In both advertising and editorial design, great design cultivates the experience, ensuring that each detail is placed with intention. It is the unseen hand shaping perception, making messages not just seen, but felt, remembered, and cherished. Our jurors for the PRINT Award categories of Advertising and Editorial understand design’s power to seduce with story.

Taylor Le

Taylor Le is the creative director at The San Francisco Standard. Previously, she served as newsroom design director at the Los Angeles Times where she shaped visual experiences across print, digital, events, and social platforms. In her role, Le was responsible for leading and cultivating a team of 30 art directors and managers. Before joining The Times, Le’s projects at Medium, AFAR, The San Francisco Standard, and Pacific Standard saw her guiding the art departments through collaborations with multilevel stakeholders to improve processes and develop thoughtful branding and designs. Le is a 2024 Pulitzer Prize finalist and is a recipient of the National Magazine Award for feature photography.

Taylor’s favorite quote is:

“I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.”

Maya Angelou

Mike Nicholls

Mike Nicholls is an Oakland-based award-winning creative director, brand strategist, editorial designer, and visual artist using design as a tool for discovery, inspiration, and community building. He has translated ideas into visionary creative solutions with over 20 years of design experience and natural talent. Nicholls founded Umber, a media and editorial platform highlighting creative perspectives that matter, which has been recognized by AfroTech (Blavity), PRINT Magazine, San Francisco Chronicle, KQED, and Communication Arts.

Miller McCormick

Miller McCormick is a Los Angeles-based graphic designer and art director originally from Pittsburgh. He has worked with Ace Hotel, Apple, Chandelier Creative, Warner Records, The Andy Warhol Museum, and others. In 2023, McCormick founded General Purpose Spacesuit, a small creative studio with an emphasis on ideas, image-making, and visual identity. His artwork has been published in The New York Times.

Every PRINT Awards entry contributes to the ongoing evolution of print design. Whether you specialize in bold advertising layouts or elegant editorial compositions, your work has the potential to inspire others, setting new trends and influencing the next generation of designers.

The post Meet the 2025 PRINT Awards Jury for Advertising & Editorial appeared first on PRINT Magazine.

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

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

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

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

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

Now, how did we get here?

AI Shouldn’t Be a Total Surprise

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

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

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

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

Confronting Reality in An Increasingly Artificial World

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

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

Uh Oh, Is Creativity Dead?

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

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

AI and Branding

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

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

Why the Human Element Matters

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

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

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

Preparing Creative Leaders for an AI-Augmented World

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

AI as a Tool, Not a Replacement

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

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

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

Header iIllustration by Merit Myers.

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

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

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

Matt van Leeuwen

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

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

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

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

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

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

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

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

Populist politics demand a populist color, and red delivers.

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

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

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

And that’s why red will always matter.

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

Known for his graphic adaptation of W. E. B. Du Bois’s The Souls of Black Folk, Peart-Smith, working with seasoned graphic novel editor Paul Buhle, brings a visual depth to the narrative that makes this history both accessible and compelling. Through full-color artwork, complex histories are distilled into powerful, accessible imagery that invites readers of all ages to reconsider the past through the lens of those who lived through it.

The medium of comics and graphic novels creates visual opportunities for complex ideas. … I believe this is a powerful way to engage with young adults, whose worlds are shaped by visuals like never before.

In an age when visual media dominates how we process information, this graphic adaptation is an essential tool for connecting with new generations. It rekindles a crucial dialogue about what we choose to remember — and, just as importantly, what we choose to forget — acting as a bold reminder of the stories often omitted from mainstream narratives, shining a light on the centuries-long efforts to erase Indigenous identities and the equally enduring spirit of resistance.

Whether you’re a student, a historian, or simply curious about the often-overlooked truths of America’s past, this adaptation promises to be as enlightening as it is visually stunning. I found myself immersed not just in the visuals but in the urgency of its message: understanding the past is the first step toward justice. And if that journey begins with a graphic novel, then it’s a journey well worth taking.

I had the opportunity to ask Paul further questions about this important adaptation. Our conversation is below, lightly edited for length and clarity.

What unique challenges did you face in visually interpreting the complex and often harrowing history of Indigenous peoples in the United States, and how did you balance historical accuracy with the artistic storytelling in your illustrations?

I had an idea of the scale of the task, but I’m relatively new to adapting, having done only one prior historical book, so I walked into this project with a little bit of a beginner’s arrogance, or better put, naivety. One of the challenges I faced was the broad scope of the story which covers many years, indeed centuries of events. I had to define a pathway through the historical record to help me choose what I could fit into the book. There was so much I could have used, but in the end, I had to make it my interpretation of Roxanne Dunbar-Ortiz’s great original work.

Given the emotional weight and significance of this history, how did you approach capturing the resilience and perseverance of Indigenous communities over four centuries?

Thank you for the question. This leads me to another challenge of the book: how to show the often violent Indigenous resistance to violent occupation and colonisation, without mythologising violence itself. Comics and graphic novels are known for their use of action to entertain, but this wasn’t that kind of book. I wanted the brutality to land hard, not to be brushed over. Having said that, I had to make sure that the book wasn’t just a tale of Indigenous woe either. There were victories, as well as massive losses. We cover how the population survived, adapted to, and sometimes assimilated within settlers’ culture. We share some of the great speeches made by Indigenous leaders of the past and present, speeches that described and rebuked, the day-to-day reality of exposure to settler influence.

How did your experience with adapting The Souls of Black Folk inform your approach to this graphic adaptation, and what did you find distinct about translating An Indigenous Peoples’ History of the United States into a visual medium?

Well, there were differences and similarities between the two projects. With The Souls of Black Folk, each chapter of the original book written by W.E.B. DuBois was a series of essays collected into one volume. Because of that, I got the opportunity to work in a different style per chapter to separate each essay. In An Indigenous Peoples’ History of the United States, each chapter had a theme, but it was a rolling history so I chose to use different styles throughout the book, unrestricted by chapter. The only rule that I set myself was that I could use whatever means I could to explain the theme to the reader. In practice that meant that some pages required panel-to-panel storytelling that read like a traditional comic, and other pages were illustrations or even infographics, whatever visual tool worked best. 

What role do you believe graphic adaptations, such as this one, play in making critical histories more accessible to wider audiences, especially younger readers?

I hope that they play a major role! The medium of comics and graphic novels creates visual opportunities for complex ideas. We’ve always accepted that in newspaper cartoons, and this historical work builds upon their example. So for adults, there should be no stigma attached to this medium. I believe this is a powerful way to engage with young adults, whose worlds are shaped by visuals like never before. Comics are a quieter medium than TV, video games, and social media, but they “shout” louder than prose from the bookshelves, and lend themselves quite well to video advertising and reviews. I’ve been very pleased with the feedback I’ve seen from YouTube reviewers for example.

Your illustrations are described as evocative and integral to sparking crucial conversations. Were there particular moments or themes in the book that felt especially important or challenging to depict visually?

There were two passages in the original book that I found challenging to depict. The first was showing on the original tribal map of America the trade routes that were cut off by colonizing troops. I wanted to get across the scale of the operation which forced starvation and social breakdown of the indigenous population. I had the map on the first tier of the page and a visualisation of the consequences of the blockades on the people themselves. I wasn’t sure that I had gotten the concept across, and I tried various graphic icons to depict the trade routes, soldiers and tribes. In the end, I went for clarity over “cleverness”, showing the different tribes and reusing the same soldier icon for consistency and to suggest the relentless nature of the colonists. 

The second passage covered the era of self-determination away from the former Western colonies which became more prevalent in the latter half of the 20th century. I wanted to broaden the scope by using examples from other countries who had freed themselves of colonial powers and, in some cases, risked the brunt of colonial backlash. I hinted at this by using the example of Patrice Lumumba, the first independent leader of Congo. If readers are interested further, they can read his story outside the book; it’s well worth the trouble. This global trend swept up and gave great encouragement to Indigenous leaders in America to push for their own self-governance within the United States. It’s difficult to illustrate such big ideas. I gave it my best shot.    

We’re super lucky to have Paul involved with the 2025 PRINT Awards. He’s one of the jury members for the Hand Lettering, Illustration, Graphic Novels, and Invitations category. The next PRINT Awards deadline is January 21st!! Learn more about submitting your work here.

The post Paul Peart-Smith Makes ‘An Indigenous Peoples’ History’ Accessible in Graphic Form appeared first on PRINT Magazine.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Brian Meyers, executive strategy director at Wolff Olins

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

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

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

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

If your major was American history, or you’re a graphic designer, illustrator, or typophile—or a lover of cool handmade stuff—turn the corner to Rep. John Lewis Way and enter Hatch Show Print (it’s through the lobby of the Country Music Hall of Fame and Museum). You’ll see lots of guitars and signage in the unmistakable Hatch Show Print style: clear messages set in BIG sizes of American wood type in bold compositions with several different typefaces, woodcut images, and bright, flat colors.

You’ll likely be overwhelmed by the wall of posters that chronicle stars of country music and the history of Nashville, including 19th- and 20th-century posters for circuses and variety shows. As stated in birthplaceofcountrymusic.org, “This tradition continues with prints, cards, and gifts designed by the shop’s staff who draw inspiration from the vast collection of wood and metal type and hand-carved print blocks created in the shop.”

Hatch Show’s current star is Santa Claus, who dominates the wall and the displays of posters, greeting cards, pillows, and other gift items. For this year’s new poster, he’s in a cowboy hat and boots and carries a guitar.

Other posters celebrate varied interests such as cats, party-going, and sports. During my visit, two men were in a deep discussion about the historical significance of the poster advertising Vanderbilt University’s first football game in 1922.

A 147-Year-Old Family Business

Hatch Show Print—now in its sixth and hopefully forever location, The Country Music Hall of Fame and Museum—was founded in 1879 by Charles and Herbert Hatch. Charles’s son William began managing the shop in the 1920s and relocated it from the Midwest to Nashville, where leading printing companies were located. William grew up learning the craft of letterpress printing, including hand-carving the wood type that is still in use today.

Some of the most memorable Hatch Show Print posters were made for shows in the 1950s, starring Johnny Cash, Patsy Cline, Loretta Lynn, Dolly Parton, Elvis Presley, Willie Nelson, and many more. The collection grew as it added posters for rock musicians from Bob Dylan to Led Zeppelin. In the vintage collection are posters advertising everything from “Your Country Music Station” to local brands of ice cream, house trailers, and gasoline.

For 34 years, beginning in 1984, master printmaker Jim Sherraden—now retired and focusing on his own fine-art printmaking—headed the operation, then a few miles away in downtown Nashville. In Megg’s History of Graphic Design, Philip B. Meggs described Sherraden’s use of “vintage [printing] plates, blocks, and original moveable type—often scratched, dented, or worn” helped to create “an identifiable Hatch aesthetic.”

I had the pleasure of meeting Jim Sherraden in 2004 when he brought a portable Hatch Show to “The Design Conference That Just Happens To Be In Park City.” The three posters I bought and he signed will always hang in my house. It was fun to see them now, printed in different colors, on the shop’s wall.

Last week, after my visit, I had the pleasure of chatting with Celene Aubry, Hatch Show Print’s director and print shop manager since 2012.

“Moving here in 2013 was akin to a local band going on a global tour and making a big record deal,” she told me, explaining that The Country Music Hall of Fame and Museum gets more than 1.5 million guests yearly. Aubry’s staff now includes eleven designers and printmakers. “Although everyone has a computer, there are more letterpress printing presses here than computers,” she said. “Our raw materials are paper and ink. And we only use type that was cut here.”

The books for sale demonstrate that the whole operation really cares about graphic design and typography, both historical and contemporary.

Never obscure the words.

Hatch Show Print’s ethos

700 to 900 Annual Print Jobs

“We make 40 to 60 jobs for the gift shop here and the museum,” Aubry said. The other 700 to 800 are for clients, which includes bands, of course, and for corporations and businesses large and small. Jobs for individuals also factor, such as for family reunions and birthdays. A few years ago, they made a poster for the 60th birthday of the owner of a cigar business—”his staff ordered the run of posters as part of a surprise celebration,” Aubry said.

You might think it’s not affordable for you or your clients. Not true! A run of 100 custom-designed two-color posters is $840 (with four months’ lead time and a clear design brief). You’ll get a careful listen and discussion of the event or theme and desired colors. A black-and-white JPEG proof will arrive via email, and maybe even another proof, should you request any minor changes.

The artists in the shop can add a photograph should the client request it, but the Hatch Show team always follows the dictum, “Never obscure the words.”

See Printmaking in Action

“Folks love everything tactile,” Aubry explained. “Everything here is made by hand, and every ink color is mixed by hand.”

The best way to visit Hatch is to join the official tour. Tours take place in a print shop within a print shop, a classroom Aubry describes as a learning space chock full of posters and letterpress printing artifacts from the shop’s history. Participants see and hear a press up close, smell the ink as it gets mixed and applied to the rollers, and participate in making their own posters. Designer and printer Bailey Walker, below, is one of the guides.

There’s plenty of creativity to spread throughout the year. Hatch Show Print is big on Valentine’s Day, the Fourth of July, and Halloween. “There’s always lots of love-related and sports-related cards and prints,” Aubry said. “Between the shop’s history with local collegiate sports—Will T. Hatch was a big Vanderbilt football fan—and the array of pro sports we have in Nashville, football, hockey, soccer, and AAA baseball, it seems we’re celebrating one team or another with prints.”

Hatch Show Print posters and merch are available in 25 states across the U.S., in places like the New York Historical Society, and at events such as the Los Angeles Printer Fair. Aubry travels and gives talks and workshops. In February, she’ll join students in their print studio at Indiana University. She’ll visit North Carolina’s Blowing Rock Art and History Museum in April to talk about Hatch Show Print during a special exhibition of vintage and antique show posters that tell the story of Blue Ridge music. 

The shop’s website offers a stellar Hatch Show Print design education and shopping experience, even if you can’t make it to Nashville for the season.

The post Say Howdy to Santa in Cowboy Boots at Hatch Show Print appeared first on PRINT Magazine.

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

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

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

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

13 African American Designers You Should Know

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

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

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

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

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

Bianca Bosker

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

What 0.1%? The Undervalued Force of Women Founders

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

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

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

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

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

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

Airbnb “Icons” Bring Imagination to Life

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

Why Bad Design is Good

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

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

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

Editor’s Pick:

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

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

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

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

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

The Dame Persists Undeterred by Human Follies

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

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

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

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

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

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

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

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

Welcome to the DesignThinkers Podcast! Join host and RGD President Nicola Hamilton as she digs into the archives of the DesignThinkers conference, reconnecting with past speakers about their talks and ideas that have shaped Canada’s largest graphic design conference. Follow the RGD on Instagram @rgdcanada or visit them at rgd.ca. Purchase tickets to the upcoming DesignThinkers conference at designthinkers.com.

The post DesignThinkers Podcast: Robert Wong appeared first on PRINT Magazine.

Lovely short film of the recording of Nick Cave and the Bad Seed’s Wild God. Even if you’re not a fan, it’s worth watching just for the gorgeous seventies sci-fi setting of Miraval Studios.

Posteritati’s exclusive collection of 30 original posters from the official Jim Jarmusch archive, each signed by the director himself. I’ll take them all thank you very much. Will come in handy for my regular trip to the barber, where I hold up a picture of Tom Waits and say, “THIS, MAKE ME THIS”.

TWA 001–005 – a collaborative project between studio DR.ME and Oliver Wilson, son of Tony Wilson, aims to bring the largely unseen handmade posters and collected ephemera of the music legend into the public realm.

What is the smallest story? Not the shortest story, but the smallest? Toby Litt on narrative minimalism.

Lithub’s 167 best book covers of 2024. So much wonderful, wonderful work.

Since the late 1950s, David Hurn has been photographing people engrossed in whatever they’re reading, from books and broadsheets to laptops and phones. His new book, On Reading, is a homage to the power of a good page-turner.

It’s Nice That’s Jenny Brewer talks to the team at UsTwo Games about the anticipated threequel Monument Valley 3 and how they’ve integrated more nature into the architectural illusion puzzles. Had no idea this was coming, so this is a wonderful treat for the end of the year.

Why a 1915 reading of a Kipling poem is the cherry on top of the 28 Years Later trailer. I try to avoid trailers as much as possible these days, but couldn’t resist this one.

Always nice when Etsy throws your own forgotten origin story at you from out of the blue. I dread to think how many hours I spent set-squaring and stenciling and transferring with the Crayola Designer Kit – “a unique drafting system for designing your own cars, trucks, airplanes and spacecraft” – circa 1989, but I’m pretty sure it was my first real exposure to the D-word. Anyone else have this thing?

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

Header image courtesy of the author.

The post Meanwhile No. 224 appeared first on PRINT Magazine.

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

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

Brand Collaborations

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

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

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

Packaging Design

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

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

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

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

Juan Carlos Martίnez

In-House Design and Self-Promotions

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

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

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

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

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

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

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

I’ve spent a few years examining how the slippery idea of “modernism” was Americanized and soon, thanks to the work of design historian Prof. Christopher Long, whose book on Lucian Bernhard was a boon to our knowledge of early modern practice, there will be more ingredients for the origin-story-stew. Long’s forthcoming book Modern Americanness: New Graphic Design in the United States 1890-1940 (which will be assessed in depth in a future DH column) questions the mythology and truth of modernism as a tool kit of tropes versus what Paul Rand said was modernism’s fluidity and adaptability. In his view, there was a modern spirit rather than modern commandments. Nonetheless, certain principles fortified and underscored that spirit.

So, back to the debate: Who did what and when is a rabbit hole that I’ll avoid for now. In The Moderns: Midcentury American Graphic Design by me and Greg D’Onofrio, we wrote:

Throughout the mid-thirties and forties, Lester Beall was one of the two most influential American graphic designers—the other was Paul Rand—for having introduced European avant-garde concepts of visual expression into an otherwise decorous American graphic design scene. Beall was fluent at translating into American the Constructivist style of the twenties and early thirties, which was characterized by an asymmetrical layering of words and images, dynamic use of flat color and block type, experimental photography, and iconic/ironic photomontage to achieve both an identifiable style and clarity of message. He developed a personal style, exemplified by the three series of Rural Electrification Administration posters he created for the U.S. government between 1937 and 1941, that was exceptionally and emblematically his own.

In a November talk at Poster House New York focusing on Lester Beall’s iconic Rural Electrification Administration posters, Mark Resnick, a leading Beall collector, asserted that Beall was the outlier of modernism in the USA. Rand said that modernism was not composed of one, but many attributes, notably the rejection of conventions, sentimentality, and cliche; it was an approach that embraced the best of the new and re-imagined old methods. This is best illustrated through these covers of Scope magazine, published by Upjohn Pharmaceuticals, designed by Lester Beall between 1944-1948, employing a range of distinctive styles under a wide modern umbrella that rejects dogma, sentimentality, and cliche in favor of new and old imagining. Scope was a hot house for Beall; its editor, Dr. A. Garrard Macleod, gave him freedom to experiment with photography, montage, illustration and bespoke typography. In the spirit of “modernism” Beall said his goal as a designer was to “pave the way for a new visual approach” that advocated the Bauhaus and The New Typography in America.

The post The Daily Heller: The Scope of Lester Beall’s Art and Design 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.

Welcome to the DesignThinkers Podcast! Join host and RGD President Nicola Hamilton as she digs into the archives of the DesignThinkers conference, reconnecting with past speakers about their talks and ideas that have shaped Canada’s largest graphic design conference. Follow the RGD on Instagram @rgdcanada or visit them at rgd.ca. Purchase tickets to the upcoming DesignThinkers conference at designthinkers.com.

The post DesignThinkers Podcast: Jennifer Kinon appeared first on PRINT Magazine.

It was one of a dozen Q-and-As we did together. He had claimed he preferred this format to giving a lecture. Indeed he was in his comfort zone.

Below are selected clips from the Cooper Union evening event, starting with my introduction of Rand.

Below, Rand responds to W.A. Dwiggins’ critique of modern designers, which he derisively called “those Rand boys,” accused of disrupting typographic conventions and following the Bauhaus approach and tradition (which Rand called “very vague.”)

Rand discusses the role of intuition and play in art and design, below. “I just like being playful,” he said.

Rand on art schools in general, the content of textbooks, and the teachers, “of course.” Most teachers, he said, talk about technique, biography, and if lucky, aesthetics and beauty, another vague topic, which is usually drowning in sentimentality . . . (below)

On Rand’s first introduction to the Bauhaus, which was never mentioned in art school (below). Rand told his mom he wanted to go. “Fortunately we were too poor . . . ,” or Mr. Hitler would have got him, he said.

In this last clip, Rand discusses the role of imitation in art and design — in fact, the necessity of doing so. “Even Picasso imitates,” he said. He also talks about the need to have good — enthusiastic — clients in order to do good work. “I don’t know how you get them,” he noted, “you just have to be lucky.”

The post The Daily Heller: Excerpts From Paul Rand’s Penultimate Public Conversation, 1996 appeared first on PRINT Magazine.

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

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

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

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

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

Caroline Fox, Koto creative director

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Welcome to the DesignThinkers Podcast! Join host and RGD President Nicola Hamilton as she digs into the archives of the DesignThinkers conference, reconnecting with past speakers about their talks and ideas that have shaped Canada’s largest graphic design conference. Follow the RGD on Instagram @rgdcanada or visit them at rgd.ca. Purchase tickets to the upcoming DesignThinkers conference at designthinkers.com.

The post DesignThinkers Podcast: Michael Johnson appeared first on PRINT Magazine.

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

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

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

Categories for 2025

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

Learn more about the 2025 PRINT Awards categories.

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

Citizen Design Award

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

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

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

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

Our 2025 Jury

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

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

The 2025 PRINT Awards Presenting Sponsor

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

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

Dates and Deadlines

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

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

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

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

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

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

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

Alex Center

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

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

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

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

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

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

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

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

Alex Center

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

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

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.

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

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

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

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

Project Credits

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

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

Those who were there remember that compulsive uncovering of the new. Take the genres of the time—jungle, ragga, drum n’ bass, goa trance, hard house, French house, tech step, hard step, and on and on. The distinctions don’t seem important now, but at the time this was important stuff. Once a sound was conquered, the rules and norms were drawn up, and with boundaries in place, they were abandoned for new sounds.

Amongst all that discovery, no one took sound farther afield than a group of electronic musicians in Cologne in the mid-1990s, and one designer was responsible for creating their record art. From their perch on the shelves of the new and still slim electronic music section of the record store, Frieda Luczak’s designs pulled us in and introduced us to the new and indescribable.

Her covers from that time capture what brought people to that specific type of left-field music. Not a love of technology, but a new form of beauty that only technology could allow—an alien kind of beauty.

“Frieda is a curious mind,” says Jan St. Werner of the electronic duo Mouse on Mars, “as modest and cautious as she’s into change and new ways to see and do things.” She doesn’t have much of an ego, he adds, “We surely forgot her name a few times on projects, sleeves, etc. and she had never been upset about it.” Luczak who describes herself as “much fantasy, much anxiety,” was born in an evolving rural Düsseldorf that was home to a strange mix of professional commuters and villagers. A next-door neighbor would shoot into a cherry tree to keep the birds from eating the cherries. There, she was first exposed to design through the Letraset letters her father, “an architect with talents in designing futuristic living spaces, but with two left hands,” used for his building plans.

After a rigorous design program at university, she took a break and moved to Cologne, where she would fall in with a community centered around A-Musik, an independent record store and label for experimental music. In the avant-garde, she says, “Money isn’t the key, but changing views of what beauty is.” Amongst their activities—exhibitions, publications, filmmaking, and concerts—Luczak soon found herself as their cover artist. After being introduced by another designer, Mouse on Mars instantly knew they wanted to work with her. She became the designer for Mouse on Mars, St. Werner’s solo work, his label Sonig, and other associated acts, making covers, posters, stickers, ads, and merch.

Her covers from that time capture what brought people to that specific type of left-field music. Not a love of technology, but a new form of beauty that only technology could allow—an alien kind of beauty. Inspired by the destructive punk art and home computer craft, and after what she calls, “absolutely unleashed discussions about why one detail is more inventive than another,” she designed some of the most beautiful and imaginative record covers of the ‘90s. “We wanted to have no reference to anything we had previously done,” she said. St. Werner recalls “playing her our music, telling her the ideas we had around the songs, how they had come about technically, the threads and revelations we had while recording them.” These discussions could have gone on for years and only stopped because of deadlines. 

“We never thought of sleeve art as something that would sell the music,” St. Werner says, “but rather [it would] tell its own story in dialogue with the music.” Tom Steinle, who hired her to do covers for several Tomlab records for artists like The Books, also says Luczak’s work was “a second artistic layer,” but adds that she “had a talent for developing a brand for the musician.” 

I first encountered Luczak’s work in a small record store in a small Vermont town. It called to me plain and simple, probably because it looked absolutely nothing like trees. Life in Vermont, and all printed matter associated with it, looks like trees. Logcabin.ttf, I’m looking at you. Luczak’s work was pure alien. How did this weird music and art make it from Cologne to New England? Like all great artistic revolutions this period had a lot to do with the supply chain. Specifically, CDs, those beautiful iridescent disks where music was data. The profit margins were much greater, and CDs could be produced much quicker, so the major labels installed CDs as the ruling format of the era. With the addition of new digital recording and mastering technologies, suddenly the overhead for an independent record label became much lower. If you had a unique vision, you could have one tool. Maybe more than punk, this was independence. CDs, that’s how new ideas were distributed and conversations could play out between restless artists across the world.

Luczak created the packaging for influential albums by Markus Popp, recording under the moniker Oval, whose early records were constructed out of sounds from scratched CDs. Popp would talk about “music as software” and “file management.” That sounds pointy-headed, but the records are carefully composed, abstractly beautiful, and quite listenable despite coming with a hefty thesis. But that listenability was obvious from Luczak’s album art. Using a copy of Cinema4D, which she didn’t quite know how to use (and which looked very different than today’s C4D), she built lush, organic landscapes out of pixelated 3D forms and somehow seemed to reference both Cy Twombly and Microsoft Excel graphs. The writer Mark Richardson, who wrote a feature on Oval’s second album for Pitchfork 20 years after its release, describes it as, “the tension between digital precision and the uncertainty of nature… Luczak’s imagery captured this dichotomy beautifully.”

Tim Saputo, a designer and former Art Director of electronic music magazine XLR8R, says that her records, “tap into an impossible beauty, objects and color bloom and blur. They suggest a freeze frame of some kind of dance, there is so much movement and beauty, and I think it lends those Oval records a certain softness and expansiveness that I don’t know if it would be present if it wasn’t presented with such grace.” 

There seems to be so much depth to these covers because they were mere snapshots of an expansive world developed through a years-long collaboration between Luczak and Oval. Popp explains that he would imagine a scene—a virtual location—and then Luczak would attempt to realize it. They would explore and document this environment by capturing stills using the software’s virtual camera. “We developed these fantastical 3D worlds, following the logic of an imaginary… game engine.” He points out that this was “decades before 3D game engines like Unity were on the horizon” and adds that he doubts Luczak has ever played a modern immersive video game.

Her designs and design language would also extend to the user interface of Oval’s Ovalprocess software, an interactive musical tool that allowed users to create their own version of Oval’s music. This software was made available in several art installations that featured a large sculptural kiosk—a small part of the world they built made tangible through 3D printing.

Left: Ovalprocess software’s user interface, 2002; Right: The Ovalprocess software’s help screen, 2002

Her work for Mouse on Mars is some of her most noteworthy. Like the band itself (which can go from a sound that I can only describe as a “tiny squish” to a full marching band in a matter of seconds), her work dips in and out of abstraction and joyful associations. Her cover for the US release of Niun Niggung features a crude, amoeba-like 3D hairbrush combing what is presumably hair. As a bonus, the liner notes were a fold-out poster of the hairbrush in an oddly intimate position with another hairbrush. St. Werner suspects but does not know for sure, that the cover features an image of Gerhard Schröder, the German chancellor at the time. Unlike the maximalism of this 3D work, her designs on their Idiology and Agit Itter It It albums were flat black-and-white dadaism via MacPaint and seemed to predict the anti-design of studios like Hort.

Left: Cover of Niun Niggung (1999) by Mouse On Mars, released by Thrill Jockey in the USA; Right: Poster insert of Niun Niggung (1999) by Mouse On Mars, released by Thrill Jockey in the USA.

Left: Cover of Agit Itter It It (2001) by Mouse On Mars, released by Thrill Jockey in the USA; Top right: Cover of Diskdusk (1999) by Mouse On Mars, released by Sonig in Europe; Bottom right: Record label of Diskdusk (1999) by Mouse On Mars, released by Sonig in Europe.

Today, Luczak has no social media (“too shy,” she says) and primarily focuses on corporate design work. One of her most important clients is a funeral home. She tells me, “The key is empathy and modernity,” when working with a funeral home. While the music industry has changed, and there’s less design floating in its orbit, she’s still designing records. The back cover of  Kid Millions and Jan St. Werner’s Imperium Droop is a pattern that is hard to place. It could be Mesoamerican-inspired? Or maybe thermal imaging of a refrigerator evaporator coil? From this pattern, two glyphs are placed on the front cover, perplexing, totemic, and mischievous as ever.

Left: Front cover of Imperium Droop (2021) by Kid Millions & Jan St. Werner, released by Thrill Jockey; Right: Back cover of Imperium Droop (2021) by Kid Millions & Jan St. Werner, released by Thrill Jockey.

I no longer have a CD collection, but I do have one CD, Oval’s Szenariodisk—a digipak, made of print cardboard that, unlike a plastic jewel case with a locking mechanism, swings open naturally like a book. For this article, I had to rebuild this design from Luczak’s ancient QuarkXpress file and discovered a beautiful hidden forest. Not a metaphorical forest of meaning, but an actual photo of a forest hidden in the design, mapped onto 3D cubes. Twenty-five years later, I fell in love all over again. 

Left: Record label of Szenario Europa (1999) by Oval, released by Form & Function in Europe; Right: Record label of Szenario USA (1999) by Oval, released by Thrill Jockey in the USA. Note the subtle type changes.

Why is this work so interesting all these years later? Tom Steinle explains it like this (although many others I spoke to said the same thing): Luczak always focused on the content of the object she was designing, not what was happening around her aesthetically at the time. What was happening around her at the time? Mostly the cool, ironic corporatism best embodied by studios like The Design Republic. TDR loved to revel in the transactional nature of the whole thing, but, to be fair, that was another thing CDs are known for. Luczak’s work isn’t couched in irony—she seems unable to approach anything with irony. Her work is earnest and big-hearted. And so this is a story of genre. You can borrow some of the genre’s energy, some of its buzzy interest, and put it right into your own work free of charge. But that energy is on loan and you must give it back. One day, sooner than you think, it will look tired. This is what the economic philosopher Thorstein Veblen describes as “the process of developing an aesthetic nausea.” And it is doubly true if you borrow from a genre in revival. Luczak never touched that genre stuff; she was too curious for that, and it helped that the musicians she worked with were too. This is the real work of creativity: to make the unknown so beautiful and intriguing that we are lured farther and farther into the new.

Phillip Nessen is a Brooklyn-based designer, strategist, and educator. He is the founder of Nessen Company, a studio with a focus on building distinctive, performant brands and consumer packaged goods.

Header image: Promotional poster for Ovalcommers (2001) by Oval, released by Form & Function in Europe.

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If you’re curious to see and read more about the 2012 DesignThinkers branding, you can do that here.

Welcome to the DesignThinkers Podcast! Join host and RGD President Nicola Hamilton as she digs into the archives of the DesignThinkers conference, reconnecting with past speakers about their talks and ideas that have shaped Canada’s largest graphic design conference. Follow the RGD on Instagram @rgdcanada or visit them at rgd.ca. Purchase tickets to the upcoming DesignThinkers conference at designthinkers.com.

The post DesignThinkers Podcast: Tina Mackenzie RGD Emeritus appeared first on PRINT Magazine.

Mostafa Asadollahi was among the first graduates of the Graphic Design program at the Faculty of Fine Arts, University of Tehran, in 1976. Unlike the previous generation of graphic designers, mainly painting graduates, Asadollahi studied graphic design academically, though he had previously studied painting at the Tehran School of Fine Arts. Asadollahi found influence in teachers such as Morteza Momayez and Jalal Shabahangi in the field of graphic design and by professors like Karl Schlamminger, Rouin Pakbaz, Sima Kouban, Violette Mottahedeh, and Parviz Tanavoli, who taught the foundations of art. He describes that period: “Part of the exercises in college were related to the pure and essential expressions of graphic design, where we sought concepts. There, I developed an interest in simple and unadorned graphic design: the fewest fonts and colors for the greatest expression.” Subsequently, Asadollahi’s graphic design oeuvre draws on geometry, which is influenced by modernism and constructivism. His refined approach later incorporated classical Iranian art, making him one of Iran’s most unique and celebrated graphic designers.

Clockwise, from upper left: (1) Poster, The 9th Tehran International Poster Biennial, 2007; (2) Logo, Tehran International Poster Biennial, 2004; (3) Poster, Book Week, 1993; (4) Logotype, Kalameh weekly magazine, 1992; (5) Logotype, International News Network, 2001

Mostafa Asadollahi’s influence in my life reflects his generous nature and professional character as a mentor, graphic designer, friend, and colleague. All three roles hold equal priority; just as his role as a designer was of particular significance, his roles as a teacher and colleague were equally important. Asadollahi’s aesthetic, which made use of the three primary shapes, makes me think of each as an aspect of his influence: squares symbolizing his role as an educator, triangles a nod to his identity as a designer, and circles encompassing his professional persona.

Mentor

My most fundamental relationship with Mostafa Asadollahi involves his mentorship. He was one of the most influential, disciplined, and capable instructors during my studies at the College of Fine Arts at the University of Tehran in the 1990s. Having dedicated nearly three decades of his professional life to education, his passion for teaching was evident, paying attention to each student’s needs and supporting their growth. He was a beloved educator. His classes, especially those on poster and packaging design, are fond memories of my studies in the early 1990s. Asadollahi modeled strategy, discipline, and structure in the graphic design practice, which significantly impacted my work. His authorship of three books from the “Graphic Design Fundamentals for Visual Communication” series, including Environmental Graphic Design (2016), The Language and Expression of Imagery (2018), and Poster Design (2022), is the result of over five decades of teaching and professional experience.

Graphic Designer

Following in the footsteps of great designers such as Sadegh Barirani, Morteza Momayez, Ghobad Shiva, Mohammad Ehsaei, Farshid Mesghali, and Ebrahim Haghighi, I found Mostafa Asadollahi to be a uniquely distinguished graphic designer. Initially, I found his works overly rigid, but as I became more familiar with his perspective, I realized that he was a graphic designer unlike any who came before or after. One of his most brilliant works, a poster for the 5th Biennial Exhibition of Works by Iranian Graphic Designers (1996), helped me grasp the depth of his point of view as a graphic designer. In the poster, the tree balances simplicity and visual complexity, a nod to the dynamism of the graphic design profession. This work opened my eyes to his earlier poster masterpieces—such as the one for the Iranian Cultural Exhibition in Almaty (1992) and later works like the Book Week poster (1997). Asadollahi also designed remarkable logos for various companies and institutions, including Asia Insurance (1990), International News Network (2001), and the Tehran International Poster Biennial (2004), which, after nearly three decades, remain fresh, effective, and relevant.

Left: Poster, Exhibition of Iranian Culture in Kazakhstan, 1992; Right: Poster, Book Week, 1997

Logotypes: (Top) Day Bank, 2009; (Bottom Left) Asia Insurance Company, 1990; (Bottom right) Taban Printing, 1996

Friend and Colleague

The Iranian Graphic Designers’ Society (IGDS), established in 1998 through the persistence of Morteza Momayez and the collective efforts of several graphic designers, played a significant role in my relationship with Mostafa Asadollahi as a friend and colleague. During the three years (2003 to 2006) when he served as the board of directors president, I had the opportunity to work closely with him as the board treasurer. At that time, in addition to teaching and his professional graphic design work, he dedicated a large portion of his daily schedule to guild activities, organizing, and managing the profession of graphic design. This aspect of his personality reminded me that graphic designers must pay attention to industry and professional matters alongside their educational and professional responsibilities to ensure strong and enduring societies (outside of the governmental realm).

Posters, left to right: Commemoration of the Cultural Heritage & the International Museum Day, 2002; Polish Posters 2, 1973; Poster, Coffee-House Painting Exhibition, 2007

In 2019, when he was living in Toronto, his collection of works, Fifty Years of Graphic Design by Mostafa Asadollahi: 1968–2018, was published in Tehran. I brought him a copy on a trip to Toronto, but I couldn’t resist asking if I could open the package to have the first look. It was a fitting and comprehensive look at Asadollahi’s life and career. Though Mostafa Asadollahi, the patient teacher, brilliant graphic designer, and my responsible friend and colleague, is no longer with us, his legacy lives on among Iran’s most influential graphic designers.

Majid Abbasi is the design director of Studio Abbasi, an internationally active studio based in Tehran and Toronto. He leads design projects for start-ups, non-profits, and cultural institutions, specializing in visual identity and wayfinding. A member of IGDS and AGI, Abbasi contributes to the global design scene as an instructor, jury member, and writer. From 2010 to 2020, he was editor-in-chief of Neshan, Iran’s leading graphic design magazine. He is currently editing a book on the history of Iranian graphic design.

The post Remembering Mostafa Asadollahi (1950-2024) appeared first on PRINT Magazine.

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

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

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

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

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‘Tis The Season For Sustainability

It’s often said that if you’re seeking something but can’t find it, the best option is to create it yourself. Libby Hampel followed that advice when founding MASU, a company that reflects her passion for design and the environment in a line of gift-wrapping paper that’s made in America, 100% recyclable, and bold in design.

Hampel, a Columbia, Missouri resident, began her design journey studying and experimenting with surface pattern designs like fabric and wallpaper and eventually transitioned into textile design. She spent many years developing her trademark design style and sense of color that, coupled with an eco-friendly profile, has won the MASU brand a devoted following.

In keeping with Hampel’s personal ethics and principles, MASU sources only recyclable and sustainable materials throughout every facet of the production process – from packaging and shipping containers to the paper itself. For its key element, MASU relies upon the New Hampshire-based and family-owned Monadnock Paper Mills. The over 200-year-old mill is the oldest continuously operating paper mill in the U.S., a longevity matched by the company’s deep commitment to sustainability. Monadnock’s Astrolite 100 PC Velvet coated paper is made of 100% PCW recycled content and is ideal for coated fine text and cover applications. Hampel found that the ink doesn’t absorb into the high-quality coating of the paper, making her designs and colors really pop.

MASU’s core values are reflected in all facets of the company’s operation, including its name. In Japanese there are two words for giving: agemasu and kuremasu. Agemasu is used when you are giving to someone, while kuremasu is used when someone is giving to you. True to Hampel’s vision, MASU embodies all forms of giving, and the result is wrapping paper that looks good, feels good, and does good.

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“Letters are magic” is the watchword of Jessica Hische, one of the world’s leading lettering artists. “Letters are an amazing playground,” she says, “a playground for art and creativity. They’re an art form that gets kids — and everyone — believing they’re artists.” But it’s inaccurate to call Hische “just” a lettering artist. She’s a bestselling author, a graphic designer with an enviable client list, and an illustrator with a delightfully sophisticated style.

She’s also the mother of three school-age children, which gives her an insider advantage when it comes to creating books that kids will love and parents will want to buy (and read aloud and collect and display). It’s no accident that her books‚ which are one hundred percent Hische productions from the cover and spine to the acknowledgments page — have sold up to 200,000 copies each.

On October 22 — that’s next Tuesday — her fifth picture book, My First Book of Fancy Letters, will be released by Penguin Random House, and Hische is currently on tour.

What places does she most enjoy visiting? Elementary schools, of course, like the two pictured above, where she’s introducing her 2021 New York Times bestseller Tomorrow I’ll Be Brave. “Kids at first don’t know what a lettering artist is,” she explains. (For a detailed explanation yourself, please see her 2015 book In Progress: Inside a Lettering Artist’s Process from Pencil to Vector.)

To break the ice at a school visit, Hische might ask, “Who has letters on their shirt?” Many kids always raise their hands, so she explains, “An artist drew those letters and made them into what they wanted to express.”

She then demonstrates that letters can have all kinds of forms and meanings. As long as the basic shape of the alphabet letter is clear, it can be Athletic, Bubbly, Creepy … or whatever you, the artist, want it to be. I personally appreciate that each letter is shown as a grown-up capital and a baby lowercase because 95 percent of the letters we read in text are lowercase. Kids who start first grade only knowing the uppercase letters are at a big disadvantage.

Spreads ABC and DEF from My First Book of Fancy Letters, © Jessica Hische, 2024

Hische might then ask, “What’s your favorite thing?” If a student says, “a rainbow,” she might encourage them to draw an ‘R’ made from a rainbow, like the one in the spread below. If another student answers, “A rocket ship,” you can already visualize the kind of ‘R’ the child will draw. This game has only one rule: you must draw the alphabet letter that matches the concept or word. So, if the word is “Prickly,” like in My First Book of Fancy Letters, in which each letter illustrates an adjective, the ‘P’ is a prickly green cactus.” The ‘F’ is definitely Flowery. And the ‘Y’ is as Yummy as a cookie with pink icing and sprinkles.

Spreads PQR and XYZ from My First Book of Fancy Letters, © Jessica Hische, 2024

“I’m not there to sell books,” Hische says of her school visits. “I’m there to inspire the kids, especially when they’re still at the age when their brains are mushy sponges. Even if the book is not specifically about letters, they’ll walk away inspired to draw letters.” Her way of organizing a talk or pitch — totally involving the audience in a creative process — could be a model for all of us.

A quick stroll through Hische’s website tells you that “lettering artist-author-designer-illustrator-mom” is still an incomplete bio. Hische is a true entrepreneur. In addition to 20 years — and counting — as a design firm principal, creating logos, posters, book jackets, packaging, and all kinds of cool stuff like holiday cookie jars for A-list clients, she owns two retail stores in her adopted hometown of Oakland, California. She describes Drawling as a kids’ art supply store and Jessica Hische &Friends as a showcase for her books and lots of flourish-y things she’s designed: limited-edition prints, posters, apparel, jewelry, and note cards. Many of the products are on the ‘shop’ section of her website, where font packages of her six original typefaces are available for sale and download — so that you, too, can design with very fancy letters.

A few examples from the extensive Jessica Hische portfolio. (l-r) Top row: Spread from the book Tomorrow You’ll Be Brave; Popcorn can from the Neiman Marcus 2022 holiday packaging suite; Poster for all-star Scott Rudin film. Center: Neiman Marcus Christmas cookie jar, based on a ceramic tree that Hische’s grandmother put out every holiday season; Promotion for a master class she teaches for Skillshare featuring her hands refining the Mailchimp logo. Bottom: Poster for the American Red Cross encouraging vaccination; Main title design and poster for Lionsgate film; Poster for Comcast used as set decoration in a film in which E.T. reunites with Elliott’s earth family; Limited-edition print.

Hische is the first to admit that from kindergarten on, she was the one whose art was most often displayed on school bulletin boards. After attending public schools in the small town in Pennsylvania where she grew up, she became “a design major who did illustration on the side” at Tyler School of Art in Philadelphia, graduating in 2006 with a BFA. In 2007 she came to New York to be a junior designer at Louise Fili LTD, bringing her own historically-based swashes and ligatures to the firm’s work in logo, book, and postage stamp design. Not surprisingly, the job soon became a full-time senior designer position.

“When I’m looking to hire a designer,” Fili says, “I want to see at least one portfolio piece that I wish I’d done. Jessica’s was a set of postcards for the Twelve Days of Christmas, a showcase of her skills. From day one here, she was fearless. To anything I asked of her — Can you make this type look like spaghetti? Like embroidery? Oatmeal? Ribbons? — I received an affirmative response. And the lettering was always, of course, perfect.” 

In 2009, Hische began freelancing in New York, making a name for herself and winning just about every award and accolade in the business. In 2011, her husband, the musician and web designer, now Meta design director Russ Maschmeyer, was hired by Facebook, and they moved to the Bay Area.

Hische and Maschmeyer began growing their family in 2015, now with kids aged nine, seven, and five. “I have a complicated life,” she admits, “but I could never miss one of my kids’ first steps or birthday parties. We’ll even make the cake together. Part of the reason I’ve kept my businesses small — mostly just me — is to have a ton of flexibility around family stuff. I love going to their school plays, volunteering at the school, and bringing them to sports. I’m even taking karate with my middle son!”

Letters are an amazing playground.

Jessica Hische

Portrait of the family, © Rasmus Andersson

What are the most important things Jessica Hische wants everyone to know? One: that every letter in her books is hand-drawn, first in pencil, then in Illustrator or Procreate. Other than the glyphs in the font packages, each letter is a unique work of art. Two: that she hopes that the kids (and grown-ups) on your gift list will make their own fancy letters. And have lots of fun doing it.

With Hische, even an interview can be lots of fun.

Images courtesy of Jessica Hische, except where noted.

The post Letters are Magic in Jessica Hische’s New Children’s Book appeared first on PRINT Magazine.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Welcome to the DesignThinkers Podcast! Join host and RGD President Nicola Hamilton as she digs into the archives of the DesignThinkers conference, reconnecting with past speakers about their talks and ideas that have shaped Canada’s largest graphic design conference. Follow the RGD on Instagram @rgdcanada or visit them at rgd.ca. Purchase tickets to the upcoming DesignThinkers conference at designthinkers.com.

The post DesignThinkers Podcast: Dominic Ayre RGD appeared first on PRINT Magazine.

Visual effects magazine befores & afters looks at the impressive array of seamless VFX shots in Ripley.

More gorgeous photography – Richard Weston and family follow in the footsteps of Mr Ripley along the Amalfi Coast.

More Farrow-meets-Kubrick than the rest of Richard’s pics, that up there is Anish Kapoor’s Dark Brother at Museo Madre. No family holiday is complete without a big black hole in the ground filled with nothingness and despair.

Back in Blighty, The World of Tim Burton is opening this month at the Design Museum. I’m very much “love the early stuff, and then … ehh” on Burton², but heck, I’ll still lap this up. Can’t wait to see the range of gift shop merch. I love gift shop merch.

The Folio Society have continued their Dune series with a new edition of Children of Dune, illustrated by Hilary Clarcq. At some point I’m going to get all three of these books and make a little sandy shrine to them.

Pretty certain that Harold Fisk’s Meander Maps of the Mississippi River (1944) are some of the most beautiful images ever made. Do I need one of these on my wall? If so, which one? All of them, you say? Every wall? FINE.

A brief history of a graphic design icon: Chip Kidd/Sandy Collora/Tom Martin’s Jurassic Park logo. Features the greatest fax of all time.

Very pleasantly surprised to find myself alongside other fantastic newsletterists in this week’s Substack Reads digest, curated by Coleen Baik.³ Apparently I’m a “known quantity in design circles” and should be enjoyed with a dirty vodka martini. This is all I’ve ever wanted.

An LP a Day Keeps the Doctor Away – excellent guest post by Rachel Cabitt on Casual Archivist, delving into the world of educational record sleeve art.

“I have been told to stop stealing muffins from the bakery. Unfortunately, it’s the only way to keep my lucrative muffin stand in business. Everyone is fine with this.”

That is all.

1. If anyone needs me, I’m out here perishing on the “remakes and re-adaptations are distinct cultural entities that each deserve their own critical discourse” hillock. ↩︎
2. Slavishly copying Burton’s art occupied most of my time at school. Ideally, this show would have one room dedicated to nothing but nineties teenagers’ exercise book doodlings of stripy snakes and Edward Scissorhands. ↩︎
3. This has created quite a spike in subscribers, which will immediately correct itself the moment I hit Send on this thing. Nothing loses you newsletter subscribers quite as effectively as sending a newsletter to your subscribers. ↩︎

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

Header image by Osarugue Igbinoba for Unsplash+.

The post Meanwhile No. 212 appeared first on PRINT Magazine.

On a recent three-week visit with my family, I noticed something else: Chiang Mai University has substantial buildings housing a College of Digital Innovation and a College of Art, Media and Technology. A visit to the TCDC, the Thailand Creative and Design Center, demonstrated that the government fully and publicly supports design as a catalyst for social and economic growth.

The country has invested in architecturally notable buildings that are comfortable places to research, teach, work, and present the results.

TCDC Chiang Mai has the largest design library I’ve had the pleasure of visiting (pictured above and below).

The periodicals ‘corner’ offers hundreds of magazines.

Exhibits at the entrance and throughout the space share design-related news and events across Southeast Asia (like the color-focused vignette, above).

Visitors and members can access a database with more than 8,000 files of textiles (like this sample of waterproof, biodegradable wall covering material composed of 98% banana fibers, above) and building and construction materials.

It is not only study and research that is taking place. Chiang Mai Design Week 2024, December 7 – 15, the website on the monitor above, is promoted as a “festival” with exhibitions, music and performance events, talks, tours, workshops, and a marketplace.

There are dedicated spaces for conferences, seminars, and training. Media rooms are available for designers and entrepreneurs to present their concepts and products.

There are dedicated spaces for conferences, seminars, and training. Media rooms are available for designers and entrepreneurs to present their concepts and products.

A permanent exhibition of 300 fascinating Thai-made materials for construction and manufacturing demonstrates why Thailand is considered a leader in developing and producing eco-friendly materials. A sign invites local artisans and manufacturers to submit samples for selection in the Material ConneXions database for viewing worldwide. Brands including Adidas, BMW, Chilewich, Logitech, and Puma, have created products using materials displayed in the centers.

Two examples of how Lanna handicrafts are transformed into consumer goods. (“Lanna” means “millions of rice fields” and refers to Northern Thailand, where Chiang Mai is located. It’s also the name of the dialect people in rural areas speak.) This high-performance shoe (above left) is made from black-and-white woven stretch fabric that appears to be made of tiny metal spheres. The bench (above right) is crafted from paper made from pineapple fibers and formed over a steel frame.

Samples in the exhibit include (clockwise from top left) a material for applications like floor mats made from small linked blocks of local hardwood; art paper made from mulberry fiber dust; a patterned textile that blocks light, heat and UV and electromagnetic rays; pesticide-free upholstery fabric made from organic wool and ramie; paper made from long inner fibers of plants; Korean ‘hanji’ mulberry paper with a three-dimensional, reflective pattern.

Three Branches, One Country

The TCDC was established in 2004 by a royal decree —Thailand has a 700-year-old monarchy, considered a pillar of stability and identity — for “Establishing the Creative Economy Promotion Agency.” It operates under the office of the Prime Minister “to serve as the country’s premier learning resource center for design and creativity, providing comprehensive knowledge of design-related matters.” The original and most extensive branch is in Bangkok’s historic Grand Postal Building. The Chiang Mai branch I visited was designed by DBALP (Duangrit Bunnig Architects Limited) and opened in 2013. It calls itself “the first public learning center in Northern Thailand, … an education resource to develop creativity among entrepreneurs, designers, students and interested members of the general public.” The newest center, in Khon Kaen, a province northeast of Bangkok, opened in 2020 “to promote creativity at the regional level and drive economic and social growth” in collaboration with Khon Kaen University.

The three branches — in one country about 30 percent smaller than Texas — offer access to all the resources described here, including more than 70,000 books, 170 magazine titles, and 500 multimedia files. There are various levels of annual membership, ranging from (converted from Thai Baht) $18 (student) to $4500 (corporate). A visitor’s day pass is $4.50.

Reaching Out to the Public

As I left, I was handed a six-page questionnaire “to evaluate the benefits and satisfaction received.” It queried my age, gender, highest educational level, and occupation. Then, I was asked to state the reason for the visit, from “participate in trainings” to “get new inspiration and ideas.” The survey asked me to rank everything from the location to the signage, the knowledge and enthusiasm of the staff, to the way the books and material samples are organized. The last page provided ample space to suggest improvements.

My suggestions: Why not include books by or about American and British designers? I spotted nothing by The Partners, Neville Brody, Paula Scher, Stefan Sagmeister, or Milton Glaser. The shelves could benefit by including copies of Henry’s Wolf’s Visual Thinking and Pentagram’s Ideas on Design. The magazine corner might feel more complete with issues of Communication Arts and Eye. But that’s just personal, Western prejudice.

Then again, couldn’t [insert any US design center or materials library] benefit from including some of these Thai design resources?

The arrangement of objects in this window at TCDC Chiang Mai — with a view of the surrounding hills and traditional tile-roofed buildings — sums up Thailand’s commitment to transforming generations of local handcrafting expertise into useful and beautiful products that drive economic growth.

Imagery courtesy of the author.

Where else in the world can you discover design centers and museums? Here are a few ideas:

China — OCT Design Museum, Shenzhen
An avant-garde space for exhibitions of fashion, product, and conceptual automotive design — within an eco-development that combines tourism, entertainment, shopping, lodging, dining, and nightlife with elements of local culture.

Denmark — Designmuseum Danmark, Copenhagen
The objects and exhibitions present Denmark as a country strong on design — from Lego bricks to Arne Jacobsen’s Egg chair — and emphasize how good design makes the world a better place to live.

England — The Design Museum, London
Founded in 1989 by Sir Terence Conran and devoted to design in every form, this museum even offers a master’s degree program in Curating Contemporary Design.

Germany — Bauhaus Archiv Museum of Design, Berlin
A new home for the collection of Bauhaus objects — some one million paintings, photographs, plans, models, graphic works, and archival records — is currently under construction to preserve and promote the legacy of the Bauhaus, founded by Walter Gropius in 1919.

Italy — Museo del Design Italiano, Milan
This 100-year-old institution is in the Palazzo dell’Arte. The permanent exhibition features iconic pieces in the history of Italian design — lots of fashion and furniture.

Singapore — Red Dot Design Museum
Promotes good design for business via an important international annual competition awarding the best in 35 categories including, products for babies and children, mobile phones, tools, and medical devices.

South Korea — Dongdaemun Design Plaza | DDP
“Dream, Design, Play DDP.” Designed by Zaha Hadid with undulating walls that house, in addition to a design museum and lab, conference and public spaces “where global citizens can share and enjoy the value of design.”

The post Transforming Traditional Handcraft into Economic Growth in Thailand appeared first on PRINT Magazine.

While this client work comprises the crux of Chermayeff’s legacy, he maintained a lively personal art practice on the side, primarily using mixed media collage and printmaking techniques. Following Chermayeff’s passing in 2017, his family generously donated more than 700 pieces of his original art to SVA’s Milton Glaser Design Study Center and Archives.

To showcase these unique pieces and honor Chermayeff’s lesser-known artistic prowess, SVA Galleries and the SVA Archives have curated an exhibition of these works entitled “Copy, Cut + Paste: The Visual Language of Ivan Chermayeff.” On view through October 1 at the SVA Gramercy Gallery in New York, the exhibition presents nearly 50 of Chermayeff’s collages, a number of early works, works in progress, and professional works— plus some finger paintings! The show was curated by SVA Archives’ Head of Archives Beth Kleber and Assistant Archivist Lawrence Giffin.

“Collage makes it possible for everything to be something else.”

Ivan Chermayeff

As a lifelong mixed-media collagist and collector, Chermayeff incorporated many of the objects he found into both his personal and professional work. The pieces shown within “Copy, Cut + Paste: The Visual Language of Ivan Chermayeff” exemplify his playful and experimental point of view and the way in which he used collage and mixed media to unlock new ways of seeing.

“I love the idea of discovering that two things that have no relationship are the same size and color. It’s like a chef who discovers that bananas are perfectly okay with fish—there are new relationships that when made, come to life,” Chermayeff once said. “Collage makes it possible for everything to be something else.”

Take a deeper dive into the exhibition with curator Beth Kleber, as she unpacks Chermayeff’s personal works alongside his professional pieces and draws parallels between the two.

Hero image: Mrs. Lovell at the Window, 2015. Mixed media collage, 16.5 x 13.5 in.

The post SVA’s Latest Exhibition Showcases Ivan Chermayeff’s Personal Art Practice appeared first on PRINT Magazine.

“Don’t wish you could be a famous photographer. If you do, you will fail” – Martin Parr joins WePresent’s excellent pile of manifestos.

All Tomorrow’s Pencils – in which Spencer Tweedy reviews the stationery stores he visited on tour. My favourite bit is the comment from his dad (Wilco’s Jeff Tweedy):

“Remembering one of the only real complaints I ever heard from your teachers growing up, I’d say ‘drummers’ love writing utensils because pencils double as tappity tap tap tapping drum mallets and pens can clicky click click like maracas. In fact they’re probably the first ‘drum sticks’ a future drummer ever holds. Which comes first? The drummer or the innocent child with a maddening urge to tap out a paradiddle with a pencil on a trapper keeper?”

As a relentless desk-drummer and stationery fetishist myself, yep, this all adds up.

Thoroughly enjoying Michigan-based book designer Nathaniel Roy’s A Book Designer’s Notebook, a regular peek behind the curtain of the craft.

Recent Letterboxding, including scattered thoughts on Alien: Romulus and a slog through the Fantastic Beasts films, equal parts cheekbones, coats and gibberish.

Got a little bit lost in Kottke’s posts about maps. I particularly like Andrew DeGraff’s maps of cinematic paths, although the Fury Road one does remind me that the two recent Mad Max movies frustratingly reduced the endless expanse of the apocalypse to an area about the size of the Isle of Wight.

Weird little animations from photographer Jack Davison.

Nolen Royalty (great name) made a website that simply had one million checkboxes and unwittingly created a surprisingly complex canvas for hexadecimal-savvy teens. Love this sort of thing – the internet needs more purpose-less sandboxes like this cough cough cough bring back myspace.

If you’re going to be outed as a serial killer with a trophy wall of decapitated heads in your basement, it might as well be through the medium of LEGO.

The Belvédère du Rayon Vert, a 1920s hotel that teeters above the railway tracks in the southern French town of Cerbère. Stunning. Desperately needs to be covered in neon and rain and plonked into a cyberpunk movie of some sort

SPINNING NEWSPAPER INJURES PRINTER and other Simpsons headlines.

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

Header photo by charlesdeluvio on Unsplash.

The post Meanwhile No. 211 appeared first on PRINT Magazine.

Launched on Voter Registration Day (September 17) and running through Election Day (November 5), the campaign provides a one-stop resource for voters at readyforroevember.com. The site allows visitors to register to vote, prepare for the upcoming election, and dive into key ballot measures and races focused on reproductive rights. Hey Jane will donate $1 to abortion-related ballot measure organizations for each visitor, transforming engagement into direct support for reproductive access.

In a country where reproductive rights are increasingly threatened, Ready for Roevember is designed to do more than just encourage voter turnout — it’s about driving informed action on an issue that’s critical for many. For women under 45 in swing states, abortion has overtaken even the economy as the top voting concern, according to The New York Times. And national surveys show that eight in ten Americans oppose federal abortion bans, emphasizing the broad support for protecting reproductive choice, per The Associated Press.

A key moment in this campaign is September 28, which marks both International Safe Abortion Day and the Ready for Roevember Day of Action. On this day, supporters nationwide are encouraged to share why they’re “ready for Roevember” on social media. They can use the campaign’s free toolkit to amplify their messages and guide others to the campaign website. Hey Jane has created phone screens, social media templates, yard signs, posters, postcards, and more, all available in the toolkit to help spread the word.

Hey Jane, a New York-based telehealth provider specializing in reproductive care, is driving this initiative with a clear goal: to ensure voters are equipped with the knowledge and tools they need to make informed decisions at the ballot box. For years, Hey Jane has been at the forefront of expanding access to safe, affordable reproductive healthcare through its telehealth services. Now, with Ready for Roevember, the organization is linking healthcare advocacy with civic action.

This year’s election is pivotal for the future of reproductive freedom in America. With state and federal legislation increasingly threatening to roll back rights, voters have the opportunity to send a clear message that reproductive autonomy is non-negotiable. Ready for Roevember aims to channel this energy into concrete action, ensuring voters are not only showing up at the polls but also fully aware of the issues at stake.

Visit readyforroevember.com to register, learn about key races, download your Roevember assets, and prepare for the election. In 2024, every vote counts—and with Ready for Roevember, your voice will make a difference.

The post Hey Jane Casts its Vote for Reproductive Freedom with Roevember appeared first on PRINT Magazine.

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.