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.

In 1995, New York magazine declared Martha Stewart the “Definitive American Woman of Our Time.” And, as the saying goes, sort of, behind every Definitive American Woman of Our Time is another Definitive American Woman of Our Time. And that’s today’s guest, designer Gael Towey.

But let’s back up. It’s 1982, and Martha Stewart, then known as the “domestic goddess” — or some other equally dismissive moniker — published her first book, Entertaining. It was a blockbuster success that was soon followed by a torrent of food, decorating, and lifestyle bestsellers.

In 1990, after a few years making books with the likes of Jackie Onassis, Irving Penn, Arthur Miller, and, yes, Martha Stewart, Towey and her Clarkson Potter colleague, Isolde Motley, were lured away by Stewart, who had struck a deal with Time Inc. to conceive and launch a new magazine.

Towey’s modest assignment? Define and create the Martha Stewart brand. Put a face to the name. From scratch. And then distill it across a rapidly expanding media and retail empire.

In the process, Stewart, Motley, and Towey redefined everything about not only women’s magazines, but the media industry itself — and spawned imitations from Oprah, Rachael, and even Rosie.

By the turn of the millennium, Martha Stewart Living Omnimedia, as it was rebranded in 1997, included seven magazines, multiple TV projects, a paint collection with Sherwin-Williams, a mail-order catalog, Martha by Mail, multimillion-dollar deals with retailers Kmart, Home Depot, and Macy’s, a line of crafts for Michael’s, a custom furniture brand with Bernhardt, and even more bestselling books. And the responsibility for the visual identity of all of it fell to Towey and her incredibly talented team. It was a massive job.

We talk to Towey about her early years in New Jersey, about being torn between two men (“Pierre” and Stephen), eating frog legs with Condé Nast’s notorious editorial director, Alexander Liberman, and, about how, when all is said and done, life is about making beautiful things with extraordinary people.

Read the full episode transcript here.

Print Is Dead (Long Live Print!) is a podcast about magazines and the people who made (and make) them. Magazines that combined thought-provoking attitudes and values with a distinctive look and feel, and cast a long and powerful shadow on American culture and public discourse. Hear stories and learn lessons from legendary designers, editors, writers, publishers, photographers, illustrators, photo editors, and more—stories and lessons that capture a magical history of innovation and inspiration, and that point the way forward. We’ll go deep into the lives and careers of this astonishingly talented group of creators, and tease out what these giants—past and present—have to teach the next generation of creators.

If you’re in the magazine business—if you’re in any business focused on content creation—this podcast is for you.

This episode is a special collaboration with The Spread and is made possible by PIDLLP sponsors Commercial Type, Mountain Gazette, and Freeport Press.

The team behind Print is Dead (Long Live Print!) also produces The Full Bleed, a podcast about the future of magazines and the magazines of the future.

The post Everyone is a Salesman | Gael Towey appeared first on PRINT Magazine.

The sketches and printed works hang as if they are family members in the home of the thousands of subscribers who anxiously await each weekly issue. Although the gallery space is tight, it is so well-designed that the visitor never feels cramped; there is a lot to see and much to read. After spending a very satisfying Saturday afternoon at L’Alliance New York, I asked Mouly to tell us about the scope and highlights of the show.

Header photograph from the Jan. 21 opening (back row, left to right): Jenny Kroik, Barry Blitt, Ricardo Siri (Liniers), Ed Steed, Mark Ulriksen, Art Spiegelman, Kadir Nelson, Ed Sorel, Peter de Sève, Gracie Lynne Haynes, Victoria Tentler-Krylov, John Cuneo. Front row: Jorge Colombo, Françoise Mouly, Tatyana Franck, Rodolphe Lachat, Gayle Kabaker. Photo credit: Rebecca Greenfield. Installation photos: Leila Abazine, courtesy L’Alliance: New York.

How did the exhibition come to be held at the L’Alliance New York?
The idea emerged through conversations with Rodolph Lachat, editor of my book Blown Covers at Abrams. I had visited L’Alliance New York recently for their Sempé exhibit and was struck by Tatyana’s extraordinary energy in animating the space. I had also attended their animation festival featuring Lorenzo Mattotti, a frequent New Yorker cover artist. With the magazine’s centennial approaching, L’Alliance proved the perfect venue—they were eager to explore The New Yorker‘s history and to highlight my career as the Franco-American art editor over the past 32 years.

With the exception of early New Yorker artists Rea Irvin and Peter Arno’s sketch-to-finish works, all the covers shown were assigned by you. So, what criteria did you use to select the covers in the show?
Since we had this unique opportunity to show the artistic process, we first reached out to artists who still create physical originals—an increasingly rare practice as more artists work digitally. Once we assembled these pieces, natural sections and an order emerged that allowed us to tell the story of The New Yorker cover across its 100-year history, with particular focus on my tenure.

The Rea Irvin and Peter Arno pieces come from my personal collection. My husband, Art Spiegelman, discovered the Irvin at an auction for just $50, while the Arno sketch was a gift from his granddaughter. Most other artists featured in the show represent the new generation I brought to the magazine, who have since become part of its canonical roster.

It was lovely to see Ed Sorel’s covers paired with the late Bruce McCall’s.
The exhibition offers multiple points of entry. A digital wall, Malika Favre’s poster-sized images on the staircase, Christoph Niemann’s work that bridges wall and floor, a vitrine displaying original printing plates, and four variations on Eustace Tilley—all of which help ease visitors into the show. Then, the core of the show begins: the pairing of Bruce McCall’s paintings with Ed Sorel’s drawings allows viewers to focus on each artist’s distinct voice. Having Ed Sorel, now 95, at the opening was particularly meaningful. His 30-year-old drawing of New York as the Tower of Babel even includes L’Alliance New York in the image—a serendipitous connection that made the venue feel predestined.

It was fun to watch the attendees and listen to their comments. Most were familiar with what they saw. Others were unpacking the meaning of the art. What is your hope for the exhibition?
I am proud of having given so many different artists in that room their first break—almost everyone in the show—and opening up those august gates. But what I’m truly proud of is the range of their approaches. My mission as art editor has been to assemble a diverse roster of artists, each working at the height of their powers, rather than establishing a predictable “New Yorker style.” I think that has been my greatest accomplishment. 

When I was assigning covers for The New York Times Book Review, I’d limit the size of the original art. I was surprised to see how large Kadir Nelson paints, and just as breathtaking is Chris Ware’s blue pencil sketch art. How did you feel about seeing the entire show of originals and printed covers before your very eyes?
I’ll put it in the words of New Yorker artist Mark Ulriksen, who said it well: “I was blown away by how small McCall worked with all his glorious lettering and different fonts he painted. I loved seeing how large Kadir works, how Maira [Kalman] has loose borders, how Ana Juan uses acrylic and colored pencil and that [Ian] Falconer used charcoal. It was also cool to see the line drawings for the digital artists and it was only when we went again the next day that I saw the videos of Christoph [Neimann] and Hockney.”

The post The Daily Heller: ‘New Yorker’ Covers, Illuminated appeared first on PRINT Magazine.

India’s underground queer magazines transformed resistance into an art form, quietly asserting a truth long buried yet unbreakable. These publications, birthed from necessity and defiance, speak not only to the LGBTQ+ community but also to India’s shifting identity and visual culture. They are a testament to the fact that India’s relationship with LGBTQ+ identities is far more nuanced than the image of homophobia typically associated with it.

Despite the false narratives portrayed by the Modi government and modern-day stigmas, historical Indian art and texts tell a different story. Temple carvings, cultural traditions, and even ancient manuscripts reflect an acceptance, even celebration, of queer identities. However, British colonialism imposed a rigid Victorian morality on Indian society, codified by Section 377 of the Indian Penal Code, which criminalized same-sex relationships. This colonial-era law fueled taboos that persist today. In the face of this repression, the early 2000s saw the quiet emergence of underground queer magazines. These publications represented both a rejection of colonial influence and a reassertion of India’s original diversity in sexual and gender expression.

India’s underground queer magazines were revolutionary despite their limited reach. Publications such as Samraat, Astitva, and Gay Bombay bypassed societal norms with a subversive and careful design. Inspired by India’s rich cultural heritage, such as the intricate, erotic carvings of the Khajuraho temples, these zines celebrated queerness through subtle but unmistakable references. The groundbreaking Bombay Dost — India’s first registered LGBTQ+ magazine founded by Ashok Row Kavi in 1990, emerged as an icon. Originally circulated discreetly, wrapped in brown paper, and distributed by word of mouth, the magazine provided a sanctuary—offering a candid space for discussing taboo topics like sex and romance. Over time, Bombay Dost built an essential network for queer expression in India, and its commercialization helped expand its reach, eventually becoming available in bookstores and online and more openly reaching upper-class audiences who sought connection.

Resiliency through graphic design in these magazines became an act of quiet rebellion and necessary caution. Each creative decision had to consider not only the readers but also the potential scrutiny from outsiders. Design choices thus served as tools for both subtle visibility and self-protection.

Left: Masala Mix Double Issue Cover, Bombay Dost Volume 5, No 2 & 3 (1996); Right: A Poster of Maddox’’s Solo Drag Performance

Coded Imagery

Visuals in these magazines became their own language. Illustrations employed symbolic imagery, like intertwined hands or muted rainbows, to convey queerness without explicitly stating it. Coded visuals were not a mere aesthetic choice; they allowed creators to sidestep censorship and to reach readers on a deeper, resonant level.

Typography as Resistance

The type choices were not neutral. Often bold and unconventional, the chosen fonts captured a sense of urgency, rebellion, or empowerment. The typography became a statement, challenging traditional design norms and capturing the daring spirit of the movement it represented.

Monochromatic Aesthetics

Due to budget constraints and limited access to color printing, many publications relied on monochromatic designs, often black and white. The starkness of the magazines’ visuals added a layer of underground, grassroots nature.

Left: Akshay Khanna’ ’s Opinion on Homosexuality, Bombay Dost cover, Volume 4 No 1 (1995); Right: Bollywood actors offering their opinions on homosexuality, Bombay Dost, Vol 5 No 2 & 3 (1996)

The impact of Bombay Dost stretched far beyond Indian borders. Row Kavi, the editor-in-chief of the magazine, recounts receiving letters from readers across Afghanistan, Dubai, and Iran, evidence of a hunger for connection that transcended national and cultural boundaries. Letters flooded into the magazine’s Khush Khat (Happy Letters) section from around the world, including neighboring Pakistan and various Central Asian republics, each voice resonating with the shared human desire for recognition and support.

These magazines contributed significantly to India’s design and cultural landscape. They were more than community bulletins; they became sites of experimentation where new typographic styles, symbolic color schemes, and innovative visual metaphors flourished and paved the way for new forms of self-expression that continue to influence contemporary designers and artists. Although the magazines are no longer in business, the legacy of these underground publications lives on. Today, the medium has largely transitioned to digital, but the message and impact remain potent, representing a significant chapter in both LGBTQ+ activism and Indian visual culture.

Jyothi Hiremath is a New York-based architect with a background in design writing, editorial, and communications. Currently pursuing a master’s in design research at the School of Visual Arts, she has nearly two years of experience at Epistle, South Asia’s leading consultancy for architecture, design, and product communications. Jyothi’s passions blend design research, trend analysis, human behavior, social impact, and storytelling.

The post Underground Ink: A Short History of India’s Queer Magazines appeared first on PRINT Magazine.

A beautifully designed book can bring a story to life, crafting an experience that engages not just the eyes but the hands, the heart, and the imagination. Annual report design can transform dry data into a vibrant narrative, weaving numbers and stories together in a garden of typography, color, and visuals. A memorable brochure or catalog design is just that, memorable, not just informing but inspiring consideration, opportunity, or action.

Our 2025 PRINT Awards jury for these categories also creates memorable work for their clients and motivates their teams to push the boundaries of design.

Alex Lin

Alex Lin is the Owner of Studio Lin, a NYC-based graphic design practice established in 2012. Studio Lin focuses on long-term collaborations where graphic design can have a meaningful impact both locally and internationally. Many of their clients are engaged with art and design, so projects are often more collaborative than commissioned. Lin holds an MFA from Yale.

Dora Drimalas

Dora Drimalas is the co-founder and executive creative director of Hybrid Design and also the co-founder of Super7. Drimalas extensive background in brand strategy and graphic design has allowed her to work intimately on projects with some of the largest brands in the world, such as Nike, Sonos, The North Face, Rapha, Pinterest, Google, Apple, Samsung, Mohawk Fine Paper, Steelcase, TED Conferences, Lego, AT+T, Verizon and Starwood Hotels. Her desire to create the most innovative work possible brings her to the intersections of design, content, and culture within multiple mediums, always looking for new answers.

Pablo Delcan

Pablo Delcan is an award-winning Spanish graphic designer and visual artist based in upstate New York. A regular contributor to The New York Times, he created Prompt-Brush 1.0, a non-AI generative image model, and teaches design and AI tools at the School of Visual Arts.

Visit us at printawards.co to learn more about these jurors and all of our amazing design leaders who are part of the 2025 PRINT Awards jury.

Our regular rate ends today! There’s still time to enter your book covers, full book designs, brochures, or catalogs, as well as your work in 28 categories with the lowest rate of the season.

The post Meet the PRINT Awards Jury for Book Design, Annual Reports, Brochures & Catalogs appeared first on PRINT Magazine.

The attack lasted between five and ten minutes, in which the Koachi brothers also killed police officer Ahmed Merabet while fleeing the scene. An intense search ensued, and the attackers would eventually hole up in a print shop before dying in a subsequent shootout.

Chérif and Saïd Kouachi were explicit in their motivations for their heinous act of terrorism. Their bloodlust was inspired by Charlie Hebdo’s publication of cartoons seen as disparaging and blasphemous of Islam and the prophet Muhammad. The Kouachis said they were directed by al-Qaeda in the Arabian Peninsula (AQAP), a Yemen-based militant group considered a terrorist organization by the United States, Canada, Australia, the United Nations, and Saudi Arabia, among others.

Charlie Hebdo was no stranger to violent retaliation. Its offices were firebombed, and its website was hacked in November 2011, presumably in response to issue 1011, when it renamed the publication “Charia Hebdo,” a reference to Sharia law, and featured a cover depicting Muhammad.

The brutal and bloody act of terrorism galvanized the L’Hexagone and the rest of the Western world. Not only had the AQAP-directed brothers fired upon Charlie Hedbo, but they had also taken aim at satire itself, a beloved and longstanding form of expression in France, dating back centuries to the days of court jesters with permission to mock the king and others in power. Satirical works mocking the French aristocracy would play a significant role during the French Revolution, with Charlie Hebdo keeping the irreverent and sharp-tongued tradition alive in modern times.

As a show of solidarity, the French took to the streets in the aftermath of the Charlie Hedbo murders and a related attack in a nearby Hypercacher kosher supermarket. Millions took to the streets throughout France, with thousands more in cities abroad. “Je suis Charlie,” French for “I am Charlie,” became a slogan expressing support for the freedom of expression and the press, borne out of a simple graphic designer Joachim Roncin created in response to the tragic events that happened five minutes away from his home.

While the brutal attack targeted Charlie Hedbo specifically, the world saw it as an affront to the notions of free expression, an unencumbered press speaking truth to power, and liberty itself. These are values nations like France and the United States view as paramount and necessary to preserve an often fragile democratic republic, or at least pay a lot of lip service to.

But has the Esprit de Charlie waned in the ten years since those horrific acts of terror? Are cartoonists and journalists like those at Charlie Hedbo still free or safe to ply their satirical craft to shine a light on the actions of those in positions of power and influence? Should it even matter to those devoted to the role of journalist? 

Satire has a virtue that has helped us to go through these tragic years: optimism. If you want to laugh, it’s because you want to live. Laughter, irony, and caricature are expressions of optimism. Whatever happens, dramatic or happy, the urge to laugh will never disappear.

Laurent “Riss” Sourisseau, editor, Charlie Hebdo

Not at Charlie Hebdo. Ten years on, the staff at the weekly newspaper hasn’t stopped being just as acerbic in its critique of those with influence and power, including Islamic fundamentalists and far-right politicians. They commemorated the tenth anniversary of the fatal attacks with a special edition sporting a cover depicting a grinning reader sitting atop a rifle similar to those used by the Kouachi brothers with a headline exclaiming, “Indestructible!”

“Today, Charlie Hebdo’s values, such as humor, satire, freedom of expression, ecology, secularism, and feminism, to name a few, have never been so challenged,” writes Charlie Hebdo editor Laurent “Riss” Sourisseau, who survived the attack. “Perhaps it is because renewed obscurantist forces are threatening democracy itself. Satire has a virtue that has helped us to go through these tragic years: optimism. If you want to laugh, it’s because you want to live. Laughter, irony, and caricature are expressions of optimism. Whatever happens, dramatic or happy, the urge to laugh will never disappear.”

Who are some of those “obscurantist forces” today? In the United States, billionaires like Jeff Bezos, Dr. Patrick Soon-Shiong, Elon Musk, and Mark Zuckerberg. These men—because, of course, they’re men—own some of the most prominent newspapers in the country or the largest social media platforms, and they aren’t shy of exerting editorial influence and control to further their financial interests and political ideologies.

The Washington Post, owned by Amazon and Blue Origin founder and weak IRL imitation of Lex Luthor, Jeff Bezos, recently killed a piece by Pulitzer-prize-winning cartoonist Anna Telnaes. The cartoon depicted billionaires Bezos, Musk, Soon-Shiong, Sam Altman (OpenAI CEO), and Mickey Mouse (representing Disney/ABC) making an offering to a yuge statute of Donald Trump. Telnaes’ cartoon is a commentary on the recent pilgrimages to Mar-a-Lago by these billionaires to ingratiate themselves with the incoming president, presumably because their firms have lucrative government contracts they’d like to keep and are acquainted with the capricious and vindictive nature of The Donald.

Telnaes resigned from her position at The Washington Post, a newspaper that adopted the slogan “A Democracy Dies In Darkness.” The resignation follows the newspaper’s decision not to endorse a presidential candidate in the 2024 election. Publisher William Lewis said the decision, less than two weeks from Election Day, was a “return to the newspaper’s roots.” However, it’s hard to see this as anything other than a capitulation to Trump, at least for the troves of angry readers who canceled their subscriptions.

It’s hard to imagine the current iteration of the The Post having the metaphorical cojones to go after President Trump in the spirit it went after Tricky Dick.

There was a time when The Washington Post stood up to presidents overstepping the law through investigative reporting by Bob Woodward, Carl Bernstein, and others. They did so despite the risk of retaliation by the Nixon administration. Ultimately, the courage and dogged reporting informed the public of the Watergate Scandal and played a significant role in the toppling of a corrupt president.

It’s hard to imagine the current iteration of The Post having the metaphorical cojones to go after President Trump in the spirit it went after Tricky Dick.

Los Angeles Times billionaire owner Patrick Soon-Shiong also prevented its editorial board from endorsing a presidential candidate. Like The Post’s move to stifle a Harris endorsement, this move was seen as an abdication of the press’s role in informing the public when many felt American democracy was vulnerable.

It isn’t just legacy media bending the knee out of presumably financial interests to Trump. Since taking over Twitter—I will never call it “X” because that’s a stupid rebrand—Musk has actively manipulated the algorithm to prioritize his musings and other posts aligning with his ideology, seized user handles for his interests, and removed blue checkmarks from people who say mean things he doesn’t like, including calling into question his gaming prowess.

Subscribers canceling their Washington Post and LAT subscriptions, users migrating to Blue Sky from Twitter, and cartoonists and editors resigning in protest show that the piles of cash billionaire publishers can’t snuff out the fire in journalists devoted to speaking the truth despite the real risk of retaliation from the incoming administration and its rich bootlickers. Nor has the appetite for that journalism and criticism been Ozempic’d from the public.

Now, more than ever, je suis Charlie, indeed.

Rudy Sanchez is a writer and product marketing consultant based in Southern California. Once described by a friend as her “technology life coach,” he is a techie and avid lifelong gamer. When he’s not writing or helping clients improve their products, Rudy is playing Rocket League, running laps in Gran Turismo, or deep into a YouTube rabbit hole.

The post Ten Years After the ‘Charlie Hebdo’ Attack, Are We Still Charlie? appeared first on PRINT Magazine.

What we unleashed was a point of view about the future that took the form of a magazine. The magazine was the vessel, but the magazine wasn’t the point. The message was the point.

In the summer of 1995, host Patrick Mitchell got an offer he couldn’t refuse. It came from this episode’s guests, Alan Webber and Bill Taylor, the founding editors of Fast Company, widely acknowledged as one of the magazine industry’s great success stories.

Their vision for the magazine was an exercise in thinking different. “Nothing we did hewed to the conventional wisdom of magazine-making. Our founders came from politics and activism, born in the ivy halls of Harvard. Our HQ was far from the center of the magazine world, in Boston’s North End—“leave the pages, take the cannolis.” And Fast Company was not a part of the five families of magazine publishing. It wouldn’t have worked if it was.

Mitchell was one of the first people Webber and Taylor hired, and as the magazine’s founding art director, he could tell Fast Company was going to be big. And it was big. Huge, in fact. Shortly after its launch, a typical issue of the magazine routinely topped out at almost 400 pages. They had to get up to speed, and fast.

Its mission was big, too. Webber and Taylor’s plan sounded simple: to offer rules for radicals that would be inspiring and instructive; to encourage their audience to think bigger about what they might achieve for their companies and themselves, and to provide tools to help us all succeed in work … and in life. Their mantra: Work is personal.

The effect, however, was even bigger. The magazine was a blockbuster hit, winning ASME awards for General Excellence and Design. It was Ad Age’s 1995 Launch of the Year. Webber and Taylor were named Adweek’s editors of the year in 1999. It even spawned its own reader-generated social network, the Company of Friends, that counted over 40,000 members worldwide. And it brought together an extraordinary team of creatives who, to this day, carry on the mission in their own way—including the founders.

Nearly thirty years after the launch of the magazine, Alan Webber is currently serving his second term as the mayor of Santa Fe, New Mexico. Bill Taylor is the best-selling author of Mavericks at Work, among other books, and continues to lead the conversation on transforming business.

Mitchell often said that Fast Company was the one that would ruin all future jobs. It was a moment in time that he and his colleagues will treasure forever. He shares that story with us today.

Print Is Dead (Long Live Print!) is a podcast about magazines and the people who made (and make) them. Magazines that combined thought-provoking attitudes and values with a distinctive look and feel, and cast a long and powerful shadow on American culture and public discourse. Hear stories and learn lessons from legendary designers, editors, writers, publishers, photographers, illustrators, photo editors, and more—stories and lessons that capture a magical history of innovation and inspiration, and that point the way forward. We’ll go deep into the lives and careers of this astonishingly talented group of creators, and tease out what these giants—past and present—have to teach the next generation of creators.

If you’re in the magazine business—if you’re in any business focused on content creation—this podcast is for you.

This episode is made possible by PIDLLP sponsors Commercial Type, Mountain Gazette, and Freeport Press.

The team behind Print is Dead (Long Live Print!) also produces The Full Bleed, a podcast about the future of magazines and the magazines of the future. Check out their newest podcast, The Next Page.

The post The Brand Called Us | Alan Webber and Bill Taylor appeared first on PRINT Magazine.

“In a nutshell, our business started because we wanted to create the Blackest antiques store ever.”

Jannah Handy and Kiyanna Stewart’s love story is inextricably intertwined with the origin of their Brooklyn antique shop, Blk Mkt Vintage. The couple met while working on a college campus in the Student Affairs department, as a side hustle in vintage sourcing developed and bonded them together. In time, Blk Mkt Vintage was born, largely in response to filling a void. The pair saw a need for preserving and making accessible vintage objects that tell Black stories, so they began doing that passion-filled work. Now, just over a decade since the founding of Blk Mkt Vintage, they’ve published a book of the same name to document and share their mission even further.

The book’s introduction illustrates the couple’s side hustle turned passion:

“This book is the physical manifestation of our love for one another and for this history… We’ve been thinking about this book for almost a decade and knew that when the time came, we would write a book that placed us, two Black queer women from Brooklyn at the center, as a means to show how Black folks have been doing the work of archiving, collecting, and preserving for as long as we’ve existed. That our business, while doing important and fulfilling work, is the product of and response to generations of Black folks’ intimate relationship to memory work.”

Below, Handy and Stewart elaborate on their journey and drive. (Responses lightly edited for length and clarity.)

What is it about collecting and selling vintage items that excite you so much? Can you describe the feeling of finding an item that needs to come home with you?

What excites us the most is really twofold. First, for us, it’s all about the thrill of the hunt. Seeking out items that tell nuanced stories of Black history is akin to being on a treasure hunt. From Thailand to Amsterdam to Cuba, and more, no matter where we go, we are always on the hunt.

Seeking out items that tell nuanced stories of Black history is akin to being on a treasure hunt.

On the flip side, we started our business not only to collect but also to make available and accessible the items and stories we unearth. The “finding” is awesome, but the “sharing” allows our work to serve as a pebble in a pond and cause ripples that impact across wide swaths and along the time continuum.

Outside of the dopamine hit that occurs when hunting, the feeling is guttural. Sometimes there is language behind it and other times there isn’t. Having been in this industry for a decade we have come up with some questions we consider to make sure the vintage high doesn’t cloud our judgment completely:

• Have we seen the item before?
• Can we walk away from it?
• Do we need it?
• Does it serve a function?

As Black collectors, do you feel an added sense of responsibility or pressure to make sure critical elements of your heritage and culture aren’t lost? Can you share more about how your identities inform how and why you are in this industry?

We 100% feel that our work comes from a sense of duty, a sense of preservation of our collective American history. In the Introduction of the book, we tell a story about an encounter with vintage NAACP parade float signs that reinforce the fact that we save items from ending up in the landfill. 

We decided that it wasn’t up to someone else to amass the collection we wished we saw, it was up to us and Blk Mkt Vintage was born. 

Sparing the dramatics and hyperbole, we often are the last chance for items before they are discarded. This sense of duty was ingrained in us at the outset of our Blk Mkt journey 10 years ago, as we started this business out of a very personal need to be “seen,” As two Black, queer women, we rarely came across artifacts or ephemera that told our story or the stories of our ancestors who shared our identities. Digging through countless estate sales, flea markets, antique stores, and auctions, we had to tirelessly search for representation of ourselves. We decided that it wasn’t up to someone else to amass the collection we wished we saw; it was up to us and Blk Mkt Vintage was born.

What is the community of Black vintage sellers and collectors like, and how does it feel being a part of that? How does this work, in particular, bring you all together?

One aspect of the book process that was most rewarding was the opportunity to pass the mic and chop it up with our comrades in arms— fellow Black folks in the vintage industry. From collectors who have been with us since our e-commerce days on Etsy.com in 2015, to new collaborators we’ve met in our picking travels. 

The world of Black vintage is very robust and varied, a point driven home in our book in chapter X. Our conversations were not merely preaching to the choir; we were able to hear from world-renown artists who use vintage Black ephemera to inform their practice. A creator who examines the hood through the lens of mid-century architecture and design, and a collector who inherited his grandmother’s collection of 1960s Soul Publications, a Black music periodical that she started with her late husband.

There are countless points of entry in the vintage industry and just hearing how others came to the space might spark your own entry. 

Is there a particular item in your collection that most accurately represents your mission at BLK MKT Vintage, and/or why you got into this game in the first place?

Part of our weekly routine is frequenting early morning, outdoor vintage flea markets. Having been in this field for a while, we are regulars and have become friends or friendly with the other vendors and dealers who frequent the markets. One morning an older white woman, likely in her 80s, approached Jannah and said, “You buy Black stuff, right? Come to my car.” 

We’d only seen this woman at the market, never spoken or made a deal. Being that we were in public (and Jannah had a considerable size advantage), with some trepidation, Jannah followed her to her trunk and was shocked at what she saw. An original 1960s, large format photograph of Muhammad Ali (Cassisus Clay at the time of the photo) and his first wife that had noticeable singe marks around the edges. The woman explained that the photo was salvaged from the photographer’s studio that burned down. She had heard from another vendor that we buy Black antiques so she sought Jannah out. This story, photograph, and interaction all encapsulate the mission of Blk Mkt Vintage. If we were never looking, we would not have found.

Our story and approach is so much more than the physical object, it’s about the stories, the people and the serendipity that sometimes happens in a 80-year-old, white woman’s trunk! 

Our story and approach is so much more than the physical object, it’s about the stories, the people and the serendipity that sometimes happens in a 80-year-old, white woman’s trunk!

How does it feel to put a book together that encapsulates your work? What aspect of the book are you proudest of?

Even though the book has been out for three months now, it’s all still very surreal. Ten years ago, when dreaming up what our vintage hobby (at the time) could grow into, we knew a book was in the plans. We wanted to canonize or memorialize our work, approach, and community that we have engaged with for over a decade. On the most basic level, we wrote this book to be found. As pickers, we have collected, sold, and seen thousands of books in hundreds of collections. In five, 20, or 100 years in the future, we want our book to be found and explored in a completely new context.

We are proudest of this book being completed— it was no easy feat! We are proud that a dream we had 10 years ago came true through hard work, grit, and perseverance. At the end of the day, Blk Mkt Vintage is a love letter to Black people and Black history, and through this book, a lot more people can share that love.

The post Blk Mkt Vintage Documents its Mission to Preserve and Share Black History in New Book appeared first on PRINT Magazine.

Usually, a book has a two- to four-year life expectancy. The official pub date provides time for promotion and lobbying for premium space in bookstore windows and other signing and display opportunities. After a few months, the sales are tallied to determine whether the book will remain on view or tucked away.

That tally also determines whether or not an author gets the fateful letter that, owing to low sales, “we have decided to put your [title] into remainder”—at which point large discounts are offered to booksellers and the author(s).

I’ve had many OP letters in my life. Even the envelope projects a vibe of finality. Often the reasoning is that the book has run its course and is no longer relevant. Most of the time, the book is one of the hundreds—or thousands—that annually are ignored for one of the following reasons:

1. The size of the audience was misjudged
2. It was poorly promoted
3. It received little to no critical recognition
4. It stinks.

If lucky, an OP book could achieve cult status and become available through used book dealers. In New York, the Strand is ground zero for OP books—and hard-to-get books that fell through the publishing industry cracks.

Today, I am listing a few of my OP titles that can be obtained through online services …

Click on caption or browse Google for availability and discounts.

The post The Daily Heller: What it Means to Be OP! appeared first on PRINT Magazine.

Jody Quon’s desk is immaculate. There’s a lot there, but she knows exactly where everything is. It’s like an image out of Things Organized Neatly.

She rarely swears. Or loses her temper. In fact, she’s one of the most temperate people in the office. Maybe the most. She’s often been referred to as a “rock.”

She remembers every shoot and how much it cost to produce. She knows who needs work and who owes her favors.

She’s got the magazine schedule memorized and expects you to as well. She’s probably got your schedule memorized, too. She’s stylish, graceful, and charming. And she doesn’t take ‘no’ for an answer.

She’s usually one of the first in the office and last to leave. In fact, on the day she was scheduled to give birth to her first child, she came to work and put in a full day. When her water broke at around 6 pm, she called her husband to say, “It’s time.”

I don’t know if any of this is true. Except the baby thing. That is true. Kathy Ryan told me so.

I had a teacher in high school, Ms. Trice. She was tough. I didn’t much like her. She would often call me out for this or that. Forty years later, she’s the only one I remember, and I remember her very fondly. In my career, I’ve often thought that the best managing editors, production directors, and photography directors were just like Ms. Trice. These positions, more than any others, are what make magazines work. They’re hard on you because they expect you to be as professional as you can be. They make you better. (I see you, Claire, Jenn, Nate, Carol, and Sally.)

I suspect that a slew of Jody Quon’s coworkers and collaborators feel that same way about her. Actually, I don’t suspect. I know. I’ve heard it from all corners of the magazine business. I heard it again yesterday from her mentor and good friend, Kathy Ryan.

“She just has that work ethic,” Ryan says. “It’s just incredible when you think about it. The ambition of some of the things that they’ve done. And that has been happening right from the beginning. Ambition in the best sense. Thinking big. And she’s cool, always cool under pressure. We had a grand time working together. I still miss her.”

Jody Quon is one of those people who makes everybody around her better. That’s what I believe. And after this conversation, you probably will, too.

Read the full transcript here.

Print Is Dead (Long Live Print!) is a podcast about magazines and the people who made (and make) them. Magazines that combined thought-provoking attitudes and values with a distinctive look and feel, and cast a long and powerful shadow on American culture and public discourse. Hear stories and learn lessons from legendary designers, editors, writers, publishers, photographers, illustrators, photo editors, and more—stories and lessons that capture a magical history of innovation and inspiration, and that point the way forward. We’ll go deep into the lives and careers of this astonishingly talented group of creators, and tease out what these giants—past and present—have to teach the next generation of creators.

If you’re in the magazine business—if you’re in any business focused on content creation—this podcast is for you.

This episode is made possible by PIDLLP sponsors Commercial Type, Mountain Gazette, and Freeport Press.

The team behind Print is Dead (Long Live Print!) also produces The Full Bleed, a podcast about the future of magazines and the magazines of the future. Check out their newest podcast, The Next Page.

The post She Looks Forward to Your Prompt Reply | Jody Quon appeared first on PRINT Magazine.

What follows is one of a dozen or so essays I’ve written over the past two decades about (or adjacent to) my 50-plus years of on-and-off fealty to the music and the musician.

(A version of this story was originally published on Nov. 21, 2023)

Bob Dylan: Mixing Up the Medicine (Callaway Arts & Entertainment) is a must-have for your bookshelf or to bestow as a gift. This richly illustrated book is the first in-depth look at the Bob Dylan Archive in Tulsa, OK, featuring more than 1,100 images by 135 photographers, artists and filmmakers (many never before seen by the public), original essays, and lyrics and notes written in Dylan’s own hand. Publisher Nicholas Callaway acquired rights for a portion of the materials from the Bob Dylan Center, and the book was created in collaboration with the Center, and edited and written by Bob Dylan Archive Curator and Director Mark Davidson and archivist and music historian Parker Fishel.

As the primary public venue for the Bob Dylan Archive collection, the Center curates and exhibits a priceless collection of more than 100,000 items spanning Dylan’s career, including manuscripts, notebooks and correspondence; films, videos, photographs and artwork; memorabilia and ephemera; personal documents and effects; unreleased studio and concert recordings; musical instruments and many other elements. In short, a treasure of riches.

Three weeks after ravenously consuming Mixing Up the Medicine, I solved the problem of what to ask Callaway, Davidson and Fishel.

(Pages and content courtesy Callaway Arts & Entertainment.)

I am sitting at my desk with Dylan‘s iconic face staring back at me on the cover. I know why I want to possess a 608-page book drawing on Dylan’s personal archive, but Nicholas, why did you decide to publish it?
Callaway: The book has been 58 years in the making. In 1966 I first saw Dylan in concert at the Academy of Music in Philadelphia when I was 12, on his way to the U.K. tour that formed the basis for a D.A. Pennebaker’s doc Dont Look Back. He has been my North Star as a musical artist ever since.

And why, Mike and Parker, did you two decide to devote your time, intellect and labor to building this archive?
Fishel: Mark and I are both big Bob Dylan fans, so having the privilege of working with his archive is really a dream job. He’s at the top of the mountain, and his archive reflects and embellishes that impression.

Davidson: But Dylan is just a part of our professional lives. I’m the Senior Director of Archives and Exhibitions at the American Song Archives, which includes the Bob Dylan Center and Woody Guthrie Center. Those institutions house the collections of not just Dylan and Guthrie, but Phil Ochs, Cynthia Gooding and many others. 

Parker is an independent archivist and curator who runs his own company, Americana Music Productions, which works with artists, estates, record labels, museums and other entities interested in sharing the important stories found in archives.

What are your respective backgrounds in terms of Dylan scholarship?
Fishel: I’ve been fortunate to assist with several volumes of the Bootleg Series, but this is both my first book and my first book on Bob Dylan. My other published work is on American music, with participation in projects ranging from the 1969 Ann Arbor Blues Festival to obscure jazz pianist Garnet Clarke.

Davidson: I’m a trained musicologist and I wrote my dissertation on folk music collecting in the Depression-era U.S. I’ve contributed essays and presentations to various Dylan books and conferences since coming aboard, but this is also my first book.

How was the archive established and developed?
Davidson: The body of material that Dylan collected over the years is the core of the archive. As we note in our preface [to the book], it’s one of the most remarkable archives in existence that is dedicated to a single artist. Since the Bob Dylan Archive was acquired by the George Kaiser Family Foundation in 2016, the collection has expanded in important ways. There has been the addition of significant pieces, like Bruce Langhorne’s tambourine, which inspired the song “Mr. Tambourine Man.” The archive has also acquired rare recordings, like “The Bailey Tapes,” which contain the first known version of “Don’t Think Twice, It’s All Right.” And finally, two massive fan collections from preeminent and longtime Dylan collectors Mitch Blank and Bill Pagel are also destined for Tulsa. Through strategic acquisitions, including a set of generous donations, the archive has expanded the stories that can be told about Dylan’s remarkable career.

Does anything produced on or about Dylan require your oversight?
Davidson: The Center maintains access to the Bob Dylan Archive, but Dylan’s work is still administered by his management, Sony Music Entertainment and Universal Music Publishing Group.

What was the process of selection and editing?
Callaway: The Bob Dylan Archive & Bob Dylan Center has a hundred thousand objects in it—manuscripts, lyrics, notebooks, photographs, musical instruments. We worked side-by-side for more than three years with Mark Davidson and Parker Fishel.

What was the input of the designer in such a massive enterprise?
Callaway: I was the creative director, as I had a clear vision of what the book should be, but we assembled a world-class team of designers, editors, researchers, archivists and imaging experts.

My vision was to create a book as a conversation between a vast array of elements, both written and visual, that were in deep conversation with each other, usually in a book, either words or images predominate, and my goal was to have it be a true marriage between the two.

Fishel: I can’t verify whether it’s actually true, but Bob Dylan is often touted as the second-most-written-about American after President Abraham Lincoln, with over 2,000 books dedicated to his life and work. With so many words already written, we thought long and hard about what we could add to that story. Since nearly all of that scholarship and writing on Dylan to date has been produced without access to the Bob Dylan Archive, we decided to focus on that body of materials and what it might reveal. 

What emerged was an almost “inside-out” biography, with various albums, songs, tours and other episodes explored through the items that Dylan kept and collected across the years. To do this, we went page-by-page through the contents of the archive, each lyric manuscript, piece of correspondence, notebook, photograph, and other ephemera, to select exemplary and representative items of the archive’s voluminous and rich holdings. This material was supplemented by additional material like film stills, tape boxes, previously unpublished excerpts from the archive, interview outtakes from the documentary “No Direction Home,” and original interviews conducted by the Bob Dylan Center. 

Taken together, all of these elements form a prismatic portrait of Dylan’s creative life, revealing themes and connections that cross Dylan’s long and still-evolving career, while also shedding new (and often surprising light) on specific songs, projects and events. 

Whose idea was it to include so many different creative voices in the book?
Callaway: The book [team] commissioned 30 different writers and artists to come to the center, pick one artifact and use it as the starting point for an essay or meditation; those essays became our breakouts between the nine chapters that frame the full arc of Dylan’s life.

Davidson: The book had its origins in the years immediately following the arrival of the archive in Tulsa in 2016. Michael Chaiken, the first curator of the Bob Dylan Archive, and Robert Polito, poet and professor at the New School in New York City, began bringing writers, artists and musicians to Tulsa in 2017 to engage with the archive and to do a public program in Tulsa. While here they were asked to choose an item from the archive and to write a short essay about it in a style of their choosing. 

The book was initially going to be a collection of these essays, but once we started working with Nicholas Callaway, the scope enlarged immensely. To accommodate Callaway’s vision, Parker and I made the editorial decision to include more voices, expanding on the approach that Todd Haynes took to Dylan in the film I’m Not There. We wanted to include Dylan’s own words, through interviews and excerpts from the archive, as well as those of his collaborators and contemporaries, again taken from the archive as much as possible. This allowed our own authorial voice to be more of a skeleton of a story where others could fill in the detail. We tried to present the available evidence and allow people to make their own interpretations, like the question of what really happened at the 1965 Newport Folk Festival.

What is the influence of design on such a massive enterprise?
Davidson: Callaway Arts and Entertainment has been producing books of the highest quality for decades, and they had an immense impact on the design and overall trajectory of the book. It’s in many respects a visual biography, with photographs, manuscripts and other images providing the jumping-off point for illuminating Dylan’s working career as a musician. We all worked very closely day after day, Zoom after Zoom, carefully honing the layout. We would explain how images related to one another and to the larger narrative, and they’d somehow find a way to make it work. It’s a design that reflects the rawness of an archive, but is also somehow very elegant. And their attention to detail was second to none. The intricate tracing of the edges of ripped manuscripts or spiral notebooks just makes those images feel like they jump off the page.

Did Dylan have any input whatsoever?
Callaway: None.

Davidson: This book is the first fully authorized deep dive into the Bob Dylan Archive.

Is the Dylan material at the Tulsa center all there is, or are there other archives in other places?
Callaway: There are several other smaller archives, assembled, primarily, by obsessive collectors, in Hibbing, MN, at the Morgan Library and elsewhere. 

Fishel: Obviously no collection is complete, and individual items and other small collections (sometimes of some importance) exist in other institutions or in private hands. There are also wonderful fan collections around the world. But in terms of the size, scope and incredible depth of the Bob Dylan Archive, there is nothing comparable.

What did you learn from this material that you did not know beforehand?
Callaway: I learned that the depth and scope of Dylan’s creative achievement is monumental, even more than I realized from a lifetime of listening and studying.

Fishel: When someone has been creating art at a consistently high level for 60-plus years, and continues to do so, I think we have a tendency to flatten that into words like “genius.” What gets erased is the considerable labor that goes into the act of creating. Dylan himself has talked about songwriting as a mysterious process, and I don’t think the archive does anything to dispel that observation. But the archive does give glimpses into Dylan’s songwriting processes and how those have evolved throughout his career. 

In his 60 Minutes interview with Ed Bradley, Dylan speaks of his early songs as being written with a kind of penetrating magic. You can see that—a song nearly fully formed—in the draft of “Subterranean Homesick Blues.” But you can also see different creative processes jostling around in a draft of “Tangled Up in Blue” from one of the pocket notebooks in which Dylan wrote the 1975 album Blood on the Tracks, and still different approaches to writing in a draft for “Tempest” from the 2012 album of the same name. Dylan employs different methods at different times for different reasons, and it’s fascinating to see.

Davidson: The archive reveals the depth of his work ethic from the earliest drafts of “Chimes of Freedom” and the songs from Bringing It All Back Home and Highway 61 Revisited through the songs on Tempest, the last album of original material he worked on prior to the sale of the archive in 2016. We can see that he was a judicious and sometimes malicious editor of his own work and that he would not release material he didn’t feel was finished. 

It’s clear that for Dylan, a song isn’t finished with the written word, and that’s sometimes even true of the studio recording. He’s constantly working and reworking the words and music, whether it’s in the studio or in live performance after the song has been released. Just look at the recent approaches he took to his early songs on his most recent album, Shadow Kingdom.

Is it true that Dylan has never visited the Center?
Davidson: Bob Dylan has not visited the Bob Dylan Center, though he did visit the Woody Guthrie Center [next door] several years ago and seemed to enjoy his visit. He hasn’t played a concert in Tulsa since April 2022, and the Center opened in May, so who knows.

There is a lot of art, painting and sculpture that he’s produced. A few of the familiar things (e.g., album art) are in the book. But is this a separate archive altogether?

Fishel: Dylan’s work in the visual arts is maintained independent of the Center. However, Dylan created the ironworks portal to the entryway of the Center, and through generous donations the Center also has the Face Value painting series and a 1968 painting that was Dylan’s first—both currently on display.

What would you say is the ultimate value of having all this material in one place? Is it scholarship, nostalgia, fandom or a bit of all?
Callaway: The value and importance of having the vast majority of such a great artist’s body of work preserved and archived in one location is still rare and of inestimable value for this and future generations. The book is one expression of Andre Malraux’s idea that a book can be the virtual museum, the museum without walls.

Davidson: I think the answer differs based on who you are and where you are coming from in relation to Dylan and his music, but surely scholarship, nostalgia and fandom are three factors that come into play. Whatever the motivations for picking up the book, Parker and I hope that the way the story is presented furthers the mission of the Bob Dylan Center in using Dylan’s work to inspire creativity in us all. 

Fishel: As an active artist, Dylan’s music continues to have a profound impact on our culture. Bringing together these elements in a book hopefully sheds new light on the extent of that influence, but there is one crucial limit to the printed page: You can’t hear the music, which Dylan told us in his Nobel Lecture, is the way he thinks of his own work. So that’s where I’d encourage everyone to visit the Bob Dylan Center in Tulsa, OK, where visitors can have a rich multimedia experience that is really complementary—and I’d say almost essential—for the full enjoyment of Mixing Up the Medicine.

The post The Daily Heller: Bob Dylan’s Back Pages 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.

Like many of you, I was stunned by what happened on November 5th. It’s going to take me some time to reckon with what this all says about the values of a large portion of this country. As part of that reckoning—and for some much-needed relief—I’ve opted to spend less time with media in general for a bit. 

But on the morning after I couldn’t ignore an email I got from today’s guest, New York magazine editor-in-chief David Haskell.

What struck me most about his note—which was sent to the magazine’s million-and-a-half subscribers—was what it didn’t say. There were no recriminations. Nothing about how Kamala Harris had failed to “read the room.”  Not a word about Joe Biden’s unwillingness to step aside when he should have. No calls to “resist.” In fact, the hometown president-elect’s name went unspoken (as it is here).

What Haskell did say that left a mark on me was this:

I consider our jobs as magazine journalists a privilege at times like this. 

I was an editor at Clay Felker’s New York magazine, the editor-in-chief of Boston magazine, and I led the creative team at Inc. magazine. And it was there, at Inc., that I had a similar experience. It was 9/11.

I wrote my monthly column in the haze that immediately followed the attacks, though it wouldn’t appear in print until the December issue. It was titled, “Think Small. No, Smaller.” In it, I urged our community of company builders to focus their attention on the things we can control. This is how it ended:

What we can say for certain is that the arena over which any of us has control has, for now, grown smaller. In these smaller arenas, the challenge is to build, or rebuild, in ourselves and our organizations the quiet confidence that we still have the ability to get the right things done.

For all the attention that gets paid to EICs, most of the work you do is done through the members of your team: writers, and editors, and designers, and so many others.

My friend, Dan Okrent, the former Life magazine editor and Print Is Dead guest, once said, “Magazines bring us together into real communities.”

Moments like this demand something different—something direct and personal from an editor to that community. Something that offers a challenge, but also an opportunity, to answer the question in a clear and credible way: So what do we do now?

Read the full episode transcript here.

Print Is Dead (Long Live Print!) is a podcast about magazines and the people who made (and make) them. Magazines that combined thought-provoking attitudes and values with a distinctive look and feel, and cast a long and powerful shadow on American culture and public discourse. Hear stories and learn lessons from legendary designers, editors, writers, publishers, photographers, illustrators, photo editors, and more—stories and lessons that capture a magical history of innovation and inspiration, and that point the way forward. We’ll go deep into the lives and careers of this astonishingly talented group of creators, and tease out what these giants—past and present—have to teach the next generation of creators.

If you’re in the magazine business—if you’re in any business focused on content creation—this podcast is for you.

This episode is a special collaboration with The Spread and is made possible by PIDLLP sponsors Commercial Type, Mountain Gazette, and Freeport Press.

The team behind Print is Dead (Long Live Print!) also produces The Full Bleed, a podcast about the future of magazines and the magazines of the future.

The post A Pretty Complicated Organism | David Haskell appeared first on PRINT Magazine.

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

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

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

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

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

(Edited lightly for clarity and length.)

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

Catherine Weiss

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The post Catherine Weiss Embraces Discomfort in Their Book of Poems, ‘Big Money Porno Mommy’ appeared first on PRINT Magazine.

The 2025 PRINT Awards jury is like a masterfully curated bouquet. Each juror a unique bloom, contributing to a vibrant tapestry of creativity and expertise. Presenting your work before this panel is like planting it in a fertile field, where ideas are nurtured and celebrated for their ingenuity and potential to flourish.

This year, we welcome jury members from across the creative spectrum in traditional PRINT Awards categories, such as handlettering and type design, to new categories, including social media content design, title sequence design, and graphic novels.

At the heart of these new categories is the power of storytelling. And, like you, our jurors are masters of that craft.

One of these storytellers is Mike Nicholls, who will be looking at work in the Advertising and Editorial categories. An award-winning creative director, brand strategist, editorial designer, and visual artist out of Oakland, Mike wields design for discovery, inspiration, and community building. Mike also founded Umber, a media and editorial platform featuring creative perspectives that matter, having been recognized by AfroTech (Blavity), San Francisco Chronicle, KQED, and Communication Arts.

What gets me most excited is storytelling through design. Design to me is not just conveying an idea, it is creating an experience to spark a conversation.

Mike Nicholls

We’re also excited to welcome Dora Drimalas, who, along with her fellow jurors Pablo Delcan and Alex Lin, will review Annual Reports, Books-Covers, Jackets, Books-Entire Package, and Brochures & Catalogs.

Drimalas is the co-founder and executive creative director of Hybrid Design and also the co-founder of Super7. Her extensive background in brand strategy and graphic design has allowed her to work intimately on projects with some of the largest brands in the world, such as Nike, Sonos, The North Face, Google, Apple, Samsung, Mohawk Fine Paper, TED Conferences, Lego, Verizon, and Starwood Hotels, to name a few. Drimalas’ creativity innovates at the intersections of design, content, and culture within multiple mediums, always looking for new answers.

I am the most excited about the evolution of design and experiences. Design solves business problems in a visual and functional way. When it’s done well, it looks like magic and creates an experience that stands out. Embracing change can be scary, but it’s also where innovation lives.

Dora Drimalas

In addition to Mike Nicholls and Dora Drimalas, we’re thrilled to welcome the leading voices in their fields. While we are still adding to our stellar list of jury members for 2025, you can see who will be considering your work here.

Great design communicates ideas, evokes emotions, and connects with audiences on a deeper level, whether through illustration, packaging design, data visualization, or social media, going beyond function to tell a story that sticks. If your work tells a story that sparks ideas and fuels innovation, the PRINT Awards jury awaits!

The post The 2025 PRINT Awards Jurors Have Stories to Tell appeared first on PRINT Magazine.

We’re at this great nexus of being able to return focus to the book as an object, as a form of expression, and figuring out ways to do that so that it’s relevant to a contemporary audience.

Arion Press has been manually printing books on centuries-old equipment in San Francisco for 50 years, yet they are currently embarking upon a new beginning. The last vertically integrated bookmaker in the country, Arion Press was established in 1974 and has most recently been housed in San Francisco’s Presidio neighborhood. They officially opened their new doors in the Fort Mason Center for Arts & Culture in October—after moving over 49 tons of antique equipment—and will soon be releasing their second title of the year, Fables of Aesop.

Arion Press is composed of a production team of six people, split between three departments: the foundry, the press room, and the book bindery. They also work with local bookbinder John Demerritt, and have an additional seven employees on the administrative side of things who spearhead development and programming. Arion Press’s lead printer and creative director, Blake Riley, was hired back in 2001 originally as one of the imprint’s first apprentices. I recently spoke with Riley on the occasion of all of this excitement, to learn more about the history of Arion Press, Fables of Aesop, and keeping the art of bookmaking alive.

(Lightly edited for clarity and length.)

Take me back to the origin of Arion Press. How did it all begin? 

We trace our lineage back in San Francisco to the late teens when Edwin and Robert Grabhorn came out from Indiana. Curiously, Edwin had been primarily a printer of music scores, which is a very niche, phenomenal process that has fallen entirely by the wayside at this point. They set up shop in San Francisco in the late teens and established the Grabhorn Press, which became one of the premier American fine press operations for decades, through the 60s. After Edwin passed away, the younger brother, Robert, ultimately went into partnership with Andrew Hoyem. When Robert died, Andrew founded Arion as an imprint in 1974, which is why we’re claiming this year as our 50th anniversary celebration. 

I know you started out at Arion Press as an apprentice. Can you tell me a bit more about the apprenticeship program? 

With maybe only one exception, everyone who works in production here has come up through this apprenticeship program. It’s ongoing and is considered a fundamental part of the activity that happens here. 

This is one of those professions or trades that is especially unique because it relies very heavily on this oral transmission of skills. There is a certain amount of book learning you can do around this; you can learn technique by reading repair manuals and that kind of thing. But to really have a sense for the sounds of the presses and to be able to see how hands work in relation to bring it all together, there’s no way to simulate that experience. So the apprenticeships became really instrumental in that.

By now, we’ve easily had over three dozen apprentices. Obviously, not all of them have stayed, some of them have gone on to work in other areas of the book arts or for other book arts organizations, or to teach, some of them have moved on altogether, but it actually has proven to be a very successful, robust lifeline for the press and for letterpress printing as a whole. 

I think a lot of other old trades and handcrafts are similar. I’m a sign painter, and I took a two-year sign painting course at LA Trade Tech College that’s not an apprenticeship per se, but it does replicate certain aspects of what an apprenticeship would offer. I learned from two sign painters who’ve been doing it for decades and who took the course themselves. The knowledge that they have is invaluable, and so much of it is just in their heads, so you really have to be in the room with them for two years in order to even scrape the surface of understanding sign painting.

A lot of it, too, is that the people who have that knowledge aren’t natural-born teachers, so there’s a lot that they don’t have words for. Or until a certain problem arises, it wouldn’t occur to them to explain the fix, or how you go about creating a fix for a problem that’s never arisen, that kind of thing. There’s a lot of that kind of knowledge that gets transferred by osmosis. 

What’s your favorite aspect of what you and your team do at Arion Press? 

Writ large, what’s most exciting about the work is that it’s such a dynamic moment to be involved with the book because it’s going through these radical changes. There’s this interesting division that’s occurred between knowledge and information. When people say, the web is going to be the death knell of the book! it’s really the opposite. What the web has done quite brilliantly is wrangle information and remove all of that encyclopedic burden from the book, which frees it up to do all of these other things. Meanwhile, the technologies for construction and manufacturing are changing so quickly that they are offering these wild new opportunities for ways in which books can actually physically be constructed. So we’re at this great nexus of being able to return focus to the book as an object, as a form of expression, and figuring out ways to do that so that it’s relevant to a contemporary audience.

What the web has done, quite brilliantly, is wrangle information and remove all of that encyclopedic burden from the book, which frees it up to do all of these other things.

Part of that is incorporating new technologies, and figuring out how the book can embrace those. That’s the most exciting thing for us: this project of invention and discovery. What that means in the day-to-day that is especially motivating is that it requires this incredible collaboration between all of the creative people who are involved in a project. That’s the artists within the publishing program, then working with the book binders and the guys in the foundry, and being able to coordinate everyone’s expertise to bring them into alignment with the concept for the project, and hopefully ending up with something that surprises everybody. It’s almost always the case that we never know where we’re going to end up, because the process is so organic.

I’m mesmerized by the ancient printing equipment and techniques you all have preserved and use to create your books. What’s it like working with such special and historic machinery day in and day out? 

A significant portion of the type collection here, which is the largest standing collection of metal type outside of the Smithsonian Institution, goes back to San Francisco printers at the end of the 19th century. Plus, ours is still employed; it’s still making books and printing words; it’s not just a research collection. The collection began to be compiled by the Grabhorns, who were great collectors. All of that adds up to what has been described as this irreplaceable cultural treasure designation that we were bestowed.

When working with the historic type collection, we may have a certain design in mind or a certain look for the typography, but when we go to the case it may turn out that we only have a partial alphabet of that particular typeface. So there are instances like that that arise daily where we have to pivot and devise a new solution based on all of the physical realities and constraints of working with 100-year-old equipment. That really leads to this ongoing, continuous conversation and evolution of every project where one thing leads to the next so that by the time we end up with the book finished and bound, it’s something that no one really could have anticipated. There’s a real excitement, joy, and delight associated with that. 

What’s it like keeping an old press and these antique technologies thriving within the context of San Francisco, a place dominated by big tech and digital innovation? 

The most facile metaphor for it is the interplay and relationship between radio and television, and the ways in which television actually ended up leading to the renaissance of radio that we’ve seen in the last couple of decades. We are by no means tech-averse. The monotype casters, for example, which were invented at the tail end of the Industrial Revolution in the 1890s, were the first word processors; they were cutting-edge technology for their day. So when the foundry was set up here in the Bay Area in 1915, it was cutting-edge technology. 

We are by no means tech-averse.

Originally, the monotypes were a two-part system where there was a paper tape that was punched on a hydraulic keyboard, and then that tape was fed onto the typecaster. But then the paper tape became complicated for various reasons, and about 15 years ago this beautiful digital interface was engineered that replaced that whole process. So now what we have is this 21st-century digital interface connected to the 19th-century caster that allows us to download a text from anything that’s in the public domain, format it, and convert it to be cast. It was this beautiful way, much like television and radio, that the new technology has moved in and helped buoy the old one. 

Another example that came up recently was when we worked on the Edgar Allen Poe collection. In the process of building that project, we stumbled upon this pile of bricks that had been rescued when NYU demolished Poe’s house in lower Manhattan. Unbeknownst to anyone, they moved in and raised the house, but it seems as if perhaps a mea culpa, they preserved the bricks. So all of a sudden we had these bricks, and there was this question of how we could incorporate them somehow into the book and enliven the experience that much more. What we ended up doing with them was working with a colleague of ours here in the Bay, John Sullivan, who had gotten into paper making and 3D printing. He created 3D molds into which we could grind the bricks down like a mortar and pestle and use the brick dust as a pigmentation in the pulp paper, and then we packed the molds. We ended up creating these three-dimensional cameos of Poe’s visage, and those were then embedded in the covers of the books. The paper-making is relatively ancient, but being able to create these cameos was made possible by technology only available within the last ten years. 

We’re really invested in that exploring, in breaking down the barrier between those two things and helping ensure that it’s a two-way communication from the digital to the analog, and from the analog back to the digital. They all happily coexist. 

Can you tell me more about Arion Press’s 50th anniversary celebration this year, and the Fables of Aesop collection you’re releasing as part of the milestone? 

We wanted to create something that would appropriately commemorate the press at this inflection point, while also accommodating the move. A year and a half ago, we didn’t exactly know what the move would entail other than it would happen within a six-month period and be completely disruptive and unpredictable. So we had to design a project that could somehow be modular and flexible enough to absorb this unexpected future. 

Those two things came together in Aesop. It seemed appropriate not only for its longstanding role in the history of printing— I came across one comment that said, second to the Bible, Aesop’s fables is the most printed work in the Western world. This makes a lot of sense because, for various historical and technical reasons, the fables lent themselves to the capacities and technologies of the day once moveable type was created. This is in part because of their brevity, but especially because of how visual they’ve always been. That allowed for this incredibly rich body of work to be created around them, and constantly reinvented. 

As I began to dive into the history of Aesop’s fables primarily at the Huntington Library, one thing that rose to the surface was how these morals that we’ve all grown up with and maybe have even been used to affect our behavior one way or another, have evolved over time. Once we got a bead on that, the project became very interesting because there was an opportunity to approach this in a way that’s relevant to the 21st century; what do these morals look like now? 

Also, because the morals are each self-contained in their way structurally, that allowed us the freedom that we needed to treat them individually. We could be printing each individual folio, which is how we will be presenting them, so that if production was interrupted, we could finish that one folio, pack it aside, move the operation, and pick up with the next folio. It also separated the binding from the printing. Typically when we finish the printing of a book, we have another three months of hand book-binding before the book can be released. But issuing it in a box as a collection of individual folios gave us the elbow room we needed. 

So we had this splashy box and these morals, and both of those things were the anchors for the project. That’s what led us to invite Kiki Smith as the primary visual artist to create a sculptural multiple to define the experience of the box, and to invite Daniel Handler (whom you might know as Lemony Snicket) to reinterpret the morals. We then began to invite other artists that we had worked with in the past to each choose one fable to interpret and create one print that we would print here in the shop by traditional letterpress relief printing techniques. We ended up with 15 artists with Kiki being the 16th, and 41 fables. 

The project allowed us to celebrate our community, it gave us a way to make a statement relevant to a contemporary audience, it gave us the flexibility to dance around the move, and it promised to be a lot of fun in the process.

Featured image above: Nick Bruno/Courtesy of Arion Press

The post Arion Press Keeps the Art of Bookmaking Alive While Looking to the Future appeared first on PRINT Magazine.

Are you a book lover short on shelf space? isolarii makes tiny books with big words—and they’re perfect for a holiday stocking.

isolarii take its name from the extinct genre of Venetian Renaissance “island books.” Month to month, they map the extremes of human knowledge and creative endeavor, assembling perennial legends and emerging icons—scientists and novelists, philosophers and activists, architects and technologists, from the counterculture to the avant-garde—pioneering new ways of understanding ourselves and the Earth.

isolarii is a subscription service, and subscribers receive their first book immediately after joining.

The most recent is a Philip K. Dick story that can be read in one sitting. Who needs ebooks when you have one as small and collectable as this?

The post The Daily Heller: A Handbook for People With Tiny Hands appeared first on PRINT Magazine.

“Many of us didn’t fully know what that impact and influence looked like back then, and how it still carries forward,” Sykes told me. “But as we turned more pages and did more research and had more pre-interviews with experts, with curators, with museum owners, with founders of different types of companies, and with artists themselves, we learned more and more and more.” 

It’s through this extensive research process that Sykes and her team honed in on the creation of a two-part zine series entitled, “Legacy: A Modern Renaissance,” designed to shed light on diverse communities through the lens of Black excellence and achievement. These stories highlight the ways that passing wealth to the next generation is fueling community while celebrating the innovative period of Black art, music, poetry, and literature that launched in Harlem, New York, in the 1920s and ’30s. In partnership with U.S. Bank, the campaign is the first of its kind for The New York Times, paying homage to the lasting impact of the Harlem Renaissance and its 100th anniversary through the power of print.

T Brand Studio has commissioned work from Black writers, storytellers, artists, and designers for the two 12-page zines, highlighting the immense contributions of Black creatives to the arts and wider society. The zines feature work from typographer Tré Seals, poet Mahogany L. Browne, cultural critic and writer Michaela Angela Davis, collage artist Magdaline Davis, and photographer Ivan McClellan. The first zine, “Legacy: The Wealth Issue,” was released as a printed insert in The New York Times Sunday issue on August 18, with the second zine, “Legacy: The Culture Issue” set to be distributed with the December 29 print issue. Both zines are now available to view digitally through an innovative online hub unveiled by T Brand Studio last week. The online hub continues the theme and tradition of accessibility that the zine form is already emblematic of. 

To highlight this thoughtful and poignant campaign and continue to honor the lasting legacy of the Harlem Renaissance, I spoke in-depth with Sykes about the Legacy project, from development to distribution. Our conversation is below, lightly edited for clarity and length.  

Let’s rewind to the genesis of “Legacy: A Modern Renaissance” zine series. How did the idea first develop?

This time a year ago, U.S. Bank, who’s our partner for this program, came to us and said, “Hey, can you create a coffee table book?” They understood that The New York Times would be doing an editorial alignment with the 100th anniversary of the Harlem Renaissance. We said, “We could, but as a custom content studio, our lane really evolves around creating storytelling opportunities.” That’s when we started talking about maybe not a coffee table book, but what could be more realistic is a series of zines.

We wanted to bring the story forward. What does this idea of a Modern Renaissance look like? That’s when we came up with a “Legacy Fulfilled.” We wanted to spark this idea of a national dialog to really show and demonstrate that the Harlem Renaissance was this cultural phenomenon that continues today.

This is a first-of-its-kind program for T Brand Studio and U.S. Bank, where every single contributor on our platform and on this content is Black.

What was your T Brand Studio team hoping to accomplish with this project? 

This is a first-of-its-kind program for T Brand Studio and U.S. Bank, where every single contributor on our platform and on this content is Black. We wanted to remove barriers for Black creatives by not only giving them a platform to share new and untold stories but also to say to us, “These are the stories that I want to tell.” It’s a really huge deal.

The series leverages the talents of Black award-winning writers, poets, journalists, photographers, illustrators, and even a typographer, to specifically do a few things: We wanted to build awareness around the impact and influence of the Harlem Renaissance and grant access and opportunity to a new generation of Black cultural thinkers, which we’re really doing in our culture zine. We also wanted to shine a light on Black affluence because that was a specific, targeted area that U.S. Bank wanted us to speak to, and show people that wealth shows up in a myriad of ways. People are building wealth differently today. It’s not just the financial wealth, but it’s also the intellectual capital, and the historical value that brings to bear when we’re talking about inheritance.

We wanted to ask, across poetry and music and art and fashion and culture, What does the Black diaspora look like today, and how is the impact continuing globally? That’s where the zines come into play. 

People are building wealth differently today. It’s not just the financial wealth, but it’s also the intellectual capital, and the historical value that brings to bear when we’re talking about inheritance. 

Why did you decide on the zine form for this project?

The reason we chose zines is that during the Harlem Renaissance, zines were really designed (around 1918 through the 30s) to allow people without a voice to express themselves, to really communicate with others in the community, and lean into their artistry at the same time in a way that they hadn’t been allowed to do. So we said let’s use this idea of the zines as information for what we do today. 

The zines pay homage to the powerful underground press that existed during the Renaissance that became known for delivering prolific poetry and prose, delivering local news, and giving people cultural information. We wanted to create today’s zines to run as an insert inside The New York Times. It runs in a Sunday newspaper for all of our 600,000 home delivery subscribers. Each zine specifically amplifies how the Harlem Renaissance continues to inspire some of our most powerful cultural moments in America. 

Also with these zines, so much of it has been about giving access to people, but it’s also giving space and making space for new voices, for poetry, for prose, for local news, for cultural information. They’re inspired by that tradition that gave birth to this idea of old voices and new voices. So that’s what these zines do; they not only give access and opportunity, but they give space to people whose voices hadn’t been heard and were traditionally not heard in a mainstream environment.

What are some of the stories told within the pages of these zines? 

One is about a Black family of ranchers, The Bradfords— a fourth-generation family of Black ranchers in Oklahoma. I got to go out there and see them, and talk about what it means to really grow the foundation from the roots. What does that mean for family? What does it mean for legacy? What does it mean for the future? In my mind, that was a really important story to tell, and I knew we could do it through Black farmers, who represent less than 1% of all farmers in America today. 

We also spoke with Julian James, who shared a story about inheritance and the idea that money can mean a myriad of things. He had a Movado watch that was passed down to him by his stepfather. He was a man who thought about not the clothes making the man, but the man making the clothes, and how important it was for you to carry yourself as you went out the door. So that was something that Julian took from him, and now he says that every time he wears this watch, he thinks of his stepfather and his legacy. 

We had Mahogany L. Brown, the current poet-in-residence for the Lincoln Center, write a custom poem for the wealth zine, and she said that everything about this project just felt like home to her. Her marching orders were simple: I said, “If Langston Hughes talked about this idea of a “dream deferred,” how do we bring it forward and speak to what a dream fulfilled looks like?” So she took us to Harlem. She took us to education. She took us to inheritance. She took us to all of the places and spaces that Black folks lived in during the Harlem Renaissance and said this is where and how we’re succeeding today. I thought it was a beautiful nod to the Harlem Renaissance, and it really hit on all of the cylinders as it related to this storytelling.

Can you walk me through some of the editorial design decisions that were made when bringing these zines to life? I know you worked with typographer Tré Seals, for example, to create a custom typeface for the project.  

This is a project that is rooted in the research of the Harlem Renaissance. Many of us didn’t fully know what that impact and influence looked like back then, and how it still carries forward, but as we turned more pages and did more research and had more pre-interviews with experts, curators, museum owners, with founders of different types of companies, and artists themselves, we learned more and more and more. 

In that research process we learned that the original zines during the Harlem Renaissance were designed to allow people without a voice to express themselves, to communicate with others in the community, and lean into artistry. We did a handmade approach to texture and color, and used layered compositions as an intentional nod to those artists who had bootstrapped. 

We used custom typography called VTC Sarah, created by Tré Seals, the founder, designer, and typographer at Vocal Type. VTC Sarah was inspired by his great-grandparents. They were entrepreneurs and business owners, and their names were Sarah and Henry Johnson, and they were pillars of their community. They had provided financing and resources to their neighbors when banks wouldn’t, and that really helped facilitate hundreds of purchases and land sales to the Black community. Our art director, Bri Moran, literally held up Tré’s great grandparents’ marriage certificate at one point and said, “This is what is inspiring, the typeface throughout our zines.” So in working with Tré at every iteration, he made sure that the typeface spoke to those words and the stories that we were telling. 

With the zine’s digital hub launching last week and the physical culture zine mailing out in December, can you shed a bit more light on what’s depicted in that issue in particular? 

We’re celebrating what culture looks like through a lot of different Black creatives. It’s an homage to the arts, literature, dance, and music industries created by Black artisans during the Harlem Renaissance. 

Who are some of the creatives featured in the culture zine? 

We asked Emil Wilbekin, the former editor-in-chief of Vibe Magazine who now runs the platform Native Son, to take us back to having a parlor conversation. These were conversations that were happening in speakeasies and basements during the Harlem Renaissance, where people could really talk about the issues of the day. So we said, “What does that look like if we bring that 100 years forward?” Emil helped to not only moderate the conversation with other Black creatives from different fields, but he also was able to facilitate a Q&A at the Freehand Hotel in Manhattan. I loved this conversation. They talked about what the Harlem Renaissance means today, and the impact that the Harlem Renaissance is having on these particular creatives. 

We also talked to Naima J. Keith, an art curator and an educator at LACMA. She talked about paying tribute to the artisans that came before us, and this idea that because of those artisans in particular, now we can talk about skin tones. Now we can talk about Blackness and all of its authenticity, and how that comes to the table today in ways that it wasn’t before. 

Then there’s Shanari Freeman, who’s the executive chef of Cadence in Manhattan, and she talked about the idea of paying homage to the Harlem Renaissance through collaboration. She said that oftentimes we know what to do, but sometimes we don’t necessarily know how to do it, so let’s teach each other this idea of “each one, teach one.” 

Then we have Fredara M. Hadley, who’s an ethnomusicologist over at the Juilliard School. She talked about the idea of how dances from the Harlem Renaissance are being brought back today through troupes like THECouncil, a collective of five black women who are choreographers, producers, and directors who work with global brands and celebrities. 

What was the process like for developing the digital adaptation of the zine? What considerations went into that?

In addition to the print version of the culture issue, people across the globe will have access to a digital, flippable booklet of both zines, and those are going to be housed online, within a New York Times URL that encourages people to learn more about the resources and opportunities offered by U.S. Bank.

We had a long conversation early on about this idea of a digital hub, and I would always say, “Well, what would be the point of us creating something else if we already have our print zines?” And my team explained to me that it’s because not everybody has the same level of access, which is very important here. The one thing that we wanted to do with both of these zines is to give people opportunity and access, not only to the information but to the history. So that’s exactly what the hub is set out to do; now everyone—subscribers and non-subscribers of the New York Times—will be able to have access to it. 

It’s a great opportunity for us as a custom content studio to be able to take these zines and this content in its physical form and then allow it to live on digitally while also giving people this access. That was the lesson learned for us in our wealth zine— people were like, “This is amazing. How do we get it? How do I share it? How do I link to it?” But as opposed to thinking of it as a problem, we saw it as an opportunity in order for the zines to continue to live and give access to everyone.

The post T Brand Studio Celebrates the Centennial of the Harlem Renaissance with Zine Series & Digital Hub appeared first on PRINT Magazine.

The word “generous” should be highlighted. When often he was asked byfriends to help fund a publication venture, he would gladly do it, and usually throw in my services as part of the investment. This, indeed, is how I came to become the art director and designer of the feminist periodical Broadside. It was edited by his ex, Mary Phillips, a former flight attendant who was a writer, photographer and editor with experience in sexist inequity.

The paper avidly supported the Equal Rights Amendment and advocated for women’s rights—across the board. It was a important short-live attempt at serious feminist reportage. It was also a chance to refocus my graphic design education, such as it was, to do something less salacious than Goldstein’s Screw, and practice my recently found love of Herb Lubalin’s type stylings.

Goldstein did not meddle with any of the editorial content. He barely looked at my layouts until after they were published, so I had relatively free reign. What he did do was set a limit to how many issues he could finance without making back his expenses—after three issues it folded.

It may seem odd for a pornographer to publish a serious feminist pub but Goldstein was complicated in his politics and beliefs.

I just found these in my storage bins (being donated to the SVA Archive) and am compelled to share them here, awkwardly designed logo and all.

The post The Daily Heller: Art Directing ‘Broadside’ appeared first on PRINT Magazine.

When your boss tells you to track down an amusing Steve Brodner factoid to open the podcast with, and one of the first things you find is a, uh, a “dick army,” welp, that’s what you’re going to go with.

Lest you judge me, I can explain. Brodner’s drawing of this army was inspired by a guy who was actually named Dick Armey (A-R-M-E-Y)! He was Newt Gingrich’s wingman back in the nineties. I thought to myself, The people need to know this.

However, with the election now a few days behind us, maybe the time for talking about men and their junk is over?

What you really want to learn about is this Society of Illustrators Hall of Famer’s career. Brodner’s work, which has been called “unflinching, driven by a strong moral compass, and imbued with a powerful sense of compassion,” has been featured in Rolling Stone, The Washington Post Magazine, Esquire, The New Yorker, and many others.

In this episode, Brodner talks about how the death of print has led to the current misinformation crisis. As it gets harder and harder to tell what’s true, the future becomes increasingly uncertain. Even his most biting drawings are rooted in truth.

Satire doesn’t work if you are irresponsibly unreasonably inventive. If satire doesn’t have truth in it, it’s not funny.

A production note: This episode was recorded exactly one week before the election. As our conversation began, we took turns telling stories about memorable election night parties, and our plans for November 5th. Here’s Steve, talking about his plans…

Check out the episode page for the full transcript and illustrations by Brodner.

Print Is Dead (Long Live Print!) is a podcast about magazines and the people who made (and make) them. Magazines that combined thought-provoking attitudes and values with a distinctive look and feel, and cast a long and powerful shadow on American culture and public discourse. Hear stories and learn lessons from legendary designers, editors, writers, publishers, photographers, illustrators, photo editors, and more—stories and lessons that capture a magical history of innovation and inspiration, and that point the way forward. We’ll go deep into the lives and careers of this astonishingly talented group of creators, and tease out what these giants—past and present—have to teach the next generation of creators.

If you’re in the magazine business—if you’re in any business focused on content creation—this podcast is for you.

This episode is made possible by PIDLLP sponsors Commercial Type, Mountain Gazette, and Freeport Press.

The team behind Print is Dead (Long Live Print!) also produces The Full Bleed, a podcast about the future of magazines and the magazines of the future.

The post What Makes Steve Brodner Happy 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.

The Artifacts from the Eames Collection is a series of catalogs that comprehensively documents pieces from the Eames Institute collection, making these iconic designs more widely accessible to all, thus further advancing the legacy of 20th-century designers Ray and Charles Eames.

The Eames Institute has already offered themed virtual exhibitions and is thrilled to continue its growth into the physical print medium. Forty-thousand+ objects have been lovingly collected, preserved, restored, and documented by the Eames Institute so far, with Artifacts from the Eames Collection presenting curated selections from these objects in six thematically themed catalogs: Tables, Ray’s Hand, Eames Aluminum Group, Toys & Play, Steinberg Meets the Eames, and Postcards. (The first five have already been released, with the Postcards catalog coming soon.) Many of the objects featured in these editions have never been seen before, and all have been newly photographed to highlight design details.

Each catalog includes an introductory note from Llisa Demetrios, Chief Curator of the Eames Institute and granddaughter of Ray and Charles, and an essay written by a leading design expert. The catalogs also present a variety of archival material and photography from the Eames Office, Library of Congress, and the archives of Herman Miller and Vitra.

The catalogs are softcover with a short cover wrap and a special insert and range from 122–172 pages. They are available for purchase from the Eames Institute here.

The post All the Eames That’s Fit to Print appeared first on PRINT Magazine.

The new type palette pays respects to its successors (Dennis Ortiz-Lopez’s condensed slab serifs with high contrast display of the 90s, and Jim Parkinson’s enduring and curvaceous 1981-2018 wordmark) but takes the overall aesthetic in a new direction. The team’s ethos for the redesign: “Make it look like Rolling Stone, without directly sampling bygone issues,” said Schwartz.

It would have been easy to slip into nostalgia for this project, but we didn’t want to go that route. Nostalgia engages only superficially with history, trafficking in tropes of an idealized past.

Christian Schwartz, Commercial Type partner and co-founder

For headlines, Tim Ripper designed Rolling Stone Slab, softening the potential for solid walls of screaming text with subtly rounded serifs. This is an evolution of his work on the condensed weights of Commercial Type’s Successor typeface, a reinterpretation of the 19th-century English slab serif (aka Egyptian or Antique). The italic version gets its personality from curvy tails and cursive-like detailing, harkening back a century or so.

French calligrapher Julien Priez, a relatively new addition to the Commercial Type team, designed the body text and subheadlines, riffing off the team’s Feature Flat and Deck typefaces. Priez added swashes to both the italic and Roman versions; the result lends a whimsical note to artist names, in particular.

I have redesigned Rolling Stone at least four times now and this is my absolute favorite.

Joe Hutchison, Rolling Stone creative director

For more, read Commercial Type’s case study.

Images courtesy of Commercial Type.

The post Commercial Type Samples Custom and Off-the-Shelf for the Best ‘Rolling Stone’ Redesign Yet appeared first on PRINT Magazine.

According to the publication, the mission is to inspire children to embrace the joys of healthy food. (CHEW acknowledges that not all families have access to food and will be donating 10% of the magazine sales to food banks, as well as offering a 30% discount to schools.) Studio Anorak’s founder Cathy Olmedillas says, “There increasingly seems to be a disconnect between the food on our plates and its source. In our humble way, with CHEW we want to educate children (and their families!) about how incredible a simple vegetable or fruit is, and inspire them to cook and eat healthily.”

Below, Olmedillas and I bite into CHEW.

What inspired you to produce CHEW?
CHEW almost came instead of DOT, 10 years ago, but I ended up publishing a children’s food book, which was called Food is Fun. The reason I launched DOT first is because parents were asking us for a younger version of Anorak, so I obliged! In the summer, I revisited the plans I had for CHEW, and I was struck how fully formed the ideas for it were. Around the same time, I came across some depressing stats about children’s diets in the U.K. and USA, so it felt like CHEW could be of use, too. Not just a pretty mag!

Why did you launch it as a print magazine?
I think the magazine format helps children to get interested in many different things, outside of the school curriculum. It’s also less of a commitment than a book. It’s an easily digestible format (pun intended!) and I hope that it will ignite curiosity in children about the joys of simple food and the amazing larder Mother Nature gives us.

What has the early feedback been like?
So far, so good—everyone we have shown it to has fallen in love with the mixture of beautiful illustrations, all done by Sara Arosio, and the fun content.

Do you have enough funding to continue publishing it?
Yes, we have funding aside for six editions, which is nearly two years, as the magazine is quarterly.

Do you believe the magazine will reach its audience? And who is the audience?
Well, I hope so and think we will, because we have a good network of parents who follow us already. The audience is children aged 6+ and their families. Like with DOT and Anorak, I would love for CHEW to become a shared experience, but this time around food.

What is your favorite part of the magazine?
I love everything about it. I feel like a spoilt magazine-mamma with this one! If I had to pick one thing, it would be how we take one humble fruit, the orange, and build a whole around it: from a wacky comic about oranges and lemons fighting for centuries, to a cow that steals oranges, educational pieces about the history of the orange trade, and recipes.

The post The Daily Heller: Yummy, I’ve Got “Chew” in My Tummy appeared first on PRINT Magazine.

Everybody knows that in May 2023, a jury found Donald Trump liable for defaming and abusing E. Jean Carroll, and awarded her $5 million. And everybody also knows that in January 2024, another jury found Trump liable for defamation against her to the tune of $83.3 million. P.S., with interest, his payout will now total over $100 million.

But not everybody remembers—because we were guppies, and because, ahem, Print is Dead, y’all—that E. Jean is a goddamn swashbucking magazine-world legend: a writer of such style, wit, and sheer ballsy joie de vivre that she carved out a name for herself in the boys club of New Journalism, writing juicy and iconic stories in the seventies and eighties for Outside, Esquire, Playboy, and more—and then finally leapt over to women’s magazines, where she held down the role of advice columnist at Elle for, wait for it, 27 years. Elle is where we intersected with E. Jean and where we first saw up close her boundless enthusiasm and generosity for womankind.

We’ll also never forget sitting at one of the magazine’s annual fancypants dinners honoring Women in Hollywood—these are real star-studded affairs, folks—when Jennifer Aniston stood up to receive her award and started her speech with a shoutout to her beloved “Auntie E.,” whose advice she and millions of other American women had devoured, and lived by, for decades.

Here’s the truth: The woman that most of the world came to know through the most harrowing circumstances imaginable really is and has always been that fearless, that unsinkable. It’s not a persona—it’s the genuine article. And when you hear her stories about how hard she slogged away for decades to finally get her big break in publishing, listeners, you will have a whole new respect for her.

As E. Jean tells us herself in this interview, she does very, very little press. So we couldn’t be more honored that our friend and idol and the Spread’s most enthusiastic hype woman sat down after hours with us for this interview. We just hope we did her justice!

Print Is Dead (Long Live Print!) is a podcast about magazines and the people who made (and make) them. Magazines that combined thought-provoking attitudes and values with a distinctive look and feel, and cast a long and powerful shadow on American culture and public discourse. Hear stories and learn lessons from legendary designers, editors, writers, publishers, photographers, illustrators, photo editors, and more—stories and lessons that capture a magical history of innovation and inspiration, and that point the way forward. We’ll go deep into the lives and careers of this astonishingly talented group of creators, and tease out what these giants—past and present—have to teach the next generation of creators.

If you’re in the magazine business—if you’re in any business focused on content creation—this podcast is for you.

This episode is a special collaboration with The Spread and is made possible by PIDLLP sponsors Commercial Type, Mountain Gazette, and Freeport Press.

The team behind Print is Dead (Long Live Print!) also produces The Full Bleed, a podcast about the future of magazines and the magazines of the future.

The post She’s Our Type | E. Jean Carroll appeared first on PRINT Magazine.

“When I dreamed up this idea, there was no place for Muslims of a left-leaning political ideology to engage in critical discourse about the world we live in and how we want it to look different,” she says, noting that there were indeed magazines focusing on Black Muslim identity like Sapelo Square, or gender identity, like altMuslimah—but nothing broadly focused on the left side of the political spectrum. “Islam informs so much of my political values, and I knew the same was true for others. I saw that magazines such as Jewish Currents had created this space to critically reflect on community and politics, and I thought that was so needed in the American Muslim community.”

Ahmed partnered with creative director Arsh Raziuddin—former AD of The Atlantic and The New York Times’ Opinion section, and former creative director of Bon Appétit—and Acacia was born online and semi-annually in print.

Its first issue released earlier this year, covering a broad spectrum of politics and culture, with fiction, poetry and art to boot: In “The Myth of Bodily Autonomy,” Natalia Latif explored the impact of the overturning of Roe v. Wade and the Muslim response; Sarah Aziza penned an essay on growing up the child of a Palestinian Muslim father and an American Christian mother; Shamira Ibrahim documented the use and impact of “Arab scales” in Western music; Mariam Rahmani and Lamya H discussed Hijab Butch Blues: A Memoir.

The latest issue, released this month, meanwhile, focuses on Palestine. There’s Sanya Mansoor’s “Fury at the Ballot Box”; Matene Toure’s interview with scholar Zoé Samudzi on the historical use of the word genocide; Maira Khwaja’s look at torture, from Guantanamo to Gaza; a profile of poet Mosab Abu Toha.

Underscoring it all: Raziuddin’s deft design and art direction, supplemented by visual contributions from some of the industry’s best creatives. 

Below, Ahmed and Raziuddin tell us more about the publication, which is further building out a community through sold-out launches and other events. 

Tell us about the need for a publication like this today.
Ahmed: It’s no secret that Muslim-, Arab- and Palestinian-allied journalists are being censored in mainstream media, especially in the last year. We think in light of that censorship, it’s more critical than ever that Muslim voices have a platform to report honestly about the state of our world. 

Raziuddin: This kind of censorship seeps into the world of art, affecting what stories we can share visually and how they are commissioned. It’s important to involve Muslim artists and photographers in a wide range of topics, so we aren’t limited to narratives of war, pain, and exoticism.

Arsh, at what point did you get involved? How did the two of you first connect?
Raziuddin: Hira and I had a meet-cute in an elevator. We were both going to another literary magazine party and introduced ourselves. I asked if she was a writer and she said she’s starting a lefty Muslim magazine. The rest was history. 

Tell us about the significance of the name Acacia, and how it represents your overall mission.
Ahmed: Our name is a reference to the acacia tree (Vachellia seyal). It’s generally thought to be a tree under which Prophet Muhammad and early followers of Islam sought respite and prayed. In that same tradition, Acacia is a gathering place.

Raziuddin: I imagine the tree taking on various forms, adapting alongside different letters, abstracting itself into varied versions as the magazine evolves.

What made you decide to launch Acacia in print?
Ahmed: Publishing a print edition allows us to build a tangible and enduring legacy of American Muslim political, cultural and artistic production. The internet may seem like forever, but everything on it is ultimately ephemeral. Because most of us don’t own the platforms that host our data, apart from some commendable archival efforts, we have limited tools to preserve our stories for future generations.

We hope that years from now, the back issues of Acacia will tell the story of what it meant to be a Muslim in America during critical political and cultural moments. 

Hira Ahmed

Tell us a bit about the editorial breakdown/architecture of the magazine, and how it’s arranged.
Raziuddin: Acacia is broken down into different sections, similar but not necessarily dependent on the front, middle, and back of a book, like a traditional magazine. We have a mix of personal essays, reported essays, feature stories, interviews, poetry, and a photo essay.

How have you selected the issue themes so far?
Ahmed: Our first issue was finalized before Oct. 7, 2023. In some ways, that feels like a different world, and the American Muslim community is certainly in a very different place since the beginning of the genocide. But in the pre-Oct. 7th world, we wanted to tell stories that were affecting us intra-communally. Our cover story “Navigating Culture Wars” from the first issue really captures that effort. It was about rising homophobia in the American Muslim community and specifically an open letter penned by prominent American Muslim imams condemning queerness. I think it resonated with readers because it was something everyone was talking about in the group chat, but, prior to Acacia, there was no space to formally unpack and analyze the subject matter of that story. 

The second issue is about Palestine. The genocide has been an all-consuming issue for American Muslims in the past year. It’s hard to imagine how that isn’t the case for everyone. As the genocide worsens, Gaza moves further back into the pages of newspapers. It’s a real shame. 

What has been your approach to the stories within? You have assembled such a powerful collection across a broad swath.
Ahmed: We are lucky that such incredible writers want to work with us! There is no shortage of talent in our communities and it’s been such an honor to be able to highlight that. A lot of writers are already thinking about the issues we discuss in the magazine, and we provide a home for that writing. Other times, as fans of certain writers, we will commission pieces that we think our readers would want to read. We have a brilliant group of editors who commission pieces and we deliberate together about what makes it into the issue. 

What are your favorite pieces that you’ve run to date?
Raziuddin: It’s hard to pick just one favorite, but I really loved Shamira Ibrahim’s piece on the Arab Scale from Issue 1, and Matene Toure’s interview on genocide in the latest issue. Amir Hamja’s portrait of Noura Erakat in this second issue was absolutely stunning and complemented her interview perfectly.

What has been the most challenging part of the whole endeavor so far?
Ahmed: It’s a logistically large undertaking.

Raziuddin: Especially with a small team, we’re really breaking new ground. There aren’t many folks doing what we’re doing in this way, and we’re creating our own path.

Tell us about the look you set out to achieve through the design.
Raziuddin: I want to strike the right balance between showcasing our community’s artwork and styles that we cherish, while also embracing a modern editorial language and design system. It’s a tricky line to walk.

Tell us a bit about the first two covers.
Raziuddin: In our inaugural issue, we were so lucky to feature Cassi Namoda as our cover artist. Her work is so beautiful—steeped in history and rich with narrative. Sad Man With Roses (awaits his beloved), 2020, captures a tender, poetic quality that was a perfect fit for our first cover. …

For our second cover, we were honored to feature a photograph by Taysir Batniji, a gifted Palestinian artist born in Gaza. His photo essay, Fathers, carries a haunting depth. Each image tells a story of lineage and family, echoing profound themes of loss and memory. It captures what we leave behind in times of war and genocide, highlighting how we, as a community, navigate and reshape our history. This issue confronts the ongoing devastation in Palestine and its broader impact on the Muslim world, while also addressing the rising tide of Islamophobia. We’re thankful for the artists who help us uncover and share the truth through their work. This series was captured back in 2006, many years before Oct. 7, 2023. 

Overall, what has the reception been like so far?
Ahmed: We’ve been really moved by the response. There’s nothing more rewarding than having a journalist or a fellow reader express gratitude for Acacia. My favorite anecdote is when we heard from a college student that he was going to cite one of our stories in his senior thesis. 

Raziuddin: A friend shared that a young Muslim girl, a budding artist, cried when she held the magazine. It made me cry!

Editor’s Note: PRINT Magazine is committed to publishing a diversity of opinions.

The post Meet ‘Acacia’, a New Print Magazine for the Muslim Left appeared first on PRINT Magazine.

Be sure to subscribe to our emails to learn when and where to enter your best work this year!

If any brand has an opportunity to take advantage of its leadership position in the category and elevate itself from a functional to an emotional brand, Bear Naked can. The team from Leo Burnett Chicago designed a campaign for hikers (and adult outdoor recreation enthusiasts in general) to think “Bear Naked” instead of “granola” because the company is a brand people love for its real ingredients, incredible taste, and commitment to the things they care about.

As part of this campaign, Leo Burnett designed a guidebook, “The Guide to Hiking Naked: The Essential Handbook for Nude Hikers,” winning first place in The 2024 PRINT Awards’ Brochures and Catalogs category.

Powered by Gaia GPS, a popular trail app, the design team deployed a new tool that replaces what used to be primarily done through word-of-mouth, marking trails as either friendly or unfriendly. The designers created an ownable moment for Bear Naked, kicking off on Naked Hiking Day 2023, that not only brought attention to the activity but empowered current (and curious) naked hikers to explore nature and reap all of its benefits confidently and safely. They achieved this through a bold, multi-pronged experience that grabbed the attention of hikers and non-hikers alike through its bare-all, grass-roots approach.

To get the word out, the team partnered with the name in all things outdoor, Outside Inc. Together, they embarked on a journey that included custom articles and how-to’s for enjoying hiking nude, partnership with influential outdoor personalities, video content delivered via CTV in outdoor-related contexts, cross-platform social engagement encouraging use of the app, a home-page takeover, and media outreach to garner earned coverage.

Oh, and so hikers don’t have to worry about leaving their granola at home, the design team created a hiker’s belt that holds a strategically placed bag of granola to cover up those who dare to be bare.

The post Leo Burnett Chicago Gets Bare Naked appeared first on PRINT Magazine.

Just about every magazine Richard Baker worked for has died. Even one called Life.

Also dead: The Washington Post Magazine, Vibe, Premiere, and Parade. Another, Saveur, also died but has recently been resurrected. And Us Magazine? A mere shadow of its former self.

Sadly, Baker’s career narrative is not that uncommon. (That’s why you’re listening to a podcast called Print Is Dead).

But Richard Baker is a survivor. He’s survived immigrating from Jamaica as a kid. He’s survived the sudden and premature loss of three influential and beloved mentors. And he’s survived a near-fatal medical emergency in the New York subway.

Yet, in the face of all that carnage, Richard Baker just keeps on going. To this day, he’s living the magazine dream—“classic edition”—as a designer at a sturdy newsstand publication (Inc. magazine), in a brick-and-mortar office (7 World Trade Center), working with real people, and making something beautiful with ink and paper.

Print Is Dead (Long Live Print!) is a podcast about magazines and the people who made (and make) them. Magazines that combined thought-provoking attitudes and values with a distinctive look and feel, and cast a long and powerful shadow on American culture and public discourse. Hear stories and learn lessons from legendary designers, editors, writers, publishers, photographers, illustrators, photo editors, and more—stories and lessons that capture a magical history of innovation and inspiration, and that point the way forward. We’ll go deep into the lives and careers of this astonishingly talented group of creators, and tease out what these giants—past and present—have to teach the next generation of creators.

If you’re in the magazine business—if you’re in any business focused on content creation—this podcast is for you.

This episode is a special collaboration with The Spread and is made possible by PIDLLP sponsors Commercial Type, Mountain Gazette, and Freeport Press.

The team behind Print is Dead (Long Live Print!) also produces The Full Bleed, a podcast about the future of magazines and the magazines of the future.

The post Soul Survivor | Richard Baker appeared first on PRINT Magazine.

These are some of the questions UK-based graphic designer Conor Foran found himself asking, spurred by his own journey with stammering. This reflection led to his development of the Dysfluent Mono typeface along with his wider project, Dysfluent, in 2017.

Through art, design, and curation, Dysfluent intersects the lived experience of dysfluency with creativity, activism, and social justice. Through Dysfluent, Foran collaborates with people who stammer, artists, speech therapists, academics, activists, organizations, and allies. One component of the Dysfluent project is an independent magazine of the same name, that explores the lived experience of stammering. Designed by Foran, the publication deploys the Dysfluent Mono typeface throughout its eye-catching and thoughtful pages, that visually portray the sounds, rhythms, patterns, and experiences of a stammer.

Foran has released two issues of the magazine, with a third currently in production. A digital version of issues one and two are available through Dysfluent’s online shop, with a hard copy of issue two distributed in the UK, Europe, Asia, and North America by Antenne Books.

More than a magazine, Foran has created a movement. Using his skills as a graphic designer and keen editorial design eye, through Dysfluent, Foran has helped cultivate a community centered around celebration and reclamation for those who stutter.

Stammering pride contends that verbal diversity is rich with meaning in its own right, and deserves to exist outside of a clinical lens of needing to be “fixed” or “cured.” 

Today, October 22nd, marks International Stuttering Awareness Day, a moment dedicated to sharing information about the realities of stuttering more widely and honoring the stuttering community at large. We’re thrilled to highlight Dysfluent and Foran’s work as part of the international celebration. Foran answered a few of my questions about the Dysfluent story below, including reflections on his editorial design, developing the Stammering Pride flag, and what he has planned next for the project.

Can you describe Dysfluent and its mission? What are you hoping to accomplish with Dysfluent?

Dysfluent is a collaborative and creative practice about stammering, a speech disability (also known as stuttering). Through art and design, it intersects the lived experience of dysfluency with creativity, activism, and social justice. So far, it has produced a stammering font, a magazine, a stammering pride flag, and, most recently, a billboard for Whitney Museum’s 2024 Biennial in New York City.

Dysfluent is led by me, Conor Foran. I collaborate with people who stammer, artists, speech therapists, academics, activists, organizations, and allies from around the world to contribute to a growing stuttering culture based around pride. Stammering pride contends that verbal diversity is rich with meaning in its own right and deserves to exist outside of a clinical lens of needing to be “fixed” or “cured.”

What’s the origin story of Dysfluent? How did the idea for a magazine reflecting the stammering community come about?

Dysfluent as a project happened very much organically, as I investigated my relationship with my own speech. While I am a proud person who stammers now, I wasn’t back in 2017 when I started creating the Dysfluent Mono typeface and magazine in college. Looking back, the project was a form of self-therapy that I still practice today. 

My experience with speech therapy was limited, and I wasn’t part of the stammering community as I am now. When creating content for the magazine, I met another person who stammers for the first time. What was an intensely personal project naturally evolved into a community-facing one. I’m very grateful to the stammering community that has embraced all the Dysfluent projects, from everyday people who stammer and parents of kids who stammer, to academics and therapists. 

The typeface is used in the magazine to proudly represent the voice of the interviewees. The magazine explores the lived experience of stammering through interviews and essays, facilitating contrasting and challenging views. It has published two issues so far. 

When it comes to the design of the magazine (and your beautiful website, merch, flag, etc.) can you speak to some of the visual choices you made to reflect stammering and how those were developed?

The typeface Dysfluent Mono is based on the three kinds of stammering: repetitions, prolongations, and blocks. I made special letterforms that repeat parts of themselves until they form the actual character, as well as characters that stretch their forms. Blocks are represented as multiple spaces. While ideas of stammering pride didn’t really exist when I created the typeface, looking back, the approach I took was very pride-coded. I interpreted my speech as forming over time, rather than being fragmented or broken. To consider stammering or dysfluency as not the antithesis of fluency is still a radical idea for a lot of people. 

To consider stammering or dysfluency as not the antithesis of fluency is still a radical idea for a lot of people.

For Issue 2 two, I asked how can a magazine itself stammer? The cover unfolds to reveal an inner dialogue amongst stammering letterforms. The issue’s title stammers across the spine. The “pull quotes” remain in their paragraphs, challenging the idea of the perfectly said phrase. Each interview is set in Dysfluent Mono. The expressive, typographic illustrations are inspired by the uniqueness of the interviewee’s voice. The magazine creatively questions society’s obsession with hyper-fluency, which leaves little room for organic moments in language.

Outside of the magazine, the typeface has been used in ZEIT and the “Stuttering Can Create Time” billboard for Whitney Museum’s 2024 Biennial with the collective People Who Stutter Create.

How have your skills as a graphic designer given you the power to make such an impact in stammering awareness?

My interest in typography in college laid the foundations for me to reconsider how my own voice could be represented in text. Making stammering visually beautiful, striking, and in some ways appealing empowers, me (and other people) to be proud of how I talk. I think it also speaks to a wider idea of what it means to be legible in both a linguistic and typographic sense. There is value to be found in visual and auditory dysfluency.

Making stammering visually beautiful, striking, and in some ways appealing empowers, me (and other people) to be proud of how I talk.

The medical model of needing to “fix” the stammer has dominated the stammering community up until a few years ago. As such, the graphic design of stammering only existed in clinical or organizational spaces. A lot of this visual design relies on tropes such as mouths, speech bubbles, and splintered, fractured, or broken typography.

There is now an emerging stuttering culture of visual art, design, music, poetry, and literature that explore the generative power of dysfluency by people who stammer, such as JJJJJerome Ellis, Willemijn Bolks, Paul Aston, and Jordan Scott. I consider my work in the stammering community to push past awareness and instead instill action. As the world becomes more and more accepting of difference, why shouldn’t stammering be included too?

I consider my work in the stammering community to push past awareness and instead instill action. As the world becomes more and more accepting of difference, why shouldn’t stammering be included too?

What was the development process of the Stammering Pride flag like? Can you unpack the design for me a bit?

The Making Waves flag was made by seven people who stammer from various countries: JJJJJerome Ellis, Kristel Kubart, Laura Lascău, Patrick Campbell, Paul Aston, Ramdeep Roman, and myself. We’ve titled it “a stammering pride flag” as it’s up to people who stammer if they identify with this design and approach we have taken. This flag is an invitation.

Water has long been associated with stammering and speech. We were eager to build upon work by the stammering community in a meaningful way, emphasizing that stuttering is as natural as whirling waves and calm creeks. The design visualizes three values: the sea-green symbolizes the existing community that has used this color for stuttering awareness since 2009; the wave motif symbolizes stammering as a natural, varied phenomenon; and the ultramarine symbolizes the progress and passion of the stuttering pride movement.

The flag has been flown by people all around the world. Kids who stammer and their parents have also responded to it so well, which has been a really amazing surprise!

What has been the biggest challenge you’ve faced with this project so far? What’s been the most rewarding aspect?

The biggest challenge I’ve faced is finding time to work on it! While I feel like I’ve produced a lot under the Dysfluent name, I still have so many ideas I want to develop. But because it’s a niche, there isn’t much money to be made, so it can be hard to devote time to the work.

My biggest reward has definitely been finding community. It still amazes me when I get an email or message from someone in a far-away country wanting to collaborate or just describing how Dysfluent represents them so well. The project also allows me to be a designer, artist, writer, facilitator… basically anything that needs to be done. While I enjoy being a generalist, it’s also taught me the importance of collaboration. 

What do you have planned next for Dysfluent?

The next Dysfluent-ism is an upcoming visual art exhibition in London, titled “Wouldn’t You Rather Talk Like Us?” with painter Paul Aston. It’s opening on November 29 and is supported by Arts Council England. The hand-made Making Waves flag will be on show in addition to some new work I can’t wait for people to see!

I’m also excited to start working on Issue 3 of the magazine next year. Overall, I’ll continue to position Dysfluent as a collaborative practice— forming alliances with people who stammer, therapists, and academics, to create work that both celebrates and challenges what we think about stammering.

The post Conor Foran Spreads Stammering Pride through ‘Dysfluent’ Magazine appeared first on PRINT Magazine.

One good thing about the current humans-vs-machines brouhaha is that a lot of very smart people are throwing very smart words at it. Just one of many noteworthy passages from Stephen Fry’s recent talk at King’s College, AI: The means to an end or a means to the end?:

“Just as the success of the automobile was enabled by enormous supplies of crude oil composed of microscopic bits of ancient life, rendered useful in the refineries of Rockefeller and others, so the success of Ai is enabled by enormous supplies of crude data — data composed of microscopic bits of human archive, interchange, writing, playing, communicating, broadcasting which we in our billions have freely dropped into the sediment, and which the eager Rockefellers of today’s big tech are only too happy to drill for, refine and sell on back to us.”

It’s incredible, terrifying, thought-provoking.¹ The gist of it (and a handy metaphor to help keep grasp of this nebulous, abstract thing): AI is a river that must be canalised, channeled, sluiced, dredged, dammed, and overseen.

Slight tangent (courtesy of A. R. Younce): engineers, fluvial geomorphologists, and the unintended consequences of trying to change the course of a river.

Anyway, fluviality aside, you really need to read Fry’s whole thing, but this postscript is particularly worth adopting:

“You may have noticed that I render Artificial Intelligence as “Ai” not “AI” throughout this piece – this my (fruitless no doubt) attempt to make life easier for people called Albert, Alfred, Alexander et al (ho ho). In sans serif fonts AI with a majuscule “i” is ambiguous. How does the great Pacino feel when he reads that “Al is a threat to humanity?” So let’s all write as Ai not AI.”

I’m sure Adobe wouldn’t be happy with that, but I much prefer it. I also like how it puts the emphasis on the artificial rather than the intelligence.

Another good read: Ted Chiang on why Ai isn’t going to make great art, for The New Yorker. I rather liked this analogy:

“As the linguist Emily M. Bender has noted, teachers don’t ask students to write essays because the world needs more student essays. The point of writing essays is to strengthen students’ critical-thinking skills; in the same way that lifting weights is useful no matter what sport an athlete plays, writing essays develops skills necessary for whatever job a college student will eventually get. Using ChatGPT to complete assignments is like bringing a forklift into the weight room; you will never improve your cognitive fitness that way.”

Okay now for some other hyperlinks.

Counting down the days until Bong Joon Ho’s Mickey 17 is right here in my eyeballs. Definite elements of Moon in there, but mostly, it reminds me of the absurd cloney antics of the Paranoia RPG.

XKCD’s surprisingly useful guide to figuring out the age of an undated map. Finally, an opportunity to use the (NUMBER OF YEMENS) + (NUMBER OF GERMANYS) formula.

Companies paying freelancers. Shockingly accurate.

Very excited to discover that at some point, Rebellion bought the rights to the Bitmap Bros. back catalogue, and you can buy Speedball t-shirts. I’ve never smacked the buy now button so fast.²

McSweeney’s latest issue is a lunchbox. Because, of course it is. To celebrate 25 years of independent publishing, the tin-box magazine is filled with baseball-inspired author cards, poem pencils, and never-before-seen artwork from Art Spiegelman.

1. Although I did have to correct him on one point: he confuses Dartford for Dartmouth! What a blithering idiot! This officially makes me smarter than Stephen Fry. ↩︎
2. Please feel free to shout ICE CREEEAM at me if you see me wearing mine in public. This reference will make sense to about four of you. ↩︎

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

Image courtesy of the author.

The post Meanwhile: No. 213 appeared first on PRINT Magazine.

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Felipe Goes is a graphic designer, journalist, and creative director whose work centers around the development of creative concepts and strategies for various design communication systems. Goes collaborates with clients to pave a new road for content creation that pushes the boundaries of multimedia journalism and reimagines existing work with a personalized twist. With a master’s degree in Graphic Design and Editorial Projects from Universidade do Porto, Goes has worked as a design educator since 2013.

Goes’ work on Alucinação earned him third place in the Books Entire Package category of The 2024 PRINT Awards. Alucinação is a poem written by Samuel Maciel Martins and was curated and edited by Rodrigo Marques. The book retains dense and precise language to capture the poetry found within the everyday experiences of Brazil’s young black residents.

The book, printed solely in black, boasts a relatively uncomplicated visual design at first glance but portrays a complex and intentional visual narrative that not only catches but maintains the audience’s attention. The book’s dust jacket is littered with a collection of abstract fluorescent shapes that contrast with its minimalist nature and play off of the text’s carefully calculated mathematical relationship, creating a geometric yet fluid dynamic. The stitching serves as a graphical element that connects with the title of the work and maintains cohesiveness throughout the piece.

The various choices made throughout this project stem from a focus on visual aesthetics, meticulous attention to detail, and the essential visual traditions necessary for the creation of a final tangible product that exudes care and imaginative fervor.

The post Felipe Goes’ Thoughtful & Complex Book Design for ‘Alucinação’ appeared first on PRINT Magazine.

“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 the past few weeks, Will Welch has taken a bit of flack for letting Beyoncé promote her new whiskey label on the cover of GQ’s October issue, with an interview that one X user described as “an intimate email exchange between GQ and several layers of Beyonce’s comms team.”

Whether that kind of thing rankles you or not—and yes, we asked him about it—in the five years since Welch took over, GQ seems to be doing as well or better than everybody else in the industry. Why? Ask around. He’s got a direct line to celebrities, who consider him a personal friend. He’s got real credibility with The Fashion People. And because of both of these things, advertisers love him.

Perhaps most importantly, his boss, Anna Wintour loves him.

The Atlanta-born Welch started his career at the alternative music and culture mag the Fader in the early aughts and jumped to GQ in 2007. For a decade under EIC Jim Nelson, he operated as the magazine’s fashion-and-culture svengali, eventually becoming the creative director of the magazine and the editor of the brand’s fashion spinoff, GQ Style.

In 2019, Wintour tapped him for the big job: Editor-in-Chief of GQ—a title that in 2020 was recast in the current Condé Nast survival mode as Global Editorial Director of GQ, overseeing 19 editions around the world.

After speaking with Welch only a few hours after the Beyonce cover dropped, we get what all the fuss is about. He is a great sport with good hair and just enough of a Southern accent who is confident-yet-never-cocky about his mission at GQ.

Let other people bemoan the “death of print.” Will Welch is having a blast at the Last Supper.

Read the full episode transcript here.

Print Is Dead (Long Live Print!) is a podcast about magazines and the people who made (and make) them. Magazines that combined thought-provoking attitudes and values with a distinctive look and feel, and cast a long and powerful shadow on American culture and public discourse. Hear stories and learn lessons from legendary designers, editors, writers, publishers, photographers, illustrators, photo editors, and more—stories and lessons that capture a magical history of innovation and inspiration, and that point the way forward. We’ll go deep into the lives and careers of this astonishingly talented group of creators, and tease out what these giants—past and present—have to teach the next generation of creators.

If you’re in the magazine business—if you’re in any business focused on content creation—this podcast is for you.

This episode is a special collaboration with The Spread and is made possible by PIDLLP sponsors Commercial Type, Mountain Gazette, and Freeport Press.

The team behind Print is Dead (Long Live Print!) also produces The Full Bleed, a podcast about the future of magazines and the magazines of the future.

The post Smiling Through the Apocalypse | Will Welch appeared first on PRINT Magazine.

A museum without walls was a groundbreaking concept at the outset. But, as they evolved and grew over the years, they felt the need for a name to better represent their work. CoDesign Collaborative expresses the collective nature of their ongoing journey.

While their name and visual identity are evolving, the organization’s core mission to inspire social change through the transformative power of design remains the same.

• Introduce the Public to the Power of Design: Showcasing how design shapes the world and empowering individuals to contribute to its improvement.
• Foster Community: Building a large, diverse network of designers and creative problem solvers motivated by social change.
• Diversify the Field: Creating opportunities for women, BIPOC, queer, and disabled people within the design profession.
• Tell Stories: Highlighting projects and individuals who embody designing for a better world.
• Facilitate Connections: Engaging stakeholders and volunteers in collaborative efforts to drive our shared impact vision.

Alongside the name change, this innovative organization also renamed its quarterly magazine from Design Museum Magazine to Unfold. Each season the publication takes a deep dive into one topic to explore its societal, cultural, and human impact. Guest editors and a curated list of expert contributing writers have explored topics such as policing, education, diversity in design, and healthcare.

In their fall issue just released, Unfold explores the intersection of technological innovation, social change, and meaningful impact. This edition, the first under the new magazine name, dives into technology’s potential to shape a more inclusive and sustainable future with critical topics such as responsible tech, climate tech, and digital accessibility, offering insights into how EmTech (emerging technology) can and should be addressing societal challenges.

With in-person and streaming events, school outreach, and innovative programs, CoDesign Collaborative brings together a global community of practicing designers, educators, social impact professionals, and a broad audience of individuals who care about how design impacts their world.

For more information about the organization, visit them at CoDesignCollaborative.org.

The post Design Museum Everywhere Has Rebranded as CoDesign Collaborative appeared first on PRINT Magazine.

As the world’s first 100% carbon-neutral travel company, Natural Habitat Adventures (“Nat Hab”) takes its mission of conservation through exploration seriously. Nat Hab facilitates intimate encounters with the Earth’s wildest places – and aims to be the most meaningful travel company on the planet while doing so.

Based in Boulder, Colorado (after being founded in New Jersey in 1985), Nat Hab creates life-enhancing nature and wildlife experiences for small groups of passionate explorers. The company’s innovative approach to travel, personal attention to detail, and industry-leading sustainability practices have made it the official travel partner of the World Wildlife Fund and one of Travel + Leisure’s Best Global Tour Operators. Nat Hab’s conservation ethos is as wide as it is deep, comprising carbon-neutral travel, waste reduction, local community support, and traveler inspiration—all aimed at delivering premium adventures while influencing the entire travel industry.

For Nat Hab, the sustainable adventure begins well before travelers embark on a journey. The company’s sustainable supply chain commitments include the choice of paper supplier for its annual catalog, which encompasses 192 pages of globe-spanning adventures from the Galapagos Islands to African safaris to Antarctica and the Arctic Circle. Nat Hab’s 2024/2025 catalog, World’s Greatest Nature Journeys, will be distributed to a record 170,000 recipients, a list carefully curated to promote the company’s travel offerings and provide inspiration for other companies to follow in its forward-thinking footsteps.

For the past four years, the catalog’s cover has been printed on Monadnock Paper Mills Astrolite PC 100® Velvet. Monadnock, based in Bennington New Hampshire, is the oldest continuously operating paper mill in the United States and has built sustainability into the DNA of its business. The company’s focus on premium quality, performance, and sustainability guides the portfolio development of award-winning and sustainably-advantaged fine printing, packaging, and technical papers.  All Monadnock printing and packaging papers are FSC® (Forest Stewardship Council®) certified (FSC C018866), and manufactured carbon neutral.

Like Monadnock, Nat Hab has its own internal Green Team continuously working to raise the bar on eco-friendly operations, including materials sourcing and recycling. Choosing 100% post-consumer waste recycled papers results in meaningful and quantifiable impact reductions. 

Many travelers’ Nat Hab experience begins at the mailbox with a beautifully designed catalog that showcases the environmental sustainability commitments at the core of our mission.

Nick Grossman, director of marketing production at Nat Hab

“Our new catalog cover delivers that ‘wow’ factor with Monadnock’s Astrolite PC 100 Velvet paper,” Grossman explained. Astrolite PC 100 Velvet is part of the company’s line of fine printing papers, coated on both sides and made with 100% post-consumer waste recycled fiber. It is the only premium-coated 100% recycled sheet made in the U.S.

“We love being on this journey with Nat Hab,” said Julie Brannen, Director of Sustainability Solutions, Monadnock. “Supporting its admirable mission makes our job very rewarding. It’s an adventure to work collaboratively with Nat Hab and support their mission to provide equally rewarding adventures for their clients.”

The post Natural Habitat Adventures Has Sustainable Travel ‘Covered’ appeared first on PRINT Magazine.

Dominique Browning jokes that after the interview for this episode, she might end up having PTSD. After more than 30 years writing and editing at some of the top magazines in the world, Browning has blocked a lot of it out.

And after listening today, you’ll understand why.

At Esquire, where she worked early in her career, Browning says she cried nearly every day. There were men yelling and people quitting. Apartment keys being dropped off with mistresses. A flash, even, of a loaded gun in a desk drawer.

At House & Garden, where she ended her magazine career in 2007 after 12 years as the editor-in-chief, the chaos was less Mad Men and more Devil Wears Prada. It was glitzy Manhattan lunches mixed with fierce competition and coworkers who complained that her wardrobe wasn’t “designer” enough. The day she took the job, she says she felt like she had walked into Grimm’s Fairy Tales. (Her friends had warned her that it was going to be a snake pit.)

When the magazine unexpectedly folded on a Monday, she and her staff were told they had until Friday to clear out their offices. “Without warning,” she says, “our world collapsed.”

In this episode, Browning talks with Lory Hough, editor of Harvard Ed. magazine, about those chaotic years, which, she admits, could also be fun. (Spoiler: The fun had nothing to do with the loaded gun.) You’ll also hear why in her editor’s columns she often wrote about her kids, why she still thinks of herself as an editor, and why a certain bit of advice from a golfer friend helped her during the stressful parts of her life when she worried too much about what others were thinking: Keep your eye on the ball and just swing through.

Read the full episode transcript here.

Print Is Dead (Long Live Print!) is a podcast about magazines and the people who made (and make) them. Magazines that combined thought-provoking attitudes and values with a distinctive look and feel, and cast a long and powerful shadow on American culture and public discourse. Hear stories and learn lessons from legendary designers, editors, writers, publishers, photographers, illustrators, photo editors, and more—stories and lessons that capture a magical history of innovation and inspiration, and that point the way forward. We’ll go deep into the lives and careers of this astonishingly talented group of creators, and tease out what these giants—past and present—have to teach the next generation of creators.

If you’re in the magazine business—if you’re in any business focused on content creation—this podcast is for you.

This episode is made possible by PIDLLP sponsors Commercial Type, Mountain Gazette, and Freeport Press.

The team behind Print is Dead (Long Live Print!) also produces The Full Bleed, a podcast about the future of magazines and the magazines of the future.

The post When House is Not a Home | Dominique Browning appeared first on PRINT Magazine.

There are many reasons for you to hate Fabien Baron (especially if you’re the jealous type). Here are seven of them:

• He’s French, which means, among other things, his accent is way sexier than yours.
• He’s spent more than his fair share of time in the company of supermodels like Naomi Campbell, Christy Turlington, and Kate Moss.
• He gets all of his Calvin Klein undies for free.
• Ditto any swag from his other clients: Dior, Louis Vuitton, Burberry, or Armani.
• When he tired of just designing magazines, magazines went and made him their editor-in-chief.
• He was intimately involved in the making of Madonna’s notorious book, Sex. How intimately? We were afraid to ask.
• Also? Vanity Fair called him “the most sought-after creative director in the world.”

With our pity party concluded, we admit “hate” was probably the wrong word, because after spending time talking to him, it’s easy to see why Baron has been able to live the kind of life many magazine creatives dream of—and why he’s been so incredibly successful.

His enthusiasm is contagious. It’s actually his superpower. And it’s a lesson for all of us. When you get next-level excited, as Baron does when he can see the possibilities in a project, his passion infects everybody in the room. 

And then, when you learn that Baron believes he’s doing what he was put on this earth to do, and claims that he would do it all for free. You’ve kind of got to believe him.

I never, ever worried about money. I never took a job because of the money. Because I think integrity is very important. I think, like believing that you have a path and that you’re going to follow that path and you’re going to stay on that path and that you’re going to stick to that. And that’s what I’m trying to do.

Fabien Baron

Read the full episode transcript here.

Print Is Dead (Long Live Print!) is a podcast about magazines and the people who made (and make) them. Magazines that combined thought-provoking attitudes and values with a distinctive look and feel, and cast a long and powerful shadow on American culture and public discourse. Hear stories and learn lessons from legendary designers, editors, writers, publishers, photographers, illustrators, photo editors, and more—stories and lessons that capture a magical history of innovation and inspiration, and that point the way forward. We’ll go deep into the lives and careers of this astonishingly talented group of creators, and tease out what these giants—past and present—have to teach the next generation of creators.

If you’re in the magazine business—if you’re in any business focused on content creation—this podcast is for you.

This episode is made possible by PIDLLP sponsors Commercial Type, Mountain Gazette, and Freeport Press.

The team behind Print is Dead (Long Live Print!) also produces The Full Bleed, a podcast about the future of magazines and the magazines of the future.

The post Fabien Baron | Vive la Créativité! appeared first on PRINT Magazine.

Letterform Archive is offering a reprinting of W.A. Dwiggins: A Life in Design by Bruce Kennett with a Kickstarter campaign and a special $60 pricetag until September 10.

This is a book to spend a year with.
—Steven Heller

Letterform Archive kickstarted the first printing of Bruce Kennett’s comprehensive biography of Dwiggins. It was funded in two days and quickly sold out. This beautiful book is not just a biography; the pages are typeset in a custom digital version of Dwiggins’ Electra typeface, with 1200-plus images and Dwiggins’ essays set in his typefaces.

“The name W. A. Dwiggins usually brings to mind typefaces for Linotype and books for Knopf, but his amazing career has myriad additional facets. Over a period of fifteen years, I researched, wrote, photographed, and designed this book to honor his creative forces, exploring material from the Boston Public Library, Letterform Archive, my own private collection, and other archival sources,” says Kennett, the book’s author. “The book serves as inspiration for anyone in the visual arts — whether it be graphic design, illustration, textile design, printmaking, calligraphy, type design, or puppetry.”

The book will remain available on Kickstarter and at museum shops after this date. However, the early campaign premiums are worth a look.

Running through his life is a joie de vivre and lightness of spirit than can serve as inspiration for all of us.
—Bruce Kennett, author

Learn more about W.A. Dwiggins: A Life in Design and become a backer on the book’s Kickstarter page.

The post Call Yourself a Graphic Designer? You Have W.A. Dwiggins to Thank appeared first on PRINT Magazine.

Few resources shine as brightly as Designing Brand Identity in the ever-evolving landscape of design. Now in its 6th edition, Wheeler brought on Rob Meyerson to coauthor and steward the book. With practical advice, case studies, and step-by-step strategies, this book is a beacon for anyone seeking to navigate the intricacies of branding with confidence and creativity.

Wheeler’s vision and expertise have left an indelible mark on the field, empowering countless professionals and students to transform how brands are conceived and executed. Her dedication to demystifying the branding process is a testament to her passion for design education, and her legacy lives on through this book. For more on that legacy, PRINT honored her memory this year. You can also listen to Debbie Millman’s 2011 interview with Wheeler on Design Matters.

The introduction of the 6th edition offers an insightful look back at the last two decades of branding. We’ve excerpted the intro Q&A with Wheeler and Meyerson below, with permission.

What are your biggest takeaways from twenty years of writing Designing Brand Identity?

Alina Wheeler (AW): Since the first edition, we’ve put supercomputers in our pockets, fallen in and out of love with social media, weathered a pandemic, and witnessed massive change in the climate and global politics. At the same time, branding has changed immeasurably. Now, major rebrands are mainstream news. People use (and misuse) phrases like “on brand” in daily conversation. Brand expression is omnipresent across all digital platforms, content marketing is a cost of entry, and armies of algorithms track our every move. We continue to see a dramatic increase in best practices across organizations big and small, B2C and B2B, driven by new generations of agile leaders. And companies are rebranding more often—identities that would have once lasted 20 years are now revised after just five. Writing Designing Brand Identity has reminded me how much courage it takes to effect change. And that no one does it alone. Through this book, I’ve aspired to capture the strategic intelligence and boundless creativity of our colleagues around the world. We are infinitely grateful to all who have shared their time, stories, wisdom, and insights as they build the brands of the future.

Why a sixth edition? Why now?

AW: When I began writing Designing Brand Identity in the early 2000s, there was no comparable book. It was the resource I needed in the heat of a new engagement—a book that would provide a shared vocabulary and process for management and the marketing team, supply a list of the major brand name changes in the last century, and remind me of the irrefutable fundamentals of branding. It was a way to keep me up to speed on the most current thinking on user experience, approaches to decision making, and global best practices. Since then, hundreds of smart, new branding books have come out. But Designing Brand Identity remains the most comprehensive resource available. Over 20 years, five editions, and eleven languages, it’s been a living document in which I’ve continuously collected and updated best practices, processes, and trends. The sixth edition is the strongest one yet. As long as branding exists, Designing Brand Identity will always have new insights to share.

How (and why) did you select a coauthor?

AW: After 20 years, it’s time for a new generation of brand thinkers to take the lead. Two things have allowed me to be effective writing this book: being “in the game” — working with clients, attending conferences, networking with peers—and committing to creating the best book I could. So, when I began the daunting search for a co-author, those were my top priorities. Who’s in the game? Who will truly commit to helping me create the best possible version of Designing Brand Identity? Rob Meyerson has occupied every seat at the branding table, from start-ups to mature, multinational, public companies. He’s led strategy teams at world-renowned brand consultancies and boutique agencies. He has lived and worked in Silicon Valley, Shanghai, and Southeast Asia; he understands the importance of cultural insights. As Global Head of Brand Architecture and Naming at HP, he hired and managed top-tier branding firms and was “in the room” helping to create a new, multi-billion-dollar brand—Hewlett Packard Enterprise. And as an independent consultant, he’s demonstrated his commitment to understanding, improving, and educating the global branding community through his writing and podcast.

What’s changed in the sixth edition?

Rob Meyerson (RM): Our main goal was to ensure the book is not only up to date, but forward thinking in terms of how brands are built and maintained, trends impacting the world of brands and branding, and examples of amazing work. We’ve added detail and rigor to pages about brand strategy, brand architecture, and naming, as well as ideas that have more recently gained relevance in branding, such as AI, social justice, and evidence-based marketing. And we continued our efforts to feature a diverse cross-section of work in terms of geography, agency size, and types of client companies. Just as important is what hasn’t changed. We’ve preserved the three-part structure (Basics, Process, Best Practices), built on the comprehensiveness of previous editions, and factored in insights from dozens of industry experts. Designing Brand Identity is still organized as a reference book, with bite-sized pieces of useful information—a book for busy people undertaking the monumental challenge of building or overhauling a brand.

What did you learn working on this book?

RM: Creating a new edition of Designing Brand Identity is a massive undertaking: Over 150 two-page spreads, each with its own set of challenges, examples to source, and experts to consult. It means capturing, distilling, and organizing the collective wisdom of an industry, then sharing it back in an easily digestible format. Doing so forced me to gain a deeper understanding of some topics and learn about others for the first time. Alina’s assertion that “no one does it alone” is more than a statement of fact—it’s a mindset. It’s been an honor to work with Alina on this iconic book. Doing so gave me a front-row seat to the impact she’s had on the lives and careers of so many people in our industry. Time and again, senior executives and acclaimed designers would jump at the opportunity to contribute to the new edition—not only because they relied on this book early in their careers (many of them did) but because of how giving Alina is with her time, attention, and expertise. I’m certainly not new to collaborating, networking, or community building, but working with Alina on this book has been a master class.

What’s next for Designing Brand Identity?

I reached out to Rob, curious to hear his perspective on leading the way forward as he takes the helm.

What do you believe have been the most significant changes in the branding landscape in the last 20 years, and how have these changes influenced the updates in the sixth edition?

RM: In some ways, it feels like everything has changed. When the first edition was published, none of us had heard of an iPhone or Twitter, and most of us had never heard the name Barack Obama. And changes like these—in technology, culture, and elsewhere—have had immeasurable changes in how we build and manage brands. Meanwhile, branding professionals and academics continue to advance the thinking on how marketing and branding work. Every edition delves into relevant topics, updates best practices, and provides fresh examples and case studies. For example, in this edition, we added information about AI, evidence-based marketing, and how brands responded to the murder of George Floyd.

We added a two-page spread on social justice, which shows examples of how brands have stood up for social justice, provides dos and don’ts, and highlights some of the brands that changed their names or logos in the wake of George Floyd’s (2020) murder. We also added over 50 new case studies in this edition—the first time since the first edition that the book has had a full refresh on case studies—and aimed to highlight some environmentally friendly and socially responsible brands. Brands featured in the case studies include nonprofits, fully electric cars, reusable packaging, and even a sustainable alternative to cemeteries.

What are some of the most compelling case studies or examples included in the sixth edition?

RM: Of the 800+ images, diagrams, and examples of brand touchpoints in this edition, over 75% of which are new, it’s tough to choose favorites. What I like most is the diversity of work highlighted in this edition—and I mean “diversity” in just about every sense of that word. Big, famous brands, like Pepsi and Nike, and smaller, local brands, like a convenience store in Costa Rica. Work from every continent. From well-known agencies like Pentagram and COLLINS to boutique agencies. B2C and B2B. For-profit and nonprofit. We wanted to show a range, and I think we succeeded.

Why do you believe Alina Wheeler’s impact continues to resonate with today’s brand strategists and designers?

RM: Alina’s known globally as the author of Designing Brand Identity, and of course, that book has had—and will continue to have—a huge impact on branding professionals everywhere. (As an example, Alex Center of CENTER says it’s “the book that first taught me how to build brands.”) But, Alina made a significant impact even before she wrote the book as a female agency founder, a founding member of AIGA Philadelphia, and an advisor and mentor to countless agencies and young professionals around the world. And those who had the chance to meet her personally will remember her generosity, humility, wisdom, and humor. She loved helping people in their careers, she was passionate about design and branding, and she was optimistic about the future. In many ways, Designing Brand Identity is just an extension of those traits.

Anyone working on future editions of this book should constantly be asking themselves, “What would Alina do?” We’ll do our best to make some of her ideas a reality, and I think she’d love to know that we’re continuing to push the envelope. She wouldn’t have had it any other way.
—Rob Meyerson

Thanks to Alina Wheeler for her monumental contributions to the branding world, which continue to inspire and guide us. And here’s to the next chapter of Designing Brand Identity — I’m looking forward to what comes!

What do you want to see from Designing Brand Identity in the future? Sign up at dbibook.com/news to send feedback and stay in the loop on future plans.

The post The Enduring Legacy of Alina Wheeler’s ‘Designing Brand Identity’ appeared first on PRINT Magazine.

In 1999, we looked ahead to the new millennium. Concerns about a Y2K bug were kicking around. The Matrix was winning at the box office, and The X-Files and The Sopranos were at the height of their popularity. Adobe Photoshop and Illustrator were becoming industry standards, and creativity was thriving across all disciplines.

1999 was also the second year of the PRINT New Visual Artists showcase. Launched the prior year as a way for the PRINT editorial team to seek out and identify emerging visual artists from around the world, the inaugural class included an impressive list of designers, including Michael Braley. Five years earlier, Braley had graduated from Iowa State and was working at Cahan & Associates, looking ahead to his burgeoning career.

I knew I wanted to be in San Francisco. I loved the city and its creative pulse. After a few years, in which I was lucky to work with Stone Yamashita and then Elixir Design, I landed at Cahan & Associates where I worked on projects ranging from brand identity to packaging to annual reports.

Michael Braley, 2024

Trimble Newsletter | Stone Yamashita; Seeing Jazz Book Cover | Elixir Design; 1997 Annual Report Design for COR Therapeutics | Cahan & Associates

I always believed it was important to be recognized especially as a young designer. I remember going to interviews with my big black portfolio, which had a side pocket with the magazines in which I had been featured and Post-it notes marking the pages with my work. Bill (Cahan) also knew the value of award recognition. (I think he’s won thousands in his career). So, when I asked him to endorse me for the PRINT New Visual Artist showcase, he said an enthusiastic yes!

Michael Braley, 2024

Sappi Ideas that Matter Tenth Anniversary Promotion

After twelve years in San Francisco and being in demand, Braley worked for a time at VSA Partners before relocating to Kentucky. His business, Braley Design, has been flourishing for thirty-one years.

Braley, known for his clear, simple, and impactful work, has a mantra: communicate immediately and aim for seamless integration between form and content. His work has been recognized internationally and is in the permanent collections of the San Francisco Museum of Modern Art, the Chicago Athenaeum Museum of Architecture and Design, the Denver Art Museum, the Museum fur Kunst und Gewerbe (Art and Design) in Hamburg, Finland’s Lahti Poster Museum, and The Museum of the Marie Curie-Skłodowska University, in Lublin, Poland.

Poster Designs by Michael Braley

I still believe that it’s important to put yourself out there to your colleagues, peers and potential clients. When you’re young, it’s all about carving a path for yourself and finding your place in the creative landscape. For me, participating in competitions is about being exposed to new techniques and ideas so that my work remains relevant and being inspired so that I can always find the joy in design.

Michael Braley, 2024

Brand Identity and Catalog Design for United States International Poster Biennial 2023

Do you want to share your skill, talent, and joy? Do you believe your work has longevity? Inspire others to follow your path by entering the 2024 PRINT New Visual Artists showcase!

Featured Image – Book Design for The Woven Perspective, The Work of Photographer Jock MacDonald

The post A Look Back with Michael Braley, NVA Class of 1999 appeared first on PRINT Magazine.