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

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

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

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

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

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

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

Ok, it’s weird.

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

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

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

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

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

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

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

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

Only time will tell.

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

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

Header image: Simone Hutsch for Unsplash+

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

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

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

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

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

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

Laurie Pressman, VP Pantone Color Institute

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

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

Imagery courtesy of The Pantone Color Institute.

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

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

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

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

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

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

Caroline Fox, Koto creative director

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

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

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

This summer, I was taking a stroll through Barcelona with my 7-year-old daughter, Vega, and I decided to ask her a few questions about branding. This isn’t something we had ever really had a conversation about before. I was curious about what she would say and how aware she was of branding.

Vega’s answers surprised me, mostly because she was able to explain things I deeply believe with a whole lot of efficiency. Here’s the full interview transcript. Watch the video on the original post.

The Interview

What do you think a brand is?

A brand is like a company 🏭. If there was no brand then there wouldn’t be a company. So like a brand is like a brand of shoes 👟. So like Nike is a brand.

Why do you think there wouldn’t be a company if there was no brand?

The brand is what makes the company.

What do you think a logo is?

I think a logo is like something that like represents the company and the brand. I think it represents the brand.

What is the difference to you between a logo and a brand?

Well, a logo is maybe like a drawing or like a letter or a number.

A brand is like… I’m the boss right? It’s like my brand, so like I made the brand up. I made all these people to come together to make the things that we make.

So a brand is something that helps you bring people together to make the things that you make?

Mmhmm.

If we look at a clothing store 👗, and I’m the boss, I would be the one who’s bringing all the people together to like make the clothes or like buy the clothes.

Yep, and the brand helps you do that?

Yeah, like a whole community make a store and people earn money 💵 from gathering around.

Why do you think, if you’re the boss and you want to bring people together to make something, why do you think you need a brand to do that? Why can’t you just say, “Come together and let’s make something.”

Because, if we have a store, we can’t just do it all by ourselves 🙄. You know how, we’re not an octopus 🐙. So we can’t just do it all by ourselves 🤷‍♀️ We need a community to help us. We need more people to help us. It can’t just be like one or two, it has to be like 20 or 10.

So what you’re saying is that brands help you build a community?

Yeah.

If you were to make a brand, what would you want your brand to mean? What would you want people to think when they see your brand?

If I had a company 🙇‍♀️ and it sold like, medicine 💊, I would probably want people to like know, that like, I want them to be happy 😀, I want them to be well.

If it’s like a pharmacy 👩‍⚕️, then there would be a little sign thing that’s the pharmacy logo. So it would be that cross (pointing at a pharmacy sign on the street in Barcelona).

Why is it important that you know that the cross is a pharmacy?

I kinda think that the green 💚 represents you being well. Green means like happy 🙂.

So you’re saying colors mean things?

Yeah. If I see, look, a little logo (pointing at another green cross pharmacy sign) like that, then I’ll know it’s a pharmacy.

Right, so it just helps people to be able to identify things quickly.

Yeah.

It sounds like brands are good for helping people identify things, so knowing what a thing is, and it sounds like they’re good for helping people work together to make something, right?

Yeah. Mhmm.

Do you think that there’s any other good use for a brand?

I think also, that brands, they’re just all about friendship 👯, and being nice 😊.

Brands are about friendship and being nice? How?

So like, if you work with someone, with someone that you like know, it’s important to start like knowing the person that you work with. To like know who they are, to then, you can be like nice with them and ok with them. Brands are good for like umm, coming together and like knowing different people to work with.

Alright, I think we’re gonna stop there for now and we can continue later. Thank you, Vega.

OK

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

Illustration by Merit Myers.

The post Branding 101, Through the Eyes of a Seven-Year-Old appeared first on PRINT Magazine.

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

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

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

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

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

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

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

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

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

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

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

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

A New Roar: Why Standing Out Matters

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

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

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

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

Cost-sumers vs. Customers

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

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

The Real Critics: Branding People

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

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

Rebrands Are More Than Logos

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

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

Stop Freaking Out. Start Watching.

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

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

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

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

Images: “Copy Nothing” ad © Jaguar.

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

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

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

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

Categories for 2025

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

Learn more about the 2025 PRINT Awards categories.

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

Citizen Design Award

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

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

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

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

Our 2025 Jury

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

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

The 2025 PRINT Awards Presenting Sponsor

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

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

Dates and Deadlines

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

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

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

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

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

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

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

Alex Center

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

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

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

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

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

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

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

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

Alex Center

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

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

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.

The New Look of Money

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

Chime brand refresh by jkr.

Radical Transparency

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

Klarna brand by their in-house team.

Personalized and Empowering Tools

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

Check My File brand by Ragged Edge.

Creating Community and Social Connection

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

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

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

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

The Power of Legacy in Law Firm Brands

Many of these law firms have built their reputations over generations. Their logos, colors, and visual identity have become synonymous with trust, authority, and dependability. These elements are not just design choices; they are symbols of the firm’s history, representing its core values and the relationships it has cultivated with clients. Tampering too much with these symbols risks alienating the clients who have come to associate the firm’s brand with excellence, consistency, and expertise.

However, in today’s digital-first world, relying solely on tradition can be a double-edged sword. As the legal industry becomes more competitive, clients increasingly seek firms that demonstrate both stability and forward-thinking innovation. This is where many firms struggle. The challenge lies in respecting the legacy while adapting the brand to resonate with new audiences and emerging digital platforms.

Why Modernization is Essential

Modernization is not just about aesthetics. It is about ensuring the firm’s brand resonates with the expectations of today’s clients, employees, and stakeholders. Younger clients and associates, in particular, are looking for signs that a firm is future-oriented, adaptable, and in tune with the digital age. Firms that resist change risk being perceived as outdated, even if their legal acumen remains unparalleled.

Furthermore, a law firm’s digital presence is often its first impression. Whether through a website, social media channels, or email communications, an up-and-coming generation of clients will judge a firm’s relevance and professionalism based on its online identity. A modern, cohesive brand that works seamlessly across digital and physical touchpoints signals that the firm is both competent and up-to-date.

Keys to Modernizing Without Losing Tradition

Audit Your Brand’s Core Identity. Before embarking on any redesign, it’s crucial to conduct a thorough audit of the existing brand. What elements of the firm’s identity are deeply tied to its legacy? This could be a logo, specific colors, or even the tone of the firm’s communications. Identifying these essential elements ensures that they remain central to the brand, providing continuity even as other aspects are updated.

Evolve, Don’t Overhaul. The goal of a brand update should be evolution, not revolution. A subtle refresh of the logo, typography, or color palette can often do the trick, modernizing the brand without alienating existing clients. Law firms can look to the corporate world for examples of successful evolutions: companies like Coca-Cola, IBM, and even the New York Times have modernized their identities multiple times without straying far from their core visual elements.

Incorporate Digital-First Thinking. A key part of modernizing any brand today is ensuring it functions well in digital environments. Established firms need to consider how their brand translates across devices, from websites and social media to mobile apps. This might require simplifying logos for smaller screens or adopting more flexible typography that looks equally professional on a smartphone as it does in print.

Embrace Storytelling. Modern branding is as much about narrative as it is about design. For law firms with rich histories, there’s an opportunity to leverage that legacy through storytelling. Use the firm’s long history as an asset in marketing materials, website copy, and even social media. While there is a value in stability and heritage, clients want to see how those qualities are being leveraged to solve contemporary legal challenges.

Maintain Professionalism with a Contemporary Edge. While it’s important to remain professional, modernizing a brand can bring a contemporary edge that appeals to a younger generation of clients and employees. This could be as simple as choosing modern fonts or incorporating more dynamic website features like animation, video, podcasts, or client testimonials in innovative formats.

Seek Client Feedback When modernizing a brand, it’s often beneficial to involve clients in the discovery process. What do they value most about the firm’s identity? What do they see as outdated? Gathering this feedback can help ensure that your brand update strikes the right balance between old and new. It also signals to clients that their opinions matter, which helps strengthen client relationships.

Redesigning the brand identity of a legacy law firm is no small feat, but it is essential in today’s rapidly changing landscape. By balancing tradition with innovation, law firms can create a brand that honors their history while positioning themselves for continued success in the digital age. The key is to evolve thoughtfully—preserving the core of the brand while embracing the opportunities that modern design and technology offer. In doing so, firms can continue to project trust, stability, and professionalism, while also appealing to the expectations of modern clients.

This post was originally published on Lynda’s LinkedIn newsletter, Marketing without Jargon. Lynda leads a team at Decker Design that focuses on helping law firms build differentiated brands.

Header image: Unsplash+ with Resource Database.

The post Strategies for Reimagining Legacy Law Firm Brands appeared first on PRINT Magazine.

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

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

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

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

Project Credits

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

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

In a snapshot of today’s AI-driven design landscape, over 10,000 designers from 135 countries shared their thoughts, and the results are clear: designers are finding that a future with AI could be, well, pretty darn exciting.

The survey reveals that over half (52%) of freelancers are now harnessing generative AI to level up their work—up from 39% last year. And they’re not just dabbling; they’re diving in with excitement. A whopping 56% say they’re thrilled about the potential of AI in their field, with most using it to brainstorm ideas, knock out copy, or take care of mundane tasks (hello, automation).

But it’s not just excitement for efficient practices in their work; it’s dollars and sense, too. For 61% of freelancers, AI has already impacted their income, up from 45% in 2023, and nearly half expect the tech to give their earnings a boost down the line. Sure, a third of responders are a bit anxious about AI’s economic effect, but optimism appears to rule the day.

“Disruption in the design industry is something we’ve all experienced first hand,” says 99designs by Vista CEO Patrick Llewellyn. “We believe in the power of human creativity, and it’s inspiring to see both the excitement and pragmatic approach to the opportunities created by this new technology. These optimistic survey results, alongside the fact that our designer community has now earned over half a billion dollars through the platform, reassure us that while the landscape is evolving, the future of design is bright.”

The combined optimism and pragmatism of designers suggests an evolution rather than a revolution. And with designers’ earnings on the platform recently surpassing a cool $500 million, the data points to a future where AI may just be the paintbrush to human innovation’s canvas.

In an industry that’s no stranger to disruption, it seems designers are welcoming AI as a collaborator, not a competitor. And with the majority looking to upskill and keep pace, they’re proving that AI might just be the muse that creativity’s been waiting for.

The post From Hesitancy to Hope: How Freelancers Are Embracing AI appeared first on PRINT Magazine.

“All of our surfaces, our skies, our trees are painted by human beings. There’s no geometry covered by rubber-stamping. With hand-painted backgrounds like these, we’ve come full circle to where this whole craft began. Miyazaki’s backgrounds, Bambi’s backgrounds, The Lion King’s backgrounds: they do the best job of creating a world that you can get. Our goal was to get the finished film looking as close to the initial exploratory development drawings as we could get: so abstract and colourful, loose and free and beautiful, and they reminded me a lot of some of the inspirational art by Tyrus Wong that guided Bambi.“

The Spider-Verse films, Klaus, Puss in Boots: The Last Wish, The Mitchells Vs The Machines, Teenage Mutant Ninja Turtle: Mutant Mayhem – do we have a name for this new era of painterly animation? New Artistry? Craftcore?

Animation Obsessive Staff help me out here.

Ooh a colour Kindle is finally here. That sound you hear is a thousand cover designers gently weeping with joy! Curious that one of the promo shots has Ms Marvel on the display, but there’s no mention of Marvel Unlimited integration. I realise these things are essentially shop windows for Amazon and only Amazon, but MU plus a dedicated e-ink reader would be incredible.

Sean Baker (The Florida Project, Red Rocket, Anora) talks to MUBI’s Adrian Curry about his ongoing use of Aguafina Script Pro and how a simple design solution turned into a unique brand identity.

My current favourite jam¹ is LCD Soundsystem and Miles Davis playing in side-by-side browsers. Somehow this works.

Couch to 100k – John Grindrod’s tips for non-fiction writers:

“I’m firmly of the opinion that no subject is a bad subject for a book per se, it’s what you do with it. Perhaps you have the desire to write a book about frogspawn. Or gravel. Or ribbon. Sure, that one word might taunt you. Who is going to be interested in that? But nothing is innately boring. Not when you can communicate what is actually exciting you about the subject. Frogspawn contains the miraculous secret of life; gravel a doorway into the ancient formation of geology and stardust; ribbon the tale of industrial revolutions, global culture and the history of fashion. Actually, why am I writing this blog post, all of those books sound amazing.”

I used to get excited about boring subjects every month for my MacUser column² – “you write interestingly about any old crap” was basically my editor’s pitch. Not sure I have the stamina or attention to go beyond a two-page spread, but maybe one day I’ll give it a go.

In Hidden Portraits, Volker Hermes reimagines historical figures in overwhelming frippery. Great name for a band right there.

Revisiting the Horst P. Horst monograph Style and Glamour after seeing Jack Davison’s incredible Saoirse Ronan shoot for Vogue. He’s captured and modernised Horst’s already-ahead-of-its-time 1940s style³ impeccably.

Oh dear lord I’m trying Bluesky again. Basically just biding my time on this social network carousel until somebody revives mySpace.⁴

That is all.

1. Jams? Do we still talk about our jams? Or did we kick out the jams? ↩︎
2. They’re all pretty much lost to the sands of time now, unless anyone is hoarding old copies of MacUser in their basement … ? If anyone fancies a read, I’ll see if I can dig them out and upload them here in some manner. ↩︎
3. Running with Scissors’s Lisa McKenna put it perfectly in her reply to a recent note: “I’ve always appreciated how [Horst] kept his cover design behind the lens”. ↩︎
4. Seriously, it baffles me that something that still has so much brand recognition and clear purpose – social media based around music – is still up on the shelf, gathering dust. ↩︎

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

Header image courtesy of the author.

The post Meanwhile No. 217 appeared first on PRINT Magazine.

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Luigi Maldonado, an Argentine immigrant, and Michael Tabie, a New York expat, landed at Austin, Texas-based creative agency Guerilla Suit for different reasons. Maldonado, partner and art director, started as an intern in 2011 and, over the next 13 years, has played a crucial role in the agency’s brand and culture. Tabie joined Guerilla Suit as design director in 2020. In four years, he has earned his title as a production pro, working with clients such as Yeti, Academy Sports+Outdoors, ESPN, and Nike.

The pair have made their mark on Guerilla Suit and the design world, bringing home first and second place in The 2024 PRINT Awards Branding Campaigns category.

SXSW

Luigi Maldonado – First Place in Branding Campaigns

Founded in 1987, SXSW is best known for its annual conference celebrating the convergence of
the interactive, film, and music industries. What began as a vehicle to showcase Austin’s creative and music community to the world has done its job. The first year saw around 700 attendees. Today, it’s an essential destination for global professionals, welcoming over 300,000.

Since 2021, Guerilla Suit has collaborated with SXSW to develop the theme for each year’s conference and refresh the design system as the foundation for all visual communications and wayfinding for the annual SXSW festival. In 2024, with the pandemic era in the rearview, the team, led by Maldonado, landed on the theme of Global Reframing.

The design team’s challenge was to create a look and feel inspired by the new generation of global citizens bringing about change from the ground up. Guerilla Suit provided art direction, campaign, social media, content, guidelines, graphic design, merchandise, motion graphics, signage, and wayfinding. The team’s innovation won them first place in the Branding Campaigns category.

East Side Pies

Michael Tabie – Second Place in Branding Campaigns

Four years into his role as design director at Guerilla Suit, Tabie seems to have grown accustomed to the Texas sun. He’s also made his mark on beloved Austin institutions, like East Side Pies, the pizza choice for many a team lunch.

There’s more to East Side Pies than meets the eye. Its Austin-style pizza is bigger than its signature thin crust or sauces. ESP takes pride in quality ingredients and community by working with local farms and ranches. For 20 years, East Side Pies has marched to the beat of its own drum, delivering the best culinary-inspired cracker crust pies using fresh, handpicked ingredients. ESP tapped the Guerilla Suit team to refresh their iconic look and feel as they entered a new growth phase, opening their first brick-and-mortar restaurant.

Guerilla Suit’s work helped to deepen the brand and allow East Side Pies to embrace their status as a hometown original. The identity showcases Austin and leans into the acronym ESP by refreshing the All Seeing Pie logo and introducing mystical taglines and motifs across the brand story. The team’s work earned them second place in the Branding Campaign category.

The post ATX’s Guerilla Suit Delivers a Double-Dose of Hometown Brand Love appeared first on PRINT Magazine.

For deeper insight into this evolution, I turned to some of the branding industry’s most prominent voices to explore how gender and identity are shaping political branding today. These design leaders shared their take on everything from the challenges of timing to the balance between visual consistency and policy focus to the future of branding for women in politics.

Our lineup includes Jessica Walsh, founder of the creative agency &Walsh (top left), Jolene Delisle, founder and head of brand creative at The Working Assembly (top middle), Holly Willis, founder of Magic Camp (top right), Ruth Bernstein, CEO of Yard NYC (bottom left), and Jaime Robinson, founder and CCO of JOAN (bottom right).

We asked, and, wow, they delivered! Their responses have been condensed and lightly edited for length and clarity.

How does the increasing alignment between political candidates and personal brand strategies, especially in the cases of Hillary Clinton and Kamala Harris, reflect a shift in how voters perceive leadership qualities?

Jessica Walsh: The way political candidates are now using personal branding is a lot like how companies build their brands to connect with customers. Candidates like Hillary Clinton and Kamala Harris are doing more than just talking about policies—they’re creating a narrative around who they are, their values, and their image to really connect with voters on a personal level. It’s similar to how brands tell a story to make you care about their product.

“Clinton’s pantsuits, for example, became a symbol of her identity, just like Harris’s story as the daughter of immigrants and her career as a prosecutor became key parts of her brand. This shift shows how candidates are using personal storytelling and visual cues, not just policy, to create trust and stand out in a crowded political field, much like a company would build loyalty with its customers.”

— Jessica Walsh

Jaime Robinson: Personal brand has always been huge for presidential candidates. Who can forget the Camelot visions of JFK and Jackie Kennedy?  The old Hollywood glamor of Ronald Reagan? Bill Clinton’s “cool guy prez” saxophone and sunglasses moment? 

What we’re seeing today that IS exceptional is that the personal brands of presidential candidates are being absorbed by their audiences as part of their OWN brands and identities….  who in turn reflect their own versions of the brand… which in turn influences the candidate’s brand, and so forth.

Donald Trump has become more blustery and right-wing as his audience paints him that way.  Kamala Harris has become more BRAT with each passing meme. And their fans – because that’s what they are, fans, not constituents  – become even more entrenched in the brand narratives that the candidates are spinning and reflecting back.

Ultimately, it’s showbiz, where Brand reigns supreme.

Jaime Robinson

Jolene Delisle: Personal branding is more important than ever, and as we see in almost every industry, it bleeds into your professional reputation as well. Especially as women, it has the power to shape the narrative, good or bad.

Holly Willis: The alignment of personal branding with political strategy speaks to a broader evolution in how voters perceive leadership. Today, candidates are expected to resonate not only through policies but also through personal narratives and cultural fluency.

One trend we’re seeing, particularly from millennials and Gen Z, is an expectation for leaders to be culturally aware and socially attuned. For many in these generations, cultural literacy in a candidate signals empathy and adaptability, qualities seen as essential in navigating today’s rapid social shifts. Harris has engaged with this expectation by leaning into modern cultural references—such as “brat summer” or her appearance on Call Her Daddy—to connect with younger audiences. On the other hand, Donald Trump’s appearances on podcasts like Theo Von’s reflect an appeal to a younger, more skeptical demographic, reinforcing his base while broadening his reach.

This approach raises an important question: if candidates are not engaged with the cultural zeitgeist, does that make them less attuned to future generations’ needs? For political leaders, balancing generational appeal is no small feat. In contrast to brands that target Gen Z for long-term loyalty, political campaigns must manage the tension between Gen Z’s social influence and the reliable voting power of older generations.

Leadership perception is increasingly shaped by empathy, cultural understanding, and relatability. As candidates integrate personal narratives within broader sociopolitical contexts, it underscores a shift toward leadership that prioritizes genuine connections with diverse communities, moving beyond policy alone.

Does focusing on personal identity as part of a candidate’s brand strengthen or dilute their political message, and how can candidates ensure their brand resonates without alienating key voter demographics?

Walsh: Yes! Focusing on personal identity as part of a candidate’s brand can strengthen their message by making them more relatable and authentic to voters. However, it can also dilute the focus on their policies if not handled carefully as they need to integrate their personal story and brand in a way that complements their political platform rather than overwhelming it.

“In today’s world, I don’t think a candidate can even be heard unless they develop a brand, and remain true to it. And while Kamala Harris might risk alienating voters when she dances or belly laughs at a joke, the WAY bigger risk is being boring. This has been true for a few decades. Who can forget snoozy John Kerry or Al Gore? (or maybe you CAN forget them, and that’s the problem?)

But I’ll even go a step further…

Today, personal brand IS the political message.” 

— Jaime Robinson

Jaime Robinson: Kamala’s converse and meme-ified social presence signals she’s for a younger, more progressive future. And Donald Trump, shutting down his town hall after four questions and then swaying awkwardly to a 1990s Andrea Bocelli ballad, says he’s content looking backwards.

Delisle: We are in unprecedented times where running for political office is like running in some ways in a popularity contest, and it has less to do with the political objectives and policy and more with how people “feel about someone.”

It’s alienating to me as a voter because these are public service jobs, and the fact that most of the commentary online and on television is about someone’s likability is really sad.

Jolene Delisle

Willis: The integration of personal identity into political branding has become a more sophisticated exercise, reflecting a shift in both strategy and voter expectations. Modern candidates face the challenge of weaving their identity into their campaigns in ways that resonate authentically, yet don’t overshadow the substance of their policies. This balancing act is increasingly crucial as younger generations, especially Gen Z and Millennials, value leaders who are socially and culturally engaged while also addressing issues with depth and relevance.

In recent years, political figures have embraced subtler forms of identity politics—where their personal stories, values, and cultural touchpoints are integrated naturally into their campaigns rather than positioned as the primary focus. This approach allows candidates to embody key aspects of their identity in ways that enhance relatability without detracting from the core message.

This evolution underscores a strategic shift: instead of directly emphasizing aspects of identity like gender or ethnicity, candidates increasingly use cultural moments and platforms to convey these elements implicitly.

Holly Willis

This approach reflects a larger trend where identity becomes a part of the fabric of a candidate’s brand without dominating it, allowing for a broader, more inclusive reach. By engaging with diverse media channels, like podcasts that resonate with distinct demographics or tapping into trending topics, candidates can address different voter needs without isolating any particular group. It is also reflective of a deeper understanding that leadership is not solely about direct representation. It’s about showing an awareness of and alignment with the broader cultural landscape.

For future candidates, the challenge will be finding ways to make personal identity resonate across various voter demographics. To achieve this, candidates can look at how consumer brands blend authenticity with relevance — using personal stories to establish a connection, but grounding that connection in the shared values of their audience.

Harris’s campaign appears to subtly embody modern feminism without directly emphasizing gender, unlike Clinton’s more explicit feminist branding. How does this reflect the changing role of identity politics in shaping brand strategy, and how might this influence the future branding of female candidates?

Walsh: Kamala Harris’s subtle embrace of modern feminism, without directly emphasizing gender, reflects a shift in how identity politics shape political branding. Unlike Hillary Clinton’s more explicit feminist messaging, Harris integrates her identity in a way that feels natural and resonates with a diverse yet increasingly scrutinizing voter base. This approach signals a new trend for female candidates, where they can highlight their identity without making it the focal point of their campaign, allowing them to appeal to a broader audience. By focusing on qualifications and policy, while still embracing their personal story, candidates can balance the celebration of diversity with the need to connect on issues that matter to a wide range of voters.

Robinson: It’s smart that Harris isn’t playing on gender, and also a sign of the times. Hillary Clinton was running during a cultural moment where gender identity and struggles were front-page headlines. They were the big news.

That moment has passed, and it would seem outdated if Kamala Harris leaned on being a woman. In fact, today, Harris has a better chance of getting elected if she doesn’t go into gender identity. She knows she needs to dial up a more relevant aspect of her personal demographics  – that she’s younger than her opponent by 20 years, with a spirit to match.  She’s leaning into the memes, the BRAT, the inside jokes. She is signaling that she’s for the future, not for the past.

When she wins, we’ll celebrate that she’s a woman. Not a second before that.

Jaime Robinson

Bernstein: Kamala running for President as a woman isn’t seen by the American public as such a big deal because Hilary already did it. Hillary comes from a different generation. Her feminism was defined by needing to play in a man’s world. She had to play by men’s rules and ‘man up.’ She broke the glass ceiling in her run for President. Her feminism was about fighting for women’s rights and the need to show a woman could do a man’s job.

Kamala comes to a Presidential race by not having to play the same game that Hillary did.  She embodies another generation – GenX vs Boomer. She understands that to win as a brand, she needs to be defined relative to her competition. Being a woman is irrelevant. Her brand is “not Trump.” And her age is more important than her gender – it’s what also separates her from Trump and Biden.

Running on one’s identity now – and in the future – is not enough. Voters today are not choosing a candidate based on gender alone.

Ruth Bernstein

This is a different race. This is a changing of a generation. These are the moments when choice can’t be defined by identity. This is a race that is bigger than that.

“It’s interesting in the summer of Brat/Demure we almost have that prime example of the shift with the two candidates. Hillary was definitely in her demure era; she was trying to play nice and stick to the typical playbook. Harris’s campaign has definitely embraced the Brat vibes and is decidedly more on the offense, and is really embracing social, memes and culture. It’s been cool to see how fast her team can create response content and immediately jump into the conversation. It’s an incredible brand strategy, and I think it will definitely influence how candidates, both male and female, activate and strategize their social in the future.“

— Jolene Delisle

Willis: Kamala Harris’s campaign underscores a shift in how gender is integrated into political branding. Where Clinton’s explicit feminist messaging highlighted her role as a groundbreaking figure for women, Harris embodies a more subdued form of feminism. She integrates her identity into her platform in a way that feels authentic and organic rather than overt. This approach allows Harris to resonate with voters who value diversity and representation without risking the perception of identity politics overwhelming her platform.

This progression mirrors the changing cultural landscape, where diversity is increasingly celebrated but must be balanced with a broader message that appeals across demographics. As diversity becomes a more central expectation, female candidates may have more freedom to weave their identity into their political brands subtly. They can express modern feminism not as a standalone brand pillar, but as one of many facets that make up a well-rounded candidate. This more nuanced approach could help future female candidates navigate an increasingly scrutinized political arena by resonating with voters who see their identities as a natural part of their brand narrative, rather than its primary focus.

Clinton’s pantsuits became a symbol of her campaign, often diverting attention away from policy discussions, while Harris’s fashion choices seem to escape such scrutiny. How crucial is it for candidates’ brands to balance consistency in their visual identity with the need to focus on substantive policy?

Walsh: In political branding it’s all about balancing consistency in visual identity while keeping the focus on substantive policy. Hillary Clinton’s pantsuits became an iconic symbol, but that could distract from more important policy discussions. While visual branding creates a recognizable and cohesive image, there’s a risk when it becomes the story rather than supporting it. Kamala Harris, on the other hand, has managed to maintain a strong visual identity without her fashion choices becoming the center of attention, allowing her policies and leadership to take the spotlight.

Robinson: Visual identity is everything and these candidates know that. Picture Trump –  what is he wearing? Not a leather jacket or some True Religion bootcut jeans. He’ll be in a dark suit with a red tie or golf whites and a MAGA hat. Picture Kamala Harris. She’s in a blazer and skinny jeans and Converse, or she’s in a modern designer suit.

These are brand moments—sartorial choices that are picked because of the policies the candidates are endorsing, not despite them. Donald Trump is projecting the image of the rough businessman cutting taxes for the rich. Kamala Harris is the image of the cool aunt who is gonna kick someone’s ass for taking away your reproductive rights.

But the good news? These branding elements are really not the focus.

We’re not talking about the clothing choices, unlike Hillary Clinton’s pantsuits, which is a great thing. A lot has happened since 2016, and we don’t have time for that shit.

Jaime Robinson

Bernstein: For most candidates, it is important to build a visual identity that is inclusive and contrasts with that of your opponent. Obama had one of the strongest visual identities of any modern politician. It let him own the idea of ‘Hope and Progress.’ While that is not substantive policy, it provided a platform for him to put forward ideas that lived up to that visual promise such as healthcare for all.

Delisle: I think millennial voters were much more into political branding – I think in the time of Obama and his Shepard Fairey prints, it was much more about visual identity shaping the campaign. Now because things have shifted so much away from printed collateral, the visual identity piece to me seems less important in this election. Obviously, with MAGA, they had a very strong visual thread that was helpful for them in the last election and likely this one, too, but I think it’s smart that the Harris campaign isn’t putting as much significance on her logo or graphic elements and putting much more effort on social media like video and UGC.

“Misogyny in American culture has often resulted in undue focus on female candidates’ appearances, on both sides of the aisle. This was seen in Clinton’s campaign, where her pantsuits became a symbol that sometimes distracted from her policy platform. In contrast, Harris’s style choices are less scrutinized, reflecting a shift in the way voters and media perceive female candidates. However, this shift doesn’t imply that the biases have disappeared—they’ve just evolved.”

— Holly Willis

Holly Willis: A candidate’s brand is enhanced when visual identity serves as a subtle extension of their narrative, reinforcing their platform without distracting from the policies they champion. For example, a well-coordinated wardrobe choice can be strategically symbolic, drawing connections to the communities they represent without being explicitly gendered or politicized. It’s essential to maintain this balance to ensure the conversation remains focused on their vision and substance.

Can too much focus on visual elements risk diminishing a candidate’s brand? How can they avoid this?

Robinson: I think the conversation around Hillary Clinton’s pantsuits was problematic – it made her more lovable to her core demographic, who were finally seeing themselves represented and loved her boss bitch vibes.  But the sensible pumps and pantsuits served to “other” her to her detractors, who found her power dressing off-putting for the same reasons that her core loved it. 

But today, unless that visual element is a negative or unattractive thing, it’s not a problem. Even the infamous “orange” hue of Donald Trump’s skin is just as accepted and in some camps, celebrated as part of his brand.

Willis: An overemphasis on visual elements can indeed dilute a candidate’s brand, potentially reducing their persona to superficial traits and drawing focus away from their platform. Visual identity should be a strategic tool, enhancing the message and helping convey a sense of strength, consistency, respect, and relatability, but not becoming the focal point. Political figures can avoid this pitfall by aligning visual identity closely with their core values, reinforcing it as an extension of their messaging rather than an attention-grabbing element on its own.

For candidates today, the goal should be to integrate these elements as part of a comprehensive brand that resonates with voter segments. By thoughtfully choosing elements that reflect broader narratives—such as inclusivity, relatability, and authenticity — they can create a memorable visual presence that supports, rather than overshadows, their policies. This balance is especially important in a media environment that often emphasizes imagery, where strategic visual choices can enhance a candidate’s connection with voters.

Clinton faced relentless negative media coverage, while Harris appears to have avoided similar levels of personal scrutiny. How should political candidates handle the branding impact of personal attacks? What strategies from the private sector can help create resilient brands that can withstand media controversies and misinformation?

Walsh: Political candidates can handle personal attacks by focusing on consistency, transparency, and staying true to their core message—much like successful brands in the private sector. Just as companies respond to negative press by controlling the narrative, candidates should address false claims directly, clarify their stance, and reinforce their values without letting attacks overshadow their campaign. By using crisis management strategies from the business world—such as clear communication, proactive messaging, and staying authentic—candidates can build resilience and maintain focus on their leadership and policy goals, ensuring that negative media doesn’t dominate or derail their brand.

Robinson: If you’re running for president, criticism from someone (or many someones) is part of the job description. The key is, no matter the heat, to stay true to the brand. Candidates must stay authentic, and not waver just because they ruffled some feathers. They likely also strengthened some feathers, and if they change course because of the criticism, everybody will register them as fakes. 

As with marketing brands, you can’t be everything to everybody. And the most vital thing is to be “on brand” to yourself.

Willis: One key strategy is to establish a clear, positive narrative around their identity, consistently highlighting their values and achievements. This creates a “brand foundation” that can anchor public perception, making it more challenging for opponents to erode their credibility. In the face of attacks, it’s also effective to address issues head-on when appropriate, deflecting distractions but responding thoughtfully to misinformation.

Resilience also comes from transparency and trust-building. Private-sector brands often use authenticity to connect with audiences, and candidates can similarly counteract negative coverage by being candid and accessible. Misinformation is a constant threat, and successful brands emphasize fact-based storytelling, engaging directly with audiences to set the record straight and offer a counter-narrative that reinforces their values.

Directly addressing a baseless claim not only clarifies their stance but also builds credibility with voters, showing an alignment with the facts over spin.

Holly Willis

With Kamala Harris benefitting from the cultural groundwork laid by Clinton and Shirley Chisholm, how important do you believe timing is in a candidate’s branding success?

Walsh: Timing is critical in a candidate’s branding success, and Kamala Harris’s rise is a great example. She built on the groundwork laid by figures like Clinton and Shirley Chisholm, and her campaign’s timing was key. As many grew weary of Biden’s traditional leadership, Harris brought fresh energy and hope, representing diversity and progress. The joy surrounding her candidacy was not only about her qualifications but the emotional response to seeing a leader who people were excited to get behind. Harris’s timing allowed her brand to resonate at a moment when the public craved new, dynamic representation.

Robinson: Timing – for candidate brands and brand brands – is everything. Is the world ready for what your brand has to say?

“Timing is very important to a candidate’s ability to brand themselves. There are moments like the one we are in today, when it is a coming of age, or generation. It is an inflection point that speaks to a readiness to embrace something new. We saw that with Obama. And I believe we are seeing that now.”

— Ruth Bernstein

Bernstein: Kamala’s womanhood is not as important as other factors. Her age, for one, is a more important factor than her gender. With Kamala, we are seeing her flex her GenX attributes more than her femaleness. And that is relevant to the moment we are in – the age of Biden and the age of Trump and the desire for a new generation of leadership.

Willis: Timing is a critical factor. Harris, for example, is benefiting from the cultural groundwork laid by earlier trailblazers who helped shift societal perceptions of female and diverse leadership. These predecessors opened the door for a more complex, intersectional understanding of identity in politics, allowing Harris to subtly embrace her own diverse background while focusing on policy-driven messaging.

Furthermore, Me Too shifted public consciousness around gender, power, and representation, allowing the political landscape to adapt. Harris’s ability to incorporate her identity without making it a constant focal point reflects this change.

A candidate’s success depends on how aligned their brand is with the public’s evolving expectations and the cultural zeitgeist. As society increasingly values diversity and inclusion, candidates like Harris are better positioned to capitalize on this shift, embodying leadership that resonates with a multi-dimensional, multi-generational electorate. Today, aligning personal identity with policy is as important as having the right message—it’s also about delivering it at the right moment, in a way that feels timely, authentic, and relevant.

In what ways do you see candidates balancing their personal narratives with the evolving societal context during their campaigns? Take Harris’ approach to highlighting her gender, for example.

Walsh: Candidates today must align their personal stories with the shifting cultural zeitgeist, where representation and authenticity are highly valued. Kamala Harris’s nuanced approach to highlighting her gender reflects a broader trend of political figures adapting their identity strategies to align with the cultural moment. Rather than making her gender the sole focus, Harris weaves it into a larger narrative of competence, experience, and representation, allowing her to connect with diverse groups without being reduced to a singular identity.

Robinson: Harris is smart. She’s not taking the gender bait, for either the positive or the negative. Even more interestingly, nobody else really seems all that concerned with it. We’re all so entrenched in our political sides that either party could run a hippopotamus and still get votes. In fact, Moo Deng would probably crush it.

Willis: Harris’s approach illustrates a broader trend in which political figures integrate aspects of their identity into their brand strategies without necessarily making them the centerpiece. This allows candidates to connect with voters on shared values, using their identity as a touchpoint that builds relatability while focusing on policy. In today’s social climate, where identity is often deeply intertwined with political beliefs, this balanced approach enables leaders to reflect the diversity of their constituencies without alienating key voter demographics.

As societal expectations evolve, political candidates are finding ways to weave personal narratives into their campaigns subtly. They leverage cultural references, such as Harris’s allusions to trending topics like Beyoncé or Taylor Swift, to underscore their connections to various communities. This nuanced branding strategy suggests that candidates can benefit from staying attuned to cultural shifts and adopting a flexible approach that allows them to resonate across generations. At the same time, it acknowledges that while identity politics remains a powerful tool, it must be wielded thoughtfully to avoid alienating groups with different priorities.

However, aligning with cultural trends in this way carries risks. In today’s fast-paced media environment, one misstep can lead to accusations of inauthenticity or pandering, undermining the intended connection. Voters, especially younger generations, are highly attuned to authenticity and quick to call out anything that feels disingenuous. Therefore, it’s a delicate balance: candidates must lean into their personal experiences and core values to connect with cultural topics and trends genuinely, rather than opportunistically.

We are less than a week away from Election Day, Tuesday, November 5. For all of our futures, this election is critical and your voice matters. If you need any voting registration help or info finding the nearest polling booth to you, learn more here.

Campaign imagery © KamalaHarris.com and Harris campaign social feeds.

The post Five Design Leaders on the Evolution of the Female Presidential Candidate appeared first on PRINT Magazine.

“We noticed that athletes today are increasingly seeking ways to personalize their experiences, and they’ve been early adopters of athletic equipment personalization,” said Xavi Cortadellas, Gatorade’s Sr. Director of Marketing, Athletic Equipment. “Through these AI innovations, we’re so excited to help athletes showcase their unique styles, passions, and personalities.”

Gatorade guzzlers can go to www.gatorade.com to generate their own water bottle designs through the brand’s partnership with Adobe Firefly. Gatorade also collaborated with digital product agency Work & Co, part of Accenture Song, to ensure the new AI experience was seamlessly integrated into their site and was user-friendly.

“Our ambition is to serve athletes better than anyone else, so we’re incredibly proud to be one of the first brands to put the power of an AI-fueled experience in the hands of athletes,” said Cortadellas. “This technology allows us to meet athlete needs with fully customizable solutions no matter their journey.”

“This is just the start of how AI will continue to fuel athlete personalization at Gatorade,” added Cortadellas. What the next AI pursuit for the brand will be, however, remains to be seen. An AI flavor perhaps?

The post The Classic Gatorade Water Bottle Gets the AI Treatment appeared first on PRINT Magazine.

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

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

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

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

The post Addison Group Celebrates 25 Years with a Brand Refresh appeared first on PRINT Magazine.

As an avid soccer fan, I awoke to the news yesterday morning flooding my various social feeds and group chats that the newest NWSL team had been revealed: BOS Nation Football Club. 

You heard that right, BOS Nation. Begging the questions: What?, Why?, and How?

BOS Nation FC is a terrible name for a sports franchise because, to put it bluntly: it’s corny as hell. “Lady Boss” culture and the “Girl Boss” discourse is over. In fact, it never started. It’s an inherently dated and regressive concept that is the opposite of empowering. “BOS Nation” is trying too hard. It wants so badly to be cool, and there’s nothing less cool than wanting to be cool. It’s unnecessarily overcomplicating what simply should have been “Boston FC” or “FC Boston,” which are reportedly two of the options that were rejected in favor of their cringey counterpart. Apparently, “BOS Nation” is an anagram of “Bostonian,” which is one of those bad ideas reeking of the original brainstorm that should have been dismissed immediately—not taken seriously and then turned into an actual NWSL franchise. Alas, here we are. 

The BOS Nation design and branding aren’t doing the franchise any favors either. The stacked logo is especially baffling, with the “FC” split up oddly and placed galaxies apart on either side of the “BOS” and clipart-looking starburst icon. The brand names for the colors in the brand system are eye-roll-inducing in their own right: “championship green,” “relentless raspberry,” “loyal charcoal,” “daring pink,” “rise yellow,” and “orange press.” 

But while the name and branding are puzzling, the roll-out campaign unleashed by BOS Nation to officially announce the franchise is downright offensive. 

NOTE: The original video used for the rollout campaign has since been removed from all platforms by BOS Nation and the NWSL. A downloaded version can be accessed here.

I am far from alone in my incredulity toward every aspect of this campaign. For the first time ever, the internet is aligned in patently agreeing upon something: this is SO BAD. There are so many layers to how the roll-out so egregiously misses the mark, so let’s dive right in. First off, using men’s sports franchises as the main framework for the launch video is, in itself, infuriating. Why are we making a women’s sports franchise about men? What are they even doing here? But then on top of that, making the roll-out about male genitalia? Now that’s beyond the pale. 

In an attempt to be edgy and subversive, BOS Nation is simply being transphobic and misogynistic, reducing gender to genitalia in a tired and childish joke about balls. They double down on the joke by encouraging people to go to toomanyballs.com, which then redirects to the BOS Nation website. The whole concept sounds like a parody, satire, or comedy sketch, or perhaps an idea that was proposed by some frat boy intern at an NFL-themed podcast. 

Another layer in this lasagna of disrespect is the erasure of the many women’s professional sports teams that are, in fact, already playing and thriving in Boston. As The Athletic reporter Meg Linehan rightly points out, Boston’s women’s professional hockey team in the PHWL, the Boston Fleet, not only exists but made it all the way to the league championship series last season. Boston is also home to a women’s professional rugby team, Beantown RFC, and a women’s professional football team, the Boston Renegades, who have won five national championships over the last six seasons. Forgot about all of those incredible women athletes, did ya, BOS Nation?

So who’s to blame? Colossus Creative Co. was the agency behind the BOS Nation integrated campaign and brand identity, smugly posting about the work on their Instagram yesterday in which they thanked their “brave clients for having the guts to be wildly provocative with this launch.” They also thanked the various men’s sports franchises featured in the launch (for contributing creatively, as well?), for their “incredible sense of humor.” 

As a teaser for yesterday’s hard launch, more than 200 billboards and other OOH placements sprung up around Boston for 48 hours, which proclaimed the campaign’s idiotic refrain: “There are too many balls in this town.” The “cryptic (and entertaining) message” was meant to inspire shock, confusion, and intrigue from onlookers who would then be enticed to visit everybody’s new favorite website, www.toomanyballs.com. You simply can’t make this stuff up!

The lingering question is, of course, what comes next? Will BOS Nation FC (every time I type that out I can’t believe it’s real) see the error of their ways and pivot in a new brand direction before they’re in too deep? Or will they dig their heels even deeper into this name and brand system, despite literally everyone hating it? Only time will tell! Maybe they should ask Tom Brady what he thinks they should do.

Story update as of October 16 at 1PM ET / 10AM PT

The “too many balls” roll-out is actively being rolled back by BOS Nation, who have removed the brand launch video from their socials and posted this statement:

The post NWSL Announces a New Boston Soccer Franchise With a Brand Launch so Bad it Feels like Satire appeared first on PRINT Magazine.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Podpunkt is an award-winning multipurpose creative studio based in Warsaw, Poland that specializes in design systems. The company is a crossover between a design studio and a digital agency making visual literacy accessible across a multitude of platforms for a larger audience. Consisting of ten core team members, the company has earned 35 awards and attended/hosted 12 juries and conferences in just over a decade, creating a level of international credibility within the design field.

Podpunkt’s work with The National Museum in Krakow, led by Emilka Bojańczyk and Zuzanna Charkiewicz, earned the studio first place in the Branding Identities & Identity Systems category of the PRINT Design Awards. The National Museum in Kraków (MNK) is the largest museum in Poland and the main branch of Poland’s National Museum. The Museum consists of 21 departments divided by art period: 12 galleries, two libraries, and 12 conservation workshops, holding approximately 780,000 art objects.

Taking on the rebrand for such a major museum was an endeavor but emphasized the studio’s capability to balance umbrella-ed coordination with stark individuality. The museum’s new identity was based on the metaphor of weaving threads of inspiration and artworks into the vast body of art—as the basis and DNA of the collection. In the workshop and strategy phase, the team homed in on alterations to the names of the Museum’s branches to best encompass the main MNK brand and form a more harmonic big picture. Accompanying the modified branch names is a dynamic serif that changes form in correspondence to the art or building that it represents. The typographic system is based on the Sangbleu typeface by Swiss Typefaces. Its letterforms are at once classic and modern, and have the elegance and finesse to fulfill all the different identity needs. The reimagined logo is a graphic rendering of the abbreviated name of the Museum-MNK and is based on a meticulously designed geometric grid that is timeless while innovative.

Receiving the Print Award has been a truly special moment for both us and the team at the National Museum in Kraków.

Magdalena Dobruk, Partner at Podpunkt Studio

The brand identity design for the National Museum in Kraków not only won first place in the Branding Category for the PRINT Awards but it was also recognized by other design media, including PRINT’s friends at Brand New. However, back in Poland, the reception was somewhat lukewarm according to the Podpunkt team.

It’s an unconventional design that encourages playful engagement with art and creative exploration. It allows for the fusion of various art movements, creating a fresh visual identity. Even though the local response was not as robust as expected, our award reassured us that we made the right creative decisions for the Museum’s brand.

Most importantly, the brand identity system continues to serve the Museum well. As a versatile tool, the brand system enables them to create eye-catching campaigns for new exhibitions and events with ease.

Based in Warsaw, Podpunkt also had a rewarding year in the Polish design awards scene taking the main KTR Award (Polish Creative Club) in the Design category for the brand identity of OAcademy—the Orchestra of American Group. Inspired by these accolades, Podpunkt recently focused on its own brand image and, after ten years, designed and launched a new website that beautifully explains its mission and expertise.

We feel like we should set out with our works across the ocean more often—this year, a lot of good has come our way from the other shore of the Atlantic!

The post Podpunkt’s Timeless Brand for the National Museum in Krakow appeared first on PRINT Magazine.

Centered around a festive family gathering, the campaign features a little sister, big sister, and Mom, serving up eye rolls, side-eye glances, and sibling rivalry with full drama. Set against the backdrop of a holiday dinner table, the characters are dressed to the nines in head-to-toe glamour, with a focus on Morphe’s stunning holiday drama looks.

The idea behind this campaign was to highlight the real, unfiltered dynamics that happen at family gatherings during the holidays—characters that consumers can actually relate to. You’ve got the overbearing mom, the annoying little sister, and the tension that we all know too well.

Pum Lefebure, Chief Creative Director, Design Army

Executed as a series of mini-episodes, the campaign captures the essence of holiday family antics—complete with sound effects and over-the-top thrills. The scenes reflect the relatable moments of stress and flawed familial love we all experience during the season, but with a stylish twist, thanks to Morphe’s bold, festive beauty products.

Every detail was thoughtfully considered in executing this campaign. Photographer Greg Swales expertly captured the drama in the stills, while DP Chevy Tyler brought those moments to life through video, seamlessly blending the two to create a cohesive and dynamic visual story.

The result is a series of beautifully crafted images that capture the essence of holiday drama with a playful touch and striking visuals.

It was also important for us to show different age groups in the mix, because makeup is for everyone, no matter your age. We wanted to create something that feels true to life but still full of that glam and fun Morphe is known for.

Pum Lefebure, Chief Creative Director, Design Army

The post Design Army Brings the Glamour to Holiday Family Drama for Morphe Cosmetics appeared first on PRINT Magazine.

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

Sallve

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

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

Loquita Bath & Body

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

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

Somos

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

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

Cuyana

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

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

Hija de tu Madre

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

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

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

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

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

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

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

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

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

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

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

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

In the work of creating sustainable systems-level change, obstacles come in many forms: poor physical infrastructure, lack of resources, imbalanced distribution of power, disinformation, and more. However, the most stubborn obstacle is often the deeply held beliefs and assumptions that shape how we perceive and interact with the world. These beliefs form our collective values. If society’s values do not align with the change we are trying to make, our efforts to improve infrastructure, shift resources, and redistribute power will never stick and will always be in vain.

Narrative change exists to tackle this—to remake our values so that the concrete work of gathering resources, corralling political willpower, and pushing through new policies becomes easier. According to Narrative Initiative, one of the organizations pioneering and building this practice, narrative change is about changing “our shared interpretation of how the world works.”

Organizations are embedded within larger conversations. Narratives affect how we perceive organizations as much as organizations affect how we perceive their related narratives. For example, the Ford Foundation influences the narrative of the role of philanthropies—as when, in 2015, Darren Walker started spearheading, what he called, “a new gospel of wealth”—while at the same time, the larger narrative influences our perception of the Ford Foundation. The prevailing narrative of abortion—as a women’s rights issue, with 63% of Americans believing abortion should be legal in all or most cases—affects how we perceive Planned Parenthood, but Planned Parenthood plays an influential role in how society perceives abortion.

Understanding this complex and two-way relationship is the first step towards harnessing branding to be a more effective tool in the work of social change.

The Relationship Between Branding and Narrative Change

A brand is a concentrated dose of narrative change—clear and distilled language, aimed at shifting how audiences perceive and understand the stakes of a certain issue or field, delivered through the powerful and specific container of brand language. Because of the nature of brand, it can be delivered across multiple channels, to various audiences, and consistently over time.

But in order for a brand to step up to the proverbial plate, we need to ask it to be more than just a logo and a mission statement. A brand can set the context and frame the conversation. It can zoom out and help us understand how the world works and why it needs to be different.

When the Robert Wood Johnson Foundation (RWJF), a leading health philanthropy, rebranded earlier this year, there was a notable shift in its language. Previously, they talked extensively about health equity and the social determinants of health, packaged in a concept they called “building a culture of health.” The new brand language we developed for RWJF strikes a different tone and frames up a different conversation. “We take bold leaps to transform health in our lifetime and pave the way, together, to a future where health is no longer a privilege, but a right.”

In American lore, rights are inalienable. We are born with them and die with them. The framing of health as a right is a sharp and compelling idea that sheds sunlight on the darkest crevices of our previous assumptions. When access to health becomes a right, our values shift. When values shift, policies change. When policies change, resources move. And when resources move, change happens. We helped RWJF leverage its brand to do more than talk about itself and challenge entrenched narratives about who is deserving of health and why.

Brand Your Organization, Brand Your Cause

Narrative change is grueling work. Progress is hard to measure and it can take generations for efforts to bear fruit. So it’s important to state that branding is not a shortcut. But if your organization is all about taking a systems approach to social issues, remember that branding can be a powerful tool to change the way we think about the world.

Next time you update your brand, don’t just ask what can be said about your organization; ask what can be said about the larger issues you participate in. Language, both visual and verbal, matters.

With the right words and images, branding can shake loose tired assumptions and clear the way for real progress.

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

Illustration by Merit Myers.

The post A Powerful Dose of Narrative Change appeared first on PRINT Magazine.

Kamala’s Recipes isn’t just another culinary website—it’s a fun blend of politics, pop culture, and delicious bites designed to activate voters through their love for food. With under 50 days to go until the election, People People launched this playful project to celebrate Kamala Harris as a leader and as someone who knows her way around the kitchen.

From the “Purple Powersuit cocktail” to dishes inspired by her viral moments, Kamala’s Recipes is an interactive celebration of Harris’s star-studded YouTube cooking show, her memorable quotes, and iconic outfits. But it’s not all just fun and food—the site smartly integrates voter registration links and encourages donations, making it as much a rallying cry for political action as it is a culinary adventure, both online and through the project’s Instagram page.

Design-wise, People People leaned into Harris’s collection of power pantsuits, drawing inspiration for a color palette that’s as bold as she is. But what truly brings the site to life is its grounding in home-cooked memories and our universal connection through food. The typography and illustrations channel the charm of family recipe cards and cherished cookbooks, while the overall design is reminiscent of bustling farmer’s markets and the communal joy of food festivals. Playful sticker-like callouts and lively layouts capture the energy of conversations shared over a meal, a tasty nod to grassroots activism.

If ever there were a recipe for bringing people together, this is it. Food and politics? Yes, please.

The post People People Serves up a Culinary Adventure with a Side of Activism appeared first on PRINT Magazine.

But Havas Lynx met the challenge head-on, taking on the project pro bono because they believed so wholeheartedly in the importance of the MysteryVibe message. In doing so, Havas Lynx developed an eye-catching, thought-provoking, and conversation-starting OOH “Happy Menopause” campaign in New York City this past March, during Women’s History Month. Among other elements, the campaign featured a massive billboard in Manhattan depicting MysteryVibe’s Crescendo 2 device, designed to treat menopause-induced arousal, pain, and dryness. This historic ad marked the first-ever US billboard to feature a sex toy.

To learn more about the development of this provocative campaign, I recently chatted with Robyn Wagner and Ludmila Crowther of Havas Lynx. Wagner led on the project, and elaborated on the progression of the campaign’s messaging and what’s next. Our conversation is below, edited lightly for clarity and length.

How did the Happy Menopause campaign develop? What was the jumping-off point? 

RW: The client was looking for support with getting the message out there about his product— not just being a vibrator, like everything else is on the market, but the fact that it’s been FDA approved, and it’s actually able to be purchased from your HSA (Health Savings Account) and FSA (Flexible Spending Account). So he was looking to us to do a scrappy campaign to support him across the US and UK markets. 

As we delved into it, we came across Joyce Harper, who is a professor of reproductive health at the UCL (University College London) who’s been doing a lot of her own research in menopause and sexual wellness and how the two are very closely linked in terms of orgasms, masturbation, and sexual pleasure. When you have menopause symptoms like vaginal dryness, it’s kind of a daunting thing to even want to do those things, but actually, her research is showing that if you do, it will get much easier and almost relieve the symptoms that you’re going through from a menopause perspective.

So we thought that Joyce would be a really good fit in terms of being able to get more of that credible, professor side to the messaging. She was very keen to have a bit of a platform to get her messages told and to make sure that that narrative is coming through. Still, it’s such a big stigma in society, both menopause and sexual wellness, so the two together are a huge stigma.

What was that initial campaign roll-out like? 

RW: The first part of the campaign was Joyce giving some bite-sized information in videos that MysteryVibe posted on their website and on social media. We had a little out-of-home campaign that went with that in New York, initially, that talked about, “over and over again,” in terms of orgasms and that using this product will help. It was less product-focused and was more about getting that message out. Then, we were able to do a second push with a different out-of-home campaign that had the stopping power that we wanted. 

Can you elaborate on that second push of the campaign? How was that messaging different from the first iteration? 

RW: It had the stopping power that we wanted, but it only worked in the US. We tried it in the UK with the product on the billboard with the word “orgasm”, and we were completely shot down, of course, because of the advertising standards in the UK. In the US, it was slightly different, so we were quite scrappily looking at how we could get this campaign out, and how we could get the message that an “orgasm comes with a medical prescription,” that was the whole point. We had “happy menopause” on it, and also that it was FSA and HSA accepted; those were the key messages.

We were able to find a media outlet that had individual billboards that were owned by different landlords, so they had fewer of the restrictions that perhaps some of the bigger media corporations have. We found a billboard where the landlord would accept the message, and it happened to be one of the biggest in Manhattan. So it worked out really well for us to be able to put that up and actually start to gain some traction and start to get some earned media.

MysteryVibe has its clientele already, but we wanted to get more people to understand the messaging of masturbation as medicine for women who are going through pre-, peri-, and post-menopause; it’s an amazing and very easy thing that people can do to relieve all of these symptoms. So having this billboard was a real chance for us to get that message out for people to see, share organically, and build that traction. 

This campaign was a pro bono project for you all at Havas Lynx. Why is doing mission-driven work like this important to you all as a company? What is the selection process like for your pro bono work?  

LC: It’s a mixed bag in terms of how many pro bono projects we do, where they come from, and how much we invest in each, but there are so many opportunities out there. As long as we hit our core goal, which is having an impact in the health space that’s actually going to matter and make a difference, then, as a team and as a business, we can choose to invest in what we can. 

Our agency does something called a “Hatchling Day” every year, where everyone splits into mini teams for a whole day, and we get a challenge that we have to think of a unique and creative way to solve. There’s a vetting code to make sure the ideas are all sound for the business, then voting goes out through social media. We see who engages with it on social media to determine if this is an idea that’s viable and worth investing in. Is this something that we think we can take forward and really make it into something powerful for the healthcare community? 

Another project that Robyn’s heading up with our strategists is in the mental health space around ADHD, and that was very much a personal-driven piece. We created a brief, we invested time in it, and now we’re progressing it into a little bit of a pilot study, and hopefully, it’ll turn into something bigger. 

Working in the healthcare industry specifically must pose a rich blend of being challenging to address issues that are so personal, sensitive, and even controversial, but also deeply rewarding knowing the sort of impact you can have on people’s well-being.

RW: It’s brilliant. Our team in New York specializes in patient and consumer wellness, so obviously, MysteryVibe is more consumer-focused, but in the other work, we’re doing a lot of disease education for patients, and trying to be untraditional so that it cuts through.

In the US, in particular, there are huge product ads for patients that are like, “Buy this product! Here are the side effects!” But we want to support patients in making a more empowered choice that’s not product-focused, and actually educating them on their condition and the things that might help them. We’re not saying, “Get this product,”— we want it to be unbranded and focused on being empowered and informed so that they can go to their doctor and drive that conversation to actually get something that’s going to work best for them. 

It’s super rewarding because we’re able to do communication and marketing, but it feels like everything we do is for good. That’s why I absolutely love the work that we do. 

Can you speak more on how an out of home campaign is particularly powerful when addressing taboo subject matter?

RW: From an advertising perspective, there’s a real push still for out-of-home being a really good choice. If what you want to achieve is stopping power, that really is the greatest space to do it.

From our perspective, we thought that OOH would be able to generate more of that earned media and push the message out when we didn’t have a huge media budget. How are we going to make sure that this gets the earned media it deserves? How is that then going to push the message to the people who need to see it? So that’s really why we looked at doing this one billboard. 

Gabe, the creative director, and I went down one afternoon once the billboard had been put up—it was huge! It’s like, 40 feet wide—and we stood there for no more than half an hour, and I would say there was not one person who didn’t walk past and do a double take or do some sort of look. There were people looking at the QR codes too. It wasn’t necessarily always the demographic we were looking for, but I don’t think that matters. Sometimes allies, like husbands, look at it and go to their wives and say, “I saw this, did you know about this?” It was really cool for us to see that level of footfall and the level of engagement that we actually got in just half an hour. It’s not something you can replicate as easily with digital because you’re fighting so much all the time there. Whereas the street that we were on, there was nothing else. There’s no other billboard for a while, so it really is the first and only thing you see for a few minutes, which is a great thing. 

Seeing the reaction of people walking past and just talking about it, even if they don’t do anything with the call to action or the QR code, but if they’re talking about it, that’s the aim. We want people to have this conversation more fluidly and to not feel like there’s a stigma. So from an objectives perspective, it definitely did that in terms of starting conversations.

What was it like on the creative side of the campaign trying to strike that tonal balance of bringing levity to what some might consider awkward subject matter, while not wanting to delegitimize the important health ramifications of the topic? 

RW: You can see the progression in tone between the first and second campaigns. In the first set of out-of-home ads, we said, “A menopause prescription you’d be happy to take over and over again.” That was a play on words with the “orgasm” and the way that we did the font. But our creative director really wanted to do something that was more punchy and an immediate read. That’s why the second billboard came out with, “Orgasm now comes with a medical prescription.” There’s no doubt, it’s right there, you can see it. Credit to the client for allowing us to push with that. A lot of clients would have been hesitant to have gone so bold with orgasm and the product right there.

What’s next for Havas Lynx and MysteryVibe? Will there be a phase three of the Happy Menopause campaign? 

RW: We want to keep pushing. Right now, we’re hoping to push more on the menopause message because we think there’s still more to do and we want to ride this wave and build more traction as much as we can. We want to do another campaign related to this with another out-of-home piece, so we’re going to be aligning with Soumyadip, probably early next year, on a new brief to see if we can push further.

Something else we’re working on with him is for the Ocean Awards; it’s a big competition in the UK where you can submit an idea, and if it wins, you can then make the ads and get the free media from them. We’ve submitted something focused on a different product he has, the Tenuto 2, which is an ED vibrator. So it’s a very different angle, but something that we also think is an important topic that’s stigmatized and not talked about. We saw an opportunity to do a similar approach with a big out-of-home campaign to support men with erectile dysfunction. It’s a competition, so we don’t know if we’ll be able to create it, but hopefully, that will be something else we can do within this space

The post Havas Lynx Destigmatizes Pleasure and Menopause with First-Ever US Billboard to Feature a Sex Toy appeared first on PRINT Magazine.

The Rising Demand for Sustainability

The growing awareness of environmental issues, fueled by climate change, resource scarcity, and social responsibility, has fundamentally shifted client expectations across industries. Consumers, investors, and business partners are placing greater emphasis on the sustainability practices of the companies they engage with. For legal and financial firms—where trust and ethical standards are paramount—aligning with sustainability is crucial for maintaining relevance and building long-term relationships.

Incorporating sustainability into corporate branding not only enhances a company’s image but also demonstrates a commitment to values that resonate with today’s clients. This alignment can serve as a powerful differentiator in a competitive market, helping firms attract and retain clients who prioritize environmental responsibility.

Embedding Sustainability into Brand Strategy

Transparent Communication

One of the most effective ways to incorporate sustainability into corporate branding is through transparent communication. Legal and financial firms must clearly articulate their sustainability initiatives and the impact these efforts have on the environment. Transparency is key to building trust with clients, who are increasingly skeptical of greenwashing—where companies falsely claim or exaggerate their environmental credentials.

For instance, Deloitte’s annual Global Impact Report details its sustainability initiatives, progress on environmental goals, and impact metrics. This level of transparency helps build trust with stakeholders by providing detailed information on sustainability initiatives, including measurable outcomes and third-party certifications.

Sustainable Practices in Operations

To credibly integrate sustainability into a brand’s identity, firms must reflect this commitment in their operations. Legal and financial firms are adopting sustainable practices such as reducing paper usage through digital documentation, implementing energy-efficient technologies in offices, and promoting remote work to decrease carbon footprints.

These operational changes not only contribute to environmental sustainability but also serve as tangible evidence of the firm’s commitment to sustainability. Showcasing these practices in branding and marketing materials reinforces the sustainability narrative and appeals to environmentally conscious clients. For example, A&O Shearman has implemented various sustainable practices in their offices, including energy-efficient lighting and recycling programs, and has set certified science-based targets to halve its greenhouse gas emissions by 2030.

Strategic Partnerships and Collaborations

Strategic partnerships with environmentally focused organizations can significantly enhance a firm’s sustainability brand. For example, a financial firm might collaborate with green investment funds or sustainability-focused NGOs to offer products and services that align with clients’ values. Similarly, a law firm might partner with environmental advocacy groups to provide pro bono legal services or support legislative efforts aimed at environmental protection.

The partnership between JPMorgan Chase and The Nature Conservancy’s (TNC) NatureVest program is a prime example. Launched with JPMorgan Chase’s founding support in 2014, NatureVest focuses on sustainable finance initiatives. This collaboration has mobilized over 100 investors and completed nearly $200 million in transactions, illustrating how strategic partnerships can enhance brand credibility and contribute to meaningful environmental impact.

Sustainability-Focused Thought Leadership

Thought leadership is a powerful tool for reinforcing a brand’s commitment to sustainability. Legal and financial firms can leverage their expertise to contribute to the broader conversation on environmental issues, publishing articles, white papers, and reports that explore the intersection of sustainability and their specific industries.

For example, Goldman Sachs launched the ESG Beacon platform in 2021, providing clients with accurate sustainability data and tools to evaluate climate performance. The firm also regularly publishes insights on sustainability and ESG topics, positioning itself as a thought leader in sustainable finance and ESG investing. By doing so, firms like Goldman Sachs enhance their brand authority and attract clients who seek knowledgeable partners committed to addressing environmental challenges.

Case Studies: Success Stories in Sustainability Branding

Several companies in the legal and financial sectors have successfully integrated sustainability into their branding strategies:

• Baker McKenzie, a global law firm, has aligned its brand with sustainability by setting ambitious carbon reduction targets and participating in strategic partnerships with organizations like the UN Global Compact. The firm publicly discloses its carbon targets and emissions, enhancing its credibility through transparency.
• BlackRock offers a comprehensive sustainable investing platform, providing clients with various options aligning with their sustainability objectives. Their approach is guided by principles emphasizing client choice, risk-adjusted returns, and ESG integration, demonstrating how sustainability can be effectively woven into a brand’s identity.

These examples illustrate how sustainability can be embedded into the fabric of a brand, enhancing its appeal and relevance in today’s market.

As sustainability becomes an increasingly important factor in client decision-making, legal and financial firms must adapt their branding strategies to reflect this priority. By embedding sustainability into their brand narratives—through transparent communication, sustainable operational practices, strategic partnerships, and thought leadership—firms can meet the demands of environmentally conscious clients and position themselves as leaders in a rapidly evolving market.

Incorporating sustainability into corporate branding is more than a marketing tactic; it’s a strategic commitment that can drive long-term value and growth. As the legal and financial sectors continue to navigate the complexities of a changing world, those who successfully integrate sustainability into their brands will be best positioned to thrive in the future.

This post was originally published on Lynda’s LinkedIn newsletter, Marketing without Jargon. Lynda leads a team at Decker Design that focuses on helping law firms build differentiated brands.

Header image by Madeline Spanier, Death to Stock.

The post The Intersection of Sustainability and Corporate Branding in the Legal and Financial Sectors appeared first on PRINT Magazine.

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

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

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

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

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

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

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

The post Ba’ndo’s Identity for MAD Captures the Madness of Creativity appeared first on PRINT Magazine.

Anne Pasternak, the Shelby White and Leon Levy Director of the museum, sums it up perfectly: “We needed a new brand that meets the demands of the day, honors our rich history, and brings a whole lot of energy.” And energy is precisely what this rebrand delivers. The museum’s building—an architectural journey from neoclassical grandeur to modernist minimalism—served as inspiration. The new look blends approachable, modern sans-serif fonts with design elements that tie directly to the institution’s storied past.

Look closely at the new logo, and you’ll see dots framing the text—an ode to the ancient philosophers and playwrights whose names adorn the museum’s façade and a nod to its early days as a library. These dots pop up everywhere, from motion graphics to signage, adding a playful touch that keeps things fresh. The intertwined O’s in “Brooklyn” and the merged M’s and U’s in “Museum” symbolize connection, community, and how the museum brings together diverse voices, cultures, and ideas.

The color palette? Consider it Pantone Brooklyn. Grays echo the limestone walls of the building, balanced with bright, bold hues that shout out creativity. The effect is a reflection of the borough—gritty, colorful, and alive with possibility.

The brand reflects the Brooklyn Museum’s identity as a place where art meets education, community meets culture, and history meets what’s next.

The rebrand was brought to life behind the scenes by Brooklyn-based design studio Other Means in collaboration with the museum’s in-house team. After a year of research, collaboration, and conversations with audiences and staff, the result is a brand that reflects the Brooklyn Museum’s identity as a place where art meets education, community meets culture, and history meets what’s next.

So, the next time you’re in Brooklyn, don’t just stop by the museum—experience its brand-new chapter. Admire the kaleidoscopic colors, grab some fresh merch, or enjoy a weekend event. The Brooklyn Museum’s reimagined identity is as dynamic as the borough it calls home.

Photographs by Adrianna Glaviano.

The post The Brooklyn Museum Unveils a Bold Rebrand for 200th Anniversary appeared first on PRINT Magazine.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The post Sunrise Bakers’ Warm and Inviting New Brand by Bombay Design Centre appeared first on PRINT Magazine.

The RFP process has a number of faults — the biggest one being that it doesn’t initiate a great partnership or yield exceptional work.

The Problem(s) with RFP

Because it’s formulaic and standardized, the RFP seems like it levels the playing field, makes everything easy on you and your team, and unearths all the information you’ll need to make an objective decision. In fact, the opposite is true.

Most RFPs we encounter from nonprofits outline a specific problem the organization wants to solve. But defining the problem in itself requires expertise and an outside perspective — exactly what you’re looking for in a partner. And in our experience, the problem you’re hiring someone to solve is often not the real problem at all.

Second, a great solution — the visual artifact you put out in the world — is only as good as the process that leads to it. That process is all about people interacting, collaborating, listening to each other, and being guided to enable such an artifact to be possible. So it’s critical that the right chemistry is there for great work to happen. No matter how thorough the RFP process is, it will never give you a full, honest, authentic picture of the team you are about to task with a very important project. In fact, the process tends to homogenize respondents, as each agency shares the same kinds of work samples, ill-informed guesses at possible strategies, and ballpark fees based on fuzzy scopes of work. And because the information flow is one-directional — from the agencies to you — it leaves out critical information about the culture of your own team that’s essential to determine if you and any given firm are a great match.

Finally, while your charter or Board of Directors may require that you solicit bids from three or more agencies for projects like this, let’s acknowledge that the RFP process is a big waste of time for your organization and for the agencies pitching for your business. Most of the design firms on your list are small companies whose resources are taxed by all the work required to submit a proposal. (If you’ve already made up your mind and the other firms don’t have a shot, then the process is really unfair.) And consider the amount of time your organization invests in creating, sending out, and assessing RFPs and then hashing out the final selection.

Can you learn the same information in less time? Can you learn the same info in a better way? Can you learn better info in a better way?

The process tends to homogenize respondents, as each agency shares the same kinds of work samples, ill-informed guesses at possible strategies, and ballpark fees based on fuzzy scopes of work.

A Better Way to Choose a Strategic Partner

Instead of the time-wasting, fuzzy RFP slog, there’s a different way — a way that will yield fresh, effective, co-created ideas and will make the process a hell of a lot more exciting for everyone involved.

1) Orient the process towards conversation rather than documents.

Start by creating a thorough project brief you can share with prospective partners. This can serve as a conversation starter when you talk to potential agency partners about your organization, your project, and what’s keeping you up at night. It will help you organize your thoughts, and help potential creative partners ask better questions. Trust your instincts; you’ll know if the chemistry is right when you talk to someone. You’ll know when there’s enough common interest to want to jump into a working relationship.

If an agency’s experience, expertise, and interest in being your partner isn’t obvious to you after you talk to them, or if they’re not exactly what you’re looking for, it’s better for both parties to be honest about it early on rather than go through the cumbersome and forced process of lengthy courtships and proposals. No hurt feelings.

Worried about verifying credentials? Agency websites showcasing past projects, personal referrals, or past client testimonials allow you to do that.

Worried about prices? If you’re comparing analogous firms (similar size and market), pricing is going to be about the same give or take 10% to 15%. If you’re comparing vastly different firms (very small vs. huge or firms with different expertise), you’ll obviously get very different responses. This approach is usually indicative of the fact that you haven’t properly defined your project or your team lacks understanding of the agency landscape. Both of these will put you in a bad position to choose the right partner, which is yet another reason why it’s better to rely on exploratory conversations rather than formal proposals.

2) Start with Discovery instead of diving into the full project.

If you’re going through the trouble and time of putting together an RFP, you are probably ready to invest a substantial amount of money on your project. If you’re about to spend $100K to $300K on a project, it’s understandable that you want to be confident in choosing the right partner, but an agency’s RFP response, much like an individual’s college GPA, will only tell you so much.

There’s no better litmus test than working with the agency partner your instinct is pointing you toward, but you can start small. Rather than engaging in the full project scope, ask if you can contract them for a narrower Discovery scope. The objective of this engagement is to conduct all the necessary research (landscape, audience, creative, etc.) to properly define your project’s objectives and opportunities. This is work that will need to get done anyway. Doing it as an initial engagement grants you the double benefit of letting you test out the working relationship and setting you up to invest in the project you really need rather than the one you thought you needed. At 10% to 20% of the overall project budget, you’re effectively removing most of the risk of investing your full budget in the wrong project with the wrong partner.

Relationships Don’t Start on Paper

Just as you wouldn’t choose a life partner solely based on their qualifications on paper, you shouldn’t choose a creative partner that way. And we mean partner — this is a significant relationship. Our clients talk about working with us as therapeutic. They tell us about what they are struggling to achieve, the pressures they are facing from the board or from competition, a constant race to keep up with technology standards, a lack of alignment among staff about purpose and values. Almost always, they hit a point where they have to wrestle with deeply existential questions of who they are and how they fit into this world.

The RFP process is far too impersonal, abstract, and clinical to yield a deep relationship with an agency that’s passionate about and committed to advancing your cause. The organizations that sidestep the RFP process and choose to work with us are ready to have a different conversation. They demonstrate they’re excited about finding a way to work together and inherently trust in our expertise. This public display of affection immediately makes us feel more committed and excited about finding a way to work together.

In the end, it leads to deeper relationships, more immediate trust — and more effective work.

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

Illustration by Merit Myers.

The post Why RFPs Aren’t Good for Anyone appeared first on PRINT Magazine.

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

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

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

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

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

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

The post Jane Austen’s House Unveils a Celebratory Identity for Her 250th Birthday appeared first on PRINT Magazine.

Stone and von Hauske Valtierra were first introduced to Hensonville by the Frankos, who got to know the chefs as regulars at the pair’s Lower East Side eatery, Contra, and eventually became close friends. In 2021, when a 19th-century boarding house turned Airbnb hit the market, Danielle and Ely knew who they wanted as partners. The inn is newly renovated and thoughtfully designed by the Frankos to create an atmosphere to reconnect and recharge, featuring 16 ensuite guestrooms to indulge in slow mornings, lazy afternoons, and luxuriant candlelight evenings. Building off the hotel’s historical footprint, the Frankos designed a sprawling yet intimate, organic garden that is a microcosm of the Catskills and the various flowers and herbs that grow wild in the region. Aside from hosting guests in elegant comfort, The Henson is equipped to host private dinners, corporate events, and weddings of up to 140 guests.

This project was a big deal for me because Fabian and Jeremiah have been my favorite chefs for a long time. And on top of that, they both have great taste in design. Fabian is a talented graphic designer, having done Wildair and Contra himself, so the stakes were very high!

Alex Ostroff, creative director, Saint Urbain

The foursome enlisted the help of Saint-Urbain to create the visual identity for The Henson and Matilda. The Henson identity is rooted in classic elegance, blending heritage with modernity, while Matilda embraces simplicity and comfort. Drawing from the dynamic flora and fauna that define the Catskills region, the design for both identities is built on a system of hand-drawn illustrations and type that evoke a simpler age where time passed more slowly. The overall design makes for a contemporary yet timeless brand that represents the genuinely welcoming and hospitable nature of the region and the people behind the exceptional hotel and restaurant.

Photography by Alex Stein.

The post Saint Urbain Unveils a Fresh Identity for 19th-Century Catskills Hotel appeared first on PRINT Magazine.

This refresh, led by United Sodas COO Kate Reeder and Carli Nicholas (head of marketing), isn’t just about looks; they’ve also tweaked the ingredients without the trade-off of questionable ingredients or excessive sugar. “We spent two years developing our flavor range, each of the 12 offering something unique and ensuring there’s a flavor for everyone,” says the duo.

I had the pleasure of asking the United Sodas team and CENTER’s founder, Alex Center, a few questions about the brand update and their plans for the future of soda. Our conversation has been edited for length and clarity.

Your original brand, launched during the COVID-19 era, drove significant buzz. How has the evolving consumer landscape influenced your packaging and product formulation strategy as you enter this next phase?

Kate Reeder & Carli Nicholas (KR & CN): As our company grows and our presence expands, we’re committed to ensuring that our product evolves as well. Our guiding principles have always centered on simplicity: delivering great-tasting soda made with simple, healthier ingredients. This philosophy drives our latest improvements. We’ve simplified the shopping experience by adding our logo to the front of the can, making it easier to find on the shelf. We’ve also simplified our ingredients. Research shows that consumers prefer recognizable, simple ingredients in their beverages. With this in mind, we’ve improved our sweetener blend to include organic cane sugar and organic stevia, resulting in a bigger, better flavor than ever before.

Rebranding a project you created offers a unique opportunity for reflection and growth. How did this influence your approach to United Sodas’ refresh, and what lessons from the original branding did you carry forward?

Alex Center (AC): United Sodas holds a special place for us as one of our first brands, which we helped build from scratch starting in 2018. It’s a prime example of our approach to design and branding: creating something that stands out, breaks the mold, and is grounded in purpose. For United Sodas, that purpose was about representing America’s diversity through a concept of ‘America as a rainbow,’ distilled into its simplest form.

Launching during COVID was unique, as we designed the brand more for homes than store shelves. The vibrant, multi-colored variety pack became a memorable experience for people during that time, contributing to its success.

We’ve developed a strong relationship with United Sodas, working closely on projects beyond the initial branding. So, when it was time to refresh the brand, our goal was to retain the essence of what made it successful while addressing specific operational challenges, like ensuring the packaging was recognizable on store shelves without losing its bold simplicity.

The result was a subtle evolution, not a revolution. We made necessary updates while preserving the core identity, ensuring the brand remains as impactful as it was when we first launched it.

United Sodas is now available in an array of high-profile locations. How does your brand’s presence in premium settings align with your brand strategy?

KR & CN: United Sodas was created to be more than just a soda – it’s an experience that begins with the design of our cans and extends to the distinctive flavors within. From the outset, premium hospitality and immersive experiences have been central to our strategy, emphasizing the versatility of our product in a way that’s both memorable and impactful. When someone tastes our sodas for the first time while enjoying an exceptional meal in a stunning setting, it opens up a world of possibilities for how our sodas can integrate into their daily lives – from dinner parties and happy hours to thoughtful gifting. We’ve had a great time exploring this and believe we’re only scratching the surface of what’s possible.

What challenges and opportunities did you encounter while balancing United Sodas’ vibrant minimalism with visibility and consumer recognition?

AC: It’s interesting because this wasn’t a rebrand to me—it was an optimization of the existing brand. Think of it like a software update: Apple constantly updates its operating system to enhance performance, and I believe all brands should do the same to improve and evolve. The focus wasn’t on change for the sake of change but rather on optimizing the brand to make it easier for people to find and more recognizable to consumers.

United Sodas of America is a great name, but it’s long, and most people naturally shortened it to United Sodas. That’s what the website and Instagram have always used, so it made sense to officially adopt that shorthand, much like Dunkin’ did by dropping ‘Donuts.’

As a studio, we’re not precious about our work. We believe there’s always room to reimagine and improve. This project is a prime example: United Sodas was already close to perfect, yet we found ways to make it even better.

Alex Center

I felt strongly about retaining the ‘zipper’ logo because this brand is about minimalism and thinking differently. We didn’t want to lose that clean, almost fashion-like aesthetic where the packaging feels like an accessory—part of your personal brand. We maintained that while making the brand design clearer and more optimized.

How do you plan to maintain the balance between staying true to United Sodas’ brand ethos and adapting to the changing preferences of a diverse consumer base?

KR & CN: Soda has always been a timeless and universal concept. This belief remains at the heart of our brand vision. As consumer behaviors, preferences, and communication methods evolve, we’ll adapt our strategies to meet people where they are. When we launched during COVID, we leaned heavily on social media, showcasing creative ways to incorporate our sodas into mocktails and cocktails. In a post-COVID era, we’re focused on demonstrating how our sodas can enhance a wide variety of occasions and moments. We’ll continue to evolve how and where we connect with our consumers to stay aligned with the times.

How did consumer insights shape the decision to simplify and feature the name more prominently on the can, and what impact do you anticipate it will have on shelf awareness and brand recognition?

AC: That’s what everyone calls the brand—United Sodas—so this change is about simplifying and solidifying our identity as we take the next step toward becoming an iconic soda brand. We’re big believers in doing the least amount necessary to convey an idea, and that philosophy guided our approach here. The name ‘United Sodas of America’ was already strong, but simplifying it to ‘United Sodas’ made it even bolder and more direct.

When we started this project, soda was a category many avoided due to its association with sugar, while seltzers were booming. But we believed people still loved soda; it just needed to be reinvented for modern consumers, and that’s what United Sodas did.

In today’s crowded market, where many brands lean into health trends, United Sodas stands out by focusing purely on flavor and simplicity. Our minimalist design, bold colors, and modern aesthetic make the brand instantly recognizable, even on a crowded shelf. There’s often a great discussion on Twitter, where people share photos of crowded beverage aisles and ask, “Which brand do you see?” The overwhelming answer is United Sodas.

We achieved the project’s goals—enhancing visibility and recognition—without losing the original intention. The brand remains true to its essence, and I’m proud that we’ve made these improvements while maintaining what made United Sodas great in the first place.

I simply couldn’t avoid the next question: What’s your favorite flavor?

Kate Reeder loves Blackberry Jam, while Carli Nicholas is partial to Pear Elderflower. Sour Blueberry is the flavor Alex Center turns to. While they all sound fantastic, I’m also on team Pear Elderflower. (Add a little Empress Gin, and enjoy the perfect summer cocktail.)

The post A Pop of Perfection: Inside United Sodas’ Brand and Flavor Refresh appeared first on PRINT Magazine.

Fishers Island Lemonade embodies quintessential summers by the sea in preppy New England, as it was developed while founder Bronya Shillo was bartending at the storied Pequot Inn on the island. Tavern’s mission was to build upon this foundation, creating a brand experience that resonates with consumers by tapping into that classic coastal aesthetic that feels fresh yet familiar. By infusing its brand elements with a new sense of elevated escapism, Tavern has evolved Fishers Island Lemonade from an iconic drinks brand to a heritage lifestyle brand by tapping into modern Americana.

“With Fishers Island’s new ‘Worth the Squeeze’ platform and tagline, we first started by recognizing that heritage brands don’t beg for attention; they command it,” says Tavern founder and creative director Mike Perry. “You’re selling a lifestyle, and that tagline captures the idea that both Fishers Island and its lemonade are worth that little extra effort and time that go into a luxurious indulgence. With that foundation in mind, we knew we wanted a branded lifestyle photoshoot that elevated the brand’s visual identity.” 

Inspired by vintage J Crew and LL Bean catalogs, the shoot features photography from Cole Wilson. It depicts a series of vignettes of a long summer weekend transporting people to a Fishers Island state of mind, no matter where they are in the world. What’s more, everything is in motion and consistently reminds viewers of their own favorite vacation destination by playing the greatest hits from this idyllic getaway. 

Grounding the new visual identity system in the brand’s existing assets, Tavern further elevated the brand world without losing its essence. The yellow and white stripes, so prominent in the original identity, were reimagined as a subtle border along the top of certain images as if looking out at the scene from under a striped beach umbrella. The packaging also inspired a series of illustrations reminiscent of the sentimental memorabilia one might find in a vacation destination gift shop. A Fishers Island monogram also borrows from the original logo to add more flexibility and depth to the system as a tertiary brand asset. 

Building on the creative inspiration for the visual identity system and photoshoot, Tavern translated the long weekend concept into the tagline and evergreen brand platform, “Worth the Squeeze,” which explains that the trip to the island and the process of making the lemonade itself are both worth the extra effort. That call-to-action can also be activated year-round to build associations between Fishers Island Lemonade and returning to your favorite getaway. Targeting folks headed for their own weekend getaway, they crafted a flexible line: “Make X worth the squeeze” and turned it into a plug-and-play using local vernacular for specific destinations, i.e., Make Schlepping to the Hamptons worth the squeeze. The platform can be creatively iterated across various destinations, popping up out of home along highways, bus terminals, and beyond to put travelers into a Fishers Island state of mind.

Celebrating the 10th anniversary and launch of the new brand world, Fishers Island Lemonade hosted a schooner party in the Hamptons on National Lemonade Day (August 20). The event embodied the spirit of the brand; soaking in summer days by the sea with friends, family, and unforgettable flavor that is worth the squeeze.

The post ​​Keep Summer Alive with Tavern’s New Identity for Fishers Island Lemonade appeared first on PRINT Magazine.

Type of Feeling is an expansion in Jessica Walsh and her team’s mission to provide custom typography services “that move past pure function and speak to the soul of a brand on a deeper and more meaningful level.” The team deployed years of experience in brand identity and strategy to craft a collection of fonts designed to evoke particular moods and sentiments: joy (Jubel), cozy (Conforto), longing (Onsra), and tranquility (Serein), to name a few.

It’s no surprise that the award-winning creative director, the force behind Let’s Talk About Mental Health, a platform and safe space for dialog around well-being, and the founder of Ladies, Wine, and Design, a global initiative to champion creative women, has something deeper and more profound to say about typography.

“At &Walsh, we believe unique typography can be one of a brand’s most distinctive assets. When working with brands on custom type projects, we always set out to create typography that is not only distinctive but also full of emotion and feeling.” Jessica Walsh says. “For brands and designers that can’t afford custom typography, we wanted to create a retail collection on Type of Feeling built on these same principles of distinction and emotion.”

So, why a foundry? Especially considering that typography is essential to the branding and identity work the team already does for clients. The team didn’t set out with this objective in mind; it actually started as an experiment. “When we kicked off this project, we started by creating the fonts we, as a creative team, really wanted to see in the world. Fonts that make beautifully distinct headlines and create an emotional connection with the reader,” said Lauren Walsh, strategy for &Walsh. “It wasn’t until we had two fonts we were obsessed with that we started thinking about the foundry as a business.”

The foundry specializes in unique, timeless display typography for brands, whether the typeface is a bespoke project or one of the retail fonts available exclusively on the Type of Feeling website.

“Type of Feeling specializes in display typography that can be unique and distinct for a brand in a timeless way. Our typefaces are niche, so you won’t see them used everywhere, meaning they can retain some ownability for brands,” explained Jessica Walsh. The available alternate sets, weights, and glyphs amplify the retail fonts’ unique personalities.

As a fun aside, I asked Jessica Walsh if she had a favorite word in another language—conveying a sentiment we don’t have a word for in English. “In another language, I really like “sisu” which is about sticking to your guns when things get tough. Wabi Sabi is such a great one, too (accepting impermanence and imperfection),” said Walsh.

“Within our collection, each name is meant to evoke a very specific, hard-to-describe feeling,” Walsh continued. “Ssonder is my favorite because every detail of the font was designed to capture the delicacy of the feeling. It was crafted with beautiful ligature stylistic sets that reflect this concept of a web & the connections formed from experiences and memories. Ssonder is a beautiful example of what we set out to accomplish: creating a world for this feeling to exist in and for brands to see themselves in that world.”

Ssonder is drawn from the feeling and realization that each person you see, each person you pass, and each person that exists has their own complex & distinct life, like a gossamer web of experiences & memories. I’ve had this feeling before but never knew how to describe it.

Jesssica Walsh

My favorite sentiment is the German word “fernweh,” which is a longing for faraway places, perhaps homesickness for places you’ve never been. I’d love to see what the Type of Feeling team would create for it!

So, what was the team’s favorite part of creating Type of Feeling? “I was amazed by all the possibilities that come with launching a font. It’s not just about the typeface itself, but everything that surrounds it—like usage examples, the specimen, and the art direction of its presentation,” said art director Lucas Luz. Type designer Sanchit Sawaria noted that his biggest surprise was “discovering hidden type design talent amongst people you work with every day.”

No emotion has been ruled out; we think each poses a unique perspective on a future typeface. Even negative emotions are part of our humanity and should be felt and, therefore, reflected in our collection. The more complex the emotion, the better!

Jessica Walsh

As for what we’ll see next out of Type of Feeling, Walsh said, “We love the idea of taking this opportunity to learn about different emotions and feelings in different languages.”

Jessica Walsh explained that in the five years of creating Type of Feeling, the team created many fonts outside this release (and scrapped many more, too). “It was important to us to not just put more typefaces out into the world but to create ones we felt were very effective in evoking emotion and could allow for true distinctiveness when utilized by designers.”

“We also wanted to take the time to learn from designers about their pain points with discovering fonts, testing them and licensing them so that we could build those learnings into Type of Feeling. Our goal is to continue to make distinct yet timeless typefaces that are filled with emotion.” Walsh continued. “We also would love to collaborate with our peers in the industry to see what their take is on our foundry’s mission to create type based on feelings: our doors are always open!”

Peruse the website at typeoffeeling.com or get in touch with Jessica Walsh and the team to collaborate at info@typeoffeeling.com.

The post Type of Feeling: Jessica Walsh’s New Foundry Gets Emotional appeared first on PRINT Magazine.

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

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

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

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

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

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

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

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

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

Read more about the Council of Mass Media in Finland.

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

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

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

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

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

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

Imagery courtesy of United Imaginations.

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