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.

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

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

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

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

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

Mike Nicholls

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

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

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

Dora Drimalas

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

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

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

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.

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

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

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

Categories for 2025

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

Learn more about the 2025 PRINT Awards categories.

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

Citizen Design Award

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

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

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

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

Our 2025 Jury

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

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

The 2025 PRINT Awards Presenting Sponsor

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

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

Dates and Deadlines

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

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

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

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

The New Look of Money

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

Chime brand refresh by jkr.

Radical Transparency

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

Klarna brand by their in-house team.

Personalized and Empowering Tools

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

Check My File brand by Ragged Edge.

Creating Community and Social Connection

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

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

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

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

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

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

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

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

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

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

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.

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.

The term “neurodiversity,” introduced 25 years ago by autistic Australian sociologist Judy Singer, marked a milestone in our understanding of autism and the appreciation of “difference, not deficit” in how brains work. More than a buzzword, neurodiversity describes a growing population whose brains work differently from the “neurotypical” and whose historic separation from social engagement has been replaced with a social inclusion that allows them to share their unique talents and perspectives. These differences go beyond functional tasks like working in an office or completing an exam. Their unique interactions with the world inform their fascinating worldview and their day-to-day challenges. For us in advertising, knowing how your audience interacts with the world is crucial to creating communication that speaks to them.

In this episode, hosts Brad Davidson and Gabriel Allen-Cummings are joined by Havas’ own, Kathryn Parsons, a digital marketing expert and an advocate for neurodiversity. Parsons has autism, and she shares multiple anecdotes describing how she’s adapted to a neurotypical world. The three of them also discuss what brands can be doing better to reach their neurodiverse audience – which is one in every five of us.

Welcome to Breaking the Code! Behavioral science is a cornerstone of modern marketing practice, but much of what passes itself off as behavioral science is just bs. Good social science gives us the insights and roadmap we need to change behavior, but bad social science just muddies the water and tarnishes the social sciences. As behavior change is a core objective of marketing, getting behavioral science right is crucial. Listen in as hosts Brad Davidson, PhD and Sonika Garcia, MPH, Medical Anthropology Strategists at Havas Health, sound off on what is, and isn’t, good social science, from a variety of disciplines covering new topics every podcast.

Learn more on LinkedIn and Spotify.

The post Bridging Minds appeared first on PRINT Magazine.

You may recall Nike bringing in John Donahoe, a former Bain consultant and “Digital Guy” who replaced Mark Parker the “Creative Guy.”

And while the desire to modernize and streamline Nike was sound, the results were disastrous: destruction of the value of some $28 billion. And the loss of something, that’s arguably even more valuable: cool.

This week, Nike took care of business by exiting Mr. Donahue and luring back longtime Nike executive Elliot Hill, to the top post. Mr. Hill has held a variety of Nike roles in his three-decade career with the company all of which started in the Nike “Sports Graphics” department. A creative department.

All of this windup brings me to the real topic of this post: Product.

You see, as Nike turned its focus onto systems, supply chains, and digital experiences, it turned its eye away from its heart and soul: sneakers.

You could say, “It’s the sneakers, stupid.” Sneakers are the thing that Nike should never lose focus on. Streamline the enterprise? Sure. Challenge distribution models? Ok. But never ignore your bread and butter. And bread and butter are products.

Products are what drive companies. Look no further than the Apple revival of 1997. Steve Jobs came back to the ailing computer company and streamlined the product portfolio adjusting the focus to making core products like Mac and PowerBook, and then innovating with iPod.

At Nissan, at the dawn of the 21st century, then-CEO Carlos Ghosn famously proclaimed, “There is no problem at a car company that good products can’t solve.” And extremely popular and best-selling new Nissan models from Altima to Z proved this point.

Hollywood has forever been saved by a blockbuster product. Godfather for Paramount. Star Wars for 20th Century Fox. Batman for Warner Bros.

In my own personal experience, when I was CEO of TBWA\Chiat\Day NY, creative product truly changed the fortunes of the company as we pumped out incredible and award-winning work for the likes of adidas, H&M, Hilton, McDonald’s, Michelin and Nissan.

At the time, we changed a lot of systems and people — but we never lost sight and obsession with our creative product.

Product.

It’s the thing that will save Nike.

And it’s the thing that will help drive you.

What are you working on?

What’s your product?

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 photo: Allison Saeng for Unsplash+.

The post What’s Your Product? 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.

Welcome to the DesignThinkers Podcast! Join host and RGD President Nicola Hamilton as she digs into the archives of the DesignThinkers conference, reconnecting with past speakers about their talks and ideas that have shaped Canada’s largest graphic design conference. Follow the RGD on Instagram @rgdcanada or visit them at rgd.ca. Purchase tickets to the upcoming DesignThinkers conference at designthinkers.com.

The post DesignThinkers Podcast: Erin Sarofsky appeared first on PRINT Magazine.

Welcome to a new column we’re affectionately calling, Identity Politics. Written by veteran journalist Susan Milligan, we’ll be covering the big issues in the socio-political ether as they intersect with design, art, and other modes of visual communication.

“You’ll change your mind.”

I first heard those words when I was still a teenager, having just informed adults that I had no interest in having children. Such declarations were seen as a radical – and temporary – flirtation with Women’s Liberation and a misguided rejection of All Things Normal and Natural for females. At that age, I was treated with a patronizing kindness by those whose smug smiles conveyed their assurance that, of course, I would be overcome by baby fever, settle down, and consent into a life where I might well have a career, but of course would reproduce and always, always put my children first.

As I got older, my childless state became a source of perplexity, judgment, alarm, and finally, pity, as it became clear to others that the time had passed for me to fulfill my expected role as a mother. How could I have missed the memo, waved frantically in my face by myriad sources – older adults, media warnings about my ticking biological clock, advertisements, and marketing that celebrated marriage and parenthood? The sappy engagement ring ads, food sold in family-sized packages, the pregnancy test commercials that overwhelmingly featured married couples hoping so much for the little blue line that reveals that she – oops, “we,” in the couple-centric vernacular that erases the one thing a woman can do that a man can’t – is/are pregnant.

Decades later, despite dramatic demographic and social changes, we’re still in the same place. It’s arguably worse, since American politicians, opinion leaders, and marketers have had decades to adjust to the new reality of American households but haven’t. A first-of-its-kind 2021 Census Bureau report on childless older Americans found that nearly one in six adults age 55 and older are childfree. In 2023, 47 percent of adults under 50 said they were unlikely to have kids—a big jump from just five years previous, when 37 percent felt that way, according to the Pew Research Center. Another Census study found that 58 percent of households are childless (though this figure likely includes empty nesters), up from 7.7 percent in 1940.

The anger and outright hatred towards the childfree among us has been ugly and mounting. The silly (and suspiciously manufactured-looking) videos of “trad wives” on social media underscore the idea that a “traditional” wife, wearing a spaghetti-strapped tank top on her ballerina body, is so much happier staying home all day, making homemade Oreo-style cookies for her kids and waiting for her husband to get home from his paying job. A popular meme online contrasts drawings of two women—one, described as an “Established and Complete Woman,” in a flowy dress and smiling as she holds her husband’s, who is carrying one of their four children. The other depicts a scowling single woman with a cat, a sex toy, a glass of wine, a sorry-looking slice of pizza, and a tally of “men I’ve whored myself out to.” The moniker for this woman? “A Victim of Feminism.”

And now, the crusade against childfree women has become part of the presidential campaign. Republican vice presidential nominee J.D. Vance in 2021 excoriated the “childless cat ladies” who are unhappy and “want to make the rest of the country miserable too.” Asked about the audio, unearthed after Vance became his party’s nominee for vice president, Vance snipped that he had nothing against cats. Another audio clip of Vance, discovered in August, features him castigating the head of a teachers union for not having children. “If she wants to brainwash and destroy the minds of children,” Vance says, “she should have some of her own and leave ours the hell alone.”

Newsweek, which wrote a mea-culpa story in 2006 countering its own 1986 cover story warning single women that their chances of getting married after age 40 were lower than the chance of getting killed by a terrorist, hasn’t evolved. It’s just modernized the line of attack. An opinion column in the magazine this summer piously informed readers that wealthy and uber-successful Taylor Swift – one of the most effective brand ambassadors in the world – is a terrible role model for girls. Why? Because she is unmarried, has no children, and has had a lot of boyfriends.

And that’s the root of the anger and renewed backlash: it’s not (just) that women are remaining single and childfree. It’s that they’re happy that way. And that has provoked a range of reactions from incomprehension to out-and-out rage.

Sure, you won’t see ads anymore like the 1930s pitch for Listerine, noting of a halitosis-afflicted female: “And as her birthdays crept gradually toward that tragic 30-mark, marriage seemed farther from her life than ever. She was often a bridesmaid, but never a bride.” However, as Jess Lloyd, head of strategy at the advertising firm Hill Holiday, noted in a 2018 column in Adweek, single women still felt the judgment. In a study conducted by the firm, nearly half of single women felt “virtually nonexistent” in advertising, and when they were portrayed, it was often as “hyper-sexualized, desperate or lonely.”


Entertainment and food establishments offer “family days” and family discounts irrelevant to single and childless consumers. And while people drive alone more than three-fourths of the time (even more so for single drivers), vehicle advertising tends to show families and groups driving together, behavioral economist Peter McGraw wrote in a column for Contagious, a creative and strategic agency.

The underlying premise of political campaigns, media, and advertising is that singlehood and childlessness are temporary—states that people universally want to escape. That explains why Republicans – seeing the overwhelming electoral advantage Democrats have among single women – haven’t responded by crafting policies to appeal to that voter group. They’ve just tried to get them married. And more insidiously, shaming them into having children (or making it hard to end an unwanted pregnancy).

Good luck with that. According to the Census Bureau, women (and men) are marrying later. The Pew study found that the childless are not mostly reproductively challenged: 57 percent of the adults under 50 who said they are unlikely to have kids said a major reason is that they don’t want them. The side-by-side meme of a happy wife and mother and a miserable single woman means to insult unmarried, childless women. But it misses the point: very many women would prefer to be the female on the right than the one on the left. You can get over a hangover. There’s no recovering from a frontal lobotomy, as the woman on the left appears to have been given, in a caricature that’s arguably as insulting and reductive as the one depicting the single woman.

It will get nastier before the childfree cat ladies take their rightful role in politics and the consumer market. Eventually, candidates, advertisers, and the media will figure out that if they want our votes, our money, and our attention, they’re going to have to accept us as we are. In the stump speech slogan of Democratic presidential nominee Kamala Harris, we are not going back.

Susan Milligan is an award-winning veteran journalist covering politics, culture, foreign affairs, and business in Washington, DC, New York, and Eastern Europe. A former writer for the New York Daily News, the Boston Globe, and US News & World Report, she was among a team of authors of the New York Times bestseller Last Lion: The Rise and Fall of Ted Kennedy. A proud Buffalo native, Milligan lives in northern Virginia.

Header image background by Marlene Stahlhuth / Death to Stock

The post What the Age-Old Campaign Against Childfree “Cat Ladies” Doesn’t Get appeared first on PRINT Magazine.

When it comes to Baby Boomers, there is a lot for brands to love.

They are the second-largest generation next to Millennials. They hold more wealth and disposable income than other generations. Their spending power influences entire industries from travel and leisure to healthcare and housing. Boomers are loyal, not just to brands but to employers, too. But here’s the catch: the term Baby Boomers comes with baggage. It’s time for marketers to toss that baggage aside and embrace this powerful demographic.

Who Are the Baby Boomers?

Baby Boomers, born between 1946 and 1964, are so named because they emerged during the post-World War II baby boom. They were the largest generation until Millennials surpassed them in 2020. Today, the youngest Baby Boomers are in their early 60s, approaching retirement.

Given this group’s size and influence, it makes business sense to understand their wants and needs. For instance, Boomers are likely free from child-rearing responsibilities, have more time to enjoy life, and focus on managing their health and saving for retirement.

But this generation—73 million strong—gets overshadowed by unfair assumptions associated with the term “Baby Boomer,” and those stereotypes can get in the way of understanding the demographic. They’re seen as out of touch with technology, resistant to change, and entitled. Younger generations harbor resentment, blaming Boomers for having economic advantages that seem out of reach today, like affordable housing and secure jobs. The meme #OKBoomer only fuels the fire.

Stereotypes Harm Business

These stereotypes don’t just harm people aged 60 and up. Here’s how they hurt creative agencies and our clients’ businesses, too.

Missed Marketing Opportunities

Clinging to inaccurate views of the over-60 demographic can make businesses overlook a lucrative segment. Failing to develop products and services that resonate with them, companies miss out on significant opportunities to build brand loyalty with this generation. The travel, entertainment, learning, and wellness industries are among the sectors ripe for opportunities with this generation, given their financial means, more leisure time, and a natural interest in managing their health proactively.

Inaccurate Marketing Strategies

Assuming that an over-60 demographic is tech-inept is a costly mistake. This generation is digitally engaged, and outdated messaging will fail to resonate with this group’s diverse interests and lifestyles. Businesses that paint them with a broad brush risk missing the mark entirely, alienating a diverse group that values direct and meaningful communication.

Loss of Valuable Insights

Businesses that stereotype and under-leverage their over-60 workforce can lose valuable knowledge and experience. Dismiss this generation, and companies may overlook the insights seasoned employees bring to product development and customer service. These companies might also miss mentorship and knowledge transfer opportunities within their organizations.

What We Should Do

Marketers should retire the term “Baby Boomer” and adopt a more nuanced approach. Here’s how to get it right.

Understand the Demographic

Build buyer personas by gathering data on behaviors, preferences, and motivations through surveys, interviews, and behavior analysis. Generative AI can help by analyzing large datasets to uncover patterns and create rich personas. AI-powered tools can even simulate interactions, allowing marketers to test messaging strategies and fine-tune their approach.

Be Mindful of Your Words

Instead of “Baby Boomers,” use phrases like “ages 60 and up” or “active adults.” Build trust by demonstrating brand credibility and reliability, values this generation holds dear.

Emphasize Value

An over-60 audience is price-conscious as they near retirement. Mention pricing early in your communications and make it easy to find. Offering discounts is a smart strategy. Try using discount codes in exchange for email addresses to generate interest.

Get Your Content Right

An over-60 audience appreciates direct and informative content. Provide value through detailed blog posts, articles, and how-to guides, especially about health, hobbies, and personal finance topics. Reviews, referrals, and testimonials can be powerful motivators because this audience values social proof.

#OkBoomer might make for funny moments, maybe even some viral content, but it is not helpful in the broader branding and marketing context. Do your homework to build trust with this unique audience and create a win-win for your brand and a generation ready to engage.

One doesn’t necessarily associate poetry with the day-to-day business of a thriving agency, but Jim Misener, CEO of 50,000feet, has found great success being an exception to the rule. Most mornings, you can find him deep in thought about clients’ brand strategies, and by midday, he’s making rounds with tasks in hand. Jim received a B.A. with highest honors from the University of Illinois Urbana-Champaign and completed the AIGA Program for Creative Leaders at Yale and the Executive Program at the University of Chicago Management Institute.  Jim is also a board member at the Design Museum of Chicago. 

The post It’s Time to Put “Baby Boomer” on the Shelf 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.

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

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

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

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

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

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

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

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

Couple of new posts on The Book Cover Review worth a look see: Joe McLaren on The Jon Pertwee Book of Monsters and Tree Abraham on Parker Mabee’s A Wander in the Woods.

33 1/3 have announced their new batch of titles, including Andi Harriman on The Cure’s Disintegration, Yousef Srour on Frank Ocean’s Blonde and Joel Mayward on Sufjan Stevens’ Carrie & Lowell. I’m amazed they’ve been going this long and still haven’t covered Swift in any way whatsoever. Love her or not, it’s a weird omission.

Excellent thread of behind the scenes shots of classic album covers. Particularly love all the Björk ones, natch.

Agnès Poirier meets the army of artisans tasked with rebuilding the Notre Dame, the 12th-century ‘soul of France’. Incredibly, it looks like they’re going to hit the target date arbitrarily thrown down by Macron the day after the fire.

The Quiet Persuader on iPlayer, a 1965 documentary following New York ad-man Stephen Frankfurt. Half an hour very well spent.

100 of the greatest posters of celebrities urging you to READ; in which James Folta bravely attempts to rank the iconic American Library Association series. The Connery one always cracks me up.

How design’s oldest org torched a decade of discourse—when AIGA Eye on Design vanished overnight, it exposed a troubling lack of stewardship in preserving our industry’s legacy. How can we ensure our design history endures in the digital age?

Do I need these decade-spanning Japanese SNOOPY COMIC SELECTION books? Why yes, yes I do.

That is all.

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

Header image: Unsplash+ with Michael Tucker.

The post Meanwhile No. 208 appeared first on PRINT Magazine.

On Aug. 9, 1944, the creation of the mascot was authorized by the U.S. Forest Service. Saturday Evening Post illustrator Albert Staehle (1899–1974) was asked to collaborate. “The Rangers suggested a woodchuck or a raccoon,” wrote Margory Houston Staehle in American Legion Magazine (1977), one of her husband’s foremost clients. “‘The raccoon looks too much like a burglar,’ Al protested. So they settled on a bear.” 

The first poster was delivered on Oct. 10 by Staehle. It depicted a bear pouring a bucket of water on a campfire. Many iterations followed over the years.

A bear, Staehle is reported to have explained, “could be portrayed as the father of the forest.” Smokey was named after Smokey Joe Ryan, a famous New York City fire chief. “Al received only ‘expenses’ for his posters,” wrote Margory. (The original brown bear who was the model for “Smokey” died in 1976/77 of natural causes.)

Not only is this a major birthday for Smokey, it comes at a time when forest fires have been rebranded “wildfires” to underscore the increased frequency and ferocity of such deadly blazes.

The post The Daily Heller: America’s Most Famous Bear Turns 80 appeared first on PRINT Magazine.

“They say the darkest hour

Is right before the dawn.”

The mood of the world was dark after the debate. Now we’re seeing the rise of Kamala.

Dark hour followed by a dawn.

If you’re a Mets baseball fan, the mood of the fanbase was very dark pre-Grimace. There were ubiquitous “Wait until next year” vibes. But in the last 6-weeks, with the best play in the game, Mets fans are elated.

Dark hour followed by a dawn.

All of which brings me to the Olympics.

I was working on the Visa brand for the 2008 Games.

We had an important meeting with the CMO on the Thursday of that week.

We were feeling great with an amazing idea…until a junior account person discovered that the exact same idea had been done a few years before for a different brand for the Rugby Sevens.

To put it bluntly, we were fucked.

We called the client and told them where were.

The CMO was sympathetic, but firm.

“Come up with an alternative by Monday.” He said. (The “or else” by the way, was silent.)

I gathered the creative team in a conference room we called, “Oz.” And boy, did we ever need some wizardry.

After spending 20 minutes licking our wounds and cursing the Ad Gods, we started uttering those two magic words that help dig you out of darkness.

“What if…”

I had been reading a book on Olympic stories and offered up, “What if we told Olympic stories?”

Then something magic happened.

Ideas…

“What if we got Morgan Freeman to tell them?”

“What if we used archival footage?”

“What if unified all of the stories with a golden hue?”

All of these “What ifs” became what is with our “Go World” campaign.

Here’s but one of my favorites.

We produced over 300 pieces across three Olympic Games. (Winter, then another Summer).

But it never would have happened without treading water in that darkest of hours.

If you’re in a dark hour now, know you’re in the right place. Because the next step is a step into the dawn.

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.

Image: Visa + TBWA\Chiat\Day

The post Gold appeared first on PRINT Magazine.

In honor of Parkinson’s awareness month, hosts Sonika Garcia and Brad Davidson are joined by Howard Lenn, EVP, Executive Creative Director at Havas Health Plus, to discuss his team’s approach to the work on the “The Kama Sutra of Parkinson’s,” ParkinSex. Couples that include someone with Parkinson’s are more likely to separate than couples that don’t. Howard talks about the massive strain Parkinson’s puts on intimacy, prior to any touching, where one is feeling performance-related shame and/or struggling to communicate wants and needs. The love is there, and ParkinSex puts the focus on practicing intimacy.

ParkinSex is not only great, but it also puts into practice many of the themes that have been previously discussed on this podcast, conducting primary research, co-creating with communities, the shame-stigma-taboo trichotomy, and implementing inclusive design. The campaign was a finalist in the Webby Awards People’s Voice Award for Health, Wellness & Pharmaceutical Advertising.

Welcome to Breaking the Code! Behavioral science is a cornerstone of modern marketing practice, but much of what passes itself off as behavioral science is just bs. Good social science gives us the insights and roadmap we need to change behavior, but bad social science just muddies the water and tarnishes the social sciences. As behavior change is a core objective of marketing, getting behavioral science right is crucial. Listen in as hosts Brad Davidson, PhD and Sonika Garcia, MPH, Medical Anthropology Strategists at Havas Health, sound off on what is, and isn’t, good social science, from a variety of disciplines covering new topics every podcast.

Learn more on LinkedIn and Spotify.

The post Skip the Chocolates, Bring the Blindfold appeared first on PRINT Magazine.

WSJ, in partnership with the renowned agency Mother (New York & London), has launched an innovative brand platform “It’s Your Business.” This initiative reflects WSJ’s commitment to delivering in-depth business journalism that not only informs but also impacts the world, playing a vital role in people’s everyday lives.

“Business impacts everyone–whether they know it or not–and more people than ever are turning to The Journal to help them navigate the challenges thrown their way. “It’s Your Business” not only underpins our position as the trusted source for business news and information but it also appeals to new, untapped audiences and broadens awareness of who we are and what we do best.”

Sherry Weiss, Dow Jones and Wall Street Journal Chief Marketing Officer

Throughout the month, WSJ rolled out a series of contextual advertisements across New York City, making “It’s Your Business” a visible part of the urban landscape. These ads have appeared in diverse and unexpected locations, such as EV charger points, golf courses, gas pumps, delis, and even hot dog stands. This strategic placement illustrates the omnipresence of business in daily life, reinforcing the idea that wherever you go, business matters.

The campaign showcases a wide range of articles, each highlighting a different facet of WSJ’s comprehensive coverage. From in-depth pieces on renters’ rights and the growing trend of sleep divorce to explorations of everyday phenomena like your morning coffee, the Journal’s stories cater to their broad audience. This diverse range of topics demonstrates that business news isn’t just for industry insiders but is relevant and valuable to everyone.

By emphasizing “It’s Your Business,” WSJ aims to connect with readers more deeply, showcasing how its reporting covers everything from personal finance to lifestyle choices, making business journalism accessible and engaging for everyone.

Through its collaboration with Mother and a strategic campaign across New York City, WSJ is showing that business news is essential to everyone’s daily life. Whether in the boardroom or at the local coffee shop, WSJ’s wide-ranging coverage highlights its ongoing relevance and importance in today’s world—a bold move that reshapes how we see business journalism.

The post WSJ’s ‘It’s Your Business’ Campaign by Mother Reveals the Ubiquity of Business in Everyday Life appeared first on PRINT Magazine.

Too long to be in a conference room when just down the hall was the lobby of the famed Carlton Hotel. And through the busy but cozy wood-paneled revolving door was the Croissette, the Mediterranean Sea, and all of the delights of Cannes.

But here we were, seven hours into an eight-hour global creative directors meeting.

It was sometime around 2002. 2003? 04?

All of the TBWA global creative directors had presented their work save for one last office.

London.

And the star of the show? Creative Director Trevor Beattie.

Before he took the floor, the staff of the hotel wheeled in a new a/v set-up.

We had been watching a few TVCs throughout the day from places like TBWA\Hunt/Lascaris in South Africa, TBWA\Paris, Chiat Los Angeles, and several other offices.

But the staff replaced the ad-hoc video machine and wheeled in a different set-up. Something that looked slightly more sophisticated with a larger screen.

TBWA’s legendary global creative director, John Hunt, had been the day’s emcee and set the scene. Other legends like Lee Clow and Marie-Catherine Dupuy were in the room paying rapt attention.

“The London rollercoaster continues,” John said in his distinct South African lilt. “But at this moment, the roller-coaster is riding high. And it’s one helluva ride.”

There were appreciative smiles and chuckles even at this late hour.

He continued.

“So without further ado, the man leading the charge…Mr Trevor Beattie.”

If you didn’t know Trevor, you might mistake him for Led Zeppelin’s Jimmy Page.

Trevor had shoulder-length curly locks and the confident swagger of a man who has presented to a million faces and rocked them all.

He took the floor.

“Thanks, John.” Trevor began in his distinct Brummie accent. “Now, I know I’m the only thing standin’ between you and a few bottles of rose, so I’ll do my best to proceed at a rapid clip.”

Smiles all around.

And from there, Trevor shared a few presentation boards for brilliant campaigns for Absolut and PlayStation.

He also recounted a hilarious new business story involving a prospective client and an actual bullwhip.

He then paused a beat.

“Now, I’d like to show you something special for our client, French Connection.”

Before he pushed play, he talked about the origin of the French Connection FCUK moniker and the subsequent FCUK Fashion brand idea.

He explained that he had been trying to come up with an idea for the brand when one appeared before him at their offices in the form of an old-school fax.

The telephone-transmitted document was marked “from FCHK to FCUK.” Meaning: from French Connection Hong Kong to French Connection United Kingdom.

Those four letters — F-C-U-K — caught his attention.

He said to us, “Fuck me, there’s the idea — “F-C-U-K…Fuck Fashion!”

Every creative director in that room melted just thinking about the magic of that dyslexic bit of genius.

“Anyway, mates, let me show you a bit of what we’ve been up to.”

He then stepped over the pile of boards around him and pushed play.

I don’t remember all of the specifics of that three-minute hype film other than a veritable tsunami of FCUK executions: OOH, stores, street posters, print ads, and a sponsorship of boxing great Lennox Lewis.

What I do remember clearly — and I can still feel it to this day — was the feeling I had watching it and that could be summed up in a single word: “FUCK!”

It was truly a gob-smacking experience.

It felt like the first time any of us had seen a “summary” of creative work put together in something equally and profoundly creative as the work itself — a case film.

For seven hours, we saw everything in two dimensions on some form of paper. Or simply a TV commercial.

The FCUK film was three dimensions, multi-sensory and longer-form storytelling.

It was like going from black and white to CinemaScope.

It was an entirely new medium.

Today, we take these case study films for granted. Heck, we actually resent them. I hate them at times.

But Trevor’s FCUK film was the first.

It was bloody extraordinary.

And certainly, my world, TBWA’s world, and the industry at large have never been the same since.

When was the last time you were FCUK-ing blown away?

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 courtesy of the author.

The post The First Case Study Film appeared first on PRINT Magazine.

Advertising

First Place

Literary Mixtape
NaRe Hong – School of Visual Arts
USA

Blending nostalgia with innovation, Literary Mixtape reintroduces Penguin’s iconic literary figures through the retro charm of cassette tapes. Aimed at rekindling Generation Z’s love for literature, this project bridges classic literature and contemporary music. Shareable cassette tapes feature imagery and quotes from beloved literary heroes, inviting readers to explore literature and music together. These playlists evoke the essence of literary figures and offer a fresh, engaging way to rediscover timeless classics, celebrating the enduring appeal of analog media.

Additional credits: Jueun Kim; Instructor, Gio Serrano

Second Place

Stuf by Oreo
Elyza Nachimson – School of Visual Arts
USA

Oreo, a beloved sandwich cookie brand with over a century of legacy, introduces Stuf, a new home goods collection inspired by its iconic black-and-white layers. This innovative extension explores brand identity, social challenges, and an out-of-home campaign, leveraging Oreo’s reputation to captivate a new market. With Stuf, Oreo redefines boundaries and delights consumers with its inventive approach to product innovation.

Additional credits: Instructor, Dirk Kammerzell

Third Place

Verizon
Hongjin Li – School of Visual Arts
USA

Verizon’s campaign, centered on the one-liner “The Gear you need is closer than you think,” promotes its accessories by highlighting their accessibility and indispensability. This multifaceted initiative showcases a range of essential accessories, from headphones to phone cases, through captivating visuals and persuasive messaging. The campaign underscores Verizon’s commitment to convenient, high-quality gear that enhances digital lifestyles, aiming to drive sales and foster brand loyalty.

Additional credits: Instructor, Jay Marsen and Lex Beltrone

Annual Reports

First Place

Victims First Annual Report
Aurora Schafer – University of North Texas
USA

Victims First is a nonprofit organization that aids in the aftermath of mass casualty crimes. The educational goal was to redesign the 2022 annual report and create more impactful visuals to reflect the importance of the issue. After researching Victims First, Aurora wanted to maintain a sense of quietness while also conveying strength, creating a more impactful experience for viewers, and showcasing the gravity of the cause. Bold typography, halftone photos, and bright risograph-printed colors compliment the hairline details and airy layout, ultimately creating a quiet, yet impactful annual report.

Additional credits: Photography, Siphosethu Fanti and Colin Lloyd; Instructor, Whitney Holden

Branding Identities

First Place

Museum of the Moving Image
Mina Son – School of Visual Arts
USA

The Museum of the Moving Image’s (MoMI) rebranding revolves around the brand attributes of ‘Sequence,’ ‘Verisimilitude,’ and ‘Frame,’ which capture the duality in images and sequences and the interplay between reality and constructed reality. The concept “Beyond the Frame: Duality” guides this reimagined identity, inviting visitors to explore the complexities of visual storytelling and fostering a deeper appreciation for the artistry and intricacies of the cinematic experience.

Additional credits: Instructor, Joseph Han

Second Place

POT.ION
Mina Son – School of Visual Arts
USA

POT.ION is a fertilizer brand for indoor plants, cleverly named to combine ‘pot’ and ‘potion.’ Designer Mina Son aimed to modernize traditional plant nutrient packaging with aesthetic elements, incorporating a logo symbolizing blooming, growth, and healing. She focused on user experience by including a beginner’s guide, poster, and postcards to engage users. The cohesive design features complementary colors and clean typography, creating an aesthetically pleasing and informative experience for beginners in indoor plant care.

Additional credits: Instructor, Justin Colt

Third Place

Found Sound Music Festival
Don Park – School of Visual Arts
USA

The Found Sound Music Festival celebrates artists who integrate found sounds into their music. Designer Don Park used AI and a modular grid system inspired by vintage synthesizers to design the venue, representing individual artists with distinctive shapes. Despite the project’s limitations, Park meticulously documented the process, gaining invaluable insights and enhancing his understanding of design principles and creative problem-solving. This challenging endeavor served as a springboard for exploration and growth.

Additional credits: Instructor, Andrea Trabucco-Campos

Brochures

First Place

FORM
Fiona Tran – Drexel University
USA

Form is an experimental, mid-century-inspired furniture catalog that redefines function and comfort by juxtaposing traditional and alternative design standards. It offers readers a fresh perspective on functional design through unconventional displays of art and furniture. The catalog features contrasting layouts, intricate typography, and textured digital mixed media. Printed in a tabloid-sized newspaper, it provides ample space for visual exploration and a more interactive, intimate experience.

Additional credits: Instructors, Mark Willie & Eric Karnes

Editorial

First Place

FORM
Fiona Tran – Drexel University
USA

‘Damaged goods’ are products that are broken, cracked, scratched, and no longer desirable. But in this project, a contemporary newspaper about film photography, it’s quite the opposite. Every page in the newspaper is somehow damaged and exposed to light, though remaining visually pleasing. The names of the journalists are also placed irregularly to convey the moments of unexpectedness that is a critical element of the film camera. Fiona also was selected as the Student Project Best in Show by this year’s PRINT Awards jury.

Additional credits: Instructor, Pedro Mendes

Second Place

Experiments in Type Zine
Yerin Lee – School of Visual Arts
USA

Experiments in Type explores the versatility of the lowercase ‘a’ through a series of typographic studies. It features single-story and double-story renditions crafted with diverse materials and techniques. The zine documents these experiments, with each ‘a’ meticulously printed on tinted green paper, adding a unique aesthetic. This project invites readers to rethink type design and discover the creative potential of manipulating a single letter.

Additional credits: Instructors, Kenneth Deegan & Brankica Harvey

Third Place

Gestalt Tattoo
Jung Youn Kim – School of Visual Arts

Gestalt Tattoo is a tattoo genre invented by the designer, combining diverse and complex personalities into geometric shapes. The book Gestalt Tattoo: Geometric Reflections of Personalities introduces this genre, showcasing geometric symbols and tattoo designs while explaining their meanings. Rooted in Gestalt psychology, which views parts as forming an integrated whole, Gestalt Tattoos express complex human personalities in single designs. Each design is inspired by specific German words that capture unique states or personalities, like “fernweh.” By translating personal experiences into geometric figures, Gestalt Tattoos blend historical geometric symbolism with modern personal expression.

Logos

First Place

Architectural Digest
Mishen Liu – Art Center College of Design
USA

Architectural Digest, known for its monthly magazine and online video content, explores topics ranging from interior design to architecture and real estate. It showcases international design talents and innovative homes and products, aiming to inspire ideas, culture, and travel. AD’s rebrand strategy focuses on positioning the brand as a leader in interior design, architecture, and travel inspiration, particularly targeting a younger audience. This involves a new logo, vibrant colors, a sans serif typeface, and playful image treatments that reference foundational architectural design elements like simple shapes and forms. These elements are integrated across various branding assets, such as posters and video play buttons, enhancing the overall brand experience.

Additional credits: Instructor, Ming Tai

Second Place

Tiger Ale
Emily Brown – The University of Texas Arlington
USA

Tiger Ale is a student branding concept for a local Dallas-Fort Worth, TX brewery that is playful, approachable, and neighbor-oriented. It thrives on the idea that “you only live once.” The goal was to create a colorful, eye-catching, and easy-to-read logo and supporting elements that could be used for a brand identity. The color palette references the playfulness of mini-golf and combines a sense of nostalgia and a modern feel. The secondary logo is a badge design, and the dots and stripes are meant to add some movement and fun.

Additional credits: Instructor, Ben Dolezal

NEXT: Check out student winners in book design, hand lettering, illustration, photography, social impact, and citizen design.

The post PRINT Awards 2024 Student Spotlight: Winners in Branding, Advertising, Editorial & More appeared first on PRINT Magazine.

Data Visualization & Information Design

First Place

City Pulse 2023: The Future of Central Business Districts
Minjung Lee – Gensler Research Institute
USA

Gensler’s City Pulse 2023 report examines the future of central business districts (CBDs) by analyzing insights from 26,000 survey respondents across 53 cities globally. It addresses challenges such as business closures, reduced foot traffic, and office vacancies in CBDs three years into the pandemic. The report provides a global overview of findings and focuses on three downtown personas: residents, employees, and local visitors. For each group, it offers insights into their current experiences in CBDs, statistical predictors of a great downtown experience, and future-proofing strategies. Additionally, the report includes regional and city-specific data in an appendix. Ultimately, City Pulse 2023 suggests that by catering to the diverse needs of residents, employees, and visitors, CBDs can revitalize and thrive in the future.

Additional credits:
Lela Johnson, Laura Latham

Second Place

203 X Infographics
Sung Hwan – Infographics Lab 203
Republic of Korea

Romance of the Three Kingdoms, a world-famous classic Chinese novel, is still very much loved. It is a novel that is recognized as the best classic in the East and a must-read book, to the extent that there is a saying, “Do not deal with someone who has not read the Romance of the Three Kingdoms at least three times.” This series of twelve posters tells the story of the Three Kingdoms, centered around the main characters of the Three Kingdoms, Liu Bei, Guan Yu, and Zhang Fei, through this infographic. Posters represent Greek and Roman Mythology, Journey to the West, Giant Panda, King Sejong, Pictogram, Taipei, and Yoga.

Third Place

Global Workplace Survey Comparison 2023
Minjung Lee – Gensler Research Institute
USA

The 2023 Global Workplace Survey Comparison examines responses from 14,000 full-time office workers across nine countries and three continents, aiming to understand how workplaces can enhance employee performance and experience amid the transition to mobile work. The report reveals that high-performing workplaces significantly improve personal productivity, job satisfaction, career advancement, work/life balance, and personal health, while also fostering team outcomes such as community sense, relationships, connection to company mission, and productivity. Workers in top workplaces recognize their positive impact on business outcomes, displaying higher engagement, commitment, workflow awareness, team relationships, and a sense of belonging. As organizations shape their future workplace strategies, investing in high-performing workplaces can positively influence business performance at all levels, with employees worldwide seeing the workplace as a preferred destination rather than a mere obligation.

Additional credits:
Lela Johnson, Laura Latham

Student Honorees – Data Visualization & Information Design

First Place – Street Gum Dots Marching Symphony by Jae Young Kim, Pratt Institute, USA
Second Place – Fashion, Beauty and Post-Colonial Perceptions by Joumana Ibrahim, Savannah College of Art and Design, United Arab Emirates
Third Place – Me, My Languages, and I by Joumana Ibrahim, Savannah College of Art and Design, United Arab Emirates

Environmental Design

First Place

Black Power to Black People Exhibition
John Kudos – KASA Collective
USA

The exhibition offers an intimate exploration of how The Black Panther Party utilized branding and media to shape its narrative and garner community support, becoming a significant militant force of its era. The exhibit design features oversized protest signs outside the gallery and iconic photographs of key figures like Huey Newton inside. Organized chronologically, it tracks the development of Black Panther branding across six sections, accompanied by tracks from the Seize the Time LP by Elaine Brown. Bold typography, military colors, striking icons, and heroic imagery of armed members emphasize the party’s powerful design strategies, echoing their impact even decades later.

Additional credits:
Creative Director, John Kudos; 3D Creative Director, Robert de Saint Phalle; Art Director, Ashley Wu; Designer, Fay Qiu; Project Manager, Amanda Knott; 3D Renderer, Imam Fadillah; Design Intern, Saskia Wulandiarti; Photography, Samuel Sachs Morgan

Second Place

Made in Japan Exhibition
John Kudos – KASA Collective
USA

The exhibition offers an immersive exploration of Japan’s graphic design golden age through curated posters from the Merrill C. Berman Collection. Inspired by Ikko Tanaka’s Nihon Buyö poster, the exhibition design incorporates geometric shapes. A triptych of oversized title walls resembling a Japanese folding fan welcomes visitors, creating a seamless exhibit space. Each gallery section features thematic backdrops with vivid colored shapes that progressively enlarge, mirroring the evolution of Japanese graphic design. Oversized typography reminiscent of lettering on ships carrying Japanese immigrants adds a sense of industrialization and globalization, reflecting key influences on Japan’s graphic design history.

Additional credits:
Creative Director, John Kudos; 3D Creative Director, Robert de Saint Phalle; Art Director, Ashley Wu; Designer, Fay Qiu; Project Manager, Amanda Knott; 3D Renderer, Imam Fadillah; Design Intern, Saskia Wulandiarti; Photography, Samuel Sachs Morgan

Third Place

Art Deco: Commercializing the Avant-Garde
Ola Baldych – Poster House
USA

Poster House’s exhibition “Art Deco: Commercializing the Avant-Garde,” launched in September 2023, charts the trajectory of the Art Deco movement from the 1925 Paris Exhibition to World War II. Designed by Ola Baldych, the exhibit channels Art Deco’s vibrant colors and geometric patterns, with pink symbolizing modernism and metallic designs evoking industrial materials. Hand-painted ombre murals trace the movement’s ascent and decline. Pine slat temporary walls create mid-horizons, complementing the linear patterns in wall graphics, while A.M. Cassandre’s iconic works take center stage, featuring section headings in his “Bifur” font. The design seamlessly integrates with the posters, incorporating dynamic lines and bold hues, blending mechanical production with hand craftsmanship to capture the essence of Art Deco. This immersive exhibition provides a whimsical yet specific exploration of each poster’s significance within the movement.

Student Honorees – Environmental Design

First Place – Bike Lane Parking Preventer by Yoon Seo Kim, School of Visual Arts, USA
Second Place – Elephant in the Room by Eason Yang, USA
Third Place – Fidelis: A Study in Fraktur Calligraphy by Conner Gayda, Jacksonville State University, USA

IX/UX Design

First Place

Studio Museum in Harlem
Base Design
USA

The Studio Museum in Harlem, established in 1968, stands as a vital hub for artists of African descent, fostering creativity, dialogue, and community engagement. To modernize its online presence, the museum enlisted BaseNYC for a website redesign, aiming to reflect its dynamic spirit. Inspired by Harlem’s vibrant atmosphere, the design emulates a brownstone stoop, serving as a lively digital meeting place. Embracing noise as a concept, the website integrates artworks with surrounding creations, placing emphasis on the artists and their narratives. Video and audio clips within the margins further enhance the immersive experience, capturing the essence of the Studio Museum’s energetic setting.

Additional credits:
Mirek Nisenbaum, Min Lew, Andrey Starkov, Harry Laverty, Ross Gendels, Marc Hill, Masha Basyrova, Vivian Valentin, Artem Lyustik, Sergei Khegai, Volha Trehubava, Jerry Johnston, Ji Park

Second Place

theo Transformation Advisory
Hana Snell – Caliber Creative
USA

theo is an advisory group that partners with entrepreneurs, executives, and industry leaders to metamorphose talent and guide their enterprises through transformational journeys. With a refreshed wordmark, visual identity, and inventory of infographics, the brand’s new look reflects the same frameworks meant to transform organizations. The combination of gradients, emanating graphic elements, and gentle brush strokes create an expressive approach to otherwise corporate data visualization. Color is strategically used throughout the website to categorize each level of a client’s journey (talent, culture, and enterprise), while the color-field digital paintings abstractly represent the various impacted industries. This dynamic mixture of elements is energetic and impactful, inspiring clients to trust in the theo expertise and embark on their own metamorphosis.

Additional credits:
Brandon Murphy, Erin Brachman, Trevor Scott, Cosme Olivas

Third Place

Fearless Website
Rony Dixon – Texas Tech University
USA

Fearless is a podcast showcasing the untold stories of Texas Tech through candid interviews with students, faculty, staff, and alumni, introducing listeners to individuals embodying the Red Raiders’ qualities and contributing to the university’s broad impact. With an immersive, long-form storytelling approach, Fearless delivers compelling narratives highlighting the passion and perseverance of the Texas Tech community. The recently redesigned website, launched alongside season three of the podcast in 2023, reflects the podcast’s personal, relatable, impactful, engaging, sincere, and authentic character, prioritizing relevance and connection for listeners.

Additional credits:
Web Design, Rony Dixon; Lead Web Developer, Gary Eubanks; Director of Design, Veronica Medina; Producer and Host, Taylor Peters; Photography, Justin Rex; Photography, Ashley Rodgers; Co-Producer, Allison Hirth

Student Honorees – IX/UX Design

First Place – Deafinite by Jingxin Xu, School of Visual Arts, USA
Second Place – Sproute App Prototype by Zach Hall and Jordan Heath, University of North Texas, USA
Third Place – Trash Panda App Prototype by Macy McClish and Keaton Dillard, University of North Texas, USA

Motion Graphics & Video

First Place

Santé: Designed by Patrick Norguet
Molly Skonieczny – Tolleson
USA

“Santé: Designed by Patrick Norguet” is a meticulously crafted stop-motion animation video created by Tolleson, a creative agency, and Studio TK, a furniture company. Departing from typical designer videos, the duo sought to amplify Studio TK’s voice and stand out in the industry. The video production embraced analog techniques, aligning with Studio TK’s craft furniture production ethos. Through interviews with designer Patrick Norguet, a script was constructed to distill complex design ideologies into understandable visuals. Each handmade prop was carefully placed, capturing the essence of Norguet’s work. Inspired by Norguet’s love for music, the video utilizes visual metaphors to convey profound ideas, such as the transition from black and white to color representing the journey from concept to creation. With around 1,400 frames, the video celebrates the emotional essence underlying every design project, showcasing the art of storytelling through stop-motion sequences and captivating visuals.

Additional credits: Steve Tolleson, Jesse Goldberg, Evan Tolleson, Briana Tarantino; Photography, Eric Einwiller

Second Place

Doris Duke Foundation: When Artists Thrive, We All Thrive
Bryce Bizer – None Other
USA

None Other was commissioned by the Doris Duke Foundation to commemorate the 10th anniversary of the Doris Duke Artist Awards, which provides substantial grants to individual performing artists. To capture the essence of a decade of achievements, None Other adopted an unconventional approach. Instead of traditional interviews, they used motion design-based photography paired with audio interviews. This method allowed for flexibility in documenting seven artists across various locations, ensuring a comprehensive narrative. The resulting film was showcased at a landmark anniversary event, garnering widespread attention from both the artistic community and media outlets, including CBS Mornings, NPR, and Billboard.

Additional credits: Daphne Chiang; Photography, Gabriela Bhaskar, Brittainy Newman

Third Place

Dieline Awards 2024
Justin Colt – The Collected Works
USA

The Dieline Awards is an annual competition celebrating outstanding packaging design. For 2024, Dieline approached The Collected Works to create a short film for their upcoming call-for-entries campaign, celebrating the meticulous and material-focused nature of packaging design. The end result is a 30-shot, one-minute-long 3D motion piece exploring the unique properties of various commonly used physical materials, gradually joining together into the form of the Dieline Awards trophy.

Additional credits: Jose Fresneda, Christian Townsend, Vincent Drayne, Mina Son, Justin Raymond Park

Outdoor/Billboards

First Place

Life Less Scary – Billboard Series
Stephanie Morrison – Dunn&Co
USA

Grow Financial, a Federal Credit Union, launched the “Life Less Scary” campaign to address the heightened financial fears of millennials and Gen-Z. They collaborated with 3D artists to create a set of “monster letters,” which were featured in out-of-home placements to represent Grow’s financial products in a visually engaging yet approachable manner. Inflatable versions of the monster letters were displayed on billboards, adding an eye-catching element to the campaign. The monster alphabet was integrated across various campaign elements to convey the message effectively.

Additional credits: Chief Creative Officer, Troy Dunn; Creative Director, Max Dempster; Art Director/UX Design, Mitchell Goodrich; Copywriter, Michala Jackson; Designer, Cris Trespando; Designer, Cody Davis; Account Supervisor, Rachel Jensen; Account Coordinator, Ann Butler

Second Place

I Am Toronto Pearson
Joshua Duchesne – Made by Emblem
Canada

Toronto Pearson Airport launched the “I AM TORONTO PEARSON” (IATP) program in 2016 to support its vast employee community, but the COVID-19 pandemic impacted its business and employee morale. To rejuvenate its workforce and reputation, Pearson sought to revamp the IATP brand, focusing on enhancing employee engagement. Made by Emblem undertook the task, aiming to celebrate Pearson’s employees as resilient heroes. Inspired by Nike athletics, the new brand identity centered on employees, featuring custom typefaces and authentic street photography to reflect the employee community’s spirit.

Additional credits: Megan Drummond, Christina Kim; Photography, Taha Maharuma, Daniel Neuhaus; Videographer, Colin Clark

Third Place

Dream Streetcar
Matt Wegerer – Whiskey Design
USA

In 2023, Barbie Fever took over, and the world couldn’t get enough. Barbie has had dream houses, dream campers, and dream boats, but she has never had a Dream Streetcar. That is how the Kansas City Streetcar was transformed into this pink dream. This toy-inspired makeover included sticker headlines, fake wheels, and perforated curtains. The inside was also decked out with the latest fashion of Barbie, Ken, and yes, even Allen.

Additional credits: Lindsey Musil; Photography, Travis Carroll, Monica Melber; Printer, Signco; Videographer, James Meierotto

Student Honorees – Outdoor & Billboards

First Place – Spy by Ting Jui Chang, School of Visual Arts, USA
Second Place – Go Skateboarding Day by Hyowon Kwon, School of Visual Arts, USA
Third Place – Elevating Everyday Sounds by Chuanyuan Lin, School of Visual Arts, USA

Packaging

First Place

Lou Reed / Words & Music / May 1965 – Special Edition Packaging
Masaki Koike – Phyx Design
USA

Lou Reed – Words & Music offers an extraordinary, unvarnished, and plainly poignant insight into one of America’s true poet songwriters. Capturing Reed in his formative years, this previously unreleased collection of songs—penned by a young Lou Reed, recorded to tape with the help of future bandmate John Cale, and mailed to himself as a “poor man’s copyright”—remained sealed in its original envelope and unopened for nearly 50 years. Its contents embody some of the most vital, groundbreaking contributions to American popular music committed to tape in the 20th century.

Second Place

Golden Hour
Miles McKirdy – Golden Hour Wellness
USA

Golden Hour is pioneering the evolving cannabis industry in the United States, capitalizing on its legal infancy to redefine consumer perceptions. Positioned as a disruptive and approachable brand, Golden Hour aims to transcend the stereotypical ‘stoner’ culture, offering a sophisticated approach to cannabis consumption. With a mission to be recognized as more than just a product, the brand strategically focuses on five key areas: Branding, Engagement, Education, Innovative Packaging, and Sustainability.

Additional credits: Creative Director, Miles McKirdy; Brand Strategist (and Miles’s Partner), Jessica Arnone; Project Director (and Miles’s Dad), Dr. Mark Lewis McKirdy; Art Director (and Miles’s Mum), Carol Mary McKirdy; Photography Cheyenne Lawson

Third Place

The Grappler
CF Napa Brand Design
USA

Vinoce Vineyards brought back their Zinfandel brand, “The Grappler,” due to popular demand. Partnering with CF Napa, they aimed to give it a bold new look for exclusive sale at their tasting room and wine club. Drawing on parallels between winemaking and wrestling, CF Napa created colorful labels inspired by Lucha Libre. The angled placement adds a lively touch, celebrating wrestling while honoring the Vinoce Vineyards owner’s ties to Mexico and the farmworkers there. Collectors are encouraged to collect all six wines, each featuring a unique mask design.

Student Honorees – Packaging

First Place – Horsepower Cold Brue Coffee by Vasavi Bubna, School of Visual Arts, USA
Second Place – Dark Energy by Eshaan Sojatia, Rochester Institute of Technology, USA
Third Place – Never Will by Rabiya Gupta, School of Visual Arts, USA

Posters

First Place

Upside
Edica Holeman Design
USA

This interactive poster is a result of the designer’s reflection on the design process as a form of catharsis. The white typographic elements are generated from custom code written in p5.js, representing the complexity of human experiences. The text acknowledges the mix of good and bad in life. Using p5.js, the typography starts legible but transforms into waving staggered tiles as the user interacts with it, symbolizing the highs and lows of life. References to cargo and packaging add depth, and the poster can be hung in any orientation. A QR code allows viewers to access the interactive typography.

Second Place

Minnesota Twins History Poster
Jovaney Hollingsworth – DLR Group
USA

During the renovation of the club lounge at the Minnesota Twins baseball stadium, a large framed poster was created to showcase the team’s extensive history. To encompass the diverse range of players, coaches, and achievements, a collage style was chosen. Historical elements were meticulously recreated to maintain quality and adhere to the team’s brand guidelines. The project received positive feedback from the client and may be considered as a gift for club members or included in a community fundraising initiative.

Third Place

Negro Leagues Baseball Museum (Kansas City Monarchs)
Jovaney Hollingsworth – DLR Group
USA

The Negro Leagues Baseball Museum (NLBM) in Kansas City celebrates the history of African-American baseball, located near where the Negro National League began in 1920. The museum holds artifacts from the pre-integration era of Major League Baseball, nurturing legendary players like Jackie Robinson and Satchel Paige. The XGD Studio at DLR Group created posters featuring Monarchs players, including Buck O’Neil and Jackie Robinson, to support fundraising for a new museum facility. The posters feature a comprehensive list of Monarchs players and are designed for branded merchandise like mugs and t-shirts, expanding fundraising opportunities. DLR Group’s experiential graphic design services contribute to preserving and celebrating the Monarchs’ legacy.

Student Honorees – Posters

First Place – Alzheimer’s Poster by Emily Brown, The University of Texas at Arlington, UAS
Second Place – Barely Hanging On by Sean Howes, University of North Texas, USA
Third Place – Synesthesia by Jia Li, School of Visual Arts, USA

NEXT: Check out student winners in packaging, motion graphics & video, IX/UX, posters, environmental design, outdoor/billboards, and data visualization/information design.

The post PRINT Awards 2024 Spotlight: Winners in Packaging, Motion, Environmental, Data Visualization & More appeared first on PRINT Magazine.

Advertising

First Place

Georgetown Optician – Adventures in A-Eye
Pum Lefebure – Design Army
USA

“Adventures in A-EYE” is a highly creative social campaign developed with AI technology for Georgetown Optician, a Washington DC-based optician with a long-standing family legacy. The campaign adopts a sci-fi theme, featuring a fictional planet populated by extra-terrestrial eyeball creatures, including the all-seeing “Eyelien” character. Created entirely with AI — from talent to settings — the real eyewear was added in postproduction, enhancing the surreal atmosphere. Launched in Spring 2023, the campaign showcases witty and imaginative content, introducing new characters, fantastical landscapes, and the latest eyewear trends throughout the year.

Second Place

BMW Motorrad – Storied: 100 years of BMW Motorcycling
Justin Page – The Simple Machine
USA

Storied: 100 Years of BMW Motorcycling is a 100-page collectible book celebrating BMW’s century-long legacy in the motorcycle industry. Produced by BMW Motorrad USA in collaboration with The Simple Machine, creators of Iron & Air Magazine, this commemorative piece highlights the personal stories of individuals who have been integral to BMW’s journey and how BMW motorcycles have influenced their lives. The book features stunning photography, historical insights, and compelling narratives, making it more than a collector’s item. It celebrates the deep human connection to motorcycles and serves as an inspiration for motorcycle enthusiasts, marking BMW’s significant milestone.

Additional credits:
Printer, Flash Reproductions

Student Honorees — Advertising

First Place — Literary Mixtape by NaRe Hong, School of Visual Arts
Second Place —Stuf by Oreo by Elyza Nachimson, School of Visual Arts
Third Place — Verizon by Hongjin Li, School of Visual Arts

Branding Campaigns

First Place

SXSW 2024: Global Reframing
Liugi Maldonado – Guerilla Suit
USA

Since 1987, SXSW has been a renowned event celebrating the intersection of interactive, film, and music industries, offering diverse sessions, showcases, screenings, and networking opportunities. Guerilla Suit has partnered with SXSW since 2021 to develop themes and refresh design systems. For 2024, they chose “Global Reframing,” reflecting our interconnected world post-pandemic. The challenge was to capture the spirit of global citizens driving change. Guerilla Suit provided art direction, campaign, social media, content, guidelines, graphic design, merchandise, motion graphics, signage, and wayfinding.

Additional credits:
Designer, Reece Ousey; Account Director, Hannah Young; Managing Partner, Julie Warenoff

Second Place

East Side Pies
Michael Tabie – Guerilla Suit
USA

East Side Pies, an Austin institution renowned for its cracker-crust, culinary-inspired pizzas made with fresh, locally sourced ingredients, sought Guerilla Suit to refresh its iconic brand as ESP opened its first dine-in restaurant. This collaboration, celebrating nearly 20 years of community-focused, quality-driven pizza making, deepened the brand’s identity with a refreshed All Seeing Pie logo and mystical taglines, embracing their status as a beloved hometown original.

Additional credits:
Account Director, Hannah Young; Project Manager, Adri Bosque; Photography, Stephane White

Third Place

Central Market Passport Portugal
Dana Nixon – *TraceElement
USA

Central Market, a high-end Texas grocery chain, revived its Passport Festival in 2023, spotlighting Portugal’s unique cuisine. The creative team captured Portugal’s essence through various promotional materials, including outdoor banners, point-of-purchase posters, department signs, and a radio spot, all inspired by the country’s iconic Azulejos tiles and landmarks. Social media videos, a detailed map, tote bags, and commemorative wine glasses enhanced the experience, transforming the grocery trip into a cultural journey. This immersive campaign invited shoppers to explore Portugal’s culinary heritage, showcasing Central Market’s commitment to celebrating global cuisines.

Additional credits:
Co-CEO & Chief Creative Officer, Jeff Barfoot; Associate Creative Director, Cristina Moore; Account Director, Anna Mertz; Account Manager, Kasey Cooley; Creative Director, Dana Nixon; Designer, Dana Nixon & Stephanie Williams; Illustrator, Stephanie Williams; Production, Dave Basden; Copywriting, Plot Twist Creativity; Animation, Cody Rubino

Branding Collaborations

First Place

2023 Nuit Blanche Taipei – Time to Rise Up
Department of Cultural Affairs, Taipei City Government; Left Brain
Taiwan

Nuit Blanche, originating in Paris, has thrived in Taipei for 7 years, integrating cultural elements like art and design into public spaces. With over 400,000 attendees annually, it’s one of Taipei’s largest cultural festivals. This year, held in Taipei’s Xinyi District, known as Taiwan’s iconic area akin to Times Square, Nuit Blanche focuses on themes of “Democracy” and “Liberty,” reflecting Taiwan’s global stature. It encourages participation from all backgrounds, using art to address contemporary issues and inspire change, under the theme “Time to Rise Up!” in Chinese, which also signifies liberty and inclusiveness of Taipei.

Additional credits:
Visual, Tsan-Yu Yin; Bureau Français de Taipei; Installation Art, Pon Ding; Performing Art, House Peace, Hsingho Co., Ltd. & HoooH; Street Art, Wild Open Arts; Film Curator, Fan Wu; Comedy, Live Comedy Club TAIPEI; Live Music, Arthur Chen; Néle Azevedo, Minimum Monument; Inside Out Project; Raptor Research Group of Taiwan

Second Place

2023 Romantic Route 3 – Falabidbog
Hakka Affairs Council; Hakka Public Communication Foundation; Left Brain
Taiwan

The Romantic Route 3 art festivals began in 2019 to revive Hakka culture, focusing on Taiwan’s second-largest ethnic group, the Hakka people. Working with Hakka Affairs Council, Hakka Public Communication Foundation and Left Brain curated an event outside traditional museum settings, collaborating with locals to showcase art, design, and culinary culture along Provincial Highway 3. They aimed to immerse audiences in Hakka life through sensory experiences, exploring alternate narratives and village spaces. The project introduced people-centric design to the region, addressing cultural issues and presenting a new perspective on Hakka village life. Through culinary experiences, they reinterpreted traditional Hakka cuisine, incorporating new narratives and products to communicate Hakka culture.

Additional credits:
Art project, mt.project; Design project, Harvest Ideation; Culinary Project, Grand Vision Co. Ltd.; Visual, BITO; Volunteer Program, Migratory Creation; Tour Planning, JWI Marketing Co., Ltd.; Digital marketing, MEShPlus

Third Place

Confronting Design
One Design Company
USA

In collaboration with the Graphic Design Club of Chicago, One Design crafted a brand identity for Confronting Design, a series of workshops, panel discussions, forums, and debates focused on pressing issues facing the field of design. The first sold-out event took place in April of 2023 and focused on Artificial Intelligence and its impact on design. The design system is a typographic manifestation of dialogue and the point-counterpoint dynamic of debate. An ever-evolving, dynamic design language, the system is built on a constantly shifting visual power dynamic between the words in the series’ title to communicate the energy – and potential volatility – of the topics at hand.

Additional credits: Kyle Meyer, David Sieren

Branding Identiy & Identity Systems

First Place

The National Museum in Krakow
Emilka Bojańczyk & Zuzanna Charkiewicz – Podpunkt Studio
Poland

The National Museum in Kraków (MNK), Poland’s largest museum, features 21 departments, 12 galleries, 2 libraries, and 12 conservation workshops, holding around 780,000 art objects. Its new identity weaves inspirations and artworks into a cohesive visual language, linking all branches under the MNK brand. The rebranding involved simplifying branch names and creating diverse symbols to reflect the Museum’s variety. The MNK logo, a geometric grid forming the Museum’s abbreviation, anchors the layout system. Dynamic serifs in the logo form decorative patterns, illustrating the rich tapestry of MNK’s collection.

Additional credits:
Concept and design, Podpunkt studio; Creative Director, Emilka Bojańczyk / Podpunkt; Concept, Emilka Bojańczyk, Zuza Charkiewicz / Podpunkt; Design, Emilka Bojańczyk, Zuza Charkiewicz / Podpunkt; llustrations, Zuza Charkiewicz / Podpunkt; Animations, Ewa Najnigier-Galińska, Zuza Charkiewicz / Podpunkt; Typeface, SungBleu Sanrise by Swiss Typefaces

Second Place

Portuguese Government New Visual Identity
Eduardo Aires – Studio Eduardo Aires
Portugal

The Portuguese Government’s visual identity had not been updated for over 12 years. Studio Eduardo Aires worked to introduce a new dynamic identity tailored for the digital age. This redesign integrates all necessary graphic elements for scalability across various media, with a focus on preserving national symbols while ensuring digital adaptability. The new logo, inspired by elements of the national flag, maintains the integrity and dignity of these symbols. Additionally, the project includes comprehensive guidelines for colors, layouts, and a custom font, “Portuguesa,” designed by Dino dos Santos to ensure consistency and security across all government communications.

Additional credits:
Tiago Campeã; Miguel Almeida; Raquel Piteira; Joana Teixeira; Anastasiia Potapenko; Photography, Diana Quintela, Óscar Almeida

Third Place

Guild
COLLINS
USA

Eighty percent of low-income working adults want to attend school but can’t afford it, prompting CEO Rachel Carlson to found Guild, a B Corp helping employers finance employees’ tuition. Guild saw a 220% increase in career mobility, a 210% improvement in employer retention, and 88% of participants were first-generation college students. Despite this, low-income employee participation was initially low due to the time and cost barriers to finding suitable educators. To address this, Guild expanded its services to recruit educators, build education programs, market them to employees, and support participants. Retiring its “tuition finance company” framing and “tuition-free education” story, COLLINS reconceptualized Guild as an “education market maker” with a clear purpose: to increase the socio-economic mobility of America’s low-wage workforce. The team signaled this change with a new mission, brand identity, voice, and creative expression.

Additional credits:
Photography, Eric Van Nyatten

Student Honorees — Branding Identities & Identity Systems

First Place — Museum of the Moving Image by Mina Son, School of Visual Arts
Second Place — POT.ION by Mina Son, School of Visual Arts
Third Place — Found Sound Music Festival by Don Park, School of Visual Arts

Editorial

First Place

The North Face – 50 Years of Parkas Zine
Justin Colt – The Collected Works
USA

The Collected Works collaborated with The North Face on their 50 Years of Parkas campaign, creating a design system highlighted by a limited-edition zine. The goal was to honor the parka not only as a technical marvel for extreme conditions but also as a cultural icon. Through interviews with notable figures like Conrad Anker, Jimmy Chin, Quannah Chasinghorse, and Danie Sierra, the team captured compelling narratives spanning mountaineering adventures, advocacy efforts, and urban culture. Pairing these stories with captivating photography, from mountain peaks to city streets, the zine utilized Futura Passata, Druk, and Windsor typefaces to create a visually engaging experience.

Additional credits:
David Clemente; Jose Fresneda; Christian Townsend; Mina Son; Vincent Drayne; Yasmin Mukino; Emily Connelly; Jesse Eschenroeder; Justin Raymond Park; Photography, Cole Pates, Joe Gall, Leonard Greco, Swanson Studio; Printer, Newspaper Club

Second Place

Hey Barista Magazine
Natalie Chloe and Shields Scheffe – Oatly
USA

Hey Barista, a print magazine supported by Oatly, delves into the vibrant world of the coffee community, exploring the passions and musings of its diverse members. The design of the second issue, inspired by workbooks, features intimate photography, hand-written title treatments, and playful notations in the margins, capturing the vibrancy of the community. Each story reflects the unique perspectives of its subjects, with a diverse range of photographic styles and commissioned global stories captured by local photographers. From exploring gentrification in Mexico City with black-and-white film photography to profiling a barista in a heavy metal band with punchy, gritty visuals, the magazine celebrates the contributors’ diverse lenses. Distributed in over 500 independent cafés globally, Hey Barista aims to connect coffee drinkers with the multifaceted coffee community while strengthening bonds among baristas and roasters worldwide over shared stories and interests.

Additional credits:
Editor-in-Chief, Haley Weiss; Photo Editor, Tess Mayer; Printer, Earth Enterprise

Third Place

HUE, the magazine of FIT, The Fashion Institute of Technology: Fall 2023 Issue
Alexander Isley – Alexander Isley, Inc.
USA

Design of HUE, the alumni publication of FIT, the Fashion Institute of Technology in NYC. This special issue focused on packaging. For the cover, they designed an actual perforated and scored box that could be removed and assembled, incorporating the artwork of textile designer and FIT alum Masha Parfenov. For each issue, the team works with FIT alums to create the photography and illustrations.

Additional credits:
Photography, Joe Carrotta / Morgan Hagney, Walter Chin / What Inspires You?; Printer, GHP Media

Student Honorees — Editorial

First Place — Damaged Goods by Doyeon Kim, School of Visual Arts
Second Place — Experiments in Type Zine by Yerin Lee, School of Visual Arts
Third Place — Gestalt Tattoo by Jung Youn Kim

In-House

First Place

BYMAKBAS Seasonal Stationery
MAKBAS Design Team – MAKBAS Print Studio
Kuwait

MAKBAS Print Studio values print as more than packaging—it’s a process meant to be appreciated. Their “Ramadan Series” celebrates the spiritual season with a collection of greeting cards and envelopes crafted using high-quality papers and techniques. Designs include “Ramadan Sparkle,” featuring hot foil stamping, “Rays of Ramadhan” with blind embossing, and “Ramadhan Scene” showcasing modern architecture and neon screen printing. “Written in the Stars” envelopes depict a night scene with matte gold and silver foil, while “The Hijri Set” highlights the Islamic calendar’s beginning with embossed patterns and gold foil. “COUNT YOUR BLESSINGS” offers a gratitude journal, while “No Pressure” notebooks provide freedom during the calm season. “Over the moon” envelopes represent Eid celebrations with night sky and cityscape motifs. These designs aim to evoke the warmth and joy of the Ramadan season.

Second Place

Lunatix NFT Collection
Ben Morris – Sketch | Unilever
United Kingdom

Unilever’s design team took on the challenge of creating an NFT activation to educate marketers on engaging brand audiences with NFTs. They partnered with a tech company to develop a user-friendly experience for minting NFTs, resulting in unique digital assets. Using generative artwork, they ensured each NFT was one-of-a-kind, fostering a sense of ownership and community. The team introduced Lunatix, a collection of personalized components that, when combined, formed unique avatars. Components were ranked by rarity, encouraging participation and discussion. Embracing a space theme, they humanized avatars as astronauts with playful elements. Though not consumer-facing, Lunatix served as a valuable internal case study, showcasing the potential of blockchain and NFTs in marketing campaigns and upskilling marketing teams.

Additional credits:
Alice Shaw-Beckett

Third Place

Cannes 2023
Luisa Baeta – Axios
USA

Axios, a media/news company, hosts live journalism events, and their in-house branding team designs custom branding for these occasions. For their Cannes events, they aimed to evoke the atmosphere of the French Riviera city while also incorporating elements suitable for beach settings. The design features a custom wordmark inspired by the lettering styles found in Cannes, with playful numerals for 2023. They updated the modular system of geometric shapes from the previous year, incorporating Mediterranean tile designs and abstracted illustrations of Cannes details like beach umbrellas and waves. The color palette was refreshed to reflect a Cote D’Azur vibe, with additional Axios brand colors. The branding uses the Axios brand typeface for consistency, and a template was created for event advertising, allowing for quick updates in case of last-minute changes to topics. Instead of custom illustrations, they utilized duotone photo treatments to enable swift adjustments while maintaining visual appeal.

Additional credits:
Senior Brand Designer, Trina Craven; Brand Designer, Peter Fowler; Associate Brand Designer, Andrew Caress

Photography

First Place

HP OMEN – Choose Fun
Ethan Scott- Designory
USA

Designory was tasked with capturing lifestyle photography for the release of five new OMEN laptops and five new monitors, catering to the intense passion for gaming, especially among Gen Zs. They transformed everyday scenarios into gaming-inspired scenes, featuring surreal elements like meeting a mermaid on a train or riding cabbages as cowgirls. Practical set designs were custom-built to bring these ideas to life, with minimal CGI used for retouching. The result was 32 hero shots captured over a two-day shoot, showcasing the immersive power of the OMEN brand and attracting significant attention to the products on the OMEN homepage.

Additional credits:
Photography, Art Streiber

Student Honoree — Photography

First Place — The Dream by Emily Brown, University of Texas at Arlington

Self-Promotions

First Place

Origins
Jonny Black – The Office of Ordinary Things
D&K Printing
USA

As a family-owned and -operated print shop, D&K Printing wanted to create a piece that showcases the scope, quality, and ambition of our craft, while also educating their customers about sustainable printing basics. D&K gave the design team at The Office of Ordinary Things free rein to design a print promo that exemplifies this in both form and content.

Second Place

2024 ONE LOVE Calendar
John Kudos – KUDOS Design Collaboratory
USA

2024 has started with a visually arresting calendar design, showcasing a complete annual calendar on the reverse side. Printed in four vibrant fluorescent shades, the design not only captures attention but also exudes a delicate vibrancy, resonating with the complex energy of the times. The front side delivers a poignant message amidst ongoing world conflicts, spelling out ‘ONE LOVE’ in bold letterforms intricately crafted with intertwining lines. Purposefully creating moire effects at a distance, the design invites observers to explore the intriguing dance between chaos and delicacy upon closer inspection.

Additional credits:
Photography, Imam Fadillah; Printer, SeaGroup Graphics

Third Place

2023 Sappi Holiday Kit
VSA Partners for Sappi North America
USA

Sappi North America’s 2023 Holiday Kit, designed to express gratitude to customers, highlighted their commitment to sustainability and exceptional design in packaging. Inspired by the phrase “Good things come in ___ packages,” the VSA Partners design team created reusable and recyclable components, including a shipper box, to emphasize sustainability. The kit featured unique finishes, vibrant colors, and relatable language to showcase Sappi’s premium packaging and paper capabilities. The unboxing experience was crafted for memorable delight, featuring a shipper box, a holiday kit box, and three interior boxes, each containing surprises like pillow boxes, note cards, envelopes, and stickers, all secured with bellybands for an interactive experience.

Additional credits:
Associate Partner, Executive Creative Director, YanYan Zhang; Associate Creative Director, Elaine Palutsis; Senior Designer, Elisa Penello; Associate Creative Director, Cody Fenske; Writer, Sosan Bisola; Strategy, Jessica Sochol, Associate Partner; Print Production, Cynthia Felsburg; Director, Print Production, Jennifer Niccum; Director, Production Design, Samantha Stalling; Senior Proofreader, Maria Erdmann; Printer, Jeff Hernandez, Classic Color

NEXT: Explore the category winners in Type Design, Illustration, Design for Social Impact, Annual Reports, Book Design, and Concept Work.

The post PRINT Awards 2024 Spotlight: Winners in Advertising, Branding, Editorial & More appeared first on PRINT Magazine.

And say it well.

That’s the secret.

Well, at least it was one of our secrets when we turned around TBWA\Chiat\Day NY back in the day.

Starting in 2015, we went 14-17 in pitch wins. And at one point we were 7 for 7 in 7 months.

The secret? Words.

Everything we pitched had a great line.

“the answer company” for Thomson Reuters.

“Place of Possible” for H&M.

“Ignite Something” for Hearts on Fire, the diamond and jewelry brand.

To name but few.

You see, clients buy words.

If you want to sell something, say something.

Of course, your people, your process, your pricing is important, too.

But after all is said and done in a pitch, the key takeaway is always the words.

Because when you’re not in the room and the clients are debating, the thing they are debating is the idea. And you need words to express it.

The great brands know the power of words.

Look no further than BMW and Nike. (I don’t even need to say their words. I am 100 percent certain they came to your mind already.)

These days we see a lot of gimmicks, stunts and social posts for brands, but not a lot of clarifying and motivating words.

Not a lot of “platforms.”

That’s what we hear a lot about, too: a brand’s “platform.”

Well, here’s another secret: a good idea platform will drive and unite all the media platforms.

A good set of words for a brand will inspire and connect all the media platforms from Alphabet to X and all the Instagram, TikTok and DOOH in between.

Geico knows this.

Hilton knows this.

Ford knows this.

So know this: Clients buy words because consumers buy words.

And isn’t that the most important word of all?

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: Unsplash+ in collaboration with Allison Saeng

The post Clients Buy Words appeared first on PRINT Magazine.

Dear God, the Parthenon is still broken – a new collection of Yorgos Lanthimos’ photography from the set of Poor Things. Well worth checking out Void’s other wonderfully-titled photography books, including Joselito Verschaeve’s If I call stones blue it is because blue is the precise word and Maria Sturm’s You Don’t Look Native to Me.

Like a monkey with a miniature cymbal, I’ve been mindlessly tapping that little bookmark button on my instagram feed for so long, I forgot the images actually end up somewhere. So last week I had a delve into this scrapbook abyss, and oh the joy! So much stuff I’d completely forgotten had caught my eye. It’s especially lovely when otherwise disparate items find themselves nicely sequenced together. For example, this cluster – a New York Times illustration by Mike McQuade, branding design by Frank Wo and a 1958 advert designed by Ladislav Sutnar – is too good to live on my own private grid, so I’m sharing it here.

Left: New York Times illustration by Mike McQuade Top right: Branding design © Frank Wo; Bottom right: Advertisement designed by Ladislav Sutnar, 1958

New art direction goal²: pulling a Gravillis Inc. and having a poster turned into a dress that is then worn by the Zendaya.

Why did 17th century artist Frans Hals paint monsters in his friend’s portrait?

From the distractingly playful Otherwhere Collective, Poly Mono is a “game font” made of shapes that creates Karel Martens-inspired prints. I love that it has no specific purpose, it just invites users to do something with it.

Why I love the newslettiverse more than any other corner of the internet: the very first email I got this week wasn’t about a deadline or a sale or a war, it was lucy sweet raving over a brand new flavour of Soreen². Filling your inbox with carefully curated smatterings of joy beats the doomscroll any day.

After years of defaulting to a reliable white background, my website has entered its blue period.

That is all.

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

Header photo by engin akyurt on Unsplash.

1. Not the official Godzilla Minus One / Minus Color version; we simply delved into the telly’s inner gubbins and turned the colour down to zero. ↩︎
2. No wait, not goal, challenge. ↩︎
3. Also confirming that the strawberry variety is naaasty. ↩︎

The post Meanwhile No. 201 appeared first on PRINT Magazine.

The 50+ renowned troupe leads a Hong Kong tutu take-over —from its renowned university halls to Tai Kwun’s stunning plaza to the majestic High Island Reservoir. Eye-popping color, gravity-defying moves, sheer beauty, and weirdness collide with koi fish-inspired hairdos, punk rockers on pointe, a jelly-like gold-toothed alien, and a tutu-wearing spaceship ending. Always at the forefront, never standing still—this campaign freshly defines Hong Kong Ballet.

Designing every quirky detail, Design Army played with graphic scale (from bird’s-eye shots to silhouettes against architecture), circular repetition mimicking tutus at every turn, texture, sound, music, and more. From Johann Strauss’ classic waltz, “The Blue Danube,” to hip-hopping ballerinas backdropped by Hong Kong culture, every element brings the delightfully unexpected.

At Tutu Academy, where tutus are the uniform, students of all characters (geeks to goths) express themselves through ballet—and bizarro hair. One odd day, a UFO lands and an alien enters the classroom. Eager to connect with the visitor who doesn’t speak earthly language, the teacher starts a dance conversation—followed by the entire class. At first, the alien struggles to learn the language until he’s gifted a magical tutu. With fresh confidence, the green-hued stranger joyfully joins the dancing crew. But just as the bond deepens, the alien must return to his homeland. With bittersweet farewells, the UFO departs—donning a tutu too. On his planet, a stark contrast to Tutu Academy’s vibrant vibe, the alien proudly presents tutus to his commanders, and they dance to celebrate their newfound connection with Earth.

Inspired by Degas’s beautiful ballerina portraits, the design team playfully wondered what the artist’s work would look like if they brought it to life today. The result is a story popping with the painter’s gorgeous coral hues mixed with Hong Kong’s heritage red—all juxtaposed with vivid shades of juicy jade, like the head-toe painted alien, that explode with extraterrestrial contrast.

All images courtesy of Design Army and the Hong Kong Ballet.

Film Credits: Hong Kong Ballet, Design Army, and Dean Alexander Productions, with Lamka & Co. Watch the film and see the full list of credits.

The post Design Army’s Out of This World Campaign for the Hong Kong Ballet appeared first on PRINT Magazine.

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

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

Michael Bierut, Pentagram

Beyond Vignelli: A Broader Connection

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

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

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

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

Bryan Edmondson, SEA

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

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

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

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

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

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

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Brahma, a Brazilian beer brand, had an idea.

In preparation for Carnival in Rio earlier this year, Brahma created a cell phone that partiers would be okay with breaking or losing. As the Carnival’s biggest sponsor, Brahma took on the challenge of preserving the carefree revelry inherent to the festival by devising a phone stripped down to just the essentials— the ability to call and SMS text, a GPS and transportation app, as well as an 8-megapixel camera. “This innovation lets party-seekers leave their high-tech worries behind, ensuring the celebratory spirit remains unbroken,” the brand shared in a statement.

Brahma leaned into the comedy of the Brahma Phone concept in their marketing campaign, playing up that the phone is bare bones and undesirable, and that’s the whole point. “Meet ‘Brahma Phone’: A phone created by a brand who understands everything about Carnival and nothing about cell phones,” they proclaim. “We thought of a phone that is so bad, with only the features that no one would want to steal,” said Nicholas Bergantin, co-CCO of the São Paulo-based creative agency Africa Creative, who worked with Brahma on the campaign.

“Brahma is more than a beer; it’s a brand that solves real problems for those eager to celebrate life fully,” elaborated Sergio Gordilho, Co-President and CCO of Africa Creative. “This project perfectly encapsulates our approach to meaningful engagement with our consumers.” And engaged they are! The Brahma Phone has proven to be a major success as the most viral Carnival brand action of the year and is becoming a festival must-have.

Bolstered by this initial success, the Brahma Phone initiative is poised to spread far beyond Brazil and Carnival. Brahma and Africa Creative are keen on sharing the Brahma Phone with attendees of other events similar to Carnival, where phone theft can kill the buzz. Brahma’s mission to problem-solve, exemplified by the Brahma Phone, is just revving up; they want to continue enhancing audiences’ experiences with innovations that prioritize letting go, simplicity, and the essence of celebration.

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The rise of streamers like Netflix, Amazon Prime, Hulu, and Apple TV has catalyzed a (New) Golden Age of TV: episodic shows have become more poignant, more engaging, slicker than ever, and more nuanced—honing in on pinpoint cultures and subcultures.

The best of these programs (think Succession, Severance, The White Lotus, Shōgun, The Handmaid’s Tale, Fleabag, The Bear, Beef, and on and on) take cues from the world of cinema and demonstrate a new approach to craft and detail. When we get an ad break, however, people are all too often served generic, cookie-cutter promos that viewers understandably look to mute or skip. Essentially, it is the worst of what we as an industry create.

Given the abundance of talent working in the industry, it’s surprising that the ads surrounding today’s culture-defining shows fall far short. Undoubtedly, those who direct and conceptualize these spots have the ability, talent, and storytelling skills. With streaming now representing over 38% of all TV usage—why the lackluster commercials on streaming platforms?

I’m not looking to start a debate (well, maybe I am!), but the best we collectively have to offer shouldn’t be celebrated by a select few only on the festival circuit. Our most stellar work should delight, entice, and educate in living rooms and bedrooms all year round.

Surely, this is also a debate for the media buyers amongst us, but essentially, audiences are smart, and the quality of what we consume has increased over the past decade (contrary to what David Chase, creator of the greatest show of all time, The Sopranos, has recently said about the decline of episodic content). So, let’s give them the best of what we as an industry have to offer.

Netflix’s optional ad-supported plan, launched in 2022, has amassed 15 million users. Prime Video launched ads this year, and we’ve all read the speculation that even Apple TV+ is now poised to do the same. Safe to say, streamers are increasingly moving towards ad-supported services.

We all know about the Super Bowl effect: the connection between ads and the game transcends inside-industry chat and gets everyone talking about mega-budgets and celebrity brand collabs. But let’s be honest: Are these ads even as great as they once were?

Having been at “industry” Super Bowl parties for the past decade or more, I can assure you it’s not my opinion alone that fewer creative risks have been taken in recent years relying on believed-to-be-proven formulas, often using the same voices who have been directing these spectacle spots for the past decade. Why? Because they seem like the “safe choice.” Many of these ads are good, don’t get me wrong, but are they great?

There’s something we all know: we should be making more great work.

These formulas have become tired and expected, and by using the same directors, the spots generated are frequently obvious and, even worse, predictable. Some get it right; the folks at Highdive come to mind, and my synapses also fire to CeraVe (from Ogilvy and Tim & Eric) and even Tubi out of Mischief.

To go way back, those wonderful Tide ads directed by Traktor and Saatchi & Saatchi are the best semi-recent examples where delight, surprise, craft, cleverness, and inventiveness ruled the day. But I digress. Super Bowl rant aside, we can’t overlook the 529 million viewing minutes achieved by Ted Lasso’s final episode alone. Essentially, the best of what we make should be seen and celebrated on the Super Bowl and streamers alike, but candidly, there’s something we all know: we should be making more great work.

It’s not just streaming viewing figures (quantity) that should be luring brands to strive for creative excellence; it’s also the distinct mindset (quality) of those tuning in. Take Euphoria, a show that’s authentic, raw, and emotive and delivers a viewing experience that resonates at the core. Audiences of shows this good are in a state of heightened emotion, receptive in a way they arguably never have been before.

Epic cinema ads like we used to see would feel very at home on streamers; here are a few other ways to kick-start progress:

Push for greater transparency from streamers: Nielsen has started reporting streaming figures much as it does for linear TV. Additionally, in December, Netflix released a report that shared global hours viewed for nearly its entire library over a six-month period, its most comprehensive breakdown of viewership yet. The writers’ strike has also helped to galvanize change and transparency. Let’s build on this momentum by continuing the push for greater clarity around reporting.

Create narratives: Let’s tap into episodic advertising’s storytelling potential. Consider sequential campaigns that take viewers on an emotional journey they’ll want to invest in.

Don’t go for the safe choice: Invest in pushing the boundaries of creative work; as a rule of thumb, don’t create anything for streamers (or anywhere else) that you wouldn’t be proud to air on linear TV or even during the Super Bowl. Push harder conceptually and take more risks.

Embrace thematic alignment: Some posit that if advertising is high enough quality, it risks disrupting the program itself. Advertisers should rise to this challenge, creating ads so well-made that they enhance the viewing experience. Matching ad themes to the content will tap audiences’ unique emotional state when watching beloved shows.

Brands and beyond: Considering public service announcement films (PSAs), let’s tie them into the content of shows to reach the audiences who need to see them with relevant, targeted, unskippable films. Fentanyl’s rise, for example, is a monstrous and disastrous issue in the US and abroad. A PSA-esque ad for Narcan during Euphoria would save lives.

If we align as an industry to address the mismatch in quality between the majority of ads on streaming platforms and the incredible shows they house, we’ll start a virtuous cycle of more channels, more opportunities, and, in turn, continuously better creative work. We’ll also push back the perceived threats of AI, for example.

In this golden age of TV, it’s time to take cues from the cream of episodic content and create adverts that get people talking, not muting.

Images created by Sibling Rivalry.

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As part of one of their most recent studies, Tebra surveyed 1,005 adults about their ability to recall, identify, and draw healthcare brands. In doing so, they also asked a subgroup of 111 respondents to draw six healthcare logos from memory.

What did they find? For starters, Walgreens proved to be the number one most well-known healthcare brand, across genders and generations, with Advil and CVS following close behind. Tylenol was found to be the most identifiable pain reliever among Baby Boomers and Gen X, while Advil was most identifiable among Millennials and Gen Z. Unsurprisingly, women identified menstrual care brands 2x better than men, and skincare brands 2.3x better, with 62% of men surveyed able to identify the Tampax logo.

But what do the findings from Tebra’s study actually mean in the bigger picture? What can designers and brand builders in the healthcare space glean from this survey and put into practice? We asked a member of the Tebra creative team, Rachel Kirsch, a few questions to elaborate on their results.

What are the main takeaways from the results of this survey? What do the results tell us about successful (and unsuccessful) healthcare branding? 

The results of our survey illuminate a pivotal aspect of successful healthcare branding: the power of distinctiveness and familiarity. 

Brands like Walgreens, Advil, and CVS, with their easily identifiable logos, stand as testaments to the effectiveness of branding that cuts across various demographics, proving memorable across genders and generations. On the flip side, the struggle of brands like Bayer and Rite Aid to make their new logos resonate with consumers highlights a crucial pitfall in healthcare branding—changes in branding, especially those that significantly alter the logo’s appearance or color scheme, can dilute brand recognition. 

Successful branding, therefore, hinges not just on visibility, but on creating a durable and distinctive identity that resonates with and remains memorable to the public.

Based on your results, what should designers and brand-builders in the healthcare space try to emulate and inversely, what should they avoid?

Our study offers a clear directive for designers and brand-builders in the healthcare space: prioritize uniqueness and consistency. 

The memorability of Allegra’s purple logo in a sea of blue and green allergy medications, and Pepto Bismol’s standout pink, underscore the value of choosing distinctive colors and designs that set a brand apart from its competitors. Conversely, the survey results suggest a cautionary tale against frequent or radical rebranding efforts, as seen with Bayer and Rite Aid, where respondents clung to the legacy branding. 

This affinity for the familiar emphasizes the importance of consistency in logo design and the risk of alienating consumers through significant branding overhauls.

What’s the most surprising aspect of the survey results?

Perhaps the most surprising revelation from our survey was the broad recognizability of the Tampax logo among men, with 62% able to identify it correctly. This insight challenges conventional marketing wisdom about gender-specific product branding and suggests a wider cultural penetration of brands traditionally marketed towards women. 

Additionally, the significant generational divide in digital healthcare services recognition, with Gen Z far more likely to identify online mental health providers like Calm and BetterHelp, points to a rapidly shifting landscape in healthcare consumption and the increasing importance of digital platforms in providing health services to younger demographics.

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In a bold move to capture the essence of the New York City home-buying experience, StreetEasy has partnered with Mother New York to decorate the city streets with Renaissance-style paintings. These visually striking artworks vividly portray the odyssey-like challenge of purchasing a home in the Big Apple.

These ads have become impossible to ignore, as seen on bustling subway cars, iconic yellow taxi toppers, and even a complete takeover of the Broadway-Lafayette station. The campaign has now reached new heights with two hand-painted murals by Colossal Media gracing Wythe & N. 14th St. in Williamsburg and Spring & Lafayette St. in Nolita.

Navigating the real estate market in New York City has always been an adventure, but today, it can feel as elusive as acquiring a masterpiece. Despite the city’s reputation as a haven for renters, StreetEasy’s data reveals a surprising statistic: 1 in 5 New Yorkers are actively browsing homes for sale alongside those searching for rental properties.

As the campaign coincides with the spring home shopping peak, the Renaissance-inspired art style perfectly captures the complex and often dramatic emotions accompanying the search for a place to call home in the city that never sleeps.

“Let The Journey Begin” dramatizes key milestones of the home buyer’s journey in the style of Renaissance art: from deciding whether to renew a lease, searching the five boroughs with an agent at the helm, right up to the moment of getting the keys and becoming your own landlord.

Advertising to New Yorkers is an interesting creative challenge. On one hand, you have a population capable of tuning out almost anything. On the other hand, you have a savvy audience who can appreciate a clever ad that speaks to their experiences, which StreetEasy certainly has a track record of doing. ‘Let The Journey Begin’ touches on a uniquely New York problem and does it in a style that will stand out in the city’s sea of distractions.”

Nedal Ahmed, Executive Creative Director at Mother New York

These murals serve as more than just a visual spectacle; they encapsulate the aspirations, struggles, and triumphs of individuals embarking on the quest for homeownership in one of the world’s most dynamic metropolises. Through their artistry, StreetEasy and Mother New York have not only adorned the streets but have also painted a poignant portrait of the enduring allure and challenges of New York City’s real estate landscape.

Images courtesy of Colossal Media, banner image courtesy of StreetEasy.

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

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

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

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

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

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

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

—James Greenfield, CEO & Founder of Koto Studio

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

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

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

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

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

—Surabhi Rathi, Strategy Director at BUCK

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

And with that, we have a responsibility. 

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

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

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

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

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

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

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

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

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

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

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

—Veronica Fuerte, Founder & Creative Directress of Hey Studio

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

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

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

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

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

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

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

—Max Ottignon, Co-Founder of Ragged Edge

Max Ottignon: Don’t fake it. 

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

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

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

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

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

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

Holly Willis is at the helm, bringing her extensive experience that includes pivotal roles at The Escape Pod, FCB, 360i (now Dentsu Creative), and 21st Century Fox. With her deep understanding of the industry’s dynamics and challenges, Willis wants to empower marketers and organizations to craft impactful brands while fostering an inclusive and innovative work environment.

“Magic Camp exists for one group only – the modern marketer,” Willis asserts. The agency’s ethos revolves around prioritizing clients’ needs, offering transparent solutions, and redefining the traditional agency-client relationship model. “Our industry is at an inflection point,” Willis remarks, highlighting the need for a fresh perspective and a departure from outdated practices.

Mandi Bright joins Willis as Chief Creative Officer. Bright brings a wealth of creative insight to Magic Camp and agency chops, which include The Mars Agency, FCB, and Leo Burnett. “Creativity is not just about the work,” Bright emphasizes, “but our approach, processes, and team dynamics.” Magic Camp’s approach to creativity is rooted in strategic agility and a commitment to driving tangible business results for clients.

What sets Magic Camp apart is its dedication to nurturing its team members. Clear growth opportunities and a supportive work culture are integral to Magic Camp’s ethos, enabling its team to thrive and deliver exceptional results. I asked Holly and Mandi about their plans to shake up the advertising culture through Magic Camp.

(This interview has been condensed for length and clarity).

Your new agency name is particularly intriguing; what’s the story behind Magic Camp?

We set out to build a brand around an idea, not around specific people. We wanted the name to encapsulate the ideal, aspirational environment we’re trying to cultivate. Each member of our team and every partner should be able to consistently contribute to defining this environment. Our vision, mission, and values revolve around continual positive improvement and evolution of our work, team members, and operational systems.

Magic Camp embodies this ethos.

“Camp” holds a special place in many people’s hearts – it’s often where children first experience the freedom to explore their imaginations without constraints. At camp, you’re encouraged to learn, embrace bravery, embark on adventures, and have fun. By the end of camp, you’ve made friends, built new skills, and found confidence that positively impacts the rest of your life.

But crucially, at camp, you always do this as a community. We aspire to foster this sense of community, where each member, including our clients, contributes to creating moments of magic. However, you can only experience magic if you believe it exists and you know to look for it.

Given Magic Camp’s emphasis on creativity as a growth accelerator, how do you ensure that your agency’s processes and approaches foster diversity and inclusion within the broader advertising ecosystem?

Fostering inclusion is a critical component of why we started the agency in the first place—we built it into our vision and mission statement. We don’t want diversity and inclusion to be performative, which, unfortunately, has become so pervasive in our industry, particularly in the last few years. Our environment and our operations must be inclusive by design.

To do that, we spent a lot of time researching the systemic issues that make inclusion challenging, nearly impossible, in the traditional agency model. Building our model, we started our operations from scratch and looked at nearly every process with fresh eyes and thinking. Then, we met with inclusion experts throughout our development process to hold us accountable.

We’re small and just getting started, and we recognize that it gives us the benefit of starting over instead of fixing a decades-old issue and navigating a complicated infrastructure. We truly believe that diverse perspectives and experiences lead to better outcomes. So, we must prioritize those perspectives by recruiting differently, elevating diverse employees and partners, and continuing to work with inclusion experts.

With your extensive experience in the industry, how do you actively address and combat entrenched gender biases and stereotypes within Magic Camp and in your interactions with clients?

Inclusion is one of the most important components of our business. It impacts every part of our operational model, which looks radically different from the typical agency. Also, we’re two women who have seen first-hand how the current system puts incredible pressure on marginalized groups to fit into a system that wasn’t designed for them. Many talented people have to leave the system when they go through a significant life change. And this disproportionately impacts minorities and women. Unfortunately, this industry is no longer a business that is known for being able to build a lifelong career AND a rich personal life.

It took a lot of homework and creative problem-solving to create a different model that gives folks the ability to lean in when they’re in career-growth mode but doesn’t penalize you when you want and need more balance. We staff our teams entirely differently and encourage individual-contributor roles instead of forcing management to be the only way you can “move up.” We offer a four-day work week, remote work, sabbaticals for all employees, two weeks of paid vacation before you start, and fully covered insurance. We’re also looking into how we can pay for access to financial experts to help our team members build personal wealth. If we ask our team members to show up consistently at an elite level, we also need to give them the ability to properly rest and recover without sacrificing why they’re working hard in the first place. We recognize that we’ve hired people for a job; it’s not our business to dictate how they live the rest of their lives.

As we build more resources, we plan to invest them back into the growth and success of our whole team instead of only building wealth for the founders or leadership.

If a prospective client, partner, or team member doesn’t believe in these values and how they can successfully impact their own businesses and lives, we’re not a good fit for them. Our model isn’t for everyone, and we’re okay with that.

Given Magic Camp’s focus on redefining the traditional agency-client relationship, how do you believe your approach differs from the conventional agency model?

We started by acknowledging how hard the role of the modern marketer is. A good portion of the advertising industry doesn’t do that, and most relationships begin with unspoken and unacknowledged tension. Instead, we take the same approach as we do to differentiate our clients’ businesses: know why you exist, embrace what makes you different, and take a consumer-first approach. We exist for our clients, the modern marketer, whose role is arguably the most complex within organizations. They want to make a big impact but work in a challenging, ever-changing environment. They must consistently deliver top-line growth to keep their job, let alone “succeed.” We looked at every component of our business through the lens of this client, giving us a lot of clarity. On the surface, the client may be buying the same deliverable, but the process will be vastly different for everyone involved. The ultimate goal is eliminating friction and consistently using creativity as a business multiplier. With that approach, we realized that common internal agency issues and client-agency problems would no longer be significant pain points.

Their success is the reason we exist. So, we designed our processes, deliverables, and communication systems with that in mind. We invite collaboration and share responsibility for decision-making (both good and bad). We sell deliverables, not FTEs and hours. We welcome feedback and have formalized it in our operations so that we can invest and innovate from those data points. Creating connections and building trust is at the forefront of everything we do.

Why did you decide to build Magic Camp from scratch despite your successful careers in established agencies?

Holly Willis: I’m a disruptor at heart, which has made me both an incredible and terrible account person. I’ve always valued creativity – my mom is an artist, my dad is an engineer, and I trained to be an opera singer. But I also love business and am good at math, so I understood that to “move up” in account management, you must be efficient and deliver profit. I was always working to find that balance while still getting great results for our clients. I struggled to find that consistent opportunity in advertising without burning out. But I’ve also continued to love so much of what this industry promises – the ability to positively impact culture and be a part of something that has a lasting impact. And I love so many of the people in this industry.

Then, I had a unique opportunity to rethink the model and design an agency that prioritized people and positive impact. I also had to reevaluate myself and the legacy I wanted to leave behind. Through personal growth and honest reflection, I realized how I benefited from and contributed to perpetuating that model.

Finding someone who shared those same values and passion for the industry was critical when looking for a founding partner. Someone who cares about the group’s success and that people love to work for and with. Someone who builds trust but isn’t afraid to challenge the status quo and me so that we hold each other accountable to the bigger vision and not our egos. And that’s Mandi.

As Magic Camp unfurls its banner, it signals a bright step towards redefining the landscape of advertising agencies.

Portrait photography by Steven Piper. Logo design by Enlisted Design.

The post Campfire Creativity: How Magic Camp is Redefining Agency Culture appeared first on PRINT Magazine.

I’ve profiled a handful of agencies here at PRINT that are actively combating this agency stereotype, including Six Cinquième in Montreal and Rev Pop in Milwaukee. Another refreshing take came to my attention: an agency in Austin, Texas, that wears the additional mantel of creative community facilitator—introducing Preacher.

Founded by partners Rob Baird (Chief Creative Officer), Seth Gaffney (Chief Strategy Officer), and Krystle Loyland (Chief Executive Officer) in 2014, Preacher emerged around the pillar of “soul”—making more soulful decisions, finding more soul in their work. AdAge named Preacher the Small Agency of the Year in 2019, 2020, and 2022, and maintaining this boutique agency’s size and energy is central to the partners’ mission. 

At the end of last year, I had the opportunity to chat with Preacher CCO Rob Baird. We had a lively conversation about Austin’s creative exuberance, hybrid office spaces, and what growth looks like for a small agency.

(Interview edited for clarity and length.)

How has being based in Austin affected Preacher’s ethos and work?

There are three founding partners of Preacher, and we always say that Austin’s the fourth partner— it was somewhat intentional. Two of us are from Texas, me being one of them.

We all met working at Mother in New York. I think people often start agencies because they’re frustrated or there’s some sort of gap they see, but honestly, we were really happy. We were working on global brands and loved our life in New York, but the idea came through some projects happening in Austin. We kept watching the change and the growth, and we started to feel like, Man, if we were to do anything different, it would just be having our own place to get to make all the calls and decisions. Even if we made the wrong decisions, at least they would be our decisions. 

So we dreamed and schemed for a year and a half. The more we thought about it, the more we felt like Austin was the move. It’s always been kind of mine and Krystle’s spiritual home, and now Seth also loves it as well. We started Preacher in 2014 when life in New York began to feel like we were in a little bit of a bubble; it’s kind of its own thing in New York. And the more we spent time coming to Austin, we were like, Wow, there’s a genuine, generous kind of creator-maker-DIY culture here. It’s still going on despite all the changes in the tech industry; Austin still has this vibe of generosity and camaraderie, like, Let’s make amazing shit together. 

It turned out to be the best decision because it shaped the work and the agency’s makeup. Also, the location influenced how we operate with our clients; this is a big-time hospitality town with food and drink, and we’ve adopted that. The entire downstairs of our office is more like a cafe-store-art-gallery-hotel than an office. Being in Austin has changed our approach to everything.

What is it like operating as a “small” agency? There are a lot of connotations around big agency culture and the grind that comes with it. How is Preacher doing things differently? 

We’re a good size; we can work on global clients, big projects, or smaller brands within huge corporations. But I think we’re also pretty nimble, and our size lets us still design album covers, make music videos, and do stuff that is harder to do if you’re a giant. It’s a nice sweet spot. We never had a number dream, but I think the team has been around 65 or 70 for a few years now, and it feels good.

I’ve always been interested in what “growth” means for an agency like yours. Because in agency land, bigger is by no means better, and getting larger shouldn’t necessarily be the goal. Preacher has found other and more interesting ways to keep growing outside of size. 

That’s how we’ve been thinking about growth, actually. We started doing this free art and literary zine called “The Good Word,” we built a recording studio in our new office just because we were working on so much music packaging. You don’t make much money doing it, but it’s a lot of soul and pride for the designers and the crew that works on them. 

In the same way, our art gallery gives 70% to the artists very intentionally. The gallery doesn’t make much money; its purpose is to let the artists make more and, hopefully, give back to the community. The recording studio has the same model. In Austin, musicians struggle for the money and the space to get their music going, so we built one as part of our new office. Hopefully, in 2024, we’ll have our first artist record their album there. In the short term, it’s enabled us to do more projects with a music angle, which has been cool. 

So for us, that’s the more exciting growth. We make a lot of merch for the Preacher brand, just for ourselves, but now, fashion companies are approaching us for collaborations. So, that’s the growth: intentionally pushing into things and seeing if some of it sticks. 

Because there’s such a massive creative community here, it’s been cool to play a little bit of a connector role for ourselves and others.

How does it feel to be the epicenter and facilitator of all of this creative energy?

We used to laugh at the fact that, for a while, people in Austin just thought we were an art gallery; they didn’t realize what we do. 

Because there’s such a massive creative community here, it’s been cool to play a little bit of a connector role for ourselves and others. We showcase illustrators, designers, and artists in “The Good Word.” Then, when we have our huge South By [SXSW] blowout party, people from Portland, London, San Francisco, and wherever are here take a copy, and suddenly, those creatives are getting hired to work on Nike jobs. Or a photographer friend who showed in the gallery gets an A-list photo rep. Or a few people come together in the space, and the opportunity presents for an amazing local photographer to do a photoshoot. It’s been really fun to see that kind of energy. We’re not doing it with any hope that it comes back to us, other than it feels fun to be in the middle of all that. We thrive off of it. 

We’re trying to encourage people not to feel like they have to make such a hard line between their work stuff and their side hustle…. Don’t be afraid to cross-pollinate a little bit.

By definition, agencies inherently bring together a wealth of creative people, so it’s great to see you all leaning into that with these offerings. How does that mentality extend to your employees?

We’re trying to encourage people not to feel like they have to make such a hard line between their work stuff and their side hustle— This is my work, and this is my creative passion. Bring your creative passion into your work! If you’re a fantastic photographer but your role is strategist, bring photography into your strategy work to tell the stories. Or, if, in addition to being a killer copywriter, you’re really into short-form fiction, let’s create a literary festival or a writing symposium, or let’s put together a compendium like McSweeney’s. 

There’s a lot you can do if you can get people excited. Don’t be afraid to cross-pollinate a little bit. We’ve tried to set the space up where people can use it to make the most of their talent and time as long as they’re here.

Having a physical office space is central to Preacher, not only for how you tackle your client work but also for hosting events and being this creative hub. How have you gone about preserving that in the context of the work-from-home culture boom we’ve seen develop in the COVID era? 

We like the flexibility of the combo. So we’re back in the office on Tuesdays, Wednesdays, and Thursdays, and then on Monday and Friday, we all work from home. The three partners believe that, overall, we work better together in person. There’s a more creative, collaborative thing happening.

Of course, we all proved how much we could get done during COVID, but if I’m being honest, I don’t enjoy the work-from-home days better. I like having that flexibility, and it’s great for our staff, but some of those work-from-home days end up being the ones where I’m just grinding from meeting to meeting to meeting to meeting for 10 hours straight.

In the office, it feels alive! It’s outside, it’s inside, it’s in groups. Sometimes, things that take a half hour on Zoom can be done in nine minutes if you drop by somebody’s desk. You get back to printing things out and marking them up or watching a cut together— it’s so much more of a tactile, alive, creative experience.

Images courtesy of Preacher.

The post In Austin, Preacher Reimagines What a Small Agency Can Be appeared first on PRINT Magazine.

Well, they are.

Liquid Death is a beverage company with a brand built around playing with levels of parody and satire. Hyper-self-aware, Liquid Death takes a tongue-in-cheek approach to all aspects of their branding, thumbing their nose at typical marketing strategies, campaigns, brand systems, and packaging. From the tone of their copywriting (see the “MURDER YOUR THIRST” tagline), to their provocative social media posts, Liquid Death continues to put on a masterclass in creating an authentically compelling brand consumers can’t look away from.

I put myself in that category of captivated consumer, and reached out to the wild minds over at Liquid Death to learn a bit more about what in God’s name they’re up to over there. Their VP of Creative, Andy Pearson, was gracious enough to answer a few of my questions below.

Where does your brand voice come from? How did you go about developing this cheeky, nose-thumbing POV?

Liquid Death is really the product of everything that we’ve ingested over the years, thrown in a paper bag, mixed up, and then shaken out— skate videos, metal shows, Mad Magazine, George Carlin standup, shitty TV ads, Jackass, design annuals, SNL, Adult Swim. If you look at the kind of stuff we make, it’s always a satirical take on the world around us, particularly the world of marketing. And we’re trying to mix high-brow, thought-provoking ideas with low-brow humor. It appeals to all parts of your brain, which is what the best humor and entertainment in the world does.

How did the concept for Liquid Death originate?

Our co-founder and CEO [Mike Cessario] was an advertising creative himself, so he saw how everything was marketed from the inside. He had a realization that all the brands that were good for you had boring, stale marketing that only talked to the same group of people. But brands that were bad for you— like beer, soda, candy— were insanely fun and sucked people in. So the idea became, What if we could take something good for you but act like it wasn’t? Then we could make it so fun and compelling, it might actually outdo all the bad-for-you brands. No one had ever thought about it that way. 

Why do you think the masses have responded so favorably to this brand voice/Liquid Death?

Because there’s never quite been a brand like Liquid Death before. 

We’re willing to put ideas and content out into the world that no brand would dream of. I sometimes like to think of it as one of those crazy SNL commercials… but it actually came to life and you can really buy it. It seems almost too insane to be real, but it is. Obviously we sell amazing water, iced tea, and merch, but at the end of the day, we’re really selling entertainment. 

The world is so serious. It’s nice to bring people from somewhere they least expected it: a random beverage company. And on top of that, we’re using that entertainment to help people feel better about making healthier and more sustainable choices for themselves, their families, and the planet. No matter who you are, that’s something we all want.

What is your biggest pet peeve or hang up when it comes to typical marketing strategies?  

Marketers and advertisers think the world needs more marketing and advertising. I spent 13 years working at ad agencies. I had a great time, but everyone is a) in their own bubble and b) does everything the same way it’s always been done. Very few people stop to question if there’s a better way to do things. That’s the whole idea behind Liquid Death: There’s a better way to do everything if you just stop for a minute and think about it. Water in plastic bottles? That’s all from the marketing strategy to sell bottled water based on purity. No one stopped to question it for decades, and think about the countless billions of tons of plastic waste that has been created as a result. Too many smart, funny people are using their skills on things that aren’t helping the world get better.

How do you keep pushing the envelope of absurdity as a brand? 

Just like any entertainer, the more stuff we put out in the world, the more we understand what works. A standup comedian tests material on stage. TV shows generally find their footing in subsequent seasons. For us, we just keep trying to put more genuinely hilarious stuff out in the world, and it gives us more ideas about what we want to do next. We have a queue of so many things we want to make. We just wish we had more time to make them all.

The post Beverage Company Liquid Death Murders Thirst and Tired Marketing Conventions with Humor appeared first on PRINT Magazine.

Mark this down on your calendars: The Center for Italian Modern Art (CIMA) has a post-Valentine’s Day gift for all of us who love Italian art and design: From Depero to Rotella: Italian Commercial Posters Between Advertising and Art (Feb. 16–June 10). What made Italian design so compelling during the interwar years is the cross-pollination between avant-garde and commercial art, the period during the country’s economic boom.  

Spanning 1926 (when Fortunato Depero exhibited the Venice Biennale a “quadro pubblicitario,” Squisito al selz) and 1957 (the year in which the television advertising show Carosello aired on Italy’s national TV network RAI), the exhibition illustrates how the design of Italian commercial artists was linked to the artistic currents of the times.

Italian graphic design developed in a progressive direction, influenced in part by painters/designers aligned with Futurism and pushing the boundaries of lithographic techniques, photomontage and typography.

Among the rarities are 30 posters from major Italian institutions and corporate collections, as well as a few select private collections in the United States. Designers exhibited include Erberto Carboni, Depero, Nikolai Diulgheroff, Lucio Fontana, Max Huber, Bruno Munari, Marcello Nizzoli, Bob Noorda, Giovanni Pintori, Xanti Schawinsky, Mario Sironi and Albe Steiner, promoting design-centric companies that were important to the industrial boom, including Barilla, Campari, Olivetti, Fiat and Pirelli. The exhibition also includes art by Mimmo Rotella, whose collages and retro d’affiches employ fragments of the commercial. 

The post The Daily Heller: Italian Advertising Never Gets Old appeared first on PRINT Magazine.

Thompson started his creative career at Foote, Cone & Belding, Chicago, in 1968, as an art director trainee, a few months after Martin Luther King, Jr. was murdered in Memphis. He spent the next 50+ years creating advertising, art, books and more.

Channels Changers is almost finished, but needs GoFundMe support to complete post-production. Here, Thompson tells us more about the project.

Is Channels Changers the first film to cover this subject matter?
I think so. I actually planned it as a book, but then I met Cotton Stevenson on Facebook. He’s a “white” retired adman who worked in some of the same agencies I did in Chicago about 10 years after I’d been there, so we’d never met. He retired, moved to San Jose, went back to school and earned a master’s degree in documentary filmmaking. He’d been watching my … er … exploits on Facebook, and when I put up some things about my memoirs, Mad Invisible Man, he called and suggested we make it a film.

Why has this been such a well-kept secret?
Vance Packard called ad folks “the hidden persuaders.” AfAm ad folks are the most hidden hidden persuaders. We’re even hidden from other hidden persuaders … unless they happened to bump into us in one of the few agencies that hired us. But to actually answer your question, I think although ads and commercials are rampant, the ad industry as a subject is inherently secret. It’s kinda like what they say about making sausage. People just want to eat the sausage, not watch it being made. Ads are even worse. People don’t go out of their way to “eat” ads. They only like some of them, at best. They don’t want to think about them, period!

About 10 years ago, Art & Copy, a documentary about some of the top ad creative people, came out. I think it was very good, but I don’t think many people saw it. The only movie I know of that was ever made about this subject was Putney Swope. It was a feature film satire directed by Robert Downey Sr. [about a white-run ad agency that by mistake elects a Black president]. I suspect part of the reasons no one has done what we’re doing is that in New York, African Americans in advertising were even more invisible than Ellison’s Invisible Man. Although AfAm Chicagoans have historically been lesser in numbers than in New York, we have almost always been a bigger portion of the whole population. That fact gave us more political, economic and cultural clout in our city.

I want to make sure we make this point in Channels Changers. The Harlem Renaissance in the 1920s was made famous because it happened in the city where American media was based. But the real renaissance had already been happening in music since Jelly Roll Morton, King Oliver and then Louis Armstrong came up from New Orleans and made the roaring ’20s roar in Al Capone’s Jazz joints on the South Side of Chicago.

The world-famous Harlem Globetrotters? Born on Chicago’s South Side in the mid-’20s. Abe Saperstein dubbed what was then the Savoy Big Five (Wendell Phillips High School students who played out of the Savoy Ballroom), “The Harlem Globetrotters.” Why? Because New York white elites and media people were going up to Harlem to slum and had made Harlem synonymous with “Black America.”

What is it about Chicago that provided opportunities that did not seem available on Madison Avenue?
Even though the Black population has dropped precipitously in Chicago (it was about 40% when Harold Washington was elected mayor in 1983) in the last decade, we still make up a little under 30%. New York’s Black population gradually moved up to 25%. I think Black Chicago also had a more cohesive culture because they came overwhelmingly from Mississippi, Georgia and Alabama. Many more in New York weren’t even born in the USA, being from the Caribbean, Haiti, Cuba, South America and many countries in Africa. That’s why the most powerful Black media names came out of Chicago: Ida B. Wells, The Chicago Defender, Johnson Publishing (which published Ebony and Jet). We’ll show how that media savvy and success led to the first successful Black-owned ad agencies.

Was there a ghettoization of Black creative directors in the industry? Did your colleagues mostly work on products aimed at Black people?
Oh, that’s an easy one. No. I didn’t work at a Black-owned agency or on a “Blacks-only” account until my last days working full time. I ended my full-time career at Burrell, as VP, associate creative director. Tom Burrell was the only person in the creative department above me. Before that I’d worked at Foote, Cone & Belding, McCAnn-Erickson, Young & Rubicam, Needham, Harper & Steers, J. Walter Thompson and Leo Burnett, never on Black accounts.

Your film also brings to light talented Black women.
Yes. I started in the business about the same time as Carol Williams, who now owns what she says is the largest independent-owned Black ad agency in the world. But there was also Barbara Proctor, who started her own agency in the early ’70s. And there were a good number of AfAm writers and some art directors like Alma Hopkins, Emma Young and others I worked with. But in New York there was Caroline Jones, who started as a secretary at a big white agency and went on to found more than one agency. The reason is the same as AfAm men.

Where did the creative workforce come from? Did it have anything to do with Chicago’s music heritage?
In my case it just came in off the street. The music heritage had more influence as suppliers, not workers in the agencies, although Barbara Proctor did work in the music business as a promoter and PR person before she got into advertising. She is said to have helped bring the Beatles to the U.S. when she worked at an AfAm-owned record company, VeeJay.

Did you learn to be an ad man in school or by working?
I tell folks I went to kindergarten at FCB and got my Ph.D. from JWT. I didn’t have a clue about advertising until I was smack-dab in the middle of it. That’s why I attribute my career to Dr. M.L. King and the Civl Rights Movement. But I would guess that most creative people of any color in the business in my day never planned to create ads and commercials for a living. They seemed to be would-be journalists, novelists, artists, actors, etc.

There are some iconic ads that sprang from Chicago. Was there much cross-pollination between there and New York?
Man, am I glad you asked that question. One of the people I’ve been trying to catch up with to interview for Channels Changers is Joey Randall. He’s a native New Yorker who came to Chi-Town in the mid ’70s, I think. He told me he actually came to Chicago because he had an idea for a Coke commercial that featured a bunch of guys doo-wopping. It became the iconic “StreetSong” spot for Coke the put Burrell on the TV advertising map. James Glover had worked at Y&R New York before he came to Needham, Harper & Steers and did the “Morning Glory” spot for McDonald’s breakfast. Harry “the legend” Webber came to Chicago for a few minutes. I ended up taking his office at Leo Burnett. Shirley Riley, who did a series of Clio award-winning spots for AT&T, came to Chicago but did not have a good time.

How far along are you with the film? Are they other “heroes” of the industry yet to be documented?
We actually have almost all of the interviews done. Cotton is about to get on a plane to Florida this weekend to go to interview Tom Burrell and Ray Lyle (who was an art director/producer on the Uncola campaign). We’re planning to start editing next month. There are plenty of heroes and sheroes, and not just in Chicago. Byron Lewis, who started UniWorld, is still kickin’. There are some folks on the West Coast who have done some great stuff.

Graphic design was long a second cousin to advertising. Was it that way in Chicago?
Yes, as far as I know, graphic designers lived on a whole other planet. It takes a strange mentality to be an ad person, and graphic designers generally don’t make great ad folks. Neither do novelists or journalists.

What do you want the audience to take away from this film that has been lost and now found? Ha! That the whole multicolored mix of media, advertising and entertainment we live with today started—more than any other place on the planet—in Chicago.

The post The Daily Heller: Lowell Thompson’s Documentary on Chicago’s Black Ad Men and Women appeared first on PRINT Magazine.

In the spirit of the season, we invite you to give yourself over to these feelings of sentimentality, and unwrap our roundup of the best holiday commercials ever—even if they all come from the grubby hands of giant corporations. Despite being advertisements for products like André Champagne and Yellow Pages, these commercials still have the power to elicit senses of warmth and joy that are central to holiday cheer, transporting us back to our younger selves gathered around a television set with our families, as snow floats down outside our living room windows.

“We Wish You A Merry Christmas” Hershey Kiss Commercial – 1989

The simplicity of this Hershey’s commercial is what makes it an all-time great that still runs to this day, three decades after it first aired. The beloved “We Wish You a Merry Christmas” song choice coupled with the humanity expressed by the relieved Kiss after nailing its final note, propels this holiday commercial into timeless classic territory.

Heineken Holiday Five-Pack Commercial – 2003

Here’s another that leans into simplicity, using a common holiday scenario of wrapping an oddly-shaped gift. Once again, a classic Christmas song, “Jingle Bells,” is relied upon to set the tone as the soundtrack, while a generic-looking man who could be almost anyone’s deadbeat uncle fumbles around with tape and wrapping paper to wrap a five-pack of Heineken. There’s no need for dialogue or storytelling gimmicks here to get the point across, as the man is so overcome by his need for a Heineken after wrapping the gift, that he removes one from the package and then proudly covers the hole left behind with a dinky bow. It’s funny, charming, and concise.

M&M’s “They Do Exist!” Commercial – 1996

M&Ms brilliantly positions their anthropomorphized M&M mascots alongside one of the most famous imaginary figures of all time in this holiday favorite. It’s short, sweet, and establishes the red and yellow M&M as critical characters in our cultural lexicon. This commercial was such a hit, that M&Ms followed up with a sequel over 20 years later in 2017, that reveals the aftermath of Santa fainting in the original.

Norelco “Noëlco” Razors Commercial – 1976

The image of an animated Santa Clause sledding through snowy hills on a Norelco razor is indelibly imprinted in the minds of anyone who watched TV in the ’70s. The punny holiday rebrand from Norelco to “Noëlco” in the final title card of the ad is the whipped cream on the cup of hot chocolate.

Corona “Oh, Christmas Tree” Commercial – 1990

Did we mention that simplicity resonates with audiences? Corona has long presented tropical locales in their marketing, but that can be at odds with typical wintery images of the holidays. Corona played up that dichotomy in this iconic ’90s commercial, portraying an idyllic Caribbean night-time scene accompanied by the disembodied whistling of “Oh, Christmas Tree” that foretells Christmas lights illuminating on one of the silhouetted palm trees. It’s tender, it’s mild, and it’s a damn fine commercial.

“Take André Home for the Holidays” Commercial – 1973

André is objectively one of the ickiest champagnes on the market, but this ad from 1973 did its best to prove otherwise. Sure, it’s pretty goofy when viewed with our 2022 goggles on, but the chimes of cheers-ing champagne glasses clinking in time with “Carol of the Bells” in the background is seared into our cultural holiday soundtrack indefinitely.

Campbell’s Soup Snow Man Commercial – 1993 

While a simple scenario is all a brand needs for an effective holiday commercial, many opt instead for high-concept stories that almost feel like short films instead of ads. This Campbell’s soup commercial is squarely in that camp, depicting a snow man at a dining room table eating a bowl of Campbell’s, and then melting down to reveal a human child. It’s as silly as it is bizarre, but it’s certainly unforgettable, which is the mark of any successful ad.

“Season’s Greetings from Budweiser” Clydesdale Commercial – 1987

Budweiser has done a superlative job in brand recognition by establishing Clydesdales as a key signifier of their product. This holiday commercial from the late ’80s played no small role in this achievement, presenting a romantic compilation of Clydesdales tromping through the snow— headed to Grandma’s house, no doubt!

Yellow Pages Mistletoe Commercial – 1992

This old school Yellow Pages ad spot feels like a Norman Rockwell painting come to life. Much like the Heineken Holiday Five-Pack commercial, this commercial concept doesn’t require any dialogue, with the actions of the little boy and girl speaking for themselves. The cheeky narrator piping in at the end is all it takes to put a bow on the ad, with a winking, “Good old Yellow Pages.”

Coca Cola Polar Bears Christmas Party Commercial – 2005

We would be remiss to not include a single Coca Cola polar bear commercial on this list, considering their legacy and stature within holiday advertisement lore. While Coke had used polar bears in their print marketing since 1922, they aired their first polar bear TV commercial in 1993. Titled “Northern Lights,” it featured what was state-of-the-art animation at the time, with computer renderings of polar bears watching the aurora borealis as they guzzle bottles of Coke.

Since this first polar bear ad, Coke has gone all in on making these animated animals the core of their holiday campaigns. This “Christmas Party” polar bear commercial from 2005 is a particularly successful segment in the series, featuring the Beach Boys’ poppy “Little Saint Nick,” and the heartwarming interaction of a baby polar bear and baby penguin sharing a festive coke with one another.

The post It’s the Most Nostalgic Time of the Year— A Roundup of the Best Holiday Commercials Ever appeared first on PRINT Magazine.