Photography and Design – PRINT Magazine https://www.printmag.com/categories/photography-and-design/ A creative community that embraces every attendee, validates your work, and empowers you to do great things. Tue, 03 Dec 2024 13:15:20 +0000 en-US hourly 1 https://i0.wp.com/www.printmag.com/wp-content/uploads/2023/08/cropped-print-favicon.png?fit=32%2C32&quality=80&ssl=1 Photography and Design – PRINT Magazine https://www.printmag.com/categories/photography-and-design/ 32 32 186959905 Meanwhile No. 221 https://www.printmag.com/creative-voices/meanwhile-no-221/ Tue, 03 Dec 2024 16:05:00 +0000 https://www.printmag.com/?p=783029 Daniel Benneworth-Gray on tracing the origins of typography with Type Archive, Spektrum books, and more click-worthy diversions for the week.

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Type Archived – the definitive account of the legendary Type Archive, providing a stunning visual tour of traditional typefounding, tracing the origins of typography and the printed word – is now crowdfunding at Volume. Had the pleasure of visiting the Archive a few years back, and it was incredible, so this should be GOOD.

Hand-bound books, honest stories and photography as evidence – design and book-making studio Zone6 is putting narrative-driven documentary photography at the front of its print runs.

“Breaks are for wannabe writers. Time and time again, I hear the laments of the undisciplined crying out, ‘Oh, I need to clear my head.’ Ridiculous. You need to resist the siren song of temptation emanating from your bladder or the dog scratching at the backdoor or the pain radiating from your chronic carpal tunnel and get down to work.”

How to write 100,000 words per day, every day.

David Pearson has ‘grammed a fantastic selection of Spektrum books designed by Lothar Reher between 1968 and 1993 for the German publisher Volk und Welt. Never seen these before and now I want all of them.

“Rampant consumerism has consumed us” – how queuing for stuff became just as important as buying it.

Tame Impala’s Kevin Parker announces The Orchid synthesizer, a new songwriting tool, ideas machine and dust-gathering object of bleepy bloopy technolust.

Animauteur1 Don Hertzfeldt on using Photoshop:

“You don’t know what you’re not allowed to do. I still don’t know, but I’ve felt better about myself because I have spoken to people who are in technical positions in cinema who are like, “Yeah, I don’t know what half this stuff does either.” I think it’s a sign of good software where you don’t need to. A sign of good software to me is it’s intuitive, and you can put your things in, and hopefully behave like an artist and make a mess and not break things. The downside is when you realize there’s something you could have done easier a long time ago.”

… from this excellent Slate interview

All the World’s a Stage, the new David Campany-curated retrospective of William Klein’s photography at Lisbon’s MAAT, looks wonderful.

If, like me, you’ve been given very clear instructions to not ask Santa for yet more books to arrange in neat piles around the house, Creative Boom’s annual gift guide is always a good place to look for alternative stocking fillers.

The Boom’s bluesky starter pack is also worth a click. Or you could just follow me.

That is all.

  1. Yeah maybe don’t hold your breath waiting for that one to catch on, Daniel. ↩︎

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

Header image courtesy of the author.

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Two Craigs: 26/52 https://www.printmag.com/illustration-design/two-craigs-week-26/ Mon, 02 Dec 2024 14:30:00 +0000 https://www.printmag.com/?p=782970 Craig Cutler's and illustrator Craig Frazier's weekly creative prompt perfectly captures our post-holiday travel mood.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out the full series as it unfolds.

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


Shatter

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

Craig Frazier

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

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Two Craigs: 25/52 https://www.printmag.com/design-culture/two-craigs-week-25/ Mon, 25 Nov 2024 14:30:00 +0000 https://www.printmag.com/?p=782452 This week, photographer Craig Cutler and illustrator Craig Frazier wish you a holiday week with a little wind at your back.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out the full series as it unfolds.

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


Wind

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

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Ari Seth Cohen’s New Book Explores Aging with Vitality and Our Pets https://www.printmag.com/photography-and-design/advanced-pets/ Thu, 21 Nov 2024 16:27:45 +0000 https://www.printmag.com/?p=782248 The photographer continues celebrating aging, style, and connection in his latest book, "Advanced Pets."

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Photographer Ari Seth Cohen has been on a mission to celebrate sartorially and spiritually flamboyant older women for almost two decades. Cohen’s project, Advance Style, which he’s built into somewhat of an empire and cultural movement, has an avid following across social media platforms, inspired a 2014 documentary of the same name directed by Lina Plioplyte, and has led to three books: Advanced Style, Advanced Style: Older & Wiser and Advanced Love. For his latest installment in the ever-expanding Advanced Style universe, Cohen has released a fourth book, Advanced Pets, portraying the special connection between the women he photographs and their beloved pets.

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

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

(Lightly edited for clarity and length.)

Where did your idea for Advanced Pets originate? 

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

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

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

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

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

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

Charlotte and Joan Cusack

Exactly! It is hard to put into words! 

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

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

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

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

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

Nazare, Eduardo, and Jack
Shannon and Daisy

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

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

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

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

Sandra and Lucy

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

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

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

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

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

via Miss Moss

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

Rory and Elsa

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

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

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

Linda and Lil Buddy

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

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

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

Jackie and Betty

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

Jackie and Betty

Header image: Valerie von Sobel

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Meanwhile No. 219 https://www.printmag.com/creative-voices/meanwhile-no-219/ Tue, 19 Nov 2024 16:00:00 +0000 https://www.printmag.com/?p=782062 Daniel Benneworth-Gray on Caravaggio in black and white, the technicolor influence of Kayōkyoku Records, and Chris Ware on Richard Scarry.

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So I finally finished Ripley and now I’m a little obsessed with Caravaggio. Specifically, how his work appears in the show – in stark black and white. The result is quite stunning, accentuating the chiaroscuro contrasts in Caravaggio’s paintings while presenting them as something new. Would love it if Taschen put out a special Ripley edition of The Complete Works minus the colour. … Actually, while I’m making demands of publishers, why the heck haven’t Netflix produced a photobook to go with the show? It’s so very photographic; pretty much every shot a static composition, screaming to be printed.

Other recent chopping-abouts on IG.

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

Loving Fred Aldous’ photobooth collection of goodies.

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

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

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

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

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

Kurt Cobain’s Youth Culture Scream Time.

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

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

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

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

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

That is all.


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

Header image courtesy of the author.

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Announcing The 2025 PRINT Awards Call For Entries https://www.printmag.com/print-awards/announcing-the-2025-print-awards-call-for-entries/ Tue, 19 Nov 2024 13:17:28 +0000 https://www.printmag.com/?p=781447 Celebrating our 45th year, the PRINT Awards honors design in every shape and form. The 2025 PRINT Awards is officially open, with new categories, an incredible jury, and the Citizen Design Award exploring the intersection of social justice and design.

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The 2025 PRINT Awards honor the beauty of creativity in full bloom.

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.

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Two Craigs: 24/52 https://www.printmag.com/illustration-design/two-craigs-week-24/ Mon, 18 Nov 2024 14:30:00 +0000 https://www.printmag.com/?p=781738 What's organic and ages gracefully? This week's creative prompt by Two Craigs: illustrator Craig Frazier and photographer Craig Cutler.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out the full series as it unfolds.

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


Wood

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

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Two Craigs: 23/52 https://www.printmag.com/creative-prompts/two-craigs-week-23/ Mon, 11 Nov 2024 14:30:00 +0000 https://www.printmag.com/?p=781258 "The two most important warriors are patience and time." - Leo Tolstoy. Two Craigs tackle the latter, not just once but twice for this week's prompt.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out the full series as it unfolds.

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


Time

after Time

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

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Meanwhile No. 217 https://www.printmag.com/creative-voices/meanwhile-no-217/ Tue, 05 Nov 2024 16:00:00 +0000 https://www.printmag.com/?p=780838 What better way to distract from the US election returns than some seriously cool links from around the interwebs, curated by Daniel Benneworth-Gray.

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I spent the weekend being utterly dismantled and emotionally wrecked by The Wild Robot. I think it helped that I went in completely blind – somehow I’d made it all the way to the cinema without having seen a single clip of the film, so I had no idea what to expect. The whole thing is still settling in my head, but right now I’d happily put it alongside WALL-E and The Iron Giant; and it’s up there with the best of recent Western animations for its focus on artistry over photorealism. Director Chris Sanders in this month’s Sight and Sound:

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

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

Animation Obsessive Staff help me out here.

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

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

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

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

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

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

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

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

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

That is all.

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

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

Header image courtesy of the author.

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

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Two Craigs: 22/52 https://www.printmag.com/illustration-design/two-craigs-week-22/ Mon, 04 Nov 2024 14:30:00 +0000 https://www.printmag.com/?p=780741 Can you handle this week's Two Craig's creative prompt? Photographer Craig Cutler and illustrator Craig Frazier came out unscathed.

The post Two Craigs: 22/52 appeared first on PRINT Magazine.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out the full series as it unfolds.

Go backstage on the Two Craigs website to see their thought process as they translate each prompt through photography and illustration.


Hot

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

The post Two Craigs: 22/52 appeared first on PRINT Magazine.

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Two Craigs: 21/52 https://www.printmag.com/illustration-design/two-craigs-week-21/ Mon, 28 Oct 2024 13:30:18 +0000 https://www.printmag.com/?p=780191 Illustrator Craig Frazier's and photographer Craig Cutler's weekly collaboration is anything but this week's prompt.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out the full series as it unfolds.

Go backstage on the Two Craigs website to see their thought process as they translate each prompt through photography and illustration.


Small

Something is only small in relation to something larger—scale. If I wanted the figure to be small, I needed to diminish it in relation to its environment.

Craig Frazier

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

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Two Craigs: 20/52 https://www.printmag.com/design-culture/two-craigs-20-52/ Mon, 21 Oct 2024 13:30:00 +0000 https://www.printmag.com/?p=779834 For this week's Two Craigs creative prompt, the illustrator and photographer duo set out to see things from a different perspective.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out the full series as it unfolds.

Go backstage on the Two Craigs website to see how they set about translating the prompt through photography and illustration.


Angle

© Two Craigs, Craig Frazier and Craig Cutler

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

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Design Army Brings the Glamour to Holiday Family Drama for Morphe Cosmetics https://www.printmag.com/advertising/design-army-holiday-campaign-morphe-cosmetics/ Mon, 14 Oct 2024 20:01:06 +0000 https://www.printmag.com/?p=779446 Channeling the chaos of The Bear's "Fishes" episode, Design Army executed the campaign as a series of mini-episodes, capturing the essence of holiday family antics.

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The holidays are a time of joy and celebration, and let’s be honest, family drama. Channeling the chaotic energy of The Bear’s infamous “Fishes” episode, Design Army’s latest campaign for Morphe Cosmetics takes holiday family dynamics to a whole new (and glamorous) level.

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

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

Pum Lefebure, Chief Creative Director, Design Army

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

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

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

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

Pum Lefebure, Chief Creative Director, Design Army

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Two Craigs: 19/52 https://www.printmag.com/illustration-design/two-craigs-week-19/ Mon, 14 Oct 2024 13:30:00 +0000 https://www.printmag.com/?p=779311 Two Craigs' weekly creative prompt has the photographer checking the weather and the illustrator finding inspiration in the other.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out the full series as it unfolds.

Go backstage on the Two Craigs website to see how they set about translating the prompt through photography and illustration.

Spin

I couldn’t resist riffing on Craig’s spinning top in his ‘balance’ photo. After drawing the little graphic top, I realized that it felt static—not spinning. So I made it into a diagram by adding a little cut paper arrow.

Craig Frazier

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

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Thalia Gochez Honors Latine Identity Through Her Immersive Photographs https://www.printmag.com/photography-and-design/thalia-gochez/ Wed, 09 Oct 2024 18:35:33 +0000 https://www.printmag.com/?p=779126 The LA-based photographer shares her journey and commitment to connect with her community.

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My photography is deeply community-connected, so none of this is worth it if my community doesn’t feel rightfully represented.

Los Angeles-based photographer Thalia Gochez bought her first camera at a flea market for a buck and never looked back. Raised just outside of LA in Pasadena in a Mexican-Salvadorian household, her Latine heritage is the central force behind her point of view as a photographer and the worlds she captures in her work. After seeking refuge in the art form while in college, Gochez unlocked the power of the medium for herself and has continued to hone her unique perspective as an image maker.

Coming upon Gochez’s recent collaboration with stylist Kaamilah Thomas in a series entitled “Yo Soy Latina,” I was instantly entranced by her subjects and the love she so clearly bathed each within in every photo. I had to reach out to learn more about her journey and ethos as a photographer; her responses to my questions are below.


When did you first get into photography? What inspired you to pick up the camera?

I’m self-taught and started taking photographs back in 2017. Photography found me when I needed it most. I never really excelled in academia, but decided to go to my local community college to take some courses that were of interest; I took a fashion styling class and started to find my creativity.

During an assignment for the class, I had to work closely with a photographer for a photoshoot I conceptualized. I couldn’t help but feel an urge to take the camera away from him and start taking the photographs myself. The next day I went to my local flea market and got a film camera for a dollar. After that, I started taking photographs every chance I could, like in between my two jobs, before school, after school, truly whenever. 

Simultaneously, I was going through a lot of anxiety, and I realized photography was the only time I was truly able to live in the moment. It’s been a huge source of liberation for me. 

How would you describe your personal aesthetic and style as a photographer? 

It’s really important to me to always photograph style and story. I’ve always been interested in photographing beyond a fashion-led visual, to honor and highlight various BIPOC identities and experiences. I’d say my photographic aesthetic is docu-style, with a fashion editorial contemporary twist.

There’s a palpable warmth, intimacy, and love infused in your work. How have you achieved this, both from a technical photography standpoint and in terms of the person-to-person trust with your subjects?

I always say our greatest photography tool is to engage in genuine conversation. In my first year of image making, I used a cheap, $1 Minolta film camera. It’s never been about the equipment, but more about learning the story and connecting with people beyond when the cameras are turned on.

I always say our greatest photography tool is to engage in genuine conversation.

If I’m building genuine connection and community, the photos will always be the bonus. A lot of times I’m photographing folks in environments that they are connected to and rooted in; the location mirrors their identity. I view the location as another talent, always trying to highlight it the way I would highlight a model. 

I love a soft, even light and I tend to go warmer to highlight the subject’s gorgeous skin tone. 

How do you find and identify the people you shoot? What’s that process like? What details or characteristics about someone typically catch your photography eye?

Casting is super important to me; it’s the foundation of every photoshoot. 

Who I’m photographing informs the creative. 

Who I’m photographing informs the location. 

Who I’m photographing gives the project a heartbeat and pulse.

I’m always interested in photographing all BIPOC identities and tend to gravitate toward women-identifying individuals because that’s who I feel I connect with most organically.

Casting varies depending on the project, but sometimes it’s a friend of a friend, a cousin, someone I find on social media or someone I scout on the street around my neighborhood. A lot of times I feel like we find each other and the project just unfolds so naturally. I find that a lot of the projects I create focus on evoking a sense of nostalgia, so typically what interests my photographic eye is highlighting the latine experience. It’s often a deeply shared lived experience amongst many people.

I first discovered your work through your “Yo Soy Latina” series. Can you tell me a bit about that project specifically– how it came about, your vision, collaborating with stylist Kaamilah Thomas, the execution, etc?

Kaamilah and I were fans of each other and had such a genuine urge to collaborate. She told me a bit about her Afro-Latina side, and how she wanted to highlight that in some way for a project. I instantly knew this was something I wanted to highlight as well.

Historically, we often only see white or light complexion Latinas represented in mainstream media. Our goal was to honor and celebrate deeper complexion Latina identities. Through months of planning, “Yo Soy Latina” was born. It was a true collaboration in every sense of the word. We connected on styling, hair, casting, make-up— every aspect of the photoshoot was collaborative.

Kaamilah is an incredibly talented person and took the styling to another level. It was always important to me to incorporate culturally specific items that wouldn’t be traditionally fashionable into the creative. The creative was meant to feel very nostalgic but with a contemporary twist. It’s truly some of my favorite work I’ve done this year.

What sort of experience do you hope viewers of your photographs have? What are you hoping to communicate with your images? 

I hope the viewers feel the love and care I have for the people I photograph. 

I hope the right people feel represented and beautiful. 

I hope I inspire others to create with integrity and respect. 

I hope the people I photograph feel properly honored and their story never gets misconstrued. 

My photography is deeply community-connected, so none of this is worth it if my community doesn’t feel rightfully represented.

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Five Latinx-Owned Brands Infusing Culture and Creativity Into Everyday Life https://www.printmag.com/culturally-related-design/five-latinx-owned-brands-infusing-culture-and-creativity-into-everyday-life/ Tue, 08 Oct 2024 12:40:42 +0000 https://www.printmag.com/?p=779102 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.

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Hispanic Heritage Month, from mid-September until October 15, is a time to highlight the vibrant contributions of Latinx-owned and operated businesses shaping industries across the globe, celebrating identity, craftsmanship, and community.

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.

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Two Craigs: 18/52 https://www.printmag.com/design-culture/two-craigs-week-18/ Mon, 07 Oct 2024 14:00:00 +0000 https://www.printmag.com/?p=778460 Begin your week with a shot of inspiration. Photographer Craig Cutler's and illustrator Craig Frazier's (aka the Two Craigs) ode to our favorite creative juice.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out the full series as it unfolds.

Go backstage on the Two Craigs website to see how they set about translating the prompt through photography and illustration.


Coffee

It wouldn’t be honest if I didn’t explore the cup. I love drawing a cup. But what says coffee first thing in the morning is our Bialetti coffee maker—and the smell. It’s a gorgeous object and gorgeous to draw.

Craig Frazier
Backstage at Two Craigs, how the pair decided on their compositions of 'coffee' - © Two Craigs, Craig Frazier and Craig Cutler
The view backstage at Two Craigs.

One of my favorite books showcases the commercial work of the great Czech photographer Josef Sudek. He created this work between 1920 – 1930 and was inspirational for this week’s word. It was important for me to create this image in one shot.

Craig Cutler

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

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Gray Malin’s Photographs Add Escapist Flair to a Classic Card Game https://www.printmag.com/color-design/gray-malins-photographs-uno-card-game/ Fri, 04 Oct 2024 12:30:00 +0000 https://www.printmag.com/?p=778854 The UNO Artiste Series welcomes its first photographer, Gray Malin, whose work captures the joy of exploring new destinations. And, you might need an escape, given the emotional rollercoaster an intense UNO game can be.

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Anyone who’s played UNO knows how quickly a friendly game can turn into a fierce showdown—especially when someone slaps down that dreaded “Pick Up 4” card. Growing up, family game nights often started with laughter, but the moment that card hit the table, all bets were off. We’d argue, laugh, and accuse each other of plotting, only to have the tension break when someone finally shouted “UNO!” That lighthearted competition and playful chaos make the 50-plus-year-old UNO more than just a card game. It’s a ritual, a shared experience that my family has kept, no matter how heated things get.

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.”

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Two Craigs: 17/52 https://www.printmag.com/design-inspiration/two-craigs-week-17/ Mon, 30 Sep 2024 14:00:00 +0000 https://www.printmag.com/?p=778443 For this week's creative prompt, the Two Craigs take a load off and kick their feet up.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out the full series as it unfolds.

Go backstage on the Two Craigs website to see how they set about translating the prompt through photography and illustration.


Chair

You can draw a chair with three lines—the challenge is making the lines interesting.

Craig Frazier

The only thing that could make a Hans Wegner Papa Bear chair look even better would be a Vizsla.

Craig Cutler

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

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Meanwhile No. 211 https://www.printmag.com/design-inspiration/meanwhile-no-211/ Tue, 24 Sep 2024 15:00:00 +0000 https://www.printmag.com/?p=778109 Daniel Benneworth-Gray's on photographer Steve Schapiro, desk drumming, and maps of cinematic paths.

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Mostly been listening to Station to Station on loop this week (a great standing desk album, should you need one), so productivity went out the window as I got distracted by the incredible work of Steve Schapiro, one of the all-time great “oh he shot that … and that … and that?” photographers.

“Don’t wish you could be a famous photographer. If you do, you will fail” – Martin Parr joins WePresent’s excellent pile of manifestos.

All Tomorrow’s Pencils – in which Spencer Tweedy reviews the stationery stores he visited on tour. My favourite bit is the comment from his dad (Wilco’s Jeff Tweedy):

“Remembering one of the only real complaints I ever heard from your teachers growing up, I’d say ‘drummers’ love writing utensils because pencils double as tappity tap tap tapping drum mallets and pens can clicky click click like maracas. In fact they’re probably the first ‘drum sticks’ a future drummer ever holds. Which comes first? The drummer or the innocent child with a maddening urge to tap out a paradiddle with a pencil on a trapper keeper?”

As a relentless desk-drummer and stationery fetishist myself, yep, this all adds up.

Thoroughly enjoying Michigan-based book designer Nathaniel Roy’s A Book Designer’s Notebook, a regular peek behind the curtain of the craft.

Recent Letterboxding, including scattered thoughts on Alien: Romulus and a slog through the Fantastic Beasts films, equal parts cheekbones, coats and gibberish.

Got a little bit lost in Kottke’s posts about maps. I particularly like Andrew DeGraff’s maps of cinematic paths, although the Fury Road one does remind me that the two recent Mad Max movies frustratingly reduced the endless expanse of the apocalypse to an area about the size of the Isle of Wight.

Weird little animations from photographer Jack Davison.

Nolen Royalty (great name) made a website that simply had one million checkboxes and unwittingly created a surprisingly complex canvas for hexadecimal-savvy teens. Love this sort of thing – the internet needs more purpose-less sandboxes like this cough cough cough bring back myspace.

If you’re going to be outed as a serial killer with a trophy wall of decapitated heads in your basement, it might as well be through the medium of LEGO.

The Belvédère du Rayon Vert, a 1920s hotel that teeters above the railway tracks in the southern French town of Cerbère. Stunning. Desperately needs to be covered in neon and rain and plonked into a cyberpunk movie of some sort

SPINNING NEWSPAPER INJURES PRINTER and other Simpsons headlines.


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

Header photo by charlesdeluvio on Unsplash.

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Two Craigs: 16/52 https://www.printmag.com/illustration-design/two-craigs-week-16/ Mon, 23 Sep 2024 14:00:00 +0000 https://www.printmag.com/?p=777932 Your Monday morning inspiration courtesy of Two Craigs, illustrator Craig Frazier and photographer Craig Cutler. Check out their creative prompt for the week.

The post Two Craigs: 16/52 appeared first on PRINT Magazine.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out the full series as it unfolds.

Go backstage on the Two Craigs website to see how they set about translating the prompt through photography and illustration.


Light

© Two Craigs, Craig Frazier and Craig Cutler

No two matches create the same flame pattern when ignited. I thought a four panel grid would be a great way to show just how unique each flame really was. I used the frame burst mode on my Leica SL2 to capture that split second moment.

Craig Cutler

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

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Two Craigs: 15/52 https://www.printmag.com/illustration-design/two-craigs-week-15/ Mon, 16 Sep 2024 14:00:00 +0000 https://www.printmag.com/?p=777591 This week, Two Craigs (Cutler and Frazier) take on a creative prompt for something we can all relate to in our busy lives.

The post Two Craigs: 15/52 appeared first on PRINT Magazine.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out the full series as it unfolds.

Go backstage on the Two Craigs website to see how they set about translating the prompt through photography and illustration.


Stretch

© Craig Cutler and Craig Frazier, Two Craigs

I could not help myself. I had a childhood flashback on this word. I like Gumby damn it! I received a few disturbing stares from passengers on my plane while retouching the image.

Craig Cutler, photographer

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

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Meanwhile No. 210 https://www.printmag.com/photography-and-design/meanwhile-no-210/ Tue, 10 Sep 2024 15:00:00 +0000 https://www.printmag.com/?p=777107 Daniel Benneworth-Gray's bi-weekly list of internet diversions, including how to make a risograph animation, the frustrations of Disney artist Mary Blair, and "1,000 Marks," a collection of symbols and logotypes created by Pentagram since 1972.

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It’ll make a new kind of sense when seen together.
Empire State, Joel Meyerowitz, 1978

In my first year working with the large-format camera I saw how it was too slow for street work. I thought if I had a subject against which I could pit street life, perhaps I could develop a strategy for working in the city. My goal was to have the Empire State Building ever-present, presiding over the scene like a Mount Fuji, while I would watch for the signs of daily life that would make a new kind of photographic sense when seen all together.

Joel Meyerowitz
Luncheonette, 12th Ave between 34th & 35th streets, New York City from Empire State, 1978 by Joel Meyerowitz

Popped into Tate Modern for the first time in ages – particularly loved seeing Joel Meyerowitz’s Empire State. Tempted to try something similar in old York.

Coming soon from Unit Editions: 1,000 Marks, a collection of symbols and logotypes designed by the Pentagram since its founding in 1972. It’s BIG. Seriously, the girth of the thing. Crikey.

Winona Ryder visits Criterion’s closet, shares her profound connection to Hirokazu Kore-eda’s After Life, recalls the deep impact Gena Rowlands had on her life and career, and selects favorites by Gordon Parks, Jim Jarmusch, Albert Brooks, and John Sayles. SEE ALSO: There is no love affair more enduring than Ryder and a black jacket and a Tom Waits t-shirt.

When a film doesn’t look like its concept art – another fantastic read from Animation Obsessive, looking at the influence and frustrations of Disney artist Mary Blair

A brief lesson explains the visual impact of an early cinematic favourite, the Sustained Two-Shot

Julia Schimautz on how to make a risograph animation

“Stålenhag’s most personal work yet, Swedish Machines explores masculinity, friendship, and sexuality in a queer science fiction tale about two young men stuck in the past – and in each other’s orbit.” – only a couple of days left to back Simon Stålenhag’s long-awaited new art book.

“Please roll the back window down and approach the White Zone at exactly 2.6 mph. Staff are standing by to launch your student into the window, Dukes of Hazzard style, with a trebuchet handmade by the LARP Club. If you cannot achieve this speed in the requisite time, simply CIRCLE THE BLOCK” — McSweeney’s new school year drop-off and pick-up rules.


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

Header image by Daniel Farò, Death to Stock

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The Daily Heller: Art of the Dog Cone https://www.printmag.com/daily-heller/the-daily-heller-art-of-the-dog-cone/ Tue, 10 Sep 2024 11:00:00 +0000 https://www.printmag.com/?p=773114 Winnie Au and Marie-Yan Morvan's new book restores dignity to the cone of shame.

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Lola. Saluki, 7 months old.

Expensive medical care for domestic pets has surged over the past few decades, especially for dogs, with costly vet visits and rising insurance rates. Dogs are not as resilient as I once thought (Lassie and Rin Tin Tin to the contrary). Among the most common medical devices for dogs, the neck cone is used to prevent them from exacerbating wounds or harming themselves in other ways. It is also an awkward-looking piece of equipment, which, for all I know, is as embarrassingly annoying for a pooch as a neck brace was for me when I suffered an ailment.

Regardless, it begs the question of how an implement that looks like a lampshade can be made more aesthetically pleasing and conceptually witty. How can it be transformed into art? Author/photographer Winnie Au and Designer Marie-Yan Morvan explore that in their new book, Cone of Shamewhich will also raise funds for Animal Haven’s Recovery Road fund, and which Winnie Au discusses with me below.

(All images reproduced with permission from Cone of Shame by Winnie Au © 2024. Designs by Marie-Yan Morvan. Published by Union Square & Co.)

Calvin. Komondor, 8 years old.

Like you, I’ve always felt bad for dogs who had to wear lampshades on the street. What inspired you to do these photographs?
Cone of Shame was born out of two things. I often see things in life and file them away in my brain as ideas for future projects. I had always seen dogs wearing cones post-surgery, and that image and shape was sort of seared into my head and floating around. I knew there was something strong about the visual and that I could do something interesting with it. I also loved how the cones made a dog look both sad and funny at the same time. And the cone has a transformative nature—when it’s worn, it really transforms the energy that a dog has. So I wanted to create a series that transformed our own vision of the cone. I decided to turn the cone of shame upside down and really make it into a majestic, beautiful and artful moment.

The second thing that made Cone of Shame into a series was the passing of my corgi Tartine. She was diagnosed with throat cancer, and after about a month of chemotherapy and endless doctor visits, we had to put her to sleep—one of the hardest decisions we’ve ever had to make. The whole experience was so difficult and sad, and it made me acutely aware of the high cost of medical bills for dogs. It made me want to make sure that other pet parents would not have to make any medical decisions based on finances. So I decided that the Cone of Shame series would help raise funds for rescue dogs with urgent medical needs. For every print, notecard, and now book sold featuring the Cone of Shame, a portion of the proceeds is donated to Animal Haven’s Recovery Road fund.

How did the pooches respond to wearing these?
I did a lot of work in advance of our photoshoots to vet each dog and make sure they would be comfortable wearing a cone. For dogs who didn’t have prior experience wearing a cone, we sent them plain plastic cones to get comfortable with in advance of the shoot. So first and foremost, the dogs had to be comfortable wearing a cone in order to participate in the series. On our actual photoshoots, the reactions would vary quite a bit. Some dogs did not even notice they were wearing a cone. For example, Kyrie fell asleep while sitting up wearing a cotton cone. To be fair, her cone did seem very cuddly and pillow-like. Other dogs had more abstract cones that required us to lift areas of them with fishing line on set (in order to get just the right shape for the photograph). This was the case for Finley the papillon, and Tia the shar pei. In some cases, wearing the cone required a lot of discipline from our dogs—they needed to be able to sit or stand absolutely still while we adjusted the cone to create the right shape. Some dogs, as expected, tried to shake the cone off. And we had the usual reaction—a bit of confusion/disorientation coming from our pups. Some loved staring at themselves in the mirror. Other dogs would just dance while wearing the cone—they would jump, they would get excited. And others did look proud, which was a vibe I was going for throughout the series. I mainly photographed the dogs with the hope that they would forget they were wearing a cone so I could capture their true personalities. Most of them would forget after about five minutes that they had a cone on.

Some of them are quite fashionable. Since dogs are now wearing shoes, sweaters and whatever else owners can think of, do you think at least some of the dogs enjoyed their cones?
Yes, I did try to cast dogs who already enjoy “wearing” things. So for a lot of them, they were not phased at all and [they] just enjoyed all the love and attention they were getting during the photoshoot. We, of course, had a lot of treats on hand, so for a lot of the dogs, wearing a cone = getting fed delicious treats.

You achieved some great poses. What surprised you most?
One of the challenges in doing a series of this size for a book was to try to not repeat the same shapes too much. And with dogs, there is such a wide range of dog sizes, fur and breed intricacies. This was a lot of fun to explore. I loved learning about each dog breed or type to understand what they could or could not do. Some of my favorite poses came from dogs whose cones mimicked their fur. The dog shapes became very abstract (for example, with Calvin the Komondor or with Waldo the Bedlington Terrier). It was fun to kind of watch the dogs disappear in front of our eyes on set, to wonder where the cone ended and the dog began. I do love some of the photos of the dogs stretching (Tia, Henry McGoober). It’s a moment that you just have to catch—most dogs cannot do this pose on command. And it feels like a really recognizably dog moment for all of the pet owners out there, but in placing it in context with the cones, it becomes this beautiful shape. The other pose I loved getting was when dogs jumped or danced in front of me. The shapes of the dogs could just be so unique and unexpected, and there’s just always something magical about seeing a jumping dog frozen in air. They look like they are flying.

Agnes. Chihuahua-Wippet, age unknown.

Where did you find your models?
I have a network of friends/dog lovers who I reach out to whenever I have a dog project, and that usually results in some great recommendations. I also found some dogs in dog parks around NYC, on the street (I made notecards to give to dogs who I found photogenic on the street), on Instagram, and we also found some of the very unique dogs through an animal agency. I worked closely too with designer Marie-Yan Morvan (who made all the cones), and she reached out to her network of creatives to find dogs as well. I have been photographing dogs for a long time so I also reached out to some of my favorite dogs from past shoots to see if they wanted to participate in this series. The fun thing about working on Cone of Shame is people and their dogs are so excited to be a part of it, so the casting—while time-consuming to find just the right dogs—was always easy in a sense.

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Two Craigs: 14/52 https://www.printmag.com/illustration-design/two-craigs-14-52/ Mon, 09 Sep 2024 14:00:00 +0000 https://www.printmag.com/?p=777022 What does an onion and a striated rock have in common? Find out what creative prompt photographer Craig Cutler and illustrator Craig Frazier tackled this week.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out the first five prompts and keep up with the continuing series here.


Layered

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

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Two Craigs: 13/52 https://www.printmag.com/illustration-design/two-craigs-week-13/ Mon, 02 Sep 2024 14:00:00 +0000 https://www.printmag.com/?p=776654 Two Craig's pointed prompt this week has us thinking about the return to school, work, and life this Labor Day holiday.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out the first five prompts and keep up with the continuing series, here.


Fork

© Craig Frazier and Craig Cutler, Two Craigs

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

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Two Craigs: 12/52 https://www.printmag.com/illustration-design/two-craigs-week-12/ Mon, 26 Aug 2024 14:00:00 +0000 https://www.printmag.com/?p=775845 This week features a fragile prompt for the illustrator-photographer creative mash-up, Two Craigs.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out the first five prompts and keep up with the continuing series, here.


Glass

© Two Craigs, Craig Frazier and Craig Cutler

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

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Studio Usher Rebrands Page 73 as an Off-Broadway Powerhouse https://www.printmag.com/branding-identity-design/studio-usher-rebrands-page-73-as-an-off-broadway-powerhouse/ Wed, 21 Aug 2024 12:49:30 +0000 https://www.printmag.com/?p=775658 Studio Usher crafted a fresh identity for Page 73 to better position the company to support and showcase the next wave of talent in the off-Broadway world.

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Breaking into the theater scene in New York City can prove a daunting endeavor for those with the grit to pursue it, especially for the playwrights who are often behind the scenes.

Page 73, a Tony and Obie-award-winning theater production company, is on a mission to advance the careers of talented playwrights by producing impactful Off-Broadway debuts and awarding substantial development resources exclusively to playwrights who have not yet had a professional premiere in New York City.

To help push their efforts further, Studio Usher crafted a fresh identity to better position the company to support and showcase the next wave of talent in the off-Broadway world.

Page 73 is committed to staging productions while also nurturing the next generation of voices in theater. The rebranding project brought together design, culture, and innovation in an engaging and forward-thinking way. It visually reinforces Page 73’s commitment, making it easier for audiences and donors to recognize and support new talent.

One of the key features of this rebrand is the positioning of Page 73 as an “ingredient brand.” Similar to how Intel operates in the tech world, Page 73’s logo now serves as a mark of quality and innovation that playwrights can carry with them as they advance in their careers. It’s a badge that extends the theater’s influence beyond New York, allowing it to have a broader cultural impact.

Studio Usher also addressed a common challenge in the arts: balancing institutional branding with promoting individual shows. The new identity for Page 73 achieves this balance, ensuring that the theater can maximize its marketing efforts while staying true to its core mission. This approach could be a valuable model for other arts organizations seeking to maximize resources.

In addition to its strategic elements, the rebrand broadens Page 73’s appeal. Modernizing the theater’s visual identity and messaging wasn’t just about updating its look; it was about making it more inclusive and accessible. The new brand invites a broader audience and attracts potential sponsors, aligning with ongoing conversations about representation in the arts.

Studio Usher’s comprehensive work on this project covered everything from visual identity to voice development to digital strategy. The streamlined website and updated social media presence give Page 73 a contemporary edge, demonstrating how a traditional theater can effectively connect with audiences in today’s digital age.

The use of paper as a central branding element is an interesting aspect of the rebrand. This choice reflects a blend of tradition and modernity, showing that staying grounded in the past is possible while looking toward the future.

Studio Usher drew from its extensive experience working with other off-Broadway theaters to inform this successful rebrand. Its background, working with Soho Rep, The Vineyard Theatre, and National Black Theatre, among others, allowed the team to push creative boundaries while staying true to the unique spirit of off-Broadway.

Studio Usher is known for consistently exceeding expectations, taking pride in their meticulous attention to detail and willingness to take risks. Their passion for working with artists, innovators, and disruptors drives them to deliver their best work every time, and the rebrand of Page 73 is a perfect example of this dedication.

Imagery courtesy of Studio Usher.

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Two Craigs: 11/52 https://www.printmag.com/illustration-design/two-craigs-week-11/ Mon, 19 Aug 2024 14:00:00 +0000 https://www.printmag.com/?p=775612 For their weekly prompt, photographer Craig Cutler and illustrator Craig Frazier tackle a material as old as 200 BCE.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out the first five prompts and keep up with the continuing series, here.


Paper

© Craig Cutler and Craig Frazier (Two Craigs)

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

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The National Ballet of Canada Dances with a New Identity by Bruce Mau Design https://www.printmag.com/branding-identity-design/bruce-mau-design-the-national-ballet-of-canada-new-identity/ Wed, 14 Aug 2024 12:00:00 +0000 https://www.printmag.com/?p=775373 Toronto’s Bruce Mau Design (BMD), an award-winning multidisciplinary brand and design studio, has once again proven its creative prowess by reimagining the visual identity of The National Ballet of Canada.

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As a fellow Canadian who’s admired Bruce Mau’s work since my design student days, I was excited to see how the team has breathed new life into The National Ballet of Canada’s (NBOC) visual identity.

Toronto’s own Bruce Mau Design (BMD), an award-winning multidisciplinary brand and design studio, has once again proven its creative prowess by reimagining the visual identity of The National Ballet of Canada. The nearly 75-year-old cultural gem, revered for its classical roots, has undergone its first major rebrand in almost two decades, and the results are nothing short of lively.

Looking to bridge its rich heritage with a bold, forward-thinking future, NBOC entrusted BMD to craft an identity that would be as inclusive as it is inventive. “We were tasked to create something that would invite more people in,” says Laura Stein, BMD’s Chief Creative Officer. And invite it does. BMD’s fresh approach isn’t just a cosmetic change; it’s a statement. The new wordmark does more than merely label the ballet company; it begins a narrative, setting the stage for a creative, open, and welcoming identity.

The wordmark is the cornerstone of BMD’s visual redesign, thoughtfully developed in collaboration with Displaay Type Foundry. It’s a simple yet ingenious tool that allows designers to extend the narrative seamlessly from the logo, ensuring consistency and elegance in every application. The typeface, coupled with a vibrant palette of jewel tones, marks a significant departure from the brand’s previous dark pink hues, infusing the identity with a sense of openness and accessibility.

But BMD’s magic doesn’t stop at a new logo and color scheme. The studio has redefined every visual element, from art direction in photography to motion behaviors and layout principles. Most notably, they’ve introduced the Storyteller concept, designed to close “the uncertainty gap” for potential audiences.

The wordmark’s narrative can tease some of the story so that people who know nothing about a ballet such as Onegin, understand that it deals with exciting and dramatic themes such as love and betrayal.
—Laura Stein, Chief Creative Officer, BMD

Laura Stein, BMD’s Chief Creative Officer and Kar Yan Cheung, BMD’s Director of Design Strategy

Kar Yan Cheung, BMD’s Director of Design Strategy, noted that the challenge was to create a brand that resonated with both long-time ballet aficionados and a new, younger audience — not just about aesthetics but a strategic balancing act. Through a series of workshops, stakeholder interviews, and immersive experiences at the ballet, BMD ensured that the new identity honored classical ballet’s tradition while embracing the future with contemporary stories.

The result? A rebrand that respects the past while shaking off the elitist image often associated with ballet, making it more accessible and engaging for everyone. “Ballet is often seen as inaccessible, something only for the wealthy, and this is a barrier to newer and often younger audiences,” Cheung explains. The new identity aims to tear down these barriers, bringing audiences closer to the artistry and passion of ballet.

Hope Muir, Artistic Director of The National Ballet of Canada, couldn’t agree more. She believes the new brand does more than refresh the company’s look—it reflects its values and aspirations. “The visual identity is bold, personal, and inclusive, with creative taglines that spark the imagination and invite conversation,” Muir says. “The Storyteller reflects the values and energy of The National Ballet today and asserts our commitment to an innovative and accessible future.”

BMD’s reimagining of The National Ballet of Canada is just the latest example of why the studio is celebrated as one of the world’s leading brand and design powerhouses. With a portfolio that includes work for giants like Infiniti, Sonos, and the Zayed National Museum, BMD has earned accolades from Cannes Lions to Fast Company — a testament to its ability to blend tradition with modernity, creating brands that truly resonate.

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Two Craigs: 10/52 https://www.printmag.com/illustration-design/two-craigs-week-10/ Mon, 12 Aug 2024 14:00:00 +0000 https://www.printmag.com/?p=775171 How do photographer Craig Cutler and illustrator Craig Frazier interpret a weekly prompt? Follow along for a dose of Monday inspiration.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out the first five prompts and keep up with the continuing series, here.

Wavy

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

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Two Craigs: 9/52 https://www.printmag.com/illustration-design/two-craigs-week-9/ Mon, 05 Aug 2024 14:00:00 +0000 https://www.printmag.com/?p=774111 Photographer Craig Cutler and illustrator Craig Frazier play with a weekly prompt. For your dose of Monday inspiration, the pair interpret "contain."

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out the first five prompts and keep up with the continuing series, here.

Contain

© Craig Cutler and Craig Frazier

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

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Bald’s Branding for Lazy Tuesdays Makes “Just Being” Fashionable https://www.printmag.com/branding-identity-design/bald-branding-lazy-tuesdays/ Thu, 01 Aug 2024 16:00:00 +0000 https://www.printmag.com/?p=774225 In the crowded athleisure game, Bald helped Lazy Tuesdays carve out a unique brand that doesn't make exercise a statement, but dedicates itself to the relief from it.

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Lazy Tuesdays is shaking up the athleisure game by putting the “leisure” front and center. The company turned to Bald, the story-forward brand marketing agency, to build a stylish reality around the vision. Tasked with the naming, strategy, logo design, and visual identity, Bald was perfectly poised to create a brand that vibes with today’s savvy consumers.

Aimed at Gen Y (you know them as Millennials) fashion and streetwear enthusiasts, Lazy Tuesdays hits the mid-market sweet spot. In an industry crowded with extremes—from the body positivity-wellness crowd to the hardcore fitness fanatics—Lazy Tuesdays found its groove. Bald’s big idea? An athleisure brand that says, “Hey, it’s okay to just be.” No pressure, no fuss—just high-quality gear that fits seamlessly into everyday life. It’s all about enjoying the pause and appreciating life without the rush.

I reached out to Bald founder and CEO Hillel Hurwitz to learn more about this athleisure weekday revolution. Our conversation is below (lightly edited for length and clarity).

Can you walk us through the initial strategic discussions and brainstorming sessions that led to Lazy Tuesday’s unique positioning and naming?

We received an open brief with the main goal of making the brand ownable and fresh. Instead of kicking off with a deep dive into our target audience, we decided first to explore the competitive landscape. Our team included a strategist with a fashion background from Parsons. We connected with change-makers in the industry, and what we found was an oversaturated market where every brand seemed to be selling the idea of ‘community’ in one of two ways: either through a blood, sweat, and tears motivational approach or through an overall wellness and health positivity lens. This discovery led us to a simple yet powerful insight: there is a gap in the market for an athleisure brand that doesn’t make exercise a statement but instead dedicates itself to the relief from it.

Once we nailed down the big idea of ‘just being,’ the name Lazy Tuesdays came naturally through our conversations because it captured the essence of relaxation and balance we envision for the brand

What strategies did you employ to ensure the brand’s positioning as a champion of ‘just being’ resonates in a sustainable and impactful way?

It’s right in the name. What other brand makes clothing for active people but calls themselves Lazy? This juxtaposition between the brand identity and who the brand serves is really what makes it so unique. And this comes down to collaboration at Bald. Our strategists and designers work closely together to be sure nothing gets lost as the idea moves from story to visual development. We take pride in threading the needle from strategy to creative to achieve consistency.

Our story informs the messaging, our messaging inspires the visual identity, and our visual identity leads the product design language. So, the customer feels like they are experiencing a cohesive brand that really knows who they are. 

What was the creative process behind the development of Lazy Tuesdays’ logo and visual identity?

At the heart of the brand is the irony driven by the name “Lazy Tuesdays.”  It epitomizes the harmony between hard work and relaxation. This duality drove our design approach, leading us to select two contrasting typefaces:  Fabiola Script, symbolizing ease and fluidity, and TWK Everett, representing structure and hard work. This pairing highlights that working hard and enjoying life aren’t mutually exclusive, but complementary.

The clover flower emblem we incorporated adds another layer of meaning. Inspired by nature’s resilience, it symbolizes growth, vitality, and the interconnection of life’s journeys. This emblem is woven into every piece of our athleisure wear, blending the spirit of the outdoors with the spirit of balance, all while celebrating moments of relaxation.

Our visual identity is a harmonious blend of contrasts that conveys the core values, creating a powerful ethos of ‘working hard… so you can relax harder.’

What consumer behaviors or trends did you consider in crafting Lazy Tuesdays’ messaging and identity?

The athleisure market is crowded. We knew that to cut through the noise, we had to relieve the pressure often associated with athleisure clothing. Through research, we found that most people already have statement brands in their closets. What they truly desire is a brand that isn’t trying to be another statement like all the rest.

At Lazy Tuesdays, they view daily life itself as hard work enough. Instead of promoting the idea that hard work is only about monumental achievements and an unreal grind, we stand for the notion that hard work is handling your responsibilities and then taking a break. We want people to choose Lazy Tuesdays because the brand makes them feel content and fulfilled with who and how they are, not because it reminds them how much better, faster, and stronger they should be.

The messaging is grounded in optimism and fulfillment, avoiding the trap of overwhelming customers with grandiose ideas. While community has been a dominant trend recently, we believe people crave balance. They don’t want the pressure of representing a polarizing brand every time they step out. We all have a clear image of a “Gymshark bro” or an “Alo girlie.” In contrast, Lazy Tuesdays is for those days when people don’t want to be boxed in by their clothing. They want simple, reliable basics from a brand that lets them be themselves.

What challenges did you face while bringing Lazy Tuesdays to life? Were there any unexpected insights or pivots that significantly shaped the outcome?

Every branding project has unique challenges, and Lazy Tuesdays was no exception. One of our biggest hurdles was the tight timeline. We transformed an open brief from an idea in the founder’s mind into a full-fledged brand in less than 90 days. This required a lean, agile team that was deeply involved in every step of the process, as we simply couldn’t afford any delays.

What was your favorite part of working on this project?

Fashion, fashion, fashion. Even though Lazy Tuesdays has a bit of an anti-fashion vibe, we absolutely love the fashion space. Several of our creatives come from fashion school and industry backgrounds, so this project was a perfect playground for us. We always enjoy the opportunity to stretch our creative and strategic muscles in all directions, but there’s something special about working in hyper-creative industries where we can move with fluidity and without strict rules.

Imagery courtesy of Bald.

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Meanwhile No. 209 https://www.printmag.com/creative-voices/meanwhile-no-209/ Tue, 30 Jul 2024 15:00:00 +0000 https://www.printmag.com/?p=774094 Daniel Benneworth-Gray on designing Joe Mullhall's new book, "Rebel Sounds," and other internet diversions for the week.

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An honour to have designed Joe Mulhall’s new book Rebel Sounds, coming from Footnote in September. Photograph of The Specials fans at Leeds Carnival in 1981, by the great Syd Shelton. For more rectangles of words and pictures, check out my site.

“It’s taught me much about myself over the years, even though I cringe at so much of what I’ve written. It helped me realise that consistently showing up without expectations often leads to more inspiration than relying on random bursts of motivation” – OMGLORD‘s Gabby Lord on the changes and challenges she’s seen over a decade of design.

Absolutely astonishing shot by Peter Iain Campbell of the Ninian Northern oil platform being decommissioned in Lerwickby Harbour, Shetland. Looks like Howl’s Moving Castle regurgitated by shonky AI, but it’s real.

See also: Jonathan Hoefler’s Life Imitates AI Art.

Anthony Burrill uses typography to visualise the work of rock’s greatest drummers, joining forces with five music legends in a unique collaboration to raise funds for Teenage Cancer Trust.

Tim Andraka’s art will break how you see the world.

MS Paint in browser is all very well, but call me when you’ve recreated Deluxe Paint IV (via relentless blog overlord J-Kott).

Slate’s spot-on review of Deadpool and Wolverine, a film I begrudgingly went to see (because I don’t like to miss an issue) but was genuinely surprised by. Soooooo much better than the first two. It’s The Madagascar 3 of Deadpool films. I just wish they hadn’t spaffed quite so much of the casting in the marketing. People were going to show up, you didn’t need to reveal that BLANK and BLANK and BLANK were involved.

In memory of Sir Kenneth Grange, 1929-2024.

That is all.


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

Header photo by Susan Wilkinson on Unsplash.

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Two Craigs: 8/52 https://www.printmag.com/illustration-design/two-craigs-week-8/ Mon, 29 Jul 2024 14:00:00 +0000 https://www.printmag.com/?p=774051 Photographer Craig Cutler and illustrator Craig Frazier play with a weekly prompt. Follow along here for a dose of Monday inspiration.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out the first five prompts and keep up with the continuing series, here.

Round

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

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Two Craigs: 7/52 https://www.printmag.com/illustration-design/two-craigs-week-7/ Mon, 22 Jul 2024 15:00:00 +0000 https://www.printmag.com/?p=773313 A weekly conversation between photographer Craig Cutler and illustrator Craig Frazier in which the pair interpret one weekly prompt for 52 weeks.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out prompts one through five and keep up with the continuing series, here.

Fly

© Craig Frazier and Craig Cutler

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

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Meanwhile No. 203 https://www.printmag.com/creative-voices/meanwhile-no-203/ Tue, 16 Jul 2024 15:00:00 +0000 https://www.printmag.com/?p=772860 No trees, no valleys, no hills, just the Archipelagic Void. This week's finest hyperlinks loitering Daniel Benneworth-Gray's tabs.

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“There seemed to be no trees and no valleys and no hills to break the ground in front of them, only one vast slope going slowly up and up to meet the feet of the nearest mountain, a wide land the colour of heather and crumbling rock, with patches and slashes of grass-green and moss-green showing where water might be.”

I’m currently rereading The Hobbit with my son, and this particular line from chapter three immediately brought to mind one of my favourite Rob Turpin photos of Iceland.

© Rob Turpin

The best thing about Minsuk Cho’s new Serpentine Pavilion design is the name. Archipelagic Void. Of course, it also serves the basic purpose of the annual architectural installation: being a nice place in the middle of the park to top up your sunscreen and eat a Pret.

Yes, you do need this Stop Making Sense coaster set.

Everything All At Once: Postmodernity 1967–1992, Studio Yukiko’s dense and intense catalogue for the latest exhibition at the Bundeskunsthalle Museum. So big, they could only promote it by having a bodybuilder rip it apart. Apparently.

Similarly hefty and year-rangey: Thames & Hudson’s Comics (1964-2024), published to accompany the new exhibition at the Pompidou Centre, Paris, a survey of the international comic book landscape over the past sixty years.

Also – apologies for the bookshelf-burdening this week – this 334-page tome exploring Olivetti’s design heritage. So pretty. And while you’re cruising around the Present & Correct website, don’t miss these delightful 1950s Japanese matchbox labels or these 1960s postage labels that desperately need to be t-shirts.

Saltburn: Music From The Motion Picture (Bath Water Edition). I’m so sorry.

Jacques Monneraud makes ceramic pitchers and pots that look like they’re made out of cardboard. Because somebody has to and let’s face it nobody’s holding their breath waiting for you to do it.

John Grindrod returns to Ladybird modernism, revisiting an optimistic vision of the future from the past. Euston Station looks almost slightly bearable.

Seriously though, Archipelagic Void.


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

Header image by Saad Chaudhry.

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“The Price is Too Damn High” Documents 100 Days of an Evolving POV https://www.printmag.com/sva-branding-100-days-2/the-price-is-too-damn-high-documents-100-days-of-an-evolving-pov/ Mon, 15 Jul 2024 20:28:48 +0000 https://www.printmag.com/?p=772940 John Lytle wanted to expose the luxury fashion market by comparing the outrageous price tags with everyday objects of equal value. Interesting questions bubbled up.

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100 Days is an annual project at New York City’s School of Visual Arts that was founded by Michael Bierut. Each year, the students of the school’s Master’s in Branding Program spend 100 days documenting their process with a chosen creative endeavor. This year, we’re showcasing each student in the program by providing a peek into ten days of their project. You can keep an eye on everyone’s work on our SVA 100 Days page.


While starting The Price Is Too Damn High, John Lytle was motivated to drag the luxury fashion market back to reality, exposing its most outrageous price tags by comparing them to everyday objects of equal value. But through participating in this daily practice, Lytle’s point of view slowly evolved.

He learned that luxury is not a category, but a behavior that can be shared by products and services across all price points. This made the comparisons messier, but more exciting. With this shift to defining luxury, not critiquing it, interesting questions bubbled up with each post – is McDonald’s luxury? Is childcare a luxury? Is everything luxury?

Discover more of his project on Instagram.

Which pump? Christian Louboutin, Kate Pumps, $795. SPART, Leg Press Hack Squat Machine, $799. RESULT: Winner, Leg Press Hack Squat Machine.
Which snake? 69,600 ft. of coiled gas pipe, $61,978. Bulgari, Serpenti Bracelet, $62,000. RESULT: Winner, Bulgari.
How do you maintain your lawn? Full-body laser hair removal, $4,350. John Deere, Lawn Tractor, $4,399. RESULT: Winner, John Deere.
How much did you like Challengers? Loewe, “I TOLD YA” T-Shirt, $330. 165 Churros, $330. RESULT: Winner, Churros.
How do you slim down? 1 Ozempic Shot Without Insurance, $935. Apple, iPad Pro, $999. RESULT: Winner, iPad Pro.
How far will you go for Taylor? Opening Price Ticket at Eras Tour Miami, $1,752. Floor Ticket at Eras Tour France, $1,741.
How do you quiet down the house? YMCA Summer Camp, $959-1,040. Bang & Olufsen Noise Canceling Headphones, $999. RESULT: Tie.
How’s the party at your table? Zouk Las Vegas, Table and Bottle Service, $8,000. Custom Built D&D Table, $8,070. RESULT: Winner, Bottle Service.

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Two Craigs: 6/52 https://www.printmag.com/illustration-design/two-craigs-week-6/ Mon, 15 Jul 2024 15:00:00 +0000 https://www.printmag.com/?p=772710 A weekly conversation between photographer Craig Cutler and illustrator Craig Frazier in which the pair interpret one weekly prompt for 52 weeks.

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Join us for this weekly conversation between photographer Craig Cutler and illustrator Craig Frazier, whose collaboration is a testament to the unexpected alchemy of creative play. The Two Craigs project consists of one weekly prompt interpreted by the pair for 52 weeks.

Check out prompts one through five and keep up with the continuing series, here.

Balance

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

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Unpacking the Soul Through Photography in “100 Days of Gray Areas” https://www.printmag.com/sva-branding-100-days-2/unpacking-the-soul-through-photography-in-100-days-of-gray-areas/ Thu, 11 Jul 2024 20:00:00 +0000 https://www.printmag.com/?p=772779 As a brand strategist, Jackson Dunn strives to uncover the soul within complex works. Unintentionally, this pursuit has influenced his photography.

The post Unpacking the Soul Through Photography in “100 Days of Gray Areas” appeared first on PRINT Magazine.

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100 Days is an annual project at New York City’s School of Visual Arts that was founded by Michael Bierut. Each year, the students of the school’s Master’s in Branding Program spend 100 days documenting their process with a chosen creative endeavor. This year, we’re showcasing each student in the program by providing a peek into ten days of their project. You can keep an eye on everyone’s work on our SVA 100 Days page.


As a brand strategist, Jackson Dunn strives to uncover the soul within complex works. Unintentionally, this pursuit has influenced his photography. His work focuses on people who are (1) indiscernible and (2) in what he calls moments of “In Betweeness”: caught between heart and mind, trying to reconcile the two. He views these individuals as his avatars in life.

‘Gray Areas’ is a photo series that delves into the minds of these individuals, or perhaps his own mind, exploring their inner monologues and the answers they seek—if any exist. It’s an exercise in forced exposure, learning to embrace the swirl and the nuances of gray.

“Where you are right now is neither here nor there, and yet it’s still a place. Why not get comfortable there?” – Unknown

Get lost in Dunn’s project on Instagram.

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