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

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

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

Categories for 2025

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

Learn more about the 2025 PRINT Awards categories.

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

Citizen Design Award

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

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

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

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

Our 2025 Jury

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

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

The 2025 PRINT Awards Presenting Sponsor

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

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

Dates and Deadlines

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

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

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

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

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

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

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

Alex Center

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

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

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

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

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

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

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

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

Alex Center

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

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

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

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

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

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

Project Credits

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

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

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

Sallve

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

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

Loquita Bath & Body

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

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

Somos

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

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

Cuyana

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

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

Hija de tu Madre

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

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

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

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

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

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

Ray Adler, Vice President and Global Head of Games

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

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

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

Gray Malin

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

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

As the world’s first 100% carbon-neutral travel company, Natural Habitat Adventures (“Nat Hab”) takes its mission of conservation through exploration seriously. Nat Hab facilitates intimate encounters with the Earth’s wildest places – and aims to be the most meaningful travel company on the planet while doing so.

Based in Boulder, Colorado (after being founded in New Jersey in 1985), Nat Hab creates life-enhancing nature and wildlife experiences for small groups of passionate explorers. The company’s innovative approach to travel, personal attention to detail, and industry-leading sustainability practices have made it the official travel partner of the World Wildlife Fund and one of Travel + Leisure’s Best Global Tour Operators. Nat Hab’s conservation ethos is as wide as it is deep, comprising carbon-neutral travel, waste reduction, local community support, and traveler inspiration—all aimed at delivering premium adventures while influencing the entire travel industry.

For Nat Hab, the sustainable adventure begins well before travelers embark on a journey. The company’s sustainable supply chain commitments include the choice of paper supplier for its annual catalog, which encompasses 192 pages of globe-spanning adventures from the Galapagos Islands to African safaris to Antarctica and the Arctic Circle. Nat Hab’s 2024/2025 catalog, World’s Greatest Nature Journeys, will be distributed to a record 170,000 recipients, a list carefully curated to promote the company’s travel offerings and provide inspiration for other companies to follow in its forward-thinking footsteps.

For the past four years, the catalog’s cover has been printed on Monadnock Paper Mills Astrolite PC 100® Velvet. Monadnock, based in Bennington New Hampshire, is the oldest continuously operating paper mill in the United States and has built sustainability into the DNA of its business. The company’s focus on premium quality, performance, and sustainability guides the portfolio development of award-winning and sustainably-advantaged fine printing, packaging, and technical papers.  All Monadnock printing and packaging papers are FSC® (Forest Stewardship Council®) certified (FSC C018866), and manufactured carbon neutral.

Like Monadnock, Nat Hab has its own internal Green Team continuously working to raise the bar on eco-friendly operations, including materials sourcing and recycling. Choosing 100% post-consumer waste recycled papers results in meaningful and quantifiable impact reductions. 

Many travelers’ Nat Hab experience begins at the mailbox with a beautifully designed catalog that showcases the environmental sustainability commitments at the core of our mission.

Nick Grossman, director of marketing production at Nat Hab

“Our new catalog cover delivers that ‘wow’ factor with Monadnock’s Astrolite PC 100 Velvet paper,” Grossman explained. Astrolite PC 100 Velvet is part of the company’s line of fine printing papers, coated on both sides and made with 100% post-consumer waste recycled fiber. It is the only premium-coated 100% recycled sheet made in the U.S.

“We love being on this journey with Nat Hab,” said Julie Brannen, Director of Sustainability Solutions, Monadnock. “Supporting its admirable mission makes our job very rewarding. It’s an adventure to work collaboratively with Nat Hab and support their mission to provide equally rewarding adventures for their clients.”

The post Natural Habitat Adventures Has Sustainable Travel ‘Covered’ appeared first on PRINT Magazine.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Alex Center

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Just when you thought you had snacking figured out, Bezi is here to shake up the game with a fresh and playful take on labneh. I dare you not to drool over this tasteful brand!

Red Antler has been busy crafting the identity for Bezi, a fresh labneh brand making its debut in New York City grocery stores this September. With its eye-catching design and playful vibe, Bezi is ready to introduce a new twist to your snack game and exemplifies how effective branding can elevate a product.

Our goal from the beginning was clear: we want to make labneh a thing.

Ilay Karateke, co-founder and CEO of Bezi

With its high-protein content and mild tang, Bezi stands out from other labneh products and is positioning itself to rival hummus as the go-to healthy snack dip. “Since labneh is an unfamiliar category to many Americans, our strategy was to build awareness by anchoring it to a popular existing product—hummus,” said Ilay Karateke, Bezi’s co-founder and CEO. However, the founders wanted to “capture hearts with a striking design that stands out on the bland, beige hummus shelves.” Bezi tapped Red Antler for a branding strategy that is both innovative and engaging and could spark interest among consumers who may be new to labneh.

Bezi’s visual identity is eye-catching and vibrant. Each flavor features bold, groovy colors that create a visually appealing and tasty palette. The rounded, geometric logo reflects the brand’s humor and confidence, giving it a friendly and approachable feel. “The short, punchy name ‘Bezi’ was a perfect fit—it’s memorable and versatile,” said Jackson Bernard, Red Antler’s brand design lead. “By incorporating the name into the design as a framing device, we were able to reinforce its meaning and ensure it stands out on the shelf while also allowing for future growth of the brand.”

Our approach to Bezi’s packaging design was all about centering the vibrant flavor profiles and key product benefits, creating a system that’s not only visually appealing but also easily scalable as the product line expands.

Jackson Bernard, Brand Design Lead, Red Antler

The brand’s clever mascot, inspired by the creamy labneh swirls, adds a charming element. Playful illustrations of flavors, characterized by geometric shapes and vibrant colors with soft shading, enhance the design’s appeal and intrigue.

High-saturation flash photography is used in the art direction to emphasize the mouth-watering qualities of Bezi’s labneh, reflecting the brand’s fun and sociable personality.

The packaging features colorful speech bubbles that invite shoppers into Bezi’s world, effectively capturing the brand’s playful spirit and encouraging consumers to explore labneh in a fresh and exciting way.

While Bezi’s website and Instagram are already buzzing with labneh excitement, you’ll have to wait until September to snag this game-changing snack item for yourself from grocery shelves.

The post Red Antler Crafts a Big Brand Debut for Bezi Labneh appeared first on PRINT Magazine.

It’s peak grilling season, y’all.

As you fire up the old Weber or Green Egg and massage your Flintstone-sized dino ribs with a dank rub, one co-pilot likely has stayed by your side as you drip sweat on your charred burgers and dogs.

We’re talking beer. And in honor of that tried and true summer tradition, that perfect mashup of cold suds and brisket bark, we’re bringing you our 20 greatest beer designs to ever grace a bottle or can.

Of course, we realize the Herculean task of wading through every beer label that has ever existed, and this is our humble attempt to at least recognize the chosen few that get it right. Plenty of words have been spilled in the last decade about how the beer can has become a new kind of canvas, and they’re not wrong. But there’s also just so much goddamn beer, and there’s no way to keep up with every microbrewery and their stacked release schedule. But we tried to look at the big fellas and the little fish, in addition to some of the more capital-I iconic brands.

Are we going to miss a few of your favorites? You know it. Will you roast us on LinkedIn and Instagram over our top 5? Most likely. Are there a few curveballs to keep you guessing? You betcha. Was it virtually impossible to limit ourselves to just 20? Heck yeah. We could have gone to a solid 100, but ain’t no one got time for that. Did we ignore forgotten classics like Regal Select or every Belgian beer that ever existed? Yes, we did. And we’re not sorry.

Ok, we’re a little sorry.

Anywho, this is supposed to be fun. So, enough preamble. Get to scrolling, folks.

20. Rolling Rock

Many people first became acquainted with Rolling Rock in their early drinking days. It’s relatively affordable, though usually a slight upgrade to popular “college beers” like Keystone Light and Icehouse. It’s also a lighter-tasting ale that’s easier to drink than other kinds of beers.

Instead of using clear or amber glass, Rolling Rock opts for green, using white and blue printed directly on the bottle instead of a glued paper label (nice). Latrobe Brewing, the original brewers of Rolling Rock, was owned by the local Tito brothers, who were passionate about their horses. Unsurprisingly, the labels heavily feature the ponies.

But maybe the most intriguing part of Rolling Rock’s beer cans and bottles isn’t the seal featuring a horse head or the big wall with the “Rolling Rock” name spread across its width. It’s the quality pledge on the back with the “33” sign-off.

Thanks to its connection to Free Masons, 33 has long been fodder for conspiracy theorists. Some have suggested that the “33” on Rolling Rock’s packaging refers to the 33rd degree of the Scottish Rites of the Freemasonry movement and all the shadowy trappings ascribed to it. More pedestrian conspiracies claim that the brewmaster’s office was 33 steps away from the brewing floor, 33 degrees Fahrenheit is the ideal temperature to brew and serve Rolling Rock, there are thirty-three steps to making Rolling Rock beer, or that it was a note for the label printer that was left on.

Others say it alludes to Groundhog Day, the thirty-third day of the year, or is it the end of Prohibition in 1933? What about theories claiming the inspiration is the 33 streams that provide the water used to brew Rolling Rock before its operations were moved from Latrobe to New Jerse? “33” was also the name of a racehorse owned by one of the Rolling Rock founders.

Officially, Rolling Rock isn’t saying what the “33” means or where it came from, which is some savvy marketing that lends an air of mystique to the brand identity.

(Rudy Sanchez)

19. Athletic

Do you know how hard it is to make non-alcoholic beer cool?

Five years ago, I would drop that Moneyball meme because it’s incredibly hard. Then again, we’re seeing plenty of companies like Partake and Al’s with pitch-perfect branding for non-boozy beers. Boston’s Fair Folk made non-alcoholic beer-grade Gatorade feel like a beer without relying on the classic tropes of beer branding. 

There’s no bar sign-inspired wordmark or Rockies to tap, but you will find rolling hills, serene surf, bright colors, and beer can vistas for days, and it speaks to a new audience that’s drinking less and cares about fitness. It is very much the beer of its times and can’t be ignored. I can throw out some sales stats, but in the end, this not-beer that actually tastes quite a bit like beer has become a genuine phenomenon and is dominating the NA market.

Is it possible that Athletic could go the way of Zima? Perhaps. But for now, we can safely say they’ve redefined not only what sober drinking can be but what it will look like for the next decade (and it’s definitely not O’Douls).

(Bill McCool)

18. Duff

This pick might inspire some raised eyebrows, but The Simpsons’ (mostly) fictional beverage has left its own unique mark on the beer world. While Duff started as a way for Matt Groening to poke fun at industry tropes like brand mascots and mega beer gardens, it’s one of those brands people so badly want to be real that it’s been at the center of several international lawsuits.

Even as the seemingly never-ending Simpsons gets further away from its peak, it’s such a fiercely beloved cultural entity that there will always be some cachet attached to Homer Simpson’s beer of choice. Time Magazine named Duff one of the most influential fake brands in the world, a point Guns’ n’ Roses bass player Duff McKagan continually proves every few years when he insists Groening named the beer after him. “It’s a cute fake story that McKagan tells,” writer Mike Reiss said in the book Springfield Confidential.

Looking at the can design, it makes sense why this fake beer inspires so many imitators, false claims, and unlicensed merch. The handwritten typography is instantly memorable for its interlocking f’s, abstract sunset design, and smart use of reliable, all-American red.

And, technically, someone made an IRL version of Duff, so we say it counts.

(Sarah Fonder)

17. Sapporo

There are a few beers that I actually enjoy, and Sapporo is one of them. It’s light, and it’s easy to drink; what more could a girl ask for? While I do like the contents of the packaging, the current branding for Sapporo is admittedly just average; the real star is the packaging system from the 60s. 

The label on Sapporo’s 1960s packaging features the easily recognizable red star set against a backdrop of minimalist design elements, with clean, swooping lines and a balanced layout that reflects the brand’s dedication to craftsmanship. The typography is bold yet understated, featuring Japanese characters and English text, underscoring the brand’s international aspirations and cultural roots. The combination of modern and traditional elements in Sapporo’s 1960s packaging is a chef’s kiss. 

(Chloe Gordon)

16. Olde English

Sometimes, a beer label conjures notions of heritage and legacy, especially for a brand that’s been brewed and beloved for decades. Other times, as is the case with so many malt liquor or high-gravity beers, the labels become notorious for their ubiquity in distressed communities of color.

Olde English 800 is a familiar label that’s remained essentially unchanged and has become associated with the negative aspects of violent, economically depressed minority areas, thanks partly to shout-outs by 90s gangsta rappers like Easy-E (NSFW lyrics, so put those headphones on before clicking).

Still, the “OE 800” label is a timeless design with a royalty theme. The red and gold color palette feels regal, and the typography adds to the “English” charm, even if the beer has no connection to the British country or its culture, though its ties to hip-hop are undeniable.

If anything else, Olde English’s label reminds us to pour one out for the dead homies.

(Rudy Sanchez)

15. Sierra Nevada

It ain’t easy being green—unless you’re Sierra Nevada. 

Nowadays, the beer cooler is a mishmash of patterns, colors, and psychedelic whoozeebutsits. But there was a time, long, long ago—let’s call it the 90s—where Sierra Nevada’s flagship pale ale stuck out like a green thumb (and, yes, I’m aware of the existence of Heineken and Rolling Rock’s bottles, but this is a very different kind of green). And for plenty of folks, this writer included, it was their first taste of anything remotely craft or not a behemoth-brewed lager. Nowadays, the homebrewer-founded brand (in 1979!) feels quaint and maybe a bit of a relic for hopheads everywhere, but those serene depictions of the Sierra Nevada mountains and hops bouquets also offer a valuable lesson in branding—own a color.

That verdant green connects you to the Cascade hops the brand uses, but that pristine hit of nature taps into the homebrewer counterculture (it was also immensely popular with Deadheads in the 80s). More importantly, Sierra Nevada was one of the first beers that set the tone for how craft beer should look. Plus, look at that roadside signage they use for the wordmark. It’s perfect.

Rumor has it that one of the founders paid a friend $50 to come up with the logo, but as far as I’m concerned, whoever designed this (and Jim Stitts, more on him later) should get residuals for every mass-craft beer released since).

(Bill McCool)

14. Modelo

While most American beer might lead one to assume the industry as a whole is very red, gold is unsurprisingly the dominant hue for Mexican beers and liquors. Considering the liquid’s warm, sunny hue, why wouldn’t it be?

Gold is at the center of the design for the bodega staple Modelo, and, over the years, the bottle has always leaned into a regal look. The gold foil at the top almost makes it feel like opening a present, and the label keeps the shine motif going with gilded lion and ribbon accents that are all over modern liquor design. 

While it’s a fairly maximalist look, the typography keeps it simple with an understated sans serif that ties the whole thing together. This light, easy beer might be well-known for its budget-consciousness, but the opulent visual touches add some everyday luxury to the drinking experience. And shouldn’t cracking open a cold one feel a little decadent?

(Sarah Fonder)

13. Mickey’s

What if a beer bottle had a bigger opening for your mouth hole?

That’s the essential proposition behind Mickey’s. And look, I love a stout bottle, but I adore a wide-mouthed beer bottle. There’s nothing more quintessential quenching than craving a cold beer on a hot summer night and guzzling as much of that golden elixir of barley and hops as you wish. Mickey’s “grenade bottle” has the exact kind of wide mouth I’m talking about; plus, that emerald green vessel and gilded details create a refined and refreshing aesthetic. 

Note that the wide-mouthed bottle is why this beer made the list; it’s more about function than fashion here, but sometimes, that’s all we need: a little function. But there’s also something to be said about the little band that goes across the bottle with the wordmark—it’s perfectly understated and makes it look like one of those cheap fruit juice barrel drinks, but for adults (of course, when it had a pull tab, it also looked plenty like an actual grenade).

High fructose corn syrup drinky-drink allusions aside, the only question left is why more brands are not doing the wide mouth? Give me more. 

(Chloe Gordon)

12. PBR

At one point, Pabst Blue Ribbon was just called “Pabst.” Now, we just call it PBR, and I don’t think anyone has used its proper name since Blue Velvet came out.

That said, it wasn’t until 1882 that the brand began tying blue silk ribbons around the necks of its bottles to distinguish itself, and the “Blue Ribbon” part was tacked on. In the 1890s, the brand started using labeled bottles featuring the blue ribbon image, reflecting its award-winning status from the 1893 World’s Columbian Exposition in Chicago. 

Of course, in the 1950s, the brand introduced its beer can with a blue ribbon design, and the rest is history. Yes, the packaging has been modernized and updated since the 50s, but there’s something so classic about the blue ribbon design, even today. And knowing it all originated by using real ribbons around the bottleneck? That’s something worth celebrating. You know what else is worth celebrating? PBR has essentially had the same packaging design for the last fifty-ish years. That’s not necessarily unheard of in the land of beer, but they’re still a legend (and a friend to Dennis Hopper).

(Chloe Gordon)

11. Flying Dog

What does one do after being a PhD physicist and leading an expedition up K2, one of the highest peaks on the planet? If you’re George Stranahan, you start brewing beer and open a tavern.

As fate would have it, one of Stranahan’s frequent visitors was famed gonzo journalist and noted gun enthusiast and alcohol aficionado Hunter S. Thompson. At Thompson’s (probably) drunken suggestion, Flying Dog commissioned UK artist Ralph Steadman for its labels.

Steadman’s labels are unlike any others in the beer space, as Flying Dog’s features abstract, weird, provocative, and satisfyingly gonzo-AF illustrations.

Flying Dog’s labels would also lead to several fights over the freedom of expression via beer labels in America. The no-fun alcohol regulators in Colorado, Michigan, and North Carolina have rejected Steadman-designed labels, with the latter citing “poor taste” as a reason. Flying Dog would take the states to federal court over freedom of speech rights and win its cases, adding First Amendment advocacy to Flying Dog’s already fascinating brand story.

(Rudy Sanchez)

10. Heady Topper

Heady Topper remains one of the country’s most sought-after craft beers, and just as coveted as those annual Pliny the Younger keg tappings.

But the beer also has one of the most ownable identities in craft beer (next to Stone’s Arrogant Bastard and Russian River’s Pliny the Elder), a flagship offering from a brewery that inspires FOMO, and it just looks pretty gosh-darn cool. Sure, Alchemist brews other beers (shout out Focal Banger). Still, the label illustration from musician and artist Dan Blakeslee has become synonymous with New England-style and Hazy IPAs and drinking straight “from the can.” Of course, the Heady Topper man should be drinking straight out of a can on the label, but we’ll let that one go for one of the best beers in the country. 

Blakeslee’s concert posters caught the Alchemist’s founder’s attention, and they wanted an image of a bearded fellow with hops shooting out of his dome. Blakeslee had creative freedom to do what he wanted for the most part, though his initial design was a little more graphic, and he took the brief literally by including bits of brain and skull being ripped apart. Thankfully, he took it down a skosh, and we’re left with THE IPA all other IPAs aspire to be (even if they don’t say as much).

Perhaps what’s most notable about the Heady Topper design is just how hard it is to stand out in the world of craft—considering plenty of breweries are releasing new beers seemingly every week, there’s plenty of label work for designers. But for a craft beer to really stand out, it’s nearly impossible because of how wildly chaotic and frequent the releases are. Frankly, we’d need a new website devoted to beer design just to keep up.

 (Bill McCool)

9. Mikkeller

While beer design has felt especially footloose over the past decade or so, it’s hard to argue it’d feel as fresh or innovative without the contributions of designer Keith Shore. The European craft brewery Mikkeller arguably wouldn’t be what it is without Shore’s charming characters like Harry and Sally, just a couple of the figures who pop up in the designer’s simultaneously playful and cohesive label illustrations.

Part of why the brand’s look has become so recognizable is its emphasis on artistic freedom, allowing Shore to have fun with his work from day one. His sense of creative abandon is palpable in a lot of today’s craft beer designs, but what really makes Mikkeller’s labels shine is their lack of self-consciousness. While other beer devotees can get overly cerebral or attached to complicated concepts, Shore’s designs convey a childlike sense of trusting the process.

“I wasn’t influenced or really even familiar with what was happening in that world,” he told DeMagSign. “I guess looking back that was somewhat of an advantage for me.” Not unlike a brand new musician joining a punk band, the illustrator’s work makes a great case for the rich creative potential of entering a medium without overthinking it.

(Sarah Fonder)

8. Hamm’s

Hamm’s has experienced several packaging changes since its beginning. Theodore Hamm founded Hamm’s Beer in 1865 in St. Paul, Minnesota. Initially, it sold in barrels and kegs. Still, it was at the end of Prohibition that the brand began to bottle its suds with labels featuring the kind of traditional designs reflecting the brewer’s heritage you would expect. 

However, in 1953, Hamm’s introduced its beer in cans, becoming one of the early adopters of this packaging format. In the 60s, the cans showcased the “sky blue waters” motif, with images of lakes and forests that became synonymous with the brand. 

The crown and forest motif is a classic. It makes me wish more beer brands featured nature-inspired illustrations on their packaging that aesthetically leaned more peaceful and calm than overly outdoorsy or rustic. The Hamm’s can is a breath of fresh air, something we all need more of as we yell at each other to touch grass via our keyboards. 

While the brewery has traded hands more than your Aunt Karen’s holiday fruitcake, it’s now sold by Molson Coors in select markets.

(Chloe Gordon)

7. Budweiser

No list of the greatest beer designs would be complete without mentioning the king of beers, even if the Anheuser Busch mainstay is a little too ubiquitous. If anything, Bud has always suffered from a cool problem—maybe it was your old man’s icebox mainstay, and you had other beers on your mind.

But classics are classic for a reason, and when it comes to beer, it doesn’t get much more iconic than Bud with its red, white, and blue color palette and on-the-nose Hacksaw Jim Dugan-chanting USA to the max look (fun fact: “this Bud’s for you” translates to love it or leave it). We’ll even go so far as to admit that, for better or worse, it’s the Coca-Cola and Marlboro Reds of beer.

At the tail end of the 1950s, Budweiser ditched its gold can and used a white background and more or less used the same design—with a few tweaks here and there—until around the mid-80s. For my money, that’s the can. It’s right before they made the design vertical (gross), but you’ve got a pleasant enough word mark and plenty of fancy script that borders on Dr. Bronner-levels of wordage and copy. But it also has just enough of the ornate touches the beer maker has employed throughout its brand history, with its ever-present AB seal and coat of arms. And, hey, credit to JKR for returning to this format, scraping all of that copy, and replacing it with “the king of beers” in 2016. I’ll never understand why they tried to work in the logo bowtie on the can and completely destroy what was a genuinely solid look. 

(Bill McCool)

6. Red Stripe

Is Red Stripe actually Illinois for beer?

Red Stripe was originally brewed by Desnoes & Geddes Limited in Kingston, Jamaica. But, with all the most intriguing history comes a bit of mystery.

Galena Brewery was established in 1886 by Casper Eulberg and his sons in Galena, Illinois. The brewery’s flagship beer was called—get this—Red Stripe (they also had a Blue Stripe and White Stripe). This beer was widely popular in northern Illinois, southern Wisconsin, and Iowa until Prohibition in 1920. Post-Prohibition, however, the brewery reopened under new ownership but eventually went out of business in 1936.

Meanwhile, Desnoes & Geddes, founded in Jamaica in 1918, launched their Red Stripe beer in 1928 after buying the Red Stripe recipe from the Galena Brewery before it went out of business. Not only did they take the formula, but they also took elements from the original Galena design, including that sash reading “Red Stripe.”

Curious origins aside, we really need to talk about those cute little stubby bottles introduced in 1965. It’s a deceptively simple design in all the right ways, with just a hint of intrigue differentiating it from the masses with that singular red stripe and script wordmark. It’s also appreciated that the design has mostly stayed consistent throughout its existence. A red stripe on a white background for a brand dubbed “Red Stripe” is meant to be, and if they ever ditch those bottles, just know we’d instantly strike it from this list.

(Chloe Gordon)

5. Schlitz

The ‘70s have been a big influence on design for the past several years, especially in the realm of typography. Anything with a melty, psychedelic, vintage vibe seems to do well now, and beer design has been all over it. There’s usually a sense of blending the aesthetics of the past with the present, which is a vibe you can immediately pick up from Schlitz’s iconic design.

There’s a bit of a bicentennial, Old Americana look to their classic script font, which adds some respectability to its otherwise drippy, inebriated feel. The cute globe icon adds a fun, almost Schoolhouse Rock-ish layer to its patriotic vintage design, and— as many of our other favorites reveal— you can’t really go wrong by leaning on red and white. While Schlitz might not pop up on many modern bar menus, there’s no wonder the irresistibly curvy logo became such a classic neon sign.

(Sarah Fonder)

4. Anchor

This Bay Area staple has managed to stick around for almost 130 years, and they’re best known for their cozy yellow Steam Beer. Illustrator Jim Stitt helped define the ambiance of the brand in the ‘70s with his charming, hand-drawn label designs (shout out to all of the happy little Christmas tree designs for their annual holiday brew), all of which look a bit different but still feel grounded by his singular aesthetic. 

His tidy serif lettering and naturalistic details gave the beer an old-fashioned but distinctively late 20th-century feel, which was sadly lost when the brand underwent a sleeker, more modern redesign in 2021.

Anchor presents an example of one of those controversial overhauls that instantly didn’t play well with longtime fans of the brewery, and while it’s difficult to say for sure, the backlash could’ve played some role in the brand announcing their liquidation last year. Chobani CEO Hamdi Ulukaya bought Anchor just a month ago, which could be a potent opportunity for the brand to reconnect with or build on what became such a classic look. While the future of Anchor seems up in the air, Stitt’s illustrations will always play an essential role in the evolution of craft beer design.

(Sarah Fonder)

3. Coors Banquet

Brewed in Golden, Colorado, using water from the mighty Rocky Mountains, Coors Banquet is instantly recognizable thanks to its signature label. Banquet’s label design has evolved and changed but has consistently looked like freshly panned gold.

Over the decades, Coors Banquet’s signature gold background, lions, cursive wordmark, trapezoid red graphic, and illustration of a Rocky Mountain waterfall have been retained, reinforcing the beer’s storied brand equity, but also manages to look grizzled as all get out

Banquet’s label design combines the Germanic beer brewing legacy of founder Adolph Coors’ homeland with the romanticism of Colorado’s rugged mountain landscape. Evoking the pure, crisp mountain water from the Rockies in the minds of thirsty beer drinkers is, frankly, a stroke of sales genius. And, hey, look! We’ve got another stubby entrant on our hands, as Coors Banquet’s glass bottle was first introduced in 1936 and is still used to bottle the Rocky Mountain brew, adding to the brand’s recognizable heritage.

As a side note, you can also thank Coors for pioneering the recyclable aluminum can. Beer was canned in steel until the 1950s, and not only did it lend beer an overly metallic taste, but folks were prone to littering them. Not only did the aluminum help create tastier and colder beer, but it incentivized people to collect and recycle the material as it was deemed more valuable.

2. Colt 45

Colt 45 is a beer brand first brewed by the National Brewing Company in 1963. Despite the name, Colt 45’s name is not a reference to the famous handgun and ammunition caliber. Instead, it was a tribute to Baltimore Colts running back Jerry Hill, who wore jersey number 45.

Knowing the football connection helps explain Colt 45’s label design and apparent lack of gun references, though as a malt liquor brand, making an association with firearm violence is racially problematic. The horseshoe is a clear nod to the Baltimore Colts football team, whose helmets still feature the piece of equine kit. The kicking horse is also connected to the NFL team and the “extra kick” of malt liquor over other beers.

The typography used has that vintage charm of the 1970s, with pointy serifs and striking contrasts in size between the characters. Like the serifs, the curves are exaggerated, and the overall effect is energetic and alluring. Of course, Colt 45 still exists today, but it somehow looks cleaner and has lost some of that period-specific charm, with its off-kilter wordmark, making it a brand that likely deserves a heritage makeover.

1. Miller High Life

The champagne of beers. Or, as it was first called when it was introduced on New Year’s Eve in 1903, the champagne of bottle beer.

That’s a hell of a slogan for a beer, but for Miller High Life, it’s one that’s well-deserved, especially for a brand with a goldmine of branding assets.

But let’s get something out of the way before we talk about the greatest beer to ever beer. You better not be drinking High Life out of a can. Be an adult and drink it out of a bottle the way it was intended originally because, yes, it’s absolutely champagne-coded. With the exception of a few terrible design decisions in the 80s, it has almost always looked like the aspirational idea of what beer could be. The sloped shoulders of the bottle were very much deliberate when the beer first debuted, as was the clear glass bottle, chosen because it gave folks a front-row seat to the beer’s purity and helped usher in its high-end aesthetic. What’s more, the brand even used ornate foil over the cap and neck of the bottle, another distinctive allusion to the French bubbly stuff.

It was also much pricier than other beers in the past, as a case of High Life would set you back about $1.80 when it launched, which is around $62 today—champagne indeed. Perhaps that’s because drinking bottled beer was a rarity, as most folks just sidled up to their local bar or tavern and ordered a draft or brought it home in picnic bottles, aka growlers.

Bottles and foils aside, High Life has a treasure trove of design assets and branding quirks.

I’ve always believed a good beer logo should look like a bar or tavern sign, preferably your town’s dingiest hole-in-the-wall, and at a 45-degree angle. If that wordmark resembles the team name of a single-A ball club with a losing record that sits over .500, even better. There’s a reason why Al’s and Garage Beer (or Brooklyn studio Tavern’s promotional beer) work, and it’s not because they’re “retro,” it’s because they traffic in the classic visual language of macro beer and celebrate it. High Life, with its soft cross (introduced in 1954), is a stone-cold classic, a modernized take on the sharp crisscross at the top of the bottle, in addition to a McDonald’s-size golden arches-level beacon of hope to the people of Milwaukee outside of the brewery (I’m being dramatic, OK, but I also grew up on Laverne & Shirley reruns).

Speaking of the x that marks the spot, it’s also where beer drinkers and hellraisers will find the Miller High Life Lady sitting on the moon—just don’t ask where she came from. The only solid information regarding her origins is that she first appeared on the bottle in 1906, and she may have been dreamed up when a Miller advertising manager got lost in the wilderness of Wisconsin and had a vision of a woman sitting on a paper, crescent moon. Go figure. Even today, you can still find the mysterious lady, despite having been disappeared for a few years, in addition to a pretty swell embossed bottle reading “HIGH LIFE ESTd 1903.”

Anywho, raise a glass to one of the best to ever do it. And maybe pour a shot of Campari or Aperol in it after you take that first sip. 

It’s Miller time.

Images courtesy of the DIELINE.

The post DIELINE’s Top 20 Beer Designs Of All Time appeared first on PRINT Magazine.

It is not rare that we are surrounded by boxes and bottles of branded objects that we purchase, use and discard, often within a matter of days, or even hours. We don’t pay much attention to the words on the back and rarely take a moment to glance them over. 

Poetry is a device that allows one to say the things they can’t say, or don’t know how to. 

In “Hidden Poems,” strategist and designer Stuti Sukhani takes all the single-use items that surround her in an attempt to uncover the verse that lies in the rigamarole of this packaging. Using blackout poetry, she plays with the words that the items offer to tell small yet sticky stories, sometimes aided by imagery. She seeks to increase the psychological lifespan of a one-time-use object to find the meaning it can hold.

Follow Sukhani’s investigation of the lyrical in the mundane at @100hiddenpoems.

The post Blackout Poetry Transforms Everyday Packaging in “100 Hidden Poems” appeared first on PRINT Magazine.

This year’s summer Fancy Foods Show, a gathering of hundreds of specialty food companies, was by far the most inspiring, invigorating and diverse in terms of the overall branding and design finds and the founders’ stories. So, we picked 22 standouts from the show to feast your eyes upon—which you can do below.

Rejuvenation

The Rejuvenation brand, female and minority founded, is as visually energizing and colorful as the beverage itself. Its unique, tall pyramidal bottle makes it a great vertical canvas for a funky script wordmark.

Tari

Move over sriracha. There’s a new sheriff—er, llama—in town. Tari recently redesigned, moving from a primarily white label to an electric green and blue combination that is as energetic as your taste buds once they get a sample of this sauce.

For Good Granola

Founder and chef Kiley Fields has an incredible brand story, one of family challenges and triumphs that shaped her brand’s mission to do good for children and adults with disabilities. This empathy makes its way into the packaging, with a script logo that reads like the signoff to a love letter, anchored by restrained typography, a beautiful color palette and a product window that gives a glimpse into this well-crafted granola powered by buckwheat.

Ceybon

To the uninitiated, a non-alcoholic mushroom-infused aperitif may sound strange. But for Ceybon, the branding and design are open, airy and understated, with just the right pop of color to invite curiosities and convert the skeptics into non-alc believers.

BonBon

New York’s most chic candy store just dropped a retail line, and it did not disappoint. Beautiful abstract patterns, infusions of fruit illustrations and whimsical Swedish fish imagery all add up to packaging we’d happily take as wallpaper.

Carnegie

While one of NYC’s most well-known delis no longer exists, its spirit lives on as a retail line of cheesecake bites and slices, pastrami meats and rye bread. The iconic Carnegie script and red-and-white color scheme are anchors for this new packaged line of products.

Arya

This brand recently updated its packaging, and the results are as delicious as the food. A bold, sophisticated and confident wordmark anchors the bag, accented by bright colors and radial illustrations that place the food at the center of a great meal.

Sweet Deliverance

Women-owned and led, this granola brand is a playful combination of botanical illustration and bohemian charm, wrapped in a warm, earthy palette as tasty as its product.

Candid

This brand’s name says it all—it’s a real and honest take on your favorite candies. Each product gets its own unique moniker (think Nestle Crunch, Raisinets, etc.). Soft pastels, chunky and rounded serifs, and graphic photography all make for a delicious, clean and pure indulgence.

Edenesque

While this company sells plant-based milk, its true mission is to be an engine for social impact. Every product supports a food insecurity initiative, and the packaging nods to this humanitarian spirit, with abstract human bodies beautiful in movement and imperfection. It’s also a chef-inspired, BIPOC, LGBTQ, woman-owned company.

Barcoop Bevy

This chicken has fled the coop for the farm, crafting real-ingredient mixers you can drink as-is or with your favorite spirits. Fun, colorful and quirky, the design gives off major good times vibes.

Nourrir

Sparkling juice has never looked so good, so chic, so upscale. Best yet, it’s born from a female and minority founders’ celebration of West African roots and Bronx spirit. Bold, ornate, inspired.

Baris

How can something so simple be so perfect? This mantra applies not only to the chocolate-covered raspberries but also the branding. The quirky slab serif with tight kerning feels charming in the simple and understandable packaging, anchored by a humble product illustration in the middle.

S’noods

Snacking noodles are here, and they’re unbelievably delicious and addicting. The packaging underwent a minor refresh, elevating the retro-inspired noodle mascot illustrations and moving to a snack-style bag that makes it clear these are more than noodles—they’re the hippest chip in town.

The Cumin Club

The supper club has been reinvented, bringing global flavors and Indian cuisine into innovative freeze-dried formats that preserve all the taste without degrading the product over time. The design is casual, warm and inviting, just like a homemade meal.

Warrior Kombucha

Powered by North America’s only native caffeinate plant, this woman-owned kombucha brand uses Southwestern-inspired shapes and patterning to hint at the rich history and culture behind the ingredients.

FoodNerd

This ’90s Apple computer branding–inspired packaging gives off major nostalgic vibes as well as fun, friendly health aesthetics. It’s perfect for a kid’s puff unlike any other.

Spring & Mulberry

Often, the most sophisticated branding is the most elemental. Case in point: this chocolate packaging. The brand mark is expertly crafted, changing color with the background for each flavor, creating one of the most elegant product lineups in CPG.

Royo

This bread got a major glow-up. Anchored by a confident and characterful wordmark, bold colors and simple product benefit claims, these loaves make eating bread guilt-free and fun.

Peepal People

Female- and minority-founded, Peepal People is an ode to the people and tastes of South Asia. It brings not just beautiful design and flavors to the forefront, but also incredible human stories.

Fancypants

When it comes to cookies, it pays to have good taste. Enter Fancypants, a supremely delicious and decadent cookie company with a look to match: elegant script, sharp and quirky serif flavor names, sophisticated diamond-holding shapes, and even a fun peacock mascot.

Satya Blends

What do you get when you combine Indian spices, a family’s matriarch and modern cuisine? Some of the most colorful, vibrant and sophisticated spice blend tins. For the art historians out there, the branding is one part Art Deco, one part Memphis, one part geometric abstract—but it all comes together to make a one-of-a-kind original.

Fred Hart is a brand consultant, creative director and design strategist obsessed with building and studying CPG brands. Over the last decade, he’s created a 30-person branding agency, transformed over 137 CPG brands, won five Design Effectiveness Awards in four years, and been entrusted by visionary founders and Fortune 500 companies to craft strategic design that moves businesses forward. Today, Hart consults with brands and agencies looking to unlock their next level of success.

The post 22 Fancy Packaging Designs From Fancy Foods 2024 appeared first on PRINT Magazine.

In the history of Dieline Awards, we’ve never had a studio dominate the way Wedge did this past year. The small but mighty Montreal-born agency and our clear Studio of the Year winner broke the record for the most awards ever received by a SOTY, claiming nine awards across a range of categories, from health and beauty to food and beverage. It was a full slay, as the kids say, as their packaging and branding design for Omy Laboratories, Paro, Cha, and Festif were each given their much-deserved flowers. 

To honor and celebrate their design supremacy, we recently chatted with Wedge co-founders Sarah Di Domenico (Co-Founder and Chief Creative Officer) and Justin Lortie (Founder and Chief Design Director) about their big wins and the projects that brought home an army of Ds. 

I don’t see Wedge as a packaging agency. That’s limiting. For us, these are things that are part of the brand world-building that we do. The packaging is almost like an artifact from that world, that’s how we think about it. There’s so much brand building behind that box or that can or whatever it is. We work hard for founders and companies to define that distinction that creates their magic.

Sarah Di Domenico

How does it feel winning Studio of the Year and breaking the record for most awards ever received by a SOTY winner? 

Sarah Di Domenico: It’s a really great acknowledgment of the team. It’s always nice to have a reason to celebrate with the team and for everyone to feel very proud. It also depends on who’s sitting on the jury, so thank you, jury!

Justin Lortie: We’re not 500 people, nor 100 people. We’re a small team, and we’re very precise with every step that goes into the projects. It takes a lot per project, so to have multiple projects recognized, it’s really the accumulation of dedication over a long period of time across various projects with a very small team.

The projects Wedge has been recognized for cover a range of categories. Can you talk about how you navigate that as a small studio and how your approach does or doesn’t change in different categories? 

SD: It’s part of our mission to keep diversifying and to touch a lot of different categories. If you look in the studio, we’re working on all kinds of stuff, like single-use, plastic-free home care, baby care, and oral care, and we’re starting to work a little bit more in audio electronics. We call our process “The Wedge Way,” and it’s the same no matter what we work on. It’s so fun to apply the methodology to many different spaces. The broadening of categories represents a constant commitment to learning, growing, and curiosity, which are massive values in our culture.

JL: Our early debut was more food and beverage, and that’s something we were known for, but we were intentional not to be a one-trick pony. We always push to reinvent how we do projects. While they’re anchored in a similar methodology, the outputs are very different. It’s funny to see how each project feels like there’s a different company behind it, and it’s intentionally done like that. We’re not trying to sign them all with the same signature.

Can you unpack the Wedge ethos, “Everything can be special,” for me? What does that mean to you?  

SD: It’s very much reflective of the optimistic lens we apply to everything. Back when I was working in global advertising, you’d get a brief, and some folks would react toward it and say, Oh, I don’t want to work on that. But at Wedge, our collective mindset is that we will find that little bit of magic. “Everything can be special” can apply to any category. It might be a seemingly unsexy thing, but it’s really important to use that lens because it helps us see beyond what it is, see beyond an archetype, or just think about it differently. 

It’s about broadening the aperture and bringing a different sort of mindset to something that can seem mundane but actually can be so interesting. I don’t want to do the same thing I did for someone else. We love that constant challenge; it’s part of what keeps our ambition alive for what we do.

JL: When we started, packaging felt less cool than it is today. But now, through The Dieline, there’s such a huge community, and kids can go to school and see that packaging is cool. It didn’t feel like that 5 or 10 years ago. It comes back to that line: “Everything can be special.” We started seeing interesting ways to rethink ordinary packaging in our lives. It became a natural way of working for us, seeing potential in these everyday things.

That’s also why we’re pushing to expand categories today because it could be stuff for cleaning your house or screws for your garage. Everything has the potential to become exciting in its own unique and distinct personality. 

SD: I don’t see Wedge as a packaging agency. That’s limiting. For us, these are things that are part of the brand world-building that we do. The packaging is almost like an artifact from that world, that’s how we think about it. There’s so much brand building behind that box or that can or whatever it is. We work hard for founders and companies to define that distinction that creates their magic. 

Let’s get into your award-winning projects! Starting with Omy Laboratories, which won Editor’s Choice, 1st place in the Health Beauty and Body Brand Identity System category, and 3rd place in the Beauty and Cosmetics category. What was it like developing a completely recyclable refillable system for Omy?

SD: Behind every project we do, there’s always a tension guiding how we design something. For me, one of the most exciting parts of it was actually landing on the tension between something that was very science-driven because that’s who the founders are—a chemist and a cosmetician—and the desire to hit it with something that felt very human and warm at the same time. Those things are in total contrast. But when we started building the narrative of “skincare formulated to evolve with you,” that was the bigger idea that unlocked everything. 

It was exciting to work with a founder who was so committed to creating a refillable system. It’s not super common for people to make that commitment, so it was this massive opportunity to be thoughtful and involved so deeply in the details to really think about how that works. 

JL: Behind every great new brand are usually great entrepreneurs; there would be no brand otherwise. What was so ambitious from these two women who founded Omi, Andrea and Rachel, was that they created a vertically integrated plan where they controlled the manufacturing from A to Z. It was bold, it was ambitious. Many cosmetics or skincare brands are outsourcing production, but they decided to master and own it.

The packaging became an extension of their internal processes. We created a labeling system that would be printed at the factory with the unique code and formulation of users, so everything is centralized, everything’s happening in one place, versus outsourcing the manufacturing, shipping, and distribution. The brand packaging was directly tied to the business operations. 

Moving on to Paro, which won 1st place in the Startup Brands category and 3rd place in the Ready to Eat/Meal Kits category. How did your team go about designing their branding and packaging?

LD: This one is so different because it starts with a different challenge. The challenge was introducing Pakistani food, which, generally speaking, most people have never heard of or maybe tried. So creating a sense of familiarity was the first way in; it had to bridge the gap between this food’s heritage and the fact that it comes from someone’s mother’s recipes, and then bringing that in a modern way onto the shelf for an audience that may have never heard of these products. 

We tried to bring a sense of familiarity from the product but then break that tradition. Uma, the founder, is from a new generation, so she’s getting a new lens for a new audience—this is why the design feels a bit more modern. It’s bridging both extremes. 

SD: Uma is American, but her parents are from a different country. Paro is culturally inspired, but this idea of the “ethnic aisle” is so aged. We wanted to land on a result that felt so of the now but referenced something true. 

LD: And it’s subtle. The logo is calligraphic and reminds you of something it’s not, so it doesn’t reappropriate the code. Then, the colors are super vibrant and reminiscent of the past, but they’re done in a modern way. We often talk about our cultural forging when we do these types of projects, which is leaving the internet or going into areas of research where we try to find inspiration within the category from the outside. Paro was a testament to that, not just looking at what’s happening with CPG products today but also looking back to the origin and source of where we’re coming from.

Your Cha design won 1st place in the Tea and Coffee category and 2nd place in the Functional Beverage category. What was that design process like?

SD: Ashley, the founder of Better Booch, approached us with a new vision for a new product and needed us to develop the brand and packaging. We weren’t constricted by Better Booch at all. Technically, it’s a Better Booch product, but it’s completely different. I love working with Ashley because she has good taste and is very clear about her inspiration for the product. She can talk about the why behind it and how they made it. Their product strategy is really clear, so we can take that clarity and translate it into design. 

With Cha, it was interesting because, when you go into the beverage aisle, choice paralysis is real. Ashley said I don’t want to be another bold, colorful, in-your-face Poppi. It’s tea-inspired. I want to be elevated. So, we translated all of those intentions into design. 

JL: It was the opposite of Paro, where, with Paro, no one knows what this food is, and then you go into sparkling drinks, which are so saturated, so we had the opposite problem to solve. There are so many cans of everything!

I love what you created for the Festif bottle, which took 1st place in the Dark Spirits category. How did you all develop that wonderful bottle and label? 

JL: Festif had to be as delightful as the founder’s vision. This guy is obsessed with aperitifs; he’s been crafting recipes for almost two and a half years. So there’s so much passion and obsession in the bottle, and the design had to translate the passion of the product. The bottle looks so good on the shelf; it’s delightful and a nice object. 

It has the quality of having Canadian ingredients and is made in Los Angeles, but it’s also rooted in Italy, so it’s all these blends of references to create something that feels like it’s been here, yet it’s new. That’s a good feeling. We talk a lot about intuition and how emotions are important when we design, and this is one project where those variables were significant because it’s about that intangible quality of feeling something.  

SD: If you look at all of the packaging for these projects and then were to meet the founders behind them, you’d be like, Oh, it makes sense that that was the result. When I look at Festif, it’s the founder, David’s, joy. The way that label lights you up and what that brings to the dinner table. When we started the process, he had a vision for the product, but he had no idea what the branding would look like. He brought all these photographs of a table after a great meal— you have these empty cups, and it’s a little bit messy, but it’s the feeling of a good time. I was like, well, no wonder you called your company Festif! It’s that magical spirit. 

Obviously, all of these projects are distinct, but can you identify a common thread that extends through each one? 

JL: They all reflect their positioning, intentions, and point of view very well. They do that very successfully within their category and within the strategic direction the founders intended for the products. When we say, “Everything can be special,” it’s tied to us translating a business idea into a brand, a world, and a product, by extension. 

SD: Craft is extremely important at Wedge. We have a value that high-level craft really counts, but not perfect answers. Looking at all four of these projects, there’s a very high sensitivity. They’re all very distinct in what they aim to do, and that’s our ultimate goal no matter who we work with. There isn’t one project in that line-up of award winners where you can say it’s a trend of something, and to me, that’s when it’s a capital-B brand. There’s branding, which is doing logos and colors, and then there’s brand building, which is creating a defined world. That’s what we’re really proud of. 

The post Dieline Awards 2024 Studio of the Year-Winner Wedge Breaks Down Its Big Wins and ‘Special’ Process appeared first on PRINT Magazine.

Recently, he met another Brooklyn resident, illustrator Steven Guarnaccia, whose work is no stranger to this column, and who has also been hoarding a cache of discarded packs. For months now, Guarnaccia has been trying to convince me to seriously examine this new design phenomenon. (He’s even referenced a portfolio, anticipating eventual legalization, of speculative packages that were conceived by Seymour Chwast and others back in the late ’60s.) Pot is not my thing, so I’ve been resistant to delve into the grassy knoll—that is, until he introduced me to Dufour, who makes seeking out weed packages as ritualistic and fun as finding the Afikoman at Passover.

Given the rich variety of package designs—most by anonymous creators—I couldn’t pass over their graphic-cultural significance any longer.

Below, Dufour, who holds a master’s in publishing from NYU, talks about the breadth of his collection, its target audience and the future of commercial weed packs in a regulated industry.

What stoked your foray into collecting “commercial” weed packages?
I have always collected things, especially those found on the ground. Initially, I was taking photos of outrageous bags I stumbled upon and quickly realized that each new bag I found was better than the last. So, I took home the ones I found amusing.

After reading Cigarette Pack Art by Chris Mullen, I was left with the impression that this was a special moment, akin to the boom of cigarette pack design. There are strong parallels, including custom commemorative packaging for special occasions, unsubstantiated health claims, and novel brand characters.

My interest was further spurred by meeting illustrator and designer Steven Guarnaccia, who also collects weed bags from the street. We laid out our collections side by side one day and found hardly any overlap, despite sourcing the bags from the same neighborhood. There was a sea of visual and textual information and an overwhelming odor, yet very little insight into patterns and meaning. These products are almost entirely influenced by culture, yet far removed from the discourse of product packaging and rules of design. That’s when I started scooping up every bag I could find.

Were you surprised by how many there are, and that more keep coming?
Continually. I have only a handful of duplicates in my collection of 200+. Compared to Highley Varlet’s impressive haul back in 2020/2021, the current increase in design and shape variations (specifically custom die-cuts) over just the past three years is immediately apparent. The bootleg market forces legitimate brands to constantly change design or add watermarks. I think this partially accounts for the diversity.

Have you designed some? They remind me of rave cards and Wacky Packs. How would you describe the prevailing aesthetic?
I have never designed any but often think about what my designs would look like. I don’t smoke weed and try to avoid internet culture, so it would be hard to imagine what consumers look for. There doesn’t seem to be one prevailing aesthetic but they can be grouped thematically. The most popular bags reference, if not directly mimic, sugary food and drink. Lots of children’s cartoon characters as well, both clearly aiming for a younger demographic.

They all seem to be comics and graffiti style. Some are funny, others are gross, but all are somewhat similar. Have you come across any that are, shall we say, more temperate—or establishment—for older fans of weed?
There are some which are more minimal and discreet. These typically use higher quality material and have proper labels, warnings and watermarks. One strange attempt used the Victorian children’s book illustration “Marriage of Cock Robin and Jenny Wren” by Susan Maxwell Schmidt. Not sure how that fits in.

However, most are extraordinarily topical, maximalist, and born from internet memes or current events. I like to think of these bags as some strange manifestation of the internet—decontextualized, estranged from the author of its image, endlessly variable, self-referential, hyper-relevant, and completely impermanent. The variation in design is also directly tied to the way the internet produces and consumes images. Once pulled from the digital world into the physical, they go right back online, with promotion and sales being mediated through social media. Temperate subjects and designs don’t populate an Instagram feed as well as holographic Joe Biden smoking a spliff in space.

Who is responsible for their production?
It’s a blend of international, regional and neighborhood producers of both product and packaging. Most are bootlegs coming from massive wholesale distributors in the downtown LA Toy District. However, my corner print shop is churning out mylar bags, and typically, I won’t find the same designs in Manhattan as I do in Brooklyn. Even going a few neighborhoods away, I start to see variations. There is absolutely a local supply chain.

Some are tagged with a QR code leading to the designer’s social media. I have found a few local designers this way, as well as larger-scale bag manufacturers and independent designers. You can buy custom bags on Etsy, or blanks on Amazon or Alibaba. You can order a custom die-cut design from Sri Lanka for $30. I’m definitely noticing some AI-generated designs out there as well. There are so many possible origins.

Are there artists and designers that are the “stars” of weed packs?
There are popular brands, styles and themes, but I haven’t discovered much about the individuals behind the packaging. Discretion is fundamental.

Do you have preferences for style?
I have developed a ranking of desirability: Die-cut, anachronistic, copyright-violating, bonus points if the bag makes no reference of the product inside. Interesting text on the package is equally desirable—one of my favorites, distributed by Candy Cartel, has an amazing parody of the Surgeon General’s warning.

Do you have a sense of where weed packs are heading, say, a year from now?
As with cigarette packs, there will be brand consolidation, government regulation and design bottlenecking. This is already apparent in Colorado and Washington state. At the rate of legalization rollout and the prevalence of the black market, I expect only greater supply. As far as design and packaging, I anticipate political designs—possibly some propaganda—in the next few months. Beyond that, I could imagine an increase in celebrity branding, eco-friendly biodegradable bags, and an overall move towards minimalism as restrictions tighten.

The post The Daily Heller: Where the Grass is Always Greener appeared first on PRINT Magazine.

While brands like Target have been spooked enough by online stochastic terrorists to step back from social issues like LGBTQ acceptance and rights during Pride, other brands are taking a page from the failed comic playbook by pandering to the right and making a mint off a consumer base that has proven it will buy pretty much anything if it means “owning the libs” or anything that feels mildly “woke.” Even fake meat.

The latest brand that appears to be flirting with conservatives, specifically former President and convicted felon Donald Trump, is Logan Paul and KSI’s Prime.

Recently, Paul conducted an hour-long interview with the septuagenarian Republican presidential candidate Trump on his podcast Impaulsive. As one would expect, the two exchanged merch. Trump brought some of his signature MAGA red caps, and Paul had Stars-and-Stripes-themed bottles reading “Trump” for the twice-impeached former president. White and red stripes flow along the custom label, and the Prime logo is dark blue and star-studded. 

Trump also brought another piece of merch—a t-shirt featuring his mugshot. Paul described it as “gangster,” as if that’s a quality to look for in a president. Bumper stickers and pins (though there are plenty of those) aren’t enough for a Trump campaign. MAGA supporters will eagerly spend their money on anything Trump-branded, including plastic straws. This phenomenon isn’t alien to Logan Paul, who has become somewhat of a master at peddling wares by leveraging his celebrity and loyal following. Of course, an appearance on Logan Paul’s Impaulsive is a chance to reach an audience much younger than Fox News watchers for Trump. For Logan Paul, hosting the polarizing political figure is a chance to drum up a little controversy and bring attention and sales to Prime.

For some brands, associating and implicitly endorsing a presidential candidate, especially in this election, would spell disaster. It’s hard to imagine Coca-Cola rolling out the red carpet for any presidential candidate in Atlanta and gifting a specially-designed bottle of Coke to the contender for the nation’s top job. But Prime, which disclosed sales of $1.2 billion last year, is helmed by Paul, one of the sirens of today’s disenchanted young men, and he serves as a gateway to more toxic manosphere corners of the web. 

Thanks partly to content algorithms used by platforms like TikTok and YouTube, Logan Paul’s podcast will trigger suggestions for content by folks like, say, the Fresh & Fit podcast and Andrew Tate. And you don’t have to venture too far down the rabbit hole to find alt-right media personas with a more political agenda who also talk about “empowering” young men. Think Jordan Peterson and Tim Pool, who are almost always pro-MAGA. While misogyny, homophobia, transphobia, racism, and classism might be expressed more softly on Impaulsive and Fresh & Fit, social media will happily suggest more overt and venomous fare as “related” soon enough by the algorithms that recommend and queue up content at Instagram, TikTok, and YouTube.

Plenty of young men find solace in the overtly patriarchal ideal sold by these political and media figures. For men in their teens and twenties, unsure of their role in society and how to achieve personal and professional success, a simplistic patriarchal blueprint where their supremacy in society is inherent due to gender, and in some cases, their race and religion as well can be a compelling ideology.

Logan Paul and Donald Trump are also similar. Both have no problem scamming their followers, seem immune to consequences, and share a penchant for pomp and pageantry. Trump never recorded the bodies of suicide victims, but he did incite an insurrection. Maybe there are degrees to being a dick, but I don’t care to rank Paul and Trump, and I’ll leave it by saying they’re both awful.

During Trump’s appearance on his podcast, Logan Paul extended an invitation to the Democratic party’s candidate, President Biden. However, given Paul’s delivery, which was followed by a suggestion that Trump release a “diss track” and some unchallenged digs at the president and the “fake news,” it’s hard to gauge the invitation’s earnestness.

Sincere or not, Biden should consider taking Paul up on his offer. The president seems to be losing traction with younger voters, who might be voting in their first election and aren’t old enough to remember the previous times the Trump political circus rolled into town (though given all the oxygen the Trump world sucks up in the media, it’s difficult to see how anyone could have missed it). 

It’s too early to say if his Impaulsive appearance is Trump’s “Arsenio moment” that galvanizes young voters and makes him the cool one running for president or if it’s just another attempt at Paul selling more Prime. It’s clear that Paul and Trump are more alike than it might appear, so for Prime, a Trump association could positively affect the brand.

Rudy Sanchez is a product marketing consultant based in Southern California. Once described by a friend as her “technology life coach,” he is a techie and avid lifelong gamer. When he’s not writing or helping clients improve their products, he’s either watching comedies on Netflix, playing the latest shooter or battle royale game, or out exploring the world via Ingress and Pokémon Go.

The post Prime Slapped Trump’s Name On a Bottle; Should the Brand Really Be Courting Trumpland? appeared first on PRINT Magazine.

Data Visualization/Information Design

First Place

Street Gum Dots Marching Symphony
Jae Young Kim – Pratt Institute
USA

The Street Gum Dots project accumulated 100 findings in multiples to examine the sequence of a database and transform it into visual narratives to represent the experience in graphical representations. Over four weeks, 100 sets of gum dots on street tiles were collected by 3D scanning following the self-constrained walking directions and the shuffled music playing on Spotify.

Second Place

Fashion, Beauty and Post-Colonial Perceptions
Joumana Ibrahim – Savannah College of Art and Design
USA/Dubai

Stereotypes about Arab women’s beauty standards are often perpetuated by Western media, but they overlook the cultural roots of these practices. Historically, grooming and fashion have been integral to Arab culture, with women socializing in gender-specific spaces like Dubai’s hair salons and Damascus’ hammams. Affordable beauty services further widen access. Arab women’s approach to feminism, embracing cultural and religious differences, challenges Western stereotypes. Visual displays inspired by Lebanese Instagram influencer Lilian, using data from Statista, highlight the influence and empowerment of Arab women in their region and globally.

Third Place

Me, My Languages, and I
Joumana Ibrahim – Savannah College of Art and Design
USA

Dissecting thoughts through languages: Consciously extracting and quantifying the components of the languages the designer uses daily. In this project, Joumana looked at her WhatsApp messages and voice notes for two weeks in January and focused on the languages she used when communicating with people. The infographic consolidates all the 600+ data points she extracted from the messages, which are organized using the following categories: languages, relationship, time, date, nationality, emotion, conversation content, and media sharing.

Environmental Design

First Place

Bike Lane Parking Preventer
Yoon Seo Kim – School of Visual Arts
USA

Many New York City bike riders feel stressed when drivers park or load items in bike lanes, despite a new ‘Citizen Reporting’ bill meant to address this issue. Lack of driver awareness and forgetfulness are key reasons for these violations. Yoon Seo Kim designed a bike lane reminder to guide drivers without offending them, finding the process enjoyable and personally meaningful due to their own biking experiences.

Second Place

Elephant in the room
Eason Yang
USA

NED, a non-profit named for “No Evidence of Disease” and “Not Entirely Dead,” champions cancer survivors in the workplace by highlighting their extraordinary abilities forged through adversity, making them exceptionally employable. It challenges the negative perception of cancer-related career gaps, emphasizing that the resilience, determination, and empathy gained from battling cancer are valuable skills sought by employers. The project seeks to raise awareness of the stigma and bias against cancer survivors’ resume gaps, addressing the “elephant in the room.”

Third Place

Fidelis: A Study in Fraktur Calligraphy
Conner Gayda – Jacksonville State University
USA

This installation reimagines blackletter typography by transforming it from its medieval origins into a medium for social commentary. Conner’s hand-drawn calligraphic letterforms adopt the politically charged aesthetics of D.I.Y./punk music, using gritty, highlighter green posters with provocative political imagery to create a contemporary altarpiece. The installation’s centerpiece features three immersive typographic murals made of masking tape, legible only from specific angles to evoke the distorted art of punk music. The largest mural spells “fidelis,” symbolizing perseverance amidst the chaos, and collectively, the installation challenges traditional perceptions of blackletter typography.

IX/UX

First Place

Deafinite
Jingxin Xu – School of Visual Arts
USA

Deafinite is a pioneering suite of Mixed Reality (MR) devices designed to empower individuals with hearing impairments, particularly in travel settings where verbal language barriers may exist. It features an innovative traveling app with Augmented Reality (AR) Navigation for easy navigation and Deafinite Glasses for real-time communication with non-sign language users. This integration of advanced technology enhances accessibility and inclusivity, enabling confident and independent travel for those with hearing impairments.

Second Place

Sproute App Prototype
Zach Hall and Jordan Heath – University of North Texas
USA

Transportation accounts for 29% of total U.S. greenhouse gas emissions. If each worker avoided driving just two days a week, they could cut their annual emissions by about 1,600 pounds per person. Sproute, a navigational app, not only promotes sustainable transit options but also fosters a supportive community encouraging users to adopt eco-friendly transportation. The app gamifies these choices through points, badges, and leaderboards, aiming to make sustainable travel engaging. Developed by a team of two in a junior interaction design course, Sproute features custom illustrations, badges, icons, and maps, with phases including research, wireframing, style guides, and a final Figma prototype.

Third Place

Trash Panda App Prototype
Macy McClish and Keaton Dillard – University of North Texas
USA

Trash Panda addresses the average household’s $1,866 annual food waste issue by offering a user-friendly app for food tracking, inventory management, grocery lists, and meal planning. Designed with custom illustrations and lively copywriting, Trash Panda aims to motivate users to better manage their kitchens. The app features streamlined flows for grocery shopping, recipe management, and inventory organization, along with intuitive list building and helpful notifications. Its branding and logo design emphasize a fun and approachable tool that encourages efficient use of food resources while reducing waste.

Motion Graphics & Video

First Place

Mirage
Jeffrey Xiyang Su, Hanson Ma, Michael Wang – Art Center College of Design
USA

The design team from Art Center College of Design crafted Mirage, an animated short film depicting a poignant love story transcending social barriers. Their aim was to blend the complexities of cyberpunk aesthetics with deep emotional storytelling, showcasing their technical prowess and creative evolution. Premiering at the Ahmanson Auditorium, Mirage symbolizes their journey, emphasizing perseverance, pursuit of excellence, and the power of teamwork in achieving artistic milestones.

Second Place

Happy Little Birthday
Juni Kweon – Art Center College of Design
USA

“Happy Little Birthday” is a touching 3D animation that portrays a personal story about the childhood fear of celebrating birthdays alone. The narrative unfolds from the perspective of a mysterious hand meticulously preparing for a birthday celebration, from setting up music to lighting candles on a cake. Despite efforts, the hand faces loneliness until a little bird appears, offering companionship and a heartfelt gift. This gesture turns the birthday into a joyful and memorable occasion, emphasizing themes of warmth, friendship, and the reassurance that even in solitude, one can find companionship and happiness.

Third Place

Rapp Snitch Knishes
Audrey Whang – School of Visual Arts
USA

In this vibrant animated motion music video for “Rapp Snitch Knishes,” an homage to the late rapper MF DOOM unfolds. The video showcases a captivating fusion of mixed-media imagery and digital collages, capturing the essence of MF DOOM’s persona. Bold typography adds an energetic layer to the visuals, complementing the dynamic portrayal of the legendary artist. Throughout the video, the iconic color palette associated with MF DOOM is prominently featured, infusing each frame with his unmistakable aesthetic. This homage not only celebrates MF DOOM’s enduring legacy but also serves as a testament to his influence on contemporary music and visual culture, ensuring that his artistic spirit continues to resonate with audiences worldwide.

Outdoor/Billboards

First Place

Spy
Ting Jui Chang – School of Visual Arts
USA

The International Spy Museum in Washington D.C., renowned for its exploration of espionage, undergoes a rebranding inspired by the secretive aura of classified documents, notably their blacked-out sections. This motif infuses the museum’s identity with the allure of mystery and secrecy inherent to espionage. By incorporating elements reminiscent of redacted files, the new brand captures the intrigue and clandestine nature of the spy world. This innovative approach transforms the museum’s identity into a captivating reflection of its mission to delve into intelligence and intrigue, inviting visitors on a journey into the covert realm of spies.

Second Place

Go Skateboarding Day
Hyowon Kwon – School of Visual Arts
USA

Skateboarding, which originated from Californian surfers in the 1900s, has evolved to let skaters enjoy it safely even in busy and densely populated narrow cities in 2023. The goal of this project is to elevate skateboarding from a subculture to a mainstream culture through the “Go Skate” campaign and improve the public’s perception of riders by promoting its enjoyment among the general public. The custom typeface draws inspiration from the various perspectives and shapes of ramps seen during different skateboarding techniques. The typeface can appear plain from one aspect and three-dimensional from another and can be read vertically as well. To enhance the readability of this typeface in posters and billboards, a distorted secondary typeface is used.

Third Place

Elevating Everyday Sounds
Chuanyuan Lin – School of Visual Arts
USA

Crafted as dynamic posters and captivating ad designs, this project aims to showcase the beauty and rhythmic potential of everyday sounds while promoting a STOMP show. The designs highlight how this performance art turns mundane noises into a mesmerizing spectacle through visually engaging graphics and compelling messaging. By emphasizing STOMP’s unique blend of percussion, movement, and creativity, the campaign invites audiences to witness firsthand the transformation of ordinary sounds into extraordinary performances. With each element meticulously crafted to evoke the show’s energy and excitement, the posters and ads serve as powerful tools to entice and captivate viewers, drawing them into the world of rhythm and innovation.

Packaging

First Place

Horsepower Cold Brew Coffee
Vasavi Bubna – School of Visual Arts
USA

Just like a car’s engine would seize up without motor oil, many people cannot make it through the day without their caffeine fix. Inspired by vintage motor oil cans, Horsepower Cold Brew Coffee depicts coffee as a fuel for humans. Along with the hand-lettered wordmark, a maker’s mark was also designed to go on the cap of the coffee tins. The ratios on each can represent the steeping time and intensity of the brew. The coffee packages come with a card with mixing ratios for the concentrate, as well as a set of funnels to channel the true feeling of an auto-body shop. The design of these cards was inspired by old gas station receipt designs.

Second Place

Dark Energy
Eshaan Sojatia – Rochester Institute of Technology
USA

In order to show dark energy and other things in the universe, the project had to be done in black and white only. Each cover delves into a different part of a cosmic mystery, from Acceleration of the Universe, Cosmological Constant, Modified Gravity Theories, and Quintessence to Emergent Gravity. Eshaan used a dynamic mix of graphic elements and geometric shapes along with typography to create elements that represent the forces. The designer stuck to a black-and-white color scheme as a metaphor for how mysterious and hard to pin down dark energy.

Third Place

Never Will
Rabiya Gupta – School of Visual Arts
USA

The design team here was tasked with creating type-only album covers based on a randomly assigned art movement and music genre. Rabiya was given the Bauhaus movement and country music and decided to create a cover for Never Will by country music artist Ashley McBryde. Embracing Bauhaus’s emphasis on geometric forms, the designer integrated these elements into my design, infusing it with a sense of modernist aesthetics. However, to imbue the cover with a personal touch, the designer introduced a functional dimension, crafting a typographic pattern and system that echoed Bauhaus principles while also resonating with the spirit of country music. This fusion of influences resulted in a visually compelling cover that pays homage to Bauhaus while capturing the essence of McBryde’s music.

Posters

First Place

Alzheimer’s Poster
Emily Brown – University of Texas at Arlington
USA

This poster was created for Alzheimer’s Awareness. Emily wanted to use collage to show the dispersion of memories and the idea of the loss of self/who you are with the onset of the disease. After seeing what her grandmother and father went through when caring for her grandfather as he lived with Alzheimer’s, she also wanted to include a positive message for parents and caregivers, reminding them that memory loss is not the end of hope. The designer also includes ways to contact the Alzheimer’s Association, where to get help, and how to give to their cause.

Second Place

Barely Hanging On
Sean Howes – University of North Texas
USA

For this project, the designer had to create a poster design to visualize a social issue of our choice. The suicide rate among workers in the construction industry is 53.3 deaths per 100,000 persons, which is much higher than the overall rate of 12.93 per 100,000 U.S. citizens. The hand grasping the bucket of tools symbolized the workers’ strength and pride in their work. The wrist about to snap symbolizes poor mental health, yet the hand still holds onto the bucket, refusing to show weakness even though their “Barely Holding on”.

Third Place

Synesthesia
Jia Li – School of Visual Arts
USA

Synesthesia is a perceptual phenomenon, a “crossing of the senses,” in which one sense triggers another sense. For instance, listening to music may evoke an individual’s perception of colors and shapes. This series “Synesthesia,” explores the relationship between human perceptions, based on how we interpret various sensations, and individuals with synesthesia may “see” sound, “touch” smell, and “smell” color. A person experiencing synesthesia may observe that their senses blend, adding an extra dimension to their perception of the world. For instance, they may associate taste with colors, feel textures when eating, and describe shapes as either “round” or “pointy.”

NEXT: We spotlight student winners in advertising, annual reports, branding identities, brochures, editorial, and logos.

The post PRINT Awards 2024 Student Spotlight: Winners in Packaging, Posters, IX/UX, Information Design & 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.

Annual Reports

First Place

SPH This Year 2023
Susan Prentiss – Boston University Creative Services
USA

Boston University School of Public Health (BUSPH) is preparing for its 50th anniversary in 2026 by releasing a series of annual report-type publications over the next four years. The theme of the 2023 issue is “Our People,” focusing on individuals who have significantly contributed to BUSPH’s legacy. The design aims to create a visual narrative that connects with the audience, featuring stories of these key figures. Inspired by the Beatles’ ampersand typographic pattern, the cover design exudes celebration and vibrancy, using copper foil to draw attention and highlight the names of current faculty and staff. The accompanying duster includes portraits of faculty and staff, setting the tone for this special edition.

Additional credits: Illustrator, Diego Kuffer; Maureen Moran, Rhonda Mello, Rob Davison, Charles Alfier, Veronica Beaudoin, Pam Cooley, Josh Comas-Race. Printer, Kirkwood

Second Place

The Smithsonian Annual Report
Jason Mannix – Polygraph
USA

The Smithsonian Institution, comprising 21 museums and galleries, the National Zoological Park, and nine research centers, collaborated with Polygraph for its 2022 annual report. This report highlights 38 individuals driving the organization forward, creating a cohesive narrative that spans various disciplines. Structured sections group people under common titles, using photographic and illustrative portraiture to add energy and diversity. Short sheets within the editorial grid introduce a playful texture and rhythm, resulting in a richly woven portrait that showcases the Smithsonian’s cultural and scientific innovation.

Additional credits: Lindsay Mannix, Gavin Wade, Laura Hambleton, Elizabeth McNeely, and the entire team at the Smithsonian Office of Advancement. Photography, Stephen Voss, Schaun Champion, Mike Morgan, Paul Chinnery

Third Place

The future is Nuclear, Bruce Power Annual Review and Energy Report
Erin Grandmaison – Bruce Power
USA

The 2023 Bruce Power Annual Review and Energy Report showcases the achievements and partnerships of the past year, emphasizing the pathway to a clean energy future. The Creative Strategy team incorporated a graphical line throughout the design to symbolize various paths, such as journeys, electrical circuits, and future directions. The design features bold text and colors paired with delicate elements like thin lines and icons, creating a dynamic visual contrast. A vibrant electric yellow, an enhanced version of their safety yellow, was used to evoke a futuristic and energetic feel. Documentary-style photography highlights people and the natural environment, with intentional yellow and blue accents to signify safety, light, and innovation. Additionally, the data visualizations were redesigned to improve comprehension and complement the report’s narrative.

Additional credits: Designer, Jessica Hillis; Communications/Writing, Tim McKay, Kate Bagshaw, Megan Adams; Web Development, Jen Johannesen. Photography, Francis Lodaza and Riley Snelling. Printer, Flash Reproductions

Student Honorees – Annual Reports

First Place – Victims First Annual Report by Aurora Schaefer, University of North Texas, USA

Books—Covers, Jackets

First Place

Opinions
Robin Bilardello – Harper
USA

The book jacket design for Opinions by Roxane Gay, created by Robin Bilardello, follows the impactful designs of Gay’s previous works, Bad Feminist and Hunger. Opinions is a collection of Gay’s best nonfiction pieces from the past decade, covering a wide range of topics including politics, feminism, culture wars, civil rights, and more. The anthology includes a new introduction where Gay reflects on the past ten years in America. Known for her role as a New York Times opinion contributor and “Work Friend” columnist, Gay addresses both societal issues and personal dilemmas with her wise and insightful voice. This thought-provoking collection is set to engage her existing fans and attract new readers.

Additional credits: Hand-drawn Type and Author Illustration, Robin Bilardello. Printer, Phoenix

Second Place

Evil Eye
Milan Bozic – Harper
USA

In her new novel, Etaf Rum explores the expectations placed on Palestinian-American women and the impact of unresolved family history. After protagonist Yara faces workplace trouble, her mother attributes it to a family curse, prompting Yara to reflect on her strict upbringing in Brooklyn. Rum’s follow-up to A Woman Is No Man delves into intergenerational trauma and the struggle to break free from cycles of abuse.

Additional credits: Illustration and typography, Lauren Tamaki. Printer, Phoenix

Third Place

Feminist Designer: On the Personal and the Political in Design
Alison Place – University of Arkansas
USA

Feminist Designer, edited by Alison Place, delves into the intersection of design and feminist theory, moving beyond the traditional focus on women’s representation in the field. The book emphasizes collaborative processes that challenge power structures and center feminist perspectives. Designed as a feminist project, it features typefaces created by women, non-binary, or trans designers, bold typography on the cover reminiscent of protest chants, and purple hues symbolizing suffragette history and contemporary activism. Every contributor’s name is prominently displayed on the cover, reflecting the feminist principle of giving credit where it’s due.

Student Honorees – Books—Covers & Jackets

First Place – Zubaan by Ariana Gupta, School of Visual Arts, USA
Second Place – Speaking in Tongues by Yoon Seo Kim, School of Visual Arts, USA
Third Place – Artist Book by Jiawen Zhang, School of Visual Arts, USA

Books—Entire Package

First Place

Milton Glaser, POP
Mirko Ilic – Mirko Ilic Corp.
USA

Milton Glaser, POP contains well over 1100 visuals, covering Milton Glaser’s work from when he was a 12-year-old (1942) to 1975. The book contains many unknown or lesser-known and unpublished works of Milton. This includes some sketches and comps. The challenge was to design the book without distracting from Glaser’s work.

Second Place

Type Something For Me
Joyce Shi – G Axis Press
USA

Type Something For Me documents an interest in typography through three distinct perspectives: type as enigma, type as a way of seeing, and type as reflection. It is the capstone of a year-long exploration into what type can be, and is meant to serve as a starting point for further investigation. With articles such as “The Power of Design(ers)?” “Design as Commodity,” “On Art and Its Form in the Age of Mass Media,” and a number of others, Shi has crafted a volume that offers multiple points of entry for those interested in thinking more deeply about typography and its effects.

Third Place

Alucinação
Felipe Goes – Felipe Goes Designer
Abu Dhabi

This work, curated and edited by Rodrigo Marques from a poem by Samuel Maciel Martins, captures the everyday lives of young, black individuals on the outskirts of Brazil with dense and precise language. Born in Quixeramobim, Martins introduces a persona striving to preserve personal and ancestral memories through a daring artistic consciousness, offering profoundly resonant poems. The book’s black-only print and simple visual design emphasize a rhythm based on mathematical relationships, with stitching as a graphical element. The dust jacket features a poster with simple shapes and vibrant screen-printed colors, contrasting the book’s minimalism. This project, focusing on visual aesthetics and meticulous detail, embodies imaginative fervor and hallucination,

Student Honorees – Books—Entire Package

First Place – Bento Memories by Shiyao Wu, China
Second Place – Dos Palmares by Maíra dos Palmares Santa, Brazil
Third Place – Six-Legged Book by Seo Jin Lee, School of Visual Arts, USA

Brochures & Catalogs

First Place

Naked Trails
Kyle Poff – Leo Burnett Chicago
USA

Granola is often seen as a commodity but Bear Naked aims to elevate its brand from functional to emotional through a campaign designed by Leo Burnett Chicago. Targeting hikers and outdoor enthusiasts, the campaign encourages thinking “Bear Naked” over “granola,” emphasizing the brand’s real ingredients and great taste. As attitudes towards nudity, mental health, and self-expression shift, the niche community of nude hikers has grown. However, despite being legal in National Parks, nude hiking faces challenges due to inconsistent enforcement. Bear Naked’s “Naked Trails,” powered by Gaia GPS, provides a safe, community-supported trail system for nude hikers. Launched on Naked Hiking Day 2023, the campaign partnered with Outside Inc. to produce custom content, video, and social engagement, promoting safe and confident exploration of nature. Additionally, they created a hiker’s belt to hold granola, ensuring hikers are always prepared.

Second Place

MCA NOW
Museum of Contemporary Art Chicago Design Studio
USA

With the international re-opening of museums, the Museum of Contemporary Art produced MCA NOW to amplify museum programming and exhibitions. Building awareness of the MCA to a broad audience, including families, art lovers, and tourists, this new series of collateral is designed as part of a brand refresh to be welcoming and encourage repeat visitation. This first issue, distributed in-person and mailed, transforms from a matte, bi-fold booklet into a 20 x20 inch glossy poster that lists the events and exhibitions of the season. The Creative Studio at the MCA centered full-color, inspirational imagery of both art and the community within the asset, using hits of neon pink from the updated brand palette to highlight museum information and event summaries.

Additional credits: Designer, Brian Hedrick; Director of Creative, Suraiya Nathani Hossain; Production Designer, Katie Williams; Creative Producer, Drew Colglazier; Director of Content Strategy, Kelsey Campbell-Dollaghan; Senior Editor, Tyler Laminack; Chief Communications and Content Officer, Laura Herrera

Third Place

I.a.Eyeworks Booklet
Becca Lofchie – Becca Lofchie Studio
USA

With more than 40 years of groundbreaking work in the realm of optical design, retail/wholesale development, and a frequently slippery, idiosyncratic brand identity, the parameters outlining this print project for l.a.Eyeworks asked for something gigantic in scope and condensed in presentation. The publication’s designer was tasked with serving multiple goals: to encapsulate l.a.Eyeworks’ enormous visual and material history into five “pillars” without becoming a dense and confining history/chronology; to create a document with multiple points of entry and enticing reveals from front to back (and back to front) for anyone unfamiliar with the brand; to make a training manual of sorts for opticians who sell l.a.Eyeworks glasses worldwide; to create a document alluring enough to find a place front of house in independent optical boutiques; to likewise craft a publication that would stand apart from glossy seasonal look books that crowd the optical field; to illuminate the brand’s affinity for artistic collaboration, passion for expressive color, and devotion to thought-provoking wordplay; and above all, to honor the pioneering eyewear designs and visual culture of l.a.Eyeworks.

Additional credits: Photography, Joshua Schaedel

Student Honorees – Brochures & Catalogs

First Place – FORM by Fiona Tran, Drexel University, USA

Concept Work

First Place

Orb Time Font (OTF)
Raven Mo
USA

This clock is called OTF, or Orb Time Font. Living on a tiny blue orb that is the Earth, time is what we all experience, and fonts are the shapes of our languages. Before Raven Mo started research in script and language representation in design, the designer had always thought that our creative industry works around what seems to be everyone’s norm. Design for English-speaking users is just called design, and Latin typography is mostly just typography. Though humans revolve around what is perceived as default, like clockwork, there is so much more beyond Latin and English. To that end, Orb Time Font gives users the choice to recenter the conversation, to people who are native to the language they speak.

Second Place

Hand Copying Meditation
Miki Kawamura
Germany

Miki Kawamura embarked on a year-long project to craft a unique alphabet influenced by Japanese Buddhist principles, fashioning each letter as if reciting a prayer. Inspired by the Japanese belief in perseverance and repetition fostering transformation, Kawamura sought to create a new visual realm by arranging basic elements into bubble-like structures, symbolizing adaptability and diverse meanings through different combinations. Initially resembling typical text posters, a closer look reveals the alphabet embedded within clusters of bubbles, with notable examples including ‘Fizzy’ and ‘The flow of the river is constant and it is not original water,’ achieved by printing the alphabet and spraying water droplets over them. The phrase ‘The flow of the river is constant and it is not original water’ embodies Buddhist concepts of impermanence and ongoing change, encapsulating Kawamura’s reflections throughout the project within the bubbles.

Third Place

Afar: Cultural Cards
Andy Vera
USA

“Afar” is a customized version of the popular two-player card game, Lost Cities, played by designer Andy Vera and his long-distance boyfriend. The project involves the creation of bespoke card decks that reflect their unique identities and shared journeys, with a website documenting the design process. Inspired by their Indian and Mexican heritage, the decks feature thematic elements symbolizing unity and individuality, including a vibrant color palette inspired by Mexico City, Arabic horses representing Vera’s family history, and jaguars symbolizing strength and transformation in Mexican mythology. The face cards replace the traditional Jack with representations of the Queen, King, and “Joining,” signifying unity, while floral motifs from both cultures adorn the cards, with the lotus flower symbolizing divine perfection and unity in their relationship.

Additional credits: Printer, Make Playing Cards

Design for Social Impact

First Place

Foundry Field
Clinton Carlson – Clinton Carlson Design | University of Notre Dame
USA

Foundry Field in South Bend, Indiana, is poised to become one of the rare publicly accessible baseball fields in the urban core, representing a collaboration among various community stakeholders, including an adult recreational baseball league, neighborhood association, Boys & Girls Club, Civil Rights Heritage Center, public schools, and the city’s parks department. Named after the Foundry Giants, an all-Black baseball team from the 1920s, the field seeks to revive history by honoring underrepresented teams and narratives, including an all-black women’s team from the 1940s, a Potawatomi team from the early 1900s, and the pivotal role of South Bend in baseball’s integration in 1947. Featuring murals by underrepresented artists depicting these histories, Foundry Field aims to ignite conversations about race, representation, and accessibility, enhancing the space alongside a vintage baseball field, hand-operated scoreboard, public pavilion, and historical markers. Intended as a community gathering spot for intergenerational play, the project celebrates the strength, resilience, and innovation of historically underrepresented community members.

Additional credits: Creative Director: Clinton Carlson; Design: Clinton Carlson, Kiaya Jones, Neve Harrison, Kenny Garrett, Taylor Li, Catie Procyk, Jennifer Santana, Thomas “Detour” Evans, and, students from Boys & Girls Club and Riley High School; Producer: Clinton Carlson, Michael Hebbeler; Research: Katie Walden, Greg Bond, and Baseball and America students from the University of Notre Dame, Kevin Buccellato, Clinton Carlson, Michael Hebbeler, Matthew Insley, Sean Kennedy, Nick Mainieri; Copywriting: Clinton Carlson, Michael Hebbeler, Matthew Insley, Sean Kennedy, Nick Mainieri, Carrie Gates Jantzen

Second Place

One Small Step
I/D.W Studio
USA

A recent Pew Research Center poll highlighted widespread frustration among Americans regarding the tone of political discourse, particularly leading up to the 2024 election. In response, StoryCorps and I/D.W launched One Small Step, an initiative promoting unity by facilitating conversations between individuals with diverse political views. The initiative garnered significant media attention, including coverage on major platforms such as 60 Minutes and The Wall St. Journal, reaching millions of viewers and generating over 20 million paid media impressions in 2023. I/D.W’s design strategy prioritizes inclusivity, with a scalable design system tailored to each city to encourage widespread adoption and participation. Expanding into Washington DC, the initiative engaged 16 Congressional members from opposing parties, demonstrating its potential to bridge political divides.

Additional credits: Executive Creative Director, Leigh Okies; Creative Director, Sorenne Gotlieb; Design Director, Enrique Barrios; Executive Producer, Alex Ashton; Integrated Producer, Yesenia Lara; Strategist, Sarah Thorpe; Copywriter, David Begler; Photography, Drew Kelly; Motion DP, Andrew Birchett

Third Place

Curt Bloch and his Onderwater Cabaret
Thilo von Debschitz – Q
Germany

During the Nazi occupation of the Netherlands, Curt Bloch, a German Jew, evaded deportation and death by creating 96 magazines titled “Het Onderwater-Cabaret,” containing nearly 500 German and Dutch poems over three years. These circulated within the Enschede resistance network, reflecting Bloch’s emotions of fear, despair, and hope for freedom. Now, 80 years later, these magazines and poems are showcased on curtbloch.com, providing insight into Bloch’s courageous efforts. The website, developed with Bloch’s daughter Simone and supported by German Rotary Clubs, aims to educate about Nazi injustices in the face of contemporary nationalism and antisemitism. It features keyword lists, timelines, and trilingual content, with volunteers worldwide assisting in translating the poems and providing historical context on editorial pages.

Additional credits: Tim Siegert, Normen Beck, Markus Reweland, Mathias Schaab, Luella Döringer, Janic Bussat, Linda Eisenlohr

Student Honorees – Design for Social Impact

First Place – Elephant in the Room by Eason Yang, USA
Second Place – Phantom Limbs: Design Interventions and Site-specific Storytelling by Veronica Tsai, Art Center College of Design, USA
Third Place – Ace Week by Nicole Tocco, Savannah College of Art and Design, USA

Handlettering & Type Design

First Place

Handy Type
Rozi Zhu and Haocheng Zhang
USA

Handy Type revolutionizes type design by integrating interactive hand-tracking data into its dynamic font creation process. Departing from traditional pre-designed typography, Handy Type enables anyone to craft personalized fonts from anywhere, at any time. With the use of artificial intelligence and machine learning techniques, a customized system was made for capturing hand-motion data, aiming to create a new approach to the type design, making both the design process and use experience more playful and innovative.

Additional credits: Lead Designer / Creative Technologist, Rozi Zhu; Designer, Haocheng Zhang

Second Place

Life Less Scary Alphabet
Mitchell Goodrich – Dunn&Co.
USA

Grow Financial, a Federal Credit Union launched the “Life Less Scary” campaign to address the financial anxieties experienced by millennials and Gen-Z. The campaign aimed to recognize and alleviate these fears by personifying financial products as friendly monsters. The design team collaborated with 3D artists to create an alphabet of “monster letters,” which were used in out-of-home placements to represent Grow’s core financial products in a playful yet relatable way. Inflatable versions of the monster letters were featured on billboards, while custom-made monster costumes appeared on various digital and social media platforms, emphasizing the message that financial products can be less intimidating with the help of Grow Financial.

Additional credits: Chief Creative Officer, Troy Dunn; Creative Director, Stephanie Morrison

Third Place

The Typography of a Genius Industry
Gaetano Grizzanti – Univisual
Italy

Fittype is a custom typeface designed for FITT, a prominent European group specializing in garden hose production and advanced fluid technologies. The font utilized for the institutional logo, product names, and communication texts reflects the flexibility associated with the company’s products. Fittype features slender and sinuous letters, with a unicase glyph set that maintains rational proportions and a modular matrix, creating a clean texture reminiscent of an infrastructure network of pipes. It includes 464 glyphs, covering 42 Latin languages, and is available in three versions: desktop, web, and app.

Additional credits: Giancarlo Tosoni

Student Honorees – Handlettering & Type Design

First Place – Up in the Air Gonggi Typography by Jae Young Kim, Pratt Institute, USA
Second Place – Amunet Type by Xinyu Liu, School of Visual Arts, USA
Third Place – Bird Words by Jada Merritt, California Institute of the Arts, USA

Illustration

First Place

Metropolitan Transportation Authority Courtesy Campaign
Ricky Sethiadi – MTA Marketing
USA

The MTA’s “Courtesy Counts” campaign was designed to remind subway, bus, and railroad customers to be considerate of their fellow riders. The campaign seeks to nudge passengers toward better behavior by depicting everyday transit scenes with lively illustrations, witty taglines, and splashes of color. The MTA leveraged nearly 10,000 digital screens, printed posters, and its social media accounts to highlight over 35 unique illustrations covering each mode of transportation, winning positive local media coverage. As more people return to public transportation and re-socialize to life outside their living rooms, “Courtesy Counts” is a fun, friendly reminder that the city works best when we treat each other with respect and kindness.

Additional credits: Designer, John Wong; Illustrator, Sophie Ong; Writer, Chris Sartinsky

Second Place

Joystick Jazz
Mark Borgions – HandMade Monsters
Belgium

This project is the cover art of a 12″ vinyl album containing big band interpretations of classic videogame tunes (Sonic, Donkey Kong, Megaman, Zelda, … ). The album’s music is by the Blueshift Big Band. This release is produced by production company iam8bit in Los Angeles. The cover depicts the main characters of the included games in a jazzy art-style rendering, balanced with recognizable props from these games and musical instruments — all subscribing to the style of the music. The art is produced straight to digital with a limited color scheme (yellow, red, green, cyan), all 100% flat color and their blending, with minor shadow grain. The artwork included the front and back cover, front and back inner sleeve, and labels for this single record release.

Vinyl Producer, Bailey Moses

Third Place

Simple Mills Illustrations
Ellie Schwarts – Design B&B
USA

Vibrant, energetic, and rich, the Simple Mills illustration style conveys the brand’s nutrient-rich and diverse offerings in the better-for-you food aisles. The illustrations artfully highlight the ingredients used across the Simple Mills portfolio, narrate the farming practices that grow them, and hero the individuals who enjoy them. Balanced with a simple geometry inspired by the Simple Mills logo, the library of artwork adds depth, appetite appeal, and humanity to the brand’s expression.

Additional credits: Ellie Schwartz, Olivia Noll, Sammy Smith, Parker Sheley

Student Honorees – Illustration

First Place – Stilts, Bears & Skeletons by Heike Scharrer, Cambridge School of Art, United Kingdom
Second Place – Neon by Xiaoyun Tian, Cambridge School of Art, United Kingdom
Third Place – Gulf Horizons by Jazmine Garcia, University of North Texas, USA

Invitations & Announcements

First Place

Marwen Invitations
Brian Berk – Leo Burnett Chicago
USA

The Marwen Paintbrush Ball is an annual event supporting Chicago’s youth through art, uniting philanthropists and community leaders. Funds raised sustain Marwen’s youth programs, ensuring accessibility without financial burden. Inspired by Marwen’s Art@Work internship program, the design team merged “art” and “work” in their visual language, imagining interns’ creative expressions with office supplies. This approach underscores art’s transformative power and the potential for creativity in everyday materials.

Additional credits: Alisa Wolfson, Shereen Boury; Printer, The Fox Company

Second Place

Monroe Community College Foundation Gold Star Gala Invitations
Jewel Mastrodonato – Dixon Schwabl + Company
USA

The Monroe Community College Foundation’s annual Gold Star Gala is a fundraising event supporting MCC students through scholarships. Each year, a new theme is adopted to generate excitement and attendance. In 2023, the theme was “Wonka’s Garden,” offering a glimpse into Willy Wonka’s colorful and flavorful garden. The agency tasked with developing the concept created a captivating invitation experience. Using specialty print techniques like holographic foil stamping and seed paper, the invitation resembled candy and promised a magical event. A magnifying card allowed recipients to explore hidden messages, enhancing engagement. The event successfully raised $300,000 for student scholarships.

Additional credits: Mark Stone-Chief Creative Officer, Marshall Statt-Executive Creative Director, Nick Guadagnino Copywriter, Stephanie Miller-Prepress Supervisor, Bob Charboneau-Director of Production, Jen Moritz-Senior Copy Editor, Amanda Maxim-Account Director, Mel Brand- Account Supervisor

Third Place

American Heart Association Gala Invitation Suite
Hana Snell – Caliber Creative
USA

Inspired by this year’s theme of floral elegance, the invitation suite designed for the American Heart Association’s annual Côtes du Coeur gala incorporates blossoming greenery and romantic regency into a garden of printed materials. The delicate hand-drawn blossoms, wine motifs, customized script typography, and opulent gold details set the tone for an enchanting vineyard escape of an evening. The set of invitations welcomes patrons to events of indulgence and philanthropy, all leading to the main gala in support of the fight against heart disease.

Additional credits: Brandon Murphy, Erin Brachman

Logos

First Place

Turks Head
CF Napa Brand Design
USA

Pennsylvania’s Main Line Wine Company is a unique establishment featuring a wine lounge, tasting room, and community wine education center exclusively serving their flagship brand, Turks Head. The brand name pays homage to the Turks Head Tavern, a significant historical landmark in West Chester. The project aimed to create an upscale, exclusive brand identity that was simple, elegant, and easily recognizable. CF Napa drew inspiration from the clean design of the tasting room and the Turk’s head knot, a symbol of unity. They developed an icon based on the knot, incorporating an interlocking TH monogram, representing the brand’s connection to the community. The icon, embossed with gold foil, stands out on clean white labels, ensuring brand recognition. The label system allows for flexibility across various SKUs, with a color-coding system highlighting different AVAs and supporting the brand’s educational efforts on terroir impact.

Second Place

Benny’s Bike Shop
Sam Allan – Onfire.Design
New Zealand

Benny Devcich, a legendary figure in the New Zealand bicycling community, established a boutique bicycle shop focusing on professional bike fitting, high-end service, and rare components. Onfire was tasked with creating the brand for this unique shop. Inspired by Benny’s larger-than-life personality and iconic moustache, the design team developed a modern-retro wordmark and moustache icon reminiscent of early 20th-century bicycle emblems. The color palette, featuring British racing green, reflects the historical significance of bicycling culture. The brand has been applied across various materials, including printed collateral, signage, cycling uniforms, and promotional items. Even the wooden ramp leading to the store is hot branded with the logo, honoring cycling history and Benny himself.

Third Place

Kinetic Identity
One Design Company
USA

Kinetic is developing an infrastructure-as-a-service solution aimed at streamlining maintenance for modern digitized vehicles. Their offerings promise seamless speed, accuracy, and precision. The Kinetic logo and monogram reflect their comprehensive, self-contained solution, featuring bespoke letterforms evoking engineering and cutting-edge technology. The visual system, comprising illustration, iconography, animation, photography, and video, honors the innovative solutions designed to ease the transition to the modern era of mobility for various stakeholders in the automotive industry.

Additional credits: David Sieren, Hannah Cormier, Karly Hoffman, Erick Morales, Ryan Paule, Mike Phillips, Danielle Pierre, Kristen Romaniszak; Photography, Connor Weitz

Student Honorees – Logos

First Place – Architectural Digest by Mishen Liu, Art Center College of Design, USA
Second Place – Tiger Ale by Emily Brown, The University of Texas at Arlington, USA

NEXT: Learn more about the winning entries in packaging, data visualization, IX/UX, motion design, environmental/exhibition design, and outdoor/billboards.

The post PRINT Awards 2024 Spotlight: Winners in Type, Illustration, Logos, Book Design, Social Impact & More appeared first on PRINT Magazine.

New categories in this year’s awards program acknowledge the dynamic nature of design and the myriad ways designers integrate with their clients, the brands they represent, and their customers’ experiences. We separated Brand Identities from Brand Campaigns. Packaging Design took a leading role. Our Brand Collaborations category considered campaigns that join brands with other brands, artists, and organizations to expand access to diverse audiences, push industry boundaries, and address social issues.

The award-winning work embodied aesthetic trends such as mixing various weights and fonts.

Left to Right: Hey Barista Magazine | Oatly; Nuit Blanche Tapei | Left Brain; Upside | Erica Holman Design

In Packaging Design and Illustration and Posters, our jury tagged a trend towards 70s nostalgia and vintage minimalism.

Left to Right: Golden Hour | Golden Hour Wellness; Joystick Jazz | HandMade Monsters; Minnesota Twins History Poster | DLR Group

Type Design—always a resource for cutting-edge creativity—included work ranging from bubble type combined with texture to a dynamic font creation process using AI and machine learning techniques.

Left to Right: Life Less Scary | Dunn&Co; Handy Type | Rozi Zhu

The Data Visualization and Motion Design categories also included exciting examples of retro and progressive creativity. Entries included engaging stop-motion graphics and innovative and visually appealing data visualizations and infographics. Honoring both old and new, entries in these categories found ways to present complex data and concepts in easily digestible and truly beautiful formats. Entries in IX/UX Design also made a breadth of information accessible using multi-sensory prompts such as music and street sounds. Printed work, too, tapped into user experience, highlighting the importance of haptics and form to create memorable brand engagements.

Clockwise: City Pulse 2023 | Gensler Research Institute; Origins | The Office of Ordinary Things for D&K Printing; Sappi Holiday Kit | VSA Partners for Sappi North America

We hope you’re as excited as we are with this year’s family of PRINT Awards winners! Below, you can see the winning designers’ names, project descriptions, and imagery of their work from the Monadnock Award, Citizen Design, Professional Best of Show, Student Best of Show, Editors’ Choice, and Agency of the Year.

Over the next few days, we’ll share project descriptions in every category so you can enjoy the full range of creativity, innovation, and joy of this year’s awards.

Monadnock Award

Recipes for Impact
Mark Kaminski, Alina Kosmala – Compass Group
USA

“Recipes for Impact,” is a collaborative project between BLK & BOLD and Canteen, designed by Mark Kaminski at Compass Group. This exceptional book not only showcases artistic and functional excellence in design but also demonstrates profound community impact.

“Recipes for Impact” is more than just a coffee and tea recipe book; it is a testament to the power of thoughtful, community-focused brand initiatives. Crafted with Monadnock’s premium, sustainable paper, each page of this book reflects a shared commitment to environmental responsibility. BLK & BOLD’s initiative, ‘5% For Our Youth,’ which directs proceeds to support children in need, aligns seamlessly with Monadnock’s ethos of making a positive impact through every aspect of their work.

The design team, led by the talented Mark Kaminski and Alina Kosmala, utilized Monadnock’s Astrolite paper to bring their vibrant, barista-tested recipes to life. This choice not only enhanced the visual appeal but also ensured that every aspect of this project was executed with environmental integrity.

Additional credits:
Alina Kosmala; Printer, Walsworth

Citizen Design Award

Read Queer Books
Leila Taylor- Brooklyn Public Library
USA

During Pride, Brooklyn Public Library celebrated the history of LGBTQIA+ communities, reflecting back at the progress that’s been made and looking forward to the future. This year, as a response to the increasing violence, oppression, and discriminatory legislation targeting queer communities, Brooklyn Public Library commissioned a unique piece of art that evoked liberation, resistance, and rebellion. As books centering queer characters and experiences have been regularly targeted in book-banning campaigns, the design team focused their messaging on reading, urging people to challenge the erasure and suppression of LGBTQIA+ voices and to Read Queer Books.

Additional credits:
Illustration, Isip Xin; Copywriter, Lauren Rochford; Production Manager, Jack Cavicchi; Senior Digital Marketing Manager, Jenn Proffitt

Professional Best of Show Award

Seasonal Stationery
BYMAKBAS
MAKBAS Print Studio
Kuwait

“The Ramadan Series” is a special collection designed to celebrate the Ramadan season, which is marked by fasting, worship, and community gatherings. The series includes:

“Ramadan Sparkle” Cards: Hot foil stamped cards to add a festive sparkle; “Rays of Ramadhan” Cards: Blind embossed cards for making a bold statement; “Ramadhan Scene” Cards: Modern architectural line art with neon screen printing, reminiscent of fluorescent lights guiding people home.

For a spiritual touch, the collection includes: “Written in the Stars” Envelopes: Featuring matte gold and silver foil to depict a night scene of shooting stars; “The Hijri Set”: Embossed patterns with gold foil, marking the Islamic calendar’s start through migration.

Additionally, the series encourages gratitude with: “COUNT YOUR BLESSINGS” Journal: A compact gratitude journal inspired by the tradition of counting sheep to foster calm before sleep.

Lastly, to embrace the season’s tranquility: “No Pressure” Notebooks: Five separate notebooks in one, promoting freedom and creativity without the pressure of to-do lists.

The collection concludes with: “Over the moon” Envelopes: Designed for Eid, these envelopes symbolize the joy of children receiving money, featuring night skies and city lights with fluorescent screen printing, extending the “Ramadhan Scene” theme to Eid celebrations.

Student Best of Show

Damaged Goods
Doyeon Kim – School of Visual Arts
USA

Damaged Goods is a contemporary newspaper about film photography. ‘Damaged goods’ are products that are broken, cracked, scratched, and no longer desirable. But in this newspaper, it’s quite the opposite. In film photography, damaged and ruined film and its unexpected moments are aesthetic as they are. Every page in the newspaper is somehow damaged and exposed to light, however visually pleasing. The names of the journalists are also placed irregularly to convey the moments of unexpectedness that the film camera has. Doyeon focused on the art direction of this newspaper– photo selection, color and type choices, and even the photo direction.

Editors’ Choice

Studio Museum in Harlem | Website Redesign
Base Design
USA

Founded in 1968, the Studio Museum in Harlem is dedicated to artists of African descent, serving as a studio for emerging artists and a museum with a curated collection of underrepresented artists. Rooted in Harlem’s cultural legacy, it is a hub for dynamic conversations and exchanges about art and society.

As the museum prepared to move and adopt a more formal posture, it sought a website redesign to enhance accessibility and reflect its vibrant, communal spirit. BaseNYC was tasked with creating an engaging online platform that mirrors the museum’s dynamic energy.

Inspired by Harlem’s brownstone stoops, the redesigned website emulates a dynamic meeting place filled with sounds and voices, reflecting the museum’s lively atmosphere. The focus shifts from artworks to the artists, featuring video and audio clips as peripheral “chatter” to capture the animated essence of the Studio Museum.

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

Agency of the Year

John Kudos – KASA Collective
USA

KASA Collective is an international design agency that creates interactive experiences for public, corporate, and cultural spaces. Their multimedia installations use storytelling, design, and technology to engage audiences. KASA Collective is a collaboration between two award-winning agencies, KUDOS Design Collaboratory and Conduit, who have worked together on complex projects for over 20 years. The agencies have expertise in 2D, 3D, and 4D design. 

This year, KASA Collective won first place honors in Environmental Design for Black Power to Black People Exhibition and second place in that same category for the exhibition Made in Japan. John Kudos, through KUDOS Design Collaboratory also took home second place in Self-Promotions for his beautiful 2024 ONE LOVE Calendar.

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

Professional Honorees

Advertising

First Place—Georgetown Optician – Adventures in A-Eye | Pum Lefebure | Design Army
Second Place—BMW Motorrad – Storied: 100 years of BMW Motorcycling | Justin Page | The Simple Machine

Annual Reports

First Place—SPH This Year 2023 | Susan Prentiss | Boston University, Creative Services
Second Place—Smithsonian Annual Report 2022 | Jason Mannix | Polygraph
Third Place—The Future is Nuclear, Bruce Power Annual Review and Energy Report | Erin Grandmaison | Bruce Power

Books—Covers/Jackets          

First Place—Opinions | Robin Bilardello | Harper
Second Place—Evil Eye | Milan Bozic | Harper
Third Place—Feminist Designer: On the Personal and the Political in Design | Alison Place | University of Arkansas

Books—Entire Package

First Place—Milton Glaser, POP | Mirko Ilic | Mirko Ilic Corp.
Second Place—Type Something For Me | Joyce Shi | G Axis Press
Third Place—Alucinação | Felipe Goes | Felipe Goes Designer

Branding—Campaigns

First Place—SXSW 2024: Global Reframing | Luigi Maldonado | Guerilla Suit
Second Place—East Side Pies | Michael Tabie | Guerilla Suit
Third Place—Central Market Passport Portugal | Dana Nixon | *TraceElement

Branding—Collaborations

First Place—2023 Nuit Blanche Taipei – Time to Rise Up | Department of Cultural Affairs, Taipei City Government; Left Brain
Second Place—2023 Romantic Route 3 – Falabidbog | Hakka Affairs Council; Hakka Public Communication Foundation; Left Brain
Third Place—Confronting Design | One Design Company

Branding—Identities & Identity Systems

First Place—The National Museum in Krakow | Emilka Bojańczyk & Zuzanna Charkiewicz | Podpunkt Studio
Second Place—Portuguese Government | Studio Eduardo Aires
Third Place—GUILD | COLLINS

Brochures & Catalogs

First Place—Naked Trails | Kyle Poff | Leo Burnett Chicago
Second Place—MCA NOW | Museum of Contemporary Art Chicago Creative Studio
Third Place—l.a.Eyeworks Booklet | Becca Lofchie Studio

Citizen Design Award

First Place—Read Queer Books | Leila Taylor | Brooklyn Public Library
Second Place—2023 Manatee Pride Festival – Joining Together to Celebrate Our Community | Craig Byers | Studio Craig Byers
Third Place—The “Q Deck”- LGBTQ+ Educational Cards | Kelly Holohan | Holohan Design

Concept Work

First Place—Orb Time Font (OTF) | Raven Mo          
Second Place—Hand copying meditation | Miki Kawamura 
Third Place—Afar: Cultural Cards | Andy Vera Design

Data Visualization & Information Design

First Place—City Pulse 2023: The Future of Central Business Districts | Minjung Lee | Gensler Research Institute
Second Place—203 X Infographics | Sung Hwan Jang | Infographics Lab 203
Third Place—Global Workplace Survey Comparison 2023 | Minjung Lee | Gensler Research Institute

Design for Social Impact

First Place—Foundry Field | Clinton Carlson Design | University of Notre Dame
Second Place—One Small Step, Integrated Campaign | I/D.W Studio
Third Place—Curt Bloch and his Onderwater-Cabaret | Thilo von Debschitz | Q

Editorial

First Place—The North Face – 50 Years of Parkas Zine | Justin Colt | The Collected Works
Second Place—Hey Barista magazine | Chloe Scheffe & Natalie Shields | Oatly
Third Place—HUE, The Magazine of FIT, The Fashion Institute of Technology: Fall 2023 | Alexander Isley | Alexander Isley Inc.

Environmental Design

First Place—Black Power to Black People Exhibition | John Kudos | KASA Collective
Second Place—Made in Japan Exhibition | John Kudos | KASA Collective
Third Place—Art Deco: Commercializing the Avant-Garde | Ola Baldych | Poster House

Handlettering & Type Design

First Place—Handy Type | Rozi Zhu   
Second Place—Life Less Scary – Alphabet | Mitchell Goodrich | Dunn&Co.
Third Place—The Typography of a Genius Industry | Gaetano Grizzanti | Univisual

Illustration

First Place—Metropolitan Transportation Authority Courtesy Campaign | Ricky Sethiadi | MTA Marketing
Second Place—Joystick Jazz | Mark Borgions | HandMade Monsters
Third Place—Simple Mills Illustrations | Ellie Schwartz | Design B&B

In-House

First Place—BYMAKBAS Seasonal Stationery | MAKBAS Print Studio
Second Place—Lunatix NFT Collection | Ben Morris Sketch | Unilever
Third Place—Cannes 2023 | Luisa Baeta | Axios

Invitations & Announcements

First Place—Marwen Invitations | Brian Berk | Leo Burnett Chicago
Second Place—Monroe Community College Foundation Gold Star Gala Invitations | Jewel Mastrodonato | Dixon Schwabl + Company
Third Place—American Heart Association Gala Invitation Suite | Hana Snell | Caliber Creative

IX/UX Design

First Place—Studio Museum in Harlem Website Redesign | Base Design
Second Place—theo Transformation Advisory Website | Hana Snell | Caliber Creative
Third Place—Fearless Website | Rony Dixon | Texas Tech University

Logos

First Place—Turks Head | CF Napa Brand Design
Second Place—Benny’s Bike Shop | Sam Allan | Onfire. Design
Third Place—Kinetic Identity | One Design Company

Motion Graphics & Video

First Place—Santé: Designed by Patrick Norguet | Molly Skonieczny | Tolleson
Second Place—Doris Duke Foundation: When Artists Thrive, We All Thrive | Bryce Bizer | None Other
Third Place—Dieline Awards 2024 | Justin Colt | The Collected Works

Outdoor & Billboards

First Place—Life Less Scary | Stephanie Morrison | Dunn&Co.
Second Place—I Am Toronto Pearson | Joshua Duchesne | Made by Emblem
Third Place—Dream Streetcar | Matt Wegerer | Whiskey Design

Packaging

First Place—Lou Reed / Words & Music / May 1965 – Special Edition | Masaki Koike | Phyx Design
Second Place—Golden Hour | Miles McKirdy | Golden Hour Wellness
Third Place—The Grappler | CF Napa Brand Design

Photography

First Place—HP OMEN – Choose Fun | Ethan Scott | Designory

Posters

First Place—Upside | Erica Holeman | Erica Holeman Design
Second Place—Minnesota Twins History Poster | Jovaney Hollingsworth | DLR Group
Third Place—Negro Leagues Baseball Museum (Kansas City Monarchs) | Jovaney Hollingsworth | DLR Group

Self-Promotions

First Place—Origins | The Office of Ordinary Things for D&K Printing
Second Place—2024 ONE LOVE Calendar | John Kudos | KUDOS Design Collaboratory
Third Place—2023 Sappi Holiday Kit | VSA Partners for Sappi North America

Student Honorees

Advertising

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

Annual Reports

First Place—Victims First Annual Report | Aurora Schafer | University of North Texas

Books—Covers/Jackets

First Place—Zubaan | Ariana Gupta | School of Visual Arts
Second Place—Speaking in Tongues | Yoon Seo Kim | School of Visual Arts
Third Place—Artist Book | Jiawen Zhang | School of Visual Arts

Books—Entire Package

First Place—Bento of Memories | Shiyao Wu
Second Place—Dos Palmares | Maί­ra dos Palmares Santana
Third Place—Six-Legged Book | Seo Jin Lee | School of Visual Arts

Branding—Identities & Identity Systems

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

Brochures & Catalogs

First Place—FORM | Fiona Tran | Drexel University

Citizen Design Award 

First Place—Lampião da Esquina | Pedro Melo | Federal University of Rio De Janeiro

Data Visualization & Information Design

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

Design for Social Impact

First Place—Elephant in the room | Eason Yang
Second Place—Phantom Limbs: Design Interventions and Site-specific Storytelling | Veronica Tsai | Art Center College of Design
Third Place—Ace Week | Nicole Tocco | Savannah College of Art and Design

Editorial

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

Environmental Design

First Place—Bike Lane Parking Preventer | Yoon Seo Kim | School of Visual Arts
Second Place—Elephant in the room | Eason Yang  
Third Place—Fidelis: A Study in Fraktur Calligraphy | Conner Gayda | Jacksonville State University

Handlettering & Type Design

First Place—Up In The Air Gonggi Typography | Jae Young Kim | Pratt Institute
Second Place—Amunet Type | Xinyu Liu | School of Visual Arts
Third Place—Bird Words| Jada Merritt | California Institute of the Arts

Illustration

First Place—Stilts, Bears & Skeletons | Heike Scharrer | Cambridge School of Art
Second Place—Xiaoyun Tian | Xiaoyun Tian | Cambridge School of Art
Third Place—Gulf Horizons Illustrations | Jazmine Garcia | University of North Texas

IX/UX Design

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

Logos

First Place—Architectural Digest | Mishen Liu | Art Center College of Design
Second Place—Tiger Ale | Emily Brown | The University of Texas Arlington

Motion Graphics & Video

First Place—Mirage | Jeffrey Xiyang Su, Hanson Ma, Michael Wang | Art Center College of Design
Second Place—Happy Little Birthday | Juni Kweon | Art Center College of Design
Third Place—Rapp Snitch Knishes | Audrey Whang | School of Visual Arts

Outdoor & Billboards

First Place—Spy | Ting Jui Chang | School of Visual Arts
Second Place—Go Skateboarding Day | Hyowon Kwon | School of Visual Arts
Third Place—Elevating Everyday Sounds | Chuanyuan Lin | School of Visual Arts

Packaging

First Place—Horsepower Cold Brew Coffee | Vasavi Bubna | School of Visual Arts
Second Place—Dark Energy | Eshaan Sojatia | Rochester Institute of Technology
Third Place—Never Will | Rabiya Gupta | School of Visual Arts

Photography

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

Posters

First Place—Alzheimer’s Poster | Emily Brown | University of Texas at Arlington
Second Place—Barely Hanging On | Sean Howes | University of North Texas
Third Place—Synesthesia | Jia Li | School of Visual Arts

NEXT: We spotlight winners in Advertising, Branding Campaigns, Collaboration and Identities, Editorial, In-House, Photography, and Self-Promotions.

The post Celebrating Excellence and Innovation: Announcing the Winners of the 2024 PRINT Awards appeared first on PRINT Magazine.

Liquid Death isn’t the first brand to think of putting water in aluminum cans instead of plastic. But they might be the first brand to actually make it cool.

That hip edginess that’s attracted a juicy and profitable demographic of young people (and olds) who still want to seem cool is not a happy accident. Liquid Death co-founder and CEO Mike Cessario was a former creative director at Netflix and previously played in heavy metal and punk bands. Launching in 2018, the brand was entering an already crowded water market. Most brands came packaged in single-use plastic bottles, so using a more eco-friendly material like aluminum would draw consumers looking for more sustainable alternatives to everyday products (or for folks who wanted something at a bar that looked like it maybe was a beer but 100% wasn’t).

But being more sustainable than plastic wouldn’t be enough for the kind of success Liquid Death had achieved so quickly. Nearly everyone loves sustainability, but the messaging is often dull, alarmist, or worse, political. Liquid Death would fly the sustainability flag, but it would be more Jolly Roger than Peace Sign.

Part of that strategy has included using raw, edgy, raunchy comedians and celebrities to hype the Liquid Death brand while cursing plastic to damnation. And the “Death to Plastic” messaging wasn’t ambiguous or an afterthought. Instead, Liquid Death cast itself as a bulwark against problematic polymers, mixing stark facts like the abysmal recycling rate here and abroad and that it takes centuries to degrade in the environment with less-than-subtle sexual innuendo and gross-out humor.

You could even say that Liquid Death was poised to be the water beverage brand strong enough to topple plastic bottled water. Our brand knight had finally arrived to take down single-use plastic, and he came in the form of Murder Man, a can-headed behemoth with eye nipples who wielded a battle axe.

However, Liquid Death’s latest product, Death Dust, is a powdered electrolyte drink mix, and it has us wondering if the brand has turned to the Dark Side.

Unlike Liquid Death’s RTD beverages, Death Dust’s packaging isn’t recyclable. The outer packaging is made of recyclable cardboard, yes, but each serving is contained within a single-serve sachet. According to a spokesperson for Liquid Death, Death Dust packaging “is composed largely of paper and foil and has a very thin layer of plastic to protect from oxygen and ensure the product does not become rock hard.”

For a brand hellbent on murdering plastic (and thirst, obviously), this seems like a curious choice, especially for a brand that has been sustainable from the start. Adding a new offering in a mixed-material packet doesn’t feel like it gels with their mission.

Of course, aluminum cans use plastics to line them and act as a barrier to protect the product, a fact that isn’t lost on us or some of the insufferable LinkedIn bros who love to regularly remind their followers. The small amount used doesn’t impact aluminum’s recoverability, as it either burns off or becomes part of the sludge of impurities left over from the process. Strictly speaking, most aluminum cans aren’t “plastic-free,” but the aluminum part is infinitely recyclable, and using a plastic liner doesn’t make it rejectable by Material Recovery Facilities (MRF) standards. Also, without that liner, the acidity in most foods would eat through the aluminum in days.

As for those dust packets, the multiple layers of different materials and small size means “industry standard” sachets like those used by Liquid Death are unrecyclable, as an MRF cannot process them, unlike aluminum cans.

Packaging decisions are complex, including the choice of materials. Some compromises are easier to make than others, and in some cases, an alternative to unrecyclable, single-use plastic that is also viable business-wise might not exist. An expert who understands the complicated, multidisciplinary intersection of branding and sustainability is Brandi Parker, founder of Parker Brands and co-host of the Zero Waste Creatives podcast. Parker’s thoughts on Death Dust’s packaging are more considered and balanced than many of the rants you’ll encounter online by the anti-plastic purists.

“Those chanting ‘plastic-free’ against all odds will raise their pitchforks,” Brandi says. “But, as someone who works in sustainable packaging, I know how difficult the decisions are when launching a new packaging or format, considering the long list of trade-offs that come with such a decision. In this case, packaging powder can be very challenging—a barrier alone can help keep the product from physically escaping. However, the product, in this case, also requires a very significant moisture barrier for freshness. For individual drinks like this, too, it will need a fairly low set of Cost Of Goods (COGs), so a more expensive material is not practical.”

Parker notes many of the positives of these single-serve packets, including using less overall material and a lower shipping footprint, both in volume and weight. These are all pluses for the environment compared to conventional RTD sports drinks. In powdered form, it’s less plastic per serving and has less dinosaur juice burned to distribute it.

Still, “Death to Plastic” is a significant and fundamental part of Liquid Death’s ethos. It won fans over, raised capital, and signed lucrative venue and festival contracts partly because it was a cool brand that would lead the charge against single-use plastic.

If the only option for Death Dust powder packaging is unrecyclable, “industry standard” (an ironic phrase when used by a brand like Liquid Death) sachets, then why even bother with Death Dust? Is the world so in need of yet another powdered electrolyte beverage mix that Liquid Death was forced to bend the knee and start using unrecyclable pouches containing a layer of plastic?

Julia Marsh, co-founder and CEO of Sway, a materials technology firm using seaweed, points out that Liquid Death not only made being anti-plastic such a critical piece of its branding, but it also missed a chance to mainstream one of several alternatives on the market, including Sway.

“As a designer and brand builder, I am an enormous fan of Mike Cessario. I deeply respect the entire Liquid Death brand and find their origin story to be extremely compelling from a design lens,” says Julia. “I believe the can was originally motivated by delight first, and the ‘Death to Plastic’ motto came second. However, Liquid Death is now 100% known for its firm anti-plastic stance and has funneled immense advertising dollars into that messaging.”

Marsh continues, “Liquid Death has an opportunity to herald plastic-free solutions for their powdered drink mixes, helping further mainstream plastic-free packaging. For example, a compostable paper sachet like what Blueland uses for detergent or a home compostable, cellulose-based sachet like Kencko’s smoothie sachets from Natureflex. These broadly available solutions would help elevate Liquid Death’s commitment to making earth-friendly packaging sexy.”

(Also, if anyone at Liquid Death is still reading this, Julia adds that Sway would leap at the chance to collaborate on a compostable seaweed solution for Death Dust.)

According to Liquid Death, retail sales for the brand totaled $263 million in 2023. Based on its latest funding rounds, Liquid Death’s valuation stands at $1.4 billion. That’s impressive growth by any measure. It might also mean that Liquid Death’s market position is so solid that it can take a few steps back from its ardent “Death to Plastic” messaging, and it won’t hurt the bottom line in much the same way Google abandoned its “Don’t Be Evil” philosophy over time with little financial consequence.

“I don’t think it will matter. Customers buy into Liquid Death because of the strength of its brand, not for its eco-credentials,” says Jo Barnard, founder and creative director at Morrama, a design studio focused on creating more sustainable products. “Death Dust has been live for a month or so, and there is only a handful of comments about the conflict between its death to plastic message and clear use of plastic in their sachets. Ultimately, it’s better for the environment to ship a lightweight flavor sachet for consumers to pour into their own tap water than package up water in cans, and there are many other brands with similar intentions. No doubt they will be watching keenly to see how this works out over time. To me, this feels a bit try-it-and-see, and we may well see Death Dust end up as ‘that thing they did in 2024.’”

Maybe the more cynical critics of Liquid Death’s branding were right along, and this was just empty marketing talk draped in edginess and served up to us by rock stars, celebrities, and stand-up comics. Perhaps it doesn’t matter, and Liquid Death is too big now to be toppled by some unrecyclable packaging decisions. Or it’s possible that Liquid Death is yet another example of why consumers should be wary of corporate “allies” to a cause like plastic pollution.

Regardless, Death Dust evokes some of those nagging feelings we might get when our favorite band sells out.

Rudy Sanchez is a product marketing consultant based in Southern California. Once described by a friend as her “technology life coach,” he is a techie and avid lifelong gamer. When he’s not writing or helping clients improve their products, he’s either watching comedies on Netflix, playing the latest shooter or battle royale game or out exploring the world via Ingress and Pokémon Go.

Images via DIELINE.

The post Should Liquid Death’s Powdered Drink Mix Raise Doubts About Its ‘Death to Plastic’ Mission? appeared first on PRINT Magazine.

What the hell is whipped cream doing in the sunscreen section? 

That is the question the sunscreen brand Vacation hopes to elicit from customers, their co-founder and Executive Chair of Marketing, Lach Hall, told me recently from a Zoom he took from their headquarters in Miami. Hall exuded a laid-back confidence one would expect from the mind behind a sunscreen brand that has burst onto the scene with clever, category-defying products and a brilliantly conceived brand world. 

“It’s weird to see Lach with sleeves on right now,” Vacation’s Head of Design, Roy Fleeman, joked. 

“I’ve still got my swim trunks on, though,” said Hall. 

The origin of Vacation starts with Hall and his business partner, Dakota Green. The two have been friends and collaborators for years, initially meeting in New York City in 2013 while working in marketing and advertising together. “A few years back, we were freelancing remotely out of Playa del Carmen in Mexico, and, as you can imagine, we spent a lot of time on the beach drinking piña coladas,” said Hall. “One day, we got to talking about sunscreen and why it’s actually so boring given that it’s used in such fun environments.”

Hall and Green couldn’t help themselves and began looking into the history of sunscreen brands. “We found that sunscreen, as an industry, used to be a hell of a lot more fun back in the 50s through the 80s when it was all about tanning,” Hall continued. “But then in the 90s, when the dangers of tanning became apparent, they moved the whole aesthetic, messaging, marketing, and positioning of all of these brands toward being a lot more clinical. So the thought that we had was, Can we make sunscreen fun? People are on board with wanting to protect their skin now; it’s time to have fun again.” 

And thus, Vacation Leisure-Enhancing Sunscreen was born. Who says piña coladas can’t be the fuel for creative genius? 

Vacation strives to provide highly conceptual, innovative, and fun sunscreen products, exemplified by their Whipped Cream Sunscreen and Chardonnay Sunscreen Oil. They also aim to offer sunscreens with a sensorial focus— “sunscreens that make you look, feel, and smell like you’ve been to paradise and back,” as Hall puts it. But don’t worry, Vacation is by no means sacrificing science for the sake of kitsch; their product formulas offer the best in modern skincare and sun care and do, in fact, effectively protect users from UV rays. “Then we’re coupling all of this with a really immersive, nostalgic brand world,” said Hall. “Just like the product will take you to paradise, we want the whole world to spark joy, no matter what touchpoint people come through.” Much of the success of this world-building can be attributed to Fleeman. 

The Atlanta-based Fleeman has been working with Vacation from the start. He was initially brought on in late 2019 while working at his own agency, Office Hours (Montreal’s Wedge and Studio Bombara also had a hand in bringing the brand to life at its inception). “One of the things that really attracted us to Office Hours was their retro and nostalgic restaurant work; their portfolio was just amazing,” said Hall.

As Vacation grew, so did the time Hall and Green spent working with Fleeman as their needs from Office Hours mounted. “Over time, I pestered him day after day to get him to come full-time and leave his agency,” explained Hall of his courting Fleeman. “I don’t know how we convinced him, but we’re very fortunate we did.” It’s been a year since Fleeman made the official move.  

Leaving one’s own design agency to work for another brand full-time, in-house, is a giant leap, but Fleeman’s gradual decision to do so speaks to the special sauce of Vacation and the exciting brand they’ve conjured up. “Eventually, it just made sense to come on full-time and in-house, just because of the amount of work,” Fleeman said. “I’d also accomplished and checked off many of the things I wanted to do with my own agency— specific clients, types of work. So it all just made sense and fell in place.” 

Ultimately, Fleeman himself couldn’t pass up on paradise. 

“The world-building that Lach has established really spoke to me,” he said. “That was something I was doing with the restaurants and brands I was working with; it’s about the whole feeling of what you’re trying to get across to people instead of just the design of the logo, menu, or sign.” 

Fleeman said he found himself captivated by working with the Vacation team and the satisfaction of pulling the whole brand together across all its touchpoints. “We’re making these brands within the brand,” Fleeman elaborated. “Lach describes this as ‘Willy Wonka style.’ We’re not just slapping a logo on everything and calling it the new Vacation product. When we start a new product, there’s a whole conceptual process behind it— How does this live within the Vacation world? What is its own world within the Vacation world? That’s what truly excited me. No other brand was doing that. I can’t think of anyone else that treated products like this.” And when you look at the whole suite of Vacation products, they’re all very different offerings. What’s impressive is that they all feel a part of the same world.

Going from the fast pace of agency life to Vacation was seamless for Fleeman, considering that, in some ways, Vacation’s approach is comparable to an agency, with new products and their worlds launching in quick succession. “I get bored easily, and there’s no getting bored at Vacation.”

Hall and Fleeman each bring unique and specific influences with them that have indelibly permeated the core of the Vacation brand. The distinct 80s-Miami feel the branding is infused with can be traced partly to Hall actively living in Miami. Meanwhile, Fleeman’s penchant for retro design aesthetics is partly attributed to his dad being a sign painter. 

“Dakota and I have actually always lived in this brand world, and in a way, sunscreen was just the perfect product to bring this whole world that we already had in our minds to life,” said Hall. “I believe that some of the best brands in the world are genuinely just true personifications of their founders—Nike, Patagonia, Liquid Death—and Dakota and I are a combination of la buena vida and Miami Spice. We chase the good life and old 80s leisure items like shrimp cocktails and oysters; I’ve always lived in this 80s Miami world and have been for about 15 years. We weren’t chasing a trend at all with Vacation. We were putting out something really true and honest to who we are.” 

Vacation’s retro aesthetic, nailed by Fleeman, comes to him just as authentically. “Going down to my dad’s sign shop and seeing him hand-paint signs, I’ve always tried to bring anything like that into my work. I appreciate a little bit of grit. I like how, in the 80s, if there was a cut-out image on something, someone sat there with scissors, and sometimes you can even see the edge from where they actually cut out that thing. That tactical nature speaks to me, and I think it speaks to many of us in this company. That was probably truly the last decade that that stuff was happening before computers completely took over. We all kind of feel like phonies here in the art department because we’re using Photoshop and cutting things out quickly. The true heroes were the people creating these actual ads in the 80s and hand-setting the type.” 

Vacation is dizzyingly prolific, putting out new products at an impressively swift cadence. Five months into 2024, and they’ve already released seven new products: Instant Vacation SPF 30, Orange Gelée, “Vacation” By Vacation® Shimmer Oil SPF 30, Super Stick SPF 45, Studio Tone SPF 50 3-In-1 Bronzing Drops, and Shake Shake SPF 50 Mineral Milk. When asked where their ideas for new products typically come from, Hall shared there’s a formal and an informal process. The structured route comes through identifying a need in the market, wherein one of their retail partners (like Nordstrom or Ulta) will approach them with a trend they’ve identified and then ask them to come up with a product that taps into it with the Vacation spin.

For example, when Vacation decided to come out with their own face mist sunscreen, they began riffing on the idea of wearing it every day, even when going to work at an office. “We started laughing about the concept of an office sunscreen, or what we ended up calling ‘Sunscreen for the Boardroom’ or ‘Corporate Sunscreen,'” said Hall. “So then we developed a whole world around a sunscreen that was built for business.”

“It would be easy just to say, Hey, we’re gonna do a face mist sunscreen, let’s go shoot it at the beach or the pool. But anyone can do that,” added Fleeman. “What’s our weird angle for these things? How do we cut through the noise of other sunscreen brands and stand out with the art direction, and the headlines, and the way we talk about it? It’s always finding that weird, funny thing that we all think is a little humorous and strange but ties into it. ‘Sunscreen for Business’ just helps bring everything all together.”

The more informal way Vacation develops new products is through organic brainstorming, which happens naturally within an office of genuinely creative people. “As you can imagine, we’re a really creative company, and we have a lot of fun,” said Hall. “Our company Slack is just buzzing with fun ideas and people sharing old 80s ads or different product ideas. Every day, there are too many ideas for us ever to make. We have to meet every couple of weeks to cull these ideas down into what should actually go into formal product development.” 

Vacation’s flourishing success is a testament to the power of in-house creative teams and the magic that can come about when collaborators work together intimately with an aligned, authentic vision. 

“It would be impossible to create brand guidelines for this brand. A lot of it goes by feel,” said Fleeman. “There are so many brands within the brand. It’s kind of terrifying to some people, but I love that. The flexibility of it, but within a group of people who know exactly what it should be, just by the feel. It would be impossible to put it in words. We found a group of people who just get it, and it’s great to work together every day.”

Images © Vacation, Inc. 2023.

The post Life’s a Branded Beach (When You’re Vacation) appeared first on PRINT Magazine.

There’s a noticeable divergence from the clinical and sterile aesthetic typically associated with menopause products. Instead, a new wave of brands is embracing elevated design and language that not only speaks to women’s agency and self-actualization in self-care but actively contributes to it, all with an undercurrent of refinement and timelessness. 

One striking aspect of this design shift is the emphasis on packaging that feels more akin to luxury skincare or wellness products rather than traditional pharmaceuticals. Brands like Stripes, a holistic skin and wellness line founded by Naomi Watts, and Somé, luxury cooling sleepwear and sheets, have taken cues from high-end cosmetics, opting for sleek, minimalist packaging adorned with elegant typography and subtle branding. In some product lines, glass bottles, antique brass accents, and thoughtfully curated color palettes add elegance, making these products feel more like coveted beauty essentials rather than medicinal remedies.

Images © Stripes

Another notable trend in this space is the departure from gendered stereotypes and clichés. Unlike some period care products that lean heavily into overtly feminine branding, menopause brands like Stripes aim for a more inclusive and sophisticated aesthetic. By eschewing traditional notions of femininity, these brands cater to a diverse range of women, offering products that feel accessible and appealing to all. And, as we’re seeing more and more period care brands leave behind the stereotypical tropes, think August and Cora, and more platforms speaking opening up the period conversation, like The Period Conversation, it becomes a natural progression for menopause brands to do the same. 

At the heart of this design evolution lies the concept of timelessness. Brands like Lusomé have drawn inspiration from iconic French elegance, aiming to create products that not only transcend age and resonate with women across generations but are timeless. “We’re trying to offer consumers products that are beautiful and thoughtful but also provide symptom solutions,” says Lara Smith, CEO of Lusomé and Somé. By infusing their designs with sophistication, these brands ensure that their products remain relevant and desirable, regardless of the customer’s age or stage in life. When creating her brand, Smith’s design aesthetic goal was that of iconic French supermodels. “I love their timeless elegance and aesthetic. And that’s how Lusomé was originally designed,” she notes.

Images © Lusomé.

Designers and brand creators are crafting products and experiences that acknowledge the emotional and physical journey of menopausal women. From soothing color palettes to ergonomic packaging, every element is thoughtfully curated to provide comfort, dignity, and a sense of empowerment to the consumer. No longer are menopause brands entirely focused on the bottom line. There’s a new understanding that products that relate more authentically to the consumer are the brands that will succeed. 

“All these symptoms are wreaking havoc, from brain fog to hot flashes to emotional dysregulation and the fact that we can’t have kids anymore. That’s an emotional thing,” says Smith. “The empathy for male designers to put yourself in the shoes of a woman going through this transition is emotionally very challenging. How do we make her feel beautiful, comfortable, wrapped in elegance, and exuding confidence? That is important from a design point of view.”

Deb Millard, Brand President of Stripes, says, “I think it all goes back to the consumer. You must be in touch with who they are and what they’re looking for. If you’re doing something in an ivory tower, thinking this is what people want, you’re not in touch. You need to be in touch with your consumer. You need to talk to her; you need to understand her. Make sure you know who your customer is.” 

“What needs to continue to happen is education and research, and doctors need to get trained on menopause. Women need to know what questions to ask and be empowered through their journey and how they deal with this,” notes Millard. “When all those things collide, this conversation won’t be a conversation anymore because it’ll just be how we live our lives. This is a moment in time when design and branding are helping crack open the conversation.”

The conversation is shifting from one that was hush-hush and full of shame to one that showcases the beauty in aging. “We want people to age; aging means that you’re still alive. And so for us, it is really about being supportive,” states Millard. 

Hand in hand with the evolution of design and menopause education comes investors finding the value in menopausal care. “In the world of investment at getting private equity or tech venture or VCs to pay attention to startups, there is a trend of FemTech which covers period care, as well as menopause, or anything female health,” says Smith. “If there’s an influx of capital into brands, it allows us to do more research and infuse more design-related resources to make our brand stand out as it gets more competitive. I think it will continue to shift in the right way.”

As we navigate this new era of menopause care, it’s clear that design will continue to play a pivotal role in shaping the industry. With an increasing emphasis on aesthetics, inclusivity, and empathy, more brands will embrace these principles and revolutionize how we perceive and experience menopause. As consumers demand products that not only alleviate symptoms but also elevate their sense of well-being, the future of menopause care is undeniably bright, beautiful, and empowering.

The design evolution in menopause care represents a significant step in approaching women’s health and wellness. Brands are not only transforming the visual landscape of menopause products but also revolutionizing the way we think and talk about this paramount stage of life.

Header image © Lusomé.

The post Branding Menopause: A Shift Towards Elevated Conversation and Design appeared first on PRINT Magazine.

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

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

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

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

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

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

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

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

Imagery by Landor.

The post Landor Milano’s Delicious Rebrand of Imperia appeared first on PRINT Magazine.

It is with sorrow that our future AIGA San Francisco Design events, San Francisco Center for the Book openings, and California College of the Arts gatherings will be without Tom Ingalls. He had a warm smile, infectious laugh, and effervescent spirit that will be greatly missed. Tom left us on the afternoon of April 10, surrounded by his sister and close friends.

Tom’s accomplishments were many. From the moment he arrived in the Golden State during the 1970s, when he received his Master of Fine Art from California Institute of the Arts, he was a star. Tom began his rapid rise in design, first as an in-house designer at Los Angeles County Museum of Art then expanding to a publishing career at the Los Angeles Magazine, Outside Magazine, and Rolling Stone.

When “the Michael’s” (Vanderbyl and Manwaring) recommended that he come north and teach at California College of the Arts, he took on the challenge with great zeal and spent the subsequent 40 years tutoring the next generation of Bay Area designers.

In the 80s, he was a founding member of the San Francisco AIGA Chapter. Many years later, he was honored as an AIGA Fellow for his “contribution to raising the standards of excellence within the design community.” A well-earned recognition of his passion for the printed word.

Not satisfied with running his own design office and teaching, he expanded his interests to include another of his loves—food. Tom always liked to combine his work and play whenever he could, so it was only a matter of time before his love for designing and collecting cookbooks merged with his pursuit of new ways to grill, scramble, roast, or sauté. His seemingly endless joy from finding the best, most unique butcher, baker, and sausage maker in San Francisco could only be surpassed if he could engage you in his journey of discovery.

Tom’s other passion was golf. He didn’t agree with the oft-quoted “a good walk spoiled,” as Tom just loved playing, be it in the Bay Area at Berkeley Country Club (where he also designed the logo) or anywhere he traveled that had lush greens, 18 holes, and a great grill. Again, his love of design and golf were intertwined with Missing Links Press, where he published a range of fine art and design books, many including poetry.

Tom was always warm, generous, and inclusive in every social situation. You were never alone when he was with you. Once, for a July exhibition opening at the San Francisco Center for the Book, which featured my collection of Flags on Paper, Tom volunteered to be the grill master—complete with chef’s tools and aprons—coaxing my son Christopher into being his sous-chef. His generosity made our evening so much more special. Thank you, Tom.

Tom will be missed by all: those who spent just 15 minutes with him, enjoyed a round of golf with him, or shared a lifetime with him. He lives on through everyone he taught or shared a meal with.

I will remember him as a great designer, colleague, and friend.

Photographs courtesy of Petrula Vrontikis

The post Remembering Tom Ingalls (1949-2024) appeared first on PRINT Magazine.

Key Points From This Episode:

• Hear about her start in skincare and why she pivoted to plant-based baking.
• • The opportunity she saw for an inclusive, healthy, and sustainable baking business.
• Why she finds the food industry more exciting than the beauty and skincare industry.
• Discover how she transitioned from baking for herself to developing a baking brand.
• She shares details about her research and development process.
• The role Drexel Food Lab played in creating the Bake Me Healthy product range.
• How her company champions upcycling techniques to combat food waste.
• Explore her passion for women-owned businesses and sustainability.
• Ways the Certification for Women-Owned Businesses offers support.
• Uncover her journey to sourcing sustainable packaging for her products.
• Unpack the hurdles and limitations of making compostable packaging.
• She shares the biggest lesson from her professional career.
• Gain insights into her approach to innovation and customer feedback.Find out how listeners can support Bake Me Healthy.

Read the transcript and find links from the episode at Brands for a Better World.

The Brands for a Better World podcast (formerly Evolve CPG) is hosted by Gage Mitchell, founder (CEO) and Creative Director at Modern Species, a sustainable brand design agency helping better-for-the-world brand launch, evolve, and grow to scale their impact.

The post Brands for a Better World: Sustainable & Inclusive Baking appeared first on PRINT Magazine.

Today’s guest is Sadrah Schadel, founder and CEO of No Evil Foods, a nationwide plant-based protein company that she and her life partner started in their kitchen in 2014 with just $5000. After a few major hurdles which we discuss during today’s episode, they got to a point where they were weeks away from running out of money and having to shut their doors.

Tune in to hear about the rise, fall, and recent rebrand of No Evil Foods!

Key Points From This Episode:

• Factors that inspired Sadrah and her life partner, Mike, to found No Evil Foods.
• An overview of the journey of No Evil Foods from Sadrah and Mike’s kitchen in upstate New York to a nationwide plant-based meat provider.
• Factors that are foundational to the company culture at No Evil Foods, and the award they won as a result!
• Major hurdles that No Evil Foods has been presented with over the past few years. 
• Sadrah shares the challenges they experienced during the process of scaling their manufacturing. 
• How No Evil Foods differs from many other plant-based protein brands.
• Lessons that Sadrah learned through dealing with her employees’ desire to form a union.
• The value of being transparent and showing vulnerability as a leader.
• The rebranding that No Evil Foods has recently undergone.
• Valuable advice for other entrepreneurs. 

Read the transcript and find links from the episode at Brands for a Better World.

The Brands for a Better World podcast (formerly Evolve CPG) is hosted by Gage Mitchell, founder (CEO) and Creative Director at Modern Species, a sustainable brand design agency helping better-for-the-world brand launch, evolve, and grow to scale their impact.

The post Brands for a Better World: When Everything Goes Wrong appeared first on PRINT Magazine.

To help us explore this topic, we are joined by Alicia Lahey, Co-Founder and CEO of Humble Snacks, Canada’s first organic potato chip packaged in 100% plastic-free, compostable bags. We discuss Alicia’s experience in big food, why she and her husband made the shift to a more sustainable lifestyle, and why she didn’t want to launch her own brand unless it came in better packaging, plus so much more.

To find out how you can continue to innovate in the natural and organic snack category and ensure that your packaging mirrors the philosophy of your brand, you won’t want to miss today’s episode!

Key Points From This Episode:

• Some of the challenges that come with adopting sustainable packaging solutions.
• Why Alicia and her husband were so committed to creating eco-friendly bags.
• Lessons learned from SunChips’ infamously noisy packaging.
• A look at Humble’s partnership with A Plastic Planet to develop their plastic-free bag.
• The importance of investing in plastic-free or plastic-neutral initiatives.
• Limitations of compostable packaging and how Humble seeks to solve them.
• How proving sustainable packaging successful will move the needle for larger brands.
• Alicia’s take on the future of better snacking (and where there’s room for innovation).
• Other product categories that Humble will expand into in the future.
• The inspiration behind their ‘humble’ brand name.
• Why communication is key when working with your spouse in your family business!
• Hurdles Alicia and her husband had to overcome to get their product on shelves.
• Valuable fundraising tips for other purpose-over-profit founders.
• Identifying (and filling) a gap in the market for organic, light, crispy, skin-on potato chips.
• Insight into Alicia’s research and development process for Humble Snacks.
• How Alicia found her way into the CPG industry, starting with driving a truck!

Read the transcript and find links from the episode at Brands for a Better World.

The Brands for a Better World podcast (formerly Evolve CPG) is hosted by Gage Mitchell, founder (CEO) and Creative Director at Modern Species, a sustainable brand design agency helping better-for-the-world brand launch, evolve, and grow to scale their impact.

The post Brands for a Better World: Shifting Towards Sustainability appeared first on PRINT Magazine.

Collaborating closely with the creative minds at Mrs&Mr La Colombe’s new visual identity pays tribute to the coffee roaster’s rich graphic tradition while infusing it with a contemporary twist. Highlights of the redesign include a revamped wordmark, meticulously hand-drawn to evoke a vintage charm and a renewed sense of pride and authenticity. The iconic dove emblem, symbolic of La Colombe’s pioneering spirit, has been reinvented to exude uplift and forward momentum, reflecting the brand’s commitment to innovation. Accentuating La Colombe’s core values, this rebrand resonates throughout every aspect of its identity – from the logo and packaging to the café ambiance and retail presence.

“We created a refreshed brand look to honor La Colombe’s powerful heritage and simplicity, seamlessly tying together the brand experience in products and cafes,” said Chobani Founder and Chief Executive Officer, Hamdi Ulukaya. “The result is a beautiful reflection of our premium offering, thanks to our deep, creative collaboration with Kate and Daniel of Mrs&Mr over many months to get it just right.”

To complement the brand’s evolution, Mrs&Mr introduced a bespoke typeface. Inspired by industrial fonts, Draft Latte Sans is infused with a human touch, mirroring the artisanal craftsmanship that defines La Colombe’s products. The refreshed color palette, featuring warm tones and creamy hues, invites consumers to indulge in a sensory experience.

The refreshed identity comes together in the Draft Latte packaging, where every detail conveys a sense of authenticity and quality. The can’s base color, now a luscious cream tone, echoes the freshness of farm-fresh milk, while the enlarged logo and subtle drop shadow ensure maximum shelf presence. The curvature of the Draft Latte logo mimics an overflow of froth, while the addition of ‘ESTD 1994’ proudly showcases La Colombe’s 30-year legacy in the coffee industry.

“All of this culminates in a design system that reflects the heritage, craft, and quality that La Colombe puts into every aspect of their coffee experience,” said Kate Wadia, Founder and Creative Director of Mrs&Mr.

The collaboration between the Mrs&Mr team, Chobani’s leadership, and La Colombe’s CMO, Kathryn O’Connor, has created a visual identity that honors the brand’s legacy and paves the way for a new era of coffee experiences.

As people interact with La Colombe, they can expect flavors and experiences crafted with passion and dedication. With the launch of the Draft Latte line and the unveiling of its refreshed look, La Colombe invites coffee enthusiasts to savor every sip and embrace the artistry behind each can.

The post Mrs&Mr Brew Up a Delicious Refresh for La Colombe appeared first on PRINT Magazine.

Despite recent glimmers of hope, the economic situation in the UK continues to be challenging. One in four UK families said they were regularly running out of cash for essentials, as double-digit inflation, high energy bills, and soaring mortgage rates hit British consumers in the most severe cost of living crisis in living memory.

While headline figures in the US look more impressive, the reality for many people has been just as tough. Incomes have stagnated for many, credit card debt is at a record $1.13 trillion, and 65% of Americans live paycheck to paycheck.

How do brands respond? This has been a key question for the drinks brands we represent in Denomination’s London and San Francisco studios. In a tough economy, brands need to work even harder to maintain market share, revenue, and margin and they’re looking for ideas on how to achieve that.

For many brands, the answer has been simple: emphasize affordability. And for a great many, it works. Sales of own-label products in the UK rose nearly 12% in 2023. Target has just introduced Dealworthy, its cheapest-ever range, all costing under $10. In most markets, new, cheaper entrants have done well—look at the success of Shein or Temu in the fashion industry.

For every successful downshifter, many brands fail to gain traction at the lower price point, losing revenue as well as margin. Simply shifting down to a basic proposition does not mean you no longer need to stand out, connect with the consumer, and become a valuable part of their lives.

Value is Relative

In drinks, we’ve seen sales of sparkling wines soar, but not everyone can afford to spend £60 on a single bottle of bubbles. Instead, cremants and proseccos — great quality, delicious, and affordable alternatives to classic champagne — satisfy people’s desire for a sophisticated, bubbly celebration. The Della Vite range from the Delavigne sisters is an excellent example of a brand creating a more premium perception of prosecco whilst offering value compared to champagne.

It’s not only the start-ups that can do this; long-established brands can, too. Gordon’s recent redesign drags it from the back of the cupboard, dusts it off, and reimagines it as a contemporary, even funny, brand that everyone can afford. Just as Waitrose did all the years ago when it renamed its basic range Essentials, Gordon’s is finding ways to help people feel good about making the democratic choice.

What people see as valuable is changing. Where once we ascribed value to conspicuous consumption, today it is as often found in alignment with core values such as sustainability and equity.

The New Luxury

There’s something more fundamental at work here too. What people see as valuable is changing. Where once we ascribed value to conspicuous consumption, today it is as often found in alignment with core values such as sustainability and equity.

So, Method’s refill system doesn’t feel like a penny-pinching choice – we pick it for its environmental impact. In the same way, people choose Wise Wolf from our client Accolade Wines at £10 to £12 for its disruptive, stylish look and feel, fall in love with the fact it’s 100% recyclable, and don’t feel like they’re missing out on a more expensive bottle. “I took a chance on this wine and I’m glad I did,” says one Sainsbury’s review. “The bottle was unique and looked high-end and the wine was great value for money.”

Others are using language cleverly: lighter variants emphasizing ingredients, fruity waters relaunching as infusions, seltzers highlighting refreshment and calorie reduction. The London Essence Company is doing this brilliantly with its tonics, positioning them less as a dilution and more as an addition.

Finally, we’re seeing some clever innovations around format. Wine boxes are less expensive but also more sustainable in terms of environmental impact, drink longevity, and portion control. Equally, it would be far cheaper to buy the ingredients for Moth’s can-only cocktails and make them yourself, but if you’re looking for an affordable alternative to a night out and you only want to buy one or two, then they’re a great option that doesn‘t feel like a sacrifice.

The Harder Path

Value need not be synonymous with basic. There are brands in drinks and beyond that are putting in the effort, and leading the way. We recommend working to understand what would bring value to your consumers’ lives beyond a simple price reduction.

Gaining that strategic insight isn’t easy – but as tough economic times persist, people will find their way to brands that are not only less expensive but also resonate, inspire, uplift, and generally add value to their lives. What’s more, when the economy does pick up, those customers will be ready to explore other, more premium parts of your brand.

Images courtesy the author.

The post Beyond Basic: Rethinking Value for Today’s Beverage Consumers appeared first on PRINT Magazine.

Joining us today to share the keys to the success of an impact-driven brand is John Foraker, Co-Founder and CEO of nutrition-focused kids’ food brand, Once Upon a Farm. In this episode, we discover the most valuable lessons John learned from scaling Annie’s Homegrown, how he came to partner with actress and Once Upon a Farm co-founder, Jennifer Garner, and how he weaves impact into the brands he builds.

Tune in for this revealing episode on scaling without compromising culture, and committing to making an impact.

Key Points From This Episode:

• Introducing John Foraker, Co-Founder and CEO of Once Upon a Farm.
• John’s advice for scaling an impact-driven brand.
• The importance of baking impact into the DNA of your brand.
• The three most valuable lessons John learned from scaling Annie’s Homegrown.
• How and why both John and actress Jennifer Garner got involved with Once Upon a Farm.
• The fundamental belief that drives John to use business as a force for positive social change.
• The benefits of the public benefit corporation model.
• Hiring advice and criticism of the historical corporate mindset.
• The importance of authenticity as a leader (and the danger of imitation).
• Reframing the term “organic”.
• How John married his passion for food and farming with business.
• The value of graduate studies and continuous learning in business.
• Once Upon a Farm’s purity promise and their partnership with Save the Children.
• The evolving nature of B Corp.

Read the transcript and find links from the episode at Brands for a Better World.

The Brands for a Better World podcast (formerly Evolve CPG) is hosted by Gage Mitchell, founder (CEO) and Creative Director at Modern Species, a sustainable brand design agency helping better-for-the-world brand launch, evolve, and grow to scale their impact.

The post Brands for a Better World: John Foraker of Once Upon a Farm appeared first on PRINT Magazine.

Founded in 1972 on the Upper West Side, H&H Bagels has grown from a local favorite to a cultural institution cherished by New Yorkers. With plans to launch numerous new franchised and company-owned locations across the country, the challenge was clear: modernize the brand while staying true to its New York roots and appealing to a broader demographic.

As H&H Bagels prepares for a nationwide expansion, it has turned to the expertise of High Tide, a renowned New York City-based creative studio specializing in brand identity. High Tide is no stranger to building NYC fast-casual/dining brands, known for its work with Dig Inn, Sweet Chick, Mexicue, and many others. The goal: extend a warm invitation to people across America to indulge in the authentic taste of a New York City bagel.

We saw it as a huge responsibility to bring an iconic local institution to everyone in a way that showcases what makes NY culture so special.

Danny Miller, Founder and Creative Director, High Tide

For High Tide, the opportunity to reimagine H&H Bagels held personal significance. “This project brought back memories from my childhood of stopping by H&H on my way to Central Park,” explains High Tide’s Founder and Creative Director, Danny Miller. “We saw it as a huge responsibility to bring an iconic local institution to everyone in a way that showcases what makes NY culture so special.”

The transformation began with a new visual identity, encompassing everything from the website and packaging to signage and interior design elements for each physical location. The logo, featuring clean custom lettering set against a redesigned version of the original seal, strikes a balance between modernity and homage to the past.

Typography, photography, and color were carefully curated to convey a sense of accessibility and premium quality. A mix of serif, sans serif, and script typefaces adds depth and character, while vibrant pops of color inject energy and excitement into the brand’s visual language.

Jay Rushin, CEO at H&H Bagels, acknowledges the significance of this evolution: “As we embark on a new chapter with our national expansion, enhancing our visual identity was essential to delivering an elevated experience for our customers.” Miller adds, “Wherever someone experiences H&H, the brand should stand out – welcoming others to feel the excitement of eating a classic NYC bagel.”

With High Tide’s expertise, H&H Bagels is poised to captivate taste buds and hearts across the country, all while preserving the essence of a beloved New York institution.

The post H&H Bagel’s New Identity by High Tide Sparks Nationwide Craving appeared first on PRINT Magazine.

The west-coast-based brand strategy and interactive studio People People is committed to helping companies across the Northwest and beyond discover and tell their stories — and have been doing so for over 20 years.

The brief from Thorntail was clear: create a visual identity as light, energetic, and uplifting as the beverage itself. People People’s solution? An abstract illustration of a thorntail hummingbird, complemented by a script typeface and tones of teal influenced by the Blue Weber agave plant.

Thorntail defies categorization—it’s not quite a seltzer or tequila, but something entirely new. This presented both a challenge and an opportunity. Rather than following the usual tropes of the market, People People sought to break away from the norm and communicate the product’s uniqueness.

The packaging needed to feel fresh, vibrant, and invigorating, mirroring the attributes of the beverage. Inspired by the Blue Weber agave plant, the brand’s light and dark teal blues evoke a brightness that reflects Thorntail’s refreshing taste. Maintaining color consistency across all packaging was a strategic move to bolster brand recognition, a departure from the common practice of changing backgrounds per flavor.

Drawing inspiration from Thorntail’s namesake—the thorntail hummingbird—People People created an abstract illustration of the bird, symbolizing upward flight for an uplifting feel. A script typeface inspired by the hummingbird’s graceful movements adds a touch of elegance to the brand’s visual identity.

‘Hard Agave’ or ‘Fermented Hard Agave’ is prominently displayed alongside the logo and product name to intrigue consumers. With limited packaging space for detailed information, Thorntail’s website serves as a hub for in-depth education, featuring a playful infographic detailing the production journey of hard agave from farm to can.

People People’s creative approach ensures that Thorntail Hard Agave stands out on the shelves and resonates with consumers seeking a unique and refreshing experience. In a market saturated with choices, Thorntail’s brand identity soars above the rest as a beacon of originality.

The post From Hummingbirds to Hard Agave: Crafting Thorntail’s Refreshing Brand Identity appeared first on PRINT Magazine.

Traditionally filled with money and given as tokens of good wishes, red packets are integral to Chinese New Year celebrations. The Year of the Dragon holds special significance, symbolizing success, honor, and dignity — believed to bring growth, progress, and abundance.

The Secret Little Agency created the Long Bao to celebrate this auspicious year. A play on words, the name is derived from the pronunciation of the Chinese character for dragon, which is ‘lóng’ or ‘loong.’

This dragon year, we decided to extend the red packet and make it long-er.

The Secret Little Agency

Nodding to a rich tradition, The Long Bao also serves up some humor and a contemporary aesthetic, making the symbol of good fortune a unique gift.

This limited edition creation captures the Chinese New Year’s essence and exemplifies The Secret Little Agency’s commitment to creativity and innovation. Founded in 2009, The Secret Little Agency remains the only creative agency in Singapore to be named both Independent and Creative Agency of the Year multiple times in the last decade.

With only 1000 pieces available in this exclusive run, the agency plans to distribute them to friends and partners in Singapore and worldwide. Intrigued? Request your own Long Bao with an email to The Secret Little Agency.

The post ‘Long-er Bao’: Singapore’s The Secret Little Agency Celebrates the Year of the Dragon appeared first on PRINT Magazine.

Brand Collaborations

Who doesn’t love a good collab? They’re seemingly everywhere, from fashion to health and wellness and beyond. Brand collaborations offer a powerful opportunity to unite the visual identities of two distinct entities in a way that reflects both – but stands alone. Collaborations can happen between two brands but also include a brand with an artist, organization, or influencer that amplifies a campaign’s voice, reach, and messaging. When executed well, the intersection can help both parties communicate new messages (including some that address social issues or push industry boundaries) and reach a broader, more diverse audience. And great design makes it more compelling.

Branding Campaigns

Today’s brand campaigns demand a multichannel, multimedia approach. To recognize all it takes to create a brand campaign that covers every angle, from print to environmental, packaging, UX and UI, and more, the PRINT Awards have created a category that encourages designers to share your full campaign creations, from logo to app design to merch.

Packaging Design

What makes a product jump off the shelf? Creative packaging design can take a product’s success from good to outstanding. Creativity comes in every shape, color, size, and material. We’re excited to add the packaging design category to this year’s awards to consider how successful packaging design can attract consumers, communicate the brand message, protect the product, and – with sustainable materials – protect the planet.

The post Good Things Come in Threes appeared first on PRINT Magazine.

BETTER Climate Store, a new online marketplace built to change this while fighting climate change and spreading planet positivity. Climate change can be an overwhelming, layered, and frankly depressing topic. Navigating brands that say “sustainably sourced” can come with caveats. BETTER Climate Store sells sustainably made, responsibly sourced, locally-produced products with a cheeky take on a complex issue. BETTER founders are award-winning creative directors leveraging their decades of design experience to combat climate change through art, humor, and technology.

Products like Greenwash, a soap that “washes away climate guilt,” and a candle called Memories of Clean Air that inspires awareness about the raging wildfire smoke and microparticles we breathe every day. BETTER brings a lightness and irreverence to a serious issue.

The most transformative component of BETTER’s work is that proceeds from the store funnel to the BETTER Climate Fund, a decentralized, community-governed endowment that finances climate mitigation projects.

Images via: Better Climate Store

The post Wash Away Climate Guilt at BETTER Climate Store appeared first on PRINT Magazine.

It is interesting to see how the Chinese depict the spectrum of American diversity in the above graphic. As you can see below, the illustrators were less politically correct or subdued with the graphics produced for the actual fireworks packaging. From the product names to the graphic design, these labels suggest both joy and wonder at the sound and fury of gunpowder igniting on a hot summer’s day. If you are a pyrotechnical kind of person or interested in the practice, check out this PyroTalk site.

The post The Daily Heller: Do Not Hold in Hand After Lighting appeared first on PRINT Magazine.

Today, she presents us with Pavise, which utilizes new technologies with first-to-market molecules, such as their patent-protected DiamondCore® Shield Technology, a new class of metal oxide molecules with superior safety, efficacy, and wearability.

Sophie approached CENTER to name and build a suncare brand that would challenge the status quo by bringing a touch of luxurious fashion into the laboratory. Inspired by the electrifying and intensely-saturated visuals produced under the microscope, the packaging system features a vivid 3D recreation of Pavise’s patented DiamondCore® Shield, balanced by a refined typographic system that instills trust and embodies a brand rooted in extensive scientific research.

Pavise doesn’t just excel in its performance, but also shines in its exceptional packaging design with bright microscopic elements that effortlessly stand out among its competitors. Pavise takes innovation to the next level by incorporating an iPhone attachment camera and a user-friendly app, empowering you to accurately assess skin damage and determine the ideal level of protection required. This cutting-edge integration of technology enhances everyday skincare and breaks barriers in the beauty industry by offering products suitable for all skin types— a remarkable inclusion that sets it apart in a category previously known for its limited inclusivity.

Learn More: Pavise

The post Shielding Skin in Style with Pavise appeared first on PRINT Magazine.

One of their most recent branding projects was creating the look and feel for a line of Asian-inspired tea lattes, Narra, founded by siblings Miggy and Victoria Reyes. They were keen on embracing their Southeast Asian heritage not only in their product, but in the branding as well. “Narra is the national tree of the Philippines, both resilient and strong; we wanted to encapsulate that into the branding,” said Delisle in a press release. “We love working with emerging companies that have such clear vision right off the bat, and the Reyes are a perfect example of clients who are able to align their values with what they are trying to achieve with their brand in such a seamless, symbiotic way.”

The Working Assembly team had an inspired idea to incorporate the Filipino tradition of weaving and textile-making into the Narra brand identity. “We reinterpreted the banig— a traditional handwoven mat— by creating patterns resembling the square tiles of the handwoven designs and combining them with modern illustrations,” said designer Erika Romanczuk in a press release. “We used these combinations throughout the brand system, from the can designs to the website.”

Delisle and co. extended the colors and illustrations designed for the product to the Narra website they created in tandem, integrating hover effects and an unscrambling illustration game in the site footer. The tone of these playful hues and motifs comes through in the copy as well, which sets Narra apart from most other brands in the tear category. “So many other canned lattes lean into a refined tone that can feel inaccessible,” said Erik Poh, Senior Copywriter. “As soon as we tried Narra, we knew it needed a more playful voice to match its light and delightful flavor.”

Narra is officially hitting stores this summer, just in time for sunny beach days and park picnics with pals.

The post Tea Latte Brand Narra Has a Vibrant Look Inspired by the Southeast Asian Culture of its Founders appeared first on PRINT Magazine.

These noble goals and business model deserved a brand identity to match. Now, thanks to the exemplary design work of Pentagram, Ben’s Best Blnz has the look and feel to achieve this greatness.

As a self-described “old white guy,” Cohen was intentional about creating a nonprofit cannabis company that directly supported and worked with Black entrepreneurs. This commitment extended into the branding design process. The design team, Led by Pentagram Partner Eddie Opara, developed an eye-catching brand identity and packaging system that prominently features the work of Black artists and designers. The system harnesses vibrant colors in graphic brush stroke textures along with loud and varied typefaces inspired by protest graphics.

B3 wanted to stand out visually in the already jam-packed cannabis space, which is dominated by certain tired visual motifs like marijuana leaves and green hues. To underpin what sets B3 apart in this field, Pentagram created a visual language that focuses on the brand’s message over their marijuana.

“The goal for the Ben’s Best graphics was to be honest and artful— to reflect the quality of our products and the social mission of our brand,” Cohen said on Pentagram’s website. “The focus on this issue is something that a lot of other brands might mention, but virtually no other brand makes it so prominent. Pentagram helped us to integrate typefaces created by Black designers and original artwork by Black artists into our packaging, which is our major form of marketing.”

Expressive typography is the core of Pentagram’s creation, primarily featuring fonts from Vocal Type Foundry (founded by Tré Seals) that highlight critical moments in history for marginalized communities, like the Civil Rights Movement in America and the Women’s Suffrage Movement in Argentina. Additional type in the B3 system was designed by Joshua Darden.

The B3 logo was designed with flexibility in mind, composed of dynamic letterforms that can shift in size and scale. It can also be used as a framing device for imagery within graphics throughout the website, on social, and in the product packaging.

Another priority for B3 was creating eco-friendly packaging, and Cohen worked closely with Pentagram to ensure as many components as possible were sustainably made and recyclable. As such, the team opted for materials such as tin, glass, metal, and cardboard over the common plastic standards. In addition to these important material considerations, Pentagram was thoughtful in the visuals and copy adorning the packaging. The products are covered in calls to action to decarcerate and deschedule cannabis, along with powerful quotations from Black leaders like Angela Davis and Nelson Mandela. Every package also features a small ice cream cone icon as a subtle homage to Cohen’s Ben & Jerry’s roots.

“The packaging is deliberately heavy on type and text; it is designed to be explored and discovered over time as the reusable tin lays around the house,” Cohen elaborates via Pentagram. “At times we thought of the packaging as an artfully designed Dr. Bronner’s soap bottle. But it turned out to be so much more than that.”

The frenetic typography is layered with the work of Black artists, including two commissioned pieces from multimedia artist Dana Robinson and Opara himself (see below, respectively).

B3 will launch its initial line at local dispensaries in Cohen’s home state of Vermont, and their full range of products is viewable on B3’s website now.

Pentagram Partner: Eddie Opara

Project Team: Jack Collins, Raoul Gottschling, Ruben Gijselhart, Dana Reginiano

Collaborators: Claudia Mandlik, photographer; Dana Robinson, illustration; Vocal Type, typography; Darden Studio, typography; Michael Justiz, type animations; Jacob Macdonald, web development

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