Age: 24
From: Jakarta, Indonesia
Living in: Los Angeles, CA
Currently working at Thinking Room
Studied at: ArtCenter College of Design

The PRINT community has spoken! Among a stellar class of New Visual Artists this year, we asked our audience to vote on the designer they felt should be named the 2024 Community Choice Winner, a significant recognition that highlights the artist’s ability to connect with an audience on a personal level.

This year, that well-deserved honor goes to Danu Ardhata!

Ardhata Sans, type-design student initiative project.

Atheneum, type-design student initiative project.

The Art of Biomimicry, A narrative-driven, typographic poster series.

Ardhata’s work is driven by a balance between idealism and the practicalities of contemporary branding, to create transformative brands that influence consumer behavior and set new standards.

His focus is on exploring the essence of humanity in brand identity. Ardhata feels that in the same way, humans adapt and evolve, brands must remain dynamic, responding to their environment. This adaptability is central to his philosophy, alongside a commitment to continuous learning and openness to new perspectives.

Looking ahead, Ardhata envisions a future of boundless possibilities, emphasizing the importance of crafting narratives that resonate deeply with the human spirit and forging meaningful connections. His ultimate goal is to shape brands that leave a lasting, authentic impact.

We can’t wait to see where his thoughtfulness, openness, and outstanding talent take him in his career. And we know the design community will be better for his efforts.

Congratulations, Danu!

We’ll see you next year for a new crop of PRINT New Visual Artists. In the meantime, consider submitting your work for The 2025 PRINT Awards. Look for announcements this week!

The post The PRINT New Visual Artist Community Choice Winner is… appeared first on PRINT Magazine.

Beginning in 1998 and running through 2017, the PRINT New Visual Artists competition identified some of the best, most inventive young creative people working today. This year we reintroduced the competition and today we’re thrilled to introduce some of the best, brightest, cutting-edge designers working across many fields of creativity.

For 2024, our stellar jury members Nick Ace, Jessica Deseo, Steven Heller, Debbie Millman, and Zac Petit were truly inspired by the work put forward by creative professionals under 30 and over 30 from around the globe. With their fresh perspective on the world, exposure to new technologies, and willingness to challenge norms, the 16 selected designers demonstrate innovative thinking and unique solutions for the needs of their clients or for special projects. They also blew the jury away with their embrace of new technological techniques and advanced creative skills.

Graphic design has come a long way . . . the good are better, and the better are best. It was a hard competition to judge because everything submitted was above the bar.

Steven Heller

2024 NVA Trophy Designed by COLLINS

This year’s recognized designers, 15 under 30 and 1 selected designer over 30, clearly balance creative vision with humility, hustle, and a strong sense of purpose. They are passionate about their art. And, even though they’re from all over the world and from diverse backgrounds, growing up in an interconnected, digitally-driven world, where they are more aware of systemic injustices, these young creatives share a common thread of commitment to social issues. They’re empowered by tools of expression, and driven by a desire for meaningful change.

We’re excited and honored to celebrate these 16 creative visionaries and look forward to seeing how their work and careers expand and flourish in the years ahead.

Community Choice Award

With the relaunch of PRINT New Visual Artists this year, we’ve also launched a new opportunity for our audience to select their favorite New Visual Artist. All 16 winners can be considered for the prestigious title of the PRINT Community Choice New Visual Artist. This top-tier designation will be determined by our online audience—you—through a community voting platform. The voting period will be open for one week, ending on November 8 and one winner will be selected by the PRINT design community as the PRINT Community Choice New Visual Artist.

15 Visual Artists Under 30

Handanu (Danu) Ardhata

Age: 24
From: Jakarta, Indonesia
Living in: Los Angeles, CA
Currently working at: Thinking Room
Studied at: ArtCenter College of Design

Danu Ardhata is passionate about pushing the boundaries of what design can achieve, using it to bridge gaps, tell compelling stories, and foster genuine connections. Growing up in Jakarta, Indonesia, his childhood was filled with traditional music, the sights of Indonesia’s breathtaking archipelago, and the flavors of diverse culinary traditions, which sparked his love for creativity and storytelling and inspired him to pursue a career in graphic design.

One of the projects that stood out for our NVA jury was his hypothetical rebranding of the Museum of Linguistic Arts (MoLA) in Washington, D.C. By infusing interactive elements across all touchpoints, Ardhata created a cohesive museum experience that resonates with young language learners and professionals alike.

Hypothetical rebranding of Museum of Linguistic Arts.

Central to his work is a brand anthropomorphism methodology he developed from his master’s thesis to humanize brands by blending core values, cultural context, and dynamic expressions that he calls the Humanimark Model. “This model positions brands as living entities with distinct personalities, fostering authentic and sustainable connections with their audiences,” says Ardhata. “I believe that brands should not just exist but should resonate on a human level, engaging with people in meaningful and lasting ways rather than just juggling current trends that may not align with the brand’s mission statement.”

As an educator and mentor, Ardhata aims to instill the importance of empathy, critical thinking, and cultural sensitivity in design. By equipping them with these values, he hopes to cultivate a community of designers who are not only skilled but also socially responsible.

Ultimately, I want to leave a legacy where design catalyzes connection and understanding, bridging divides and enriching lives. I want to be remembered as a designer who impacted how we perceive and engage with culture, diversity, and the world through design.

Danu Ardhata, New Visual Artists 15 Under 30

Flora Bai

Age: 25
From: Wuhan, China
Living in: Jersey City, NJ
Currently working at: TIN TIN TINT
Studied at: Huazhong University of Science and Technology, School of Visual Arts

Flora Bai is an NY/NJ-based illustrator. Her delicate color sensibilities and refined line work are inspired by traditional Chinese line drawing and ligne claire. Bai explores the relationships between nature and the artificial, weaving together a visual world with multiple narrative threads.

Bai graduated from SVA with an MFA in Illustration as Visual Essay. Her portfolio spans editorial illustrations, cover illustrations, picture books, and commercials. Over the past two years, her work has been featured in publications and brand campaigns, with clients like The LA Times, Dr. Martens, Marvis, Harvard Magazine, Saveur, and Penguin Random House. Her work was also featured in a solo exhibition at the United Art Museum in Wuhan, where her “Grapefruit in Yogurt” series earned critical acclaim. She’s also participated in public art projects, like The Flag Project at Rockefeller Center in NYC.

Flag Project at Rockefeller Center.

This work, entitled HALO, is an illustrated poster reflecting social distancing in daily life post-pandemic. It was selected for the Flag Project, the first public art exhibition in New York City following the COVID-19 pandemic. It was displayed on flags at Rockefeller Center’s outdoor plaza during the summer of 2020, and the exhibition returned in February 2021.

To me, design is an integral part of life. Illustration serves as my gateway to design, where I can create scenes, spaces, and stories, conveying emotions and aesthetics.

Flora Bai, New Visual Artists 15 Under 30 (pictured: Flora with Zima)

Callie Barnas

Age: 24
From: Metro-Detroit, MI
Living in: New York, NY
Currently working at: Sideways Inc.
Studied at: School of Visual Arts

Callie Barnas is a multidisciplinary designer based in NYC & the Detroit area. Conceptually driven and crafted with care, her work is often bold with a sense of play. In addition to appreciating her creativity and body of work, our NVA jury definitely connected with her response to great design.

“When I see something that I perceive as good design out in the world (and we’re talking really really good design), I go through the five stages of grief,” Barnas explains. “Denying that a person could possibly conceive a solution that clever or that beautiful or just that damn good. Angry that I didn’t think of it first, and cursing my brain for not having conceptualized this exact piece of work on its own. Bargaining with myself about how this person has more resources or more friends in the industry or got lucky or just about anything to make myself feel better. Depressed over how I don’t even know where to start creating something as good as what I’m looking at. Then comes the eventual acceptance that at the end of the day the only way to design something good is to get up and make anything at all.”

Put simply, good design makes me want to keep creating. If I’m lucky enough, one person one day will look at something I designed and feel the same thing. That’s how I want to impact the design world.

Callie Barnas, New Visual Artists 15 Under 30

Menu design for Ceiba Restaurant. Agency: Sideways

Pickle Fest Event Design. Senior Project with Joseph Han.

Doga Bircan

Age: 28
From: Istanbul
Living in: New York, NY
Currently working as a Freelance designer
Studied at: Orta Doğu Teknik Üniversitesi / Middle East Technical University, School of Visual Arts

As a designer, storyteller, maker, thinker, and listener, Bircan takes pride in being logical and analytical, emotional and empathetic, allowing her to bring some serious fun into people’s lives through her work. She believes that having a diverse cultural background is something to be shared, celebrated, and championed. Through her work and everyday life, she takes joy in spreading joy and feeling peace by giving peace.

Bircan’s work focuses on people and stems from the need to initiate action from messages of hope, joy, desire, and even distress. She believes that design can help people take action, change behaviors, reform systems, build relationships, empower communities and so much more.

Billboard and brand refresh for ikas, an Istanbul-based new-generation e-commerce platform

Brand system for ANKA, providing emergency play support for displaced children after disasters and crises. 

I want to leave my impact in the design world by doing good, spreading the good and influencing other designers to be better. This may be too ambitious, but then again, I am not one to back down from a challenge.

Doga Bircan (in her element, left), New Visual Artists 15 Under 30

Shiqing Chen

Age: 25
From: Shanghai, China
Living in: Brooklyn, NY
Currently working as a freelance designer with the American Museum of Natural History and the Office of Paul Sahre
Studied at: School of Visual Arts, New York University

Shiqing Chen is a designer and new media artist. Her work focuses on combining various design systems—installation design, book design, interactive media, and data design—into innovative and cohesive visual experiences that challenge conventional frameworks.

Poster in a series inspired by Yoko Ono’s notion of “Every Drop of Water Counts.”

Chen’s project, Temporary Space documented the evolving state of a construction site in downtown Brooklyn through videos and photographs, exploring the concept of temporary urban spaces. Using game engines and modular systems, she rearranged these records in both digital and physical formats, crafting a linear narrative that captures the transient nature of such spaces while challenging traditional boundaries in video and installation design.

Temporary Space

As a creative, Chen is committed to exploring the intersection of technology and design. Cross-disciplinary integration infuses each project with unique vitality and complexity, making her work rich in meaning and depth.

Handwritten Chinese character logotype and episode cover for the podcast HuuuWalk.

I’m particularly focused on how technology can be organically integrated across various design categories, enabling the development of a new design language that is both rich and multifaceted—not only visually stunning but also intellectually engaging and emotionally resonant.

Shiqing Chen (left), New Visual Artists 15 Under 30

Xuanhao (Elio) Chen

Age: 24
From: China
Living in: Jersey City, NJ
Currently working as a freelance designer
Studied at: School of Visual Arts, ArtCenter College of Design

Applying for PRINT New Visual Artists represented Elio Chen’s first step into the world of design awards, marking a significant milestone in her career and her dedication to advancing the role of design in what she sees as an increasingly interconnected world.

Over the past year, she has dedicated herself to modernizing and communicating the ancient wisdom of the I Ching to Western audiences through contemporary design methodologies. The I Ching, a cornerstone of Chinese philosophy, offers profound insights into human nature and the universe. However, its traditional presentation can be challenging for modern audiences to engage with. Chen’s goal has been to reinterpret these ancient concepts using a design language that resonates with contemporary sensibilities, making this timeless wisdom accessible and relevant to a new generation.

I Ching divination method – natural rhythm.

This project has been both a personal and professional journey for me. As someone who left China at 18 to pursue education and a career in the United States, I have experienced firsthand the complexities and richness of cross-cultural exchange. My work on the I Ching project is a testament to my commitment to using design as a tool for cultural preservation and innovation.

Xuanhao (Elio) Chen, New Visual Artists 15 Under 30

In addition to her work on the I Ching, Chen has been involved in various other projects that emphasize the social impact of design. Whether it’s rebranding initiatives, motion graphics, or editorial work, her focus has always been on creating designs that foster connections and reduce anxiety in an increasingly fast-paced world.

Shaoyang Chen

Age: 29
From: Weifang, China
Living in: Portland, OR
Currently working at: Wieden + Kennedy
Studied at: University of Missouri, Waseda University, School of Visual Arts

Growing up in a small seaside city in China, Shaoyang Chen’s biggest dream was to live in NYC and work as a journalist. After receiving a degree in journalism from the University of Missouri and Waseda University in Tokyo, she achieved her dream of moving to New York in 2020.

During her studies, Chen worked as a producer at an NBC Missouri affiliate, a production assistant for The Amazing Race, and an art director at a school magazine. After graduating from college, Chen worked at Avenue Magazine as an art assistant for a rebranding project in collaboration with Pentagram and was then inspired to pursue an MFA from SVA in New York.

Her goal is to blend her experiences as a journalist and designer to produce art that tells compelling stories, as with her project called Soundbite, which illuminates the misrepresentation of language in wartime from the perspective of civilians.

Soundbite

On the left side, the words are used to mask the harshness of war, while on the right side, the same words are used in their natural, everyday contexts. The left side depicts destruction and death, while the right side portrays creation and life.

Between these two sides lies the reality of our existence, the sanctuary where civilians seek refuge, and the haven for the soul to find peace. Each word captured is an audio snapshot of humanity. Together, they form a depiction of life, much like individual soundbites creating a melody.

Chen recently relocated to Portland, Oregon, where she currently works as an art director at Wieden + Kennedy.

My goal is to use design as a medium to illuminate diverse experiences and perspectives, helping to bridge gaps and enrich our collective knowledge of the world.

Shaoyang Chen, New Visual Artists 15 Under 30

Ghazal Foroutan

Age: 30
From: Iran
Living in: Los Angeles, CA
Currently working at: California State University San Marcos, and Peele Studio
Studied at: Alzahra University, Oklahoma State University

Ghazal Foroutan is a graphic designer, art director, and educator, specializing in typography, illustration, branding, and generative AI. Her creative pursuits are characterized by a self-driven approach with a keen socio-political focus, particularly advocating for social impact initiatives and women’s rights.

Liminal exploring transitioning from the familiarity of home to a new life across the globe.

Her ability to read and write in both languages informs her design to push the boundaries of how two distinct forms can coexist harmoniously in one piece. Many of her client projects, for example, involve integrating both English and Farsi into a single composition or creating a Farsi version of an existing English design.

Foroutan’s passion projects are deeply rooted in her identity and the challenges she has faced as an Iranian woman and immigrant in the United States, driving her to raise awareness and inspire change through design.

Noruz Poster

The “Woman, Life, Freedom” movement in Iran was a pivotal moment in her career as a designer. The movement, which called for the rights and freedom of Iranian women, resonated deeply with her—not only as an Iranian but as a woman who has witnessed and experienced the struggles of living under restrictive societal norms. Foroutan’s posters for this movement were expressions of solidarity and defiance and were used in hundreds of protests worldwide, becoming a visual representation of the movement that continues to live on—her Persian Rosie poster is now part of the permanent collection at the Victoria and Albert Museum in London and the Library of Congress in Washington, D.C

I believe that design activism isn’t just about physical presence; it’s about creating visual narratives that drive change. They served as a voice for those who could not speak, a beacon of hope for those who needed it, and a reminder that change is possible when people come together.

Ghazal Foroutan (left), New Visual Artists 15 Under 30

Max Hauler

Age 27
From: Waterford, MI
Living in: Southfield, MI
Currently working at: Stout Collective
Studied at: Oakland Community College

Max Hauler’s grandparents brought them to their first art class as an outlet for self-expression and a way to connect with people. “From a young age, I was always kinda the art kid,” Hauler says. “Growing up in a small conservative community as a queer youth outside of Metro Detroit, I faced adversity in my surroundings and in myself.”

Hauler didn’t follow the traditional art school route. After graduating high school in 2015, they enrolled part-time at the local community college, exploring many creative paths and quickly discovering a passion for graphic design, printmaking, illustration, and typography. By 2018, they had landed their first full-time graphic artist job in screen printing. That fast-paced environment was where Max learned technical skills.

Poster for BOPP Conference, Agency: Stout Collective, Creative Director: Tanya Avoundjian.

While not having a degree, Hauler found that working in print was an accessible way to enter the design world. They sought mentorship and built a community with others who shared their ambition and hunger for creative endeavors, opening doors to their current work in the beer design world.

Design and Illustration for Blue Label Printing Co., Agency: Stout Collective.

In addition to honing their skills and expertise in design, Hauler wants to leave a profound mark on the industry.

I want to work ethically and contribute my craft to make the world better than it was for me and my community before me.

Max Hauler, New Visual Artists 15 Under 30

“If I can accomplish that, I hope to impact the design world by setting an example that art is for everyone, no matter gender, sexual orientation, or financial standing,” Hauler continues. “I have learned this from the mentors who have supported my journey so far, and this is the example I hope to set.

Yutong Hu

Age: 22
From: Zhenjiang, China
Living in: New York, NY
Currently working as a Freelance designer
Studied at: School of Visual Arts

Yutong Hu’s work demonstrates the innovation and creativity that NVA celebrates. She approaches design with a sense of humor, even dubbing herself the “Chief Gummy Bear Officer.” As an international student from China, Hu brought her cultural perspective to her work and to her studies at SVA.

“My goal is to create designs that are visually striking and socially conscious, contributing to a more inclusive and sustainable design community,” Hu says. “I aim to cultivate a culture of curiosity, playfulness, and continuous learning within the design industry.

DIY (Do it yourself) typeface design.

During an assignment at SVA, Hu conducted a series of interviews about design heroes. When she asked classmates to name an Asian female graphic designer besides Natasha Jen and Tracy Ma, everyone was silent.

Through my work, I aim to fill this gap and inspire others by blending creativity, cultural identity, and innovative approaches, fostering a more inclusive and diverse design community.

Yutong Hu, New Visual Artists 15 Under 30

Irony Man Book Design. Photos by: Michael Northrup.

Eun Soo Kim

Age: 27
From: Seoul, South Korea
Living in: New York, NY
Currently working at: R/GA
Studied at: School of the Art Institute of Chicago, School of Visual Arts

For a newly arrived first-grade Korean girl in a Canadian school, everything was unfamiliar yet exciting to Eun Soo Kim. Coming from a homogeneous culture, the fact that she could use grey, blue, and even green to color people’s eyes in her drawings astounded her the most. Since then, her interest and passion for art grew, and upon returning to Korea, she pursued this passion by attending an art-focused middle and high school. With a clear goal of making art her profession, Kim went to Chicago to study painting.

Instinct #22 and Instinct #23 Eun Soo painting from 2018

As Kim’s work evolved, her paintings became increasingly research-based, each piece grounded in a strong rationale. This shift naturally led her to explore the field of design, where she discovered the perfect blend of creativity and problem-solving. Design allowed her to combine her artistic background with a structured approach to visual communication, resulting in work that is both aesthetically pleasing and deeply thoughtful.

Kim approaches design challenges with an artist’s eye for detail and a designer’s focus on functionality and user experience. Research is a significant part of her process—she believes in fully understanding the problem, its context, and the broader environment at the outset. For example, in an SVA brand redesign project for the Noguchi museum, she understood that Noguchi flexibly connected the outdoors and indoors through a garden environment, involving nature and the changing seasons. The new hypothetical identity of the Noguchi Museum focuses on the Noguchi’s attempts to capture the passage of time within the museum space. Including the custom typeface, the overall system speaks to an experience of the presence of time

Noguchi Museum hypothetical brand redesign.

I aim to contribute to a design culture that values creativity, thorough research, and diverse perspectives. My goal is to create work that balances aesthetics with functionality and deeply connects with its audience, leaving a meaningful and lasting impression.

Eun Soo Kim, New Visual Artists 15 Under 30

Madeline Montoya

Age: 28
From: Dallas, TX
Living in: Brooklyn, NY
Currently working at: Bloomberg Business Week
Studied at: Washington University in St. Louis

As a college student, engaging with various design projects and techniques, Madeline Montoya focused on how each project felt to her personally, so that she could give her best work. When she began doing more print and editorial design, that process sparked her passion than any other.

Since her graduation, Montoya has worked for Man Repeller, Domino Magazine, The New York Times, and The New York Times Style Magazine. She currently works as an art director at Bloomberg Businessweek, and helped found a new indie magazine Byline, where she still works as creative director.

Left, Art Direction for “The Year Ahead,” Luxury Section. special issue by Bloomberg Businessweek. Illustration: Jiayi Li and Rui Pu, Photography: Elizabeth Renstrom. Right, The Heist Issue by Bloomberg Businessweek. Illustration:
Max Guther, Joanne Joo, and Pedro Veneziano. Photography:
Manu Ferneini and Gulshan Khan.

Byline Issue #6: Music to our Ears. Co-Founders: Gutes Guterman + Megan O Sullivan. Illustration:
Derek Abella, Seba Cestaro, Luca Schenardi, Natalie Shields, and Rob Vargas. Photography:
Lauren Daccache, Brian Karlsson, Madison Lloyd, Marcus Maddox, Chad Moore, Nikole Naloy, Fenn Paider, Sarah Ritter, Levi Saderholm, Caroline Safran, Louisa Tantillo, Ben Turok, and Ramona Jingru Wang.

Recently, she’s also been able to share her knowledge with others, being a Society of Publications Designers (SPC) illustration reviewer two years in a row, lecturing at universities, and most recently being a magculture guest lecturer. She hopes to spread the idea that genuine passion can lead to opportunities and success.

I think as designers we’re so naturally intertwined with our creative spirit that feelings of self-worth and the pressure of living up to a perceived potential can be so much more intense than other careers. Lately I’ve been trying to steer away from that, and instead be someone who works hard, experiments and fails, and paints graphic design as a fulfilling, fun practice.

Madeline Montoya, New Visual Artists 15 Under 30

As a Hispanic woman, Montoya embraces and celebrates her identity. “I get excited thinking about the possibility of my name being added to the list of Hispanic designers people look up to,” she says. “There’s such an influx of Hispanic print designers in New York right now, and it’s really important to me to be a palpable part of that.”

Zedan (Dan) Peng

Age: 24
From: Shenzhen, China
Living in: New York, NY
Currently working at: The Collected Works
Studied at: School of Visual Arts

Zedan (Dan) Peng believes that the essence of being a designer lies in the constant evolution of one’s craft. She doesn’t confine herself to a specific title or style, viewing design as an ever-expanding field with endless possibilities. With the understanding that life is long and there is always more to explore, learn, and create, Peng is driven to push beyond the boundaries of what she knows, embracing new disciplines and perspectives.

Art Basel is a for-profit international art fair held annually in Basel, Miami Beach, Hong Kong, and Paris. As a hypothetical project, Peng designed a custom typeface to represent different standing positions of people, highlighting the event’s inclusiveness in showcasing diverse reactions to various works of art.

My philosophy explains why my website lacks an “About” page—I prefer to let my work speak for itself, fostering a dialogue between people and nature through design.

Zedan (Dan) Peng, New Visual Artists 15 Under 30

While design often requires a broad perspective to address complex issues, Peng believes in conveying ideas in an approachable and relatable way. Her goal is not necessarily to inspire or provoke but to engage with others in a friendly and meaningful manner. She aims for her work to connect with people on an equal level, making design a tool for genuine interaction rather than something distant or intimidating.

The TWO TEXTS project is an editorial design exercise of making one content into two versions. The main content is
the essay “Observations From a Fixed Position” by James Langdon. Two printed editions of the essay are included in the project, one with more agency and one with less agency.

Shantanu Sharma

Age: 25
From: New Delhi
Living in: New York, NY
Currently working at: 72andSunny
Studied at: School of Visual Arts

In the three years after graduating with a BFA honors at School of Visual Arts, Shantanu Sharma has amassed a prolific portfolio. He has illustrated a holiday bucket and designed and art-directed campaigns for KFC, designed a billboard that interacts with the sun for Corona, led the design for Nike’s Men’s World Cup campaign, worked on the design and art direction for Nike’s Women’s World Cup campaign, designed a 250-foot billboard for a college athlete, worked on several other campaigns for Nike, EA Sports, and Visa, and designed a 700-foot crop circle!

Hypothetical restaurant rebranding.

He’s also received accolades from the Cannes Lions, D&AD, Type Director’s Club, One Show, ADC, Clios, Graphis, and One Club’s Young Ones. His work has also been featured in Hypebeast, Dieline, Fast Company, AdAge, Adweek, Brand New, Complex, ESPN, and PRINT.

I want to leave behind a body of work that makes your heart smile, work that evokes meaning with a purposeful narrative. I hope to leave behind a body of work that reminds other designers to continue to have fun and serves as a reminder of how lucky we all are to do something we’re passionate about every day.

Shantanu Sharma, New Visual Artists 15 Under 30

Design Director: Patrick Nistler, Design Producer: Tara Nielsen, Design Lead: Shantanu Sharma, Motion: Alex Burns and Shantanu Sharma, Photography: Jessica Lima.

Eager Zhang

Age: 27
From: Weihai, China
Living in: Los Angeles, CA
Currently working at: Otis College of Art and Design
Studied at: Tongi University, School of the Art Institute of Chicago

Eager Zhang’s journey as an emerging graphic designer is defined by a blend of creativity, multicultural insight, and professional excellence. Trained in both engineering and fine arts, their creative passion is experimental type design.

Through a blend of traditional techniques with emerging digital tools, Zhang’s work is both visually captivating and innovative in workflows and media choices. Their ongoing project, “The Guide To Be Seen,” explores the mechanics behind optical codes, such as barcodes, resulting in a typeface that functions as an augmented reality (AR) target, enabling users to create custom effects tied to individual letters.

The Guide to Be Seen

Another project, Beautiful World(s): KCAI Biennial, pushed the boundaries between creative coding (JavaScript) and printmaking. In this project, they used generative coding tools to create iterative plant patterns for exhibition posters.

Client: Kansas City Art Institute; Project Director: Raechell Smith, Michael Schonhoff; Project Manager: Marcus Cain.

In addition to their design work, Zhang has dedicated the past three years to pedagogical practice through their role as an assistant professor at Otis College of Art and Design. Also deeply engaged with social media, they actively share their design processes online and interact with followers to foster a supportive and inclusive community and facilitate conversations that bring progressive ideas from the forefront of the industry to a diverse audience.

My goal is to use education and community engagement to build a more equitable and inclusive design world, where new voices are encouraged to flourish and future generations feel empowered to push the field forward.

Eager Zhang, New Visual Artists 15 Under 30

New Visual Artist Over 30

Minkwan (Min) Kim

Age: 32
From: South Korea
Living in: New York, NY
Currently working as an independent art director and designer
Studied at: University of the Arts London, School of Visual Arts

Minkwan (Min) Kim is an independent designer and art director based in New York City and currently working as a freelance designer at Google. Kim’s approach to design centers around the belief that typography is more than just a visual component—it’s a powerful tool for communication that can profoundly influence how messages are perceived and understood.

Concert brand identity for Lil Nas X Typography and Print Design. Studio: Saad Moosajee; Client: Lil Nas X; Role: Design, Typography, Lettering.

Kim has worked with leading design agencies such as Gretel, 2×4, Something Special Studios, and Porto Rocha, as well as major corporations like Nike as well as Google—experiences that have allowed him to hone his skills and explore how typography can be leveraged to elevate design.

In 2023, he was named one of the Ascenders at the Type Directors Club, a recognition that further fueled his dedication and commitment to pushing the boundaries of typography and exploring its potential to add depth and meaning to design. His work has been recognized with numerous awards, including D&AD, Type Directors Club, Art Directors Club, The One Show, and the Red Dot Design Award.

YouTube Music PRIDE Campaign 22-23. Campaign Brand Identity. Client: Google; Studio: Google; Role: Concept, Design, Animation, Custom Lettering.

I want to show how typography can be a powerful tool for communication in design. My goal is to inspire designers to use typography not just functionally, but as a key element that adds depth to their communication.

Minkwan (Min) Kim, New Visual Artist Over 30

Header image: Illustration by Flora Bai

The post PRINT New Visual Artists: Meet the Class of 2024 appeared first on PRINT Magazine.

Willy Wong advises executives, entrepreneurs, and community leaders on creative strategy, brand experience design, venture development, and marketing. He is on the faculty at the School of Visual Arts and Pratt and is an advisor to the Metropolitan Museum of Art and Times Square Arts. Wong previously served as Chief Creative Officer of NYC & Company, the official marketing and tourism organization for New York City, to rebrand the city’s profile in cooperation with the Mayor’s office and city agencies, and has collaborated on hundreds of communications/policy initiatives. With his new studio, Ars Marinus, he is exploring local creativity and community.

When Wong was selected as a New Visual Artist in 2004, he was in the process of shifting from a career in management consulting and software engineering to graphic design.

I had just begun my design career when PRINT selected me as a New Visual Artist. The recognition gave me a big boost of confidence that I was headed in the right direction.

Willy Wong, 2024

As he completed his degree at Yale School of Art, Wong built up a roster of clients and was juggling a number of freelance design projects for clients in NY and Boston and for departments across Yale University

Jonathan D. Katz and Rachel Pepper with the Larry Kramer Initiative for Lesbian and Gay Studies gave me a lot of room to explore. From design and content for their publications to branding conferences, I was able to consider how to work on discrete events and programs that collectively defined their look and voice.

Willy Wong, 2024

Wong’s experience during that time also included projects for Bob Stern and Dean Sakamoto at the Yale School of Architecture, which had an ambitious publishing and exhibitions program. Under the guidance of Michael Bierut from Pentagram, Wong designed its marquee publications, including the architecture journal Perspecta and the annual student catalog Retrospecta.

I recall we all worked independently on our thesis projects at the MFA design studio, and most efforts were done solo. I missed having work colleagues and teammates, so I would invite a different classmate to collaborate with me on most of these engagements. Each made those projects more fun, and I learned from each one of them and reflexively learned about how I worked.

Willy Wong, 2024

Today, Wong is still questioning, exploring, collaborating, and adapting. After two decades in Manhattan, Wong relocated to Maine to connect more deeply with the land and water. The name he gave to his studio and venture in Maine, “Ars Marinus,” is a nod to the area’s maritime heritage and creative ethos, a gesture toward new beginnings in his practice, and a commitment to the local community.

When he first arrived in Maine, Wong was delighted by the physical beauty and kindness of the people. However, he also realized it’s easy to feel isolated, especially during winter. He heard about Jane’s Walk Maine, part of a global festival of free, volunteer-led walking conversations inspired by community activist Jane Jacobs.

Jane’s Walks combines the simple act of exploring a place with personal observations, local history, and civic engagement—a perfect fit for his experience and commitment to collaboration and an opportunity to adapt to his new community.

Wong worked with Maine Preservation and coordinating partners to expand the event by creating a core festival identity and platform, designing a new organizer outreach campaign, a walk leader training toolkit, and marketing and promotional efforts to support the festival—all to engage more Mainers in this annual tradition and empower them toward social impact. Wong also applied for a Sappi Ideas that Matter grant for the campaign, for which he received a 2023 grant to support the cost of completing the communication materials.

After many galleries closed down during the pandemic, Wong also helped revive the community event, Artwalk Waldoboro. Working with local gallery owners, past participants, and new creative residents, he refreshed the event identity, designed flyers to be hung in cafes up and down the coast, spread the word on social media, and built a website. Three months in, the local creative community and residents are excited about the revival.

Wong recently joined Maine Preservation’s board as a trustee to dive deeper into the area’s rich history. He helped redesign the organization’s visual identity, drawing inspiration from the first Maine flag, which featured an iconic north star and pine tree design. Wong pulled in his friend Jesse Ragan to help finetune the wordmark.

The world deserves to see your work. Your efforts could inspire someone, perhaps even change their life for the better, so put it out there!

Willy Wong, 2024

Do you work collaboratively or solo? Is your visual work a part of a passion project or other exploration? Are you adapting to a new career? Are you inspired to support your community physically, ideologically, emotionally, or beyond? Whatever your work and wherever you are in the process, PRINT wants to recognize you in the 2024 New Visual Artists showcase.

The post Explore, Collaborate, Adapt: PRINT New Visual Artists Lead the Way appeared first on PRINT Magazine.

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

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

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

Michael Braley, 2024

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

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

Michael Braley, 2024

Sappi Ideas that Matter Tenth Anniversary Promotion

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

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

Poster Designs by Michael Braley

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

Michael Braley, 2024

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

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

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

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

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

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

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

And more doors opened.

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

Marta Yarza, 2024

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

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

Marta Yarza, 2024

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

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

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

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

Fifteen years later, does that description still measure up? Take one glimpse at his work, and the answer is apparent—a resounding yes!

Goodman grew up in a single-mom household of modest means in Ohio. He went from a rough childhood to painting houses for a living in his late teens and early twenties. With the encouragement of his boss, Dave Suster, he enrolled in community college art classes and, in 2004, transferred to the School of Visual Arts in New York, where he focused on projects with deep personal resonance.

His senior thesis, “Kids Need Dads,” considered the tenets of parenthood and masculinity in flashcards and posters that detailed the “tools for manhood” (literal and symbolic). Goodman printed two sets of laminated cards and sent one to Suster, who was moved to tears.

From PRINT Magazine, 2009, NVA Edition. Flash Cards—Designer: Timothy Goodman. Cover of Translucent —Designers: Timothy Goodman, John Fulbrook. Illustrator: Mark Stuzman. Illustration for The New York Times—Designer: Timothy Goodman. Art Director: Leanne Shapton.

As a young designer at SVA and through his first few jobs at Simon & Schuster, COLLINS, and Apple—all in a short four years—finding his voice mattered to him. In 2009, as a PRINT New Visual Artist, Goodman said,

I always strive to be part of projects that are memorable and unexpected, that allow me to squeeze a bit of myself out of it.

Timothy Goodman, 2009

From PRINT Magazine, 2009 NVA Edition. CNN Grill. Agency: COLLINS. Designers; Timothy Goodman, Kevin Brainard, John Moon. Creative Director: John Fulbrook. Executive Creative Director: Brian Collins.

What held true for Goodman in 2009 continues to drive him today. He is constantly trying to find meaning in his work, connect to people emotionally through his work and words, and start dialogues about difficult topics such as mental health, manhood, and love.

Timothy Goodman’s graphic memoir I Always Think It’s Forever was published by Simon & Schuster in January 2023.

He’s been recognized for his work over the years as well. A selected list includes AIGA 365 Design, AIGA 50/50 Book Covers, Art Directors Club Young Guns, American Illustration, Communication Arts, GDUSA People to Watch, Type Directors Club, and—yes—as a PRINT New Visual Artist.

Awards don’t define us at all, but I’m always curious to see how people feel about my work, and where I stand up against my peers. Being selected a PRINT New Visual Artist gave me a lot of confidence and encouragement and helped me see that I was on a good path creatively and professionally.

Timothy Goodman, 2024

How does your work resonate in the creative community?

The 2024 PRINT New Visual Artists competition awaits your entry, and a wide world of design leaders, instructors, colleagues, and peers can’t wait to see what you can do.

The post An Antidote to Melancholy appeared first on PRINT Magazine.

No matter what you create, where you studied, or where you work, a brilliant portfolio is your ticket to being seen by a massive global audience of art directors, hiring managers, conference organizers, and other key decision-makers. The NVAs have a track record of transforming careers, and we’re more committed than ever to uncovering and celebrating the brightest talents in the industry.

PRINT tapped acclaimed design studio COLLINS to craft the visual identity for the NVA 2024 relaunch. COLLINS is known for groundbreaking work, consistently pushing the boundaries of creativity and branding, and the team has poured their expertise into making the NVAs visually unforgettable. Their design encapsulates the spirit of excellence that NVA stands for, ensuring that this year’s showcase celebrates design’s emerging talent, the history of the NVAs, and a visual feast for the global design community.

To explore the new identity, I asked COLLINS designers Nicole Cousins (pictured left) and Jaeyou Chung (right) to frame their work process. Their responses are below.

What was the initial concept for the New Visual Artists (NVA) identity? What primary sources of inspiration shaped your design approach?

Nicole Cousins: I had a simple thought to use a frame as an identity and a graphic language. As a team, everyone found this approach intriguing right away. I wanted to visualize honoring new people and new voices within the identity with a logotype that would not just speak to the experience but also embody the experience of that achievement.

Jaeyou Chung: Historically, painting and frame design have been closely related. As painting techniques and styles evolved over generations, so did frames, always reflecting the period’s artistic, cultural, and technological changes. Frames evolved from being functional, protective devices to becoming essential elements of artistic expression, enhancing and complementing the artwork they encased. More importantly, a frame represents the ultimate form of creative service, channeling its own artistic intent to highlight someone else’s. This reflects the mission of the NVAs, which exists to honor and showcase the creativity of others.

The NVA identity features distinct visual elements and typography. How do these design choices reflect the essence of the awards?

JC: Yes. We hope our identity embraces other people’s work. We controlled the negative spaces to work as a holding device with letterforms to maintain a clear, defining structure. Borrowing gestures from 19th-century wood typography and Tuscan typographic forms of the past while incorporating contemporary characteristics in the super-thick slab serifs, we created a system that holds both the past and future of visual arts. The horizontal and vertical bars of the slab are essential to this system. The typography features highly contrasting strokes that shift according to different frame sizes, hopefully reflecting NVA’s ability to adapt to its surrounding content.

What were some of the challenges you faced during the creative process for the NVAs, and how did you overcome them?

JC: One challenge in crafting something like this is ensuring the scalability of the typographic structure. We wanted to highlight the work in the middle, so the typography needed to be less prominent, allowing the artwork to take center stage. The flip side was the NVA identity also had to be instantly recognizable and enduring. I hope we were able to reconcile that tension. To overcome this, we tested many scales to achieve readability without overshadowing the artwork. A slab face with severe horizontal and vertical bars helps maintain its structure. We pull colors from the artwork to create harmony.

How did COLLINS’ design ethos and philosophy influence your branding work for the NVAs?

NC: At COLLINS, we view design not as what we make but as what we make possible—where design is a means to build bridges to new, more desirable futures. To peer around the corner in search of what could be, we start every project in our library, where we have over 5,500 volumes. We’ve found that by rooting ourselves in history, we always seem to find someone, somewhere, who’s solved a similar version of the problem we’re facing at that time. It helps.

JC: Our approach was integral to the NVAs project. We combined historical typographic gestures with more timely ones to create adaptability. Our ethos always emphasizes honoring the past while envisioning the future, ensuring that our work is rooted in tradition to bring familiarity and reassurance, yet forward-thinking enough to bring originality and surprise.

How did the NVA identity evolve from the initial sketches to the final product?

JC: The identity evolved significantly from our initial sketches. Throughout, we paid keen attention to all the details in the letterforms. We also recognized the importance of this identity becoming tangible, physical, and dimensional. So, we envisioned the logotype as a real trophy, determining the dimensions, proportions, weight, and materials that would work best in a real-life object.

BOTH: It was exciting to imagine our symbol as a heroic, heavy trophy, embodying NVA’s mission to support emerging voices. We want to see it standing proudly on someone’s desk 15 years from now while they share a story on why winning recognition was important. Considering the remarkable promise we see in a program like PRINT New Visual Artists, it’s certainly important to us. We could not be more honored to be invited to design the identity for the NVAs. We can’t wait to see how our work will showcase the first 2024 New Visual Artist.

The post COLLINS Identity for New Visual Artists 2024 Bridges the Past and Future appeared first on PRINT Magazine.

In 2015, Ryan Fitzgibbon was immersed in his young design publishing career and committed to the global fight for LGBTQ rights. Three short years prior, he founded Hello Mr., a quarterly magazine focused on the interests and stories of gay men. Ryan aimed to offer a fresh perspective by combining high-quality journalism, personal stories, and contemporary culture. Featuring in-depth articles, interviews, and photo essays, often highlighting themes of identity, relationships, and community, Fitzgibbon’s Hello Mr. was a thoughtful and inclusive publication celebrating the diversity and experiences of modern gay men.

I’ve helped restructure organizations, redesign brands and build on existing strategies, but I had never built one from the ground up and stayed around long enough to manage it. Launching Hello Mr. on my own was the greatest challenge of my career.

Ryan Fitzgibbon, 2015

Challenges often make us stronger, and they continued to do just that for Fitzgibbon. He self-published Hello Mr. from Brooklyn, New York, before moving to Tulsa, Oklahoma, in January 2020. Shortly after arriving, he was diagnosed with HIV at the height of the pandemic.

“Make it mean something” continued to resonate for Ryan. His diagnosis inspired his creation of In Our Blood, a platform that supports individuals with detection and exercise while replenishing their inner activism. As he committed to Tulsa, he continued to work to protect LGBTQ+ rights and expand HIV/AIDS care and prevention in Oklahoma. His meaningful work also supports the Black Wall Street Times in producing multiple print publications and opening their newsroom and storefront in Greenwood.

Being selected as a New Visual Artist in 2015 buoyed my confidence as an artist and indie publisher. The recognition renewed a dedication to my practice by highlighting the impact that could be achieved with support from a platform as revered as PRINT.

Ryan Fitzgibbon, 2024

Though Hello Mr.‘s last publication was in 2018, this past spring, A Great Gay Book: Stories of Growth, Belonging & Other Queer Possibilities hit the bookshelves to celebrate the collection of essays, short fiction, poetry, interviews, profiles, art, and photography from the magazine’s archives, as well as new material from today’s most prominent LGBTQ+ creatives. For Fitzgibbon, making it mean something means something every day.

You can make it mean something, too. Enter your work in PRINT New Visual Artists 2024 to impact the future of your career and inspire design creativity around the world.

Featured Image: Alternative Cover Design for PRINT New Visual Artists Magazine, April 2015 by Shane Griffin, NVA Alum Class of 2015

The post New Visual Artist Ryan Fitzgibbon ‘Makes It Mean Something’ appeared first on PRINT Magazine.

In 2015, Morcos’ burgeoning talent and early achievements earned him a spot on PRINT’s New Visual Artist shortlist—our longstanding showcase of the top industry talent under 30 (and now, as of 2024, over 30, too!). His interest in social justice and his love of type was apparent in the magazine, which featured his posters steeped in playful, electric letterforms influenced and inspired by a global vision, with a focus on storytelling.

Left to right: “Beirut” posters, in which the topographic lines spell the name of the city in Arabic; “Einstein’s Dreams” poster advocating the protection of civil liberties; “Alexandria” poster, constructed by linking Alexandria and Beirut through pop songs.

When asked about his style in 2015, Morcos noted that his philosophy was focused on context, content and form—but that he was still figuring everything out.

It will probably take some time. Arabic typography and close attention to form are recurrent themes. I also gravitate towards designing visual systems.

Wael Morcos, 2015

Morcos’ cover design for PRINT New Visual Artists 2015.

At the time, he was working as a senior designer at Base Design, and he soon found himself honing his style as a freelance senior design for Apple, a senior designer at IBM and, in February 2018, founder and partner of Morcos Key, where the team’s award-winning and socially impactful projects continue to merge type, editorial design and storytelling for queer, POC and other diasporic communities.

Almost a decade after his selection as a PRINT New Visual Artist, we asked Morcos how that early recognition impacted his career and life.

I was eager to see how my skills and design voice measured up against the incredible talent in the city and [was] seeking validation from my peers. In addition to serving as personal validation, I was able to include it in my application for an O-visa, which is merit-based.

Wael Morcos, 2024

If you’re eager to see how your work stacks up in the creative community, now’s the time to enter PRINT New Visual Artists 2024. Entries are open until Aug. 20!

The post Global Inspiration: Wael Morcos Wove His Passion for Arabic Type Into NVA History appeared first on PRINT Magazine.

Clockwise from left: Poster from an artists’ workshop on unconventional narrative in film and media, 2007; cover and spread from a children’s book about a boy and his blimp, 2008; packaging design for Azita’s Almost-All-American Hot Sauce, 2007.

A graduate of the Rhode Island School of Design, Freimuth was working at VSA Partners as a senior designer. He was thriving in the firm’s team environment, and had become interested in the practical and financial side of design, as well as the creative process.

What I see eventually is building a collaborative, strategic, multidisciplinary group whose work is broader than any specific design area. There are so many opportunities to make meaningful contributions— I’d like to try my hand at them.

Michael Freimuth, 2008

In 2012, he did just that, and with Patrick Richardson he founded a collaborative multidisciplinary group, Franklyn. With offerings ranging from strategy, brand identity, illustration, packaging, digital, animation and environmental design, today Franklyn works with clients including Marz Community Brewing Co., Carewell, Humanscale and Brooklyn Brewery. Their work also supports causes the founders care about, such as World Parkinson’s Day and the National Network of Abortion Funds.

NVA helped motivate me to get out of my comfort zone and put my own work out into the world. It’s always worth trying to push yourself—you never know what’s possible unless you make yourself vulnerable.

Michael Freimuth, 2024

PRINT’s New Visual Artists competition is open for entries now through Aug. 20—and today is the deadline for the lowest rates to enter. Where will your creative dreams and career goals take you? We can’t wait to see.

The post Go From Career Dream to Career Reality With PRINT’s NVAs appeared first on PRINT Magazine.

In 2015, PRINT Magazine was 75 years old. Debbie Millman, our then—and now—editorial visionary, along with Zac Petit, our then—and now—touchstone for creativity, asked each New Visual Artist to not only design a cover for PRINT Magazine, but also answer a customized “Proust Questionnaire.”

Joey Cofone, the then—and now—CEO of his then start-up Baronfig, answered the questionnaire, and told us about the path that led him to design.

I went to school for eight years. There’s no way in hell I would’ve agreed to that from the outset, but a series of events led me inevitably down a path I never saw coming. First, I went to school for literature and philosophy, where I got to study ideas from the greatest minds that ever graced this earth. I wrapped up in 2008, during the heart of the storm we now call the 2008 Financial Crisis. There were zero jobs for newbies like me. So, what did I do? I went to SVA as an illustration major. I had so many credits from my first go-round at school, that I didn’t need to take any humanities. Instead, I took a typography class. That’s where my teacher, Lara McCormick, changed my life when she introduced me to design, which allowed me to combine my passion for words with my love of visual art. I switched majors and never looked back.

Joey Cofone, 2015

Paths are like that. They don’t often progress in a straight line. They meander. They hit roadblocks. They surprise us and challenge us to make decisions that—sometimes—we don’t feel we are ready to make. One of the reasons PRINT expanded NVA to include artists over 30 for 2024, is because of paths like Joey’s.

Supporting thinkers around the world through imagination and inspiration, Baronfig and Joey continue to flourish.

Being recognized for my work helped me convey the quality that I deliver. Whether that’s for my own business or for clients, it’s much easier to convince a non-designer with an award like this.

Joey Cofone, 2024

If your path is off the beaten one, or if you’re heading straight into the creative stream and feel you can be the next creative visionary for your generation, PRINT New Visual Artists is calling your name.

Find out more here.

The post The Road Taken appeared first on PRINT Magazine.

In April 2009, PRINT selected 20 visual artists under 30 for their annual New Visual Artists edition. It was a banner year featuring Timothy Goodman, Randy Hunt, Nicole Jacek, and Jessica Hische, among others.

PRINT’s editorial team asked each featured artist to select a typeface they felt represented them. After the designers made their decisions, the PRINT team asked Precision Laser in Rhode Island owner Bud Saggal to laser-cut each letter out of a ¾-inch thick piece of plywood—and they photographed the result. This photograph became the opening spread.

The two-person studio, Labour (Ryan Dunn and Weyth Hasen), picked a “big fat megabold” dollar sign set in Normande. Two of the winners picked Chromium One—what are the odds?

Jessica Hische selected Valentine Script, a typeface that she designed.

“I designed Valentine working on holiday type for Tiffany & Co. It’s a script that is whimsical without being too informal. I chose this typeface because I think, as with much of my work, you can see a bit of my personality shining through.”

Jessica Hische, April, 2009

Hische shines through in all of her work—from advertising to books and film, identity to editorial, and everything in between. Her work brings her clients’ vision and marketing goals to life through strategy and collaboration while maintaining a certain Jessica-ness. As a New York Times bestselling author, she guides us all, enriching our lives.

If you’ve seen her present at conferences around the world, you’re familiar with her honesty and accessibility. Many fans were born when she chatted with Debbie Millman on an episode of Design Matters. In 2009, PRINT was a big fan, too. We still are!

Winning New Visual Artists, along with a small handful of other similar awards, contributed hugely to my success. The fact that people still list this win in my bio when introducing me on stage speaks to this! New Visual Artists really helped me stand out in a sea of incredible talent and instantly legitimized me to folks unfamiliar with my work. Plus I’ve stayed in touch with a few of the other winners from my year and we have remained friends and occasional collaborators.

Jessica Hische, April, 2024

PRINT New Visual Artists has been a seminal marker in many storied careers, and we’re honored to bring it back in 2024. Whether you’re a type designer, like Hische, a photographer, data visualizer, motion designer, or [fill in the blank, creative superstar], you can also see your name amongst the ranks of PRINT New Visual Artists.

The post A Valentine For Jessica Hische appeared first on PRINT Magazine.

When I was 9 or so, I remember going on a drive with my father. … He pointed out a cross on top of a local church and said, ‘You see that up there? I did that.’ To this day, I still smile about it because I don’t know how true that is, but I like to believe that my father did do that. I remember looking up and seeing that cross as this blurred streak of white and red against the blue sky as we drove past—it really is a beautiful memory that I have of a turning point in my life that changed the way I saw the things that surround us. I never took notice of design until this very moment, and I was intrigued not just by the look and shapes of things around me, but this idea that someone created those things—that someone designed those things.

Back when I was the editor of the print version of PRINT, my favorite issue of the year to make, hands-down, was the New Visual Artists quarterly. Now, “New Visual Artists” was never the most … compelling or nuanced name for a design competition—and I can’t tell you who dubbed it that when it launched in 1998—but I can tell you what it became: one of the industry’s most well-known and well-respected “## under 30” lists, which today counts a legion of alumnus working at the forefront of the field. 

As anyone who has ever made a newsstand magazine could tell you, you get bogged down in the bottomless mire of deadlines. Veritable clown cars filled with publishers and consultants. Newsstand reports. Digital metrics. Ad sales and their impact on editorial space. And, notably, the often tricky egos of the more famous folks inside.

This is all to say: Every year, the New Visual Artists issue came out in the spring—and it was always, without fail, a wholly fresh reset. Perhaps not unlike Bojorquez in that car, it taught me to see—or at least reminded me how to every year. Interviews with the winners revealed young designers at their most raw, unrestrained, terrified, and optimistic—and the work that wound up on those pages often rivaled the best of the big egos. It was a celebration of hope, and it was inspiring—if not sobering. Working on those issues, you got the sense that you were looking at the future of the field. Looking back at them today largely confirms that assumption was correct.

Of course, it was also kind of terrible. Meaning: We combed through dozens upon dozens of portfolio submissions, and it was electrifying to see so much fresh work in one seismic download. What was subsequently deflating was narrowing the list down to just 15-20 designers. Some of the work left on the editorial floor still haunts me when I think back to that selection process.

But—it’s time to bid the ghosts adieu. Ever since the PRINT partners resurrected the brand as an independent media endeavor after it lay dormant for a year or so, I’ve been hoping they’d bring the NVAs back—and that’s what they’re now doing.

With a twist. (And a most welcome one.)

Sure, the core recognition element will still be there with the 15 Under 30 category. But this year, PRINT is adding a section for artists over 30 in their first five years of practice—recognizing that not everyone has the luxury of attending a design institution immediately following high school and jumping straight into the field afterward. PRINT is also democratizing the top honor by enabling the online community to vote on their favorite portfolio from among all of the featured artists. The NVAs will call upon the heritage of the original showcase while inviting in and reflecting a greater diversity of voices and perspectives.

Ultimately, it’s all about new designers. New ideas. And a collective new creative future.

I’m personally excited that PRINT is relaunching this ode to the emerging artists among us—because as the NVAs have always proved, the best creativity often resides at the start.

As Bojorquez said back in 2015: “Out of nothing you can create everything.”

About PRINT New Visual Artists

We’re on a mission to find tomorrow’s design leaders today—and it’s a mission we’ve been on for more than two decades. Originally launched in 1998 as PRINT’s 20 Under 30 shortlist, the NVA alumni roster is now a veritable who’s who of design innovation and leadership, from Eddie Opara and Alan Dye to Jessica Hische and Zipeng Zhu.

It doesn’t matter what you create, where you went to school, or where you’re employed. A brilliant portfolio wins the day—and at the end of the day, we bring your work to a massive global audience of art directors, hiring managers, conference organizers, and all manner of decision-makers in between. We’ve seen the real-world impact that the NVA program has had on careers, and it’s a program we deeply believe in. Which is why we’re bringing it back—and in all-new ways.

New Visual Artists 2024 is now open for entries. We look forward to celebrating design’s next generation.

Early Bird Deadline for New Visual Artists Ends July 9

The post PRINT New Visual Artists: Looking Back & Looking Ahead appeared first on PRINT Magazine.

Not long after, the former PRINT New Visual Artist donned gloves and mask and picked up his camera, working alongside co-director Dan Addelson to capture the performance under the dramatic ambiance of the audience’s headlights. The 45-minute show was put on by Jacob Jonas The Company and took place on May 16, the 59th day of quarantine in Los Angeles. It managed to raise $4,000 for Jonas’ dancers via donations from attendees, who had entered a lottery to take part.

Check out Cash’s film, which was produced with support from a City of Los Angeles Department of Cultural Affairs grant, below.

As Cash says, “We navigated unprecedented constraints while following health guidelines to prioritize everyone’s safety, and I couldn’t be more proud.”

Directed by: Ivan Cash & Dan Addelson

Produced by Cash Studios & Jacob Jonas The Company

Line Producer: Jenna Cedicci

Director of Photography: Michael Pescasio

Editor: Blake Bogosian

Camera Operator 1: Joey Graziano

Camera Operator 2: Dylan Schwartz

Drone Footage: Dylan Schwartz

Sound Mixer: Daniel McCoy

Composer: Anibal Sandoval

Art Department: Eliot Addelson

1st AC: Owen Patry

2nd AC: Bradley Wilder

Audio Mix: Pete Kneser

Color: Beau Leon

Senior Color Producer: Andrew McLintock

Project Manager: Louie Jimena

Special Thanks: Devin Whetstone, Jesse Dana

Performance

Creator & Choreographer: Jacob Jonas

Producers: Jill Wilson

Lighting Design: Will Adashek

Assistant Choreographer: Mike Tyus

Rehearsal Director: Marissa Labog

Content and Research: Joy Brown, Emma Rosenzweig-Bock

Dance Captains: errese Adams, Anthony Bryant

Dancers: Jerrese Adam, Georgia Bryan,

Anthony Bryant, Joy Isabella Brown, James “Jstylz” Blackston, Chandler Davids, Marissa Labog, Miguel Lopez Jorge, Jacob “Kujo” Lyons, Emma Rosenzweig-Bock, Mike Tyus, Angelo “Vo Vera” Sapienza, Santiago Villarreal, Jill Wilson, Diána Worby, Patricia Zhou

Special Thanks: Don Norman, Elizabeth Yochim, Jonathan Pony

The post “To Stay Creative in a State of Crisis”: Ivan Cash & Dan Addelson’s PARKED appeared first on PRINT Magazine.

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“This piece speaks to the variety of disciplines that fall within the realm of art.”

Meet New Visual Artist Amber Vittoria

Age: 27.

From: Carmel, NY.

Current city: New York City.

Education: Boston University; BFA, graphic design.

Earliest creative memory: It was second grade, and we were drawing our self-portraits with crayon. The boy across from me stated, “Why do you make the arms and legs so long? That is wrong, you know.” I looked down at my masterpiece and back up at him and said, “That is how I see myself.”

Path that led you to design: It was the only path I felt OK with failing on.

Career thus far, in a nutshell: Unsolicited emails and a prayer for a response.

Current place of work: Freelance illustrator.

The key to good design: Putting yourself into the work (shout out to James Victore for teaching me that one).

Motto/design philosophy: Keep making.

Work of which you’re most proud: “Plant Goals,” as it was the first piece I allowed myself to put out there in the style I was most afraid of sharing for years.

Biggest influence: My brother.

How you would classify your style: Contemporary. Heavily inspired by modern events and perspectives on women, my pieces focus on femininity and the female form, leveraging physical traits such as body hair, overtly extended limbs and rounded features.

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Design hero: James Victore.

Favorite artist: Jenny Saville.

Favorite typographer: Jessica Hische.

Favorite writer: Miranda July.

Cause that means the most to you: Pushing intersectional feminism forward.

Biggest fear: Death.

What you want to accomplish before all is said and done: Run another marathon (preferably Boston, and while not nursing an injury).

Your idea of happiness: Content.

The future of design is: Social.

Website: ambervittoria.com

The post 15 Artists Under 30: Amber Vittoria appeared first on PRINT Magazine.

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-cultureof the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“My cover is a window that invites people to peek into the work and playground of this year’s New Visual Artists.”

Meet New Visual Artist Khyati Trehan

Age: 25.

From: New Delhi.

Current city: Berlin.

Education: National Institute of Design, Ahmedabad; BA, visual design.

Earliest creative memory: I was really lucky to have gone to a school called Mirambika till the 8th grade. Those 10 early years of mine involved making bridges over ponds to learn about architecture, going to France to learn French, doing pottery and carpentry between math and science, and taking music, theater and art just as seriously as any other subject.

Path that led you to design: My hands-on schooling definitely had a huge influence on the years that came after it. I had no idea what design was till I found out about NID from a very friendly senior at Mirambika—Apurba Pawar, who was studying product design at the time. In retrospect, I’m glad I was one of the less skilled ones in the batch at design school because it pushed me to be competitive and hungry.

Career thus far, in a nutshell: I’ve been catapulting from one corner of the gamut of design to another, spanning from type design at the Indian Type Foundry, user experience and research as part of my thesis project amidst engineers, scientists, product designers and animators at the Think Tank Team (Samsung Research USA), branding and publication design at Codesign (Gurgaon), to UI design and 3D animation at Struckby (New Delhi). My career thus far has also been a series of unfortunate events that have helped me deal with failure: an internship at Sagmeister & Walsh (visa rejected), Saffron London (visa issues), Fabrica (rejection after trial), Google Creative Lab (visa issues).

Current place of work: the Studio, Zalando.

The key to good design: Logic and empathy.

Motto/design philosophy: Design, don’t decorate.

Work of which you’re most proud: My college project “The Beauty of Scientific Diagrams” will always be my favorite just because of the rush I felt throughout those two months. I was so thrilled with the idea that I couldn’t wait to give it some form. It took form integration to complex territories using typography, illustration and several days in the company of research books and patent drawings. The project aimed at fusing the initials of a scientist with the diagram of their invention or discovery. The most challenging part of the project was figuring out how to distort the diagrams to fit [each] letter such that it wasn’t rendered useless, so that if a physical model was made in front of you, it would work as efficiently as the original diagram. #gallery-2 { margin: auto; } #gallery-2 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 50%; } #gallery-2 img { border: 2px solid #cfcfcf; } #gallery-2 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

Biggest influence: Everything and everyone within a 20-meter radius.

How you would classify your style: Brief-dependent.

Design heroes: Stefan Sagmeister and Sanchit Sawaria.

Favorite artist: Moonassi (Daehyun Kim).

Favorite typographer: Satya Rajpurohit.

Favorite writer: Palash Singh.

What defines you: My environment.

Cause that means the most to you: Saving resources.

Biggest fear: My mother or sister getting hurt.

What you want to accomplish before all is said and done: I only make short-term plans for myself. It’s easier to get to them.

Your idea of happiness: No stress.

The future of design is: Newer platforms.

Website: www.khyatitrehan.com

The post 15 Artists Under 30: Khyati Trehan appeared first on PRINT Magazine.

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“I love puns, so hiding the ‘15’ literally under ‘30’ seemed like a fun way to showcase the gems we find after digging down.”

Meet New Visual Artist Colin Webber

Photo by Lisa Lok

Age: 25.

From: Ellicott City, MD.

Current city: Brooklyn, NY.

Education: School of Visual Arts; BFA, design.

Earliest creative memory: Drawing and doodling, for sure—ever since I can remember. I’d fill sketchbooks and notebooks with made-up characters and comics. In school I’d always draw in the margins on my tests.

Path that led you to design: I was always very particular about the way things looked. I felt a connection to everything from book covers to playing cards, album art and packaging. During my childhood, I collected bottle caps, foreign coins, arcade tickets, etc., because I liked what I would later learn was the design. Now, being in the industry, I love creating and curating a vision that hopefully resonates in that same way with others.

Career thus far, in a nutshell: During school I interned at the Visual Arts Press and Knopf Doubleday. After that I worked part time at the Public Theater and started full time at Penguin Random House.

The key to good design: The key to good design is understanding. The content should drive the design as much as possible. The better you know the project, the better you can fight for your work and explain to a client the choices you made (and why you’re right!).

Work of which you’re most proud: I’d have to say the covers I did for Samuel Bjork’s thriller series. The hardcover got approved pretty quickly and it was my favorite project for the longest time. …When book No. 2 and the paperback for book No. 1 came around, I was crushed to learn that they wanted to see a brand new direction for the series. My art director called me in and gave me the choice to either try something new or give it out to a freelancer for a fresh take. After much thought, I decided to stick with it. Having some extra parameters to work around this time was difficult, and I tried so many different things before finally landing on the cover with the girl’s dangling legs and the gritty hand-rendered type. This new look went over even better for The Owl Always Hunts at Night, where the big piercing eyes pop out at you from the shadows. This experience taught me to never give up and always push yourself. That one last comp really makes a difference, and you’ll be happy you took the time to do it.

Biggest influence: Ephemera and old design from back when everything was done by hand and carefully crafted.

How you would classify your style: Colorful and tactile.

Design hero: Saul Bass.

Favorite artist: It’s hard to pick just one, but I’ve been a fan of Mattias Adolfsson for a long time.

Favorite typographer: Paul Renner.

Favorite writer: Kurt Vonnegut. He was a sassy old grump who knew how to tell a good story. He dabbled in design and rocked a sweet mustache.

What defines you: Humor and a lip ring.

Cause that means the most to you: Climate change.

Biggest fear: Stagnating and settling.

What you want to accomplish before all is said and done: I want to work with people who aren’t afraid to take risks. I’d hate to limit myself to one thing designwise, but I aim to always be improving and taking on new challenges.

Your idea of happiness: Corgi beach day meetups.

The future of design is: Economical, sustainable and beautiful. The mediums will always change but the principles remain the same.

Website: www.squareyroute.com

Anything else: Shout out to my wife, Lisa, for always helping me through the rough days and my parents for letting me chase a dream in New York.

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The post 15 Artists Under 30: Colin Webber appeared first on PRINT Magazine.

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“The paper sculpture represents the rising stars—the new upcoming designers. With its explosion of color it visualizes the power the new talent has.”

Meet New Visual Artist Tina Touli

Age: 27.

From: Athens, Greece.

Current city: London.

Education: Central Saint Martins; MA, communication design. Technological Educational Institute of Athens; BA, graphic arts and design.

Earliest creative memory: I remember when I was a child, my German mother was teaching me how to read and write in German and bought me a book to learn calligraphy. I never really bothered to ask her why I was learning calligraphy at that point, just because I really enjoyed it. It was actually the most exciting part of my homework. I was much more interested in learning how each letter could be drawn in so many different beautiful ways than actually learning the language. After so many years, I realized how big the impact was—how these little exercises enhanced my passion for typography.

Path that led you to design: I always loved communicating through any form of art. [When] I was little I was keen on dancing, drawing, playing music and others. I attended a music school, which kept me involved with all disciplines of art, from architectural drawing to acting. Only a few months before graduating I realized what I wanted to do with my life. When a friend told me about design, a field that would allow me to combine everything that I was passionate about—audio, motion, visuals, etc.—I knew exactly where I belonged.

Current place of work: My private London-based multidisciplinary studio.

The key to good design: A good design is something that you will still remember next month, next year and over the passage of time. It can be very simple, but it has to be clever or brave, unexpected or funny and, of course, communicate the message that it was intended to carry.

Work of which you’re most proud: [30 Years of Adobe Illustrator.] I had the great opportunity to be invited byAdobe to take part in the graphic design livestream and share the way in which I am working, and challenge myself to design a poster for this special anniversary live, over three days, two hours every day. Inspired by the way in which we flip the pages of our notebooks—representing the past, the present and the future—I created a three-dimensional paper sculpture and used it as a guide for the design. It depicts the number “30,” a horizontally symmetrical number.

Biggest influence: My friends, both designers and nondesigners, and my family have always been the biggest influence for me. [They] defined who I am today, both as a designer and as a person.

How you would classify your style: Multidisciplinary. I enjoy building solid concepts and constantly blending things from the physical and the digital world, working across different platforms and mediums.

Design hero: Paula Scher.

Favorite artist: René Magritte.

Favorite typographer: Jurriaan Schrofer.

What defines you: Persistency. I like to continuously challenge myself by experimenting and setting up new goals, never giving up on them, and by learning new skills and exploring new fields, new mediums.

Cause that means the most to you: Consumerism.

Biggest fear: Stagnation. What motivates me and keeps me going is the excitement of something new.

What you want to accomplish before all is said and done: Work [created] with passion that will be remembered and inspire others.

The future of design is: Design was and will always be about solving problems. The tools and the mediums of design will only change according to the new technologies and the new needs.

Website: www.tinatouli.com

The post 15 Artists Under 30: Tina Touli appeared first on PRINT Magazine.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“New Visual Artists giving print CPR.”

Meet New Visual Artist Natalie Shields

Age: 24.

From: Seattle.

Current city: Brooklyn, NY.

Education: Rhode Island School of Design; BFA, graphic design.

Earliest creative memory: Being very proud of a horse that I drew in preschool. I’ve looked at this drawing since then and it’s essentially a misshapen circle.

Path that led you to design: In high school, I kept the majority of my artistic inclinations under wraps. However, I was obsessed with Martha Stewart and loved baking. I got my first DSLR camera and started documenting what I made, gradually getting more into food styling. I was known to bring in treats the day of an exam that was destined to be particularly brutal as an attempt to console many of my classmates afterward. While I don’t really bake anymore, I was clearly leaning toward what I now recognize as some of the elements of graphic design: manipulation of color, texture, composition, and so on. Much of my portfolio when applying to art schools was pictures of cupcakes.

Career thus far, in a nutshell: Graduated from RISD in 2015 and worked at a studio in Manhattan until the spring of 2016 while working on my first book, Love, Floppy Disks & Other Stuff the Internet Killed. Moved to my current workplace, Doubleday & Cartwright/ Victory Journal in Brooklyn. My second book, Loving Football When It Doesn’t Love You Back, releasing September 2017, is a mix of photography, illustration and prose on the connections between athletics, physicality, femininity and violence—the complicated dynamic of loving something which treats you poorly.

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The key to good design: Only listen to yourself.

Motto/design philosophy: We’re here for a good time (not a long time).

Work of which you’re most proud: Originally my degree project at RISD, Love, Floppy Disks & Other Stuff the Internet Killed. What began as a research and collecting process over three years, the book developed as I started combining anecdotes from my own adolescence with the voices of male and female rappers, anonymous posts on confessional apps (Yik Yak, Secret, Whisper) and demographic data regarding what’s wrong with millennials. The book composes a portrait of a generation that feels a lot but doesn’t know what to do with these feelings. Born in Seattle in 1993, I belong to a generation of young adults who grew up in tandem with the internet. Millennials—conditioned participants in virtual romance, fantasy computer game worlds and robot companions—are supposed to be overstimulated, hypermediated, unable to connect. For them, is love—like the floppy disk—a symbol of something now defunct? Is love now a cipher—something that used to exist and has become pure abstraction? Or is it actually the opposite? Is the idea of love so omnipresent in millennials’ cultural discourse that they have monumentalized it? What is it about love that the internet killed?

Biggest influence: Punk flyers.

How you would classify your style: A jock signing your yearbook.

Design hero: Raymond Pettibon.

Favorite artist: William Eggleston.

Cause that means the most to you: Well, right now, I think the work Colin Kaepernick is doing with Know Your Rights is excellent and important.

Biggest fear: Silly one: sharks. Real one: watching all my friends and family die.

What you want to accomplish before all is said and done: Squat twice my bodyweight.

Your idea of happiness: Not feeling existential dread for 10 minutes!

Website: www.natalieshields.co

Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

1. A look at the rebranding of an old industry made anew: marijuana

2. A Manifesto from Scott Boylston on the dire need for sustainability in design

3. Paul Sahre’s memoir/monograph Two-Dimensional Man

4. Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff

5. And much more!

The post 15 Artists Under 30: Natalie Shields appeared first on PRINT Magazine.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“We’re staking our territory and waving our victory flag.”

Meet New Visual Artist Amy Schwartz

Age: 27.

From/current city: Chicago.

Education: Cranbrook Academy of Art; MFA, 2D Design. DePaul University; BA, art and design, BS, interactive media.

Earliest creative memory: I remember drawing outfits for my dolls. I would design clothing with chunky Crayola markers and use my special stamp markers to create patterns on the outfits.

Path that led you to design: I was editor-in-chief of my high school newspaper for two years. I became editor-in-chief of design my senior year, which allowed me to focus on the production, layouts, photographs and infographics. I was so fascinated by the idea that design could impact the reader’s understanding of the content. That’s how I realized my passion lay in graphic design and not journalism.

Career thus far, in a nutshell: Designer at Bright Bright Great > designer at Skidmore Studio > interaction designer at Gravitytank > design director at Cards Against Humanity > product director at Blackbox > creative director at Bright Bright Great.

The key to good design: Iteration and experimentation.

Photos of Cards Against Humanity, taken in Chicago, at Some Office, IL for Cards Against Humanity’s use. brentknepper.com All photos ©2016 Brent Knepper

Motto/design philosophy: “If you’re gonna flip burgers, flip burgers like a motherfucker.” —Elliott Earls

Work of which you’re most proud: I’m proud of the overall body of my work because it can be judged not purely by its aesthetic quality, but on its impact and implicit value system. As a commercial designer working in a capitalist sphere, all of my work is inherently political. This is true for all of us. By working for companies who economically devastate whole cities, build internal applications to avoid law enforcement, have sexist and racist hiring practices or financially support fascist policies, you are co-signing that behavior. You can’t condemn a company on your Twitter on Monday and work on their new app on Tuesday.

Biggest influence: The Cranbrook Academy of Art.

How you would classify your style: A Lisa Frank Trapper Keeper full of riot grrrl zines and Tales From the Crypt comics.

Design heroes: Nicole Killian, Robyn Kanner, Amélie Lamont, Nancy Skolos.

Favorite writer: Shonda Rhimes. (Not everything has to be about graphic design, people!)

Cause that means the most to you: Fighting fascism and white supremacy and protecting the lives of people of color, trans men and women, and religious minorities. It shouldn’t be a radical belief that the most marginalized people in our country should not be murdered, attacked or made unsafe in any way.

Biggest fear: Making life worse for another person, in any way. What you want to accomplish before all is said and done: To leave things in better condition than I found them.

Your idea of happiness: Eating a Mickeyshaped food product and riding Space Mountain. Walt Disney World is a special place to me. All of my childhood vacations were to Disneyland or Walt Disney World. Now that my parents no longer own my childhood home, I have few physical places that hold intimate childhood memories.

The future of design is: Ethical designers with strong backbones.

Websites: www.amynicole.co; www.brightbrightgreat.com

Anything else: I walked away from a dream job this year to take a risk on myself. My end goal has always been to run my own design studio. It’s important for me to work with clients whose values align with mine. I also take seriously my responsibility to mentor young designers, to foster a healthy work environment and to build a diverse team. Self-employment means controlling these factors and practicing what I preach.

Photos of Cards Against Humanity, taken in Chicago, at Some Office, IL for Cards Against Humanity’s use. brentknepper.com All photos ©2016 Brent Knepper

Photos of Cards Against Humanity, taken in Chicago, at Some Office, IL for Cards Against Humanity’s use. brentknepper.com All photos ©2016 Brent Knepper

Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

1. A look at the rebranding of an old industry made anew: marijuana

2. A Manifesto from Scott Boylston on the dire need for sustainability in design

3. Paul Sahre’s memoir/monograph Two-Dimensional Man

4. Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff

5. And much more!

The post 15 Artists Under 30: Amy Schwartz appeared first on PRINT Magazine.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“The cover deconstructs the title of the issue, using each individual element to create a composition and reference to the issue being comprised of pieces of work from multiple designers.”

Meet New Visual Artist Chad Miller

Age: 29.

From: Cincinnati.

Current city: Brooklyn, NY.

Education: I have an MFA from Vermont College of Fine Arts and some sort of associate’s degree from Cincinnati State—a small technical school in Ohio.

Earliest creative memory: Having my older brother show me how to draw skulls at my kitchen table.

Path that led you to design: An interest in subcultures, specifically punk and post-punk.

Career thus far, in a nutshell: I spent a few years in the Midwest working on packaged goods and ad campaigns, followed by a few more years on the East Coast working mostly on branding efforts for consumer brands and higher education clients. Most recently I worked in the New York office of Pentagram under Emily Oberman.

Current place of work: I work as an independent graphic designer.

The key to good design: There are endless interpretations of what good design is, but I think a pretty common throughline is honesty. Good design has to be honest. Contrived work usually comes off as such.

Motto/design philosophy: I try my hardest to make work I like regardless of the context. I used to get bogged down by the potential of a project; now I approach everything with the same mindset, whether it’s a contemporary art museum or a lawn care service. This might sound a bit rudimentary but was an important hurdle for me to get over.

Work of which you’re most proud: The work I created in graduate school has pushed my boundaries the most. It came from a really personal place, so I have more of an attachment to it than most client work.

Biggest influence: Music, and the subcultures associated with it, are what made me aware of graphic design in the first place. It has continued to be a large influence.

How you would classify your style: I’d like to think my style is fairly representative of my cultural identity, the visual result of my upbringing and experiences.

Design hero: I’m not sure I have a design hero. I’ve been on a big Peter Saville kick since I was a teenager, but even he designed that one heinous New Order cover from the ’90s. Some designers that have had a large impact on me though are Karl Gerstner, Rudolph de Harak and, of course, the New Wave guys like Dan Friedman and Wolfgang Weingart.

Favorite typographer: I try and support contemporary type designers as much as I can. My favorite typefaces of the last few years have been designed by Kris Sowersby.

Favorite writer: Richard Brautigan.

What defines you: John Hughes movies, circa 1985.

Cause that means the most to you: Not compromising who you are as a person, despite pressures from cultural or societal standards.

Biggest fear: Either being framed for a crime and sent to prison, or bugs.

What you want to accomplish before all is said and done: Making work on my own terms for causes I believe in. Preferably in a house reminiscent of something by Frank Lloyd Wright, in the remote depths of the Pacific Northwest.

The future of design is: As technology progresses and more and more design necessities are created, I think a return to a more universal design philosophy is inevitable. I personally welcome a collapse of these hyper-specific design genres. I’m critical of the effects they have on design education in particular. Entire programs tailored to a specific role force students down a certain path despite their individual interests. I just feel the unnecessary taxonomy of the industry leads to stagnation more than anything.

Website: www.chdmlr.com

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Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

1. A look at the rebranding of an old industry made anew: marijuana

2. A Manifesto from Scott Boylston on the dire need for sustainability in design

3. Paul Sahre’s memoir/monograph Two-Dimensional Man

4. Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff

5. And much more!

The post 15 Artists Under 30: Chad Miller appeared first on PRINT Magazine.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“… A custom-lettered, 1:12 scale version of a magazine cover, constructed of flowers and acrylic paint on a large roll of paper.”

Meet New Visual Artist Adé Hogue

Age: 28.

From: Asheville, NC (but my family is from South Boston, VA).

Current city: Chicago.

Education: University of North Carolina at Charlotte; BFA with a concentration in graphic design.

Path that led you to design: After essentially flunking out of engineering school, I stumbled into a drawing class in college because I needed enough credit hours to remain a full-time student. I thought it would be an easy ‘A.’ I quickly realized it was going to be much tougher than I expected and I began practicing more. I just happened to fall in love with it!

Career thus far, in a nutshell: I would say that my career up to this point has been about exploration and self-discovery. Every move I have made, and every piece that I have created, has been about trying to find what I enjoy doing the most.

Current place of work: Freelance.

The key to good design: The key to good design is an obsessive [amount] of preparation, knowledge and understanding. Knowing what has been created before you, knowing what’s worked in the past, and knowing what hasn’t is key to creating successful things today. Perhaps it’s my lettering background, but I’m a firm believer in referencing older pieces to create something new—borrowing subtle details and techniques from different places to ensure the final piece is cohesive.

Motto/design philosophy: Share, share, share. It’s easy for us as designers to curl up in a corner with something we’ve created and not solicit feedback from others.

Work of which you’re most proud: In October of 2013 I started a simple daily lettering project. I was interested in learning something new, and thought it might be a great way to get started. While I’m not necessarily proud of those particular lettering pieces anymore, I realize that it literally kickstarted my career and pushed me to where I am today.

Biggest influence: A few years back, one of my uncles told me a story about what made him join the military. It was a crazy story that should never be repeated, but he ended the story by simply saying, “That was my GO,” and told me to “Find GO, nephew.” That simple little phrase inspires everything I do, and now it’s tattooed on my arm as a daily reminder. It reminds me to get up and find what is worth living for each and every day.

How you would classify your style: Modern, personal, thoughtful.

Design hero: My design hero/icon would have to be Doyald Young. To be able to flourish like him is literally a dream of mine.

Favorite typographer: Adrian Frutiger.

What defines you: My energy and my willingness to experiment in life and in art.

Cause that means the most to you: The fight against systemic racism toward black people in America and across the world.

What you want to accomplish before all is said and done: I want to create something iconic that will be used for decades at a high level. I also hope to have my own solo exhibition at a gallery one day.

Your idea of happiness: I’m not sure exactly what happiness looks like for me, but I think it has something to do with living a comfortable life and the opportunity to create work I’m truly proud of each and every day.

The future of design is: In my opinion, the future of design won’t be a positive one if we don’t stick together and fight for respect for what we do. We have to get the world to stop looking at what we do as a “hustle” or a “side gig,” and realize that this is our profession. We can’t pay the bills on $50 logo projects and exposure.

Website: www.adehogue.com

#gallery-3 { margin: auto; } #gallery-3 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 50%; } #gallery-3 img { border: 2px solid #cfcfcf; } #gallery-3 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

1. A look at the rebranding of an old industry made anew: marijuana

2. A Manifesto from Scott Boylston on the dire need for sustainability in design

3. Paul Sahre’s memoir/monograph Two-Dimensional Man

4. Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff

5. And much more!

éhogue #print #letteringdesign #designinspiration #newvisualartists #NVA #lettering #Printmagazine #inthemagazine

The post 15 Artists Under 30: Adé Hogue appeared first on PRINT Magazine.

Deadline for entry: November 20, 2017

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“This is a cover people can interact with.”

Meet New Visual Artist Andrew Herzog

Age: 26.

From: Coatesville, PA.

Current city: Brooklyn, NY.

Education: Savannah College of Art & Design; MA, graphic design.

Earliest creative memory: It’s more like an amalgamation of many memories—thinking that a signature was an entire drawing, drawing Free Willy, coloring people blue.

Path that led you to design: When I was growing up, my dad worked for a company that made labels. Labels that get slapped on all sorts of things. Ingredient labels for food, and stuff like that. Because I doodled and had an imagination, my dad insisted that I spend time with Jess, the “Graphic Artist” who worked there. I wasn’t even sure what being a graphic artist meant. His job consisted of setting type and graphics to create print-ready files that would go to the presses and become labels, but he was technically an artist and had a job. Meeting him cracked open a world of possibilities I otherwise might not have known. It also meant that later on, my parents would be OK with me going to art school because they knew there was at least one job out there for someone like me. Another contributing factor was a crush I had on an AP art student my junior year of high school. She was going to SCAD, so I did too.

Career thus far, in a nutshell: R/GA → Sagmeister & Walsh → Google Creative Lab → HAWRAF.

Motto/design philosophy: Make things that people want to interact with.

Work of which you’re most proud: Last fall, at HAWRAF—a studio I co-founded with Carly Ayres, Nicky Tesla and Pedro Sanches—we did the A-Z project. Every hour for 26 hours straight, we created something new, starting with a randomly chosen word from the dictionary. We live-streamed it to open our process to anyone who was curious how a design studio like ours functions. I’m also really proud of the Google Creative Lab 5 application site and AutoDraw, which sprang from that project. I’d love to see the tools that we designers use every day be made more readily available and free to everyone. Not all of us are born with Creative Suite installed on our home computers, and not everyone has any idea what we as creatives do on a day to day. These projects are two of my favorites because they begin to explore the possibilities of accessible creative tools when made by a company like Google. In my personal work, I’ve loved making Natural Navigation and the Ergonomics Studies. I find that we miss a lot as human beings. Through interactive interventions we can punctuate the mundane.

Biggest influence: People. There are so many of us. There are so many perspectives. Everyone is thinking, doing and valuing different things. That’s very interesting to me.

How you would classify your style: Medium-agnostic Interactive.

Design hero: Virgil Abloh.

Favorite typographer: George Arial.

Favorite writers: Dr. Martin Luther King Jr., Ta-Nehisi Coates, Kendrick, Meek Mill, Wale.

What defines you: Socks with slides.

Cause that means the most to you: Education. Education is a privilege, and it can be a barrier or a stepping-stone.

Biggest fear: Being on a list like this with 14 other white dudes.

What you want to accomplish before all is said and done: Create a body of work and a career path that is inspiring and accessible for anyone who might be interested in pursuing a career where they can use their creativity to survive.

The future of design is: Giving more control to the audience and users.

Websites: www.andrewherzog.com; www.hawraf.com

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Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

1. A look at the rebranding of an old industry made anew: marijuana

2. A Manifesto from Scott Boylston on the dire need for sustainability in design

3. Paul Sahre’s memoir/monograph Two-Dimensional Man

4. Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff

5. And much more!

The post 15 Artists Under 30: Andrew Herzog appeared first on PRINT Magazine.

Deadline for entry: November 20, 2017

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“I illustrated the silhouettes of 15 artists in different studio and home environments, working and interacting with their projects in different ways.”

Meet New Visual Artist Siobhán Gallagher

Age: 27.

From: Moncton, New Brunswick, Canada.

Current city: Ridgewood, NY.

Education: Nova Scotia College of Art & Design; bachelor of design.

Earliest creative memory: Drawing outfits for bear ballerinas (my mom drew the bears, then I gave them tutus and crowns).

Path that led you to design: I think it started when, as a kid, I was allowed to cover my bedroom walls with magazine clippings, drawings, photos and poems, which led to my interest in layout and book design, which led to being my high school yearbook editor, which led me to study design in art school.

Current place of work: Abrams Books by day, my couch by night.

Career thus far, in a nutshell: After art school, I interned for a summer at Penguin Young Readers, and soon after got a job there as junior designer. When I started, I was depressed and felt frustrated/stifled creatively and had a need to work on more outside of my office job, so I spent evenings and weekends drawing for fun. Drawing became a way to kind of work through anxiety, depression and heartache, so this continued into more personal projects and self-published zines, which is how my creative director at Abrams found me (at a comic festival).

The key to good design: Being as clear and concise as possible without being boring.

Motto/design philosophy: If you’re going to show it, don’t say it, and if you’re going to say it, don’t show it.

Work of which you’re most proud: I’m most proud of my new book, In a Daze Work, which came out in July from TarcherPerigee, an imprint of Penguin Random House. It is an illustrated choose-your-own-adventure book for adults that goes through the span of an average day, and focuses on the humor in the little things in life (often through observational illustrated puns). Since this was my first book, I really tried to make the most of each page and experimented with methods of visualizing a narrative. I wrote, designed and illustrated the whole thing, so this is the most “me” project I’ve ever done. Working on this, it felt like I collected every mundane thing I experience in a day, what my thoughts are during those moments, and put it all together to share with the world, like, Here’s how my mind works—does it make sense to you? This is how I am—maybe this is like you, too? It feels very satisfying to pull from my own life and illustrate memories in a way others can relate to and find funny. Sometimes I need to remind myself that I’m not alone and others are dealing with the same things I am.

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Biggest influence: Amy Krouse Rosenthal.

How you would classify your style: Cartoonish visual wordplay.

Design hero: Jim Tierney.

Favorite artist: Steve Powers.

What defines you: Sometimes I feel defined by whatever drawing I worked on last, but what probably defines me is what I do when no one’s looking.

Cause that means the most to you: Women’s rights, which as a kid I thought had pretty much
been achieved, but as an adult I’m disappointed how often I’m reminded of the amount of progress yet to be made.

Biggest fear: Forgetting.

What you want to accomplish before all is said and done: I want to do good and do it well.

Your idea of happiness: An ice coffee in my hand and my boyfriend, John, by my side.

The future of design is: Hmm, let me Google that.

Website: www.siobhangallagher.com

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#SiobhaánGallagher

The post 15 Artists Under 30: Siobhaán Gallagher appeared first on PRINT Magazine.

Deadline for entry: November 20, 2017

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“For this cover I wanted to connect the way the design looked with what the words were saying, so I created lettering inspired by the way a brush stroke streaks.”

Meet New Visual Artist Griffin Funk

Age: 28.

From: Lake Oswego, OR.

Current city: New York City.

Education: University of Oregon; BA, journalism.

Earliest creative memory: One: My mom teaching me how to sew. Two: Lying on my bedroom floor drawing comics and skateboard graphics.

Path that led you to design: My path to finding design was pretty indirect, pretty roundabout. I went to journalism school in Oregon and discovered publication design there. I worked at the school newspaper as a designer and art director and worked on a couple campus magazines. I think what really set me off on magazine design specifically was finding a “Best Magazine Art Directors” list through a Google image search while in school. The list was like: Brodovitch, Lois, Fleckhause, Woodward, Baron, Brody, Carson. Ya’know? Their work felt like high art smuggled into popular culture. It was subversive and smart and provocative and it really spoke to me.

Career thus far, in a nutshell: Looking at an iMac, clicking a mouse.

Current place of work: GQ.

The key to good design: Tension between image, typography and word.

Work of which you’re most proud: I’m most proud of the feature design work I’ve done so far at GQ. It’s my favorite part of the job, it’s what first drew me to magazines and it’s what continues to excite me. GQ has been my only real job and it’s a really special place to me. It’s given me the opportunity to learn and collaborate with the best editors, art directors, photographers and illustrators in the business. … I credit my design director, Fred Woodward, for instilling a culture in the GQ art department where everything that is done, whether it be a logo for a collaboration with GAP, an opening spread for a feature in the magazine or a gif for GQ.com, is expected to be really good, and that kind of environment is super motivating. The process of coming up with a concept to art a story and seeing it come alive, and then seeing it out there in the world, is really satisfying to me. I guess my job, in a broad sense, is to help tell the story by expressing an idea through an interesting and meaningful interaction between type, image and word. I think when you get that mix right the result can be really powerful, and I think I’ve done that once or twice, and I’m proud of that.

Biggest influence: Fred Woodward. Handsdown. Period. No question about it. I started as his assistant and kinda just stuck around until he let me design features. He’s been so generous to me and I’ve learned so much from him. I didn’t go to art school, so the GQ art department has really been my art education. Fred has trusted me and elevated me and pushed me to be better, and I’m immensely thankful for that.

How you would classify your style: I would try not to.

Favorite artist: I can’t just pick one, so a few favorites are Jenny Holzer, Isamu Noguchi, Donald Judd.

Favorite typographer: Ed Ruscha.

Favorite writer: Joan Didion.

What defines you: Once got hummus on a tuxedo. That seems like a pretty good microcosm.

Cause that means the most to you: Mental and emotional health issues.

Biggest fear: Burning the roof of my mouth on the first bite of pizza. That, or dying.

What you want to accomplish before all is said and done: I want to be an honest man and liked by dogs.

Your idea of happiness: A nap.

The future of design is: Emoji Ligatures. No, I have no idea, and I think anyone who claims to know what the future of design is is probably full of it.

Website: www.griffinfunk.com

Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

1. A look at the rebranding of an old industry made anew: marijuana

2. A Manifesto from Scott Boylston on the dire need for sustainability in design

3. Paul Sahre’s memoir/monograph Two-Dimensional Man

4. Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff

5. And much more!

The post 15 Artists Under 30: Griffin Funk appeared first on PRINT Magazine.

Call for entries: HOW Logo Design Competition

Deadline for entry: October 30, 2017

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“My Print cover is a celebration of artists’ unique ways of seeing the world and interpreting its intricacies.”

Meet New Visual Artist Lucy Engleman

Age: 28.

From: Northfield, IL.

Current city: Pittsburgh.

Education: University of Michigan; BFA, art and design.

Earliest creative memory: I didn’t do much drawing as a child. I can remember mostly collaging, playing with kitchen spices and having puppet shows. My siblings and I spent a lot of time making things, and my parents always celebrated that. The walls of our home were always covered with whatever we had created. My dad would always put a drawing in our school lunches. We’d bring it home and he’d add to it and put it back in our lunch the next day.

Path that led you to illustration: I always knew I wanted to draw; I just needed to find a way to apply it. … I worked in a build shop for a theater company, taught art therapy, created some murals I’d like to forget about, and made lots of coffee and hung hundreds of shirts on the side. I hustled so hard when I’d get off work—drawing until I couldn’t keep my eyes open anymore. I started to get hired more for illustration work, specifically editorial. I loved the pressure of the quick turnaround and continued into the world of editorial freelance headfirst.

I started to overcommit myself and ended up getting carpel tunnel after the first year of 14-hour days. After medical insistence, I became more realistic and more intentional about the work I took on. Working with Bon Appétit was the first pivotal client relationship in my career. They hired me when I was very green to illustrate their magazine spines for what grew into three years of issues, culminating in one continuous image. When they moved into their new offices in 1 World Trade Center, I had the opportunity to design their wallpaper, based on the image I’d been creating for them over the years. The experience of seeing my work on such a physically large scale has fueled much of where my personal work is headed these days.

The key to good design: Imagination, being fearless and trying new things, listening, and editing.

Motto/design philosophy: Stay in touch with the person you were when you fell in love with making things. Allow for time in spaces where you can make work for yourself. It’s important to remember why we loved creating in the first place, especially when we get overwhelmed and overworked. The best ideas come when you take a break.

Work of which you’re most proud: I’m particularly proud of the work I’ve created with my work family at Collective Quarterly. Since its infancy, we have been a small team creating a publication out of true collaboration, something I’m proud to be a part of.

Biggest influence: The natural world has been a huge influence on my work. I find plants and animals just make me happy and I am absolutely fascinated with all of their intricacies. I take time once a year out of my schedule to travel to a remote place to make work for myself.

Design hero: I’ve always been inspired by the work Julia Rothman is doing and the fact that she’s doing it all on her own, without an agent or design firm behind her. I love that she is an illustrator who is really a jack-of-all-trades.

Cause that means the most to you: The environment and animal rights are two causes I think about daily. They effect every decision I make and are all over all of my work.

Your idea of happiness: Big pla
nts, healthy family, early morning coffee time, days at the beach, surprise hugs, dancing in the kitchen, dessert, dogs playing in the snow, and laughing until your stomach hurts.

The future of design is: I hope the future holds designers having faith in their own ideas and taking chances instead of questioning if their work fits with what is already “trending.”

Website: www.lucyengelman.com

Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

1. A look at the rebranding of an old industry made anew: marijuana

2. A Manifesto from Scott Boylston on the dire need for sustainability in design

3. Paul Sahre’s memoir/monograph Two-Dimensional Man

4. Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff

5. And much more!

The post 15 Artists Under 30: Lucy Engleman appeared first on PRINT Magazine.

Deadline for entry: October 30, 2017

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“A young visual artist possesses a creative mind that is not bound to the box … and is never afraid to show the crazy, weird and peculiar in his revolutionary artworks—artworks that ultimately define him as a person.”

Meet New Visual Artist Sean Eidder

Age: I am 17 years old, and am just patiently waiting for the 21st of March of the upcoming year to enter into legality.

From/current city: Manila, Philippines.

Education: Because my family has been moving to different places around Manila, and also living abroad in the United Arab Emirates, I have attended quite a number of schools. Now, I am in senior high school at Operation Brotherhood Montessori Center. For college, I am planning to go to art school and take up a degree in multimedia or information design.

Earliest creative memory: Coloring Disney character books around age 3.

Path that led you to design: At first it was just the thirst for fame and approval from everyone, but as I got deeper into every [part] of my design work and learned more about the field, I discovered that the local art scene in the Philippines is not given much importance. I thought that it is high time for the Filipinos to recognize how crucial design is in life.

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Career thus far, in a nutshell: Since I started out at 15, I have had a fair number of published artworks and editorial features in local and international magazines, and in a few institutions as well.

Current place of work: I am a freelance artist, but I occasionally apply for internships in publications whenever there is no school (also just to skip doing all the house chores and enjoy my vacation).

Motto/design philosophy: “If you can dream it, you can do it.” I have always believed in this quotation by the visionary Walt Disney. A few years before I started designing, I was just adoring the collages inside the pages of a local youth publication. Then I got into creating my own artworks. One morning, I received an email from the same publication, commissioning me to create collages for them.

Work of which you’re most proud: The art piece used to accompany Tavi Gevinson’s editor’s letter for the June 2016 issue of the wonderful Rookie magazine. I love how it turned out, and how it defined my artistic taste. It was very dreamy and colorful, just the way I imagined it to be.

Biggest influence: I am inspired by anything! But pop culture and childhood nostalgia would be my fixed influences. Any time I construct my design, I look back to my fun memories as a kid—the toys and games I played with, and the colorful books I have read—and I add in a few modern takes on it as well. Childhood experiences are universal and everyone can relate to them.

Design hero: Creative director Martine Cajucom would probably be on top of my long list of design heroes. She is the branding master of Sunnies Studios, a celebrated local eyewear and lifestyle brand—I strive to be the design genius that she is. I have always taken inspiration from the brand’s retro and classic look with a modern twist. I mean, who wouldn’t fall for vintage-inspired marketing materials drenched in millennial pink?

Favorite typographer: I am an avid fan of Chip Kidd and his works! His works are, indeed, revolutionary.

Favorite writer: Call me biased as I am a huge Potterhead, but J.K. Rowling will always be my queen-writer.

What defines you: I am defined by my body of work. I think that what I create affects how I sense, feel and act. My art pieces are just portions of myself, like pieces of the jigsaw puzzle that is entirely me.

Your idea of happiness: I have a simple idea of happiness, and that is doing what I love and making others benefit from it.

The future of design is: The youth.

Website: www.cargocollective.com/peculiarboy

Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

1. A look at the rebranding of an old industry made anew: marijuana

2. A Manifesto from Scott Boylston on the dire need for sustainability in design

3. Paul Sahre’s memoir/monograph Two-Dimensional Man

4. Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff

5. And much more!

The post 15 Artists Under 30: Sean Eidder appeared first on PRINT Magazine.

Deadline for entry: October 30, 2017

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

Meet New Visual Artist Audrey Jungwon Choe

Age: 23.

From: Korea.

Current city: New York City.

Education: School of Visual Arts; BFA, design.

Earliest creative memory: Doing origami with my mom.

Path that led you to design: I started from fine arts but naturally got interested in studying graphic design.

Career thus far, in a nutshell: Creative in an ad agency and a freelance designer.

The key to good design: Principles (intentionally designed).

Motto/design philosophy: Always keep in mind that this could be better. Believe in revisions.

Work of which you’re most proud: My very first brand identity—AO Fish Market—means a lot to me since it was the turning point of getting interested in not only overall printed matters, but also branding perspective. After this project I realized this is what I wanted to do with my future.

Biggest influence: Everything around me—people, culture, art and music.

How you would classify your style: Variety. Broadening all the possibilities to explore.

Design hero: Paula Scher.

Favorite artist: Alexander Calder.

Favorite typographer: Adrian Frutiger.

Favorite writer: Haruki Murakami—I’m a fan of his sophisticated but honest writing style.

What defines you: <undefined> is what I am. I’m still roaming.

Biggest fear: Losing good eyes, tastes and freshness.

What you want to accomplish before all is said and done: No work done that I’m not proud of.

Website: www.audreychoe.com

Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

• A look at the rebranding of an old industry made anew: marijuana

• A Manifesto from Scott Boylston on the dire need for sustainability in design

• Paul Sahr
  e’s memoir/monograph Two-Dimensional Man

• Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff

• And much more!

The post 15 Artists Under 30: Audrey Jungwon Choe appeared first on PRINT Magazine.

Deadline for entry: October 30, 2017

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“We wanted our cover to be representative of us and the Charles & Thorn workspace, as well as an excuse to be selfish and draw our favorite things. What began as a simple idea of shelves and letters as objects soon turned into a chaotic shelfscape full of Easter eggs and hidden jokes.”

Meet New Visual Artists Charles & Thorn

Age: Kelly Thorn: 28.

Spencer Charles: 29.

From: T: Portland, PA.

C: Salt Lake City.

Current city: T&C: Brooklyn, NY.

Education: T: Tyler School of Art; BFA, graphic and interactive design.

C: University of Utah; BFA, graphic design. Cooper Union; postgraduate certificate, type design.

Earliest creative memory: T: Not my earliest, but my favorite: In fifth grade, I got really into writing spooky stories and making them into their own little booklets. Each booklet was set entirely in 12 point Curlz and was absolutely riddled with spelling errors. I illustrated the pages, drew ornaments for each chapter opener and page number, and designed the front cover, complete with spiky, gothy, scary letters that looked like bat wings.

C: Making stick figure stop-motion animations using the earliest version of Quicktime on Mac OS 7 or 8.

Career thus far, in a nutshell: T: I interned in the Lettering and Illustration department at Hallmark, and then went to work for Louise Fili straight out of school (thank you, universe!). I met Spencer there, and after we got married, we decided to open up our own design studio.

C: In college, I interned for letterpress printer/typographer David Wolske. After graduating, I worked as a sign painter for Whole Foods in Salt Lake. Shortly after, I moved to New York to work for Louise Fili.

Current place of work: T: Charles&Thorn. Spencer and I officially started our own studio about one year ago. We specialize in lettering, illustration, branding, type design and bein’ doofs.

The key to good design: C: A breadth of knowledge acquired from an absurd amount of practice.

Work of which you’re most proud: T: Any project that Spencer and I are able to truly collaborate on. When a design comes together organically, without too many arguments, it always makes me so happy! Also, I’m so proud of my newfound hobby: tattooing. I have been teaching myself how to do hand-poked tattoos on the side, and I am so excited about the illustrations I am producing through the process.

Biggest influence:T: The Wiener Werkstätte, Arts and Crafts, Art Deco, and the Art Nouveau design movements. I consistently come back to art from the early 1900s for inspiration. There are so many gems from that era!

C: Kelly.

Cause that means the most to you: T: Supporting and lifting up women, in every

aspect.

C: Any form of environmentalism. My biggest source of anxiety and sadness is the destruction humanity has caused to all the living things on this planet.

Biggest fear: T: Sounding stupid in printed publications.

What you want to accomplish before all is said and done: T: Before I take a dirt nap, I’d like my life and my work to be at peace with one another.

C: I think all the skills I have been acquiring are really only leading to one place: learning to carve the inscription on my headstone. (The ultimate design project!)

The future of design is: T: As designers, we have a big responsibility to develop and improve our social and political climate. We have such an important role in shaping how we see the world around us, and that can be used for so much good.

C: I think the history of design has largely been driven by new technology, and how humans respond to that technology. If current trends hold, virtually all work will become automated, and a new generation o
f artists and designers will have to learn to exist and respond to that.

Website: www.charlesandthorn.com

Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

• A look at the rebranding of an old industry made anew: marijuana
• A Manifesto from Scott Boylston on the dire need for sustainability in design
• Paul Sahre’s memoir/monograph Two-Dimensional Man
• Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff
• And much more!

The post 15 Artists Under 30: Charles & Thorn appeared first on PRINT Magazine.

But combing through this year’s New Visual Artists, you will discover a universe of young designers who don’t simply make pretty things for us to fetishize. They don’t create merely with galleries in mind or accolades to garner. These are artists who have passion. They have causes, loves, fears, dreams. They have conviction. And perhaps most importantly, they have an immense talent that will allow them to execute on that conviction and make change in the world-a world that, right now, appears to be slowly playing history in reverse.

Discover what may be lying just beyond the horizon of today’s design world in the Print Fall 2017 issue.

PURCHASE COPY or PDF

Featured in This Issue:

FEATURES

Introducing Print‘s 2017 New Visual Artists 15 creatives under 30 who are shaping tomorrow’s design landscape

Smoke Signals With change in the air, it’s time to say goodbye to the skunky marijuana branding of yesteryear and embrace a newly designed future. By Sam Holleran

Graphic Design And The Anthropocene An argument for more sustainable design thinking-and thus a more sustainable world. By Scott Boylston

UP FRONT

The Fine Print Leave Me Alone With the Recipes and Two-Dimensional Man with words by Karli Petrovic

Observer The once-forgotten Blueprint for Counter Education embodied its era-and foreshadowed design’s future. By Rick Poynor

Historiography Before the Legibility Skirmishes, key design battles were fought during the War of Abstraction. By Steven Heller

Evolution When it comes to speculative design, the future ain’t what it used to be. By Steven Heller

In Progress A leading design agency in London is truly upping the standards of sustainable design around the world. By Alex Harrell

Design Matters: In Print Brand gutu, writer and letterpress artist Jonathan Selikoff reflects on his career. By Debbie Millman

The post PRINT Magazine Fall 2017 | The New Visual Artists Issue appeared first on PRINT Magazine.

Released just this past week, the stop-motion animation video for U2’s new single “You’re the Best Thing About Me” is making waves—not only among the band’s fans, but also in the design world.

Created by Art Camp, the studio of animator/designers Santiago Carrasquilla and Jos Diaz Contreras, the book in the video was created after photographer David Mushegain asked songwriter and musician Ary Warnaar—who was dining with Carrasquilla and Contreras at the time—to help him create a lyric video for the Grammy-lauded rock band.

“We all put our heads together and pitched ideas until we arrived at what eventually got made: designing a massive book of David’s photographs and hand-written lyrics and animating that book one page at a time,” Art Camp told Rolling Stone. “The Art Camp vibe is all about collaboration and making the kind of work that’s only possible when different types of artists come together.”

[Related: 8 Imaginative Stop-Motion Animation Projects]

The video’s concept was rooted in tactility and energy—a challenge when using photography and type to make a video. Typically, lyric-based videos rely on motion graphics and CGI, but Carrasquilla and Contreras said it was important to break out of that limitation. The team created a digital mockup as they put the book together for the final stop-motion animation.

The team shared some of their process:

Our goal was definitely to try to push the format as far as we could take it. The books we printed were at physical limit of how many pages you can bind together without them falling apart, and we worked backwards from there. A lot of very talented people worked really hard on putting this thing together. It was a great time—working around the clock and sleeping in shifts, all sorts of friends coming through to contribute on the layout or suggest an animation. A lot of people have asked us how much of it was done physically and how much was CGI. None of it is CGI! Santiago spent 17 hours on his feet, puppeteering the book with string.

As it happens, this isn’t the first time Carrasquilla has impressed us; in 2016 he was named a Print New Visual Artist. “Produce as much work as possible and learn from the process itself,” he told us at the time. What’s most important is the momentum generated by having done a lot of work and letting it envelop your life. With patience the answers reveal themselves.”

[Earn a Certificate in Animation online]

The post Art Camp Creates Stop-Motion Animation Video for New U2 Song Release appeared first on PRINT Magazine.

Age: 28, but feel like a starry-eyed 13-year-old.

From: Born in Freetown, Sierra Leone, grew up in Alexandria, VA.

Current city: Los Angeles.

Education: The Art Institute of Washington (BFA).

Earliest creative memory: This memory is still vividly imprinted in my mind. And if it radiated a color it would be electric red. I remember my 10-year-old self or so arming himself with scissors and superglue in an eff ort to create hybrids of his toys. I had a red Mighty Morphin Power Rangers action fi gure I would tightly clutch in my tiny hand and wildly run around with, pretending he was flying. One day I thought it would be so cool if the action figure had wings. So I got my Gargoyles action figure that had wings. And before you know it, my red Mighty Morphin Power Rangers action figure had Gargoyle wings superglued to its back! I remember being pretty amazed with the results, but mostly that my idea had come to fruition.

Path that led you to design: If I were to plot my current location like a constellation in the night sky, I would say I’m currently at the star of a polymath, multi-hyphenate. My artwork is mixed media photography that utilizes elements of photography, illustration and painting. I make electronic music under the moniker Shy Away, which samples ’80s music that’s accompanied by my chopped-up vocals. And I also write short stories.

The path that led me to where I’m at can be traced back to when I picked up skateboarding. It taught me how to see the world in a new way. Handrails and staircases were all of a sudden obstacles to do tricks down, whereas before they were just structures that assisted walking. Also, I had skater friends who were writers, musicians and artists. By just hanging out all the time I got into various creative outlets. … My skater friend whose dad was a cameraman would let us borrow his video and photography equipment. So we would make skate videos and take photos to document our tricks. Because of skateboarding I developed a love for photography and went to art school.

After graduating, I still stayed in tune with photography, writing and music. But my photography started to morph because I didn’t have access to all the super-nice cameras I used while at art school. I had to reinvent. That reinvention is what got my photography work to where it is now—a combination of multiple mediums.

Current place of work: Museum of Contemporary Art, Los Angeles.

The key to good design: Minimal. Alluring. Intuitive. Easily functional.

Motto/design philosophy: Think like a kid.

Work of which you’re most proud: My new book Gallery Walk-ins (Unsolicited): Starting From the Bottom of the Creative Ladder. It’s a collection of short stories and art criticism. It documents what it’s like to be a 20-something-year-old artist trying to make it. I gave that book my all, it drove me insane, but I’m elated it exists in the physical world.

Biggest influence: Probably Pharrell Williams, since I wanted to be a combination of him and Usher when I was younger. Also other creative people making amazing stuff—it could be a film by Wes Anderson, a record by Childish Gambino or an installation by Snarkitecture.

Design hero: Jonathan Ive. I have a religious obsession with Apple. And the skeptic part of my brain believes that Steve Jobs is in Tron getting it ready for the rest of humanity.

Favorite typographer: Herbert Bayer and the whole Bauhaus typeface.

Favorite writer: Tao Lin.

What defines you: I define me.

Cause that means the most to you: The cause to embrace and celebrate the things that make you different. I’ve always been the “weird kid,” the one who doesn’t really fit it. The misfit.

What you’re most afraid of: Complete happiness.

What you think the future of design is: Kanye West?

Website: www.victorkphotography.com

“My Print cover design captures the exuberance of being a young creative—and how we are all kings of our individual creative worlds.”

Meet more of PRINT’s New Visual Artists in the Summer 2016 issue of PRINT, or subscribe to get print all year long.

The post 15 Artists Under 30: Victor Koroma appeared first on PRINT Magazine.

Meet New Visual Artist Yazan Halwani

Age: 22.

From: Beirut, Lebanon.

Current city: Between Beirut and Dubai.

Education: American University of Beirut (Bachelor of Computer and Communications Engineering).

Earliest creative memory: That is very hard to remember, as creativity for me is a continuous process rather than “eureka” moments. I create my pieces through continuous thinking and focus in small amounts of time for each piece.

detail featuring Arabic calligraphy for Yazan’s 2016 PRINT New Visual Artists cover

Path that led you to design: My main objective was to paint a positive image of my city, Beirut, after the civil war, and to remove all pictures of politicians on the walls that hijack the city’s beauty. I designed murals that sprayed across the city.

“The Arab Man, and the Asian Cherry Blossom Tree,” painted live during the Singapore Art Fair in 2014.

Mural of Lebanese singer and actress Sabah in the Hamra neighborhood of Beirut.

Career in a nutshell: An Arab muralist/artist on the move.

The key to good design: When a mural fits within the urban landscape as if the city was built around it.

Motto/design philosophy: Letters can be letters, faces and art at large.

Mural of Lebanese singer Fayrouz installed next to the 392rmeil393 art gallery in Gemmayzeh, Beirut.

Fayrouz on Canvas, Part of Yazan’s past show in Courtyard Gallery Dubai in March/April 2014

Biggest influence: Traditional Arabic calligraphers who paint old-school political propaganda banners—I love their talent, but hate their messages.

How you would classify your style: A blend of faces and Arabic calligraphy with a twist.

Design hero: I don’t believe in heroes.

Favorite artist: Leonardo da Vinci.

Favorite writer: A poet, Mahmoud Darwish.

A mural that serves as a tribute to Ali Abdallah, a homeless man that lived on Bliss Street in the Hamra neighborhood of Beirut, 2015.

Favorite typographer: An Iraqi calligrapher called Khalil Al-Zahawi.

What defines you: So far, my perpetual search for identity …

Cause that means the most to you: Making cities reflect the lives of their inhabitants.

Your idea of happiness: People getting possessive over murals I have painted: stealing my cement sculptures from the street, taking out a door that was part of my mural, or asking me to fix a mural that was damaged because the mural is next to their homes.

What you think the future of design is: For Arabic calligraphy at least: being able to express meaning not through the meaning of the word (which can only be understood by Arabic readers) but by the shape and stroke of the letter.

Website: www.facebook.com/yazanone

More work by Yazan Halwani:

Musical calligraphy

“The Arabic Spring, or the Girl and the Calligraphy Flower” in Djerba, Tunisia.

“The Flower Salesman” mural in Dortmund, Germany.

Meet more of PRINT’s New Visual Artists in the Summer 2016 issue of PRINT, or subscribe to get print all year long.

The post 15 Artists Under 30: The Street Art & Calligraphy of Yazan Halwani appeared first on PRINT Magazine.

Meet Illustrator & Designer Raphael Geroni

Age: 28.

From: Perkasie, PA.

Current city: Brooklyn.

Education: Tyler School of Art (BFA).

Geroni’s cover for the 2016 PRINT New Visual Artists issue

Earliest creative memory: Making cut-paper portraits of Bert and Ernie from “Sesame Street” when I was 2. I insisted they be hung at my height on the refrigerator and that I be photographed between them, wearing a vest and bow tie, giving a thumbs-up.

Art Nouveau–inspired birth announcement.

Path that led you to design: When I was accepted into Tyler School of Art, I had every intention of becoming a fine artist. I hadn’t realized that many of my interests were graphic design–based or that typography was a thing I could learn more about or do for a living. Growing up, I loved music, and my favorite part of getting a new CD was reading the inserts. I read the small type and saw who designed them, then noticed their work in other places. I valued design very early, and that never went away.

The Gershwins and Me

Career in a nutshell: Growing up in the suburbs, every weekend I traveled with my family, competing as a professional drag racer from age 8 until 18. While dominating the dragstrip, I secretly wanted to become an artist, so I applied to art schools. To pay for my apartment, I worked as a background actor and started a T-shirt business with a friend where we screenprinted out-of-copyright quotes about wine on shirts that got into in Napa, CA. In my at Tyler I worked as the Heads of State’s first intern and designed an exciting typographic project about The Great Gatsby with them. After winning top portfolio and graduating from Tyler, I worked at Headcase Design as a book designer and illustrator for five years. I wanted to focus more on typography and lettering, so I applied for a position with Louise Fili in NYC, and a few short weeks after that, my husband and I packed up our 1,100-square-foot loft to move into an apartment half the size in Brooklyn, with our anxious cat and boxes of irreplaceable books.

Harry Potter: The Complete Series – book cover and package redesign proposals

The key to good design: I’m drawn to people and work that are authentic, personal and sincere.

Motto/design philosophy: “Always be a first-rate version of yourself, not a second-rate version of somebody else.” — Judy Garland to Liza Minnelli

From the official companion book of HBO’s “Game of Thrones” (designed with/art directed by Paul Kepple at Headcase Design).

Work of which you’re most proud: I’m especially proud of The Gershwins and Me. During this project I realized I wanted to do more with historically based typography and that having an interest in the nerdy or obscure could be an asset. It made me want to learn more and truly invest myself in subjects that I can’t get enough of. It also led to my recently completed film title project.

Design hero: Doyald Young. (I have a tattoo of one of my favorite pieces of his, elegant and simply says: “I fuss a lot.”)

Biggest influence: I’m always looking for undiscovered typography and ornament in vintage printed ephemera.

How you would classify your style: Typographically focused, historically inspired and never the same.

Monogram for an investment advisory firm in New York (designed with/art directed by Louise Fili).

Favorite artist: Alex Steinweiss.

Favorite typographer: Mark Simonson.

What defines you: I’m known for being a wearer of dapper hats with color-coordinated feathers, and I usually have a glass of wine in my hand—and if I don’t, I’m certainly looking for one.

Cause that means the most to you: LGBT equality.

Cookbook cover that combines the author’s passions

Your idea of happiness: I would be absolutely thrilled if someone contacted me to create something for them simply because they wanted my personal take on it. It sounds so simple, but that’s it!

What you think the future of design is: I hope it will involve more storytelling rather than the perpetuation of internet memes and “going viral.” I’m hoping things will advance like they did during the “print is dead” phase. Many outside of the print industry bought into that phrase, but those within it rose to the occasion, asserted the value of physical objects, and some of the most exciting print pieces now exist because of it.

Website: www.raphaelgeroni.com

Meet more of PRINT’s New Visual Artists in the Summer 2016 issue of PRINT, or subscribe to get print all year long.

The post 15 Artists Under 30: Raphael Geroni appeared first on PRINT Magazine.

This is the second year we’ve run our New Visual Artists: 15 under 30 in Print. What was for years a tightly edited list of 20 of the best and brightest up-and-coming artists and designers under age 30 working today has become a more in-depth portfolio of 15 of the most interesting, challenging, provocative new voices working in visual communications. Print’s NVAs have managed to make it happen and make it last. The list of past NVAs reads like a veritable who’s-who in graphic design: Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische. While their output is varied both in style and execution, the common denominator is a work ethic of epic proportions.

NVA issue cover by Santiago Carrasquilla

To achieve acclaim so young is certainly enviable. But our history of NVAs and our current crop of up-and-coming artists and young designers proves that design can be both timely and timeless. It will be interesting to see how the 2016 class of New Visual Artists grows and evolves over time as well.

—Debbie Millman

Meet New Visual Artist

Santiago Carrasquilla

Age: 27.

From: Bogotá, Colombia.

Current city: New York City/Los Angeles.

Education: School of Visual Arts.

SHMM by Space People casette design and animation.

Earliest creative memory: When I was about 7 years old, asking my mom to take me to an art supply store to buy a canvas and some paint. I got home and painted a beach scene. I remember the very strong visceral feeling that painting gave me.

Path that led you to design: I always had an affinity for the arts (as most children do). During my childhood I drew a lot, and then in my teenage years I spent most of my time playing music. When I was 17 I fell in love with Malia, who moved to New York. I decided to move too but in order to make that happen I had to make a cover-up plan. Somehow, I decided I would study advertising at the School of Visual Arts. I spent a year at Santa Monica Community College taking all sorts of art classes and building a portfolio to get me into art school. When I arrived to SVA I switched to design and animation and spent four years learning and developing with incredible teachers in a very special city. It was a beautiful time in my life.

Career in a nutshell: I worked at Sagmeister & Walsh for three years and left that to start my own studio and work with my friends.

The key to good design: Good designers.

Limited-edition packaging for typographic films shown as part of the traveling show “The Happy Show” (in collaboration with Sagmeister & Walsh).

Motto/design philosophy: Produce as much work as possible and learn from the process itself. What’s most important is the momentum generated by having done a lot of work and letting it envelop your life. With patience the answers reveal themselves.

Work of which you’re most proud: I particularly like all the work I’ve done with my collaborators and friends Gabriel Garzón-Montano and Joe Hollier. The work we’ve made together is special because it closely mirrors our friendships. When you work with your friends, one word carries much more weight; everything can be more efficient and rich. The work also often becomes a symbol for some of the best memories.

Vinyl design for The Sentence by Zach Cooper

Biggest influence: Nature.

How you would classify your style: I wouldn’t.

Design Hero: Stefan Sagmeister.

Album cover for Alma del Huila by Gabriel Garzón-Montano.

Favorite artist: The list is very long and impossible to narrow down to one. But I would say that Kenny Scharf was a crucial and huge influence during the first few years of my development. My proximity to him and his family allowed me to see the inseparable quality between his life and his art. That fact alone has been a huge guiding star in my own life.

Favorite typographer: Ed Ruscha.

Favorite
writer: Gabriel García Márquez.

What defines you: My friends and family.

Cause that means the most to you: Education.

Biggest fear: Not seeing the core of my fears clearly enough and therefore being blinded and controlled by their side effects.

What you want to accomplish before all is said and done: A full life.

Meet more of PRINT’s New Visual Artists in the Summer 2016 issue of PRINT, or subscribe to get print all year long.

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This is the second year we’ve run our New Visual Artists: 15 under 30 in Print. What was for years a tightly edited list of 20 of the best and brightest up-and-coming artists and designers under age 30 working today has become a more in-depth portfolio of 15 of the most interesting, challenging, provocative new voices working in visual communications. Print’s NVAs have managed to make it happen and make it last. The list of past NVAs reads like a veritable who’s-who in graphic design: Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische. While their output is varied both in style and execution, the common denominator is a work ethic of epic proportions.

To achieve acclaim so young is certainly enviable. But our history of NVAs and our current crop of up-and-coming artists and young designers proves that design can be both timely and timeless. It will be interesting to see how the 2016 class of New Visual Artists grows and evolves over time as well.

—Debbie Millman

Meet New Visual Artist Liron Ashkenazi

Age: 26.

From: Israel.

Current city: New York City.

Education: School of Visual Arts (BFA, Design).

Earliest creative memory: As a teenager in school I didn’t do as well as my parents hoped. I had all the potential—or so everyone kept saying—but I was never in the right mindset. Instead, my thoughts would carry me towards spaces and shapes and my notebooks were filled with doodles and poems rather than notes. At the age of 21, I learned that I have ADD. This helped reconcile what had seemed previously like disparate parts of me—I was always drawn to do something, but lacked the means to harness my passions. Instead, I had developed my own methods to feeling fulfilled and self-worthy. The first activity I chose to partake in was photography. The camera gave me a way to express myself at a time in which there was no other way for me to shout to the world, “I am different.”

Path that led you to design: After completing my two-year service in the military, I knew that I needed to continue with the three things that, very quickly, became my biggest passions: composition, typography and motion. So I decided to apply to SVA simply because I knew it was the best, and decided to focus on design and not motion simply because I already had experience in that field.

Career in a nutshell: I can’t say what is going to happen next, but I do know a few things. I was fortunate enough to work very closely to both Jessica Walsh and Stefan Sagmeister at Sagmeister & Walsh throughout this year. The amount of knowledge and creativity I have been exposed to is truly singular. The studio shaped me a lot as a designer. Specifically, my close connection with Jessica, who taught me something new every single day. Next, I am hoping to partner with my husband, Gal Eldar, whom I’ve been with for 10+ years. We are hoping to work as a duo doing experimental web design, installation, motion, print and basically anything creative we feel passionate about.

Motto/design philosophy: Good content, good eye, less rules.

Work of which you’re most proud: My thesis project, “Fuck the Block,” discusses all the aspects of creative block from a helpful standpoint. I begged Jessica Walsh to join me on a journey to the unknown, as my mentor. As the months went by, I slowly found myself in a deep creative block and couldn’t produce anything meaningful. Jessica tried to help me in any way possible. … I realized that the only way I would be able to produce work was to just focus on the only thing I was feeling and living at the time—completely blocked. So I started researching how to resolve the situation that I got myself into. The project consists of six separate visual projects, each reflecting a different side of the block, all trying to find a solution to overcome it or a way to produce despite it. I’ve designed a card game, a few websites, two books, a packaging project, posters, an app, and collected stories and testimonials from other creatives about their experiences dealing with creative block.

What defines you: Passion, curiosity and love.

Cause that means the most to you: Fighting against animal cruelty, supporting animal sanctuary farms; also, helping people understand ADD better, and finding ways to treat children who suffer from it—with art instead of medication. What you want to accomplish before all is said and done: I want to make a change in the world through my art. I hope one day I can open a school that teaches design, conceptual thinking and art to students who aren’t given the chance to excel in conventional educational systems.

What you think the future of design is: More creativity, more technology, more individual talents. Design is becoming important and relevant to everyone in the world, not just designers. I see that continuing to move forward. Interactivity is becoming a key quality of good design, and I love it.

Website: www.lirona.me

Anything else: The amount of creative energy I get from the people around me is massively influential: My friends and family, all of them in their own way or field, are the reason I do what I do.

Meet more of PRINT’s New Visual Artists in the Summer 2016 issue of PRINT, or subscribe to get print all year long.

#newvisualartists

The post 15 Artists Under 30: Liron Ashkenazi appeared first on PRINT Magazine.

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Featured in This Issue:

“Magical Thinking and Apostasy: A Manifesto” — Why does so much graphic design look the same? Here, the Malcontent thinks deeper about design thinking. Mark Kingsley

“Black Designers: Still Missing in Action?” — The author of a 30-year-old Print article on diversity surveys the industry to see who is designing the solution to a problem that continues to this day. Cheryl D. Holmes-Miller

Related web series:

1. Read Cheryl D. Holmes-Miller’s original article, “Black Designers: Missing in Action,” published in 1987

2. Black and White: A Portfolio of 40 Statements on a Single Theme, originally published in Print in 1969

3. The Black Experience in Graphic Design, originally published in Print in 1968

Also in This Issue:

1. Grids + Guides: Gustavo Piqueira redefines reading. Penguin resurrects Romeo and Juliet. Aaron Draplin reveals Pretty Much Everything.

2. Evolution: Print traces the rise of tabloid headlines that give life to headless bodies in topless bars, bat boys and everything in between. Steven Heller

3. Stereotype: Tired of all the “type crime” talk? It’s time to declare an end to the wasteful War on Type. Paul Shaw

4. Historiography: In 1968, the head of RCA proved he had a bold appreciation for a subject many corporate CEOs disregard: Design. Steven Heller

5. Observer: Is the illustration field primed to get the critical eye and appreciation it deserves? Rick Poynor

6. Design Matters: In Print: By creating a phone that is simply a phone, Joe Hollier proves that less is truly more in our digitally disruptive age. Debbie Millman

7. The Last Word: Lewis Carroll and the final rabbit hole. Seymour Chwast

The post Print’s Summer Issue: The 2016 New Visual Artists appeared first on PRINT Magazine.

We are thrilled to announce PRINT’s 2016 New Visual Artists—the 15 best creatives today under 30.

This is the second year we’ve run our New Visual Artists: 15 under 30 in Print. What was for years a tightly edited list of 20 of the best and brightest young designers working today has become a more in-depth portfolio of 15 of the most interesting, challenging, provocative new voices working in visual communications.

What does it mean to receive this type of accolade so young? I wouldn’t know, as it never happened to me. But the advantages are clear: lots of exposure, bigger opportunities, public acclaim. But there, buried beneath the benefits, is a sinister challenge: When you “make it” so young, you have that much more to maintain. Ask any one-hit wonder of the music industry; being “of the moment” is quite a different phenomenon than making work that lasts over time.

Print’s NVAs have managed to make it happen and make it last. The list of past NVAs reads like a veritable who’s-who in graphic design: Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische. While their output is varied both in style and execution, the common denominator is a work ethic of epic proportions.

To achieve acclaim so young is certainly enviable. But our history of NVAs and our current crop of young designers proves that design can be both timely and timeless. It will be interesting to see how the 2016 class of New Visual Artists grows and evolves over time as well.

—Debbie Millman

PRINT 2016 NEW VISUAL ARTISTS

Liron Ashkenazi

Santiago Carrasquilla

Raphael Geroni

Yazan Halwani

Victor Koroma

Adam J. Kurtz

LaMia

Tony Lee Jr.

Jiani Lu

Gemma O’Brien

Eric Rohter

Jeff Scardino

Karishma Sheth

Joseph Veazey

Eva and Marta Yarza

The post Announcing the 2016 NVAs: 15 Artists Under 30 appeared first on PRINT Magazine.

The New Visual Artists are here! In the Summer issue of PRINT, meet our 2015 class of 15 brilliant creatives under 30. These carefully selected designers are on the scene making the most cutting-edge work today—and as many of our previous NVAs, they may go on to become tomorrow’s design leaders. Why not get to know them now?

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In this issue you’ll find:

1. Dangerous Ideas on Design Education: A manifesto by James Victore, who riffs on his ideal vision of education—and proves, once again, why he has been accurately described as “part Darth Vader, part Yoda.”

2. PRINT75: To celebrate Print’s 75th anniversary, we asked 75 of the best creatives working today to design a single word—“print”—in any manner of their choosing. Our latest installment features exclusive new work by Aaron Draplin, Ann Willoughby, Ed Fella, Armin Vit & Bryony Gomez-Palacio, and 15 more.

3. Historiography: Discover how Paul Rand had to master the past to be able to move design into the future with Direction magazine.

4. Interaction: What the fall of Google Glass can teach us about tomorrow’s big tech.

5. Online Exclusive: We asked the experts what user interface technologies, software and/or hardware from science fiction books, movies or television look promising… or downright awful. Read their responses.

6. Stereotype: Nearly 10 years in the making, Hoefler & Co.’s newest font showcases the true power of collaboration.

7. Dilemma: Want to make a difference in the world? As Rule29’s latest project—Wheels4Water—proves, you have a crucial advantage: You’re a designer.

8. Design Matters: Debbie Millman interviews Frank Chimero.

9. Observer: Rick Poynor asks: Are we documenting the design world all wrong?

10. Love Letters: Sean Adams reflects on his hero and friend, Michael Vanderbyl.

11. Into the Archives: Albert Einstein riffs on his embattled artist friend, Josef Scharl.

12. The Last Word: Seymour Chwast documents Archimedes taking one last geometric stand against the Romans.

In case you hadn’t noticed, this issue opens with a cover design by each of the New Visual Artists! Meet all of the NVAs here.

Here’s the subscriber cover by Joey Cofone:

The post Print’s Summer Issue: The 2015 New Visual Artists appeared first on PRINT Magazine.

Print is thrilled to reveal our 2015 New Visual Artists.

We’ve been publishing the New Visual Artists issue since 1998. Though the effort is vast, the goal of our annual list is simple: We seek to find the most interesting, challenging and provocative young voices working today. To do so, we research designers from all over the world and exhaustively review their work, both online and off. The results reveal a group of creatives very much of the moment and reflective of the times.

The “20 under 30” chosen every year have amounted to a veritable Who’s Who list in the business of design, and include the likes of Eddie Opara (1998, first class, now a Pentagram partner), Alan Dye (2003, now creative director of Apple), Scott Dadich (2005, now editor-in-chief of Wired), Jessica Hische (2009), Frank Chimero (2010), Jessica Walsh (2011) and Caleb Bennett (2012, of Wired and The New York Times Magazine).

This year we decided to shake things up a bit. First, we reduced the number of inductees to 15 in an effort to provide each artist with more space to showcase their talent. Second, rather than run a brief write-up, we asked the creatives to answer a customized “Proust Questionnaire”—a format designed to shed a degree of intimate light onto the personality and individual viewpoint of a subject, popularized by French literary legend Marcel Proust.

And finally, to go a layer deeper into the visual minds of the artists, for the first time in Print’s 75-year history we challenged each of the 15 NVAs to design an original cover for the magazine. We gave everyone the same specs and an open brief, and declared, “Do whatever you want. Show us how brilliant you are.” The results will be arriving in your mailboxes and on newsstands soon, and we believe this issue represents and celebrates the best young designers working today. Let us know what you think—and don’t forget to nominate next year’s NVAs by emailing us with “NVA” in the subject line. —Debbie Millman

The 2015 NVAs:

Laura Berglund

Ricardo “Buddy” Bojorquez

Ivan Cash

Joey Cofone

Daniel Fishel

Ryan Fitzgibbon

Shane Griffin

Tina Ibañez

Anne Jordan

Anna Laytham

Wael Morcos

Sue Murphy

Isabel Urbina Peña

Alex Proba

Ryan Romanes

For profiles of the NVAs, their brilliant work, and 15 covers designed exclusively for Print, grab a copy of the latest issue. It hits stores July 14, and will be available a
t MyDesignShop.com soon.

The post Announcing the 2015 NVAs: 15 Artists Under 30 appeared first on PRINT Magazine.