from scientific, social and religious values.

Pink was not always called “pink.” From the 16th through the 18th centuries, many names were ascribed to the hue. For instance, “the adjective roseus sometimes describes beautiful female skin,” he writes, “pleasing to look at or touch, but its value is more affective than chromatic.”

Pink ribbons also had a special meaning during this time. A pink ribbon is the most prized possession of an unrequited lover who dies by suicide and leaves a note to be buried with it on his person. Likewise, Jean-Jacques Rousseau writes how pink, because of its paleness, is a truer symbol of love than “excessive artificial red.”

Pink provided a “newfound joie de vivre” in clothing after the dark years of the Plague. However, as Pastoureau explains, the color actually preceded that pandemic, so “it is not clear that this color was considered particularly cheerful or comforting at the time.” Yet whatever its ultimate symbolism, pink was admired and remained so.

And yet, pink also signified femininity as well as identity. The infamous inverted pink triangle used by the Nazis to brand those in concentration camps gave a dark significance to the faded rose color.

Pastoureau concludes his study with a view toward popular culture and fashion. He reproduces the famous photograph of a smiling President John F. Kennedy beside Jackie Kennedy at the Dallas airport only moments before his assassination. Jackie was wearing the pink Chanel suit that became iconic as blood-splattered evidence of the death of Camelot.

I was unaware of Pastoureau’s books and his passion for mixing color history, anthropology and sociology. What makes color is not only eye-brain mechanisms—”It is society,” he concludes, “with its definitions, classifications, laws and practices, often different from those of science.” After reading Pink: The History of a Color, I will never look at swatches the same way.

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The post The Daily Heller: How Did Pink Become a Color? 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.

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.’”

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Stepping into the installation is akin to entering a metaphorical storm—a sea of dire warnings that forces onlookers to confront the brutal realities faced by refugees.

Sea-Watch, a nonprofit committed to rescuing refugees from the Mediterranean since 2015, teamed up with the creative minds at Mother Berlin to craft this installation. The choice to use warning signs as the medium feels almost too perfect. After all, what are warning signs if not everyday reminders of the dangers we’ve trained ourselves to ignore?

Each sign goes beyond the usual “Caution: Slippery When Wet” fare, instead bearing messages like “Danger: Drowning in Progress” or “Beware of Political Failure.” These words, paired with stark pictograms, pull you out of your comfort zone.

“The collaboration with Sea-Watch gave us the opportunity to raise awareness of the refugee issue in a creative and emotional way. Our goal was to convey a critical message that not only touches people but also mobilizes them and helps Sea-Watch to secure further support for their mission,” explains Amelie Schad, managing director of Mother Berlin. 

Stepping into the installation is akin to entering a metaphorical storm—a sea of dire warnings that forces onlookers to confront the brutal realities faced by refugees. Crafted from repurposed road signs, the orange color scheme evokes the “Refugee Flag,” giving the visuals a cohesive identity tied to Sea-Watch’s mission.

Stefan Wittemann, creative director at Mother Berlin, shared, “Our aim was to find an artistic language that does justice to the urgency of the topic and really shakes people awake.” And for those who aren’t in Berlin, an evocative film directed by Harun Güler captures the raw emotion of the piece.

This collaboration between Sea-Watch and Mother Berlin exemplifies how design can move beyond aesthetics to become a force for change. It’s a reminder of the power of creativity when used to amplify urgent voices and mobilize action. To heed the heavy pause that comes when we confront our own apathy and the lives at stake in the Mediterranean.

Giulia Messmer of Sea-Watch didn’t mince words: “The EU talks about peace while continuing to dig graves at Christmas. With our campaign, we are calling for an end to European ignorance and safe escape routes for everyone.”

The refugee crisis isn’t new, and it’s far from resolved. “Warning Signs” makes one thing clear: the warnings are all around us, and it’s up to us to act before it’s too late.

The post Sea-Watch and Mother Berlin Confront Apathy with a Stark Installation appeared first on PRINT Magazine.

Over 700 creatives from around the globe contributed to this ambitious project. Each designer was paired with another, tasked with interpreting a specific date through opposing concepts. The result is a stunning visual exploration of duality, presented in two volumes: one dark, one light.

Designer collaborators include Katharina Saurer of Germany’s Heine Warnecke Design, Belgium-based book designer Tina de Souter, Mashael N. Alajmi of The Royal Institute of Traditional Arts (the first-ever Saudi participant), Margarida Rego from Lisbon’s Ilhas Studio, Q’s Magdalena Cardwell, and Aaron Levin out of Paris, as well as some of the below-quoted creatives.

The book is a work of art, printed lithographically in one special color (877 silver) to a variety of 28 different Fedrigoni papers. The tactile experience is as captivating as the visual, with each page inviting you to touch, feel, and appreciate the nuances of paper. The publication was printed and foiled by UK-printer Pressision with binding by Diamond Print Finishers.

My task was to represent the word “fix” using the number 26, a unique challenge since “fix” is hard to show without illustrating “break.” My solution: 26 ‘fixed’ to a wall, with a nod to the U.S. phone repair brand UBREAKIFIX. A fun exercise in the moderately absurd—thank you, Fedrigoni!

Naomi Usher, Studio Usher (NYC)

Sarah Bloor, account director at Pressision Creative Print & Packaging said the company was thrilled to collaborate with Fedrigoni on the 2025 Fedrigoni 365 project. “Printing on both the white and black paper ranges with silver ink showcases Pressision’s specialist printing capabilities and highlights the unique qualities of each material,” Bloor said. “It’s a privilege to help bring this project to life, blending innovation with craftsmanship to celebrate the creative potential of paper.”

This year, the theme of exploring opposites offered an intriguing challenge. I was fortunate to receive a thought-provoking word, which inspired me to take a fresh, more conceptual approach, breaking away slightly from my usual style. I’m excited to see how people interpret it!

David Sedgwick, Studio DBD (UK)

There’s something about the equation “calendar + paper + typography” that makes it one of those perfect design exercises on par with an LP record sleeve, a beverage can or a paperback book cover. So, I was thrilled to participate.

Aaron Levin (France)

Each designer had a unique process of homing in on their interpretation of their opposing concept. “When I discovered my word was “Universal”, I was very intimidated,” said Aaron Levin. “I thought, wow, that’s a pretty broad subject, how can I do something that screams out ‘universal’? In the end, I tried not to convey the theme but to think about it in terms of a universal language. I realised that even though what we call “Arabic” numerals are recognized throughout the world, they are far from universal. You have only to go to any market in Japan or Kuwait and you will see their own number system scrawled on cardboard price signs. Initially, I thought of sign language but, after researching it, saw that it was language-dependent. Braille, on the other hand, seemed to be consistent everywhere, so that ended up being the basis of my design.”

The designers knew they were working in two-person teams, but they didn’t know who in the world they were partnered with. “My unknown partner has to illustrate my opposite, “Particular”. That could turn out to be equally daunting,” Levin said of how this additional layer informed his process and thinking. “How do you make something look particular without comparing it to a set of “non-particulars”, or “other-particulars”? I’m going to go out on a limb here and speculate that it will be something pretty elaborate and odd, maybe even dissonant or provocative? But who knows! I’m eager to discover it!”

I was tasked with designing the 10th of February. The seed word “Stressed” inspired me to draw a distorted, stressed number 10 that visually conveys inner tension through typography.

Laura Markert, Büro Bungalow (Germany)

Positive and negative are simply frames of mind. Our artwork for the Fedrigoni 365 (black) brings this philosophy to life, using the block to communicate the beauty in contrast and balance.

Anup Agarwalla, Azure Communication Pvt. (India)

By showcasing the work of so many talented designers, Fedrigoni 365 2025 reminds us that creativity knows no bounds. It’s a testament to the power of design to inspire, challenge, and unite.

The post Opposites Attract: Fedrigoni 365 Explores Duality in Design 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.

The Northhampton, MA-based artist is set to release their third collection of poems this coming March, provocatively entitled Big Money Porno Mommy. With a title like that, one needs an equally compelling cover, which Weiss was able to not only envision but also bring to life.

“Big Money Porno Mommy is about power and desire. It’s about pornography and my choice to not become a mother. It’s about the male gaze and how it’s wielded. It’s about all of these things in the context of my body, which happens to be a fat body,” Weiss penned in a piece they wrote reflecting on the book and its cover. “The physical forms of those we love and lust after—even the bodies we idealize—they’re all kind of ridiculous when you get close enough.”

The cover of Big Money Porno Mommy encapsulates this playfulness, capturing both the grotesque and the organic beauty inherent to the human body. The ability to harmonize two ideas that might initially seem at odds with one another is central to Weiss’ practice as a poet and something they were keen on evoking in their book’s cover.

“I needed the flesh to be forefront. I wanted to evoke fatness and nudeness but without a silhouette—fatness as the text itself. Many people have instinctive reactions to the form of a fat body. I wanted this cover to elicit a reaction, but rather than othering the form, and projecting whatever preconceived notions about fatness they may have onto my book, I wanted to bring the audience in.”

After seeing the cover of Big Money Porno Mommy and reading Weiss’s initial thoughts on their process, I was eager to talk to the artist. My Q&A with Weiss, in which I dig even deeper into their process and their reconciliation of clashing concepts, is transcribed below.

(Edited lightly for clarity and length.)

The physical forms of those we love and lust after—even the bodies we idealize—they’re all kind of ridiculous when you get close enough.

Catherine Weiss

What’s your process typically like for writing your poems?

When I think about writing poems, I try to see if a poem can do more than one thing at a time. It’s hard to write a poem that’s just about one thing, I have found. When I sit down to write a poem, I have two ideas, and then maybe the third thing that comes out of it is the poem. So when I was thinking about designing this cover, I was similarly interested in having more than one idea. 

The cover is so striking. What was your thought process behind that design?

I was also interested in having the typography contain this fleshiness, so you get the information from what the words literally say, but I also wanted the typography to give information as well. Having the title literally embodied in flesh was one way to do that. Then layering the little details of specificity onto the letters, like, Is there a belly button? Is that a tuft of hair? Things that would both hopefully draw someone in to look, and also be a little bit like, Ooh, do I want to look at this? To have that push and pull. 

The typography definitely captures that two-things-at-once idea you’re going for. It’s pretty grotesque, but simultaneously warm and pillowy and even comforting which complicates that initial disgust. At what point in the writing process did you design the cover? 

Once I had about half of the poems, I said, Okay, well, this is a collection. This is going to be something. And I had the title, and I kept writing poems to keep adding, so that’s when I started brainstorming what the cover would possibly look like. I kept coming back to this idea of flesh letters and fat rolls. An early iteration looked more like Sharpie on my stomach, and I thought about having a photograph instead of doing it digitally. But at a certain point I realized I needed to learn the software to make my vision happen. 

One of the things about writing the poems and designing the cover is that I got to spend a lot of time with both of them. I got to spend a ton of time with this cover. I kept iterating and putting it in a drawer and then coming back to it as more poems got written.  

Can you speak about that technical side of things in terms of the cover? What software did you use? What was your design process like? 

This is created in Adobe Illustrator and Photoshop. Illustrator has a very simple tool that allows you to blow up text or other shapes to inflate them in this faux 3D space. Once I realized that tool was pretty simple and I could play with it by adding skin texture, I spent a lot of time finding the right skin texture to make it look as gross as possible. 

I also spent a lot of time trying to figure out what the shape of the letters was going to be, because I wanted it to be legible. The first iteration was much more blocky and the letters were separated from each other, so it looked a little bit more like someone had been chopped up. That wasn’t quite right and that was also much harder to read. 

I didn’t really spend much time sketching but iterating in the software. How far can I distort this letter pattern to make it legible and also to get the effect that I’m looking for? 

What was your thought process behind the colors of the cover, particularly the magenta-to-orange gradient background behind the flesh-toned lettering? 

Until quite late in the process, I had a different background entirely. For a long time, it was a comforter, pillowcase sort of texture. Ultimately I didn’t stick with that because it was just a stock photo that didn’t really interact with the weight of the letters, and it was taking attention away from the letters themselves. 

I wanted the cover as a whole to pop, so I knew I wanted something bright and cheerful, and I just love pink and orange. It’s been a color combination that I’ve been drawn to. Also, this is my third full-length collection, so I kept in mind my previous collection which was sort of a green. So, I thought, What do I want these books lined up on a shelf to look like? 

Now that the poems and cover are all done and dusted, what would you say you’re proudest of with what you’ve created? 

I think letting myself sit with the uncomfortable. Even with the cover, being able to forefront the discomfort while not giving up the joy that is found in this collection. 

This collection has a series of poems called “The Phone Sex Poem,” and they tell a story about a bad relationship and a boyfriend who was addicted to phone sex. They’re about the ramifications that it had on my life, and the reverberations going forward in terms of my relationship to sex and desire. 

On the face of it, that was a really hard thing to write about. I’d been aware that I’d been choosing not to write about it for several books, and I think it was really important for me to find an entry point that was playful in order to talk about a difficult subject. I think I found a balance that not only isn’t a bummer to read, but I also feel comfortable putting out into the world and telling my story in a way that feels holistic and worthwhile.

Look for Big Money Porno Mommy by Catherine Weiss on shelves in March 2025.

The post Catherine Weiss Embraces Discomfort in Their Book of Poems, ‘Big Money Porno Mommy’ 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.

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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.

From a fresh face (or lack thereof) on some Murakami, to Dante’s Inferno as you’ve never seen it, to a psychedelic Clockwork Orange experiment, the rest of our favorite finds from the month(s) follow!

Publisher’s description:
With his bestseller Between the World and Me, Ta-Nehisi Coates established himself as a unique voice in his generation of American authors, a brilliant writer and thinker in the tradition of James Baldwin.

In his keenly anticipated new book, The Message, he explores the urgent question of how our stories—our reporting, imaginative narratives and mythmaking—both expose and distort our realities. Traveling to three resonant sites of conflict, he illuminates how the stories we tell—as well as the ones we don’t—work to shape us.

The first of the book’s three main parts finds Coates on his inaugural trip to Africa—a journey to Dakar, where he finds himself in two places at once: a modern city in Senegal and the ghost-haunted country of his imagination. He then takes readers along with him to Columbia, SC, where he reports on the banning of his own work and the deep roots of a false and fiercely protected American mythology—visibly on display in this capital of the confederacy, with statues of segregationists still looming over its public squares. Finally, in Palestine, Coates sees with devastating clarity the tragedy that grows in the clash between the stories we tell and reality on the ground.

Written at a dramatic moment in American and global life, this work from one of the country’s most important writers is about the urgent need to untangle ourselves from the destructive myths that shape our world—and our own souls—and embrace the liberating power of even the most difficult truths.

What was the brief for this book? 
The brief was a very simple one: simplicity, strength, and a three-strand story. Then, a lot of discussion with the editor around really capturing the essence of the book. In terms of visuals, it was completely open.

Tell us about the blank space in the middle—how you arrived at it, and what it represents.
The blank space in the middle was almost not an intentional solution. I felt the overall package needed a timelessness to feel intriguing, and powerful but also elegant. The temptation with a book like this is to make a bold countercultural statement, to rely on protest graphics, etc., to give it an outsider attitude, which would be a completely valid approach and is certainly something I explored early on. But I also felt strongly that I wanted to play up to the alignment [of] Ta-Nehisi Coates in the lineage of socio-political [authors] such as Toni Morrison, Noam Chomsky, and James Baldwin. With that in mind, I wanted to convey clarity and authority. I felt the title and author name in themselves did a lot of that work for me.

How did you choose the type treatment?
The typeface I used was Grobek; this arose partly [because] it’s not a type aesthetic I have used previously (sometimes, there’s no better reason than that) but also this goes back to my decision to shy away from protest graphics in this design route. I decided to do the opposite, something elegant and light with a slightly unconventional serif. Somehow I found that through not being shouty, this stood out more, possibly due the sheer mass of negative space on the cover, which is echoed with a lighter typeface with huge counters.

How about the color bands?
The color bands frame the type elements, anchoring them to the top and bottom of the jacket. They are simply a reference to the three strands of the journey undertaken by the author, referencing Senegal, Palestine, and the U.S. But they also serve a purpose in harking back to Midcentury book cover design, further signaling the literary lineage I wanted to emphasize for Ta-Nehisi.

Is it difficult to make a cover this restrained yet effective?
I guess it can be sometimes difficult to get a cover this restraint approved. I think as long as it’s been well-designed, restraint is an admirable trait in designers (if appropriate!). But I had great supporters straight away for this cover in my art director, Richard Bravery, and the publisher for the title, Simon Prosser. It was one of those occasions where there was pretty much consensus straight away that was the strongest route—let’s just go with it!

Is there any added pressure when designing a book for such an important voice as Coates?
There is always some pressure for whoever you are designing for; you are trying to visually communicate the essence of another artist’s work in a different medium. But working for Penguin and Hamish Hamilton means that you get to work on covers for some of the most seminal figures in literature, so the excitement of that far outweighs the pressure. (Unless I’m on like round 80 and everything I’m doing still looks shit.)

Cover design by Matt Dorfman

The post 22 of the Best Book Covers of the Month: November 2024 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.

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.

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.

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.

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.

The UNO Artiste Series taps into this spirit of fun and connection, blending art with the nostalgia of one of the world’s most beloved games. Since its debut in 2019 with Jean-Michel Basquiat’s singular paintings, the Artiste series has become a celebration of creativity, featuring artists like Keith Haring, Nina Chanel Abney, Shepard Fairey, and most recently, Shantell Martin. Now, the series welcomes its first photographer, Gray Malin, whose work is all about capturing joy and escapism.

We couldn’t be more excited to welcome Gray Malin into the UNO Artiste Series. His photography invites fans to remove themselves from reality and experience new landscapes and environments, much like a game of UNO can do for families and friends.

Ray Adler, Vice President and Global Head of Games

Malin’s deck turns the game table into a visual adventure. Instead of just playing a card, you’re invited into his world of stunning aerial shots and vibrant, sun-soaked scenes. From tropical beaches to snowy slopes, and even a few playful animals thrown into the mix, his photography transports players to iconic destinations while they navigate the highs and lows of an intense UNO match. When you’re relegated to picking up cards after that “Pick Up 4” hits, you might pause to take in a breathtaking view of the world through Malin’s lens.

Gray Malin’s photographs, capturing everything from tropical beaches to snow-covered peaks, turn each card into a portal to a new destination. The collaboration is a reflection of Malin’s creative ethos: blending art, adventure, and a sense of wanderlust. This deck is more than a game—it’s a reminder that even in the most familiar moments, like a casual game night, there’s always room to explore the world, one card at a time.

It’s an honor to merge my photography, spanning many series of work in my portfolio, with a game I’ve loved since I was a child.

Gray Malin

“This partnership is meaningful to me because UNO’s mission to foster togetherness through play is so closely tied to my own personal pursuit to bring people together through my photography,” Malin said of the project. “I love creating images that everyone feels included in and offers a moment that families want to live within. From beach chairs to the ski lift, the scenes from my photos are meant to spark an adventurous spirit and create a shared experience through art. I hope that fans take and play their UNO Artiste Series: Gray Malin decks anywhere around the world – even in the places that have inspired my photography.”

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Not simply a news portal, MAD serves as a meeting point for creative minds to collide, where new ideas come to life and the boundaries between marketing, advertising, and design blur. The platform presented a unique challenge to the brand transformation agency Ba’ndo: express the “madness” of creativity in a structured and engaging way.

Ba’ndo tackled this project’s complexity by building a complete brand system, which included illustrations, animations, and mascots inspired by the letters in the logo. This system gave MAD a distinct voice that was energetic, curious, and full of life.

The logo itself is minimal yet striking, with retro influences. Its aesthetic draws on an 80s vibe, blended with pop art and modern elements, achieving a balance between nostalgia and forward-thinking design. The sharp lines and bold details convey MAD’s dynamic energy, while the flexibility of the logo offers limitless possibilities for future evolution.

MAD’s logo is more than just a typographic solution—it is a character with a distinct personality. Each letter of the logo has multiple expressions—bold, curious, and slightly wild—to mirror the facets of the brand.

Inspired by the MAD logo, the mascots further expand the brand’s world. Each mascot is lively, energetic, and curious—perfectly capturing the spirit of MAD. Together, they enhance the brand system, adding an extra layer of engagement and playfulness.

One of our favorite project highlights is the Instagram story generator, designed to allow users to interact with MAD’s identity in a personal and playful way. This tool, which encourages users to make minor modifications to the logo’s letters, not only creates a personal connection with the brand but also adds an element of fun and entertainment, aligning perfectly with MAD’s mission to engage its audience creatively.

For Ba’ndo, working on MAD provided a chance to explore new frontiers in brand identity design. The outcome is more than just a logo or a set of visual guidelines; it’s a holistic system that embodies the spirit of creativity. MAD serves as a platform for sparking new ideas, inspiring bold moves, and connecting people across design, marketing, and advertising — and with it, a brand designed to continue to evolve and inspire the creative community, exploring brand identity design through dynamic, expansive, and fluid ecosystems.

The post Ba’ndo’s Identity for MAD Captures the Madness of Creativity appeared first on PRINT Magazine.

Anne Pasternak, the Shelby White and Leon Levy Director of the museum, sums it up perfectly: “We needed a new brand that meets the demands of the day, honors our rich history, and brings a whole lot of energy.” And energy is precisely what this rebrand delivers. The museum’s building—an architectural journey from neoclassical grandeur to modernist minimalism—served as inspiration. The new look blends approachable, modern sans-serif fonts with design elements that tie directly to the institution’s storied past.

Look closely at the new logo, and you’ll see dots framing the text—an ode to the ancient philosophers and playwrights whose names adorn the museum’s façade and a nod to its early days as a library. These dots pop up everywhere, from motion graphics to signage, adding a playful touch that keeps things fresh. The intertwined O’s in “Brooklyn” and the merged M’s and U’s in “Museum” symbolize connection, community, and how the museum brings together diverse voices, cultures, and ideas.

The color palette? Consider it Pantone Brooklyn. Grays echo the limestone walls of the building, balanced with bright, bold hues that shout out creativity. The effect is a reflection of the borough—gritty, colorful, and alive with possibility.

The brand reflects the Brooklyn Museum’s identity as a place where art meets education, community meets culture, and history meets what’s next.

The rebrand was brought to life behind the scenes by Brooklyn-based design studio Other Means in collaboration with the museum’s in-house team. After a year of research, collaboration, and conversations with audiences and staff, the result is a brand that reflects the Brooklyn Museum’s identity as a place where art meets education, community meets culture, and history meets what’s next.

So, the next time you’re in Brooklyn, don’t just stop by the museum—experience its brand-new chapter. Admire the kaleidoscopic colors, grab some fresh merch, or enjoy a weekend event. The Brooklyn Museum’s reimagined identity is as dynamic as the borough it calls home.

Photographs by Adrianna Glaviano.

The post The Brooklyn Museum Unveils a Bold Rebrand for 200th Anniversary appeared first on PRINT Magazine.

The brand update was a full-throttle extravaganza in true Lolla fashion, with the rollout beginning at Lollapalooza Chicago in 2023. If you were at Grant Park for this year’s mega show featuring Megan Thee Stallion, SZA, Hozier, and Chappell Roan, it was hard to miss the brand’s expanded digital and IRL footprint—vibrant pinks, electric blues, and dynamic graphics dancing on every surface. With over 10,000 branded touchpoints at the festival, Someoddpilot ensured Lolla’s identity was as omnipresent as the music blasting through the speakers.

Why the need for a brand refresh? Well, the festival’s audience has grown up and out—450,000 attendees last year alone—and with that, so have their expectations. Lollapalooza sought to meet this new crop of music lovers where they live: on TikTok, in the digital art world, and within the pulse of modern youth culture. So this year, C3 Presents and Live Nation, the festival’s parent brands, handed Someoddpilot the keys to drive Lolla’s brand into the future.

Someoddpilot certainly brought the goods. Born 25 years ago as an indie record label and known for another Windy City legend — the Pitchfork Music Festival — the Chicago-based agency was the perfect fit to bring Lolla’s brand identity into the now while staying true to its alt-culture origins. They dug deep into the 90s, when zines ruled, and the Xerox machine was the designer’s best friend and brought that gritty, DIY aesthetic into the 21st century.

Think cut-and-paste compositions, bold streaks from inkjet printers, grainy photos, and op-art graphics—all with a slick, vibrant twist. It’s a nod to the punk, metal, and electronic scenes that birthed Lollapalooza in the first place, but with a modern punch that resonates with today’s digital natives. It’s tangible nostalgia with a digital filter in the best possible way.

And it’s not just Chicago that’s getting the fresh look. Lollapalooza’s visual identity is going global, popping up at the festival’s offshoots in Chile, Argentina, Brazil, and even Mumbai. This year’s 20th birthday celebration also birthed a new festival logo—a cheeky nod to the past where “20” sits snugly in place of the original logo’s double O’s.

Someoddpilot and Lollapalooza smartly made the updated identity flexible—after all, a music festival is chaotic, colorful, and (let’s be honest) unpredictable. The new identity shines across social media, digital ads, out-of-home displays, and within the festival grounds.

As Lollapalooza strides into its third decade, it’s not just keeping pace with the times—it’s defining them. With Someoddpilot at the helm, the fest embraces its past and charges into the future, one Xeroxed graphic at a time. Here’s to 20 more years of music, madness, and killer design. Cheers, Lolla!

The post Someoddpilot’s Colorful, Gritty Tribute to Lollapalooza’s Alt-Culture Past appeared first on PRINT Magazine.

For decades, Sunrise Bakers has been more than just a bakery; it’s been a rite of passage for anyone visiting Dehradun. The bakery’s walls have witnessed the comings and goings of celebrities, politicians (an ex-prime minister among them), and everyday folks who can’t resist its iconic rusks and biscuits. But the digital age comes calling, even for beloved community institutions. The bakery tapped Bombay Design Centre to reimagine Sunrise Bakers for today’s tech-savvy, Instagram-loving generation.

What does it take to bring a 70-year-old brand into the 21st century? A lot of love, a deep respect for tradition, and a sprinkle of modern magic.

“We are immensely proud of our legacy and grateful for the unwavering support of our community,” says Rishika Jolly of Sunrise Bakers. “This overhaul is a testament to our commitment to preserving our heritage while embracing the future.” And that’s precisely what Bombay Design Centre set out to do—craft a dawn for Sunrise Bakers that’s as warm and inviting as fresh baked goods.

The brand strategy began with a deep dive into the bakery’s history, one that’s as golden as the crust of their beloved pista biscuits. Ankur Rander, CEO of Bombay Design Centre, describes the experience as thrilling and humbling. “Reimagining a legacy bakery for the new generation was quite exciting for us,” he says. “We aimed to ensure that every element of the new design honoured the bakery’s rich inheritance.”

The result is a brand identity that feels like a warm hug from your favorite aunt—familiar and comforting with a dash of contemporary flair. From the shelf-popping new packaging to an engaging new social media presence, Sunrise Bakers is ready to capture the hearts of a whole new generation. The new e-commerce platform allows the bakery to be just a click away, ensuring that no matter where you are, you can get a little taste of Dehradun delivered right to your door.

Sunrise Bakers has stayed true to its roots, proving you can teach an old bakery new tricks. With its established reputation and fresh design, Sunrise Bakers will remain a beloved destination for another 70 years—one that connects the past, present, and future with every crumbly buttery bite.

The post Sunrise Bakers’ Warm and Inviting New Brand by Bombay Design Centre appeared first on PRINT Magazine.

This refresh, led by United Sodas COO Kate Reeder and Carli Nicholas (head of marketing), isn’t just about looks; they’ve also tweaked the ingredients without the trade-off of questionable ingredients or excessive sugar. “We spent two years developing our flavor range, each of the 12 offering something unique and ensuring there’s a flavor for everyone,” says the duo.

I had the pleasure of asking the United Sodas team and CENTER’s founder, Alex Center, a few questions about the brand update and their plans for the future of soda. Our conversation has been edited for length and clarity.

Your original brand, launched during the COVID-19 era, drove significant buzz. How has the evolving consumer landscape influenced your packaging and product formulation strategy as you enter this next phase?

Kate Reeder & Carli Nicholas (KR & CN): As our company grows and our presence expands, we’re committed to ensuring that our product evolves as well. Our guiding principles have always centered on simplicity: delivering great-tasting soda made with simple, healthier ingredients. This philosophy drives our latest improvements. We’ve simplified the shopping experience by adding our logo to the front of the can, making it easier to find on the shelf. We’ve also simplified our ingredients. Research shows that consumers prefer recognizable, simple ingredients in their beverages. With this in mind, we’ve improved our sweetener blend to include organic cane sugar and organic stevia, resulting in a bigger, better flavor than ever before.

Rebranding a project you created offers a unique opportunity for reflection and growth. How did this influence your approach to United Sodas’ refresh, and what lessons from the original branding did you carry forward?

Alex Center (AC): United Sodas holds a special place for us as one of our first brands, which we helped build from scratch starting in 2018. It’s a prime example of our approach to design and branding: creating something that stands out, breaks the mold, and is grounded in purpose. For United Sodas, that purpose was about representing America’s diversity through a concept of ‘America as a rainbow,’ distilled into its simplest form.

Launching during COVID was unique, as we designed the brand more for homes than store shelves. The vibrant, multi-colored variety pack became a memorable experience for people during that time, contributing to its success.

We’ve developed a strong relationship with United Sodas, working closely on projects beyond the initial branding. So, when it was time to refresh the brand, our goal was to retain the essence of what made it successful while addressing specific operational challenges, like ensuring the packaging was recognizable on store shelves without losing its bold simplicity.

The result was a subtle evolution, not a revolution. We made necessary updates while preserving the core identity, ensuring the brand remains as impactful as it was when we first launched it.

United Sodas is now available in an array of high-profile locations. How does your brand’s presence in premium settings align with your brand strategy?

KR & CN: United Sodas was created to be more than just a soda – it’s an experience that begins with the design of our cans and extends to the distinctive flavors within. From the outset, premium hospitality and immersive experiences have been central to our strategy, emphasizing the versatility of our product in a way that’s both memorable and impactful. When someone tastes our sodas for the first time while enjoying an exceptional meal in a stunning setting, it opens up a world of possibilities for how our sodas can integrate into their daily lives – from dinner parties and happy hours to thoughtful gifting. We’ve had a great time exploring this and believe we’re only scratching the surface of what’s possible.

What challenges and opportunities did you encounter while balancing United Sodas’ vibrant minimalism with visibility and consumer recognition?

AC: It’s interesting because this wasn’t a rebrand to me—it was an optimization of the existing brand. Think of it like a software update: Apple constantly updates its operating system to enhance performance, and I believe all brands should do the same to improve and evolve. The focus wasn’t on change for the sake of change but rather on optimizing the brand to make it easier for people to find and more recognizable to consumers.

United Sodas of America is a great name, but it’s long, and most people naturally shortened it to United Sodas. That’s what the website and Instagram have always used, so it made sense to officially adopt that shorthand, much like Dunkin’ did by dropping ‘Donuts.’

As a studio, we’re not precious about our work. We believe there’s always room to reimagine and improve. This project is a prime example: United Sodas was already close to perfect, yet we found ways to make it even better.

Alex Center

I felt strongly about retaining the ‘zipper’ logo because this brand is about minimalism and thinking differently. We didn’t want to lose that clean, almost fashion-like aesthetic where the packaging feels like an accessory—part of your personal brand. We maintained that while making the brand design clearer and more optimized.

How do you plan to maintain the balance between staying true to United Sodas’ brand ethos and adapting to the changing preferences of a diverse consumer base?

KR & CN: Soda has always been a timeless and universal concept. This belief remains at the heart of our brand vision. As consumer behaviors, preferences, and communication methods evolve, we’ll adapt our strategies to meet people where they are. When we launched during COVID, we leaned heavily on social media, showcasing creative ways to incorporate our sodas into mocktails and cocktails. In a post-COVID era, we’re focused on demonstrating how our sodas can enhance a wide variety of occasions and moments. We’ll continue to evolve how and where we connect with our consumers to stay aligned with the times.

How did consumer insights shape the decision to simplify and feature the name more prominently on the can, and what impact do you anticipate it will have on shelf awareness and brand recognition?

AC: That’s what everyone calls the brand—United Sodas—so this change is about simplifying and solidifying our identity as we take the next step toward becoming an iconic soda brand. We’re big believers in doing the least amount necessary to convey an idea, and that philosophy guided our approach here. The name ‘United Sodas of America’ was already strong, but simplifying it to ‘United Sodas’ made it even bolder and more direct.

When we started this project, soda was a category many avoided due to its association with sugar, while seltzers were booming. But we believed people still loved soda; it just needed to be reinvented for modern consumers, and that’s what United Sodas did.

In today’s crowded market, where many brands lean into health trends, United Sodas stands out by focusing purely on flavor and simplicity. Our minimalist design, bold colors, and modern aesthetic make the brand instantly recognizable, even on a crowded shelf. There’s often a great discussion on Twitter, where people share photos of crowded beverage aisles and ask, “Which brand do you see?” The overwhelming answer is United Sodas.

We achieved the project’s goals—enhancing visibility and recognition—without losing the original intention. The brand remains true to its essence, and I’m proud that we’ve made these improvements while maintaining what made United Sodas great in the first place.

I simply couldn’t avoid the next question: What’s your favorite flavor?

Kate Reeder loves Blackberry Jam, while Carli Nicholas is partial to Pear Elderflower. Sour Blueberry is the flavor Alex Center turns to. While they all sound fantastic, I’m also on team Pear Elderflower. (Add a little Empress Gin, and enjoy the perfect summer cocktail.)

The post A Pop of Perfection: Inside United Sodas’ Brand and Flavor Refresh appeared first on PRINT Magazine.

The ABC Book of Media Literacy isn’t just another textbook. It’s a primer covering the media landscape, literally from A to Z. Each letter of the alphabet represents a key concept or area in media literacy, from algorithms and bots to watchdogs and zines. It’s a comprehensive guide designed to equip young people with the tools they need to navigate an increasingly complex and often perilous media environment.

Finland has always been at the forefront of progressive education, and this initiative is a testament to that commitment. Today, when disinformation and hybrid warfare pose significant threats to democracy and societal well-being, media literacy isn’t just important; it’s essential. According to Susanna Ahonen, Project Manager at NMF, the need for such education has only intensified since Russia’s war in Ukraine and Finland’s subsequent entry into NATO. The amount of disinformation and information influence aimed at shaping public opinion and behavior has skyrocketed, making it crucial to prepare the younger generation to recognize and combat these dangers.

But what makes this initiative particularly powerful is its focus on trust—a quality Finland holds in high regard. Jukka Holmberg, President of NMF, emphasized that while trust in journalism remains exceptionally high in Finland, it must be actively maintained. This primer reinforces the role of independent journalism in a healthy democracy and teaches students to be vigilant watchdogs.

The creative force behind The ABC Book of Media Literacy, United Imaginations, has done a remarkable job of bringing this concept to life. Collaborating with type designer Ville Salervo, they’ve crafted a book that isn’t just educational but also visually engaging—a critical factor in capturing the attention of young minds.

I had the absolute pleasure of asking Ahonen some questions about this initiative. Our conversation is below, edited for clarity and length.

How did the concept of The ABC Book of Media Literacy evolve from an initial idea to a fully realized primer, and what were the key challenges you faced in this process?

Based on research, we know that young people have difficulty distinguishing journalistically produced information from other digital messages on, for example, social media platforms. We thought about how to clarify the concept of journalism and emphasize different ways of producing information. United Imaginations came up with the idea of ​​an old-fashioned ABC book to give away to school children. They hired an illustrator, Ville Salermo, to visualize the book, and News Media Finland came up with a word for each letter that you need to know to understand the reality of digital communication. The most difficult task was choosing only one word per letter because there are so many issues and perspectives. It was also difficult to condense the message into something short and simple but still informative and interesting for young people.

Finland has consistently ranked high in media literacy and trust in journalism. What is unique about Finnish society and education, and how does this primer build on those strengths?

Finland is a small country, and the Finnish language is very special. Language has protected us in many ways. The amount of disinformation in Finnish has remained moderate. Chat GPT and powerful translation programs challenge this now. Finnish society is built on trust. We trust institutions such as the police, the defense forces, and the judiciary. Our journalism institution is also doing well for now. In Finland, education is free of charge, and the entire age group, regardless of socio-economic background, attends the same elementary school. Income differences are low; the population is educated and well-off. The primer builds on these strengths to the extent that, due to trust, it is easy to say that the Finnish journalistic media is reliable and hardly questioned. Teachers also appreciate the news media, enthusiastically accept the media education materials we produce, and invite us to speak to pupils. Journalism is trusted, e.g., because we have an excellent media self-regulation system maintained by journalistic guidelines. Media publishers, journalists, and representatives of the public are involved.

Read more about the Council of Mass Media in Finland.

In the context of hybrid warfare and the rise of disinformation, what specific strategies does the primer employ to be relevant to young people?

We are talking about hybrid warfare because it is important to understand how dangerous the influence operations of a foreign state (i.e., Russia) can be for our democracy and independence. Russia (the former Soviet Union) has tried to invade our country twice. All Finns know that we have a dangerous neighbor. Today, we are not only threatened by guns and bombs but also by disinformation, which tries to undermine our democracy and create chaos in our homeland. Therefore, every Finn must know about information warfare and how to defend against it. Our strategy is to provide information in an interesting and effective format and disseminate it widely.

Do you see the potential for similar educational initiatives to be adopted internationally? How might the success of this project in Finland serve as a model for other countries?

Media education work has been done in Finland since the 1950s. In the national curriculum, media education has been included in some form ever since. Over 70 years of long-term work is an excellent foundation to build on. The cultures of other countries differ so much, so it is difficult to assess whether they could take our model as it is. For example, how would it go over in the US or the UK if you hand out a book telling all students that BBC News and CNN provide correct information everyone should trust? Or that all journalists are committed to the journalist’s professional ethical principles and, as a general rule, never fall for fake news? First, a media self-regulatory body should be established in each country whose members commit to ethical principles. After that, our model can be exported to the world. There are models like this in many European countries. Next year, for example, News Media Finland will start helping Ukrainians make their self-regulation model known and increase its reliability in the eyes of the citizens as well.

As someone who works in branding and design, I recognize the importance of such initiatives in shaping a better future. Media literacy is the second most important skill after reading, especially when the lines between fact and fiction are increasingly blurred. The rest of the world can learn from Finland’s proactive approach. It’s not just about teaching students to consume media critically—it’s about empowering them to be informed citizens who can navigate the complexities of our age with confidence and discernment.

In an era of disinformation, the real power lies in education and trust. And Finland, once again, leads the way.

Imagery courtesy of United Imaginations.

The post Media Literacy A to Z: How Finland is Arming Students Against Misinformation appeared first on PRINT Magazine.

Page 73, a Tony and Obie-award-winning theater production company, is on a mission to advance the careers of talented playwrights by producing impactful Off-Broadway debuts and awarding substantial development resources exclusively to playwrights who have not yet had a professional premiere in New York City.

To help push their efforts further, Studio Usher crafted a fresh identity to better position the company to support and showcase the next wave of talent in the off-Broadway world.

Page 73 is committed to staging productions while also nurturing the next generation of voices in theater. The rebranding project brought together design, culture, and innovation in an engaging and forward-thinking way. It visually reinforces Page 73’s commitment, making it easier for audiences and donors to recognize and support new talent.

One of the key features of this rebrand is the positioning of Page 73 as an “ingredient brand.” Similar to how Intel operates in the tech world, Page 73’s logo now serves as a mark of quality and innovation that playwrights can carry with them as they advance in their careers. It’s a badge that extends the theater’s influence beyond New York, allowing it to have a broader cultural impact.

Studio Usher also addressed a common challenge in the arts: balancing institutional branding with promoting individual shows. The new identity for Page 73 achieves this balance, ensuring that the theater can maximize its marketing efforts while staying true to its core mission. This approach could be a valuable model for other arts organizations seeking to maximize resources.

In addition to its strategic elements, the rebrand broadens Page 73’s appeal. Modernizing the theater’s visual identity and messaging wasn’t just about updating its look; it was about making it more inclusive and accessible. The new brand invites a broader audience and attracts potential sponsors, aligning with ongoing conversations about representation in the arts.

Studio Usher’s comprehensive work on this project covered everything from visual identity to voice development to digital strategy. The streamlined website and updated social media presence give Page 73 a contemporary edge, demonstrating how a traditional theater can effectively connect with audiences in today’s digital age.

The use of paper as a central branding element is an interesting aspect of the rebrand. This choice reflects a blend of tradition and modernity, showing that staying grounded in the past is possible while looking toward the future.

Studio Usher drew from its extensive experience working with other off-Broadway theaters to inform this successful rebrand. Its background, working with Soho Rep, The Vineyard Theatre, and National Black Theatre, among others, allowed the team to push creative boundaries while staying true to the unique spirit of off-Broadway.

Studio Usher is known for consistently exceeding expectations, taking pride in their meticulous attention to detail and willingness to take risks. Their passion for working with artists, innovators, and disruptors drives them to deliver their best work every time, and the rebrand of Page 73 is a perfect example of this dedication.

Imagery courtesy of Studio Usher.

The post Studio Usher Rebrands Page 73 as an Off-Broadway Powerhouse appeared first on PRINT Magazine.

Just when you thought you had snacking figured out, Bezi is here to shake up the game with a fresh and playful take on labneh. I dare you not to drool over this tasteful brand!

Red Antler has been busy crafting the identity for Bezi, a fresh labneh brand making its debut in New York City grocery stores this September. With its eye-catching design and playful vibe, Bezi is ready to introduce a new twist to your snack game and exemplifies how effective branding can elevate a product.

Our goal from the beginning was clear: we want to make labneh a thing.

Ilay Karateke, co-founder and CEO of Bezi

With its high-protein content and mild tang, Bezi stands out from other labneh products and is positioning itself to rival hummus as the go-to healthy snack dip. “Since labneh is an unfamiliar category to many Americans, our strategy was to build awareness by anchoring it to a popular existing product—hummus,” said Ilay Karateke, Bezi’s co-founder and CEO. However, the founders wanted to “capture hearts with a striking design that stands out on the bland, beige hummus shelves.” Bezi tapped Red Antler for a branding strategy that is both innovative and engaging and could spark interest among consumers who may be new to labneh.

Bezi’s visual identity is eye-catching and vibrant. Each flavor features bold, groovy colors that create a visually appealing and tasty palette. The rounded, geometric logo reflects the brand’s humor and confidence, giving it a friendly and approachable feel. “The short, punchy name ‘Bezi’ was a perfect fit—it’s memorable and versatile,” said Jackson Bernard, Red Antler’s brand design lead. “By incorporating the name into the design as a framing device, we were able to reinforce its meaning and ensure it stands out on the shelf while also allowing for future growth of the brand.”

Our approach to Bezi’s packaging design was all about centering the vibrant flavor profiles and key product benefits, creating a system that’s not only visually appealing but also easily scalable as the product line expands.

Jackson Bernard, Brand Design Lead, Red Antler

The brand’s clever mascot, inspired by the creamy labneh swirls, adds a charming element. Playful illustrations of flavors, characterized by geometric shapes and vibrant colors with soft shading, enhance the design’s appeal and intrigue.

High-saturation flash photography is used in the art direction to emphasize the mouth-watering qualities of Bezi’s labneh, reflecting the brand’s fun and sociable personality.

The packaging features colorful speech bubbles that invite shoppers into Bezi’s world, effectively capturing the brand’s playful spirit and encouraging consumers to explore labneh in a fresh and exciting way.

While Bezi’s website and Instagram are already buzzing with labneh excitement, you’ll have to wait until September to snag this game-changing snack item for yourself from grocery shelves.

The post Red Antler Crafts a Big Brand Debut for Bezi Labneh appeared first on PRINT Magazine.

Toronto’s own Bruce Mau Design (BMD), an award-winning multidisciplinary brand and design studio, has once again proven its creative prowess by reimagining the visual identity of The National Ballet of Canada. The nearly 75-year-old cultural gem, revered for its classical roots, has undergone its first major rebrand in almost two decades, and the results are nothing short of lively.

Looking to bridge its rich heritage with a bold, forward-thinking future, NBOC entrusted BMD to craft an identity that would be as inclusive as it is inventive. “We were tasked to create something that would invite more people in,” says Laura Stein, BMD’s Chief Creative Officer. And invite it does. BMD’s fresh approach isn’t just a cosmetic change; it’s a statement. The new wordmark does more than merely label the ballet company; it begins a narrative, setting the stage for a creative, open, and welcoming identity.

The wordmark is the cornerstone of BMD’s visual redesign, thoughtfully developed in collaboration with Displaay Type Foundry. It’s a simple yet ingenious tool that allows designers to extend the narrative seamlessly from the logo, ensuring consistency and elegance in every application. The typeface, coupled with a vibrant palette of jewel tones, marks a significant departure from the brand’s previous dark pink hues, infusing the identity with a sense of openness and accessibility.

But BMD’s magic doesn’t stop at a new logo and color scheme. The studio has redefined every visual element, from art direction in photography to motion behaviors and layout principles. Most notably, they’ve introduced the Storyteller concept, designed to close “the uncertainty gap” for potential audiences.

The wordmark’s narrative can tease some of the story so that people who know nothing about a ballet such as Onegin, understand that it deals with exciting and dramatic themes such as love and betrayal.
—Laura Stein, Chief Creative Officer, BMD

Laura Stein, BMD’s Chief Creative Officer and Kar Yan Cheung, BMD’s Director of Design Strategy

Kar Yan Cheung, BMD’s Director of Design Strategy, noted that the challenge was to create a brand that resonated with both long-time ballet aficionados and a new, younger audience — not just about aesthetics but a strategic balancing act. Through a series of workshops, stakeholder interviews, and immersive experiences at the ballet, BMD ensured that the new identity honored classical ballet’s tradition while embracing the future with contemporary stories.

The result? A rebrand that respects the past while shaking off the elitist image often associated with ballet, making it more accessible and engaging for everyone. “Ballet is often seen as inaccessible, something only for the wealthy, and this is a barrier to newer and often younger audiences,” Cheung explains. The new identity aims to tear down these barriers, bringing audiences closer to the artistry and passion of ballet.

Hope Muir, Artistic Director of The National Ballet of Canada, couldn’t agree more. She believes the new brand does more than refresh the company’s look—it reflects its values and aspirations. “The visual identity is bold, personal, and inclusive, with creative taglines that spark the imagination and invite conversation,” Muir says. “The Storyteller reflects the values and energy of The National Ballet today and asserts our commitment to an innovative and accessible future.”

BMD’s reimagining of The National Ballet of Canada is just the latest example of why the studio is celebrated as one of the world’s leading brand and design powerhouses. With a portfolio that includes work for giants like Infiniti, Sonos, and the Zayed National Museum, BMD has earned accolades from Cannes Lions to Fast Company — a testament to its ability to blend tradition with modernity, creating brands that truly resonate.

The post The National Ballet of Canada Dances with a New Identity by Bruce Mau Design appeared first on PRINT Magazine.

Now, more than a decade later, Canva is turning its focus toward organizations, offering a suite of design and productivity tools tailored to the visual communication needs of workplaces around the world. As remote and distributed work environments become the norm, Canva’s updated brand system addresses the escalating demand for effective collaboration around visual communication.

The product updates prompted Canva to reconsider its brand strategy, with key questions driving the effort: Can Canva maintain its distinctive voice while reaching new audiences? Can it balance global scalability with local relevance?

The updated brand system builds on Canva’s established global identity, characterized by its distinctive gradient, hand-crafted logo, and custom typeface. The refresh simplifies and amplifies these elements, creating space for dynamic visual content that reflects Canva’s diverse user base.

Key features of the refreshed brand system include:

Building a platform for content: Inspired by how Canva enables users, the refreshed brand system leans into its role as a platform for flexible content. Core brand assets remain fixed, while flexible brand elements can be tailored, allowing the brand to scale globally while maintaining its connection locally.

Uniting brand and product: Design layouts that more closely mirror how you flow through Canva’s interface—from inspiring content scrolls to pages that drag and drop to immersive full-screen moments.

Spotlighting work in progress: The act of making often brings the most joy. Canva’s new system celebrates this, spotlighting design at work instead of the finished product: a brand in motion, even when static.

Humanizing the UI: Cursors, comments, and bespoke emojis come alive across every brand touchpoint to tell human stories of connection and collaboration.

Amplifying brand voice: Fresh messaging dials up the brand’s playful personality, bucking the trend of speaking in corporate buzzwords.

Empowering through accessibility: A simplified color palette reflects Canva’s view that empowerment and accessibility go hand in hand, with updates to meet AA’s strong accessibility standards for every color.

Canva’s creative team used its tools to execute the brand refresh consistently across 4,000-plus members in more than 40 countries. This approach incorporated custom brand templates, AI-powered voice tools, and a comprehensive brand kit.

The redesign also involved collaborations with creative agencies Vucko, which developed an updated motion system to bring personality to the brand’s movement, and Buck, which created a custom emoji style reflecting Canva’s color gradients and playful spirit.

Canva has championed the democratization of design for more than ten years, making design accessible to millions regardless of their creative background. With over 190 million monthly active users and annual revenue surpassing $2.3 billion, Canva’s impact on the design world is unmistakable. This brand refresh marks a new chapter for Canva, poised to further its mission of empowering creativity and collaboration on a global scale.

The post Canva’s Brand Refresh Empowers a World of Design appeared first on PRINT Magazine.

South Side Sanctuary isn’t just any park. It symbolizes reinvestment in the historic Bronzeville neighborhood, a community with a deep thread of African-American business, arts, culture, and activism in the early 20th century. Louis Armstrong, Ida B. Wells, Quincy Jones, Nat King Cole, Mahalia Jackson, Richard Wright, and Bessie Coleman all called Bronzeville home. But like so many historically Black neighborhoods, Bronzeville intimately experienced the brunt of race-based economics and decades of disinvestment.

Awarded funding through the mayor’s Public Outdoor Plaza program (POP!), South Side Sanctuary emerged from a vacant lot at 47th and Martin Luther King Drive into an important retreat for the community, with space for “performance, pop-ups, and simple silence.” There is also infrastructure for sports and recreation—notably skateboarding, which I was surprised to find out is still illegal in much of Chicago.

As the park transforms a vacant lot within a historically disinvested community into a gathering space for all, the logotype embodies the idea of transformation.
— Nick Adam, Design Director at Span

The logotype features custom typography that echoes the linear architecture and the unique typography of the site, with a unique stencil form paying homage to the historic Bronzeville bench by Chicago artist Apache Wakefield.

“Our custom-drawn Sanctuary logotype conveys the uniqueness of this public park. As the park transforms a vacant lot within a historically disinvested community into a gathering space for all, the logotype embodies the idea of transformation,” said Nick Adam, Associate Partner and Design Director at Span. He goes on to explain some of the team’s inspiration and vision for the type. “The flexible design of the logo, which can be arranged vertically and horizontally, mirrors the park’s flexibility to host various activities, from community events to weddings to skateboarding. The bespoke, stencil, uppercase letterforms offer a feeling of utility or building, aligning with the park’s mission of community building. The unusual uppercase descenders highlight the park’s unique topography, specifically designed for skateboarders and BMX bike riders.”

I love the how the vibrant color palette leans into the urban architecture (pink and teal commercial grille doors, gray concrete), the idea of being in service to the community (reflective vest red), and a space to enjoy nature (purple and green). The typography and color system work together incredibly well across various contexts, from outdoor to print to digital to fundraising merch.

South Side Sanctuary officially opens today, August 6.

Learn more about the project and Span’s collaboration with the founders, Cecilia Cuff and Jasmine Anwuli, Future Firm architects, and partners such as Black Girls Shred, a nonprofit dedicated to increasing access for Black women in competitive sports and sports careers.

Imagery courtesy of Span Studio.

The post Custom Type Anchors a Vibrant Identity for Chicago’s Newest Public Park appeared first on PRINT Magazine.

Eva and Marta Yarza, aka the Yarza Twins—PRINT New Visual Artists in 2016—said in that issue that good design is “knowing the rules and breaking them.” As they launched their successful design careers, everything else stayed intact—most importantly, the twin’s dynamic and supportive relationship as sisters, collaborators, and business partners.

The twins grew up drawing in their hometown of Vigo, Spain, before moving to London to study. Eva finished her degree in art and then immediately started her master’s. Marta finished her degree a year later in construction engineering and then joined Eva at Central Saint Martins in London, where they both graduated with master’s degrees in communication design.

Then, a few doors opened—most notably, an internship for Eva at Sagmeister & Walsh in New York in 2014. While Eva was working at Magpie Studio and Marta was freelancing in London, they were motivated to submit their work to PRINT New Visual Artists for the 2016 class.

And more doors opened.

We were motivated by the impulse that being on the list would give to our career.

Marta Yarza, 2024

Clockwise, concept cover for PRINT; designs for AIGA’s “Quoted” project | from PRINT Magazine, Summer 2016

People started taking us more seriously and we felt that for once someone gave us a chance.

Marta Yarza, 2024

Today, as Yarza Twins, the award-winning design studio based in London and Paris, their projects range from large-scale commissions that reach broad audiences to initiatives with social and cultural impact. They’ve launched brands, campaigns, editorial designs, websites, illustrations, retail products, and experiences. Their clients range from global food, tech, music, and retail companies to independent artists, startups, and institutions.

Yes, break the rules. Break down some walls. But also be sure to notice the doors in your path, just waiting for a knock.

Like this one: the PRINT New Visual Artists 2024 competition is accepting entries through August 20.

The post Opening Doors, in 2024 as in 2016 appeared first on PRINT Magazine.

We are surrounded by brands, and they have a huge impact on us—so much so that brands and society become part of each other. Where will the influence of brands take us? Will it be good or bad? What will the future be like? Will brands still exist? For Zhuxin Xiao’s 100-Day project, “What’s Next,” she selected a brand a day and expressed the feeling, function, or truth that the brand delivers to us through painting.

Discover more of their 100-Day project on Instagram.

The post “100 Days of What’s Next” Explores Where Branding and Humanity Intersect appeared first on PRINT Magazine.

As a strategist, Dan Baron is always seeking new ways for brands to build connections with their audiences. Two areas where he has personally built those connections are sneakers and sports. Baron believes that sneaker culture and sports fandom have the power to bring people together.

Through his series “AI Sneakers,” Baron delves into how these elements and design intersect to create unique and impactful brand experiences. Let your sneakerhead imagination run wild when you visit his project on Instagram!

The post Sneakerheads and Sports Fans Rejoice in “100 Days of AI Sneakers” appeared first on PRINT Magazine.

WSJ, in partnership with the renowned agency Mother (New York & London), has launched an innovative brand platform “It’s Your Business.” This initiative reflects WSJ’s commitment to delivering in-depth business journalism that not only informs but also impacts the world, playing a vital role in people’s everyday lives.

“Business impacts everyone–whether they know it or not–and more people than ever are turning to The Journal to help them navigate the challenges thrown their way. “It’s Your Business” not only underpins our position as the trusted source for business news and information but it also appeals to new, untapped audiences and broadens awareness of who we are and what we do best.”

Sherry Weiss, Dow Jones and Wall Street Journal Chief Marketing Officer

Throughout the month, WSJ rolled out a series of contextual advertisements across New York City, making “It’s Your Business” a visible part of the urban landscape. These ads have appeared in diverse and unexpected locations, such as EV charger points, golf courses, gas pumps, delis, and even hot dog stands. This strategic placement illustrates the omnipresence of business in daily life, reinforcing the idea that wherever you go, business matters.

The campaign showcases a wide range of articles, each highlighting a different facet of WSJ’s comprehensive coverage. From in-depth pieces on renters’ rights and the growing trend of sleep divorce to explorations of everyday phenomena like your morning coffee, the Journal’s stories cater to their broad audience. This diverse range of topics demonstrates that business news isn’t just for industry insiders but is relevant and valuable to everyone.

By emphasizing “It’s Your Business,” WSJ aims to connect with readers more deeply, showcasing how its reporting covers everything from personal finance to lifestyle choices, making business journalism accessible and engaging for everyone.

Through its collaboration with Mother and a strategic campaign across New York City, WSJ is showing that business news is essential to everyone’s daily life. Whether in the boardroom or at the local coffee shop, WSJ’s wide-ranging coverage highlights its ongoing relevance and importance in today’s world—a bold move that reshapes how we see business journalism.

The post WSJ’s ‘It’s Your Business’ Campaign by Mother Reveals the Ubiquity of Business in Everyday Life appeared first on PRINT Magazine.

Culture carries a distinct taste, unique to every corner of the globe. Min Sun Yoo seeks to unravel the rich tapestry of cultural nuances in “100 Days of Culture Bites.” Beyond the borders of the familiar, lies a world brimming with undiscovered customs and creations with Culture.bite serving as a communal table to explore these diverse and unknown nuances. Sharing the unknown, the unfamiliar, and much more. Bring your curiosity, explore, and take a bite of culture through the rest of Yoo’s project on Instagram; whether with forks, chopsticks, hands, or anything else.

Jaws (1975) Movie Posters from around the world; Turkey, USA, Japan, Thailand, Poland, India, Slovenia, Yugoslavia, France, and Italy.

Lego sets from around the world; Harry Potter – UK, Technic Chevrolet Corvette ZR1, BMW R 1200 GS – Germany, NASA – US, House Architecture – Denmark, The Story of Nian – China, Ninjago – Japan, Taj Mahal – India, Opera House – Australia, and the Eiffel Tower – France.

Cigarette Packages from around the world; Canada, Iran, South Korea, India, Uruguay, UK, Thailand, and Brazil.

The post Exploring nuance around the world for “100 Days of Culture Bites” appeared first on PRINT Magazine.

Artistic duo Xavier and Daniel, the Boldtron twins, have unveiled their latest collection, “The Vault of Wonders: Chapter 1—The Abyssal Unseen,” which showcases groundbreaking advancements in AI video technology. This collection merges the historical intrigue of the Renaissance cabinet of curiosities with the mysterious depths of the abyssal ocean (at depths of 6,500 to 16,500 feet). Through sophisticated AI tools, the twins bring to life creatures once only imaginable, blending historical curiosity with cutting-edge digital craftsmanship to create a mesmerizing collection that challenges our perceptions of nature and technology. 

Much like the Renaissance cabinets that blurred the lines between natural history and imaginative interpretation, “The Abyssal Unseen” invites viewers to reflect on the authenticity of beings born from digital code. The videos’ use of looping pays homage to the early mechanics of animated art, embedding each digital organism within the broader narrative of perpetual life cycles found in nature.

The collection’s abyssal theme wonders about the scarcely explored regions of the deep ocean, where creatures adapt to extreme conditions. The Boldtron twins’ creations echo these biological adaptations, illuminating the creativity needed to explore uncharted territories, whether in the ocean or in digital realms.

With meticulous character design that mirrors the precision of ancient scientific illustration, the twins employ advanced digital tools to sculpt intricate details that invite close scrutiny. This collection is an intellectual exploration, connecting the rich history of scientific and artistic curiosity with contemporary digital creativity.

“The Vault of Wonders: Chapter 1—The Abyssal Unseen” is not just a display of digital art but a thought-provoking journey that challenges our perceptions and expands our understanding of life in the digital age. Each piece serves as a visual spectacle and a node in the vast network of cultural and scientific exploration, depicting realms beyond the immediate reach of human senses.

Videos by BOLDTRON, music and sound design by MYGAL.

The post The Abyssal Unseen: A Cabinet Of Curiosities For The Digital Age  appeared first on PRINT Magazine.

Deroy Peraza and Julia Zeltser of Hyperakt, a New York-based studio renowned for merging strategy and design to elevate nonprofits’ missions, spearheaded the brand project. The refreshed identity includes a new logo and brand aesthetic, featuring linear elements representing The Trust’s unwavering commitment to linking the past, present, and future. Hyperakt aimed to align the new visual identity with the foundation’s mission to foster enduring and innovative philanthropy.

This throughline is a visual cue of the brand’s continuity, resilience, and impact. An ever-present, continuous line organically adapting to its environment symbolizes The Trust’s enduring commitment to the region and its people. This visual element is a reminder that The Trust is dedicated to shaping a better future for New Yorkers.

“We are thrilled to share this refreshed brand look that infuses new energy into the organization and reintroduces The Trust to the next generation of generous donors,” said Amy Freitag, president of The New York Community Trust. “This new identity aims to reflect our inclusive and innovative approach to democratizing philanthropy, bringing us closer to donors from a wide array of cultural backgrounds who see themselves as agents of change. Looking ahead, The Trust will continue to do what we have always done: create opportunities for New Yorkers to build stronger, more inclusive communities today, tomorrow, and forever.”

Since its founding in 1924, The New York Community Trust has been a leader in addressing critical issues such as environmental justice, economic inequality, education and healthcare reform, equitable access to the arts, and LGBTQ+ rights. Notably, in the 1930s, The Trust established the first-ever donor-advised fund, revolutionizing philanthropic giving. Through its strategic grantmaking, The Trust has catalyzed significant projects across the region.

“At its core, the design process is meant to bring to the fore what makes The Trust a quintessentially New York institution,” said Deroy Peraza, partner and creative and marketing director at Hyperakt. “We are honored to be part of the reimagining of this storied organization, leveraging the power of design to tell a richer story of the brand’s DNA.”

The refreshed brand rollout includes a complete overhaul of The Trust’s digital presence and a wide-reaching campaign featuring print and digital displays across the region. Celebrating 100 years of impact, The New York Community Trust looks forward to continuing its mission of improving life for New Yorkers for the next century and beyond with a fresh new look to help take them there.

The post The New York Community Trust Unveils New Visual Identity for Centennial Celebration appeared first on PRINT Magazine.

New categories in this year’s awards program acknowledge the dynamic nature of design and the myriad ways designers integrate with their clients, the brands they represent, and their customers’ experiences. We separated Brand Identities from Brand Campaigns. Packaging Design took a leading role. Our Brand Collaborations category considered campaigns that join brands with other brands, artists, and organizations to expand access to diverse audiences, push industry boundaries, and address social issues.

The award-winning work embodied aesthetic trends such as mixing various weights and fonts.

Left to Right: Hey Barista Magazine | Oatly; Nuit Blanche Tapei | Left Brain; Upside | Erica Holman Design

In Packaging Design and Illustration and Posters, our jury tagged a trend towards 70s nostalgia and vintage minimalism.

Left to Right: Golden Hour | Golden Hour Wellness; Joystick Jazz | HandMade Monsters; Minnesota Twins History Poster | DLR Group

Type Design—always a resource for cutting-edge creativity—included work ranging from bubble type combined with texture to a dynamic font creation process using AI and machine learning techniques.

Left to Right: Life Less Scary | Dunn&Co; Handy Type | Rozi Zhu

The Data Visualization and Motion Design categories also included exciting examples of retro and progressive creativity. Entries included engaging stop-motion graphics and innovative and visually appealing data visualizations and infographics. Honoring both old and new, entries in these categories found ways to present complex data and concepts in easily digestible and truly beautiful formats. Entries in IX/UX Design also made a breadth of information accessible using multi-sensory prompts such as music and street sounds. Printed work, too, tapped into user experience, highlighting the importance of haptics and form to create memorable brand engagements.

Clockwise: City Pulse 2023 | Gensler Research Institute; Origins | The Office of Ordinary Things for D&K Printing; Sappi Holiday Kit | VSA Partners for Sappi North America

We hope you’re as excited as we are with this year’s family of PRINT Awards winners! Below, you can see the winning designers’ names, project descriptions, and imagery of their work from the Monadnock Award, Citizen Design, Professional Best of Show, Student Best of Show, Editors’ Choice, and Agency of the Year.

Over the next few days, we’ll share project descriptions in every category so you can enjoy the full range of creativity, innovation, and joy of this year’s awards.

Monadnock Award

Recipes for Impact
Mark Kaminski, Alina Kosmala – Compass Group
USA

“Recipes for Impact,” is a collaborative project between BLK & BOLD and Canteen, designed by Mark Kaminski at Compass Group. This exceptional book not only showcases artistic and functional excellence in design but also demonstrates profound community impact.

“Recipes for Impact” is more than just a coffee and tea recipe book; it is a testament to the power of thoughtful, community-focused brand initiatives. Crafted with Monadnock’s premium, sustainable paper, each page of this book reflects a shared commitment to environmental responsibility. BLK & BOLD’s initiative, ‘5% For Our Youth,’ which directs proceeds to support children in need, aligns seamlessly with Monadnock’s ethos of making a positive impact through every aspect of their work.

The design team, led by the talented Mark Kaminski and Alina Kosmala, utilized Monadnock’s Astrolite paper to bring their vibrant, barista-tested recipes to life. This choice not only enhanced the visual appeal but also ensured that every aspect of this project was executed with environmental integrity.

Additional credits:
Alina Kosmala; Printer, Walsworth

Citizen Design Award

Read Queer Books
Leila Taylor- Brooklyn Public Library
USA

During Pride, Brooklyn Public Library celebrated the history of LGBTQIA+ communities, reflecting back at the progress that’s been made and looking forward to the future. This year, as a response to the increasing violence, oppression, and discriminatory legislation targeting queer communities, Brooklyn Public Library commissioned a unique piece of art that evoked liberation, resistance, and rebellion. As books centering queer characters and experiences have been regularly targeted in book-banning campaigns, the design team focused their messaging on reading, urging people to challenge the erasure and suppression of LGBTQIA+ voices and to Read Queer Books.

Additional credits:
Illustration, Isip Xin; Copywriter, Lauren Rochford; Production Manager, Jack Cavicchi; Senior Digital Marketing Manager, Jenn Proffitt

Professional Best of Show Award

Seasonal Stationery
BYMAKBAS
MAKBAS Print Studio
Kuwait

“The Ramadan Series” is a special collection designed to celebrate the Ramadan season, which is marked by fasting, worship, and community gatherings. The series includes:

“Ramadan Sparkle” Cards: Hot foil stamped cards to add a festive sparkle; “Rays of Ramadhan” Cards: Blind embossed cards for making a bold statement; “Ramadhan Scene” Cards: Modern architectural line art with neon screen printing, reminiscent of fluorescent lights guiding people home.

For a spiritual touch, the collection includes: “Written in the Stars” Envelopes: Featuring matte gold and silver foil to depict a night scene of shooting stars; “The Hijri Set”: Embossed patterns with gold foil, marking the Islamic calendar’s start through migration.

Additionally, the series encourages gratitude with: “COUNT YOUR BLESSINGS” Journal: A compact gratitude journal inspired by the tradition of counting sheep to foster calm before sleep.

Lastly, to embrace the season’s tranquility: “No Pressure” Notebooks: Five separate notebooks in one, promoting freedom and creativity without the pressure of to-do lists.

The collection concludes with: “Over the moon” Envelopes: Designed for Eid, these envelopes symbolize the joy of children receiving money, featuring night skies and city lights with fluorescent screen printing, extending the “Ramadhan Scene” theme to Eid celebrations.

Student Best of Show

Damaged Goods
Doyeon Kim – School of Visual Arts
USA

Damaged Goods is a contemporary newspaper about film photography. ‘Damaged goods’ are products that are broken, cracked, scratched, and no longer desirable. But in this newspaper, it’s quite the opposite. In film photography, damaged and ruined film and its unexpected moments are aesthetic as they are. Every page in the newspaper is somehow damaged and exposed to light, however visually pleasing. The names of the journalists are also placed irregularly to convey the moments of unexpectedness that the film camera has. Doyeon focused on the art direction of this newspaper– photo selection, color and type choices, and even the photo direction.

Editors’ Choice

Studio Museum in Harlem | Website Redesign
Base Design
USA

Founded in 1968, the Studio Museum in Harlem is dedicated to artists of African descent, serving as a studio for emerging artists and a museum with a curated collection of underrepresented artists. Rooted in Harlem’s cultural legacy, it is a hub for dynamic conversations and exchanges about art and society.

As the museum prepared to move and adopt a more formal posture, it sought a website redesign to enhance accessibility and reflect its vibrant, communal spirit. BaseNYC was tasked with creating an engaging online platform that mirrors the museum’s dynamic energy.

Inspired by Harlem’s brownstone stoops, the redesigned website emulates a dynamic meeting place filled with sounds and voices, reflecting the museum’s lively atmosphere. The focus shifts from artworks to the artists, featuring video and audio clips as peripheral “chatter” to capture the animated essence of the Studio Museum.

Additional credits:
Mirek Nisenbaum, Min Lew, Andrey Starkov, Harry Laverty, Ross Gendels, Marc Hill, Masha Basyrova, Vivian Valentin, Artem Lyustik, Sergei Khegai, Volha Trehubava, Jerry Johnston, Ji Park

Agency of the Year

John Kudos – KASA Collective
USA

KASA Collective is an international design agency that creates interactive experiences for public, corporate, and cultural spaces. Their multimedia installations use storytelling, design, and technology to engage audiences. KASA Collective is a collaboration between two award-winning agencies, KUDOS Design Collaboratory and Conduit, who have worked together on complex projects for over 20 years. The agencies have expertise in 2D, 3D, and 4D design. 

This year, KASA Collective won first place honors in Environmental Design for Black Power to Black People Exhibition and second place in that same category for the exhibition Made in Japan. John Kudos, through KUDOS Design Collaboratory also took home second place in Self-Promotions for his beautiful 2024 ONE LOVE Calendar.

Additional credits:
Art Director, Ashley Wu; Designer, Fay Qiu; Project Manager, Amanda Knott; 3D Renderer, Imam Fadillah; Design Intern, Saskia Wulandiarti; Photography, Samuel Sachs Morgan

Professional Honorees

Advertising

First Place—Georgetown Optician – Adventures in A-Eye | Pum Lefebure | Design Army
Second Place—BMW Motorrad – Storied: 100 years of BMW Motorcycling | Justin Page | The Simple Machine

Annual Reports

First Place—SPH This Year 2023 | Susan Prentiss | Boston University, Creative Services
Second Place—Smithsonian Annual Report 2022 | Jason Mannix | Polygraph
Third Place—The Future is Nuclear, Bruce Power Annual Review and Energy Report | Erin Grandmaison | Bruce Power

Books—Covers/Jackets          

First Place—Opinions | Robin Bilardello | Harper
Second Place—Evil Eye | Milan Bozic | Harper
Third Place—Feminist Designer: On the Personal and the Political in Design | Alison Place | University of Arkansas

Books—Entire Package

First Place—Milton Glaser, POP | Mirko Ilic | Mirko Ilic Corp.
Second Place—Type Something For Me | Joyce Shi | G Axis Press
Third Place—Alucinação | Felipe Goes | Felipe Goes Designer

Branding—Campaigns

First Place—SXSW 2024: Global Reframing | Luigi Maldonado | Guerilla Suit
Second Place—East Side Pies | Michael Tabie | Guerilla Suit
Third Place—Central Market Passport Portugal | Dana Nixon | *TraceElement

Branding—Collaborations

First Place—2023 Nuit Blanche Taipei – Time to Rise Up | Department of Cultural Affairs, Taipei City Government; Left Brain
Second Place—2023 Romantic Route 3 – Falabidbog | Hakka Affairs Council; Hakka Public Communication Foundation; Left Brain
Third Place—Confronting Design | One Design Company

Branding—Identities & Identity Systems

First Place—The National Museum in Krakow | Emilka Bojańczyk & Zuzanna Charkiewicz | Podpunkt Studio
Second Place—Portuguese Government | Studio Eduardo Aires
Third Place—GUILD | COLLINS

Brochures & Catalogs

First Place—Naked Trails | Kyle Poff | Leo Burnett Chicago
Second Place—MCA NOW | Museum of Contemporary Art Chicago Creative Studio
Third Place—l.a.Eyeworks Booklet | Becca Lofchie Studio

Citizen Design Award

First Place—Read Queer Books | Leila Taylor | Brooklyn Public Library
Second Place—2023 Manatee Pride Festival – Joining Together to Celebrate Our Community | Craig Byers | Studio Craig Byers
Third Place—The “Q Deck”- LGBTQ+ Educational Cards | Kelly Holohan | Holohan Design

Concept Work

First Place—Orb Time Font (OTF) | Raven Mo          
Second Place—Hand copying meditation | Miki Kawamura 
Third Place—Afar: Cultural Cards | Andy Vera Design

Data Visualization & Information Design

First Place—City Pulse 2023: The Future of Central Business Districts | Minjung Lee | Gensler Research Institute
Second Place—203 X Infographics | Sung Hwan Jang | Infographics Lab 203
Third Place—Global Workplace Survey Comparison 2023 | Minjung Lee | Gensler Research Institute

Design for Social Impact

First Place—Foundry Field | Clinton Carlson Design | University of Notre Dame
Second Place—One Small Step, Integrated Campaign | I/D.W Studio
Third Place—Curt Bloch and his Onderwater-Cabaret | Thilo von Debschitz | Q

Editorial

First Place—The North Face – 50 Years of Parkas Zine | Justin Colt | The Collected Works
Second Place—Hey Barista magazine | Chloe Scheffe & Natalie Shields | Oatly
Third Place—HUE, The Magazine of FIT, The Fashion Institute of Technology: Fall 2023 | Alexander Isley | Alexander Isley Inc.

Environmental Design

First Place—Black Power to Black People Exhibition | John Kudos | KASA Collective
Second Place—Made in Japan Exhibition | John Kudos | KASA Collective
Third Place—Art Deco: Commercializing the Avant-Garde | Ola Baldych | Poster House

Handlettering & Type Design

First Place—Handy Type | Rozi Zhu   
Second Place—Life Less Scary – Alphabet | Mitchell Goodrich | Dunn&Co.
Third Place—The Typography of a Genius Industry | Gaetano Grizzanti | Univisual

Illustration

First Place—Metropolitan Transportation Authority Courtesy Campaign | Ricky Sethiadi | MTA Marketing
Second Place—Joystick Jazz | Mark Borgions | HandMade Monsters
Third Place—Simple Mills Illustrations | Ellie Schwartz | Design B&B

In-House

First Place—BYMAKBAS Seasonal Stationery | MAKBAS Print Studio
Second Place—Lunatix NFT Collection | Ben Morris Sketch | Unilever
Third Place—Cannes 2023 | Luisa Baeta | Axios

Invitations & Announcements

First Place—Marwen Invitations | Brian Berk | Leo Burnett Chicago
Second Place—Monroe Community College Foundation Gold Star Gala Invitations | Jewel Mastrodonato | Dixon Schwabl + Company
Third Place—American Heart Association Gala Invitation Suite | Hana Snell | Caliber Creative

IX/UX Design

First Place—Studio Museum in Harlem Website Redesign | Base Design
Second Place—theo Transformation Advisory Website | Hana Snell | Caliber Creative
Third Place—Fearless Website | Rony Dixon | Texas Tech University

Logos

First Place—Turks Head | CF Napa Brand Design
Second Place—Benny’s Bike Shop | Sam Allan | Onfire. Design
Third Place—Kinetic Identity | One Design Company

Motion Graphics & Video

First Place—Santé: Designed by Patrick Norguet | Molly Skonieczny | Tolleson
Second Place—Doris Duke Foundation: When Artists Thrive, We All Thrive | Bryce Bizer | None Other
Third Place—Dieline Awards 2024 | Justin Colt | The Collected Works

Outdoor & Billboards

First Place—Life Less Scary | Stephanie Morrison | Dunn&Co.
Second Place—I Am Toronto Pearson | Joshua Duchesne | Made by Emblem
Third Place—Dream Streetcar | Matt Wegerer | Whiskey Design

Packaging

First Place—Lou Reed / Words & Music / May 1965 – Special Edition | Masaki Koike | Phyx Design
Second Place—Golden Hour | Miles McKirdy | Golden Hour Wellness
Third Place—The Grappler | CF Napa Brand Design

Photography

First Place—HP OMEN – Choose Fun | Ethan Scott | Designory

Posters

First Place—Upside | Erica Holeman | Erica Holeman Design
Second Place—Minnesota Twins History Poster | Jovaney Hollingsworth | DLR Group
Third Place—Negro Leagues Baseball Museum (Kansas City Monarchs) | Jovaney Hollingsworth | DLR Group

Self-Promotions

First Place—Origins | The Office of Ordinary Things for D&K Printing
Second Place—2024 ONE LOVE Calendar | John Kudos | KUDOS Design Collaboratory
Third Place—2023 Sappi Holiday Kit | VSA Partners for Sappi North America

Student Honorees

Advertising

First Place—Literary Mixtape | NaRe Hong | School of Visual Arts
Second Place—Stuf by Oreo | Elyza Nachimson | School of Visual Arts
Third Place—Verizon | Hongjin Li | School of Visual Arts

Annual Reports

First Place—Victims First Annual Report | Aurora Schafer | University of North Texas

Books—Covers/Jackets

First Place—Zubaan | Ariana Gupta | School of Visual Arts
Second Place—Speaking in Tongues | Yoon Seo Kim | School of Visual Arts
Third Place—Artist Book | Jiawen Zhang | School of Visual Arts

Books—Entire Package

First Place—Bento of Memories | Shiyao Wu
Second Place—Dos Palmares | Maί­ra dos Palmares Santana
Third Place—Six-Legged Book | Seo Jin Lee | School of Visual Arts

Branding—Identities & Identity Systems

First Place—Museum of the Moving Image | Mina Son | School of Visual Arts
Second Place—POT.ION | Mina Son | School of Visual Arts
Third Place—Found Sound Music Festival | Don Park | School of Visual Arts

Brochures & Catalogs

First Place—FORM | Fiona Tran | Drexel University

Citizen Design Award 

First Place—Lampião da Esquina | Pedro Melo | Federal University of Rio De Janeiro

Data Visualization & Information Design

First Place—Street Gum Dots Marching Symphony | Jae Young Kim | Pratt Institute
Second Place—Fashion, Beauty and Post-Colonial Perceptions | Joumana Ibrahim | Savannah College of Art and Design
Third Place—Me, My Languages, and I | Joumana Ibrahim | Savannah College of Art and Design

Design for Social Impact

First Place—Elephant in the room | Eason Yang
Second Place—Phantom Limbs: Design Interventions and Site-specific Storytelling | Veronica Tsai | Art Center College of Design
Third Place—Ace Week | Nicole Tocco | Savannah College of Art and Design

Editorial

First Place—Damaged Goods | Doyeon Kim | School of Visual Arts
Second Place—Experiments in Type Zine | Yerin Lee | School of Visual Arts
Third Place—Gestalt Tattoo | Jung Youn Kim | School of Visual Arts

Environmental Design

First Place—Bike Lane Parking Preventer | Yoon Seo Kim | School of Visual Arts
Second Place—Elephant in the room | Eason Yang  
Third Place—Fidelis: A Study in Fraktur Calligraphy | Conner Gayda | Jacksonville State University

Handlettering & Type Design

First Place—Up In The Air Gonggi Typography | Jae Young Kim | Pratt Institute
Second Place—Amunet Type | Xinyu Liu | School of Visual Arts
Third Place—Bird Words| Jada Merritt | California Institute of the Arts

Illustration

First Place—Stilts, Bears & Skeletons | Heike Scharrer | Cambridge School of Art
Second Place—Xiaoyun Tian | Xiaoyun Tian | Cambridge School of Art
Third Place—Gulf Horizons Illustrations | Jazmine Garcia | University of North Texas

IX/UX Design

First Place—Deafinite | Jingxin Xu | School of Visual Arts
Second Place—Sproute App Prototype | Zach Hall and Jordan Heath | University of North Texas
Third Place—Trash Panda App Prototype | Macy McClish and Keaton Dillard | University of North Texas

Logos

First Place—Architectural Digest | Mishen Liu | Art Center College of Design
Second Place—Tiger Ale | Emily Brown | The University of Texas Arlington

Motion Graphics & Video

First Place—Mirage | Jeffrey Xiyang Su, Hanson Ma, Michael Wang | Art Center College of Design
Second Place—Happy Little Birthday | Juni Kweon | Art Center College of Design
Third Place—Rapp Snitch Knishes | Audrey Whang | School of Visual Arts

Outdoor & Billboards

First Place—Spy | Ting Jui Chang | School of Visual Arts
Second Place—Go Skateboarding Day | Hyowon Kwon | School of Visual Arts
Third Place—Elevating Everyday Sounds | Chuanyuan Lin | School of Visual Arts

Packaging

First Place—Horsepower Cold Brew Coffee | Vasavi Bubna | School of Visual Arts
Second Place—Dark Energy | Eshaan Sojatia | Rochester Institute of Technology
Third Place—Never Will | Rabiya Gupta | School of Visual Arts

Photography

First Place—The Dream | Emily Brown | University of Texas at Arlington

Posters

First Place—Alzheimer’s Poster | Emily Brown | University of Texas at Arlington
Second Place—Barely Hanging On | Sean Howes | University of North Texas
Third Place—Synesthesia | Jia Li | School of Visual Arts

NEXT: We spotlight winners in Advertising, Branding Campaigns, Collaboration and Identities, Editorial, In-House, Photography, and Self-Promotions.

The post Celebrating Excellence and Innovation: Announcing the Winners of the 2024 PRINT Awards appeared first on PRINT Magazine.

The 50+ renowned troupe leads a Hong Kong tutu take-over —from its renowned university halls to Tai Kwun’s stunning plaza to the majestic High Island Reservoir. Eye-popping color, gravity-defying moves, sheer beauty, and weirdness collide with koi fish-inspired hairdos, punk rockers on pointe, a jelly-like gold-toothed alien, and a tutu-wearing spaceship ending. Always at the forefront, never standing still—this campaign freshly defines Hong Kong Ballet.

Designing every quirky detail, Design Army played with graphic scale (from bird’s-eye shots to silhouettes against architecture), circular repetition mimicking tutus at every turn, texture, sound, music, and more. From Johann Strauss’ classic waltz, “The Blue Danube,” to hip-hopping ballerinas backdropped by Hong Kong culture, every element brings the delightfully unexpected.

At Tutu Academy, where tutus are the uniform, students of all characters (geeks to goths) express themselves through ballet—and bizarro hair. One odd day, a UFO lands and an alien enters the classroom. Eager to connect with the visitor who doesn’t speak earthly language, the teacher starts a dance conversation—followed by the entire class. At first, the alien struggles to learn the language until he’s gifted a magical tutu. With fresh confidence, the green-hued stranger joyfully joins the dancing crew. But just as the bond deepens, the alien must return to his homeland. With bittersweet farewells, the UFO departs—donning a tutu too. On his planet, a stark contrast to Tutu Academy’s vibrant vibe, the alien proudly presents tutus to his commanders, and they dance to celebrate their newfound connection with Earth.

Inspired by Degas’s beautiful ballerina portraits, the design team playfully wondered what the artist’s work would look like if they brought it to life today. The result is a story popping with the painter’s gorgeous coral hues mixed with Hong Kong’s heritage red—all juxtaposed with vivid shades of juicy jade, like the head-toe painted alien, that explode with extraterrestrial contrast.

All images courtesy of Design Army and the Hong Kong Ballet.

Film Credits: Hong Kong Ballet, Design Army, and Dean Alexander Productions, with Lamka & Co. Watch the film and see the full list of credits.

The post Design Army’s Out of This World Campaign for the Hong Kong Ballet appeared first on PRINT Magazine.

I was delighted to attend the launch event for “Made in Italy NYC,” an exclusive two-day event celebrating the rich heritage of post-war Italian graphic design and its enduring relationship with the United States. This two-day exhibition offered a unique opportunity to explore original pieces from significant Italian and American designers produced between the 1950s and 1980s. The exhibition drew from the collections of AIAP CDPG, the Milan-based Graphic Design Documentation Center of the Italian Association of Visual Communication Design.

Italian graphic design has a rare power that can still surprise us. Made In Italy NYC contains examples of the warmth, humanity and verve that excited designers half a century ago and continue to inspire today.

Michael Bierut, Pentagram

Beyond Vignelli: A Broader Connection

The iconic figure of Milan-born Massimo Vignelli often epitomizes the graphic design connection between Italy and the U.S., as he is renowned for his extensive body of work after moving to New York. However, this exhibition aims to illuminate the broader array of Italian and American designers who contributed to this vibrant exchange post-WWII. Many of these designers are well-known in graphic design history, while others have recently been rediscovered, highlighting the depth and diversity of this cross-cultural design relationship.

The exhibition and accompanying book feature work by a stellar lineup of designers, including Massimo Vignelli, Heinz Waibl, Giulio Cittato, Bruno Munari, Roberto Mango, Mario, Dagrada, Albe Steiner, Bob Noorda, Giulio Confalonieri, Anita Klinz, Ferenc Pinter, Balilla, Magistri, Max Huber, Milton Glaser, Bruce Blackburn, Saul Bass, Ivan Chermayeff, Leo Lionni, Paul Rand, John Alcorn, Silvio Coppola, Franco Grignani, Alfredo Mastellaro, Claudia Morgagni, Enzo Mari, Giovanni Pintori, and Walter Ballmer.

The event focused on four areas of this cross-cultural design conversation: Italian Designers Who Worked In The U.S., Italian Designed Book Covers For U.S. Authors, U.S. Designers Who Worked In Italy, and Influential Italian Graphic Design.

This book and exhibition is a celebration of all things Made in Italy, exploring the rich and untapped vein of Italian graphic design with rarely seen and published work.

Bryan Edmondson, SEA

Designed by SEA in collaboration with Pentagram, the exhibition presentation was visually striking and intellectually engaging. SEA, a London-based brand agency, is renowned for its powerful ideas and meticulous attention to detail, making it an ideal partner for the project. Pentagram’s storied history and global influence added another layer of expertise to the exhibition’s design.

The event was proudly supported by Fedrigoni and Monotype, two industry giants whose contributions have been invaluable.

Fedrigoni, synonymous with excellence in specialty papers since 1888, is the global leader in wine labels and premium papers for luxury packaging. Their commitment to sustainability and quality is reflected in their support for this exhibition, which aligns with their dedication to art, design, and creativity.

Monotype, with a library of over 150,000 fonts, provides the tools for creative expression through type. Their support celebrates the post-war Italian graphic design period, when typography reached new heights, showcasing the innovative and poetic forms of expression that define this era.

The Italian Association of Visual Communication Designers (AIAP) meticulously curated the exhibition’s content. Founded in 1945, AIAP promotes design culture and preserves Italy’s design history through its Graphic Design Documentation Center, which houses over 100,000 artifacts.

More than an exhibition, “Made in Italy NYC” was a collaborative event celebrating the creative synergy between Italian and American graphic design, honoring the legacy of past masters and bringing to light the lesser-known contributors who played pivotal roles in this dynamic exchange. The evening was about appreciating the global influence of Italian design and its profound impact on visual communication. The cherry on top was the beautiful, limited-edition metallic-covered book I gingerly placed into my bag as I left the venue, beaming into the warm summer air.

The post Celebrating Post-War Italian Graphic Design and its Transatlantic Influence in NYC appeared first on PRINT Magazine.

Crafted by Landor Milano, the brand transformation has turned Imperia’s emblem into a pasta-rolling marvel, churning out impeccable fettuccine and tagliatelle ribbons. This pasta renaissance blends the essence of Italy’s rich history with vibrant, disruptive cues, appealing to both pasta traditionalists and culinary renegades.

For Alessio Galdi, Design Director at Landor Milano, reimagining Imperia’s identity was both a homage to its storied past and a leap into its future. “Imperia is a brand rooted in the history of our country,” Galdi reflects. Navigating this dual mandate was no small feat: the rebrand needed to resonate with the heritage of a 90-year-old company while also appealing to a global, contemporary audience.

To achieve this, the team delved into Imperia’s historical archives, unearthing elements like the oblong background shape from the 1960s. Once adorned with 3D drop shadows, this vintage motif has been reinterpreted into a sleek, modern form. Now, this crisp shape is the centerpiece of the identity, dynamically “rolling over” to reveal the wordmark, embodying the essence of pasta-making in motion.

Typography plays a starring role in the new identity, with a nod to advertising styles from the 1940s onwards. Landor Milano introduced a pasta-inspired custom typeface, Sfoglia Grotesk, tailored specifically for this project. Inspired by ‘Sfoglie’ pasta sheets, the font features unique ligatures and character details that echo the finesse of freshly rolled pasta. Senior Designer Gianluca Ciancaglini highlights the artistry in the typeface: “The plump teardrop detail of the ‘r,’ the sharp ink traps, and the soft terminals all bring a distinct, ownable flavor to the brand’s typography.”

Color, too, plays a pivotal role. The revamped color palette is vibrant and inviting, drawing parallels to a plate of lasagna as rich as Nonna’s ragu. Landor’s approach goes beyond static visuals; they crafted animated 3D sculptures inspired by Bruno Munari’s ‘Useless Machines.’ These whimsical creations, paired with a 2D motion system by Motion Design Director Salvatore Illeggittimo, add depth and dynamism to the brand, making it as playful as it is profound.

“Munari said that any cookery book is a book of design methodology,” notes Galdi. This philosophy underpins the entire rebrand, positioning the kitchen as a crucible of creativity and experimentation. The animations depict silky pasta ribbons and dough being expertly pressed and rolled, encapsulating the artistry of pasta-making and the brand’s innovative spirit. A visual system that dances like pasta in boiling water infuses a motion soul, turning machines into culinary maestros.

Adriana Testaverde, Client Manager at Landor Milano, sums up the transformation: “The redefined identity of Imperia marks the dawn of a dynamic era for the brand, particularly in its pursuit of creativity and experimentation.” By targeting younger demographics, Imperia is shedding its nostalgic image and inviting a new generation to explore the joys of pasta-making.

This rebrand is more than a visual overhaul; it’s a strategic pivot that blends form and substance. Imperia is reshaping the pasta-making experience for the global market with a generous helping of Italian spirit. The refreshed brand values what people love most: pasta your way, with a uniquely Italian twist. In doing so, Imperia rolls out a new chapter in its illustrious history.

Imagery by Landor.

The post Landor Milano’s Delicious Rebrand of Imperia appeared first on PRINT Magazine.

And yet, for this year’s Kentucky Derby held in early May, partner and official hard seltzer of the Derby, White Claw, teamed up with the designer brand Homme+Femme and VCCP for an exclusive Kentucky Derby Collection. The main attraction in this collection is undoubtedly the White Claw-inspired windbreaker, dubbed the Clawbreaker, designed in two vibrant colorways.

We found inspiration in the heritage and vibrance of the iconic jockey silks. As a brand rooted in spontaneity, we look for the freshest spin on whatever we do. Exploring what a White Claw silk would look like led us to The Clawbreaker.

Gianmaria Schonlieb, Group Creative Director at VCCP

“We wanted to do something that celebrated the tradition of the Derby but also had our own White Claw spin,” Group Creative Director at VCCP, Gianmaria Schonlieb, said about the Clawbreaker development process. “We found inspiration in the heritage and vibrance of the iconic jockey silks. As a brand rooted in spontaneity, we look for the freshest spin on whatever we do. Exploring what a White Claw silk would look like led us to The Clawbreaker.”

While the fashion associated with the 150-year-old horse race might be a bit stuffy, The Clawbreaker is anything but, though it still harkens to traditional Derby motifs. “We wanted to stay true to ourselves while celebrating The 150th Kentucky Derby,” explained Schonlieb. “We designed this jacket with our brand ethos in mind. It’s designed to be both fashionable and functional, with the structure of the jacket reminiscent of an elevated jockey silk. We used bold colors from our hard seltzer flavors for the reimagined patterns. We incorporated embroidery and patchwork that nods to the legacy of the Derby and White Claw.”

The two colorways took inspiration from the Mango, Black Cherry, Blackberry, and Natural Lime White Claw flavors, chosen with the authenticity of Homme+Femme and jockey silks top of mind. “White Claw” is emblazoned on the back of each in the brand typeface, with detailed patches sewn on the front for added flair. “The patches nod to celebrating the 150th Kentucky Derby,” said Schonlieb. “It’s a unique way to inject the brand into a garment.”

The Clawbreaker provides White Claw’s avid consumer base with a fun and distinctive way to show their White Claw love, all while looking pretty spiffy in the process. “We created a garment that sits at the intersection of fashion, a cultural moment like the Kentucky Derby, and our fans’ love for the brand,” added Schonlieb.

White Claw lovers 21 and older can purchase their very own Clawbreaker for $150 to honor 150 years of Kentucky Derby fashion while supplies last.

The post White Claw Teams up with The Kentucky Derby for a Winning Windbreaker Design appeared first on PRINT Magazine.

Still, as grand as it is, The Book of Colour Concepts 1686–1963 covers, as you can see from the title, just a slice of color in human history. “No book on colour can provide an encyclopedic record with a cultural, historical, geographical and thematic claim for completion,” Loske adds, noting that “metaphorically speaking” this book is “a coat of many colours.” Exploring 67 color “concepts” in nine chapters, in Vol. 1 the authors feature early charts and tables, circles, wheels and globes, the rise of color theory and nomenclatures and standards; Vol. 2 examines the teaching of color, the early 20th century, spiritualism, occultism and music, Eastern color concepts and, finally, the Bauhaus and beyond.

Lavishly illustrated and generously annotated, this book—published in three languages, as is Taschen’s trademark—is not for the faint of heart or the weak of muscle. The volumes are packed so tightly with beautiful art and essential information that reading them on one’s lap will result in 50 shades of black and blue.

But don’t let the bulk dissuade you from getting this book. It is a masterpiece of erudition on and about the brightest virtues of the natural and supernatural world — colour.

The post The Daily Heller: A Lighter Shade of Palette appeared first on PRINT Magazine.