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

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

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

Brian Meyers, executive strategy director at Wolff Olins

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Naomi Usher, Studio Usher (NYC)

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

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

David Sedgwick, Studio DBD (UK)

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

Aaron Levin (France)

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

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

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

Laura Markert, Büro Bungalow (Germany)

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

Anup Agarwalla, Azure Communication Pvt. (India)

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

The post Opposites Attract: Fedrigoni 365 Explores Duality in Design appeared first on PRINT Magazine.

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

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

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

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

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

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.

Remember this name – Letrástica!

Held biennially (2024 was its fifth edition), Letrástica Festival is led by Gen Ramirez, an experienced typeface designer, sign painter, calligrapher, and educator from Guadalajara. Ramirez studied at TypeMedia at the Royal Academy of Art in The Hague and completed the Type@Cooper Extended program in San Francisco and the Condensed program in New York.

At Letrástica, I was surprised by the small but growing ‘letters’ community, how passionate, dedicated, and professional they are, and, most importantly, how connected and supportive this collective is. I’ve been fortunate enough to attend design and branding events all over the globe, where you might see creative superstars, but they often exist in their own separate worlds. At Letrástica, you can mingle around the creatives and experience how they all gladly cheer for each other when presenting their work.

Event photos courtesy of Mau Nogueron

The festival featured many engaging workshops where students and professionals gathered to learn from their peers. Also, typography work by students and professionals from around the world was displayed on the conference walls.

Event photos courtesy of Mau Nogueron

The highly skilled and professional Latin creative force from Argentina, Chile, Peru, Colombia, and Mexico was complemented by foreign designers like Kalapi Gajjar (India), Cyrus Highsmith (USA), and the one and only Ellen Lupton (USA), among others.

Collaboration was the main topic around Letrástica, at least from my perspective, as most speakers credited a big part of their success to active participation with other creatives. I found their candor honest, emotionally resonant, and refreshing. This transparency showing the struggles and successes that creatives go through was motivating, making it even more real and relatable.

It was hard for me to narrow down the creatives to highlight in this article, as all are incredibly talented and inspirational.

Marte is an Argentinean designer now residing in NYC who initially studied to be a geologist. She made us laugh about that choice, but we all quickly realized how lucky she was to have made that decision. Her work often is influenced by the shapes and colors found on earth, from the inside or outside of a stone or straight under the microscope. She said this powerful phrase: “What forms you never leaves you.”

© Marte

Daniel Barba, a local designer, leads MonotypoStudio, a company specializing in packaging design, branding, illustration, and editorial design. What caught my attention wasn’t the superb work that Barba and his studio are producing, it was mostly his quirky mind and his ability to extract, deconstruct, and apply concepts from literature, poetry, and philosophy, among other research-rich areas. If you want to have a debate with Barba, come prepared!

© Daniel Barba

Alicia Márquez is a graphic designer and typography professor from Argentina. Her clear and stunning approach to transforming materials was mind-blowing. Márquez’s stone carving craft is soothing and impressive and most definitely could be seen as art. She explained that to her the process is what matters most, probably more than the end result.

© Alicia Márquez

Last but not least, legendary designer Ellen Lupton, or as many know her, Type Mom, for her educational yet fun Instagram posts about typography. I was lucky to spend more time with her and was surprised at how eager she is to keep exploring after all her success. She’s quite passionate about baking and explained how similar it is to design. From the selection of the materials, ways of mixing them, timing, quantities, and finishes, you can get an amazing result or burn the whole thing. Lupton imparted a sensorial design workshop and a lecture about how to fall in love with typography, and she killed it!

It has been a while since this old dog has been this lifted and inspired by the spirit and work of the upcoming young creatives and the successful and experienced designers.

A spark has been lit inside me.

Letrástica is not just a festival, engaging a growing community of hundreds of type and design enthusiasts spanning 39 countries. Its focus is on sharing the typographic work of the Latin American and Mexican regional community with the world. The organization hosts free workshops, drawing sessions, contests, mentoring, and more, all centered around learning, sharing knowledge, and exchanging ideas.

Learn more about Letrástica.

Ricardo Saca is the US and Mexico managing partner for Cato Brand Partners, a global design and branding consultancy. He has a Master’s in Branding from the School of Visual Arts in New York City and has 20+ years of experience working with a wide range of companies, from startups to airlines. He is a plant-based animal lover and a cyclist.

The post Letrástica: Latin American Type to the World appeared first on PRINT Magazine.

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

Sallve

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

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

Loquita Bath & Body

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

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

Somos

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

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

Cuyana

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

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

Hija de tu Madre

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

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

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

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

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

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

Ray Adler, Vice President and Global Head of Games

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

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

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

Gray Malin

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

The post Gray Malin’s Photographs Add Escapist Flair to a Classic Card Game appeared first on PRINT Magazine.

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

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

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

The periodicals ‘corner’ offers hundreds of magazines.

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

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

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

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

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

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

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

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

Three Branches, One Country

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

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

Reaching Out to the Public

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

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

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

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

Imagery courtesy of the author.

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

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

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

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

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

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

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

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

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

This exhibition features 100 handcrafted sculptures, each modeled after a real, living elephant from the Nilgiri Hills of Southern India. Created by Indigenous artisans using strips of lantana camara—an invasive shrub harmful to local wildlife habitats—the sculptures stretch across a vast 12,000 square feet of plazas and walkways. The majestic elephants’ migration to downtown Manhattan has brought with them intricate beauty and a message of hope and conservation.

Co-organized by the nonprofit Art&Newport and conservation group Elephant Family USA, the installation aims to raise awareness and funds for endangered elephants and wildlife around the world. What makes these sculptures so unique is that they aren’t just static displays; they invite interaction, and visitors are encouraged to touch and feel the detailed craftsmanship. Whether it’s the lifelike resin eyes, wooden tusks, or the individual personality reflected in each piece’s pose and structure, these elephants offer a tactile connection to nature—right in the heart of the city.

Dodie Kazanjian, founder of Art&Newport, explained to the New York Times that the installation mimics “how it is when you’re in India, with the elephants walking through the streets”. And while these weatherproofed sculptures may be motionless, the emotional response they evoke in passersby is anything but still.

Ruth Ganesh, a trustee of Elephant Family USA, highlights the deeper mission: “We’re trying to recreate that feeling of awe, wonder, and connection.” More than just a public art project—it’s about understanding that we can live alongside wildlife rather than apart from it. This theme of coexistence runs through every aspect of the installation. The artists themselves, living near the Nilgiri Biosphere Reserve, have learned to coexist with elephants daily, adapting their lives around these gentle giants, from the bold and curious elephants to the shy and elusive ones.

The exhibition also showcases the power of sustainability in art. By repurposing the invasive shrub into art, the project not only removes this destructive species but converts it into biochar, a carbon-rich material that improves soil quality. The tour also embraces eco-friendly practices, using solar-powered storage and electric trucks to minimize its carbon footprint.

The installation also features a series of public events designed to engage the community in conservation efforts. Highlights include a blessing of the elephants in Gansevoort Plaza, a conservation-themed panel discussion in Chelsea Market, and a lively parade through the neighborhood. A related art show featuring works about elephants and migration by artist Hadi Falapishi will also open at 82 Gansevoort Street.

After New York, the herd will continue its journey to Miami, the Blackfeet Nation in Montana, and then Los Angeles, leaving a trail of wonder, awareness, and action wherever it goes. Ganesh hopes that this project shows how conservation is “not just about science and data, it’s also about culture. And Indigenous perspectives towards animals in that they were, they are, our relatives.”

The herd is here to tell their story of coexistence; that there is room for all of us on this planet. We hope this exhibition reminds us of the awe we feel when in the company of wild, free animals and inspires us to better share our world with them.

Ruth Ganesh & Shubhra Nayar, The Coexistence Collective

The elephants are for sale, with prices ranging from $8,000 for a five-foot-tall baby elephant to $22,000 for a towering 15-foot tusker. Proceeds are set to benefit 22 conservation organizations worldwide, including the Coexistence Consortium and Indigenous-led groups that work to protect wildlife. The hope is to sell 1,000 elephants during the tour, which would raise $10 million for global conservation efforts. But beyond the financial goal, the exhibition is about cultural preservation—showing how Indigenous craftsmanship can play a role in saving endangered species.

Supported by corporate sponsors and philanthropists like Edith McBean and Sylvie Chantecaille who belong to the project’s Matriarchy, a group of influential women helping to promote it —Cher is also a member—“The Great Elephant Migration” is more than your typical fundraiser. It is an artistic journey that emphasizes the importance of conservation in today’s world, merging traditional science with cultural storytelling. By showcasing the beauty and individuality of each elephant, the exhibition reminds us that conservation is not just about numbers and statistics—it’s about connection, compassion, and coexistence with the natural world.

A stroll through the Meatpacking District helps us remember that these elephants carry with them not just the story of endangered species but the spirit of a world where humans and nature live in harmony.

The post Migrating Herd of 100 Elephants Bring a Message of Hope, Beauty, and Coexistence to NYC appeared first on PRINT Magazine.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Celebrating Austen’s upcoming 250th birthday year, the identity beautifully captures the author’s love of nature, sharp wit, and enduring elegance. The design features a Blush Noisette rose, reminiscent of the one adorning the house’s doorway, alongside an oak leaf and acorn inspired by a Wedgwood dinner service Austen once praised. The ‘Chawton Leaf’ pattern, found in the dining room wallpaper and dating back to Austen’s time, also plays a key role, weaving history into this fresh, visually enchanting identity.

Domenic Lippa, Partner at Pentagram, shared a bit of insight into their approach, saying, “We wanted to capture the essence of celebration and occasion without detracting from the classic Jane Austen’s House logo.”

2025 is a landmark year, and Austen’s 250th birthday is the perfect occasion to throw a year-long party. Lizzie Dunford, the director of Jane Austen’s House, is already bubbling with excitement: “Two and a half centuries after her birth, her star shows no sign of dimming.” Quite the contrary—if anything, Jane Austen’s allure has only deepened with time, proving that good taste (in literature and life) never goes out of style.

So, mark your calendars, Austenites. Next year promises to be a veritable feast of exhibitions and events, all set against the backdrop of the house where Jane herself revised, wrote, and published her timeless classics—Sense and Sensibility, Pride and Prejudice, and others. Since we can’t find a way to time-travel back to 1811 for a proper Regency ball, visiting Chawton in 2025 is the next best thing. Visit the Jane Austen’s House website for the festival lineup, further news, upcoming events, and exhibitions.

Imagery courtesy of Jane Austen House. Photography credits to Rob Stothard and Peter Smith.

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

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

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

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

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

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

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

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

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

Read more about the Council of Mass Media in Finland.

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

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

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

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

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

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

Imagery courtesy of United Imaginations.

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

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

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

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

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

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

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

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

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

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

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Unlike the typical 20th-century typeface, often a series of compromises designed to work in a narrow context, describes the Typotheque website,* Zed was created to be inclusive, to “address situations where people are excluded from using certain technologies.” This exclusion can manifest in people with low vision, and it can happen in marginalized linguistic communities.

*Speaking of said website, Typotheque highlights Zed’s attributes against a background of gorgeous 3D renderings of extinct plants created by an artist, Andrea Phillipon, based on surviving drawings.

Zed features a series of adaptations between display and text for readability and accessibility. These include open counters for body text for deciphering at a glance; in the display version, closed counters emphasize letter similarity and flow. You’ll notice display-to-body text adaptations from the spacing to the extenders to the contrast. Not only is Zed adaptable for readers of all kinds, but it also has versatility for today’s designers. Play with three dimensions (weight, width, and skew) along any point on the axes—the family offers 558 defined fonts. This number doesn’t include the options that arise from the dimensions of rounding and optical size. The possibilities are impressive.

Rooted in research and science, the Typotheque team carried out lab tests in collaboration with the National Center for Ophthalmology in France to determine the right letter proportions for readers with low vision due to age-related macular degeneration, glaucoma, peripheral vision loss, etc. The result is as accessible to these communities as it is to people with full vision.

The team also designed a Braille glyph set.

The design team’s research and collaboration with native speakers is another aspect of Zed’s accessibility. At first release, Zed supports 435 languages, with a particular focus on Indigenous North American and African languages that use the Roman alphabet. Of note is Zed’s support of the Wakashan and Salishan Indigenous languages of British Columbia. The team worked closely with Indigenous language keepers and drafted a proposal to permanently render these characters in The Unicode Standard (proposal accepted for inclusion in 16.0).

Typotheque isn’t finished with Zed, either. Further support is coming for 22 additional writing scripts, from Arabic to Thai (covering hundreds, if not thousands of additional languages). Interestingly, many world language scripts already use different letterform construction between large and small text. Here’s a sample of this exploration for two optical versions in Thai.

When words cannot bridge the language gap, the team’s next release will feature hundreds of symbols and pictograms in various weights and visual styles that work with the Zed font family. Zed Icons is due to drop this fall.

Explore more fascinating process and research content on Typotheque’s blog, and read about and test drive Zed.

Images and video courtesy of Typotheque.

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

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

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

Key features of the refreshed brand system include:

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

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

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

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

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

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

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

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

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

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The name Pangea evokes visions of a singular global landmass, so it’s no surprise that Koeberlin and the Fontwerk team collaborated across the globe to embed broad language support into the family. European Latin, Cyrillic, Greek, and Vietnamese are included as standard (Pangea Condensed is, for now, available in this standard subset). Pangea Afrikan was the first language extension, which supports all Latin-based African languages and some Indigenous North American languages. Arabic and Hebrew followed, working with Azza Alameddine, a Lebanese type designer living in Spain, and Israeli designers Yanek Iontef and Daniel Grumer. The Fontwerk team is continually working to add support for additional languages.

With the addition of narrower widths, Pangea is now an even more powerful and versatile dynamo for designers working on packaging, branding, editorial, and digital projects.

What’s better? Koeberlin’s commitment to donate 25% of his earnings to preserving the rainforest and to implementing large-scale reforestation projects with organizations such as Trees for the Future, The Green Belt Movement, and Fairventures Worldwide.

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This year marks the 100th anniversary of the Surrealism movement, a boundary-busting way of thinking, creating and imagining the world that developed in Europe in response to World War I and the 1918 flu epidemic.

When a society is shaken to its core, artists are typically some of the swiftest to react, reflecting the greater unrest in their work. Back in the1920s, those artists included legends such as Salvador Dalí, René Magritte and Joan Miró, whose brilliant minds created alternate versions of reality unlike any envisioned before.

To honor and celebrate 100 years of Surrealism, 99designs by Vista hosted a global competition in which they invited members from their creative community to reimagine modern-day logos through a Surrealist lens. As a graphic design marketplace encompassing 1.4 million creatives, many artists took on the challenge, but 99designs chose only 18 winners. The crowned designs interpret logos across industries, including social media platforms, consumer brands, tech and media companies, and even nonprofits.

“Surrealism challenges widely accepted conventions, encouraging creativity, but also critical thinking and a healthy skepticism towards the curated realities often presented in society— particularly online and in social media,” Patrick Llewellyn, CEO of 99designs, noted in a statement. “The talent and creative execution shown by our designer community has been incredible, with artists from 17 countries participating in this project. In a time of digital saturation and (mis)information overload, this project shows how Surrealism’s push for authentic expression and escape from the status quo remains profoundly relevant for designers and communities around the world.”

Check out a sample of some of our favorite winners below.

View the rest of the winners here!

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Have you ever wondered about the clothing you see in your favorite anime? In “100 Days of Fashion in Anime,” Bora, an avid manga reader and student in SVA’s Masters in Branding Program, explores the diverse garments worn by anime characters. Bora, who aspires to become a creative brand strategist and moonlights as a freelance writer, dives into the different styles seen in both contemporary and niche anime.

Every story transports its viewers to a different time and place, where the clothing meaningfully enhances the narrative. Bora not only finds dupes for readers interested in dressing like their favorite anime characters but also aims to learn more about Japanese culture through the clothes featured in anime and manga. Explore more of her project and read her musings on Medium.

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

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

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

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

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Sonic branding has emerged as a powerful tool in modern marketing, offering brands a unique way to connect with consumers through sound. Ipsos’ ‘Power of You’ study has shown that sonic devices significantly heighten brand attention. With the notable success of Netflix’s iconic ‘tudum’ sound achieving an 81% brand recall, the impact of auditory branding is undeniable. Leffe is revolutionizing the beer industry with a pioneering sonic identity that intertwines its rich, 800-year Abbey heritage with modern sound design.

Leffe, a revered name within the Anheuser-Busch InBev portfolio, has unveiled its first sonic identity in a novel move for the beer industry. This auditory branding, developed in collaboration with global agency Jones Knowles Ritchie (JKR) and London music and sound agency MassiveMusic, marks a historic milestone as the first of its kind for a global beer brand. Leffe’s journey to a sonic identity is rooted in a deep respect for its 800-year-old Abbey craftsmanship. 

This effort serves as an audacious step towards transforming how consumers experience the brand, blending its storied heritage with contemporary sensory engagement. Lourenço Arriaga, Marketing Director at Leffe, explains, “A few years ago, we embarked on a journey to develop Leffe’s visual brand, aiming to better connect with our Abbey heritage and enhance the overall sensory experience for consumers. We soon identified a significant opportunity in the element of sound.”

In a market where sonic branding is often underutilized, Leffe saw an opening. “Many brands were relying on generic ‘refreshment signifiers’ and a wide variety of music, which created inconsistencies. We realized that there was a huge amount of potential in using sound to truly resonate with consumers and create a more enriching and unique sensorial world for the brand,” Arriaga adds.

The Leffe Sonic System, aptly named ‘The Sound of Monastic Divinity,’ is a triumph of sound design that encapsulates the brand’s historic essence. Developed by recording the acoustics within the original Leffe Abbey in Belgium—home to monks since 1240—the sound of a bursting balloon in the Abbey was transformed into a digital reverb, creating a unique and recognizable sonic signature.

Two distinct sonic assets are at the heart of Leffe’s new sound: the Sonic Logo and the Sonic Palette. The Sonic Logo is a short, memorable mnemonic designed to encapsulate the brand and drive recall. It begins with two notes of an organ melody, evolves into rich chords, and concludes with warm choral voices and a bell, embodying the connection to monastic heritage.

The Sonic Palette is a long-form piece of music, rich with unique melodies, rhythms, and sound design representing Leffe. This versatile composition is a standalone brand asset and a flexible musical blueprint for future content. It can be adapted to various styles, from monastic to modern and upbeat, ensuring it remains relevant across different platforms and campaigns.

Sean Thomas, Executive Creative Director at JKR, elaborates on the creative process: “We set out to create a sonic identity that was both timeless and progressive. Drawing inspiration from Leffe’s birthplace and history, we focused on finding what was distinctive to the brand. From there, we crafted flexible audio signatures and effects that could bring this essence to life across all channels, designed to evolve with the brand and adapt to both current and future platforms.”

With the Leffe Sonic System launch, the brand is poised to reach an estimated 95% of consumers in France, Belgium, Italy, and the Netherlands by 2024. This sonic identity will enhance all audio-enabled touchpoints, from online beer purchases and the pouring of Leffe to social media and television advertising.

Leffe’s leap into sound connects the brand’s historical roots and modern auditory engagement to enrich the consumer experience.

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

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

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

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

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

Videos by BOLDTRON, music and sound design by MYGAL.

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

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

Michael Bierut, Pentagram

Beyond Vignelli: A Broader Connection

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

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

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

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

Bryan Edmondson, SEA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Imagery by Landor.

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Denver-based True Anomaly, a pioneer in integrating spacecraft, software, and AI to enhance national security and ensure space access for allies and commercial partners, has launched a new brand identity. This transformation, executed in collaboration with Danish strategic brand agency Kontrapunkt, showcases True Anomaly’s innovative edge in space security technologies.

Central to the new identity is the logo, inspired by the Greek letter Nu (ν), symbolizing the ‘true anomaly’—a measure of an object’s position in its orbit. The logo combines a triangle with an elliptical orbit, representing sleek modernity and the assertiveness essential in the security industry.

The brand’s new typeface, TWK Everett by Nolan Paparelli, offers edgy simplicity and precise details that shine across text and display.

Kontrapunkt also helped develop distinct visual identities for True Anomaly’s expanding product suite, including customized color schemes, 3D renders, motion principles, and a custom pattern generator, all seamlessly integrated into the brand’s new website.

The rebranding effort contributed to True Anomaly’s successful Series B fundraising, which aimed to better equip the company for its expanding range of digital and physical products. The fundraising attracted $100 million in investments, solidifying True Anomaly as a leader in space security technology.

The rebrand underscores True Anomaly’s out-of-this-world solutions and reinforces the critical intersection of advanced branding and robust space security in today’s rapidly evolving technological landscape.

The post True Anomaly Launches Space Tech Brand Identity by Kontrapunkt appeared first on PRINT Magazine.

The letterforms are organic, demonstrative, sculptural, and spacious. Pitanga is confident but flexible with eight weights and two styles. Its open aperture makes it legible in display and smaller text sizes. Charismatic diacritics bring personality to Pitanga’s Portuguese voice, but the typeface also supports more than 200 Latin script-based languages.

The Brazilian typographic studio describes Pitanga as a kid flying a kite on the beach in the Vidigal favela of Rio, a footballer’s twisted leg, or samba’s precise yet subtle footwork. You could say that Pitanga characterizes the Brazilian idea of “bossa” (talent, creativity, a new way of doing things).

Fabio Haag Type project credits: Creative Direction & Design – Sofia Mohr; Design Critiques – Fabio Haag, Henrique Beier, Ana Laydner & Eduilson Coan; Engineering – Henrique Beier; Graphic Design – Palp Studio; Illustration – Gabriel Diogo; Copywriting – Thiago Mattar

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That’s why when I came upon photos of the new RIXO location in the Marylebone neighborhood of London, I was instantly captivated and had to learn more about the unique design concept and those behind it.

RIXO is a contemporary clothing boutique specializing in bohemian sundresses and vibrant prints. Their new Marylebone location brings the whimsical energy of their clothing to life, with brightly colored architectural motifs organically illustrated all over its otherwise crisp white walls. The saturated color palette and hand-drawn line quality create a pop-art-like look, infusing the space with a playful take on classical design elements. Illustrator Sam Wood developed this aesthetic in partnership with the design studio Cúpla, helmed by Gemma McCloskey. I reached out to Wood and McCloskey to learn more about the process behind their design concept and what it was like bringing such a fresh take on retail space to fruition.

(This interview has been lightly edited for length and clarity.)

What was the development process like for this distinct store design concept?

Sam Wood: The initial process was driven by Gemma. She approached me after seeing some of my work with Claridge’s and other clients in the UK and asked me to devise something bold and colorful that told the story of RIXO in a distinctly new way.

GM: When I first stumbled across Sam’s Instagram page, his use of color felt really bright and fresh alongside his beautiful, fluid style. I knew instantly Sam would be perfect for the new Marylebone RIXO; his handwriting lent itself to enveloping the whole space while still allowing it to breathe.

SW: After I had taken a look at the other RIXO stores and got a feel for their story, it was a pleasure to bring something of Marylebone to the space and interpret that in my own line. I spend a lot of time in the area because a local gallery I work with is down the road, so I’m always roaming about looking at the mishmash of architecture from Gothic Revival (which was the basis of the alcoves) to Neoclassical (which was the basis for the floral details). I hope the eventual style reflects the multiplicity of the area and is a playful reference to how I see things existing alongside each other.

What was the rest of the collaboration process like?

GM: We had an initial meeting where I discussed the concept, design, and materials being used in the space. One of the threads from our concept for Marylebone was this nod to classical London architecture; therefore, creating illustrated paneling with a whiff of Jean Cocteau was the foundation of the design. Within this framework, it was important to give Sam the breathing space to be creative, and it was exciting seeing him embrace the concept and bring his own stamp to the design. 

Once we had reached the final internal designs, we decided we needed to use these on the external windows to fully embrace the concept. When Sam was actually onsite doing the mural, it was a very fluid process, and we would discuss colors and tweak a few things with the benefit of actually being in the space. We also added in some of the pendants which sit centrally in the space and look great.

Did you first map out the design digitally and then bring it to life on the store walls? What was it like free-handing the motifs? Nerve-wracking, exhilarating?  

SW: I am a stickler for being analogue early on; I work on full-scale drawings on paper, which gives me an idea of how the motifs will work at scale as well as the tones and quality of line. The client does not always see these, but they are an essential part of how I conceive of a design and have the confidence to execute it. After this, I can mark up the digital renders to hone the design so the client can get a full idea of the vision.

A great deal of forward planning and preparatory drawing goes into making sure that when I put the pen on the wall, it’s all where it should be. That’s an essential collaborative exercise, in this instance, with Gemma, who was fantastic to work with. Building sites are often chaotic places, which is a far cry from my day-to-day in the studio, so yes, it’s a heart-in-mouth moment every time with the first mark on the wall, but I do get a kick out of it!

Is this markers-on-walls technique a style you’ve done before? Or was it specially created and executed for this particular project?  

SW: I’ve used Posca markers for years in various contexts, they have such a nice uniformity of tone, which is ideal for bringing to life a design which needs to keep its clarity and “poppyness.” I used them for the first time in a mural context last year for Bryan O’Sullivan Studio, painting a celestial ceiling which is still on show in their gallery on Brook Street Mayfair.

Ordinarily I use a brush and acrylic when doing murals, so it was fun to what is possible with these works in the medium.

How did you feel at the end of the process after drawing your last line, stepping back, and seeing the completed store? 

SW: It’s always a moment of thinking, “Is it finished now?” There’s always the possibility of another line, filling out this corner, or changing that line. I habitually look for flaws in a work, and the “finished product” is always an opportunity to see how everything has worked together. It’s a strange feeling to hand the thing over— after a couple of days of the room being yours, it now belongs to the client and, of course, the public, who interprets it in their own way. That’s why I love working so spatially— the works sometimes divide people, but once I’m finished, that’s down to the viewers.

What sort of experience do you hope shoppers have when stepping into this RIXO store? What sensations do you hope they feel as they move about the space you all created? 

SW: So much of what I do is about storytelling and creating places where people can escape in some way. Here, the murals are front and center in the design and are a key part of the store’s identity. I hope anyone coming into the space gets a sense of the layers of detail that go into evoking the story that RIXO wants to tell, as well as how my own journey as an artist marries with that.

GM: We want the shoppers to feel invited like they’re stepping into someone’s living room at home. We didn’t want a sterile interior, which can sometimes be intimidating for a shopper. There is also a sense of escapism with the store, which we hope the customers find uplifting.

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Unbeknownst to Airbnb at the time, this concept was just the beginning of what would become the company’s newest category and most impressive endeavor yet: Icons.

After the success of the Blockbuster experience, Airbnb pushed this idea of world-building even further by making the Home Alone House bookable on the site and bringing the Barbie Malibu DreamHouse to life last summer. They’ve gone all-in on bringing imagined worlds into reality, launching the first 11 new Icons experiences this week.

“Airbnb’s DNA has always been about inviting people into other people’s worlds,” Global Head of Marketing for Airbnb, Hiroki Asai, told me. “In the beginning, it was sharing homes, and then it became submarines and tugboats and castles, and you really came to Airbnb because you had this world opened up to you. So it was natural for the Barbie house and the Home Alone house to be listed, and I think what struck a chord is people got to participate in these imaginary worlds. That was the impetus for all of this.”

At a celebratory affair in sunny Los Angeles on May 1, Airbnb CEO Brian Chesky proudly presented each of the 11 Icons, which he said have been a decade in the making. And you can see why. Each concept is impressive enough, but the execution to bring the experiences to life reaches a new level of audaciousness. “Magic is not limited to our imagination,” Chesky said triumphantly to an awe-inspired crowd as he walked us through each Icon. “Icons take you inside worlds that only existed in your imagination until now.”

The Up! House

At the Icons launch event, it was clear that the Up! house was the room’s favorite—and not just because the house itself was on-site for us to tour. This recreation is an exact replica of the house from the movie, down to the most minuscule detail. “We even had to create our own rust!” Chesky said of the antiquing effect his team created for a zeppelin toy on the mantle.

“We built the house down to its specific Pantone colors and weathering of the shingles to make sure it looks exactly like what was in that film,” said Asai. “The whole house, down to the pill bottles inside and the photos in the hallway and the little chair that Carl rides up the stairs, it’s all reproduced exactly the same. The fireplace even has the ropes coming out of it that you can strum like a guitar, and it makes noise.” And what’s most impressive? This 40,000-pound structure, attached to 8,000 balloons, was built to float 50 feet above the ground in New Mexico. “If we’re going to create a world for Disney fans and Up! fans to come experience, we’re going to make that world as magical as possible,” said Asai.

The Musée d’Orsay

When I asked Asai if he had a favorite of these 11 Icons, he told me without hesitation that it was what the Airbnb team had created at the Musée d’Orsay in Paris.

This legendary art museum along the River Seine is one of the most historic buildings—a former train station—known for its two massive clocks. Airbnb worked with Mathieu Lehanneur, the designer of the Paris 2024 Olympic Games torch and cauldron, to create a luxurious bedroom in the clock room.

Guests will spend a night at the museum, with private access to the Musée d’Orsay collection, including four of Van Gogh’s most famous works. The stay will also coincide with the Paris 2024 Olympics Opening Ceremony, to be held along the River Seine just below the clock tower terrace.

The X-Mansion

Airbnb recreated the X-Mansion to look and feel like you’re stepping into a cartoon. They achieved this by working with artists to painstakingly paint black outlines along the furniture and objects in the house to create a 2D-animated effect. According to Chesky, each prop took over an hour to paint. There are well over 100 objects in the house.

The Ferrari Museum

At the Ferrari Museum in Maranello, Italy, Airbnb built a sleeping experience for those with a need for speed. The bed is crafted from the same leather as Ferrari seats and is surrounded by—you guessed it—Ferraris.

Prince’s Purple Rain House

Until now, the house Prince purchased in Minneapolis, Minnesota, for the film Purple Rain has never been available to the public. Hosts Wendy Melvoin and Lisa Coleman of Prince’s band The Revolution are opening the home’s doors for guests to spend the night in Prince’s restored bedroom from the movie and listen to unreleased Prince tracks.

Game with Khaby Lame

A handful of the Icons are less about the physical spaces and more about the incredible people with whom guests will interact. TikTok creator and gamer Khaby Lame is one such host who will spend the night with guests gaming and eating pizza at his home in Milan.

On Tour with Feid

Reggaeton sensation Feid is bringing guests along for the ride on his FERXXOCALIPSIS World Tour for an entire week. Guests will join the crew for rehearsals, ride along on the eye-catching tour bus that’s decked out with fuzzy green interiors, and get backstage access for every show.

Inside Out 2 Headquarters

To build excitement for the upcoming release of Pixar’s Inside Out 2, Airbnb has brought the famous headquarters of Riley’s emotions to life. Guests can sleep in what they’re calling a “dreamatorium.”

The Kapoor Family Home with Bollywood Star Janhvi Kapoor

Asai told me that the locales of the Icons were imperative, considering that cultural luminaries reside around the globe. “When you look at the icons of music and film and culture and art, they naturally sprout up from all over the globe and across all categories.” Janhvi Kapoor represents one of these cultures as a member of one of Bollywood’s most famous families. She is opening the Kapoor family home in Chennai, India, for the first time and will share her beauty secrets and favorite Southern Indian dishes.

“”From a business perspective, these icons allow us to talk to new audiences and stay relevant,” elaborated Asai. “In the case of someone like Jhanvi Kapoor or Feid, they allow us to talk to not only different generations of our guests but also totally different geographies.”

A Living Room Session with Doja Cat

This Icons experience is about getting intimate access to one of the music’s biggest names. Doja Cat will host a private living session for guests with songs from her latest album.

A Private Comedy Show with Kevin Hart

Superstar stand-up comic Kevin Hart typically performs for sell-out stadium crowds, but this Icons experience offers the opposite. Guests will have a private tequila tasting and comedy show with Hart at the Coramino Live Lounge, with the promise of some of his comedic friends stopping by for a set.

“What Airbnb stands for is human connection, and for us, that’s connection in the real world,” Asai said about the importance of creating physical spaces. “We don’t want to be a platform where people connect behind screens or in any other way except in real life. That’s what travel and sharing, and accommodation are all about: connecting in the real world. So, these experiences are about creating something in the real world, not virtual. But to do that, you have to build something amazing.”

When asked about the most rewarding part of working on a project of this magnitude, Asai told me it was seeing a decade of work from hundreds of people’s efforts finally come to fruition. “When you work on something this long with this many teams that are all working their hardest to do the right thing and the best quality thing that they can, it’s really rewarding to see it all come together,” he said. “Then when you show it to people that have never seen it before, and to be able to appreciate it for the first time through the eyes of someone new to it, it’s unbelievably rewarding.”

The post Airbnb “Icons” Brings Imagination to Life appeared first on PRINT Magazine.

Founded in 1881 and revered as one of the world’s preeminent orchestras, the BSO has long graced the stages of Symphony Hall and Tanglewood, captivating audiences with masterful compositions by legendary conductors. The Boston Pops has become synonymous with musical excellence, with an illustrious history boasting luminaries like Arthur Fiedler and John Williams, enchanting listeners with iconic performances and annual spectacles. Tanglewood has long been hallowed ground for music aficionados, hosting an array of celebrated artists against an idyllic backdrop in Lenox, Massachusetts.

However, as the BSO sought to bridge the gap between its storied past and a vibrant future, it recognized the need for a contemporary reimagining of its brand identity. Colossus rose to the occasion, infusing the institution’s legacy with modernity while preserving its rich heritage.

The new brand, characterized by warmth and approachability, departs from previous iterations, unifying the BSO’s diverse offerings under a cohesive visual identity. The brand features a color-coded system and two complementary typefaces, blending old-world sophistication with contemporary flair. This rebrand is significant because it focuses on fostering broader audience engagement and accessibility, reflecting the BSO’s commitment to innovation while preserving its legacy and ensuring that classical music remains accessible to all.

Eager to learn more about the strategy and process behind this colossal undertaking, Travis Robertson, Co-Founder and Executive Creative Director of Colossus, and Jesse Needleman, Vice President, Marketing, Sales, & Communications of BSO, happily obliged with an exclusive.

(Conversation edited for length and clarity).

Given the Boston Symphony Orchestra’s history and cultural significance, what were the key challenges and considerations in modernizing its brand identity?

Travis Robertson: This project was equal parts exhilarating and terrifying. Walking in the shadows of giants, our team felt a tremendous sense of pride and the weight of responsibility to get it right. For an institution so steeped in tradition and heritage, changing the course required tremendous strategic alignment, research, and due diligence. We involved key stakeholders, customers, and musicians before putting pen to paper. We ensured that the classical purists and institutional guardians felt heard and represented while also moving forward with something that resonated with the next generation.

We kept harkening back to a quote from Henry Lee Higginson, the American businessman and Civil War veteran who founded the BSO in 1881. He wrote that the institution aimed “to make fair prices for the tickets and then open wide the doors.” With that in mind, we did our best to create an inviting, unpretentious brand identity that also underscored the magnitude and credibility of the music.

On the use of architectural elements as design influences for the new brand identity: Could you elaborate on the significance of this approach and how it reflects the essence of the Boston Symphony Orchestra?

Travis Robertson:

Four disparate pieces of the puzzle had to be solved and, ultimately, unified through the development of the new identity system. Tanglewood: an outdoor music venue nestled in the hills of The Berkshires. Symphony Hall: the iconic building known as an acoustic jewel and home to the BSO. The Boston Pops: the celebratory, popular expression of the symphony known as “America’s Orchestra.” And, of course, the flagship Boston Symphony Orchestra. While musicians come and go, the stage itself has served as the bedrock of consistency throughout the history of the BSO.  You can feel it in the walls of Symphony Hall and the grass of Tanglewood’s infamous Music Shed.

To define the look and feel of the new brand identity, we looked to architecture and the unique sense of space created by each setting to help guide us. After touring each structure, we gravitated toward certain characteristics, shapes, and geometric patterns. We further solidified this idea after viewing the original Symphony Hall blueprints from the architectural firm McKim, Mead & White (1900). We saw that the windows, soffits, and side entry were all built in the same arch shape. We assigned this shape to the BSO and then worked to uncover further geometric signifiers for Pops, Tanglewood, and Symphony Hall. In the end, we arrived at a consistent system rooted in a place of history and authenticity.

To broaden the appeal of classical music to a younger and more diverse audience, how did Colossus approach the task of making the orchestra’s brand more accessible while still maintaining its sense of sophistication and tradition?

Travis Robertson: Great question. Our design team on this project was both young and diverse, ensuring that we weren’t telegraphing uninformed perspectives or misrepresenting things. We also took the time to speak with each audience segmentation- from Classical Purists to Experiential Engagers to Mainstreamers- making sure our approach resonated along the way.

Ultimately, it won’t be the color palette, clever iconography, or playful shape choices that make the orchestra more accessible. We can only pique the interest and pave the path for new audiences. Our work is the outward signal of this institutional evolution. However, the BSO’s programming, innovations, collaborations, and meaningful community partnerships will create a truly impactful and well-rounded step forward. And they’ve made some incredible strides to do just that. It’s been heartening to see the next chapter of this storied institution begin to take shape.

Could you delve deeper into how the selection of specific colors for each sub-brand reflects the unique identity and essence of the disparate entities?

We derived the color palette from the historical lineage of the brand, alongside modern influences and the need to differentiate the four factions of the BSO. Blue for the Boston Symphony Orchestra, a foundational colorway for decades. Red for the Boston Pops, with nods to Americana and holiday festivities. Green for Tanglewood is an homage to the lush foliage and natural setting in Lenox, MA. And gold for Symphony Hall, based on the iconic building’s gilded brass and brick textures.

Given the aim of making classical music more approachable and inclusive through the new brand identity, what specific strategies or initiatives does the Boston Symphony Orchestra plan to implement to ensure that this message resonates with diverse audiences? How do you envision these efforts contributing to breaking down barriers and expanding the orchestra’s reach?

Jesse Needleman: What’s critical in getting the brand identity to resonate is backing it up with programming that resonates, too; the product we offer and its packaging absolutely need to match.

We always look at our programming through a lens of engagement. So to that end, we’ve been working hard to bring exciting young talent to our stages (like South Korean pianist Yunchan Lim, who studies at NEC, won the Van Cliburn piano competition, and recently sold out four concerts at Symphony Hall), to commission and premiere new works (from the likes of Tania Leon and our newly announced Composer Chair Carlos Simon), to offer more culturally relevant programming (like a Pride Night concert featuring Thorgy Thor, and Dia de Muertos concerts, both with the Boston Pops), and to bring added context to the music we perform by including companion humanities programming in thematic festivals that anchor our seasons (like “Shostakovich Decoded” and “Beethoven & Romanticism” that will be part of the recently announced 2024-2025 BSO season).

The brand identities signal that it’s a new day at the BSO, both in the sense that we are continuing our deep and rich history of innovation in orchestral music and that we are taking a hard look at how we want to innovate the future so that we can contribute as much as we can to the amazing communities that we are part of in Boston and in the Berkshires; we are excited there will be much more to come on exactly what that means.

With the evolving landscape of music consumption and entertainment preferences, how does the BSO envision itself in the digital realm, and how will the new brand identity support its efforts to connect with audiences through online channels and multimedia experiences?

Jesse Needleman: The pandemic taught us a lot about creating digital experiences (particularly concerts via streaming video) and led us to approach this project with a strong “digital first” mentality. While interest in streaming concerts has waned since the public began returning to concert halls for in-person performances, we also know that we live in an increasingly digital world, and media that were once thought of as “traditional” (like outdoor) are themselves becoming digital, and require a different approach to brand identity. So, as part of developing the new identities, we not only created static versions of our logos but also developed animated versions, and we are also developing an audio component for them. Sight, sound, and motion are critical to capturing attention in the digital world that we live in, and so our brand identities need to take advantage of that.

In a world where cultural institutions must evolve to meet the demands of a rapidly changing landscape, the Boston Symphony Orchestra is a shining example of tradition reimagined. With its bold new identity, the BSO will captivate hearts and minds for generations to come, inviting audiences to experience the transformative power of music in all its splendor.

The post A Colossal Brand Refresh for the Boston Symphony Orchestra appeared first on PRINT Magazine.

Today, the branding industry is in flux. On one hand, the digital era offers brands limitless opportunities to engage with their audiences through social media, content marketing, and personalized experiences. Conversely, a growing distrust of polished corporate messages and a saturated market have given rise to “anti-branding” and “post-branding” movements. These movements favor social good, authenticity, and a focus on product quality over brand image. Patagonia is perhaps the most visible example of this. Adding A.I. to the mix can diminish brand trust if used irresponsibly. For example, brands failing to declare the use of A.I.-generated content will cast doubt on the integrity of all their content, whether or not it is in fact A.I.-generated.

Amidst this backdrop of evolving branding ideologies, many creative professionals are gathering at OFFF Barcelona this week. The International Festival of Creativity, Art, and Digital Design fosters community around contemporary creativity, serving as a trendsetting global hub within design, art, and post-digital culture.

In the spirit of “What’s Next?” I asked five brand leaders whose agencies are represented at OFFF to share their perspective about the state of branding and what the future of the profession might look like. It was intriguing to see the array of viewpoints — the similarities and disparities — regarding the current branding landscape and what brands (and their creators) must consider moving forward. A common thread; true connections with consumers.

The following contributed their thoughts to this story: Veronica Fuerte, Founder & Creative Directress of Hey Studio; James Greenfield, CEO & Founder of Koto Studio; Radim Malinic, Founder & Creative Director at Brand Nu Studio; Max Ottignon, Co-Founder of Ragged Edge; and Surabhi Rathi, Strategy Director at BUCK.

How do you interpret the emergence of the “anti-branding” and “post-branding” trends within the current branding landscape? From your perspective, what specific insights or implications do you believe this trend holds for traditional branding strategies and practices?

Veronica Fuerte: The “anti-branding” and “post-branding” trends signal a move towards authenticity, transparency, and purpose in branding, challenging traditional tactics that focus on saturation and persuasion. Brands now need to deeply embed their values into their identity, engaging in meaningful storytelling and transparent dialogue with their audience. This requires a more nuanced approach, where genuine connections and value alignment become key to standing out.

“Anti branding can work for some, but the key thing for most is that finding the right level of originality is crucial. …Consumers are quick to see through inauthentic attempts to jump on these trends.”

—James Greenfield, CEO & Founder of Koto Studio

James Greenfield: I don’t think either anti or post branding really has much effect on the majority of the brands we see day-to-day. These trends often feel like a seismic shift when they are happening, but in reality, their impact is often overstated. Take the recent example from the start of the 2020s of leading fashion houses seemingly abandoning distinctive logos and embracing a more minimalist aesthetic. It was short lived and we’re already seeing this trend reverse, with Burberry’s recent rebranding demonstrating the continued value of a distinct brand identity. What they really wanted was the freedom to slap a hefty price tag on a T-shirt or a handbag in a flexible way so they could essentially be two brands at one time. 

Anti branding can work for some, but the key thing for most is that finding the right level of originality is crucial. While true originality might be elusive, the desire to push boundaries is essential for brand growth. It’s this very desire to stand out that fuels these “anti-branding” moments, rather than some underlying widespread political branding uprising. It’s also important to remember that anti-branding with a strong political message can only truly resonate with brands that already have a well-defined social or environmental stance.  Consumers are quick to see through inauthentic attempts to jump on these trends. The internet and our access to information means the internet is quick to punish brands it perceives to have wronged, just look at Budweiser sales in the US, so brands have to tread a little carefully and maybe know their customer more than ever? The driver for brands to change is about where and how their customer is more than what they look like when they turn up.

Radim Malinic: Have we reached the peak branding in the last few years? Having a big team to produce world-class work is no longer imperative. You need world-class ambition to produce work that can make international headlines. All you need is a small team and vision with results that align with many brand ‘deja-vu’ identity systems produced by brands much bigger with seemingly endless budgets. Producing shiny logos with animated assets, snazzy illustrations, and mood videos is no longer the stuff of dreams and hefty budgets. Take a team of five and watch the work fly. This makes our collective headway in visual excellence taste somewhat bittersweet. It also has made the branding landscape and its consumers jaded. We have been busy getting better without seeing our work’s side effects happening right before our eyes. Dog food packaging uses the same colour palette and font choices as the latest toothpaste company, bio-oil producing startup, and so on. Most of these brands rely on multi-channel broadcast instead of storytelling, which can result in greater trust and understanding. We’ve also started peeling layers of multinational brands and their campaigns only to realise things are not as we’ve been told all this time. It’s little surprise that we find ourselves in a situation where the old isn’t working anymore, and the new isn’t taking flight. 

Max Ottignon: Don’t sacrifice clarity or relevance for notoriety. Whether ‘anti-branding’ or ‘post-branding’, it’s still branding. A way of standing out and getting noticed in an ever-more competitive, noisy world. Showing up in a way that feels fresh and authentic can be incredibly powerful, particularly when pitched against an outdated, corporate approach. But lasting success still requires discipline and commitment to ensure that you’re building a brand, rather than simply making a statement. 

“Brand-building solely centered on commercial interests is outdated. Brands must reorient their “why” towards positive societal impact beyond just products.“

—Surabhi Rathi, Strategy Director at BUCK

Surabhi Rathi: At the heart of both these movements, lies a rejection of traditional branding as a manipulative tool for consumerism. It reflects deep skepticism towards branding’s roots in exploitative capitalist practices. But, they also serve as a reminder that brands hold immense cultural influence and power to shape societal values. 

And with that, we have a responsibility. 

Brand-building solely centered on commercial interests is outdated. Brands must reorient their “why” towards positive societal impact beyond just products. Clear ethical stances, environmental accountability, aligning with consumer values for the greater good – these are prerequisites, not options. Ultimately, branding should further human values, nurturing collective identities that joyfully unite us.

In essence, these movements advocate for an ethical redefining of branding’s very purpose. Brands must become purpose-driven catalysts for positive change, not vessels of exploitation. This shift is necessary in 2024.

During a time when consumer trust in institutions and corporations is declining, what do you think are necessary methods to adopt for branding agencies to stay relevant in an era where consumers increasingly value authenticity and reject traditional branding tactics?

Veronia Fuerte: To remain relevant as consumer trust wanes, branding agencies might emphasize transparency, authenticity, and direct engagement. This involves helping brands to align their actions with their messages, use user-generated content effectively, and engage in real conversations with their audience. It’s about empowering brands to embrace their uniqueness and connect on a human level.

“Storytelling with purpose is no longer just a nice thing to have. It’s the foundation of the branding landscape now.”

—Radim Malinic, Founder & Creative Director at Brand Nu Studio

Radim Malinic: I’m sure many agencies have been wrestling with ideas for how to help clients identify and communicate their genuine values, mission, and story. Storytelling with purpose is no longer just a nice thing to have. It’s the foundation of the branding landscape now. Move beyond traditional branding narratives and focus on storytelling with purpose. Help clients craft narratives that resonate with consumers on a deeper level by addressing social, environmental, or cultural issues that align with their values.

Max Ottignon: While the tactics may need to evolve, the basic foundations of brand strategy remain the same. At its simplest, our job is to frame products, services and organizations in ways that get them noticed, remembered and, eventually, chosen by a given audience. That means finding a place in the world, and in culture, that feels authentic to that brand and resonant to that audience. And showing up in a way that demonstrates a deep understanding of the community you’re aiming to connect with. Whereas yesterday that might have been a sports sponsorship, today it might be a Twitch activation or Roblox partnership. 

With the rise of social movements, such as conscious consumerism and sustainability advocacy, how do you envision the role of branding evolving to meet the changing expectations and values of consumers? What do you think will be essential for brands to effectively communicate to resonate with their target audience in this landscape?

Veronia Fuerte: As consumer values shift towards conscious consumerism and sustainability, branding must evolve to meet these expectations. This means going beyond selling products to embodying the values of societal change and sustainability. Effective communication and demonstrating a genuine commitment to these values will be crucial for resonating with today’s consumers.

“As consumer values shift towards conscious consumerism and sustainability, branding must evolve to meet these expectations.”

—Veronica Fuerte, Founder & Creative Directress of Hey Studio

James Greenfield: I’m not convinced consumers are giving traditional branding the cold shoulder. Look at the stats: Gen-Zers in the US are splashing their cash on fashion like it’s going out of style. Sure, there’s plenty of talk about sustainability and conscious consumerism, but take a stroll through any mall or supermarket and you’ll see a different story playing out.

Despite the rise of online shopping and influencer culture, the big players are still churning out the same old stuff they have been for decades. Sure, the marketing spiel might have changed, especially on social media, but the products themselves? Not so much. Ask any group of people about their favorite brands and I bet you won’t hear anything groundbreaking.

Now, don’t get me wrong—there’s plenty of buzz around products that feel a bit more off the beaten track, but often, it’s just the packaging that’s different. Take Tesla, for example. They’re all about innovation, but when you strip away the hype and the power source, they’re still pretty conservative in their design and branding.

Then there’s Apple. Their marketing might pop up in unexpected places, but there’s nothing particularly groundbreaking about an Apple Store. Yet the iPhone is what the younger generation is clamoring for.

With the internet ready to pounce on any brand that steps out of line, companies have to tread carefully and really get to know their customers. Because at the end of the day, it’s not just about how a brand looks—it’s about meeting your customers where they are, whether that’s online or in person.

Radim Malinic: Brands must be transparent about their actions and be willing to be held accountable for their impact on people and the planet. Transparency will become a cornerstone of branding in this era. Consumers increasingly demand access to information about a brand’s practices, including its environmental impact, labour conditions, and social responsibility initiatives. New startups and brands often spring up to act as the antidote to the bad practices of the juggernauts of the past. Doing things right is much harder and more costly than old methods. To convince consumers who often feel a blind devotion to legacy brands is often a task of its own. We have our work cut out for us, that’s for sure.

“Don’t fake it. …We’ve probably seen the last of a mayonnaise claiming its purpose is to reduce food waste (Hellmann’s) or a co-working space purporting to ‘elevate the world’s consciousness’ (WeWork).”

—Max Ottignon, Co-Founder of Ragged Edge

Max Ottignon: Don’t fake it. 

After years of brands jumping on inauthentic purpose bandwagons, there’s been a shift towards a more straightforward approach. Perhaps in response to people having to be more careful in their spending, brands have re-focussed on what their customers really want. Not what they’d like them to want. For some, that’s making sustainability a priority. But that focus has to be backed up by action and commitment at a business level. 

I think we’ve probably seen the last of a mayonnaise claiming its purpose is to reduce food waste (Hellmann’s) or a co-working space purporting to ‘elevate the world’s consciousness’ (WeWork). The trick, as always, is in understanding what matters to your customers, and how you’re in a unique position to offer it. But if you’re tempted to fake it, don’t.

Established in 2000, OFFF has become the largest exhibition and meeting point for contemporary visual creativity, uniting the worldwide network of design and creative professionals to foster connections among innovative talents globally in an effort to share insights, collaborate, and unite.

This year, the festival emphasizes nurturing new talent through “The Next Us,” a platform enabling Barcelona’s design students to showcase their work to OFFF’s global audience.

Learn more information about OFFF Barcelona, happening now (April 4 – 6).

The post Five Brand Leaders on the State of Branding and What’s Next appeared first on PRINT Magazine.

Located within the Academy of Fine Arts in Katowice, Poland, Tauron Lab stands out as a state-of-the-art new media laboratory in Europe. Offering groundbreaking audiovisual technologies, Tauron Lab provides a unique platform for artists and scientists alike to explore creativity in an immersive environment.

Operated by the Soundscape Foundation, a non-profit organization dedicated to enhancing the urban sound environment through research and education, Tauron Lab serves as a nexus where culture, art, and technology intersect. Creative agency Meteora, located in Kraków, was tasked with developing the brand identity for this experimental audiovisual lab — no small feat bringing sound experimentation to visual representation.

Since its official opening in September 2023, Tauron Lab has been a hub of creative activity. The multidimensional space hosts a diverse array of initiatives tailored to cater to various audiences. At the heart of its offerings is Tonarium, a futuristic sound tool that facilitates experimentation with audio. 

The lab also showcases various audiovisual technologies, events showcasing cutting-edge technologies, artistic residencies focusing on innovation, workshops for both kids and adults, and installations highlighting experimental prototypes.

One of Tauron Lab’s key features is its artistic residencies, which provide opportunities for artists to delve into cutting-edge technologies such as three-dimensional sound systems and spatialization methods. These residencies aim to foster experimentation and innovation in artistic expression.

To visually communicate these initiatives, the Soundscape team collaborated with Meteora on crafting a comprehensive identity system incorporating typography, geometric shapes, and dynamic animations, each tailored to reflect the nature of the lab’s diverse events. The goal was to create a transparent identity that enhances, rather than overshadows, the content of each event.

Tauron Lab aims to be more than just a laboratory; rather, it is a dynamic space where creativity knows no bounds and the fusion of art and technology opens new realms of possibility.

The post The Future of Sound: Tauron Lab’s Art-Tech Fusion appeared first on PRINT Magazine.

Since its founding, National Geographic, or NatGeo for short, has evolved into a multifaceted platform spanning print, digital, television, and more, exploring science, geography, history, and culture. NatGeo seeks to inspire curiosity, foster understanding, and champion conservation efforts worldwide through its articles, documentaries, educational initiatives, and photography.

The globally recognized magazine, which has over 84 million monthly readers, unveiled a significant design refresh this month. This transformation, revealed in the March issue, marks the debut under Editor-in-Chief Nathan Lump and Creative Director Paul Martinez, who assumed their roles in 2022. With Lump’s rich editorial background, including publications like TIME and The New York Times, alongside Martinez’s creative expertise at Travel + Leisure, the duo brings a bedrock of experience to the publication.

The key design and content highlights include:

• New sections, including “In Focus,” a selection of full-page images from National Geographic’s photographers in the field, amplify the focus on photography and visual storytelling.
• Short-form content is now interspersed with in-depth features to create a more varied and dynamic reading experience.
• A larger typeface for an easier read – an intentional update taking reader feedback into account.
• And a subscriber-only cover that features more artful, intimate visuals.

I reached out to Lump and Martinez, eager to discuss the driving forces behind this redesign and their plans for holding 130+ years of tradition, while addressing the evolving needs of print and digital audiences. Our conversation (condensed for length and clarity), is below.

The redesign marks a significant shift in National Geographic‘s visual identity and content structure. What was the inspiration behind deciding to introduce new sections like “In Focus” and the added emphasis on visual storytelling?

NL: We’ve had an emphasis on visual storytelling in our pages for many decades, so while I don’t see our recent adjustments as a particular shift in that direction, we are continually looking for ways to heighten for the reader what is special about what we do. The core of our mission is helping readers to discover and better understand the wonder of our world, and for me, a lot of what I wanted to accomplish with this refresh was to showcase the true diversity of the subjects we cover and what we’re learning about them – from animal behavior to science to history and more. Our new recurring story types are designed to do just that. “In Focus,” a handful of pages at the start of the book, is in many ways a microcosm of that wider approach: we are fortunate to have relationships with great photographers around the globe who are always at work, and this column brings readers a selection of their recent images from out in the field, across the full spectrum of topics of interest to our readers. 

PM: A segment such as “In Focus” truly emphasizes one of our strengths: photography. Placing this at the forefront is not just about captivating the reader with compelling images but also about swiftly propelling them into the heart of the magazine. This seamless transition leads directly into our initial main feature, where we aim for readers to immerse themselves in a deeper narrative.

How do you balance honoring the magazine’s rich heritage of storytelling, particularly through its iconic photography, while also pushing boundaries in today’s media landscape? In what ways does the redesign reflect the evolution of storytelling mediums and audience preferences?

NL: I am extremely conscious of our legacy and of the incredibly loyal, devoted readership we are fortunate to have, and of course that makes you be very deliberate and thoughtful when you make changes. But legacy can also lead you to be too conservative and hold you back from making genuine improvements in the service of your audience. My feeling is that as long as you retain your commitment to telling meaningful stories that align with your brand and meet your reader’s expectations of quality, you have permission to adjust as long as you are putting yourself in the reader’s shoes and thinking about what will serve them best. I thought a lot about what it means to innovate in print as we approached this work and tried to ask myself whether traditional conventions still held true. Years of working on digital content and products have grounded me in UX thinking and research, and I drew on that in this process. Our decision to radically simplify the book structure—essentially, almost the entire magazine is one unnamed “section” that consists of shorter and longer stories mixed together—stems from an understanding that digital and social environments have conditioned us to consume content in more free-flowing and serendipitous way. The story selection and flow are still highly curated, as any great magazine should be, but it allows for more variation and surprise that we think makes the overall experience more pleasurable and engaging.

Design plays a significant role in ensuring that readers do not encounter difficulty with the content.

Paul Martinez, Creative Director

The decision to incorporate more short-form content alongside in-depth features is interesting. How do you navigate maintaining depth and substance while catering to shorter attention spans in today’s digital age?

PM: Many of our decisions revolved around the concept of pacing. Our strategy involved interspersing shorter stories among the longer ones to create a dynamic flow of peaks and valleys for the reader. We discovered that grouping all the longer features together risked reader fatigue, so placing shorter pieces between them offers readers a chance to engage swiftly with the content.

From a design standpoint, we aimed to signal to the reader when they were transitioning from a longer feature to a shorter story. To achieve this, we developed a consistent template for the shorter stories, facilitating a smooth exit from and entrance into the longer features. Additionally, we sought to engage the typographer more in introducing the features to signify the beginning of a substantial story.

Typography plays a crucial role in readability and accessibility, and your decision to introduce a larger typeface reflects a commitment to improving the reader experience. How did you approach this aspect of the redesign, particularly in response to reader feedback?

PM: Ensuring readability is a constant and top priority. Design plays a significant role in ensuring that readers do not encounter difficulty with the content. Moreover, from an aesthetic perspective, we aimed to provide sufficient space for the increased type size in the body copy and captions to breathe. By augmenting the white space in the layouts, we were able to strike that delicate balance and hopefully improve the reader experience.

The subscriber-only cover featuring more artful and intimate visuals is a bold move, especially in an era where digital content often takes precedence. What motivated this decision, and how do you see it contributing to the magazine’s relationship with its most loyal readers?

NL: I am conscious that our relationship with subscribers is a personal one—they’ve invited us into their homes—and that the experience of receiving a printed magazine in the mail and diving into it on your sofa is quite particular relative to other ways that you encounter content in other environments and platforms. On a traditional newsstand, you need to shout, as it were, to gain a potential reader’s attention. In digital, it’s much the same—you have milliseconds in someone’s scrolling to grab their attention. When they’ve subscribed, they’ve already indicated an interest in your content and a willingness to engage. That’s not to say that the cover doesn’t need to provoke engagement, but when you hold a magazine in your hands at home, you are quite literally up close and personal with it. That allows us, I think, to showcase artistry and to be quieter in our choice of image when it’s appropriate, and we deliberately went minimal with type, in a nod to the old National Geographics with type-only covers that essentially served as a table of contents. Our goal is still to intrigue or to move the reader in some way, but we can take a different approach that we hope delivers something tailored to the subscriber’s mindset now that they’re ready to sit down and read.

How do you navigate the preferences and consumption habits of print readers versus digital consumers, and what lessons can other content creators learn from your experience? Any advice for media companies looking to strengthen connections with their audiences in an increasingly digital landscape?

NL: Like many publishers, we know that our print and digital audiences are quite distinct, and while they share some common affinities, they are not mirror images of each other. For many years, at other titles, I tried to achieve nearly total platform convergence—with all content designed to flow seamlessly between platforms—but I no longer think that’s the best approach. Increasingly, we take a fluid approach to our content creation, with some stories designed specifically to satisfy the needs of either print or digital (or social) audiences, and then selectively, those stories migrate to other platforms, often with modifications and sometimes in a different medium. It’s more bespoke and requires more care, but if you build the intention into your production process from the outset, you can ensure you’re generating the right type of material and minimize the effort required after the fact. This is an essential part of being responsive to audience preferences. What will work for a certain type of reader or user in one place will not necessarily work for another reader or user somewhere else. My goal with all our storytelling is to maximize the reach and impact of our work, and the way that works is by recognizing how preferences and behaviors vary based on where someone is and their mindset. The through line, of course, is quality – personally, I find this thinking and the process it informs so much more creatively energizing than when I started my career, although it is undoubtedly more complicated. You can’t do everything all the time, so it’s also important to be mindful of who you are most focused on reaching and strategically what you are trying to get out of building that relationship. I think that today, in digital environments, in particular, success is a lot about super-serving more specific audiences and interests. In some ways, we’ve always done this with our printed magazines, so we’re well positioned to thrive wherever we may be because we think consumer-first, fundamentally, and build that into everything we do.

The post National Geographic’s Redesign Bridges Print Heritage & Digital Experience appeared first on PRINT Magazine.

Diana Kasay, co-founder and CEO of Readymag, underscores the importance of creating environments where women can flourish and contribute to shaping the future of design. The ReadyLaunch Grant is poised to ignite the passion projects of its recipients, providing a platform for their creative endeavors.

Central to the relaunch is a showcase of 37 influential women in design from the 20th and 21st centuries, including luminaries such as Paula Scher, Kazuyo Sejima, Charlotte Perriand, Debbie Millman, Norma Merrick Sklarek, Tea Uglow, Jessica Walsh, and Ilana Goor. With a commitment to inclusivity and horizontal representation, the project aims to recognize and celebrate the diverse contributions of women in the industry.

In addition to the ReadyLaunch Grant, Readymag offers resources tailored to support female and non-binary designers. Each grant package includes a fellowship valued at $2000 alongside free one-year access to a Female Design Council membership, enrollment in the Female Design Council Mentor Match Program, and assistance securing media coverage. From networking to funding and mentorship, the company’s dedication to empowering creators underscores its mission to foster a more equitable design landscape..

Inspired and excited to learn more, I spoke to Alya Datii, Readymag’s head of brand marketing and the producer of both editions of Designing Women, and Lora Appleton, executive director and founder of the Female Design Council (FDC).

What insights or feedback from the initial launch of Designing Women influenced the decision to relaunch the initiative in 2024 with the ReadyLaunch Grant?

AD: Designing Women 2019 was the first time Readymag spoke on behalf of our brand on a social issue. For companies like ours, any take is risky; a vibe check with the user community might transform it because not everyone will agree with us – and not everyone did in 2019. We were anxious and more careful with our language than we are now, but the initiative came from personal experiences, from a place of honesty and a feeling of responsibility. As a female-led business, we couldn’t compromise our beliefs to be more likable. The risk paid off. Of course, there were hurtful and dismissive comments, unfollows, and unsubscribes, but supportive reactions outweighed the bad stuff.

Years went by, and every Women’s History Month, design media and influencers repeatedly highlighted the project. In 2023, we finally realized that Designing Women needed an update—if it’s still getting attention, that means it’s needed, and if it’s needed, the program must reflect our current beliefs. The 2019 project, albeit not intentionally, mainly focused on cis women and was whiter than the actual design field. In the 2024 version, we aimed to do a better job of being equitable.

Our reason for adding the ReadyLaunch Grant is simple: as Readymag grew as a business, we became strong enough to reinvest more in the community.

At the current rate of progress, it will take 131 years to reach full parity.

Global Gender Gap Index 2023

Could you elaborate on the process of making the Designing Women project more horizontal and inclusive? How did your team identify and prioritize the challenges and needs at the intersection of gender and design?

AD: Readymag’s marketing and design teams are primarily female, and we’ve experienced many of the issues the project addresses firsthand. We sat down and listed our problems, experiences, needs, and demands at the intersection of our work and gender; then, we reached out to people outside of our circle for input. From there, we picked the blank spaces we could try to fill as a сompany. We decided to continue archiving the impact of female designers, using our platform to highlight other initiatives tackling gender issues, and setting up a grant which prioritizes designers from underrepresented communities. In 2019, adding a ‘Resource’ section was an afterthought. This time, we based the relaunch on studying and contributing to the visibility of the work already done in the sector.

The ReadyLaunch Grant supports many project types, including newsletters, zines, YouTube channels, and podcasts. How do you envision these projects contributing to combating gender inequality in the design industry?

AD: One of the central issues that affects the career choices and paths of women, non-binary, and gender non-conforming people is underrepresentation. It’s hard to take professional risks, launch passion projects, and tackle social issues while facing discrimination and working the second shift.

We expect the ReadyLaunch grant to help the project authors pursue their true passion. Many exceptional projects deal with gender equity, but it’s hard for them to sustain their work from a financial and time perspective. Our grant can enable them to pay themselves, pay their team, or cover other expenses, at least for a while.

Many exceptional projects deal with gender equity, but it’s hard for them to sustain their work from a financial and time perspective.

What excites you most about the relaunch, and what do you hope this initiative will achieve?

AD: To be honest, the response has already exceeded our expectations. In the first few days, we’ve received dozens of amazing proposals from all over the world. I hope we’ll be able to do the very difficult job of selecting just four winners well and that we will connect more applicants with resources that can help them implement their projects.

Besides practical outcomes, we hope Designing Women will continue making design herstories visible and inspiring other companies to take a stance on gender inequality. The current situation is a systemic and institutional failure that no single person, activist group, or company can overcome alone. However, businesses can influence their networks and use their platforms to make at least a small but positive impact.

With a curated list of over 20 organizations and initiatives tailored for female and non-binary individuals in design, how does Readymag approach collaboration and community-building to create a more supportive and inclusive industry environment?

AD: We understood how much work had already been done by activist initiatives and recognized that our responsibility as a business was to use our platform to shine a light on the work of others. In the reboot of the project in 2024, we’re taking this responsibility to a new level: we made the project much more horizontal by referring people to sources that deal with gender equality issues professionally. People need a lot of different resources: mentorships, subscriptions to services, educational courses, and trips. We’re very open to partnerships for resources and are not looking for the usual cross-promo; our main goal is contributing to the community.

The current situation is a systemic and institutional failure that no single person, activist group, or company can overcome alone. However, businesses can influence their networks and use their platforms to make at least a small but positive impact.

With the Female Design Council’s commitment to advancing female and non-binary representation in the design field, how do initiatives like Designing Women and the ReadyLaunch Grant contribute to its broader efforts?

LA: The FDC Mentor Match program started in 2020, and since then, it has served over 250 aspiring designers, architects, and applied artists by connecting them with successful design industry professionals. This direct relationship allows mentees to receive real-world advice, directions, and counsel to lead them toward their professional goals. A key element of our mentorship program is that it is also open to mid-career professionals interested in transitioning or pivoting into a different specialty. We are committed to keeping this a free program so that it’s accessible to anyone, regardless of financial means.

A key element of our mentorship program is that it is also open to mid-career professionals interested in transitioning or pivoting into a different specialty.

In what ways does the Female Design Council Mentor Match Program support emerging designers, particularly those from underrepresented backgrounds, in navigating design industry challenges?

LA: The FDC Mentor Match program started in 2020, and since then, it has served over 250 aspiring designers, architects, and applied artists by connecting them with successful design industry professionals. This direct relationship allows mentees to receive real-world advice, directions, and counsel to lead them toward their professional goals. A key element of our mentorship program is that it is also open to mid-career professionals interested in transitioning or pivoting into a different specialty. We are committed to keeping this a free program so that it’s accessible to anyone, regardless of financial means.

How does the Female Design Council approach collaboration and community-building to create a more supportive and inclusive environment within the industry?

LA: The FDC has been “doing the work” since Day One. Everything we do is community-driven and inclusive, and we are very mindful and focused on ensuring access and representation. We offer in-person and virtual networking events, a free mentoring program, and 25 gratis memberships annually to designers of underrepresented backgrounds. Those are a few examples, but a spirit of inclusivity and collaboration infuses everything about our mission and programming.

Applications for the ReadyLaunch Grant are open from March 4 to May 8, 2024, inviting aspiring designers to seize the opportunity to propel their projects forward. With this initiative, Readymag continues to champion diversity and inclusion within the design community, reaffirming its commitment to empowering creators.

The post Designing Women: Readymag Relaunches Initiative Toward a More Gender-Equitable Design Industry appeared first on PRINT Magazine.

Unlike traditional grant programs, Chicago’s Cultural Treasures goes beyond providing financial assistance. Instead, the initiative is rewriting the narrative of equity in the arts by offering tailored support and capacity-building to ensure the preservation and advancement of BIPOC-led initiatives for generations to come.

Administered by IFF with the Chicago funders group, the effort serves BIPOC arts and culture institutions that have long operated as neighborhood anchors, tradition-keepers, and community-builders to help ensure that experiences are broadly shared and heard. IFF champions nonprofits across the Midwest to shape more equitable and vibrant communities through community-centered lending, development, and real estate solutions.

Tara Townsend, President of IFF’s Social Impact Accelerator, shared the importance of how uplifting and investing in BIPOC-led initiatives not only honors the richness of Black history but also actively contributes to a more inclusive and equitable future. 

(This conversation was edited for length and clarity).

How do you ensure that initiatives such as funding, capacity-building, and technical assistance meet the needs of arts organizations and contribute to their long-term sustainability?

When the funding collaborative reached out to IFF – knowing they needed a community partner with relevant expertise and credibility in BIPOC communities – we, in turn, knew that the initiative could only be successful if it were deeply embedded within the community it serves.

IFF accepted the role because we saw it as an opportunity to support the long-term financial resilience and sustainability of BIPOC arts organizations. As administrators, we designed the grant program, developed an open nomination process to select the participatory grant committee, and facilitated the grant committee in developing decision-making criteria to review the proposals and ultimately make the funding recommendations.

The grant committee members, comprised of a diverse group of community members, civic leaders, and artists embedded in Chicago’s rich arts and culture scene, all appreciate how art fits into the community fabric in the Chicagoland area. The Committee was given near total control over the process, from design to decision (with IFF as an organizer and facilitator), ceding a great deal of power to the communities the initiative intended to serve.

The Grant Committee’s process wasn’t so different from other grantmakers. However, they were different deciders who made different decisions. Examples are focusing criteria on BIPOC-rooted art forms rather than more common criteria focused on BIPOC representation and acknowledging cultural expressions that traditional forms of grant support have historically passed over.

Beyond the critical general operating funding, capacity building and technical assistance were also co-created with the arts communities to meet their needs. Grantees had the opportunity to self-select which offerings they wanted to pursue, enabling IFF to meet each organization where they were in terms of their current capacity and future priorities.

We intentionally designed this, to the best of our abilities, to genuinely meet the needs of the organizations and their communities.

Capital alone cannot provide long-term sustainability, but capital paired with resources like financial management, peer learning, real estate consulting, and more does.

Tara Townsend

Chicago’s Cultural Treasures aims to address both immediate challenges and long-term systemic issues faced by BIPOC arts organizations. Can you share some specific strategies or programs that exemplify this balance?

When IFF agreed to administer ChiTreasures, it was with the understanding that we were not just administering grants. IFF works at the intersection of finance and facilities, ensuring nonprofits have what they need for long-term sustainability.

All of the programs that IFF administers focus on providing technical assistance in addition to capital. Capital alone cannot provide long-term sustainability, but capital paired with resources like financial management, peer learning, real estate consulting, and more does. So, while our involvement in ChiTreasures differed from other work we engage in, it still follows this program model: providing unrestricted grants – in this case, a total of $14.4 million – with access to workshops and resources in fundraising, board development, marketing and communications, financial management, and facilities planning and support. All of these are identified as key needs to help strengthen organizations and manage grant funds for sustained longevity.

Being named a Chicago Cultural Treasure significantly impacted organizations’ sustainability through grants and resources. It also broadened recognition of types of cultural treasures that have historically been overlooked for traditional forms of grant support. We hope that it opened up opportunities for Chicago’s arts and culture organizations—especially those deep in communities rooted in BIPOC culture—to receive additional support.

Beyond this, one of our commitments is to share the learnings and recommendations gathered from the initiative to support long-term changes in funding for organizations rooted in BIPOC arts and culture.

By design, ChiTreasures was not a standard grantmaking initiative. It was a race equity initiative for Chicago’s arts and culture sector.

Tara Townsend

The initiative recognizes the compounding historic inequities faced by BIPOC arts organizations. Could you discuss how Chicago’s Cultural Treasures specifically addresses these inequities? 

By design, ChiTreasures was not a standard grantmaking initiative. It was a race equity initiative for Chicago’s arts and culture sector. By ceding decision-making power to members of the community and by using an LOI (letter of intent) process, as opposed to a standard grant application, we aimed to disrupt the “regular” ways of grantmaking in hopes of countering historic inequities. The LOI process allowed us to explore organizations without using standard metrics for arts funding, which focus on artistic excellence rooted in Western European cultural standards and financial strength, which would naturally disadvantage these organizations due to decades-long histories of underfunding.

The initiative revealed—by the fact that over 140 letters of intent were received—that there are no hidden treasures; they had been buried by years of un-investment. And revealing that was one important step in the initiative’s success.

Since this unprecedented infusion of grant dollars, Chicago’s arts and culture organizations, especially those deep in communities and rooted in BIPOC culture, have received additional support, and we hope it continues. Two years after the grants were made, the funding collaborative and IFF continue to meet and work towards more equitable cultural funding practices.

Our hope is that the initiative’s collective impact will be the ongoing disruption of historical trends in funding for BIPOC-led and -focused cultural organizations as anchors in equitable community development.  

As President of IFF’s Social Impact Accelerator, you oversee various initiatives. What unique challenges or opportunities does Chicago’s Cultural Treasures present? How does the focus on BIPOC arts organizations shape your strategies and approach?

The Social Impact Accelerator (SIA) was created in 2018 to deepen and grow IFF’s impact by scaling what works, innovating new solutions, and driving systems change.

What sets ChiTreasures apart is not how the IFF team operates but the elements that were intentionally designed to make it a unique initiative. For one, the funding collaborative operates to shift funding decision-making and distribution powers to the community.

Another challenge was operating under a participatory grantmaking model and ceding power to the community members. Still, IFF is committed to doing things differently in order to ensure different results and long-term change.

The initiative revealed—by the fact that over 140 letters of intent were received—that there are no hidden treasures; they had been buried by years of un-investment.

Tara Townsend

With sustainability a key goal of Chicago’s Cultural Treasures, how do you measure the long-term impact and success of the support provided to BIPOC arts organizations?

We know that funding from philanthropic sources has been limited for BIPOC arts organizations. This requires these organizations to depend on other revenue sources that may be more fluid, like earned revenues from performances, resulting in uneven cash flows throughout the year. When organizations do receive funding, it is often program-specific or one-year, which limits their ability to plan for the long term.

So, to understand sustainability, we look at an organization’s revenue sources, whether it is reliant on just one source, and how much liquidity it has to weather leaner times. We also look at whether organizations receive more general operating or multi-year grants to understand whether philanthropy is adopting practices that lead to more sustainability for their grantees.

That ties into the initiative’s long-term influence. Observing how the funding landscape continues to evolve, specifically with BIPOC arts organizations, will enable us to evaluate the progress made. 

IFF is committed to gathering and sharing what we have learned and monitoring what unfolds in the future to support a positive change for more treasures across Chicagoland and beyond.

Imagery courtesy of IFF.

The post Shining a Spotlight on Chicago’s BIPOC Cultural Treasures appeared first on PRINT Magazine.

OFFF’s curated lineup features more than 70 internationally renowned speakers in the fields of creativity, design, visual art, and digital culture. Highlights include:

• Musical performance and live painting of muralist Timothy Goodman;
• Creative coach Marko Pfann in conversation with digital artists Joshua Davis, BUCK, Vallée Duhamel, and Stephy Fung on navigating the creative industry;
• Live talk with art director Stefan Sagmeister with illustrator Ben Tallon;
• Performance by queer director David Wilson;
• Live presentation of 3D artist Sam Rolfes

A focus of this year’s festival, now in its 24th year, focuses on training and promoting emerging talent with “The Next Us,” a platform that allows young creatives from Barcelona design schools to present their projects to the international community at OFFF.

Get tickets here.

The post A Creative Convergence Returning to Barcelona for OFFF’s 24th Year appeared first on PRINT Magazine.

Founded in November 2006 by a team of insurance experts, Go.Compare has long been recognized for its meticulous approach to comparing various products and services, including insurance policies, financial products, energy tariffs, and more. Unlike traditional comparison sites, Go.Compare distinguished itself by prioritizing the display of policy details alongside prices, setting a new standard in the industry.

Over the years, Go.Compare’s mission has evolved while remaining steadfast in its commitment to providing reliable and comprehensive comparisons. The company has cultivated a vast network of trusted partners, ensuring users can access a wide range of reputable options. Authorized and regulated by the Financial Conduct Authority (equivalent to the SEC in the US), Go.Compare offers users peace of mind in their decision-making process.

The rebrand signifies a strategic step forward for Go.Compare, solidifying its reputation as a dependable ally for consumers while injecting a burst of new life and character into the brand.

Go.Compare’s standout feature is its accessibility. The service is free for users, a testament to the company’s dedication to empowering consumers with transparent information.

Unlike others, Go.Compare doesn’t just list options; it serves up choices that are genuinely beneficial for users, placing their interests at the forefront,” says Max Ottignon, co-founder of Ragged Edge. “So we amplified that difference, positioning Go.Compare as the Champions of Choice.”

With an impressive 97% awareness rate, the recent rebranding initiative aims to capitalize on the website’s recognition and attract even more users. At the core of Ragged Edge’s rebrand is a genuine point of differentiation: Go.Compare is the sole comparison site accredited by BIBA (British Insurance Brokers’ Association), emphasizing trustworthiness in every recommendation.

“Ragged Edge worked closely with every part of our business to ensure they understood exactly what our aspirations were and how we wanted to evolve in the future,” says Paul Rogers, Marketing Director at Go.Compare. “Insurance can be heavy going – a grudge purchase. Ragged Edge has made it fun and rewarding. The rebrand has helped us to evolve visually and strategically and given us an even stronger sense of purpose, authority, and momentum as we continue to provide transparency and support for customers across a broad range of complex products.”

Central to the rebrand is the iconic figure of Gio Compario, Go.Compare’s beloved mascot. Gio, portrayed with exaggerated features in charming cartoon form, serves as the brand’s “choice champion,” advocating for users across every aspect of the Go.Compare experience.

In collaboration with artist Rami Niemi, the rebrand introduces an illustrative style that breathes life into the brand’s insurance products, departing from conventional stock imagery to offer a fresh, engaging visual narrative.

Complementing the visual overhaul is a new verbal identity – “the voice of choice” – characterized by relatable wit that resonates with customers. A custom-designed typeface adds warmth and character, reinforcing the brand’s distinctive personality.

The rebrand, designed to be instantly recognizable and scalable, ensures maximum visibility and engagement across various platforms. Ragged Edge’s collaboration with Go.Compare extends to the brand’s high-profile sponsorship of the Wales rugby union team, further solidifying its presence in the public eye.

The post Ragged Edge Infuses Go.Compare’s Rebrand with Quirky Charm appeared first on PRINT Magazine.

The central idea behind the updated brand is encapsulated in the phrase “Do right by nature,” highlighting NYBG’s commitment to studying, protecting, learning from, and enjoying nature. It serves as a call to action and recognizes NYBG’s leading role in environmental stewardship.

The new brand voice mirrors the tone and spirit of New York and the Bronx, embodying optimism, empathy, and purpose. It aims to convey NYBG’s enthusiasm for the natural world, promote inclusivity, and demonstrate expertise.

A redesigned logo emphasizes the NYBG abbreviation in a bolder, more contemporary style, blending the essence of New York City with the Garden’s natural beauty. The typography, featured in our 2024 Typography Report, draws inspiration from hand-drawn natural forms, symbolizing confidence and impact.

Curious about the strategy behind the project, I spoke with Jane Boynton, senior creative director, and Ana Camargo, lead strategist of Wolff Olins. NYBG’s CMO, Michael Crowley, also weighed in. Our conversation is below (edited for length and clarity).

With a vision of deepening community connections while expanding environmental action, what specific elements of the brand refresh aim to strengthen local ties while also addressing global environmental concerns?

AC: The former identity, while elegant, had some cues of a “white box gallery” — where maybe not everyone feels welcome, and not everyone feels seen—places where you usually can’t touch the art. The Garden is such a sensory experience. So we wanted to make sure that in the evolution of the brand, we created a platform in which many different audiences could feel welcome, connected, and seen in the brand. Addressing those issues locally helps us tackle them from a global perspective.

We also wanted to reclaim the fact that this is a New York cultural institution and own that with pride. So, as we thought about the tone of voice being more approachable and empathetic, we also wanted it to be deliberate. We wanted it to be a straight shooter, like New Yorkers are, and residents of the Bronx.

We want NYBG to feel like everyone can own it, from the neighbors to the trustees, the board of directors, and the investors. We created the brand to flex according to all those audiences, from the neighbors to the people who visit the Garden physically, the people who visit online, the people who do research connected to the Garden, and the trustees.

The brand refresh includes a new logo that unites the spirit of New York City with the natural beauty of the Garden. How does the new logo, with its references to natural forms, reflect the personality and impact of NYBG?

JB: The old logo already stood for the ongoing impact on preservation the brand was actively doing and its participation within the local community. So we didn’t want to throw those associations away. We’d like to think that we took the previous logo and amplified it.

Our big, beautiful idea for the New York Botanical Garden is this concept of doing right by nature. Unpacking that idea, the ‘do right’ refers to the active state of the organization, the call to action, the study of nature, the protection of it, the enjoyment of it, and the learning from it. That ‘do right’ is expressed through the boldness of the letter forms. They evoke a sense of confidence that speaks to the organization’s impact and leadership. 

The boldness also speaks to nature. Think about when nature is at its best, and it’s thriving, it’s lush, and it’s rich, and it’s full of form. It’s not skinny. That boldness speaks to where we want nature to be in that thriving state. That boldness is also a nod to the spirit and attitude of New York and the Bronx. We are New Yorkers, and our boldness and confidence in that sense of being direct is part of what identifies us.

Bringing all of these things together, we’re hoping the new logo unites that iconic spirit of New York with the natural beauty of the Garden, paired with the active nature of the people behind the organization fighting against climate change and biodiversity loss.

AC: What I also love, of all the things that Jane has already mentioned, is the ‘doing’ – the action – and the ‘by nature’, which has this beautiful idea of side by side with nature. It’s not behind nature. It’s not in front of nature. It’s not that nature is leading, and we need to follow. We wanted to convey a symbiotic relationship. Because I think part of why we’ve gotten into this environmental mess is because humans have forgotten that we are nature.

Doing right’ is everything the Garden does: taking that perspective of the plants and doing right by them, speaking for them, researching them, and bringing their wisdom and intelligence to life.

The photography is from nature’s perspective, ranging from intimate to immersive shots. How does this POV contribute to telling the story of NYBG, and how does it create a more engaging and immersive experience for visitors?

JB: This element in the toolkit was already working hard for the client. The Garden really invests in photography. They have a photographer on staff and an incredible library of stunning images.

So, our task was more about how we can better align the photography moving forward with this idea of ‘do right by nature.’ Photography offers the opportunity to amplify that wonder in nature and its ability to teach, guide, and inspire us

For the style of the photography, we drew on a diverse set of different angles and perspectives, which allowed us to capture more surprising and unexpected views of all the plants, people, and the place. And more specifically, it’s from nature’s angle or perspective. What would nature’s perspective be if we’re embodying ‘do right by nature’? How would a bird see the Garden? We put nature behind the lends to try to capture the spirit and vitality of this wonderful place and how being here can shift all of our perspectives.

AC: This is a really important point. It’s also part of the evolution we considered because if we’re thinking about that shift, to remember that we’re all part of nature, photography that focuses on the plants and the fungi, it’s easy to forget that we’re part of the same system. As Jane said, that was a vital element to bring the people back in to make all those audiences feel seen and part of that environment.

How do you see the updated brand identity actively contributing to and supporting ecological initiatives? How can a strong brand presence influence public perception and participation in sustainability efforts?

AC: Our client was already doing so many amazing things. Our job was to take those actions, enhance them, and amplify them. As we expand the brand to be more empathetic, welcoming, deliberate in how it shows up, proud, and more New York and the Bronx, that platform can strengthen the brand’s presence and put more weight behind it.

Then, NYBG can use that weight behind its sustainability initiatives. We wanted to make sure that more people care about the environment and engage in sustainability initiatives as they’re drawn into the new brand.

Sometimes, when you see brands or NGOs showing up, the discourse focuses on the things that you need to lose for the planet to gain or for the planet to thrive. We wanted to make sure that NYBG communicates in such a way that doesn’t revolve around what any of us has to give up for the planet to continue functioning. It’s about what we can all gain in a more sustainable life, in a more conscious way of being on this planet. We wanted to bring more folks into that conversation through beauty, abundance, and through that lens of what is there for all of us to gain.

What was the most interesting thing you experienced working through this rebrand with the New York Botanical Garden while developing this project?

JB: I represent a lot of the general public in the area in that I didn’t realize there was all this incredible research and rigor behind the organization. I only saw NYBG as a place, as an experience to visit the train or the orchid show. I didn’t realize that behind all of that are these incredible climate and science research efforts. And it’s very inspiring. It’s what makes NYBG unique and different. And to Ana’s point, it is the reason to get people to care. And so that was a big, eye-opening moment when I understood the full breadth of this organization.

AC: So it’s not just a visual transformation by any means. It’s a way to signal to the world all of these amazing things NYBG has been thinking about and putting into practice as an organization and will continue to accelerate over the next few years.

How does the ‘Do right by nature’ idea translate into practical initiatives or programs within the NYBG’s mission and activities?

MC: ‘Do right by nature’ reflects NYBG’s longstanding commitment to plants, fungi, and the natural world. Since our founding in 1891, our mission and activities have centered around three pillars — science, horticulture, and education — that bring plants and people together. We’re helping nature to thrive so that humanity can thrive.

Branching Out, our strategic plan for 2024-2030 includes longstanding NYBG programs and new initiatives to help us achieve five goals, all of which serve people, plants, and the planet. Bronx-centric programs serve our local community through projects such as Bronx Green-Up, which supports hundreds of community gardens, urban farms, and school gardens across the borough, and Bronx Neighbors, which provides free access to our grounds for residents. As a cultural destination in NYC, we help people to find peace and well-being in our natural oasis. Educational programs bring children close to nature from a young age to incubate the environmentalists of tomorrow. And our scientific research programs are re-centered through a lens of environmental action, focusing our diverse efforts around goals addressing the dual climate and biodiversity crisis.

What initiatives is NYBG undertaking to more fully engage with climate and biodiversity crises? How does the new brand inspire public engagement and action towards a sustainable and biodiverse future?

MC: New initiatives include the program for Urban Conservation Strategy, a research and engagement platform that will engage with local and international non-profit and research partners to advance urban resilience and assist decision-makers across New York City— and in cities around the world. The Bronx River Watershed Health & Resilience Program will be a collaboration between our scientists, horticulturists, and local partners to develop local outreach and plant-based strategies to improve our local ecosystem. We will prioritize high-impact research collaborations across various areas where our researchers have expertise, including nature conservation, restoration, and sustainable agriculture. We are committed to pursuing botanical and fungal research with applications that will serve the planet. The new brand foregrounds NYBG Science with its own style treatment, which draws attention to the incredible research conducted by our scientists. Overall, our new positioning as “plant people” creates a more cohesive identity for our entire staff and programs, uniting science, horticulture, and education experts to apply all of our resources to the broader mission of doing right by nature.

The new brand identity is described as an active, bold, and welcoming presence that connects and inspires. How does the brand aim to foster a sense of connection to nature and the NYBG mission among diverse audiences, including current and future generations?

MC: Every aspect of the new brand identity—from the logo to the color palette to the brand voice—was designed to celebrate science and nature and to create a more welcoming and vibrant experience for our guests. The refreshed logo takes inspiration from iconic New York City designers and institutions, but you’ll also find nods to nature hidden within. The logo and our new custom typeface, NY Botanical Gothic, are full of organic shapes and draw inspiration from posters from the environmental movement of the 1960s and ‘70s. We also created a special logo treatment to represent NYBG Science, signifying our scientists’ microscopic view of the plant world.

The colors we use in our new branding are inspired by nature and named after various plants and fungi. Our vibrant color palette is more welcoming and, in combination with the bold typeface, draws visitors in to learn more. It’s a reflection of the biodiversity found on our grounds and represents our diverse city and the borough we call home. After all, the Bronx is NYC’s greenest borough! Our brand reflects the Garden’s 133-year history while looking ahead to a bright and botanical future. NYBG is so many things for so many people – a place of respite in a concrete jungle, a place for cutting-edge scientific research, a place to experience art and culture – and our new brand embraces each of these roles, not just for today, but for the generations of purposeful plant people that follow.

The recently released 2024 PRINT Typography report speaks to an intense balancing act between legacy and future impact of typefaces. This renewed identity for NYBG is evidence of this consideration, with a custom wordmark that is a confident, bold, and impactful embodiment of the organization’s call to action.

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