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

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

Matt van Leeuwen

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

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

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

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

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

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

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

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

Populist politics demand a populist color, and red delivers.

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

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

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

And that’s why red will always matter.

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

Check out the full series as it unfolds.

Go backstage on the Two Craigs website to see how the pair translate the prompt through photography and illustration.

Fruit

“When we started this project, we both agreed that the format would be a 4×5 proportion. I have spent much of my career shooting with 8×10 and 4×5 view cameras so l thought this word was appropriate to introduce that camera to the party.

My idea was to use the actual 4×5 film’s edge as a creative tool that would contain the lemons. Once the image was shot I sent the film off to The Icon Film Lab to process and create a drum scan.

The film’s edge is just as important if not more than the actual objects in the image.” – Craig Cutler

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Life isn’t about finding yourself. Life is about creating yourself.

And there’s no question the former Robert Zimmerman of Hibbing, Minnesota did a magnificent job of creating the artist, Bob Dylan.

But there were some pieces to the “Dylan myth” that he found.

He found music on the radio when he was quite young. He discovered the guitar. He unearthed the poets from Rimbaud to Kerouac. He found Woody Guthrie, Suze Rotolo, and Joan Baez.

And all the while he was finding things, he was also creating.

It strikes me that “finding yourself” and “creating yourself” is not binary.

It’s not either/or.

I suggest it’s both. Indeed, I see it as a process.

First, you find some things you are drawn to. Pay attention, now. What do you like? What do you like to do?

You then start to store up these ideas and actions and they become encoded in your brain. And once you have these pieces, you start to put them together in the puzzle that becomes…you.

The process?

From hunting and gathering to making.

From searching to creating.

And from creating to being.

As Dylan sings: “May you build a ladder to the stars and climb on every rung.”

Who are you?

It begins with what have you been finding.

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

Header image: Benoît Deschasaux for Unsplash+; photo of album cover courtesy of the author

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Check out the full series as it unfolds.

Go backstage on the Two Craigs website to see how the pair translate the prompt through photography and illustration.

Level

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Check out the full series as it unfolds.

Go backstage on the Two Craigs website to see how the pair translate the prompt through photography and illustration.

Dark

Since Craig did a self-portrait (26/52), I thought maybe this was a good reason for me to do one. I took an iPhone photo with a single light and drew it in graphite. I kept darkening out information until the bare minimum remained.

– Craig Frazier

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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.

While human society is being transformed by information technology, contemporary sewing technology is based on the same functionality as in the late 18th century, including the fundamental dependency on human dexterity and tactility.

Juliet Seger, founder of the fashion brand HUMAN TOUCH in Berlin, wrote this at the top of her dissertation for her master’s at the University of Edinburgh in 2020. Seger was studying sustainability design at the time when she first developed what would eventually become HUMAN TOUCH. “Today, and for the foreseeable future, every garment is and will involve sewing by human hands.”

With this concept at its core, HUMAN TOUCH visualizes the human labor inherent to the production of clothing. Seger and her business partner, Christina Albrecht, up-cycle everyday, quotidian clothing items, like workwear slacks and T-shirts, with their fingers covered in ink. In doing so, HUMAN TOUCH makes visible the invisible human hand behind our clothes and the fashion industry at large.

Having previously presented their line of up-cycled pieces, remedy, at last year’s Berlin Fashion Week, Seger and Albrecht are now gearing up for BFW 2025 with pop-ups on January 30 and February 2 that will feature their new collection. I was able to chat with Seger recently about all things HUMAN TOUCH, from her initial idea of paint-sewing, to the sewing performances she developed to bolster the brand’s message. Our conversation is below, edited lightly for clarity and length.

Can you walk me through the genesis of HUMAN TOUCH?

I was at The University of Edinburgh for a master’s, it was called Design for Change, which is basically a sustainability design program. The incentive was to do theoretical work but then also a design output that would match the academic research. So that was the original prompt: to think about a visual counterpart to the theoretical research I had done. The starting point in terms of the theory was that I’m a trained tailor. Before my degree, I did a three-year vocational training to become an industrial tailor. 

Especially during the pandemic, there were a lot of themes of 3D printing, everything digital, everything automated—Do we even need humans?—that kind of stuff. I read that there was an equivalent in the fashion production industry, automating the sewing processes. From a tailoring standpoint, I was curious: How does that technology actually work? I couldn’t wrap my head around it, and when I did research into what the status of the automation was, I realized that there was a lot of ideation and experimental things, but there wasn’t really anything at the production stage that was actually feasible to use, even in the next few decades.

At the same time, there are these special characteristics of the fashion industry, like the floppy material, the silhouettes that always change, the fabrics and the surfaces that always change. Also, human labor is still so much cheaper than building and implementing one big machine that will replace a larger segment. To me, that was such an a-ha! moment. It’s so specific to the fashion industry and in opposition to others. I wanted to look further into that, and then find a way to visualize this Eureka moment to other people.

The original idea was to just do one trial. But then I was interested in trying different products, and I was quite surprised by the feedback; a lot of people were quite interested. So it just didn’t stop after I finished my degree. 

After identifying these themes you wanted to convey in your work, how did the idea of sewing with ink on your hands first come to you?

It was during the pandemic when there wasn’t much going on. I was going to the park for a run with my partner, who was the only one I could talk through these things with properly. I remember the moment of being like, I wonder if there’s a way to just make that visible. I don’t know where exactly it came from, it just sparked in my head, but it was like, I wonder if I could put ink on my hands. Then, quite luckily, the first textile paint that I tried out worked marvelously. 

What kind of paint do you use?

It’s textile paint, which means that we use it primarily on natural fibers or cellulose-based fibers that we then cure afterwards, or basically heat the garment, and the paint gets fixed to the fiber. It’s like any kind of textile print you might have on a T-shirt. It’s acrylic, water-based paint. 

It took me a minute to get the guts to admit, No, this is actually what I want to do every day.

How did you first get into tailoring and sewing?

I started sewing when I was 13 or 14. I was just changing some garments I didn’t like, or I wanted a very specific Carnivals costume or Halloween costume and couldn’t find it, so I started making it. Then I came across some sewing magazines and began spending my time after school making my own stuff. I did a bit of a detour studying politics briefly after high school, but I quit that after a year to do my tailoring training; the fashion industry was the less responsible, riskier, creative industry. It took me a minute to get the guts to admit, No, this is actually what I want to do every day. So that brought me to the tailoring training, which then led me to a bachelor’s in Clothing Technology. From there, I wanted to expand a bit and do something that wasn’t just focused on fashion, and that’s why I went into the sustainable design master’s. 

That’s such a common trajectory: being a creative kid, but then feeling that when it comes to a career, you have to do something more “practical,” and then realizing you’re still that creative kid in your soul. 

I believe that if you have a passion for something, you’ll make it work; you’ll be successful in some way or the other. You’ll find a way to create a job or find a job that’s linked to what you love. I remember people saying, “Well, what are you going to do studying tailoring? Are going to be a tailor? Nobody earns money being a tailor.” But I think if you enjoy what you’re doing, it’ll automatically lead you to all kinds of good stuff.

I believe that if you have a passion for something, you’ll make it work; you’ll be successful in some way or the other.

What does the HUMAN TOUCH studio space and production setup consist of? 

We’re still quite a small team; at the core, it’s me and my business partner, Christina, and then we have some freelance tailors who work with us, and then an intern here and there, but it’s really mostly Christina and myself. We have a studio in Berlin. It’s a loft industrial building and we have one segment of one floor. 

I would call it a rather small design studio. We have all of the basic setups: a cutting table and several machines, and we do everything there. It’s important to us to keep it close to us. On the one hand, it’s difficult to outsource to factories because they don’t want their machines to get dirty. And because Christina and I are both trained tailors, we like to have this production side of it really near us. 

How did you and Christina become creative partners? 

We go way back. We’ve known each other since we were teenagers in our hometown, and we sort of lost track of each other for a few years, and then came back together here in Berlin as friends. We realized every time we hung out, we would very passionately and dramatically talk about tailoring and fashion. Then, a year ago, we proposed to each other to be business partners. By coincidence, on the same coffee date, I asked her to consult on a project, and she suggested jumping in on HUMAN TOUCH.

Can you tell me more about the live sewing/performance art aspect of HUMAN TOUCH?

The paint-sewing performances came from the idea that the process is quite striking to look at and draws people in. So it was originally a small extra I did at some pop-ups and some art and design festivals. Then, from a business perspective, it’s a way to continue to work and expand the project, beyond being so product-focused. So it’s still in this fashion world, but it’s not like we have to make and sell physical products. The performance is another way to spread this, and that was something we were interested in.

We had a couple of smaller performances and then a few bigger ones during Berlin Fashion Week in February last year, which somehow got quite a big crowd. It’s cool because we adapt it to the occasion. So we can talk to people while we’re doing it, or if we want it to be more like an actual performance we can be positioned away. It’s linked to these paint-sewing videos we’ve been doing, and a couple of those went viral. It underlines the idea that it’s quite a striking visual. 

It makes perfect sense that because the production process is so central to what you’re creating, people would want to get a peek behind the curtain. 

I think most times when people do see someone sewing they see the person, the machine, the setting, the studio, but they don’t actually look at the hands. So it offers a different perspective. 

What was the decision-making around the look and design of the HUMAN TOUCH garments? Why do you only use black ink on white, and white ink on black, for example?

We started with black and white, both fabric and paint, just because they’re the simplest; as soon as you introduce a color of paint, it automatically has a different connotation. Red, for example, comes with the symbolism of blood. So, to keep it very simple, at the moment we’re sticking with black and white. 

The starting point for the choice of styles, silhouettes, and products was to use everyday products that are everywhere around us, like a simple pair of denim jeans, a menswear shirt, or just a T-shirt. We ventured a bit into beige tones and blue jeans, again, more classic wardrobe staple items. Then, here and there, we sprinkle in special pieces that are maybe a bit more experimentally fitted, more drapey, or unusual. The idea is to keep the silhouette simple because the paint design is quite messy, so we need the product to still be legible.  

What’s next for HUMAN TOUCH?

We’re currently planning our next presentations for Berlin Fashion Week at the end of January and beginning of February. We’re planning what we want to do and at what scale, and especially what the spirit of the event should be. We’re also working on a full collection of mainline pieces that are not up-cycled but are fully made in-house. So far, we have a couple of those mainline pieces, but the items we sell are mostly up-cycled.

The post HUMAN TOUCH Makes Visible the Invisible Hands that Sew our Clothes appeared first on PRINT Magazine.

Check out the full series as it unfolds.

Go backstage on the Two Craigs website to see how the pair translate the prompt through photography and illustration.

Cold

and Colder

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The post Two Craigs: 30/52 appeared first on PRINT Magazine.

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

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

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

Brand Strategy Trends

1. Hyper-Personalization at Scale

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

Spotify Wrapped; Nike By You

2. Purpose-Driven Branding (Refined)

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

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

3. Community-Centric Strategies

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

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

4. Decentralized Brand Ownership

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

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

5. Regionalization Over Globalization

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

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

Design Trends

1. AI-Enhanced Design Systems

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

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

2. Neo-Brutalism & Playful Imperfection

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

Glossier street campaigns, Tony’s Chocolonely identity

3. Tactile Design in Digital Spaces

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

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

4. Typography Revival

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

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

5. Color Gradients with Substance

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

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

Emerging Practices

1. Eco-Aesthetic Branding

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

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

2. Inclusive Visual Systems

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

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

3. Multi-Sensory Branding

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

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

4. Dynamic Brand Identities

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

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

5. Metaverse-Ready Branding

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

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

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

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

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

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

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

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

Pablo Delcan, graphic designer

“I want these drawings to get rougher, still communicating something but in a more direct way, more child-like.”

Pablo Delcan’s Non-A.I. Art Generator Goes Viral

Fleat, graffiti artist

The art is in the experience of execution—finding the hole in the fence, trekking up the 49 flights, bracing yourself against the windy gloom with the paint can in your hand.

A Tower of Graffiti Takes Center Stage in Downtown LA

Katie Buckley, graphic designer/illustrator

“Emerald asked me to do the Saltburn titles because, I quote, ‘I’d like it to feel like the crazy lady in the attic, scratching at the rafters.’ How could I resist that brief?”

Going Mad in the Attic: The Process Behind the ‘Saltburn’ Title Sequence

Sienna Martz, fiber artist

“I would like to do as much as I can to prevent items from going into landfills, but it’s also through my artistic activism that I can spark dialog, be a catalyst for cultural transformation, and inspire more sustainable thinking and conscious consumerism.“

Fiber Artist Sienna Martz Takes a Stand Against Tradition with Secondhand Materials

Rob Baird, chief creative officer

Many negative connotations swirl around agency life, fueled by horror stories about overworked employees and domineering CEOs, grind culture, and capitulation to the capitalist machine. But it doesn’t have to be this way.

In Austin, Preacher Reimagines What a Small Agency Can Be

Andy Saunders, car artist

“Passion and creation at this level is something so few will ever be lucky enough to experience.“

Andy Saunders Creates Custom Cars Beyond Your Wildest Dreams

Justin Torres, Na Kim, Gretchen Achilles on the Blackouts book design

Blackouts by Justin Torres stuns with brown text on cream paper and text matched page by page with illustrations and photos expressing an annihilated, distorted, and ghosted history.

Bringing the Making of “Blackouts” to Light

Craig Frazier, illustrator

“Every sketch I make is an experience of seeing something and understanding it better. I have far more unsuccessful sketches than successful ones, but they are not mutually exclusive. You must turn over rocks until you find what you are looking for.“

Stop, Look & Think: Get “Drawn” into Craig Frazier’s Illustrations

Cj Hendry, artist

“I love the vivacity of Las Vegas and the duality of the desert together. I hope this exhibition sparks joy, connection, and a sense of wonder for everyone who dives into the experience.“

Cj Hendry Makes a Splash in the Desert with ‘Public Pool’

Amos Paul Kennedy, Jr., letterpress artist

“How do I separate my skin from the rest of my body? It’s just the nature of the beast that I am.“

Letterpress Printer Amos Kennedy Jr. Makes Art As Statement

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The post PRINT Year in Review: Artists & Designers, in Their Own Words appeared first on PRINT Magazine.

(This post was originally published on Dec. 24, 2018)

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

Instagram

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

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

3. You Are All Wrong About the Jaguar Rebrand

Threads

1. (Our very first Thread!)

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

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

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

Twitter

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

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

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

Facebook

1. You Are All Wrong About the Jaguar Rebrand

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

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

LinkedIn

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

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

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

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

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

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

Check out the full series as it unfolds.

Go backstage on the Two Craigs website to see how the pair translate the prompt through photography and illustration.

Dream

Follow along with PRINT, at 2craigs.com, or on Instagram.

The post Two Craigs: 29/52 appeared first on PRINT Magazine.

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

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

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

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

13 African American Designers You Should Know

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

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

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

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

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

Bianca Bosker

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

What 0.1%? The Undervalued Force of Women Founders

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

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

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

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

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

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

Airbnb “Icons” Bring Imagination to Life

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

Why Bad Design is Good

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

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

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

Editor’s Pick:

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

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

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

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

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

The Dame Persists Undeterred by Human Follies

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

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

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

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

(Conversation lightly edited for length and clarity.)

What does this new website say about NBT? 

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

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

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

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

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

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

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

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

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

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

What aspect of the new website are you proudest of?

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

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

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

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

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

And 2024 did not disappoint. We laughed, got a little meta, and expanded our perspective. We nerded out on process and bindings and typographic terminology. Our hosts, Debbie Millman and Steven Heller, and you, our audience, lobbed compelling questions at our guests, sowing the seeds of curiosity. We came together to celebrate, discuss, and appreciate the work of fellow creatives. What’s better than that?

In case you missed any of our brilliant discussions this year, we’ve compiled them in one handy link for your listening and reading pleasure. Find links where you can watch the recordings below.

Why Graphic Culture Matters by Rick Poynor

If something exists in the visual communication culture, chances are Rick Poynor has written about it. Our conversation with the writer and design critic lobbed more than a few philosophical considerations into the air, including:

• The vital and disappearing culture of critical writing about design. Poynor believes we should seek out more than a surface-level showcase of our output.
• Candor around the marketization and bland-ification of design—of our trying to find appeal across the maximum audience.

Watch the discussion with Rick Poynor.

I Must Be Dreaming by Roz Chast

Roz Chast, the award-winning New Yorker cartoonist, has been places!

… a conversation with Henry Kissinger at the dentist
… cradling an adoring Danny Devito like a baby
… a terrifying convenience store named Stop and Chop
… something about her mother finding O.J. Simpson’s glove and renting it out for parties

All of these dreams are fodder for her real-life cartoons.

Watch this fun conversation with Chast.

Material Wealth: Mining the Personal Archive of Allen Ginsberg by Pat Thomas

In this fascinating conversation, the author and designer, Andy Outis, discuss how they whittled down Ginsberg’s prolific archive of 10,000 items to 1,000, and more. Some of their faves:

• a satire of Ginsberg’s Howl written by screenwriter Terry Southern
• a transcript of a call between Ginsberg and Henry Kissinger about ending the war in Vietnam
• a letter from the American Nazi Party to Ginsberg about all the reasons they wanted to assassinate him

Access the recorded discussion here.

Thinking With Type by Ellen Lupton

A clear advocate for the culture of yes, Lupton talks about the ever-evolving field of typography from a deep historical appreciation to our current cultural context.

She also shares some keen insights about aesthetics, why hanging punctuation marks look so much better than unstyled punctuation mixing typefaces, and the process of mixing typefaces to complement one another like wine and cheese.

Watch our discussion with Lupton here.

A Multimedia Feast of Words & Pictures with Warren Lehrer

The double release of Jericho’s Daughter (left) and Riveted in the Word (right) was more serendipitous than planned. Both projects are based on short stories, have bifurcated formats, are led by visuals, and illuminate women whose lives have been torn apart and who have to start over from scratch.

Our conversation was full of design geekery and a deep dive into the collaboration between Lehrer, artist Sharon Horvath for Jericho’s Daughter, and for Riveted in the Word, composer Andrew Griffin and creative technologist Artemio Morales. Watch the recording of our full discussion here.

Wonder City of the World: New York City by Nicholas Lowry and Angelina Lippert

Until the launch of this gorgeous book (and accompanying exhibition, there had never been a curated showcase of New York City travel posters. No one has written a book about them, either. Not even PRINT’s prolific design history hunter, Steven Heller.

So, Nicholas Lowry (Poster House board member, writer, and antiques expert—you may know his face from Antiques Roadshow) and Angelina Lippert (chief curator for Poster House) set out to rectify this.

Find our June book club recording here!

Assembling Tomorrow: A Guide to Designing a Thriving Future by Carissa Carter and Scott Doorley

We’re in an era of runaway design. It’s like a runaway train flying down the tracks. Often it will crash and cause destruction.

Runaway design is invisible and we don’t know where it’s headed. Sometimes we won’t even know something has crashed until we see the effects of the crash. This is where design fiction comes in.

Designers must use their imaginations as a way of putting themselves in front of the train, to write versions of the future to see how they like them.

July’s book club will Blow. Your. Mind.

Find the recording here.

The Architect & Designer Birthday Book by James Biber, designed by Michael Bierut

Nine months into the pandemic, architect James Biber thought if he did something on Instagram every day, he’d know what day it was.

So he started his timekeeping experiment by cataloging architects’ birthdays, eventually adding graphic designers and artists into the rotation. Michael Bierut saw what Biber was up to and thought it’d make great fodder for a book.

A particularly interesting discussion point centered around the bane of all publishers: the clearance of images. And, we’re talking IMAGES. Three hundred and sixty-six, in fact.

Watch this fascinating discussion here.

Citizen Printer: Amos Paul Kennedy, Jr.

The accomplishment Amos Paul Kennedy, Jr. is most proud of, is that 6,000 Americans display his prints on their walls. There’s no better anecdote to describe Kennedy’s humble and generous spirit, on full display in Letterform Archive’s gorgeous monograph and in our discussion.

I try to put ink on paper everyday. Then it’s a complete day.

Find the recording here.

HERE: Where the Black Designers Are by Cheryl D. Holmes-Miller

So, where are the black designers? As Holmes-Miller contends, “We’ve always been here. As long as Black people have been in this country, there have been Black designers. We go back to the slave artisans.” Here recognizes and celebrates this long history.

Holmes-Miller’s Here is part memoir, starting with her familial connection to art and design through her Danish and West Indian heritage and then her recognition of those threads as she began her design studies and scholarship.

It was a full house for Cheryl Miller. Watch it here!

Let The Sun In by Kiera Coffee and Todd Oldham

Designer (textiles, furniture, and interiors), graphic designer, and architect Alexander Girard refused to be boxed in by medium or style. He played with an aesthetic uniquely his own—defying the design canon. You may not know something to be “an Alexander Girard,” but his work is most definitely stamped on your design DNA.

Watch the recording of our discussion here.

New York Nico’s Guide to NYC by Nicolas Heller

The most frequently asked question Nicolas Heller (aka New York Nico) gets asked by his audience is, “I’m going to be in New York; what should I do?” So, when he was approached about doing a book, he couldn’t turn it down.

Over a year and a half, Heller and a team consisting of a co-writer, photographers, and others traversed the boroughs to interview the proprietors of each of the 100 quaint, classic, small businesses included in the book, all places Heller loves.

Watch and learn (even lifelong New Yorkers learned something new).

My First Book of Fancy Letters by Jessica Hische

In a PRINT Book Club first, we had a read-along with our author. Jessica Hische, a self-proclaimed “fancy letter expert,” shared her newest book for children from cover to playful cover.

The famously generous and willing-to-get-vulnerable polymath offered up work and life insights from the importance of self-promo to her recent diagnosis of ADHD to the ins and outs of retail shop ownership.

This conversation has something for everyone. Watch it here!

Mark your calendars for our first Book Club of 2025. On Thursday, January 16, Jon Key will join us to discuss his new book, Black, Queer, & Untold: A New Archive of Designers, Artists, and Trailblazers.

The post PRINT Year in Review: Conversations About Visual Culture in Thirteen Books appeared first on PRINT Magazine.

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

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

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

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

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

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

While these perverse toys might look real at first, they are, in fact, figments of Rosemberg’s imagination, visualized through AI software. Using the style of 90s toy advertisements and packaging, the Forbidden Toys project deploys dark humor to poke fun at commercialism and the toy industry. But first and foremost, it’s clear that Rosemberg is just having a laugh. The artist was kind enough to answer a few of my questions about their Forbidden Toys series, shedding light on their background, process, and the use of AI in the arts. Their responses are below.

What’s your art background?

I have formal academic training in photography and film, but I’ve spent my entire life irresistibly absorbed by artistic creation in its most diverse forms: literature, drawing, design, music… 

A few years ago, I began exploring creation from a conceptual perspective, which led me to leave modified works and toys out on the streets. That conceptual exploration eventually gave birth to the project we’re discussing today: Forbidden Toys.

That said, I consider the art I made as a young child to be part of the overall corpus of my work. I’m still inventing stories and drawing monsters.

Where did the idea for your Forbidden Toys series come from? How did that develop into what it is today?

Toys have always been present in my work in one way or another (in addition to being an avid collector of toys and peculiar objects), so the idea was always there. 

I’ve always been deeply fascinated by the evolution of AI, and I vividly remember how awestruck I was the first day I tried DALL-E mini and asked it to generate 1960s-style laser guns. While the results weren’t realistic yet, they were precise enough to make it clear that it could be used as a creative tool in the future.

During a particularly stressful period when I barely left the house, I developed the Forbidden Toys project, which continues to serve as a form of therapy to this day. As the project gained popularity, I began refining the images and producing real objects, which is where the project currently stands.

What AI software do you use for Forbidden Toys? What are your general thoughts on AI usage in the art world?

I currently use several: MidJourney, DALL-E 3, Runway, and Wand, depending on my specific needs. I then mix and finalize everything traditionally using Procreate or Photoshop.

Naturally, I support the indiscriminate use of AI, just as I support any tool that an artist can use to express themselves. The controversy around using copyrighted material to train AI models feels distant to me because of my contradictory reluctance to fully accept copyright as a legitimate right. That said, just as generating illustrations or designs doesn’t make you an illustrator or designer, it does allow you to materialize concepts, which is, by definition, an act of conceptual creation.

The eternal post-Duchamp debate on authorship and what qualifies as art is as stimulating as it is repetitive. This debate has been unconsciously revived with the popularity of AI, and though it’s framed from a new perspective, it’s the same old argument. It’s true that this technology will inevitably create casualties, as always happens with groundbreaking tools; particularly among certain technical jobs and commission artists whose styles are easily imitated. 

However, the debate is irresolvable, and it will always be fascinating to read theoretical frameworks that supposedly distinguish art from what isn’t.

The eternal post-Duchamp debate on authorship and what qualifies as art is as stimulating as it is repetitive. This debate has been unconsciously revived with the popularity of AI, and though it’s framed from a new perspective, it’s the same old argument.

What’s your typical process like for developing your ideas for each Forbidden Toy?

The initial process is identical to any other artistic project I’ve undertaken; I always carry a notebook where I jot down ideas and sketches. This essentially gives you an extension of your brain with a prodigious memory; anything can inspire an idea. 

Once I’ve determined that a concept is interesting, the first thing I do is draw it to get a sense of what I’m looking for. After establishing a clear vision, I move on to wrestling with AI to generate the necessary elements. Working with AI is like dealing with a half-deaf art department since my ideas are often very specific and leave little room for abstraction; the process can be as tedious as it is inspiring. With all the required elements prepared, the most labor-intensive part of the process begins: combining everything traditionally in an image editor, where I fix errors, finalize the texts, and refine the overall composition. 

Much like making a film, the final result always diverges from the initial mental image you had. Your job is to approximate that vision, and the important thing is that the narrative and message are expressed in the way you intended.

Which of your Forbidden Toys is your favorite? Is there a particular Forbidden Toy that you feel encapsulates what you’re trying to do with the project the best?

It’s hard to pick just one because, beyond each having unique characteristics, they’re all part of the same project, so my preference is purely personal.  I’d say my favorite is “Zappy” because it marked a turning point in how precisely I could convey my ideas.  

The toy I think best encapsulates what I’m trying to achieve with the project is undoubtedly “Pregnant Ken.” For some inexplicable reason, it caught the attention of a Cypriot MP who turned it into a scandal and got fact-checking agencies investigating the image’s origins. The whole fiasco culminated in an official statement from Mattel denying any connection to “Pregnant Ken.” 

Naturally, I’ve got the statement framed at home as a trophy.

What are you trying to communicate or say as an artist with the Forbidden Toys series? What sort of experience do you hope your followers have with your creations?

At its core, I aim to open a window into a nonexistent past and provoke the kind of reactions that would arise if these objects were real. Toys are a medium we all know, and that shape our personalities, always leaving a residue of identification that is fascinating to play with. By presenting objects with a familiar context but grotesque essence, an inevitable comparison to reality occurs, leading to thoughts I find deeply engaging: Is this real? How does it work? Who in their right mind would think of something like this? 

These reactions are the essence of what I aim to convey because they forcibly stimulate a subverted reflection on the concept itself. At the same time, they can serve as a commentary on censorship, ideology, taboo, governance, and the weight that advertising language carries within them.  

In a way, I compel viewers to recreate the experience of wandering through a bazaar and stumbling across a Bin Laden action figure from a Western perspective.  

My followers generally fall into three main categories: those who appreciate the artistic value and understand the project, those who interpret it as purely humorous, and (my personal favorites) those who believe the toys are real.  

All of them are right.

The post The ‘Forbidden Toys’ Series Proves that There is a Place for AI in the Arts appeared first on PRINT Magazine.

Check out the full series as it unfolds.

Go backstage on the Two Craigs website to see how the pair translate the prompt through photography and illustration.

Red

Probably the most used color in my design career—possibly the most beautiful and powerful color. I had just sketched an idea (book and letters) and rather than use multi-colored letters, I decided to solve this problem by coloring it entirely in red. The accidental bonus was the other read.

Craig Frazier

Follow along with PRINT, at 2craigs.com, or on Instagram.

The post Two Craigs: 28/52 appeared first on PRINT Magazine.

Sensitive.

It’s a delicate word that brings up a lot of feelings, memories, and possible fears.

As creatives, we may have heard this term a lot over the years, sometimes as a compliment and other times as a dig. Context may help us interpret that label’s tone as adults, reflecting back on our childhood and teenage years.

Being a highly sensitive person takes this label a step further. A highly sensitive person (HSP) has a sensitive nervous system that processes more information, reacting to the environment, emotions, and moods of those around them. This affects 15-20% of the general population, and I suspect within that pool are many creatives, maybe even you.

Curious? Here is a simple quiz by Dr. Elaine Aron to help identify if you have the trait of high sensitivity. I encourage you to pause here and take the short quiz.

If you answered yes to most of the questions, your depth of processing can be a creative superpower. By experiencing deeper levels of sensory information, HSPs can create more nuanced work that plays on different levels. You can take a holistic approach to how these elements weave together and are comfortable zooming in and out of a design problem, tackling both the details and the high-level vision.

As an HSP who manages clients and teams, you likely pick up on subtle cues in social interactions, helping you identify concerns, spot pitfalls, and address issues before they become obstacles. Your deep listening skills create a safe space for team members, allowing for psychological safety and more innovative collaboration. HSPs are excellent at building culture in their workplace and developing close bonds and trust within their teams. Creative HSPs often rise into management roles quickly.

Sounds amazing, right? It can be when you deploy strategies to stay balanced. Keep in mind that with a larger amount of sensory information, it can be very easy to become overstimulated as an HSP. Your energetic bandwidth is used differently than others without this trait. It’s important to be kind to yourself in self-discovery and extend grace around learning your sensory limits and what level of stimulation you can manage. Large music festivals or professional sports arenas might be a nightmare scenario, but a little league game could be just your speed. HSPs must define their boundaries and hold them firmly. Otherwise, you will find yourself depleted and exhausted.

In addition to boundaries, spaciousness is a key strategy to help support yourself. You will need more buffer space in your day to process the avalanche of information, so reconsider rolling calls or back-to-back meetings. Try adding 15-30 minute buffers between commitments and solo decompression time to download thoughts after large or important meetings. Rolling straight into a social event right after a demanding workday doesn’t help you bring your best self. Slowing down and creating breathing room in your calendar can make you both more effective and feel more balanced.

Be curious about your sensitivity, and take time to experiment and figure out what works for you. One key question worth considering is, what helps you hit the reset button? What helps you ground yourself? Is it quiet time reading, listening to music, walking in nature, or playing with your pets? Mindfulness meditation, gardening, or a running practice might offer you moments to recharge. Consider when you feel most calm – this may be when your attention is focused on a single element instead of lots of inputs. Turning down the volume in our busy lives can be the biggest game changer for highly sensitive creatives to thrive.

As a creative HSP and executive coach, I have delved deeply into the research of high sensitivity and personally investigated numerous strategies to stay balanced. I bring those resources to my coaching clients and am continually adding and learning from their experiences as well. Sharing our unique perspective with other HSPs is an affirming and supportive approach to reclaiming the sensitive label as a superpower.

My go-to resources for high sensitivity are Dr. Elaine Aron, Jenn Granneman, and Andre Sólo but there are many. Check out my bookshop.org shop for further reading.

Natalie Davis is a leadership coach and creative professional with 20+ years in the design industry and eight years as an executive coach. She’s driven by her values of curiosity, compassion, and kindness to listen deeply to coaching clients and help them make meaning of their world. Natalie works internationally with clients, including hosting retreats like the Maine Sensory Retreat this coming July.

Images courtesy of the author.

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Check out the full series as it unfolds.

Go backstage on the Two Craigs website to see how the pair translate the prompt through photography and illustration.

Folded

My mind inextricably connects folds to paper. Still under the influence of Japan—I was thinking utmost simplicity. I made a couple of sketches then a folded model, cut the segments from PMS colored papers, and pasted in my sketchbook.

Craig Frazier

Follow along with PRINT, at 2craigs.com, or on Instagram.

The post Two Craigs: 27/52 appeared first on PRINT Magazine.

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

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

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

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

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

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

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

Ok, it’s weird.

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

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

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

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

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

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

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

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

Only time will tell.

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

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

Header image: Simone Hutsch for Unsplash+

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

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

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

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

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

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

Laurie Pressman, VP Pantone Color Institute

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

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

Imagery courtesy of The Pantone Color Institute.

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

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

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

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

(Lightly edited for clarity and length.)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

We are by no means tech-averse.

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

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

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

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

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

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

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

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

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

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

Featured image above: Nick Bruno/Courtesy of Arion Press

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

Check out the full series as it unfolds.

Go backstage on the Two Craigs website to see how the pair translate the prompt through photography and illustration.

Shatter

My wife and I were traveling in Japan when this word got assigned. I was seeing a lot of sake vessels and their silhouettes were always striking in simplicity—inspiration supplied. In order to know something is shattered, you have to know what it was whole.

Craig Frazier

Follow along with PRINT, at 2craigs.com, or on Instagram.

The post Two Craigs: 26/52 appeared first on PRINT Magazine.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

While it is vital to acknowledge and celebrate Indigenous cultures no matter the time of year, heading into this beloved yet problematic holiday with a challenge to broaden our awareness is fundamental.

What does this have to do with typography?

I ran across an incredible design and research program from the Netherlands-based foundry Typotheque, helping Indigenous communities reclaim and digitally preserve their language scripts. I spoke with Typotheque collaborator Kevin King. The Canadian designer, calligrapher, and educator is focused on support and research for minority languages through reform to the Unicode text standard, an effort he started while designing the typeface Mazina for his master’s design thesis.

Our conversation is below (lightly edited for clarity and length).

Covering Typotheque’s Zed typeface recently, I was astounded to learn that more than half of the 7,100 (at least) known world languages are endangered. I’d imagine that many of those at risk are centuries—perhaps, millennia—old Indigenous languages. Why is it important to preserve them, particularly in digital contexts such as Unicode?

Yes, indeed, Indigenous languages across the world – not only in North America – are at-risk of being lost within our lifetime, and the importance of Unicode towards the larger narrative of Indigenous language reclamation and revitalization is that without a stable basis for reliable text encoding on all computer devices and software platforms, it is not possible to ensure that remaining fluent speakers, and perhaps more importantly, young language learners, can have a consistent level of access to their language that leads to more engagement and ensures the success of learners to acquire the language and use it ubiquitously in daily life. 

Unicode itself is not enough by itself; the Unicode Standard provides the standardized repertoire of characters that are available for encoding and character data to instruct the behaviour and relationships of the characters, but language tools and our software must implement the Unicode Standard correctly and comprehensively in order to make language access a true reality. This means that major operating systems and applications must also take care to support new character additions to the Unicode Standard and the character data. Keyboards must be available to input those Unicode characters, and fonts must be available that shape how the Unicode “text” should be represented typographically. This is in many cases trivial for “majority” languages across the world; however, for Indigenous languages, it is an all-to-common reality that there may be missing characters from the Unicode Standard, or, that software and language tools (keyboards and fonts) do not accurately support the way text must appear and behave in these languages.

How do you work with Indigenous groups; what does the collaboration look like?

The most essential component of working with Indigenous language communities is building a relationship together that is based on mutual respect and collaboration. We do this by first creating a protocol agreement that outlines our shared goals, values, and desired outcomes for the work, and the key that underpins all of the work is the collaborative nature of everything we do. When working together on a particular initiative, our role is to first listen to the needs of the community about the barriers they may face and to provide our technical knowledge in the form of possible actions to solve the problem. Then, only with permission, can we move ahead to execute a solution that the community has determined is acceptable for them.

Tell us more about your project with the Cherokee and Osage in Oklahoma. 

Our projects with the Cherokee and Osage scripts are slightly different than our work directly with language communities such as the Haíɫzaqv community or the Nattilik community. In these projects, we are working with talented local type designers in each Nation to work together on developing new fonts for each script. Our Cherokee project is led by Chris Skillern, a skilled type designer from Tulsa, Oklahoma, and a member of the Cherokee Nation, who is designing new Cherokee fonts for Typotheque and also conducting research towards typographic preferences for Cherokee syllabary forms. Similarly, our Osage project is led by the talented typographer and designer Dr. Jessica Harjo of the Osage Nation. In this project, Jessica and I work together as a team to develop the Osage typefaces, and our goal is to understand ideal typographic lettershapes for Osage that allow for the best graphic representation of the script for reading.

What makes Indigenous scripts so unique, and what are the challenges in designing digital fonts for them? For example, many (though not all) Indigenous scripts are syllabic.

In the North American context, there are, of course, the wonderful and unique scripts that were developed specifically for Indigenous languages, first the Cherokee by Sequoyah, and then the Syllabics used by First Nations and Inuit communities in Canada, and then more recently, the Osage script. These are graphically distinct writing systems, and for many other Indigenous language communities, variations of the Latin script, with many integrated characters from the Greek script or phonetic notation systems, may be based on that script of European origin; however, they are inherently unique from European language orthographies using the same script.

Specimens from the November (top) and Lava (bottom) typeface Syllabaries

Indeed, these scripts and writing systems all come with their unique design challenges. One major challenge for all is the lack of support for any of these scripts in common font development software. This means that – unlike designing type for other well-supported scripts – it is not possible to open a font editor, populate a character set, and then start drawing glyphs. The designer has to first define a character set and possibly even resolve Unicode-level issues before beginning the design process.

Once one has a character set defined and has worked out the encoding side aspects, there is then also a knowledge issue, or perhaps better put, the lack of knowledge for how to design accurate typefaces that work as users expect and require their typography appear, and generally for how their orthography must work. For example, within the context of the Syllabics, a type designer needs to be aware of inherent orthographic and typographic conventions that are particular to this writing system that affect the logic of how a typeface in this script must work. 

A case in this script is how much wider the word space character needs to be than the Latin script for the legible reading of Syllabics. However, both scripts use the same Unicode character for the word space (U+0020 SPACE) but have conflicting demands. Upon learning this, the type designer may recognize the problem and has several options for how to implement support for this, but they would be missing a key ingredient still in their knowledge of the situation: what practices do language users have when keying in that word space that would affect the design implementation? For example, to avoid a conflict between word space widths, we could create contextual substitutions via OpenType Layout features, which switches the desired glyph between both scripts. However, through our work speaking with many different Syllabics users across many different communities, we know that most users have developed a practice of entering a double spacebar when typing in Syllabics which solves the problem, and we do not have to allocate the time and energy to devise a solution for this but to be aware of the fact that Syllabics require this wider space.

We have tried to contribute to this knowledge by creating this GitHub repository, and we are currently working on a research project (Typotheque Indigenous North American Type) in partnership with First Nations communities that seeks to help build similar knowledge for many other languages and their orthographies that can then allow other type foundries to access this information and implement accurate support for these languages.

Left: A proof showing a comparison of the Lava Syllabics upright and cursive forms, in the Heavy master; Top right: An early sketch made by the author during the initial research phase of the project, exploring potential modulation structures that could be applied to the Lava Syllabics design; Bottom right: An example of the concept of rotation, which sits at the core functionality of Syllabics typography, for any language that uses the writing system.

As a foundry, Typotheque is committed to supporting digitally underresourced languages. How is this labor of love funded, and what are ways that the design industry (companies or individuals) can help and further the effort?

We are certainly passionate about this space of work, and it is an important part of what we do at Typotheque, not only for languages in North America but also for Indigenous and under-represented languages across the world.

All of the work that we do is completely funded internally by Typotheque by using revenue generated from retail font sales and custom project work for clients. In this sense, customers who purchase licenses for our fonts or hire us to do custom typeface work effectively help support this work and allow us to continue the effort. We have also created the Typotheque Club, which is a free club that features talks, rewards, and crowdfunding initiatives, and provides us with another avenue for generating funding for this space of work.

What is something surprising you’ve learned about Indigenous written languages generally (or a specific script) in this research?

Something that is perhaps surprising that I have learned is that – despite such rich orthographic and typographic diversity in the writing systems used by Indigenous languages in North America – the oral language is still always the most important aspect of the language.

I understand you’ve been interested in typeface support for Indigenous languages since your master’s studies. Where is your research taking you now; what’s a dream project you’d love to sink your teeth into?

I’m very grateful to work in this space of Indigenous language support and ultimately, language revitalization and reclamation, where the work has a direct, very tangible, and meaningful impact on people’s daily lives. It’s also part of contributing to society at large and using my design skills to positively support the important work that Indigenous language keepers and communities are undertaking. With that, the current project we are working on at Typotheque and have just begun – Typotheque Indigenous North American Type – would be something that embodies where I wish to focus my efforts, a project to work in partnership to overcome technical issues and understand typographic preferences and requirements with Indigenous communities, alongside looking towards projects designing and developing new and fresh typefaces that support Indigenous languages and their writing systems as standard and ubiquitous parts of these products.

More resources & reading:

November is a typeface designed for signage and information systems, but its orthogonal style is rhythmic in smaller contexts. Zed and award-winning Lava are two additional typefaces supporting Latin and Syllabic Indigenous scripts. Some of the process images included in our feature above are from King’s work on developing a secondary slanted style for Lava.

q̓apkiⱡ Magazine is a recently published, award-winning publication for the Ktunaza community in British Columbia, featuring both November and Lava.

King also wrote comprehensive guidelines for Syllabic typographic development.

The post Typotheque’s Kevin King on Preserving Indigenous Scripts Through Typographic Support 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.

Check out the full series as it unfolds.

Backstage on the Two Craigs website is on hiatus for a few weeks, but if you’ve missed any of the last few prompts, it’s worth a look back.

Wind

Follow along with PRINT, at 2craigs.com, or on Instagram.

The post Two Craigs: 25/52 appeared first on PRINT Magazine.

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

A New Roar: Why Standing Out Matters

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

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

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

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

Cost-sumers vs. Customers

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

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

The Real Critics: Branding People

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

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

Rebrands Are More Than Logos

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

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

Stop Freaking Out. Start Watching.

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

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

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

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

Images: “Copy Nothing” ad © Jaguar.

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

Released earlier this month, the gorgeous photo book continues themes Cohen has already mined for years through Advanced Style, in regards to aging with vitality and how important love and connection are at any point in one’s life. As a lifelong animal lover, Cohen wanted to show how pets bring an added dimension of joy and beauty to his vivacious subjects’ worlds.

When I interviewed Cohen for PRINT two years ago, he mentioned Advanced Pets was in the works, and since then I’ve been eager to connect with Cohen again upon its completion. My conversation with the always generous Cohen about Advanced Pets is transcribed below.

(Lightly edited for clarity and length.)

Where did your idea for Advanced Pets originate? 

The common theme throughout my work is love and connection. Whether it’s personal expression which creates connection with other people, or, like in my last book, actual relationships between people, that kind of connection is key to growing older with vitality. I’ve been examining different ways that people stay vital throughout their lives. 

I’ve also loved animals my whole life; I’m a vegan and have had dogs since I was a little boy, so I thought it would be interesting to explore the relationships between the women that I photograph and their own animal companions. Then, because of COVID, I noticed that people got even closer to their animals, and I thought it would be a great time to really explore that. Also, as you get older, oftentimes, unfortunately, a lot of your friends aren’t around anymore, so pets and animals become your companions, company, friends, and family, especially when you’re in isolation.

Can you share more about your love of animals, the dogs you grew up with, your current dog, Vinnie, and how those connections helped fuel this book?

Dogs have been hugely important in my life— animals of all kinds have been, but mostly dogs. I’ve always liked to express myself differently than other people and dress up, and I gravitated toward things that maybe other kids didn’t (antiques, old music); I just always felt a little different. I didn’t have a lot of friends growing up, and I couldn’t wait to come home to the dogs in my life who were my friends, comforted me, and provided fun and joy. 

Throughout our lives, oftentimes people have difficulties connecting with other people or feeling seen or understood. In talking to the ladies and just in my own experience, my dogs have always understood and accepted me without judgment, and I think that’s a very special relationship to have, where it’s just pure love; I see that with the people I featured in this book, too. My dog, Vinnie, is my best friend, and I’ve noticed that same thing with the women that I photograph; how close these relationships are, and how they’re like our family members. They teach us so much about patience and care and provide so much at the same time. 

So much of what you’re saying resonates with me. I’m a single woman who has a lot of close friends, close relationships, and love in my life, but there’s nothing quite like the relationship I have with my cat, Joan Cusack. I’ve had her as long as I’ve lived in LA, about eight years, so she’s this embodiment of my life in LA, in a way, too. It’s hard to put into words. 

Exactly! It is hard to put into words! 

That’s why I think looking to the medium of photography, as you have, is the only way to come close to capturing that connection. 

Our pets are the closest things we have to us. These relationships are so intimate, in terms of the time we spend with them. Some of the ladies say that their pets see them in all their different stages, like as they’re trying on different outfits. Our pets see us in all these different ways that are so different from how other humans see us. 

Our pets see us in all these different ways that are so different from how other humans see us. 

Pets are (seemingly) incapable of judgment, and they see us so clearly in ways that a lot of humans can’t. I think that’s so special, especially for people like the women you’re photographing, who are so distinct and opinionated and unapologetically themselves. Animals, in particular, can accept those qualities in ways that maybe some of the greater public has a mental block about. 

The ladies are sort of outsiders, in a way, because of how they dress. Especially years ago. In their time and even now, they really were rebellious in the way that they were presenting themselves. 

On the photography side of things, how did you go about conceptualizing the photoshoots for the book? What was that process and experience like, especially working with animals as your subjects? 

My work is always a mix of street style and shoots that I do on location in people’s personal spaces or near their homes. For these photos, it was really about spending time to feel the connection between each animal and their person, and then also making space for the animal to be comfortable. 

Each one was very different. It was very similar to my process for making my last book, Advanced Love because I didn’t want to force a specific type of interaction or connection. Also, the animals obviously act differently when I’m there versus when I’m not there. It was always just about trying to capture a moment and love between a person and their pet.

When I was in Florida on a ranch with Sandra and Lucy, for example, cows don’t sit still, so it was a lot of walking around the ranch. Eventually, Lucy sat down, and then Sandra sat down next to her and she started singing to her. In that moment I was able to get my photo.

What about the fashion and styling side of things for the photoshoots? 

I told people to dress their most festive and to really celebrate advanced style. 

Your Advanced Style photos have always been so visually rich, due to the styling of these women and their energy and attitudes. Can you speak to the aesthetic power of pets, and how adding that dimension to your photos elevated them even further?  

When someone is holding their animal, all dressed up, it’s almost like they become a part of them. And through that, their pet becomes a part of what they’re trying to communicate visually. 

I’ve always loved photographs of people and their pets. I have this book called Elegance by the Seeberger brothers who were shooting socialites and rich people on the streets in the 1920s and 30s, and I loved seeing the women all dressed up in their vintage clothing with their dogs. There was this one photo of a woman dressed up in polka dots with her Dalmatian, and that was sort of an inspiration for me. 

There’s a picture of a woman named Rory and her dog Elsa in the book, and they have this connection that is a soul connection. She’s this very fashionable woman in New York and carrying her dog becomes part of the way she’s presenting herself to the world. These women are so visual, so their dogs are part of that. 

Of all of the women and their pets you photographed, is there one photo or pair that you think best encapsulates the Advanced Pets project? 

There are several, but Linda and Lil Buddy embody this project. Linda’s a very dear friend of mine who lives on an island in the northwest, and in spending time with her and Lil Buddy, I saw how their relationship is very similar to how I feel about animals.

I remember being in her garden, and she was holding Lil Buddy with the sun shining down in her arms, and she was just in complete bliss in her garden holding her baby. That was a very special moment of seeing that intimate connection, where the joy was emanating from them and I was able to capture it. That was the embodiment of the project for me. 

Usually I’m just establishing relationships with humans, but now I have all these new animal friends to be connected to.

What has been the most rewarding part of the Advanced Pet process?

It was great to not only get to know new women but also, these animals. Usually, I’m just establishing relationships with humans, but now I have all these new animal friends to be connected to.

In my last book, I was showing that you can find love at any age, and this book is also showing that. My friend Jackie in the book, is in her 70s and was never a dog person until she met Betty, who has brought so much more dimension to her life that she never even knew was possible. I think that’s also a special theme of this project: the possibility that you can have love and connection at any age. 

Header image: Valerie von Sobel

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Other recent chopping-abouts on IG.

Rachel Cabitt on the technicolor influence of Kayōkyoku Records, where 1960s Japanese and Western cultures collide.

Loving Fred Aldous’ photobooth collection of goodies.

Director Bryan Woods on putting a “no generative AI was used in the making of this film” statement at the end of Heretic:

“We are in a time where I feel like creatively we’re in one of the big ethical battles, and the race is already ahead of us. The importance is to have these conversations before they force things in, just because it makes sense from a corporate structure. It’s incredibly dangerous. If there’s not people to throttle it, we’re going to find ourselves in five to ten years in a very dangerous situation. … AI is an amazing technology. Beautiful things will come of it, and it’s jaw-dropping. What is being created with generative AI and video … it’s amazing we could create that technology. Now let’s bury it underground with nuclear warheads, ‘cause it might kill us all.”

Could this become standard practice, please? To be posted alongside the “no animals were harmed” and “no this story isn’t real, honest” notices.

Artist and photographer Yasmin Masri’s Near 2,143 McDonald’s, documenting over 2,000 McDonald’s locations through Google Street View. Seen a few books and projects over the years use Street View as a source, but I’m unclear about how fair usage/public-domainy it is.

“For some reason, in July 1985, the Daily Mirror’s pseudo-saucy comic strip Jane ran a series of comics centered on – oh yes – Jane and boyfriend Chris hanging out with Sir Clive Sinclair.”

Kurt Cobain’s Youth Culture Scream Time.

Chris Ware on Richard Scarry and the art of children’s literature:

“The thing is, “people” weren’t anywhere to be seen in Best Word Book Ever. Instead, the whole world was populated by animals: rabbits, bears, pigs, cats, foxes, dogs, raccoons, lions, mice, and more. Somehow, though, that made the book’s view of life feel more real and more welcoming. A dollhouse-like cutaway view of a rabbit family in their house getting ready for their day didn’t seem to just picture the things themselves—they were the things themselves, exuding a grounded warmth that said, “Yes, everywhere we live in houses and cook together and get dressed, just like you.”

One must never underestimate the power of anthropomorphism in normalising empathy and diversity for children. I grew up with countless Scarry titles (to this day Peasant Pig and the Terrible Dragon is one of my favourite books) and they definitely shaped my view of the world.

It’s November and therefore LEGO have thrown a massive chunk of dad-bait into the universe in time for Christmas. As if a 3000-brick model of Shackleton’s The Endurance wasn’t enough, you can also get an extra set with a minifig of expedition photographer Frank Hurley.

There’s absolutely no need for Suede’s Dog Man Star to be thirty. It’s just unseemly.

That is all.

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

Header image courtesy of the author.

The post Meanwhile No. 219 appeared first on PRINT Magazine.

Check out the full series as it unfolds.

Backstage on the Two Craigs website is on hiatus for a few weeks, but if you’ve missed any of the last few prompts, it’s worth a look back.

Wood

Follow along with PRINT, at 2craigs.com, or on Instagram.

The post Two Craigs: 24/52 appeared first on PRINT Magazine.

The New Look of Money

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

Chime brand refresh by jkr.

Radical Transparency

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

Klarna brand by their in-house team.

Personalized and Empowering Tools

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

Check My File brand by Ragged Edge.

Creating Community and Social Connection

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

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

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

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

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Studio TK, a furniture manufacturer with headquarters in South Carolina, is on a mission to help companies “bridge the gap between the spaces where we work and the work culture we aspire to create.” The company partnered with Tolleson, a full-service, Bay Area creative agency, to amplify Studio TK’s voice as an exclusive resource for furniture designed to foster creative collaboration, well-being, and connection at work.

The resulting creative, “Santé: Designed by Patrick Norguet” is a meticulously crafted stop-motion animation video that captures the essence of the acclaimed French designer’s work. Our judges awarded Tolleson first place in The 2024 Print Awards’ Motion Graphics & Video category.

Stills from “Santé: Designed by Patrick Norguet”

Inspired by Norguet’s love for music, the video utilizes visual metaphors to convey profound ideas, such as the transition from black and white to color representing the journey from concept to creation. With its tangible, handcrafted quality that feels real and touchable, the stop-motion animation captivates viewers. Every subtle change in direction, the slightest quiver of paper, and the visible texture of handmade sets add depth and authenticity that reflects pure joy.

The French celebrate by saying, “À votre santé” or “to your health.” In the same way that Norquet’s chair collection projects a lifestyle-oriented sensibility that softens the office landscape and expresses a more human work culture, this award-winning stop-motion video bridges tradition and creativity making it enduringly enchanting and worth celebrating!

The post Tolleson’s Stop-Motion Tribute to Designer Patrick Norguet for Studio TK appeared first on PRINT Magazine.

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

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

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

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

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

Check out the full series as it unfolds.

Backstage on the Two Craigs website is on hiatus for a few weeks, but if you’ve missed any of the last few prompts, it’s worth a look back.

Time …

after Time

Follow along with PRINT, at 2craigs.com, or on Instagram.

The post Two Craigs: 23/52 appeared first on PRINT Magazine.

“How do you know if you have a good idea?” This profound query came at the tail-end of a robust day.

My answer was true, but a bit pat.

I said a good idea should make you feel something. I bolstered my answer with the classic line often attributed to legendary creative director Phil Dusenberry that goes, “If you don’t feel it in the board room, the audience won’t feel it in the living room.”

The emphasis on ideas that make you feel something: a laugh, a cry, motivated to take some action.

It was a fine answer, but something about it was bugging me.

Today’s communication efforts are sprawling and complicated.

I didn’t feel I gave a good enough answer and wouldn’t you know it — it kept me up that night.

I got out of bed early the next day and wrote down some notes and came back with a better answer.

I re-confirmed that a good idea should indeed make you feel something.

I then went further and talked about how a good idea should reveal something.

Then I went deeper and talked about how a good idea should drive all the executions of the communications ecosystem.

The Sea Leggers appreciated this deeper answer.

I kept going with one more thing.

I told them that, ultimately, the best method for determining a good idea is the timeless framework from legendary designer Milton Glaser. His notion is that there are only three reactions you can have to a piece of work:

Yes, No, Wow.

Meaning…

Yes, I understand the idea. It’s on strategy. Fine.

No, I don’t get it. I don’t like it.

Or…

Wow.

Yep, Wow is in, you can’t control how you’re feeling. And your overwhelming reaction is to just go, “Wow.”

Sure enough, the next night, we were all together at an art studio creating masks for a Lucha Libre wrestling event we were about to attend.

We had tasked ourselves with taking existing wrestling masks and making them uniquely our own.

We were armed with glue guns, scissors, and various pieces of glittered craft foam.

I saw several fun improvements our Sea Leggers were making to the classic masks.

And then out of nowhere, one appeared that was completely amazing.

One of the rising stars from our Paris office emerged with an Art Deco masterpiece.

She crafted the foam pieces into magnificent gold and green feathers. The mask looked like a piece of art that belonged atop the head of some kind of mythical goddess. Or a piece of sculpture you’d find in an Art Deco masterpiece like the Chrysler Building or Rockefeller Center.

It was such an incredibly high-brow approach for something as populist as Lucha Libre.

But in the end, it worked magnificently.

I tell you all of this because each person who saw her mask had the exact same reaction: “Wow!”

So how do you tell if you have a good idea? Start with this. Is your first reaction Wow?

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

Header image: Getty Images for Unsplash+

The post How Do You Know If You Have a Good Idea? appeared first on PRINT Magazine.