Our fascination with neurodivergence continues as we are joined by PsyD, Dr. Matt Zakreski, to break down the semantics of giftedness, and inclusive design for neurodivergent people in a variety of public spaces. The term “gifted” was of particular interest to us and our guest because, at one point in each of our lives, we had been called out of the classroom to take an exam that would ultimately label us as gifted. While it does make some complex topics clear, some seemingly simple topics are much harder to resolve for gifted children – the mistake lies in assuming that exceptional skills make them exceptional at everything.

One thread that connects this episode to our previous conversation with Kathryn Parsons was the idea that neurodivergent people may consciously modify behavior to receive the expected response from the world. To varying degrees, they anticipate their settings, surroundings, and (most importantly) the people they come into contact with in order to socially adapt and make it through the day. This gives meaning to the phrase “meeting someone where they are,” especially important as something to strive for, but it’s also clearer why it can be hard to do: people habituated to their circumstances and can end up suffering in silence.

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

Learn more on LinkedIn and Spotify.

The post Gifted, Neurodivergent, or Nerd appeared first on PRINT Magazine.

As with Applied Design Works’ collaboration with the Braille Institute on Atkinson Hyperlegible in 2021 and, more recently, Typotheque’s Zed typeface and others, Pablo Navarlaz set out with his final degree project, Frecuencias Divergentes, to “improve the reading experience for people with low vision through typography.”

What began as a question for Navarlaz—Could I create a typeface that could better leverage individual capabilities?— soon turned into a deep research exercise. He combed through findings from two centuries of legibility studies but found a lack of consensus, contradictory results, and missing typography expertise. “There was a lot of chaos within the research,” said Navarlaz.

“I also noticed that there is always an attempt to standardize the term legibility as if there were a typeface with superior legibility and configuration,” explained Navarlaz. “This is a mistake because each person has a different background, different visual conditions, and different environments where they perform best, and we cannot assume that what works best for the majority should be the standard, as this would marginalize many people.”

It was a massive endeavor, so Navarlaz had to narrow his approach. He started with variable typeface as a baseline, to which he explored classic variables (weight, width, and contrast) because he said, “They are the main variables that modify the relationship between black and white (we don’t just read the “black” but also the white, the paper).” To the three classic variables, he added in x-height (a key factor for legibility, generally). Navarlaz also looked at Dwiggins’ “m-formula,” being interested in the late designer’s work. (Dwiggins posited that flat and angular planes were more expressive in smaller use cases than their curved counterparts.)

As a test case, Navarlaz created the typeface Ivy Flex. He readily admits that it is not the most legible typeface ever designed. “Claiming that would be contrary to the project,” he said. “It is simply a sample of the methodology I propose in Frecuencias Divergentes. The methodology is based on avoiding standards, offering as many adjustments as possible so that the best option can be found for each context.”

Navarlaz doesn’t have plans to sell the typeface or stop his research, saying:

I believe the project helps to raise awareness and clarify certain issues, warn about others, and propose alternatives. The methodologies I propose are just the beginning, and I would like to see more people working on and exploring the subject, as it has many possibilities and great potential to help many people.

Pablo Navarlaz

Frecuencias Divergentes has won awards at the ei! awards at Elisava Barcelona School of Design and Engineering and Brut! 2024.

Learn more about Pablo Navarlaz and his thesis project.

The post Pablo Navarlaz’s Design Thesis is the Latest Research into Typography for Low Vision appeared first on PRINT Magazine.

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

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

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

Learn more on LinkedIn and Spotify.

The post Bridging Minds appeared first on PRINT Magazine.

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

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

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

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

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

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

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

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

Climate change paralysis is a reality. It’s that feeling when the magnitude of the challenge seems so overwhelming that you find yourself unable to figure out what the right direction is, much less move in the right direction.

Individuals feel it, with a growing number of people feeling helpless in response to the enormity of it all (a recent study found that half of young people believe that “humanity is doomed”). Businesses feel it too. A report by The Carbon Trust earlier this year found that a large number of businesses are “greenstalling,” getting stuck in a state of “analysis paralysis” in their efforts to progress toward net zero.

Science, governments, and global organisations have a huge role to play in tackling climate change – through innovation, legislation, and guidance. But when it comes to envisioning a more sustainable future, creative thinking and the creative process are also crucial. A report last month by the Design Council in the UK found that 46% of designers feel they have the skills to help tackle the climate crisis. I agree. It’s time we start seeing the true value of design when dealing with such complex issues.

Nothing brings out creativity and innovation like a deadline – and what could be more urgent than climate change? But every deadline needs a brief to deliver that creative approach. What if we looked at the climate emergency through this lens—as the ultimate creative brief?

Time To Provoke

A designer’s role is to take the parameters of a given project and inspire, provoke, and envision solutions within those constraints.

Look at one of the most famous creative briefs in history: “Design a bottle so distinct that you would recognize it by feeling it in the dark or lying broken on the ground.” If you haven’t guessed already, we’re talking about Coca-Cola. But you don’t need to be a designer to feel excited by that challenge. That’s what a good design brief does: no matter who’s reading it, it sparks an idea, inviting anyone to contribute to the thought process.

Among the creative industries, there is always much debate about what makes the best brief – and it’s not just about stating the practical goals and needs, and laying out the hard data to build on.
It’s so important for the brief to inspire.

So when it comes to the climate crisis, a good creative brief wouldn’t just start with the obvious “Reach net zero by 2050” and other neutral sustainability metrics. Instead, it would challenge us to “Inspire hope that reaching net zero is not only possible but everyone’s responsibility” or “Create a net-zero strategy so inspiring and collaborative that every person feels empowered to create change.” It makes the challenge clearer, more urgent, and tangible.

Getting People Involved

Another area where a good creative brief can show the way is through engagement and collaboration. Ideas and solutions can come from anywhere. The discipline of design is about applying the widest possible lens and then narrowing that view based on expert feedback and collaboration with people of different perspectives. That’s when you get a tangible and impactful result.

So when we’re designing for brand experience, not only do we take into account the people who use our products at the very start of the creative brief stage, but we involve the internal cross-functional teams, external suppliers and agencies.

The Design Council distilled this process into the concept of the double diamond more than 20 years ago, with the steps of ‘discover, define, develop, deliver’ widening and narrowing the lens for the best outcome. As the then-director of design and innovation, Richard Eisermann, put it, “It’s not an instruction manual on how to design, it’s an invitation to get involved.”

If you apply this to climate change, it’s a reminder to unlock buy-in at every level. Everyone in or connected to the business should feel heard and accountable. They should all be asking questions about environmental sustainability at every stage. The preferred outcome of the marketing team or the constraints of suppliers when looking at sustainability metrics should be addressed by the brief just as much as users’ needs.

The creative brief then also allows you to frame the challenge in a language that people and businesses can understand. For climate change, you can explicitly state the ‘objective’, for example. For many businesses, this objective might be balancing economic growth with meeting net-zero targets. In some companies like Patagonia, this is weighted toward the latter – in fact, the company’s decision to make Earth its only shareholder is a prime example of how reframing the language around climate change can have a huge impact.

A creative brief also articulates audience, scope, and timelines. The ‘audience’ is who we’re designing for (in the case of climate change, people, planet and business), as well as what the competitor landscape looks like. For example, Reckitt’s involvement in the Sustainable Markets Initiative’s Health Systems Taskforce, which is a public-private partnership to accelerate net zero healthcare, shows how businesses can understand the competitor landscape not only for market growth but for expanding knowledge.

Or take the ‘scope’ in a creative brief, where you stipulate the stakeholders involved and what resources are required. For a company’s climate change ambitions, stakeholders can be governments, the UN Sustainable Development Goals (above), internal business leaders, and individual people. The ‘resources’ are investment on the one hand and external benchmarks (such as the Science Based Targets Initiative’s net zero targets) on the other.

So, a creative brief is not just about maintaining the vision that pushes a project beyond its functional requirements. A creative brief also helps you focus and keeps everyone accountable.

The Human Connection

This is one of the most important aspects of the creative brief: to look beyond the immediate need and bring humanity back into the challenge. The dialogue around net zero often fails to connect the ultimate goal with the people who will be most affected. Corporations, governments, and organisations start with statistics or reduction targets. These are all important, but they separate us from the real imperative for change, namely billions of people affected. As designers, we start with a human problem and envision around it. It’s what we’ve been trained for.

The best design-led businesses do this. Airbnb, for example, recognised that people sought more authentic, personalised experiences when traveling rather than hotel chains and identical all-inclusive resorts – and its business grew from there. A great historical example was UNICEF and Pamper’s long-running ‘1 Pack = 1 Vaccine’ partnership, which distributed one vaccine for every pack of diapers sold. The idea that consumers could directly help provide life-saving help to the developing world shows how a focus on real-world change and human challenges is key.

A creative brief is always built around the insight, the human truth at its core. Design can take the functional and strategic requirements of a problem and embed humanity and emotion to create a shared vision. The human truth when it comes to climate change is that failure means growing inequality, reduction of liveable areas of the planet, public health risks, biodiversity loss, and food and water shortages.

Finding a way to keep this front of mind at the core of the climate change challenge – using the framework of a creative brief to do so every day can be part of the solution.

Sophie Morice is a Global Brand Experience Associate at Reckitt. As a Yorkshire-born creative with a passion for sustainability and inclusion, a key focus of her work is in developing strategies that implement sustainable practices into existing business processes, whilst driving to increase brand value and creative excellence.

Header image by Andrej Lišakov for Unsplash+

The post Why Net Zero is the Ultimate Creative Brief appeared first on PRINT Magazine.

This exhibition features 100 handcrafted sculptures, each modeled after a real, living elephant from the Nilgiri Hills of Southern India. Created by Indigenous artisans using strips of lantana camara—an invasive shrub harmful to local wildlife habitats—the sculptures stretch across a vast 12,000 square feet of plazas and walkways. The majestic elephants’ migration to downtown Manhattan has brought with them intricate beauty and a message of hope and conservation.

Co-organized by the nonprofit Art&Newport and conservation group Elephant Family USA, the installation aims to raise awareness and funds for endangered elephants and wildlife around the world. What makes these sculptures so unique is that they aren’t just static displays; they invite interaction, and visitors are encouraged to touch and feel the detailed craftsmanship. Whether it’s the lifelike resin eyes, wooden tusks, or the individual personality reflected in each piece’s pose and structure, these elephants offer a tactile connection to nature—right in the heart of the city.

Dodie Kazanjian, founder of Art&Newport, explained to the New York Times that the installation mimics “how it is when you’re in India, with the elephants walking through the streets”. And while these weatherproofed sculptures may be motionless, the emotional response they evoke in passersby is anything but still.

Ruth Ganesh, a trustee of Elephant Family USA, highlights the deeper mission: “We’re trying to recreate that feeling of awe, wonder, and connection.” More than just a public art project—it’s about understanding that we can live alongside wildlife rather than apart from it. This theme of coexistence runs through every aspect of the installation. The artists themselves, living near the Nilgiri Biosphere Reserve, have learned to coexist with elephants daily, adapting their lives around these gentle giants, from the bold and curious elephants to the shy and elusive ones.

The exhibition also showcases the power of sustainability in art. By repurposing the invasive shrub into art, the project not only removes this destructive species but converts it into biochar, a carbon-rich material that improves soil quality. The tour also embraces eco-friendly practices, using solar-powered storage and electric trucks to minimize its carbon footprint.

The installation also features a series of public events designed to engage the community in conservation efforts. Highlights include a blessing of the elephants in Gansevoort Plaza, a conservation-themed panel discussion in Chelsea Market, and a lively parade through the neighborhood. A related art show featuring works about elephants and migration by artist Hadi Falapishi will also open at 82 Gansevoort Street.

After New York, the herd will continue its journey to Miami, the Blackfeet Nation in Montana, and then Los Angeles, leaving a trail of wonder, awareness, and action wherever it goes. Ganesh hopes that this project shows how conservation is “not just about science and data, it’s also about culture. And Indigenous perspectives towards animals in that they were, they are, our relatives.”

The herd is here to tell their story of coexistence; that there is room for all of us on this planet. We hope this exhibition reminds us of the awe we feel when in the company of wild, free animals and inspires us to better share our world with them.

Ruth Ganesh & Shubhra Nayar, The Coexistence Collective

The elephants are for sale, with prices ranging from $8,000 for a five-foot-tall baby elephant to $22,000 for a towering 15-foot tusker. Proceeds are set to benefit 22 conservation organizations worldwide, including the Coexistence Consortium and Indigenous-led groups that work to protect wildlife. The hope is to sell 1,000 elephants during the tour, which would raise $10 million for global conservation efforts. But beyond the financial goal, the exhibition is about cultural preservation—showing how Indigenous craftsmanship can play a role in saving endangered species.

Supported by corporate sponsors and philanthropists like Edith McBean and Sylvie Chantecaille who belong to the project’s Matriarchy, a group of influential women helping to promote it —Cher is also a member—“The Great Elephant Migration” is more than your typical fundraiser. It is an artistic journey that emphasizes the importance of conservation in today’s world, merging traditional science with cultural storytelling. By showcasing the beauty and individuality of each elephant, the exhibition reminds us that conservation is not just about numbers and statistics—it’s about connection, compassion, and coexistence with the natural world.

A stroll through the Meatpacking District helps us remember that these elephants carry with them not just the story of endangered species but the spirit of a world where humans and nature live in harmony.

The post Migrating Herd of 100 Elephants Bring a Message of Hope, Beauty, and Coexistence to NYC appeared first on PRINT Magazine.

The relationship between content and audience is always complex, and the power of words to inspire or harm is widely debated. In this episode, we discuss the controversial yet ubiquitous “trigger warning,” a specific form of content advisory suggesting that some content is so offensive or traumatic it may “trigger” you. Trigger warnings are relatively new and are seen both as a means of respecting and including your audience by allowing them to disengage from harmful content and as evidence of a decline in the ability to handle difficult content.

While content warnings and advisories have long been part of the landscape, the concept of “trigger” is contentious. It has moved from a clinical environment into a moral one, where “offensive” content is labeled as potentially triggering–even in cases where no underlying trauma exists to be triggered. One under-examined aspect of trigger warnings is the potential re-stigmatization of storytellers whose work is labeled and the reinforcement of cultural taboos. Should scenes of interracial dating or stories of single motherhood come with trigger warnings if the audience finds such content distasteful?

Join us as we explore the emerging literature and experimental data on trigger warnings, their utility, function, and impact.

Correction: In this episode, we mention that Anna Calix had a miscarriage. Anna actually had a 40-week stillbirth. Miscarriage (spontaneous abortion) is a fetal demise in utero at less than 20 weeks of pregnancy, and stillbirth (fetal death) is a spontaneous fetal demise in utero at 20 weeks or more of pregnancy. The two have very different experiences medically, legally, logistically, and socially.

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

Learn more on LinkedIn and Spotify.

The post Making Sense of “Trigger Warnings” appeared first on PRINT Magazine.

Launched on Voter Registration Day (September 17) and running through Election Day (November 5), the campaign provides a one-stop resource for voters at readyforroevember.com. The site allows visitors to register to vote, prepare for the upcoming election, and dive into key ballot measures and races focused on reproductive rights. Hey Jane will donate $1 to abortion-related ballot measure organizations for each visitor, transforming engagement into direct support for reproductive access.

In a country where reproductive rights are increasingly threatened, Ready for Roevember is designed to do more than just encourage voter turnout — it’s about driving informed action on an issue that’s critical for many. For women under 45 in swing states, abortion has overtaken even the economy as the top voting concern, according to The New York Times. And national surveys show that eight in ten Americans oppose federal abortion bans, emphasizing the broad support for protecting reproductive choice, per The Associated Press.

A key moment in this campaign is September 28, which marks both International Safe Abortion Day and the Ready for Roevember Day of Action. On this day, supporters nationwide are encouraged to share why they’re “ready for Roevember” on social media. They can use the campaign’s free toolkit to amplify their messages and guide others to the campaign website. Hey Jane has created phone screens, social media templates, yard signs, posters, postcards, and more, all available in the toolkit to help spread the word.

Hey Jane, a New York-based telehealth provider specializing in reproductive care, is driving this initiative with a clear goal: to ensure voters are equipped with the knowledge and tools they need to make informed decisions at the ballot box. For years, Hey Jane has been at the forefront of expanding access to safe, affordable reproductive healthcare through its telehealth services. Now, with Ready for Roevember, the organization is linking healthcare advocacy with civic action.

This year’s election is pivotal for the future of reproductive freedom in America. With state and federal legislation increasingly threatening to roll back rights, voters have the opportunity to send a clear message that reproductive autonomy is non-negotiable. Ready for Roevember aims to channel this energy into concrete action, ensuring voters are not only showing up at the polls but also fully aware of the issues at stake.

Visit readyforroevember.com to register, learn about key races, download your Roevember assets, and prepare for the election. In 2024, every vote counts—and with Ready for Roevember, your voice will make a difference.

The post Hey Jane Casts its Vote for Reproductive Freedom with Roevember appeared first on PRINT Magazine.

The Rising Demand for Sustainability

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

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

Embedding Sustainability into Brand Strategy

Transparent Communication

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

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

Sustainable Practices in Operations

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

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

Strategic Partnerships and Collaborations

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

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

Sustainability-Focused Thought Leadership

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

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

Case Studies: Success Stories in Sustainability Branding

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

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

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

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

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

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

Header image by Madeline Spanier, Death to Stock.

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

Photo of Richard Hollant by Mike Marques.

The post This is a Prototype: Richard Hollant appeared first on PRINT Magazine.

In this episode, Brad and Gabe delve into the US Surgeon General’s proposal to introduce warning labels on social media platforms, aimed at highlighting their impact on young people’s mental health. In the US, the surgeon general is seen as a moral authority who looks at social issues through a health-first lens from the dangers of social media to gun violence. There’s a lot to discuss here from the complexities of communicating risk to teenagers and Murthy’s strategic choice to liken these risks to those associated with smoking cigarettes.

While using warning labels may not be the most effective method to deter use in the short term, the branding associated with such labels can have lasting effects. Many of us broadly understand the potential negative effects of social media on mental health, but a warning label would explicitly create the connection between harm and these platforms – it’s a confrontation reminding them of the risks of logging in.

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

Learn more on LinkedIn and Spotify.

The post Uncomfortable Conversations Save Lives appeared first on PRINT Magazine.

Climify is an award-winning educational podcast that merges design thinking and climate action to transform how we envision the world. Its goal is to cultivate collective change, making sustainability a foundational part of how we think, learn, and grow.

Climify’s fourth season launched earlier this summer, but in the spirit of back-to-school, we’re talking about it now. This season, you’ll meet nine impact leaders—people who are working at the intersection of climate action and design. In addition, you’ll find insights from educators, design researchers, journalists, and other experts, and calls-for-action (things you can do to help change the system).

Design educators will want to listen in for design prompts, inspiration, and practical resources to help you and your students measure your impact.

Listen and learn and climatedesigners.org.

Everything is connected, so what we all do (no matter how small) matters and can create a bigger ripple effect with the right climate knowledge and action. I’m excited about how all ten guests this season bring their experience and wisdom to inspire climate action to change the system.

Eric Benson, Associate Professor and Chair of Graphic Design at the University of Illinois

The post Design & Climate Action: Changing the System One Podcast at a Time appeared first on PRINT Magazine.

Hostile architecture is a design element in a public space that is intended to keep people away. It’s primarily an effort that targets the houseless community and makes sleeping and simply existing even more challenging than it already is for such a vulnerable and under-supported group.

The always thoughtful and impassioned Semple answered a few of my questions about the awareness campaign, shedding light on the evils of hostile architecture and why he felt compelled to do something about it.

(Conversation lightly edited for clarity and length.)

Can you define “hostile architecture” for our readers?

Hostile architecture is the practice of designing things to create environments that discourage people from being there or using the space in specific ways. 

An example would be installing spikes in a doorway so homeless people couldn’t sleep there. Or using a high-pitched sound in a city center that young people can hear yet older people can’t, which is used to discourage skateboarding. It could be a metal bar on a bench so nobody could sleep on it. 

I like to call it “hostile design” because I see it as a subversion of design, and when we refer to it as architecture, we think about buildings. I think of it more as a perversion of creativity, something used against humanity and tends to appear in things like street furniture. 

[Hostile design] is a perversion of creativity, something used against humanity.

Why is raising awareness around hostile architecture so important to you?

I believe our towns, cities, high streets, and civic centers are really important. They are social spaces that we all use, and they are becoming increasingly hostile. As an artist and a designer I’ve always tried my very best to use what little talent I have to make things better for people and solve problems. Hostile design is the opposite of that; it’s using creativity to cause harm. 

I want to raise awareness because hostile design can be invisible until you understand what you are looking at. It hides in plain sight. Once you see it and know what you’re looking for, you literally see it everywhere. Once we become aware of something, we start to change it. I’ve seen a lot of cities and towns changing track now because they understand the issue, and they know they won’t get away with creating cruel spaces. 

The more the public understands this, the more our leaders will be under pressure to stop doing it. I hope that in the future, we start to look at proper solutions for homelessness and anti-social behavior rather than using design to move the problem on to somewhere else. I want to see our public spaces being inclusive, compassionate, and helpful. 

How did your idea for this campaign develop?

I was working with a big US city, and one of the things I was doing was designing a train station. I found myself in quite bureaucratic meetings with the transit authority. It wasn’t long before they started trying to co-opt my design and make sure it repelled homeless people, skateboarders, and drug users. My scheme was much more humane than that, but they pushed back hard. I remember telling them I didn’t want the gig, even though it was (and probably still is) the biggest thing I’ve ever walked away from. I couldn’t bring myself to be part of something like that.

I got home to my hometown of Bournemouth, where I noticed metal bars on the benches in the high street. I’d probably walked past them a million times. But this time, I could see they’d been retrofitted so homeless people couldn’t sleep on them. I took a photo of it, put it on Facebook, and explained what it was. The next day, I woke up, and the post had a million shares. People all over the world were saying they had similar things in their local areas. I knew it was important and something that needed to be challenged. 

I launched HostileDesign.org and worked with the homeless community in Bournemouth to decorate the benches, turning them into art installations called ‘love benches.’ It was all over the news, and the council took all the bars off the benches in the middle of the night. People from all over the world started ordering the stickers from the website and tagging hostile design in their communities. Recently, I teamed up with TBWA, and they installed posters over doorway spikes in London. 

The potency comes from the fact that the photographs are life-size; you are confronted with the harsh reality of a human coming into violent contact with the spikes.

What was the installation process like?

It was quite easy. Sadly, the spikes themselves are so nasty that pushing a poster through them wasn’t hard. What I really like about the campaign is how direct it looks and that the posters are made to measure the [installation] site. 

How has the campaign been received so far? 

It’s been incredible. It’s got a lot of people talking and helped push the campaign and dialogue forward. The potency comes from the fact that the photographs are life-size; you are confronted with the harsh reality of a human coming into violent contact with the spikes.

The post Stuart Semple Calls Out Hostile Architecture with Powerful OOH Campaign appeared first on PRINT Magazine.

The ADA packs its well-designed website and Instagram feed with answers and information, so I will use this space instead to introduce you to four extraordinary people who work there. ADA is more than a job for them and others on their team. It’s a commitment to helping people with disabilities, especially children, live their most productive lives.

The ADA’s community partnerships coordinator and the person at the front desk, Tamara M. Morgan, will happily tell you that she’s 39 years old and has an undergraduate degree in psychology from Hunter College and a master’s in art therapy from NYU. In addition to working at the ADA for more than nine years, she’s a Disability Awareness speaker for NYC Public Schools and earned an Executive Certificate in Nonprofit Leadership.

(I learned the last two credentials on LinkedIn; for an outspoken disabilities activist, she’s too modest).

She will also explain that she was born with osteogenesis imperfecta, a genetic disorder that results in soft or brittle bones that fracture easily.

Tamara’s left arm had been in a sling for a month; a bicyclist had hit her. “I’m short, 3 feet, 2 inches tall, and when I’m getting around in my chair, I’m on eye level with toddlers,” she explains. “I’d have great conversations with kids, but people were always walking into me — especially now that so many are buried in their phones — and I needed a way to be more visible.” With a push of a button, she now uses another device made for her, a two-foot pole attached to her wheelchair that lights up via LED strips. “Day or night, it’s a lifesaver,” she says. And she does get around, taking the subway from her apartment to the ADA every day.

The creator of Morgan’s desk and light pole, Eric Gottshall, has worked at the ADA as a designer and fabricator since graduating from Rutgers University in 2021 with a degree in research-based design. His personal Instagram feed offers close-ups and detailed descriptions of his many innovative designs, most recently a table that plays like a game and an extraordinary multifunctional recliner with armrests and footrests that, like all the furniture made at the ADA, is custom-fitted to a client, in this case, a 12-year-old boy.

Left: Eric Gottshall, photo courtesy of the ADA

Jennifer Hercman, the organization’s executive director, is a passionate spokesperson for learning about and changing popular assumptions about disability. After receiving her MA from the Rhode Island School of Design, specializing in Teaching + Learning in Art + Design, she began looking for volunteer opportunities to apply her expertise. When she found the Adaptive Design Association, with its focus on using simple tools and affordable materials to transform lives, she knew that it was where she wanted to make a difference.

This is the place where design, access, community, altruism, and education coalesce.

Jennifer Hercman, executive director

Jennifer Hercman, image courtesy of the ADA

The ADA’s communication cards are the ultimate in simple design brilliance. They help nonverbal, blind, and low-vision children with everything from choosing their desired breakfast food to understanding the sequence of the day’s activities. You can order from hundreds of pre-made cards or have custom cards designed for a specific person or need. Although there are costs involved and the ADA is a nonprofit, families don’t bear any of the costs.

Senior adaptive designer Adam El-Sawaf works in an impressive shop equipped with the tools and materials needed to fabricate the designs. With a BFA in industrial and product design from Montclair State University, El-Sawaf says that the key is to listen deeply to parents’ and teachers’ explanations of every client’s needs to develop the most effective ways to meet them. A remarkable standing device that rotates a prone child into a standing position is a case in point.

Although the standing device is made from plywood (ADA’s material of choice is most often three-ply corrugated cardboard), it is strong, flexible, durable, and inexpensive. (El-Sawaf demonstrates below.)

El-Sawaf and fabrication assistant Charles Cohen, whose specialty is finishing the communication cards so they last as long as possible, led me on a shop tour and demonstrated how the 3-D printer is used to manufacture parts, such as making circles for the “circle time” communication card and letterforms to imbed in the cards.

Please check out the ADA’s impressive gallery of adaptations and learn how the organization functions via local and international partnerships.

Even better, see for yourself. Next time you’re in New York City, arrange a visit!

Images courtesy of the author except where noted.

The post Design and Humanity Intersect at the Adaptive Design Association appeared first on PRINT Magazine.

I had the treat of speaking to Martz recently about her vegan art practice and her journey to this mindfulness. Our conversation is below (edited lightly for length and clarity).

How did you first come to fiber arts and sculpture?

I’ve always been quite creative. I grew up in a very creative, liberated household, so my parents really nurtured my desire to express myself through an artistic art form. That inevitably led me to art school, and I went to Tyler School of Art at Temple University in Philadelphia. 

Going into college fresh is such a wildly exciting and vulnerable time when we don’t know ourselves yet, and so getting thrown into school with so many different options for that creative outlet, I had no idea what I wanted to do. All I knew was that I was drawn to three-dimensional forms, organic forms, things found in nature. I love irregular movement, lack of consistent edges, repetitive shapes, and a lot of color. I experimented with different mediums, from wood, glass, welding, and ceramics to printmaking, but nothing clicked. Then, I took a fibers class. 

Tyler School of Art has an incredible fibers department, and they go beyond traditional methods. The school really engages with students who yearn for more contemporary, experimental approaches. And it just clicked! I realized that everything I had been trying to make in those other mediums wasn’t successful because I needed fibers to make my vision come to life.

I was drawn to how forgiving and adventurous the medium can be. I feel very fortunate to have been taught in quite an alternative way. I didn’t do weaving, macrame, crochet, or knitting. I chose more experimental classes, where I burned fabric, bubbled it, and dyed it with unusual plant dyes. That’s where the foundation began for me, and for the past 12 years, I’ve continued forward as an artist blending fibers and sculpture. 

You say your parents helped cultivate your creativity. Were they also artists?

My dad is a sculptor, painter, and “Art Brut” music composer. He’s very radical and experimental in his art form, and he’s always practiced various art forms since I was a child, so I was very influenced by that. My mom is a writer and editor within Hearst Corporation; she worked in fashion magazines. There was a time when I did a lot of couture—wearable art sculptures on the body—probably partially because of her industry’s influence, though I eventually shifted away from that.

I know that being a vegan artist is central to your practice. Why is that such an important aspect of your artistic POV?

Veganism is the next chapter of my practice after I identified my passion for textiles, fibers, and sculpture in a contemporary, abstract method. Honestly it was a very personal journey before it even linked within the artistic realm of my life. 

My parents empowered me to be a vegetarian in the 90s and 2000s. That was unusual when I was a kid, and it’s amazing that it’s way more normalized and accessible now. So I was raised feeling empowered by this ethical decision. When I reached my mid-20s, through social media, I fell into the rabbit hole of visually seeing these industries for the first time through undercover investigative footage of the egg and dairy industries. I’m thankful for social media and the veganism movement that educated me and inspired me to go all in, specifically for ethical reasons, but also for environmental, of course, and health reasons. 

Everything shifted for me—from what I ate to the companies I supported, to the clothing and products I bought—making sure they weren’t tested on animals or had animal products in them. Then I had this ah-ha! moment when I thought, how am I not thinking this way in my fiber art practice? Some of the most prominent materials in this sector of the art industry are wool, silk, leather, mohair, and alpaca. In school and the industry, these materials are held on a pedestal of being the better option. I see their allure versus synthetic materials, which are incredibly problematic. But I had this realization that I didn’t want my art to contribute to a part of the textile industry that’s heavily linked to animal agriculture, which we know is incredibly cruel to animals, unsustainable, and unethical to workers. 

initially used synthetic alternatives because they are the most readily available. I was focused on the ethical side for the animals, but it didn’t feel right with my pursuit to be more sustainable. Polyester and other synthetic materials are absolutely horrible, and they’re part of the oil industry, which is a monster within itself. So I shifted toward researching more sustainable plant fibers, like flax, linen, organic cotton, and kapok fibers, one of the materials I’ve used the most (it’s a fluffy stuffing that’s an incredible replacement for wool or polyester stuffing). But even using plant fibers didn’t feel like I was progressing enough with my goal to reduce my environmental impact, and that’s where I started to shift toward prioritizing secondhand clothing as my biggest source for materials.  

What does the process of sourcing secondhand clothing as your primary material entail? 

When I have a new project or commission in mind, I will go to local thrift stores and source what I can. Overconsumption is incredibly problematic and horrifying for our planet and the fashion industry. Ninety-two million tons of textile waste is made annually around the world. I recently read that this is equivalent to the weight of over 61 million cars, which is catastrophic. 

I would like to do as much as I can to prevent items from going into landfills, but it’s also through my artistic activism that I can spark dialog, be a catalyst for cultural transformation, and inspire more sustainable thinking and conscious consumerism.

As fast fashion came into place, it produced four collections a year that went with seasons. Now, companies are doing over 100-plus collections a year. Overconsumption of clothing is just rampant around the world. People are buying, buying, buying these cheaply made products with the excuse of, it’s okay because I’m going to donate it, and it can be reused. The big disconnect is that about 85% of donated clothing goes to landfills. Only 15% of all donated clothing worldwide is actually being purchased at secondhand stores and reworn. That’s so alarming to me. On a personal level, I buy secondhand clothing because I would like to do as much as I can to prevent items from going into landfills, but it’s also through my artistic activism that I can spark dialog, be a catalyst for cultural transformation, and inspire more sustainable thinking and conscious consumerism. 

I would imagine shopping at secondhand stores for your materials would yield more exciting and unexpected fabric discoveries. There must be a thrill of the hunt and the unknown that’s so much more exhilarating as an artist than shopping at Joann Fabric. 

You’re spot on. I was drawn to doing this from a sustainability standpoint, but I was also fed up with the fabric options that I have in my rural part of Southern Vermont, and buying fabric online is a gamble when it comes to color, texture, and weight. Shopping secondhand made the most sense, and it’s guided many of my art pieces. Sometimes, I’ll go in with a color palette in mind, but other times, I go in, and I think, let me see what I find, and there’s this beautiful kind of collaboration between me and these articles of clothing. 

There’s also this poetic storyline that comes along with using secondhand clothing, in that each article of clothing has the history of its wearer…

Different textures often come out within my art because I’m working with sweaters, sweatshirts, sheets, and pants. A nice variety of different weaves comes through in the artwork, which is quite captivating. There’s also this poetic storyline that comes along with using secondhand clothing, in that each article of clothing has the history of its wearer and sometimes multiple people who have worn this clothing with their own life experiences. Bringing that spiritual energy of different people and their lives into an art piece is quite beautiful and mysterious, in a way. That’s an element of buying secondhand clothing that’s been really inspiring for me.

I had a client reach out recently who saw that I was working with secondhand clothing after her father suddenly passed away this past winter. She’d been unable to think of what to do with his clothing because he was an avid thrifter; they’d go every week together, and he loved fashion. So she’s sending me some of his clothing so I can make a few wall sculptures for her and her family so that his clothing can have a new life after his passing and be an heirloom they can pass on. It’s just such a beautiful, special project that I hadn’t even considered offering to people until recently.

Hopefully, more artists start thinking about the environmental impact and sustainability of their art practice and materials in this way. 

Many of us get trapped in the cycle of this is just how things are done; this is traditional. People glorify tradition in certain realms, and it’s kind of a scary decision to choose to go against tradition and not only do it privately but also vocalize it and advocate for it.

Using my online presence to advocate for choosing plant-based over animal-derived materials and choosing more sustainable alternatives is a vulnerable thing—to take that stance in an industry that’s wrapped up so heavily in tradition. But it’s also really empowering, and I have seen such a shift. When the conversation is sparked, people are like, well, internally, I’ve been thinking about how this isn’t right, but now hearing others talk about it makes me feel more confident that I can change these options for my health, for the planet’s health, for animals, and so on.

In the past, I wasn’t guided as much by my materials and I didn’t give them as much thought as an artist. That’s quite common in the art industry. I hope I see more artists take sustainable approaches. I think it’s an inevitable path within this industry, with artists, collectors, and buyers being guided more by the materials and being more thoughtful about what they’re using, how they were made, whom they were made by, and their impact. 

What advice would you give artists about developing a more sustainable art practice?

Trying to be more sustainable within your life and art-making can be intimidating for people because they feel like they have to dive right in and change everything they’re doing drastically. That’s not an approach that’s achievable for a lot of people. For me, it’s been an evolution from switching to plant-based materials and plant fibers to secondhand clothing, and now I’m working with eco-friendly paint and compostable plastic. Each month or so, I make a slight switch in what I’m using toward something more sustainable. Because, in the end, there’s no perfection. We’re all living and navigating life within a very imperfect system. So, it’s about striving to make small changes in our lives to be more thoughtful.

Header image taken by Joy Masi.

The post Fiber Artist Sienna Martz Takes a Stand Against Tradition with Secondhand Materials appeared first on PRINT Magazine.

Marketers have picked up on the cultural trend towards wellness branding, and are enthusiastically, if somewhat disingenuously, leaning into claims that are technically true but not very helpful–“no added sugar”, for example, is true, but irrelevant, for a product that has a high glycemic index (like fruit juices). This “healthwashing” has been seen across the spectrum of brands, from the curious case of fast food chains removing unhealthy signifiers like “fried” from their names (BK, Dunkin’, KFC, etc.), to the less curious but equally nefarious labeling practices of breakfast cereals and protein bars, brands are eagerly touting their health benefits.

In this episode, hosts Sonika Garcia and Brad Davidson discuss healthwashing and touch on many forms of virtue signaling. One important takeaway: People are keenly aware of their health nowadays, so brands across the board shouldn’t shy away from communicating the real role they can play. The importance is delivering that message in a way that’s true to each brand, maintains its identity, and respects its audience.

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

Learn more on LinkedIn and Spotify.

The post If Everything is Healthy, Nothing Is appeared first on PRINT Magazine.

In the summer of 1984, Burt Shavitz picked up a hitchhiker and future business partner, Roxanne Quimby. The couple turned their holistic hobby into a business that is now a multimillion-dollar corporation, all while furthering their mission of environmental sustainability. Since the beginning, Burts Bees‘ founders have intentionally prioritized conservation. Utilizing responsible sourcing, natural ingredients, and recyclable packaging has aided in preserving our land now for a better tomorrow. Starting in the 1990s, Quimby began putting profits toward protecting land threatened by logging. By 2016, the couple had preserved 87,500 acres of land, which they donated to establish the Katahdin Woods and Waters National Monument.

The Camp Burt ‘84 Summer Merch collection embodies the company’s love for nature through intentional, environment-friendly packaging while leaning into a retro summer vibe. New lip balms in eco-friendly 90%+ recycled paper packaging keep waste at an all-time low.

The collection features a line of outdoor apparel and accessories combining vintage-inspired designs from the Burts Bees archives with the longstanding brand aesthetic. Reusable water bottles, hammocks, and towels encourage adventure while mimicking the look of the iconic red and yellow lip balm. T-shirts adorned with Burt riding a motorcycle and the family dog add a personal, vintage-inspired touch.

The post Burts Bees ‘Camp’-aign Goes Retro with Limited Edition Merch appeared first on PRINT Magazine.

Creative Humans: How Are You Really Doing?

Take part in the annual Creative Voices Heard survey. ZWC is collecting responses until August 12 and results will be shared this fall.

Left: Brandi Parker; Right: Fe Amarante

The survey is open to a broad spectrum of creative professionals, from UX researchers and production artists to writers, photographers, art directors, designers, copywriters, and strategists. Amarante and Parker are eager to gather insights from every corner of the creative world.

Why This Survey, Why Now?

Amarante comes from the creative and design side of the industry, and Parker hails from realization and production; they have noticed a significant gap in the dialogue surrounding sustainability and long-term career viability for creatives. They aim to bridge this gap by providing a platform for creative professionals to share their experiences and feelings about industry practices.

Creativity is often seen as a subjective and mysterious process but is actually grounded in the objective conditions of everyday professional environments. Through this survey, Amarante and Parker hope to illuminate how creative makers are truly faring and how the dynamics of teams, workplaces, and client relationships either support or hinder their craft and well-being.

As a creative, I was curious about their endeavor and reached out to ask a few questions. Our conversation follows (edited slightly for length and clarity).

As the foundation for this survey, what does a sustainable creative career mean to you?

Fe Amanarante (FA): A sustainable career— especially a sustainable creative career, in my case—is a career with longevity. An effort that can be sustained over a prolonged period, as we work for many years and many hours every week. If the pace at which I produce work doesn’t prevent me from living through other aspects of my life, I consider that a sustainable career. When considering the sustainability of my creative career, I see my creativity as a resource that can both propel and be propelled by other aspects of my life, creating integration between my work and my life (at a pace and intensity I can sustain). Brandi and I see this sustained pace as one that has ups and downs (obviously, we have busy times) but also offers space to recover and recharge.

Brandi Parker (BP): I echo Fe. I believe that sustainability means something that fits into your life holistically: a career that works for you versus something solely for someone else (e.g., your employer). In creative careers, we must take extra care to preserve our humanity, our unique, sole source of creativity. It’s easy to overwork and over-deliver on your creativity because our culture trains us not to see or believe its limits. But limits are real, and we’re talking about that on ZWC.

It’s easy to overwork and over-deliver on your creativity because our culture trains us not to see or believe its limits. But limits are real, and we’re talking about it.
—Brandi Parker

What are the most significant challenges you’ve faced as a creative professional in today’s industry? How have these challenges shaped your approach to your work?

FA: Some of the most significant challenges I’ve faced have to do with the depletion of the key resources creativity requires. As a creative professional, I tried many times to “hack” the system to continue to work without one or more of these resources. This led to burnout every time. There is no hack: nobody is limitless in their energy or time.

There’s also a lack of truth-telling as the basis of communication between team members, which comes in many shapes: when we obscure our real opinions, when we don’t believe there’s a safe space for honest dialogue, and when we withdraw from real connection.

Also problematic are the obstacles to our ability to experiment and find flow in the work in today’s fragmented and overstimulating work environment. Finally, that we revere creativity as “magic” prevents us from talking about being a creative professional in objective terms. Creativity isn’t abstract. Our bodies need certain conditions to produce creative thinking. Our teams are made of interdependent relationships between creatives and clients, all of which need those same conditions to truly create anything—a connection between concepts, a thought, an idea.

That we revere creativity as “magic” prevents us from talking about being a creative professional in objective terms.
—Fe Amarante

BP: Among the biggest challenges I’ve faced are overpromising myself and understanding my creative limits. Even once I’ve recognized them, I’ve found it difficult to acknowledge that these are not character flaws and my power to demand a break or to say “no.” Especially as a junior creative. At the beginning of our careers, we’re told we must “do our time” to get to a reasonable work scenario versus coming up with the idea that we all deserve “reasonable” all the time.

Beyond these listed, I’d have to say that I have realized that exercising my right to say no includes saying no to certain projects or clients. And I don’t mean because you don’t like them or don’t want to do the work, but because they go against your ethics or moral compass. Early on in my career, I’d worked with a big tobacco client at an agency. Further into my career, I worked at an agency that actually gave us a choice to work on that account. This was my first moment of awakening that this was possible— that we could draw our lines in the sand. Sometimes, your line might mean the risk of losing your job, but perhaps that wasn’t your job anyway. Some of the biggest teachers in my career were the challenges, and I’m more confident because of them.

Considering the current landscape of leapfrogging technology and remote/hybrid work, how do you see these trends influencing the future of creativity as a resource, and what is their impact on career sustainability as you define it?

FA: There is no shortage of tools, technology, and resources available for creatives to make truly anything, physically and digitally. Yet, our biggest issues are still related to our human-to-human interactions and connections. The future of creativity, in my humble opinion, isn’t dependent on the trends and tools we have and will continue to create. The future of creativity depends on our ability to collectively address the conditions creativity requires to exist amongst the humans doing it for a living and the humans needing it to solve a problem. The neck-breaking speed with which we see new tech and new tools means we’re inundated with a bazillion high-tech pencils—more tools are available to us than we know what to do with. In the midst of the overwhelm, we forget that these tools are not here to fix or replace the much-needed human-to-human interactions and connections that create the conditions in which creativity can be nurtured and applied.

BP: The best part (for me) has been my ability to move home to my rural hometown, be closer to family, and still keep the career I’ve been working on for over two decades. The biggest benefit I see is the potential for replenishing the country’s rural areas with diverse people and skills who can survive because the future of work doesn’t depend on a place.

Historically, this has been a huge barrier to small-town survival—being dependent on young folks returning to keep the town alive, with limited opportunities offered for said young folk. For young creatives, living somewhere with a less expensive cost of living is only mutually beneficial. On one hand, remote work presents a big challenge to creatives and the nature of collaboration. On the other hand, it forces us to be “creative” in how we collab, and it increases the value of human-to-human contact immensely, which bodes well for making special arrangements and opportunities to meet face-to-face. Likewise, it also means that if you can make the effort to meet in person, it’s appreciated even more. Pre-pandemic, I believe we were approaching an era of taking face-to-face for granted. I can remember (more than once) traveling cross-country and back within 24 hours for a single, one-hour meeting. The energy! The carbon footprint! Holy shit, what a goddamn waste. This would be a highly unlikely scenario today, and we, as an industry, desperately needed that change. I think that’s a great example of prioritizing humanity and the Earth.

What do you believe are the essential elements for fostering a sustainable creative career? Have you observed any practices that contribute positively or negatively to this goal?

FA: Between giant holding companies with hundreds or thousands of creative firms under them and large companies with in-house creative functions, creative professionals often see shifts and changes coming at the scale these players can command, for better or worse. Contributing negatively to the development of a sustainable creative career are the multi-layered hierarchy levels occupied by creative professionals who grew up—literally and metaphorically—within an industry that has praised overwork and the neglect of one’s personal needs in exchange for a promise of career progression and success. Of course, not all large organizations are bad, and not all small and independent firms are good; it’s not black & white, but we cannot deny the power large organizations hold to drive an agenda of change if they desire. There is a lot of positive movement in independent creative professionals and firms showing up with a more human dialogue that sounds inspiring but needs to be matched with practices that truly deliver it as a new way of working for the people involved. With Experimenta, my very small and young creative consultancy, I’m proposing a different approach that expands the design thinking definition of human-centricity to include the humans working on the creative challenge at hand, with practices behind it delivering on it beyond a buzzword or a “proprietary process.” And Brandi and I connected so strongly over the concept that the resources behind our humanity are as finite as the resources we see on Earth, and sustainability starts right there.

We cannot deny the power large organizations hold to drive an agenda of change if they desire.
—Fe Amarante

BP: Something I always talk about in the broad subject of environmental sustainability is the concept of a “multidisciplinary and humane” approach. I like to focus on the concepts of non-linear processes, multidimensional teams, and human-centric solutioning (a few of the points that Fe and I came together on initially). If you look at nature, few things we describe as organic can also be associated with straight lines— looking at root systems, our neurons, or veins in a leaf— they all branch out or reconnect back or branch out many times. These concepts are also directly applicable to our lives and our embarking on our careers. Don’t feel like you have a singular, linear path from education to work, or that you should only have one career, or that it be singularly focused, or that you have one set of skills in your repertoire that you can focus on at a time. There are so many benefits to combining seemingly unrelated skills or interests! Why? You’ll never be so specialized that you feel like you can’t transfer to a different job, and you’ll always have ways of reinventing or evolving your role so that you never stagnate. These are the things that support a sustainable creative career beyond relying on your employer, client, or colleagues to play the supportive role.

There are so many benefits to combining seemingly unrelated skills or interests! Why? You’ll never be so specialized that you feel like you can’t transfer to a different job, and you’ll always have ways of reinventing or evolving your role so that you never stagnate.
—Brandi Parker

What changes to the creative industry could enhance the overall experience for creative professionals? How do you see your survey contributing to this evolution?

FA: If every creative leader in every in-house, agency, and independent team learned more about what humans actually need to engage in authentic creativity (and not just perform on a stage of “shoulds”), the future could be so bright. We see a lot of possibilities, given that conversations and concepts around mental health have become more common and that young creatives coming into the industry are demanding a different attitude from their peers and bosses. As a millennial, I’ve said a few times to Gen Z peers, “It’s not that you’re the first generation to want better work conditions; it’s that you’re the first generation being clear and vocal about it consistently.”

Brandi and I have received a huge amount of feedback since we started our podcast, and this gives me so much hope that people crave this discussion. I’m really grateful for what I was able to do in my career, but my physical and mental health suffered greatly from the depletion because nobody was talking about these things.

With the results of this survey, we hope to give everyone datapoints and information to de-mystify what creative professionals need to do this whole creativity thing for a living. Making this better means the work gets better, clients get better work for what they’re paying for, and the humans working on it can do more without running out of juice, like so many of us did, so often, as if it was the only way through this career. It’s beyond time for a new standard. We hope that Zero Waste Creatives becomes a piece in the giant puzzle of making a difference.

BP: Let yourself find that “aha!” moment and run with it— this is advice for the entire industry. And, to get to ‘aha,’ I believe you have to start approaching things differently. For me, it’s been about developing all the ways that seemingly disconnected things—like creative burnout and wasted earthly resources—are actually very connected. Understanding this led me to seek out experts from a much broader set of industries I needed to learn from to define my flavor of sustainability. And, as a result of all of this, my creative tank is continually refueled. Exercising creativity with challenges and unexpected connections can be regenerative. With our abundance of accessible information, AI, the speed of tech, etc., it’s easy to paint doomsday consequences for these things, overlooking the possible benefits— like the incredible speeds at which we can draw connections, learn about specialized subjects, and combine these forces for good.

As a young creative, I always focused on the idea that creativity’s output was solely about something original that you could produce in some tangible way, versus what I know now, which is the idea that creativity is a part of problem-solving, thinking, and way of moving through the world. By creating this survey, Fe and I want to get at the heart of what people are experiencing and how they are really doing. Creatives were a great place to start because Fe and I know them best. Through greater understanding of the results, we can apply our own lived experiences, wisdom, and creativity toward changing the industry and peoples’ experiences in it. Which is a fancy way of saying, “forcing the industry to do things differently in the most organic way we can imagine.”

Let your creative voice be heard! Take part in the ZWC’s annual Creative Voices Heard survey. The survey is open until August 12 and results will be shared this fall.

PRINT will start syndicating the Zero Waste Creatives podcast in our PRINTCast Studio soon, but in the meantime, check it out here.

The post Zero Waste Creatives on a Mission to Advocate for Sustainable Creative Careers appeared first on PRINT Magazine.

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

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

Ryan Fitzgibbon, 2015

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

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

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

Ryan Fitzgibbon, 2024

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

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

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

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

Nestled in the mountains of Hanover, New Hampshire sits the prestigious Dartmouth College, a top tier Ivy League institution priding itself on not only its commitment to academic excellence, but also love for the nature surrounding it. Evidenced by the image of a pine tree in its green school logo, environmental studies are fundamental to Dartmouth’s academic programs, making sustainability an inherent part of its brand message.

By intertwining the pursuit of knowledge with environmental stewardship, Dartmouth College cultivates a culture that values both academic growth and sustainable practices.

Dartmouth College understands the significance of visual representation in shaping its brand identity, going beyond traditional marketing materials to create immersive experiences for its audience. For example, One Perfect Day, a campus tour brochure, offers more than just directions—it provides details about the surrounding area, including nature spots and local attractions, personalizing the college experience for prospective students and visitors. Humans of Hanover, a mailed piece, includes engaging photography featuring the relationships between students and faculty, fostering a sense of community. Together We Can, another mailer, shares how a diverse range of students, faculty, and staff members find belonging and community at Dartmouth.

To deliver on the visual representations that embody the Dartmouth experience and its core values, the College recognized the importance of investing in high-quality printed materials. This is why Dartmouth forged a partnership with Hecht/Horton Partners, a renowned design firm with over 50 years of experience in creating exceptional branding campaigns.

Having worked with other prestigious institutions like Boston University, Harvard University, MIT, and Wellesley College to name a few, Hecht/Horton is known for its commitment to design excellence. By collaborating with Hecht/Horton, Dartmouth ensures that its print materials reflect its dedication to quality and sustainability, cementing its brand as stewards of higher academia and environmentalism.

Hecht/Horton plays a crucial role in shaping Dartmouth’s visual identity with the support of Puritan Press, one of the nation’s leading fine art and photography printers with over 75 years of experience in printing books and catalogs for art museums and academic institutions. Well known in academic circles throughout the northeast, Puritan has become synonymous with high-end quality while following eco-forward printing practices.

According to David Horton, President and Creative Director of Hecht/Horton, “It makes no sense to spend a ton of money on high-end photography and then print it on low-quality paper. It’s one of the reasons we love working with Puritan – they’re a customer-centric, boutique business like us who prioritizes sustainability and understands the role that quality paper plays in a company’s brand image.”

For over 75 years, Puritan has partnered with Monadnock Paper Mills, a New Hampshire-based family business boasting over 200 years of continuous operation – the longest in the country. This long-standing partnership not only strengthens its unwavering commitment to quality but also reinforces their shared value of environmental stewardship.

Monadnock’s Astrolite PC 100® has emerged as the optimal choice for Dartmouth’s engaging print materials. The high-quality, uncoated, recycled paper is crafted from premium, smooth, bright white fibers derived entirely from post-consumer waste. The superior formation and uniformity results in stunning full-color photographic reproduction, making it an ideal surface for Hecht/Horton’s professional grade photographs.

Additionally, Puritan utilizes inks with extremely low Volatile Organic Compounds (VOCs) and free from petroleum-derived ink solvents. Their commitment to quality extends to their exclusive possession of the Indigo 12000 digital press, the only one in New England with a high definition writing head; allowing Puritan to print at the same line screen regardless if printing conventional offset or digitally.

Dartmouth College and Monadnock share a common goal of preserving the environment, as both entities are situated in the heart of the Northeast, surrounded by breathtaking natural landscapes. By collaborating with Monadnock, Hecht/Horton reaffirms its dedication to sustainability and supports responsible sourcing and production of its print materials.

Through a collective love for the environment and artistic expression, Puritan Press, Hecht/Horton, and Monadnock unite to amplify Dartmouth’s brand message. From Puritan’s printing craftsmanship to Hecht/Horton’s exceptional design expertise and Monadnock’s  sustainable paper choices, this powerful alliance results in visually stunning and environmentally conscious print materials that authentically represent Dartmouth’s brand of academic excellence and environmental stewardship.

The post Sustainability Meets Craftsmanship In New England appeared first on PRINT Magazine.

Not everyone can attend design school at Stanford. But that doesn’t mean we all can’t learn from some of its best creative minds.

At the next PRINT Book Club, Stanford’s Scott Doorley and Carissa Carter will join Debbie Millman and Steven Heller to discuss their new book, Assembling Tomorrow: A Guide to Designing a Thriving Future, From the Stanford d.school.

Within the book, Doorley and Carter explore the intangible forces that prevent us from anticipating just how fantastically technology can get out of control—and what might be in store for us if we don’t start using fresh tools and tactics. Despite our best intentions, the most transformative innovations tend to have consequences we can’t always predict. From the effects of social media to the uncertainty of AI and the consequences of climate change, the outcomes of our creations ripple across our lives. Time and again, our seemingly ceaseless capacity to create rubs up against our limited capacity to understand our impact.

Assembling Tomorrow explores how to use readily accessible tools to mend the mistakes of the past and shape our future for the better. Mixed throughout are short pieces of speculative fiction that imagine the future as if it has already happened, and consider the past with a critical yet hopeful eye so that all of us—as designers of our own futures—can create a better world for generations to come.

About the Authors:

Scott Doorley is a writer, designer, and creative director at the Stanford d.school. He co-wrote Make Space: How to Set the Stage for Creative Collaboration and teaches courses in design communication. His work has been featured in museums from San Jose to Helsinki, and in publications such as Architecture + Urbanism and The New York Times.

Carissa Carter is a designer, geoscientist, and the academic director of the Stanford d.school. She’s the author of The Secret Language of Maps: How to Tell Visual Stories With Data and teaches design courses on emerging technologies, climate change, and data visualization. Her work on designing with machine learning and blockchain has earned multiple honors, including Fast Company Innovation and Core 77 design awards.

Don’t miss our conversation with Doorley and Carter, hosted by Debbie Millman and Steven Heller, on Wednesday, July 24, at 4 p.m. ET! Register for the live discussion here, and buy your copy of Assembling Tomorrow right here.

The post July Book Club: Stanford d.school on How to Design a Thriving Future appeared first on PRINT Magazine.

Founded in 2020, Merch Aid is an award-winning social enterprise that collaborates with artists and designers to create fundraising merchandise for non-profit organizations. Initially launched as a relief response to the COVID-19 small business shutdowns, the murder of George Floyd expanded the organization’s vision, highlighting the need for expressive merchandise that resonates with current sentiments to provide a means for impact beyond the pandemic’s scope. Their BLM series raised nearly $50,000, and the AAPI series saw similar success. Merch Aid has raised over half a million dollars and has been featured in major publications, including Vogue and GQ.

As the Supreme Court revisits the contentious issue of trans rights, a group of leading trans designers and allies have united to launch a merch capsule to raise funds for the Transgender Law Center (TLC). This initiative follows the success of the Reproductive Rights capsule released earlier this month, which featured work by notable names such as Jessica Walsh, Debbie Millman, and Gail Anderson and raised funds for the National Network of Abortion Funds.

One of the most important aspects of the reproductive justice movement is the sanctity of every mother’s life. When I state that pro-choice is pro-life, I mean that pro-choice is the mother’s life, and I will always value that above all else.

Debbie Millman, writer, designer, educator, artist, brand consultant and host of the podcast Design Matters

Over 500 anti-trans laws were proposed in 2024 alone, and 53 were passed. The Supreme Court’s decision to review state bans on gender-affirming care for minors further underscores the urgency of this latest capsule collection. The Transgender collection will drop today, Thursday, June 27, at 6 PM EST and will feature artists Ren Rigby, Tea Uglow, Lena Gray, Brooklyn Bruja, Sophia Yeshi, and Doug Rodas.

Opinions don’t change identities, bills don’t change identities, politicians don’t change identities: let trans people be.

Ren Rigby, Chief Design Officer and Founder of Proto

Merch Aid’s initiative is part of a broader art as activism movement, allowing designers to address critical issues and enabling supporters to demonstrate their values visibly. All profits will go to the Transgender Law Center, the largest national trans-led organization advocating for the self-determination of all people. Since 2002, TLC has been organizing, assisting, informing, and empowering thousands of individuals, fostering a long-term, national, trans-led movement for liberation.

No matter what anyone’s personal beliefs are, they are PERSONAL beliefs and should not be projected onto others. The simple arrow pointing down under the belt (or sweatpants) is a reminder that’s what mine is mine. MINE.”

Gail Anderson, graphic designer, writer, typographer, and educator

As trans rights face renewed challenges, this merch capsule not only raises essential funds but also amplifies the voices and artistry of the transgender community, underscoring the power of unity and creativity in the fight for justice. Following this capsule, a series of drops by other renowned artists will continue leading up to the election, focusing on social issues such as bodily autonomy, trans rights, immigration, voting rights, and more.

Design has the power to create change, make people think differently, and mobilize people to action. I’m excited to team up with Merch Aid this year to bring more attention to reproductive freedom at such a critical time and election year. Together, by harnessing the power of design, we can raise awareness and inspire action to protect and advance reproductive rights.”

Jessica Walsh, founder of the creative agency &Walsh

Visit Merch Aid to learn more about their capsule drops and to showcase your values by getting your hands on some merch.

Imagery courtesy of Merch Aid.

The post Artivism for Social Justice: Merch Aid Drives Change with Their Latest Capsule appeared first on PRINT Magazine.

Book—Covers/Jackets

Zubaan
Ariana Gupta – School of Visual Arts
USA

Zubaan, an independent feminist publishing house in New Delhi, excels in academic books, fiction, memoirs, and popular nonfiction. Renowned for pioneering narratives and progressive ideologies, Zubaan amplifies women’s voices and reaches children and young adults with curated selections. As a dynamic force in the literary world, Zubaan shapes discourse with fearless exploration and advocacy for diverse stories.

Additional credits: Instructors, Rory Simms and Courtney Gooch

Second Place

Speaking in Tongues
Yoon Seo Kim – School of Visual Arts
USA

Zadie Smith’s Speaking in Tongues explores the complexities of communication, identity, and cultural barriers through the experiences of two friends living in England. As the book discusses the contrast between having multiple voices (representing multiculturalism) and a single voice, Yoon Seo aimed to use a children’s word-match worksheet as a metaphor and inspiration for the design. The design aims to illustrate how owning multiple languages (cultures) feels for readers who see the cover.

Additional credits: Instructor, Peter Ahlberg

Third Place

The Artist Book
Jiawen Zhang – School of Visual Arts
USA

This ambitious, collaborative project between the designer and esteemed American poet Elaine Sexton, comprises five intricate paper sculptures, each crafted to encapsulate a distinct interpretation of one of Sexton’s evocative poems. Despite their individuality, these sculptures are bound together by a common thematic thread: the concept of acceptance. Through artistic expression and poetic verse, the series explores various facets of acceptance, inviting viewers on a journey of introspection and understanding. By seamlessly marrying visual artistry with poetic narrative, The Artist Book transcends traditional boundaries, offering a multi-dimensional exploration of human emotion and connection that resonates deeply with audiences.

Additional credits: Olga Mezhibovskaya

Books—Entire Package

First Place

Bento of Memories
Shiyao Wu

Bento of Memories is the tangible embodiment of Shiyao Wu’s spiritual journey. It consists of four small unique books, each centered around a specific ingredient, weaving memories and stories from a particular year. Bento of Memories – Tomatoes is her reflection on her journey in 2020, once again in a foreign land, a year filled with farewells and longing for family. Bento of Memories – Maitake Mushroom is a book inspired by her summer 2021 Omakase experience. Bento of Memories – Truffle is a book commemorating her 22nd birthday dinner in 2022. Bento of Memories – Salmon is a scroll-shaped book centered around the theme of reunion. It captures the precious moments of 2023 when, after four years of separation, the designer joyfully reunited with her family.

Second Place

Dos Palmares
Maί­ra dos Palmares Santana
Brazil

Dos Palmares is a memorial book that brings in parallel and in chronological order a sample of four decades of graphic archive of the Brazilian Black Movement and the life of the Santana family, a black Brazilian family. Interweaving collective and personal memories, the story is told through fragments: notes, letters, invitations, photographs, doodles, thoughts, concerns, and desires. Interventions in red applied to translucent sheets express reflections and run throughout the book. Anti-racism is an exercise of recognition and projection. Protecting this book in a box is reaffirming the need to protect these memories. Telling this story is demarcating our place at the table, in design, and in the publishing market.

Additional credits: Photographer, Maίra Santana; Instructor, Flávio Nascimento

Third Place

Six-Legged Book
Seo Jin Lee – School of Visual Arts
USA

This risograph-printed book celebrates arthropods and insects that mimic butterflies through a captivating blend of photos and illustrations. Each page provides detailed insights into their anatomy and behaviors, inviting readers into the mesmerizing world of insect mimicry. With vibrant colors and striking imagery, it serves as both an artistic and educational resource, captivating audiences of all ages. Whether you’re an entomologist or simply curious about nature, this book offers a captivating journey into insect mimicry.

Additional credits: Instructor, Peter Ahlberg

Hand Lettering

First Place

Up In The Air Gonggi Typography
Jae Young Kim – Pratt Institute
USA

The Hangul & Latin multilingual typeface ‘Up In The Air’ explores how markings can evoke my cultural background and be used for communication in a typographic manner. Inspired by a Korean game, Gonggi, the typography book project narrates my childhood in Korea using Korean letters connected by randomly generated markings from gameplay.

Second Place

Amunet Type
Xinyu Liu – School of Visual Arts
USA

Amunet is a vintage serif typeface created by the designer that is inspired by ancient Egyptian hieroglyphs. It uses smooth curves and streamlined arcs to symbolize the flow of history, thus creating a unique balance between classical and modern. The covers are made out of resin, and Egyptian hieroglyphics, art, architecture, and mythology were buried in layers of amber, creating a fossilized look. The “butterfly” represents reincarnation in Egyptian culture and serves as an inspiration for the theme of the work. As people open and flip through the book, the many familiar stories and characters of ancient Egypt unfold, evoking a sense of nostalgia for these early civilizations that are the very foundations of our modern society.

Additional credits: Instructor, Ros Knopov

Third Place

Bird Words
Jada Merritt – California Institute of the Arts
USA

“Bird Words” is a series of lettering and logotype exercises created over the course of a semester with the goal of developing skills in expressive and illustrative typography. Each week, the designer chose 1-2 birds to design logos for, the challenge being how to represent their characteristics typographically. Jada took inspiration from the bird’s appearance, movements, sound, color, and so on, injecting these attributes into each hand-lettered composition. By the end of the class, she had created over 20 bird logotypes, which were then compiled into a small booklet.

Additional credits: Jeffery Keedy

Illustration

First Place

Stilts, Bears & Skeletons
Heike Scharrer – Cambridge School of Art
United Kingdom

Stilts, Bears and Skeletons, a non-fiction book for all ages, depicts 15 different dance forms from around the world including ritualistic and ceremonial dances of diverse rural and urban communities and forgotten indigenous dances that were recently revived to convey political messages. Gestural mark-making and different typefaces developed for each dance complement every dance’s character and convey its energy. The artwork has been printed in a limited color palette in layers as a giclee print with a screen-printed fluorescent spot color on top. Each dance is portrayed as a dance sequence and its inspiration is visualized as a frieze underneath the text.

Additional credits: Instructor, Katherina Manolessou

Second Place

Xiaoyun Tian
Xiaoyun Tian – Cambridge School of Art
United Kingdom

This picture book tells the story of a firefly called Neon who yearns for city life and comes to work in the city from the forest where he lives. In order to stay in the city, he joins a design company, which is designed according to the template. The work mode caused Neon to fall into anxiety, and finally, his practices and thoughts infected his colleagues, and a single spark was able to start a prairie fire. The inspiration for the project comes from the current reality of workplace pressure in China. At present, 996 has become a norm in most companies in China, that is, going to work at 9 AM, leaving work at 9 PM, and working six days a week.

Third Place

Gulf Horizons Illustrations
Jazmine Garcia – University of North Texas
USA

Gulf Horizon’s new website design needed to feel immersive and inviting for adventurers seeking information on kayaking and similar outdoor activities. A collection of bespoke illustrations and curated photography, paired with a rich color palette, showcases the information in the tone of a cheerful oasis. These lush layered illustrations feature state flowers, birds, and more. Three illustrations were created for each of the five Gulf states. Each spot illustration uses three colors. The variety of shapes and textures creates movement while keeping the focus on the primary figure.

Additional credits: Instructor, Erica Holeman

Photography

First Place

The Dream
Emily Brown – University of Texas at Arlington
USA

This film & darkroom photography project is about the idea of the designer and her sister as facsimiles of one another. The work reflects on their experiences growing up, dealing with body image issues, the complexities of being a woman, and feeling one way inside and having to act another way on the surface. The photos are meant to be dreamlike and evocative of a memory. The designer used a soft-focus lens and black-and-white film processed in a traditional darkroom. The double exposures were created in-camera using a 1990s film camera.

Additional credits: Instructor, Scott Hilton

Design for Social Impact

First Place

Elephant in the room
Eason Yang

Named for “No Evidence of Disease” (a medical term) and “Not Entirely Dead” (an inside joke for cancer patients), NED is a non-profit social enterprise championing cancer survivors in the workplace. NED highlights survivors’ extraordinary abilities forged through adversity, guiding them to become exceptionally employable. This project aims to raise awareness of the stigma and bias people have in the workplace against cancer survivors and their resume gaps—aka the Elephant in the room.

Second Place

Phantom Limbs: Design Interventions and Site-specific Storytelling
Veronica Tsai – Art Center College of Design
USA

Phantom Limbs: Design Interventions and Site-specific Storytelling, explores how the power of site-specific design can be used to tell the forgotten stories of underrepresented communities. Focused on Pasadena, the designer selected several sites where displacements of communities—mainly working-class people of color—occurred. The core features of Phantom Limbs are site-specific, projection-mapped environmental graphics. The designer experimented with various scales and materials by projecting statements, imageries, and other content that pertain to the history of these sites.

Additional credits: Photography, Veronica Tsai, Brad Bartlett; Instructors, Brad Bartlett, Miles Mazzie

Third Place

Ace Week
Nicole Tocco – Savannah College of Art and Design
USA

Asexuality is often overlooked within the LGBTQIA+ community. To raise awareness, Asexual Outreach hosts Ace Week, a week-long event celebrating the Ace community. This project explores a new identity system for Ace Week, including posters, event passes, and merchandise. The design features Ace colors and bold typography, with extended letters that guide the viewer’s eye and highlight the event’s focus on visibility for the Ace community.

Additional credits: Instructor, Michael Whitney

Citizen Design

First Place

Lampião da Esquina
Pedro Melo – Federal University of Rio De Janeiro
Brazil

Lampião da Esquina consists of the study and graphic and editorial production of an alternative LGBTQIAPN+ publication for the Brazilian publishing market, taking as its basis and historically rescuing the queer tabloid of the same name that circulated on newsstands between 1978 and 1981, in the midst of the military dictatorship. The aim was to rethink Lampião as a current publication, adapting its content, format, printing techniques, and handling to the challenges and experiences of today’s LGBTQIAPN+ community. Its new guise seeks to break the (hetero)normative structure of a newspaper, bringing a changeable grid between its pages and editions, the complete absence of capital letters, and a vertical format that resembles the screens of a cell phone. For its special launch edition (number #00), texts were written that were able to present the new editorial and graphic proposal and introduce this unprecedented stage of the newspaper to the public.

Additional credits: Instructor, Nair de Paula Soares; Photography, Sara Monteiro; Reviewer, Italo Braga

Congratulations to all the professional and student participants in this year’s PRINT Awards! We look forward to seeing what you have in store for us in 2025.

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

Annual Reports

First Place

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

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

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

Second Place

The Smithsonian Annual Report
Jason Mannix – Polygraph
USA

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

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

Third Place

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

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

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

Student Honorees – Annual Reports

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

Books—Covers, Jackets

First Place

Opinions
Robin Bilardello – Harper
USA

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

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

Second Place

Evil Eye
Milan Bozic – Harper
USA

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

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

Third Place

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

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

Student Honorees – Books—Covers & Jackets

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

Books—Entire Package

First Place

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

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

Second Place

Type Something For Me
Joyce Shi – G Axis Press
USA

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

Third Place

Alucinação
Felipe Goes – Felipe Goes Designer
Abu Dhabi

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

Student Honorees – Books—Entire Package

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

Brochures & Catalogs

First Place

Naked Trails
Kyle Poff – Leo Burnett Chicago
USA

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

Second Place

MCA NOW
Museum of Contemporary Art Chicago Design Studio
USA

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

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

Third Place

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

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

Additional credits: Photography, Joshua Schaedel

Student Honorees – Brochures & Catalogs

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

Concept Work

First Place

Orb Time Font (OTF)
Raven Mo
USA

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

Second Place

Hand Copying Meditation
Miki Kawamura
Germany

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

Third Place

Afar: Cultural Cards
Andy Vera
USA

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

Additional credits: Printer, Make Playing Cards

Design for Social Impact

First Place

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

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

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

Second Place

One Small Step
I/D.W Studio
USA

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

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

Third Place

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

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

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

Student Honorees – Design for Social Impact

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

Handlettering & Type Design

First Place

Handy Type
Rozi Zhu and Haocheng Zhang
USA

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

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

Second Place

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

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

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

Third Place

The Typography of a Genius Industry
Gaetano Grizzanti – Univisual
Italy

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

Additional credits: Giancarlo Tosoni

Student Honorees – Handlettering & Type Design

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

Illustration

First Place

Metropolitan Transportation Authority Courtesy Campaign
Ricky Sethiadi – MTA Marketing
USA

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

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

Second Place

Joystick Jazz
Mark Borgions – HandMade Monsters
Belgium

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

Vinyl Producer, Bailey Moses

Third Place

Simple Mills Illustrations
Ellie Schwarts – Design B&B
USA

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

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

Student Honorees – Illustration

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

Invitations & Announcements

First Place

Marwen Invitations
Brian Berk – Leo Burnett Chicago
USA

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

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

Second Place

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

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

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

Third Place

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

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

Additional credits: Brandon Murphy, Erin Brachman

Logos

First Place

Turks Head
CF Napa Brand Design
USA

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

Second Place

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

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

Third Place

Kinetic Identity
One Design Company
USA

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

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

Student Honorees – Logos

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

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

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

When he decided to portray the remarkable story of The Lobstermen of Little Cranberry Island, award-winning photographer Tadd Myers committed to a design and production process as sustainability oriented as its subject.

Myers’ 40-page book marries words, images, and carefully selected paper to depict the inspiring heritage of a community and the industry that has supported it for generations. Founded in 1978, The Cranberry Isle Fishermen’s Co-Op comprises 28 independent fishermen and one woman from Little Cranberry Island, Maine. The Co-Op delivers its daily catch live or cooked and vacuum-sealed, marketed as Little Cranberry Lobsters, to restaurants, distributors, specialty stores, and individuals across the country. Though the 200-acre island has only 85 year-round residents, one grocery store, one pier, and one restaurant, it boasts an abundance of rugged natural beauty and a strong commitment to preserving its lobster legacy through careful environmental stewardship.

In this spirit, the Co-Op has collaborated with government agencies in establishing trap limits, size limits, and safe-guarding egg-bearing females. All lobsters are Marine Stewardship Council certified, sustainable, and traceable. In March 2019, the Co-Op began the process of solar power installation, projected to cover 110% of its energy needs and reduce its carbon footprint by 22,073 pounds every year.

After learning about the Co-Op’s multi-generation lobstermen members and sustainability bona fides, Myers was determined to tell their story. The Lobstermen of Little Cranberry Island showcases a selection of 24 stunning images culled from thousands that Myers and his team captured over a week of shooting on board the lobster boats and on the island.

Myers has spent the last two decades working with clients including American Airlines, Apple, Chevrolet, Harvard University, New Balance, Sprint, The United Way, Titleist, and Walmart, and in 2020 he was named one of the world’s best advertising photographers by ARCHIVE Magazine.

When conceiving this project, Myers kept an eye on sustainability at every step.

“This is my fifth and largest book project, and I wanted to make a piece that was not only beautiful but also deeper in concept,” says Myers. “Once we started talking about this book with the Co-Op leaders – who are incredibly enviro-conscious in how they source their lobsters – I was determined to find a printer and papermaker, also based out of the Northeast, who were equally sustainable in their approach and values.”

He selected Villanti Printers (doing business out of Milton, Vermont), the first printer in that state to receive Forest Stewardship Council certification, and the ninth in North America. Founded in 1959, the third-generation, family-owned business unites a “Culture of Craftsmanship” with on-going sustainability investments, including the installation of one of Vermont’s largest rooftop solar arrays, VOC-free inks, and a comprehensive recycling program which includes all wastepaper, bindery scraps, plastic, wood, metal, and more.

The promotion was designed by Jeff Barfoot and Geoff German, who were creative collaborators at the time. Both have continued to impact the design world; Jeff Barfoot is now Co-CEO and Chief Creative Officer at *TraceElement and Geoff German serves as Creative Director at Squires&Co.

“Designing a promotion like this is easy when you have images like this to showcase. The key is to not overcook it. Let the amazing images be the hero, pepper in some fresh typography, add a conceptual support element (we loved the idea of using the rubber band to play off of the lobster claw bands) and don’t let the design get in the way and spoil it,” says Barfoot, reflecting on the creative process.

Myers knew from the project’s outset that he wanted to showcase the Co-Op story on uncoated stock. “I loved the idea of uncoated — it fits the imagery,” he says. “If you were only worried about perfectly toned and contrasted imagery you’d go with coated, but then you lose the feel. Everything I saw I was shooting I was seeing on uncoated stock.”

The path to paper led Myers to Monadnock Paper Mills, the oldest continuously operating paper mill in the United States, and its Astrolite PC 100® uncoated fine paper. Based out of Bennington, New Hampshire, the over 200-year-old mill’s longevity matches its high sustainability profile. Astrolite PC 100, like all Monadnock materials, is FSC Certified (FSC C018866), manufactured carbon-neutral (VERs), and made with 100% renewable Green-e certified wind-powered electricity (RECs) under a third-party certified ISO 14001 Environmental Management System.

“Tadd’s book is such a testament to his creative chops, ability to tell a story through great photography, and insight into how printing and paper can help to tell that story on a deeper and more meaningful level,” says Julie Brannen, Director, Sustainability Solutions for Monadnock. “We couldn’t be more pleased to help him achieve his sustainable vision along with our two long-term partners, Clampitt Paper and Villanti Printers.”

The meaning invested in this project’s design is mirrored in a quote from Co-Op member and Captain Steve Philbrook in The Lobstermen of Little Cranberry Island, which is both available to view online and for purchase at Myers’ website.

We are bound by the ocean on this island. It creates a spirit of cooperation and neighborliness that brings us all together. It gives us a shared purpose and shared goal of making this business work. You definitely feel like you are part of something bigger than yourself when you are on the ocean.

Steve Philbrook

The post Lobster Tales, Sustainably Told appeared first on PRINT Magazine.

“I’ve always been working towards a world in which design for people, design for good, and inclusive design is just good design,” said Young, design researcher and acting chair of the MFA Interaction Design program at SVA. For decades thought leaders have been working to pinpoint the future of good design–and educators have been simply trying to keep up. Now they’re shaping the future themselves. This year, Young collaborated with Pinar Guvenc, partner at the award-winning global design firm SOUR, to construct the first year-long, graduate-level Inclusive Design course in the United States.

Designed to train the next generation of strategic, collaborative, thoughtful, and yes, inclusive designers, Inclusive Design I & II is SVA’s response to corporate reconstruction across industries. Since November 2023, interaction has seen mass layoffs from design leaders like IDEO and technology mega-companies including Google and Microsoft, citing “weak consumer demand.” 

There is demand, just not for their products. People with disabilities hold about $490b in purchasing power in the United States, while 68% of Gen Z prioritizes sustainable shopping. With these two groups holding consumer power, organizations have come to understand that corporate sustainability means social responsibility. Solutions are scarce, as design and tech hemorrhage capital in search of a new ‘new normal.’ 

With an undefined future, the leadership at MFA Interaction Design chose to focus on the only two constants in design — people and their problems. “Every designer is a social impact designer,” said Young. “Whether they like it or not, they’re having an impact on society and people.” 

Instilling inclusion, co-creation, and engagement into design processes may provide the necessary salve to these wounds, setting a strong foundation for our future. It’s the curb cut effect when a design created for a few changes the lives of many. Think of the touch screen on your trusty smartphone, rubber grips on vegetable peelers, or closed captioning; all universal products initially designed with the disabled community in mind. “If you’re not co-creating with people, what you’re putting out there is not going to stick or it’s not going to last, and therefore it’s not going to sustain,” said Guvenc.

Initially designed in two parts stretching over the second year of the MFA program, the course starts slow—painfully slow. Much of Inclusive Design I is spent slowing down, observing, deepening vocabulary, and unlearning traditional design processes. The MFA program defines inclusive design as designing with, not for, communities we aim to serve, recognizing that lived experiences are equally as important as professional expertise. The first few classes are simple yet complex, differentiating inclusive from accessible, universal, or equitable design and exploring what it means to actively invite participants into the process as co-designers. 

“Every designer is a social impact designer. Whether they like it or not, they’re having an impact on society and people. 

Adriana Valdez Young, design researcher and acting chair of SVA’s MFA Interaction Design program

From early January to May 2024, the second-year students in Inclusive Design II were given the mammoth task of redesigning their studio bathrooms. Though interaction design is often seen as a technological field, SVA broadens this definition to include the vast system of networks, services, narratives, products, and experiences shaping our daily lives. “Inclusion, where it differs from accessibility, is not necessarily concerned about the baseline axis,” said Guvenc. “It is concerned about the entire journey and the experience.” Because of this, the faculty chose to focus on a physical, universal human experience to frame the class project in the course’s pilot year.

Left: First-year students celebrate at the DesignIt headquarters with experience designer Brooke Viegut following an expedition throughout New York City; Right: Pinar Guvenc (left) moderates a talk with Jade McDonnough (center) and Marshall Sitten (right) about practicing inclusion as designers and creatives.

This initial class has proven to be a fruitful struggle. Designing for inclusion is a complex, intentional process, filled with co-creation, value-setting, shifting mindsets, community research, and detailed prototyping. As students began conducting anonymous surveys, Guvenc and Young found the emerging designers stuck in habitual thinking and linear processes; many of the students’ first drafts included problematic language and ableist assumptions. Several final prototypes raised an eyebrow, including one with signage depicting a male and female icon perpetuating the gender binary.

“These deeply ingrained mindsets and habits take time to break,” said Young. “For me, it’s about being patient; knowing that we have planted the seed and that seed might sprout later in their design careers.”

The students’ thinking evolved greatly, even if there wasn’t a sharp pivot in their work this year. “Inclusive design is a mindset I can keep with myself, in all types of design,” said Fan Fang, product designer and soon-to-be MFA Interaction Design graduate. “[The course] helped me learn how to decentralize my role as a designer.” Fan Fang’s thesis project focuses on democratizing gaming for those who are visually impaired, designing a tactile controller for blind people to play video games and access information traditionally only visually available. Other graduate projects this year range from apps embracing generative AI to nurture critical thinking for middle schoolers (ThinkKee by Amogh Gharpure), creating a better experience for people with mobility impairments to navigate ride-share platforms in New York City (Unit by Jennie Yang), to tools supporting young people in learning to care for their hands and prevent chronic injury from extensive technology use (Handy by Mihira Patel). 

Under Young’s leadership, the MFA Interaction Design program is turning the needle toward crafting more inclusive designers. Across courses, from entrepreneurial design to game design, students have been tasked with prioritizing ethics and inclusive values, asking them to go deeper into the same projects with these contexts in mind. This year the thesis project requirements have been redesigned to include community engagement, video stories, and a detailed body of work consisting of at least three different design prototypes addressing each student’s research, deepening their understanding of design and its impact. 

If you’re not co-creating with people, what you’re putting out there is not going to stick or it’s not going to last, and therefore it’s not going to sustain.

Pinar Guvenc, partner at SOUR

Looking to the future of the program, Young and Guvenc are hopeful. Inclusive design is still in its early stages as common practice, but its impact is clear. As Black Lives Matter invigorated new diversity, equity, and inclusion efforts in leadership, and the deadline for the 2025 European Accessibility Act looms, companies have a need for lower and mid-level employees who bring a thoughtful lens to their work. “I feel like there was this portal that opened to making inclusive, accessible, and community-centered design this new norm,” said Young, “and we’re jumping through this portal to help future-proof our students.” Beyond future-proofing students, inclusive design just might be the key to future-proofing our world; we’ll just have to wait and see.

co-24: MFA Interaction Design Thesis Exhibition, a walk-through exhibition of works by 21 emergent designers exploring the themes of collaboration, connection, compassion, and construction towards a more intentionally inclusive future. May 16-17, 136 W. 21st St. RSVP here to attend.

Brooke Viegut is a narrative-driven experience designer, audience-centric theater maker, design critic, live entertainment researcher, donut connoisseur, cultural producer, collector of silly little things, and the creative lead at for.play. She is the author of Anonymous Intimacy (coming 2024) and holds an MA in Design Research, Writing, and Criticism from the School of Visual Arts.

Header: a snapshot of a tabletop at MFA Interaction Design filled with inclusive design tools and inspiration. Photo by Adriana Valdez Young.

The post The Next Generation of Design is Inclusive appeared first on PRINT Magazine.

Unlike traditional grant programs, Chicago’s Cultural Treasures goes beyond providing financial assistance. Instead, the initiative is rewriting the narrative of equity in the arts by offering tailored support and capacity-building to ensure the preservation and advancement of BIPOC-led initiatives for generations to come.

Administered by IFF with the Chicago funders group, the effort serves BIPOC arts and culture institutions that have long operated as neighborhood anchors, tradition-keepers, and community-builders to help ensure that experiences are broadly shared and heard. IFF champions nonprofits across the Midwest to shape more equitable and vibrant communities through community-centered lending, development, and real estate solutions.

Tara Townsend, President of IFF’s Social Impact Accelerator, shared the importance of how uplifting and investing in BIPOC-led initiatives not only honors the richness of Black history but also actively contributes to a more inclusive and equitable future. 

(This conversation was edited for length and clarity).

How do you ensure that initiatives such as funding, capacity-building, and technical assistance meet the needs of arts organizations and contribute to their long-term sustainability?

When the funding collaborative reached out to IFF – knowing they needed a community partner with relevant expertise and credibility in BIPOC communities – we, in turn, knew that the initiative could only be successful if it were deeply embedded within the community it serves.

IFF accepted the role because we saw it as an opportunity to support the long-term financial resilience and sustainability of BIPOC arts organizations. As administrators, we designed the grant program, developed an open nomination process to select the participatory grant committee, and facilitated the grant committee in developing decision-making criteria to review the proposals and ultimately make the funding recommendations.

The grant committee members, comprised of a diverse group of community members, civic leaders, and artists embedded in Chicago’s rich arts and culture scene, all appreciate how art fits into the community fabric in the Chicagoland area. The Committee was given near total control over the process, from design to decision (with IFF as an organizer and facilitator), ceding a great deal of power to the communities the initiative intended to serve.

The Grant Committee’s process wasn’t so different from other grantmakers. However, they were different deciders who made different decisions. Examples are focusing criteria on BIPOC-rooted art forms rather than more common criteria focused on BIPOC representation and acknowledging cultural expressions that traditional forms of grant support have historically passed over.

Beyond the critical general operating funding, capacity building and technical assistance were also co-created with the arts communities to meet their needs. Grantees had the opportunity to self-select which offerings they wanted to pursue, enabling IFF to meet each organization where they were in terms of their current capacity and future priorities.

We intentionally designed this, to the best of our abilities, to genuinely meet the needs of the organizations and their communities.

Capital alone cannot provide long-term sustainability, but capital paired with resources like financial management, peer learning, real estate consulting, and more does.

Tara Townsend

Chicago’s Cultural Treasures aims to address both immediate challenges and long-term systemic issues faced by BIPOC arts organizations. Can you share some specific strategies or programs that exemplify this balance?

When IFF agreed to administer ChiTreasures, it was with the understanding that we were not just administering grants. IFF works at the intersection of finance and facilities, ensuring nonprofits have what they need for long-term sustainability.

All of the programs that IFF administers focus on providing technical assistance in addition to capital. Capital alone cannot provide long-term sustainability, but capital paired with resources like financial management, peer learning, real estate consulting, and more does. So, while our involvement in ChiTreasures differed from other work we engage in, it still follows this program model: providing unrestricted grants – in this case, a total of $14.4 million – with access to workshops and resources in fundraising, board development, marketing and communications, financial management, and facilities planning and support. All of these are identified as key needs to help strengthen organizations and manage grant funds for sustained longevity.

Being named a Chicago Cultural Treasure significantly impacted organizations’ sustainability through grants and resources. It also broadened recognition of types of cultural treasures that have historically been overlooked for traditional forms of grant support. We hope that it opened up opportunities for Chicago’s arts and culture organizations—especially those deep in communities rooted in BIPOC culture—to receive additional support.

Beyond this, one of our commitments is to share the learnings and recommendations gathered from the initiative to support long-term changes in funding for organizations rooted in BIPOC arts and culture.

By design, ChiTreasures was not a standard grantmaking initiative. It was a race equity initiative for Chicago’s arts and culture sector.

Tara Townsend

The initiative recognizes the compounding historic inequities faced by BIPOC arts organizations. Could you discuss how Chicago’s Cultural Treasures specifically addresses these inequities? 

By design, ChiTreasures was not a standard grantmaking initiative. It was a race equity initiative for Chicago’s arts and culture sector. By ceding decision-making power to members of the community and by using an LOI (letter of intent) process, as opposed to a standard grant application, we aimed to disrupt the “regular” ways of grantmaking in hopes of countering historic inequities. The LOI process allowed us to explore organizations without using standard metrics for arts funding, which focus on artistic excellence rooted in Western European cultural standards and financial strength, which would naturally disadvantage these organizations due to decades-long histories of underfunding.

The initiative revealed—by the fact that over 140 letters of intent were received—that there are no hidden treasures; they had been buried by years of un-investment. And revealing that was one important step in the initiative’s success.

Since this unprecedented infusion of grant dollars, Chicago’s arts and culture organizations, especially those deep in communities and rooted in BIPOC culture, have received additional support, and we hope it continues. Two years after the grants were made, the funding collaborative and IFF continue to meet and work towards more equitable cultural funding practices.

Our hope is that the initiative’s collective impact will be the ongoing disruption of historical trends in funding for BIPOC-led and -focused cultural organizations as anchors in equitable community development.  

As President of IFF’s Social Impact Accelerator, you oversee various initiatives. What unique challenges or opportunities does Chicago’s Cultural Treasures present? How does the focus on BIPOC arts organizations shape your strategies and approach?

The Social Impact Accelerator (SIA) was created in 2018 to deepen and grow IFF’s impact by scaling what works, innovating new solutions, and driving systems change.

What sets ChiTreasures apart is not how the IFF team operates but the elements that were intentionally designed to make it a unique initiative. For one, the funding collaborative operates to shift funding decision-making and distribution powers to the community.

Another challenge was operating under a participatory grantmaking model and ceding power to the community members. Still, IFF is committed to doing things differently in order to ensure different results and long-term change.

The initiative revealed—by the fact that over 140 letters of intent were received—that there are no hidden treasures; they had been buried by years of un-investment.

Tara Townsend

With sustainability a key goal of Chicago’s Cultural Treasures, how do you measure the long-term impact and success of the support provided to BIPOC arts organizations?

We know that funding from philanthropic sources has been limited for BIPOC arts organizations. This requires these organizations to depend on other revenue sources that may be more fluid, like earned revenues from performances, resulting in uneven cash flows throughout the year. When organizations do receive funding, it is often program-specific or one-year, which limits their ability to plan for the long term.

So, to understand sustainability, we look at an organization’s revenue sources, whether it is reliant on just one source, and how much liquidity it has to weather leaner times. We also look at whether organizations receive more general operating or multi-year grants to understand whether philanthropy is adopting practices that lead to more sustainability for their grantees.

That ties into the initiative’s long-term influence. Observing how the funding landscape continues to evolve, specifically with BIPOC arts organizations, will enable us to evaluate the progress made. 

IFF is committed to gathering and sharing what we have learned and monitoring what unfolds in the future to support a positive change for more treasures across Chicagoland and beyond.

Imagery courtesy of IFF.

The post Shining a Spotlight on Chicago’s BIPOC Cultural Treasures appeared first on PRINT Magazine.

In tumultuous times, bold brands thrive on unique viewpoints, meaningful collaboration, creative bravery, and unwavering craftsmanship; precisely the approach taken by French start-up OLALA!

Founders François Blum and Simon Ferniot understand that taste remains paramount in consumer choices, especially in the plant-based industry. With this focus on taste, they revamped their brand design to propel their plant-based seafood globally. Teaming up with EVERLAND, a global consumer brand and design agency based in Scandinavia, they developed a comprehensive strategy encompassing brand positioning, communication, activation, and visual identity.

With a mission to provoke good growth through strategy, innovation, creativity, and consumer experiences, EVERLAND shapes bold future-looking consumer brands.

“When nearly all competitors focus on rationality and sustainability, we focus on the emotional aspects of having a great meal. Desires and tastes make for a much more robust platform”, explains Mads Hauge Lindum, Senior Brand Strategist at EVERLAND.

OLALA! crafted a product appealing to gourmet food enthusiasts, not just vegans and vegetarians. The new strategy and identity prioritizes taste excellence and ensures it’s reflected in every aspect of the brand, from casual conversations to formal communication. Even the name OLALA! reflects a well-known feeling – “Ooh là là” in French – a pleasant surprise. All communication revolves around great taste, delightful surprises, and the joy of savoring quality seafood.

We want to make waves, “ says Simon Ferniot, CEO & Co-founder at OLALA!. “We’re here to challenge the market but do it sustainably. Everland helped build a platform for breaking through the ordinary and creating lasting change for the better.”

OLALA! drew its visual inspiration from bistro culture, ​catering to food enthusiasts through its premium yet subtle branding. The design emphasizes the centrality of the meal experience, with off-white tones reminiscent of tablecloths and golden illustrations elevating the presentation. The logo reinforces the message of quality, healthfulness, and environmental friendliness. Currently offering six products, including “Salmonderful,” “Tunalicious,” and “Toramazing,” all featuring key algae ingredients, OLALA! plans to expand its product line soon.

“OLALA! is about taste in more than one way. It’s about the craft, creativity, and a mouth-watering sensation steaming on your plate. It’s understated confidence, verbally and visually; it’s what’s needed to make change happen.”

Carl Larsson, Creative Director & Partner at EVERLAND

The post Catch Feelings Not Fish: EVERLAND Serves Up A Fresh Brand for OLALA! appeared first on PRINT Magazine.

Key Points From This Episode:

• Patagonia Provisions: why a clothing company decided to start a food company.
• How Kernza® Grain happened and the why behind the collaborative craft beer program.
• Patagonia’s journey from the apparel business to the food business.
• Patagonia Provision’s pursuits and ambitions in the food industry.
• Patagonia’s first and only acquisition and why crackers were the next space to invest in.
• What fires Paul up about the Regenerative Organic Movement (and what irks him).
• What ‘Regenerate, Rejoice, Restore’ means to Paul. 

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

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

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• Allowing consumers to feel part of something bigger than themselves.
• The history and product range at KOS.
• The power of social media in action: the story of an influencer sharing KOS products on TikTok.
• Distribution of KOS and where to find it online and in brick-and-mortar stores.
• Background information on Spencer Lynn and his journey into working in nutrition.
• Spencer’s best advice: learn from the successes and mistakes of others and allow them to learn from you.
• Spencer’s hopes for the future of food.
• How the ancient Greek tradition of preventative healthcare has influenced KOS.
• The complex and interesting world of CPG in comparison to ingredients.
• Amazon A and B testing.

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

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

The post Brands for a Better World: Spencer Lynn of KOS appeared first on PRINT Magazine.

In time for the gift-giving season, Brand Pollinators, a company that facilitates impactful brand collaborations, and Modern Species, an impact-driven brand design agency, have launched the Impact-Driven Gift Guide. This colorful, beautifully designed, and easy-to-navigate online guide features over 70 unique, curated products from small businesses dedicated to making a positive social and environmental impact.

It’s really exciting to see so many companies coming together to help promote more conscious gift-giving by elevating the brands and certifications that are out here driving positive change.

Gage Mitchell, founder of Modern Species

All products are marked with one or more certifications demonstrating their value and verifying the integrity of their claims. The guide also includes a section describing how each certification makes an impact.

Certifications include:

• 1% for the Planet
• B Corp
• Climate Neutral
• Fair Trade
• Naturally Network (Minority Owned Fellowship)
• Regenerative Organic
• Plastic Neutral
• Upcycled
• Women-Owned

Gift-giving is a way to show appreciation for friends and family, but it’s also an opportunity to support the systems and communities behind the products.

Kate Fosson, founder of Brand Pollinators

We love this guide because it’s an exercise in consumer literacy, but it’s also fun and easy-to-use. Find eight unique gift ideas in each of the categories, including “foodies,” “makers,” and “community connections.” You’ll come away feeling more knowledgeable about your choices and more purposeful and value-oriented in your purchase power.

Get the complete guide with product links and discount codes at ModernSpecies.com.

The post This Impact-Driven Gift Guide Will Help You Give for Good appeared first on PRINT Magazine.

The Genesis of Braille and Boston Line Type

Louis Braille, a blind man, developed the Braille system with a deep understanding of the needs of blind people. Utilising a set of raised dots to represent letters, Braille provides a tactile method for reading and writing. It was born out of a genuine need and was grounded in the practical experience of the visually impaired.

On the other hand, Samuel Gridley Howe’s Boston Line Type system emerged from his visit to the Institute of the Blind in Paris, where he encountered the raised letter systems of Valentin Haüy. Howe’s approach, however well-intentioned, was rooted in the Roman alphabet, which both sighted and blind individuals could read. This noble idea, however, failed to consider the lived experience of the blind community. Boston Line Type proved too complex and challenging to use effectively, leading to over a century’s delay in adopting the more user-friendly Braille system in the US.

Sample of Braille (left); Sample of Boston Line Type (right), courtesy of Ricky Irvine.

Howe’s resistance to a fundamentally different system for visually impaired people stemmed from the belief that this would isolate the blind community. While he intended to ensure inclusion, the reality was the opposite. This episode underscores a critical point: good intentions are not enough when designing for inclusivity. Without a continuous conversation between design and the users’ needs, even the best intentions can lead to fundamentally misguided approaches.

Inclusive Design Doesn’t Work in Isolation

Leaving people out of the conversation will always lead to isolation and exclusion. In contrast, inclusion leads to a world where more voices are heard, more people can contribute, and new perspectives enrich our collective experience.

This concept of inclusion versus exclusion in design extends beyond accessibility for the visually impaired and is still an issue today. In the world of branding, for instance, the digital execution of a brand must be an inclusive experience. However, creative agencies are often tasked with creating a brand independently from its digital expression, which a digital agency executes. So, while the creative agency may be well-informed about accessibility and how the brand they created needs to exist in a digital environment, the website can suffer if they are not guiding the production.

In a recent example, the Natural History Museum underwent a rebrand that was visually appealing and rich in design. However, the digital execution, seemingly developed in isolation, needed more elements that made the rebrand engaging. This situation highlights the need for a holistic approach combining creative and digital design. With more communication between the disciplines and the intended audiences, the result could have provided the richness of the rebrand and been accessible and appropriate for the broadest possible audience. Instead, it became a tickbox exercise rather than an opportunity. Both design and digital agencies must establish direct communication with the right communities, as even small efforts can lead to significant industry-wide progress over time.

How do we provide an equally rich experience and brand expression while still working within the boundaries of accessibility?

Learning From Experience

At UnitedUs, our experience working with D&A, a social enterprise led by and for disabled people, has significantly shaped views on practical design and inclusivity. The D&A project, undertaken while our team was still developing its accessibility knowledge, provided valuable insights.

Visiting the end users in person taught us that it can be just as discriminatory to say, “Here is your AA (ADA)-compliant colour combination,” and leave it there rather than providing a choice. So we created a system that allowed users to pick colour combinations from a predefined set of accessible combinations. Those choices could be needs- or aesthetic preference-driven–choice being the key aspect. The consultations showed us that good accessibility based on AA (ADA) standards barely scratched the surface of how people can genuinely engage with the website on their terms. It underscored the importance of understanding accessibility from the end user’s perspective and the limitations of rigid compliance with standards.

Additionally, the choice of typography in the project demonstrated how design can impact accessibility. Protest placards inspired the visual identity, so we used all-caps typography; however, we discovered that it could pose legibility challenges for some. Accessibility encompasses a broader perspective that considers compliance with standards and factors like legibility, letter form, and the overall reading experience. Therefore, as an agency, our approach is: How do we provide an equally rich experience and brand expression while still working within the boundaries of accessibility?

Lessons From the Past Inform an Inclusive Future

The example of Braille vs. Boston Line Type emphasises that good intentions alone are not enough; we must continually engage with the communities that need inclusive and accessible design.

We can’t collectively make the same mistake as Samuel Howe and stick doggedly to our conceptions of what is right. We must prepare to abandon our notions of inclusive and accessible design when demonstrably better alternatives emerge. We also can’t be afraid of advancing our understanding of this topic; we must take a proactive approach and ask questions we might get wrong rather than unquestioningly sticking within the accessibility guidelines, which date quickly. Guidelines are just the beginning step; we should always look to add, enrich, and develop what we do, understand, and how we work.

A hero of mine, William Blake, showed us that adherence to dogma, however sanctified, without challenging and questioning, only leads to stagnation. Progress happens when we engage in conversations challenging the status quo, moving us toward a more inclusive and accessible future.

This is a guest post written by Carl Rylatt, Design Director at UK-based strategic branding agency UnitedUs, is a seasoned and creative graphic designer. His extensive expertise spans print production, advertising concepts, branding, and identity. With a keen focus on the finer aspects of design, Carl is particularly passionate about branding, typography, custom type, and the intricacies of print preparation and production.

The post Braille vs. Boston Line Type: How Design Can Truly Be Inclusive appeared first on PRINT Magazine.

Is Stefan Sagmeister the eternal optimist? Yes. But he believes that optimism makes rational sense. Many things in our current moment need fixing. Sagmeister’s philosophy and the thesis of his new book Now Is Better is that we have a much better chance of solving them from a headspace of progress and positivity than we do if we let ourselves succumb to doom and gloom.

The challenge of our time: figuring out how to make positive news interesting.

Stefan Sagmeister

In this conversation with Debbie Millman and Steven Heller, Sagmeister discussed the inspiration behind his new book, Now Is Better. It’s been generations in the making. The artwork foundation for the book’s data visualizations came from the leftovers of Sagmeister’s great-great grandparents’ antique store, sourced in his parents’ attic. That 18th- and 19th-century paintings serve as the canvas for contemporary data is a metaphorical and literal interpretation of his thesis. When Sagmeister compares his life to his great-great grandparents, the data comes alive in a personal way alongside the personal history of his family.

For Sagmeister, Now Is Better isn’t just a familial story. It’s a global story told with cold, complex data about improvements in the lives of humans over the past 100 to 200 years. The art is there to provide a visual bridge. People can appreciate the painting for its aesthetics, but the data story is included on the back if people are curious about it.

Despite data telling us that things are better now than ever in human history, you might be skeptical, given the news cycle.

If I’m in a good mood, I’m more useful to my community.

Stefan Sagmeister

What’s the cure for pessimism? You must override your amygdala, that part of our brain wired to latch onto perceived threats and keep us safe. Seeking the positive in an ocean of negative is hard work. One of Sagmeister’s favorite spots on the internet to send his amygdala packing is David Byrne’s Instagram editorial project @reasonstobecheerful.

If we can let in the positive, as designers and creatives, we’ll be able to put all of our might into working on solutions for the pressing challenges of our day.

Here are ten reasons for optimism from Now Is Better.

Don’t own a copy of Sagmeister’s book? You can order one here.

The post Stefan Sagmeister Talks Positivity, Progress, and Pesky Amygdalas in Our Latest Book Club appeared first on PRINT Magazine.

Humans evolve, and the way we learn develops, but we’re sitting at a pivotal point where the main source of news we’re consuming is simplified derivatives of a primary source. The information we’re consuming is filtered down to a 1080×1080 box of ill-designed statements that may or may not contain accurate data.

While scrolling through my Instagram during the deeply troubling Israel-Hamas war, I wondered why I saw the same graphics repeatedly. It wasn’t because they were the only ones out there; I’d often see new ones splashed between, but I realized that it was because these specific graphics were beautifully designed, legible, and quick to make a point. 

Thanks to social media algorithms, I recognized we often see the same memes shared continually because of how we respond and interact with design, not necessarily the truths within. Therefore, the same messages were constantly circulating and forming the zeitgeist, thinning out a range of perspectives, voices, beliefs, and ideals, regardless of whether the information shared was factual.  

Memes themselves carry an unspoken socio-political currency. Although they can be seen as an unconcerned approach to news, they often help surpass cultural and demographic barriers to become powerful tools for self-expression and connection. It allows for the efficient sharing of opinions and fewer barriers to understanding and communicating highly political and controversial topics. 

Not only do memes create a lower barrier for entry into conversation, but they also can provide a valuable coping mechanism.

Further, memes and distilled graphics allow people to enter high-level conversations without academic formalities or the fear of being alienated. These shareable graphics undeniably cultivate conversations for those who otherwise might not know where to begin. 

Not only do memes create a lower barrier for entry into conversation, but they also can provide a valuable coping mechanism. The American Psychological Association ran a study that focused on the effects of the consumption of memes and their coping efficacy. While the study focused on COVID-related memes, the study was able to prove the coping effectiveness of memes. 

“This study provides initial evidence that memes may not be just frivolous fun; they are potentially helpful for coping with the stress of a global pandemic and connecting us psychologically while we remain physically apart,” the study concludes. “Memes could be used as very cheap, easily accessible potential interventions to support coping efforts.”

When these graphics or memes posted on social media platforms are shared continuously, they become further removed from the context, allowing viewers to summarize and embrace their own meanings.

Further, clarifying information in its simplest form creates more palatable reports. “Aesthetically appealing and easily digestible graphics or memes that confirm a viewer’s bias in an extremely clear way tend to spread faster than content that takes more time to understand,” says Raphael Farasat, CEO at Truffl and an award-winning brand strategist and creative director. “The spread of this over-simplified content can significantly influence public opinion by reaching a larger audience and making the content seem more credible or important. Their design can evoke stronger emotional responses and engagement, thereby influencing how people perceive and interpret the news.”

Yet, there is a dangerous side to memes as well. When these graphics or memes posted on social media platforms are shared continuously, they become further removed from the context, allowing viewers to summarize and embrace their own meanings. 

Further, when the same messages are repeatedly shared, regardless of whether the information is true, it can cause unnecessary panic and false truths and change narratives entirely. “[The instant shareability] is a double-edged sword. The instant shareability ensures that information, opinions, and ideas circulate quickly, fostering a dynamic discourse,” says Farasat. “However, it also enables the rapid spread of misinformation, simplifications, and bias, which can skew public perception and understanding of events like the Israeli-Palestinian conflict.”

Designers play a role in determining what aspects of a news story get highlighted or overshadowed through their design choices.

Raphael Farasat, CEO at Truffl and brand strategist and creative director

Because of the current shift in how humans receive their news, there’s new pressure on designers to create factually accurate content in a concise, well-designed fashion. “Ethically, designers should aim to promote a balanced and informed conversation, ensuring their designs don’t misinform or fuel polarization,” communicates Farasat. “They play a role in determining what aspects of a news story get highlighted or overshadowed through their design choices.”

Farasat continues, “This is no different than designing content for brands. Rather than attempting to market a product or service, designers are marketing ideas. In the same way a designer for a cigarette brand bears some responsibility for their ability to convince people to smoke, a designer of political content should have some responsibility for the effects of their content — whether it exacerbates division or influences people to cause harm in real life.” 

Before the Hamas invasion and the following events, graphics and memes perpetually circulated misinformation or exaggerated information. For example, the Internet was suddenly barraged with memes about the Chinese ‘spy’ balloons flying over the US or the ever-cycling COVID-related misinformation via memes. While these memes provide simplified versions of the news, they also host mounds of misinformation and false claims. 

There’s a new call to action for designers to consider their power when controversial topics arise, especially those as significant as the Israeli-Hamas war. Because of the shift in how people consume news, designers have a new responsibility in sharing information beautifully and accurately and creating well-informed, factual rhetoric around events. Because, at the end of the day, the well-designed memes and graphics circulate the Internet to form the zeitgeist.

Banner composite by author.

The post Is Meme-Ification of the News a Good or Bad Thing? appeared first on PRINT Magazine.

Building a more just and joyous society takes real, system-level change. Which can feel daunting. Or, with a few shifts of perspective, it can feel exciting—possible, even.

We see three big perspective shifts that create contours around a new, necessary kind of conversation about change. One that we have as a studio, and one that influences how we partner with our clients.

1. We expect immediacy, but change is gradual.

The changes that have shaped our modern society—the movements for civil rights, voting rights, and LGBTQ+ rights, to name a few—took generations. And we’re still fighting hard to protect and build on them today. Building a just and joyous society is a long game that rewards persistence.

2. We expect simplicity, but change is complex.

Persistence alone won’t address the root causes of systemic issues like health inequity. Nor will a single-minded, inflexible approach to taking action. In response to complexity, we have to stay attentive and resourceful, evolving strategy and tactics as new windows for impact open. Adaptability will help us channel strength and persistence toward their greatest effects.

3. We expect heroes, but change is cooperative.

In the long, complex story about building a more just and joyous society, it’s tempting to think of ourselves as the protagonists, especially if our leaders, our people, and our supporters expect that from us. But the issues we aim to change arise from big, powerful systems—and, if you think about it, so do we. Each person, organization, and foundation has unique strength. And the more we can connect and pool those strengths to center change, versus centering ourselves, the more prepared we’ll be to meet systemic issues with systemic solutions.

We can build a more just and joyous society. But it takes persistence, adaptability, and collaboration. And it takes multiplying that across a network of people, organizations, and foundations who know their unique strengths and are willing to share them to reach a common vision for something better.

That’s who we partner with. We use strategy and design to help nonprofits change the conversation about what’s possible. Because, in our view, that’s what sparks and sustains real change—not by manifesto, but through honest, open, purposeful conversation. One that starts between a nonprofit’s leadership and its staff. And then emanates out to invite support and promote partnership, shifting over time as the network grows and adapts to reach their vision.

In this way, though, we think nonprofits have been underserved by their branding partners. Nonprofit brands have never been more prepared to take the stage (digital or otherwise) and proclaim their bold ambitions. We are not in shortage of boldly proclaimed ambitions. And yet, to quote Darren Walker, Ford Foundation president and Hyperakt client, “Our extreme challenges remain extremely unsolved.”

So, it’s time to think differently about change. It isn’t immediate—it’s gradual. It isn’t simple—it’s complex. It’s not just for heroes—it’s cooperative.

And it’s time to think differently about how branding can help nonprofits who do the hard work of change. It isn’t about creating heroes with manifestos. It’s about helping nonprofits spark, shift, and sustain conversations about what’s possible within their teams and across a network of supporters and partners.

When we do that, we can meet systemic issues with systemic solutions. And that’s what we mean by branding for a more just and joyous society.

If you’d like to explore how your organization’s brand can change the conversation, let’s talk.

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

Illustration by Merit Myers.

The post It’s Time to Change the Conversation About Change appeared first on PRINT Magazine.

While the healthcare industry wasn’t previously known for its innate creativity, this unique strategy helps to create pharma design that’s more community-oriented and, therefore, inclusive. I had the opportunity to ask minds+assembly’s Head of Design, Stephen Minasvand, a few questions about how design, particularly typography, can impact the healthcare and pharma industries.

How did you get into the pharmaceutical design space? 

Before pursuing healthcare and pharma, I was your ordinary consumer art director / designer, working at big and small advertising agencies and design shops alike. I worked in every domain, from the U.S. Army, Verizon, Playboy, and MAC, to New York City locals like Chelsea Market and Industry City. Somewhere along the way, I lost my sense of direction. My career was moving along, but without orientation or purpose. I was exhausted and unfulfilled by the consumer industry.

For most designers, pharma and healthcare has a reputation for being the farthest thing from a gateway to a successful career. However, that’s precisely when I decided to see it as an opportunity to stand apart; to change what it meant to be a designer in healthcare; to do something potentially career-ending.

If I was going to possibly fail in this absurd endeavor, I was going to fail fast. I expeditiously jumped into the complex, beautifully constrained industry of pharmaceutical and healthcare creative. Much of my time was spent studying empathy, human-centered design, and how patients and doctors were spoken to. Placing myself into the position of who I’d be designing for; quickly realizing that those who suffer from illness, from lack of clarity, from confusing narratives were in dire need of more powerful communications, more authentic experiences, and more beautiful design. 

I connected with my colleagues and partners Ben Ingersoll and Joelle Friedland, who, like me, saw everything that was missing from the healthcare creative world.  

Now we acknowledge that design has a purpose of elevating people’s lived experience in genuine ways, and I personally benefit from building empathy through design to help connect people to the products they use. 

How can design help change people’s views about the pharmaceutical space? 

Human centered design, by nature, is empathetic. It’s built on genuine insights into needs and behavior. For decades, pharma and healthcare have been more interested in speaking at people rather than listening to them. The industry propagates mediocrity and inauthentic expressions of design, creativity, and experience. 

If you look at anything medical online, there’s loads of important safety information, incomprehensible data, and intimidating claims. Sadly, the industry that should matter most has fallen victim to, and accommodates, these complex narratives and artificial communications. In particular, the mental health category is rife with glib, tepid generalizations and visualizations. How can a person who suffers from a mental health condition connect with design that is entirely inauthentic and unrelatable?

Otsuka Pharmaceuticals challenged us to break the fourth wall separating them from Gen Zers living with mental health conditions. The result? Society of Valued Minds, a social media initiative that recognizes the value of every mind, giving voice to the thoughts and feelings of people living with depression, anxiety, bipolar disorder, and more. 

Design, typography, verbal tone, composition, color— all of it has an impact. With SoVM, every aspect of design is considered and built to strengthen the connection with our audience. Typography and visual style let people know that they are both seen and heard. The design is a representation of them. When design and typography is weak, poorly laid out, lacks visual consideration and communication, the audience feels it, because they rely on it. When the product or experience expresses power, beauty, and simplicity, it’s an entirely different and new representation and effect. Beauty is the entrance into any experience. It simply makes people feel better. Beauty can be therapeutic, but far too few companies prescribe it.

More specifically, how can typography help improve the patient experience in pharma? 

Typography is simply one of the most significant forms of expression. Typography represents text, letterforms, words, sentences, paragraphs, narratives, stories, our thoughts, and our intent. It is, in some ways, the most direct form of communication we can offer. It’s also one of the most powerful tools in communication we have as designers. 

Typography offers its own narrative. Strangely, for something that is used to create words, there’s another language of type that is completely non-verbal. It is unspoken. Serif, sans-serif, light, thin, regular, bold, black, and every variant in between communicates something. Elegance, strength, academia, playfulness, power, volume, and beyond. Being able to choose the correct type for your design alone, is one of, if not, the most important decisions you will make as a designer, especially when it comes to the health and wellbeing of the people you are communicating to. 

Also, let’s not forget the functional significance of typography and how it’s experienced. Designers have tremendous responsibility, especially today, when it comes to working in healthcare. We deliver creative and communication that is meant to be functional, human-centered, and considerate of the person experiencing it. Content like important safety information, data sets, disease education, are knowledge and instruction that will potentially save your life, and it should be a priority for designers. Consider the person who is experiencing the product. 

Do you think typography and design are seen as an afterthought in the medical space? If so, how can designers help change this? 

Absolutely. The industry is dominated by brand-out sales, rather than customer-in conversation. This propagates a mentality that design for things like medicinal packaging, product claims, drug websites, communications, and beyond, can be de-prioritized, or lack creativity, innovation, and beauty. The pharma industry accepts mediocrity, due to the false assumption that people will buy medicine because they need it. It’s so much more than that. To make people better, the pharma industry needs to do better. 

We need designers to join our cause, and convincing them is difficult. Design often takes a backseat, due to the regulation and limitations around developing beautiful work. However, we believe it’s this limitation that breeds creativity, and there’s a responsibility to push as much as possible to make it better. The biggest danger for a designer is believing they can’t do more. We must enforce change in the world of pharma and health through simple, yet powerful pursuits such as typography. We need to connect beauty and design with the needs of the people who will ultimately rely on this product because, in some cases, their lives depend on it. 

Where would you like to see typography evolve in pharmaceutical design?

I envision a future where typography alone becomes as recognizable as part of the brand as anything else. A time when the letterforms and composition convey as much emotion and meaning as do the words they form, and the images they are surrounded by. Pharmaceutical advertising has a reputation of piling mountains of generic type, important safety information, and confusing paragraphs of incredibly serious and indispensable information. The solution to finding meaning and navigating this content is meaningful design. Today so much of type design is dumb and functional when it has the clear opportunity to add wit and emotion to communications. People who are ill, lost, and in need of it, deserve it. 

The post Type Tuesday: Stephen Minasvand Tackles Type in the Healthcare Industry appeared first on PRINT Magazine.

Peraza is also editor of Hyperakt’s email newsletter Insights, which is one of many missives that I receive from design firms around the world, but one of only a few that I read regularly with interest. Many of its stories focus directly on the differentiation in the branding process for nonprofit groups and organizations. You can subscribe here, but to encapsulate his ideas I asked Peraza to provide us with a quick summary of the studio’s vision (and show a few of the projects Hyperakt has worked on, including 2020 presidential candidate Pete Buttigieg’s brand).

What is the distinction between effective brands for commercial companies vs. nonprofit entities?
There are several important ones. Companies use their brand to compete with each other and gain more market share. Their primary goal is to convert customers.

For nonprofits it’s not about competition—the goal is to develop an engaged community. They use their brand to build trust and collaboration with their peers and allies; their success is married to the success of the larger field.

Marketing a product that attracts buyers, often by impulse, is a very different challenge than building a community based on shared values and visions of the world. In order to get people to invest time in or advocate for something they can’t necessarily buy, they have to connect with it both emotionally and intellectually. Building this kind of relationship with audiences is no small challenge.

Brands are expected to distinguish products in the same or related fields. But are there specific languages for different nonprofits?
Beyond reflecting the values and tone of an organization, the “products” nonprofits need to distinguish is their particular purpose and role in the social impact ecology, their approach to doing so, and the particular expertise of their team. 

Nonprofits usually aren’t selling a tangible, easily marketable product—a thing. They’re shedding light on an important injustice or problem and they’re unveiling the world they wish to create through their work over the long term—ideas. The focus of all language is on the people involved in that idea (the people who will benefit from your work, and the people doing the work) and the behaviors that need to change for us to accomplish them.

Let’s assume that there are two entities that require brand strategies. How do you define the needs of profit over nonprofit? And what tools do you need to accomplish your goals?
Nonprofits need clarity of mission and internal cohesion, which then translates to greater organizational capacity and impact. 

Nonprofits need to inspire trust (in their capabilities) and belief (in the mission to eradicate a particular injustice). A clarifying and compelling brand presence can help attract talent, rally allies and collaborators, and inspire donors and investors.

Because nonprofits require a lot of inside-out work, it’s important to spend time taking a pulse of the team, the culture, the history, the present state, the future trajectory, etc.

Who does the nonprofit need to appeal to through its branding?
Commercial brands are hyperfocused on consumers, a broad audience group that can be segmented infinitely into smaller and smaller groups, but who are united in motivation by their desire or potential desire to buy the product or service. A nonprofit, on the other hand, usually has multiple audiences (not just one audience that can be divided into multiple segments) who each have fundamentally different motivations and needs: donors, clients, employees, partners and collaborators, lawmakers and government officials, and segments of the general public that are attuned to the particular issues they focus on. To different degrees, nonprofits need to prioritize and connect with many or all of these audiences, catch their attention, and engage their hearts and minds.

Why does the nonprofit need to be distinct from the profit entity?
Because they serve vastly different audiences (community, not customers), goals (people, not profits), beliefs (values, not lifestyle), products (complex ideas, not simple products), and functions (systemic change, not instant gratification)—all of which should be reflected in different solutions. Given the time and resources to consider the best solution for different problems, it doesn’t make sense to offer the same solution for both.

What is the best practice for the nonprofit? Or is such a thing dependent on various individual needs?
We believe that brand is deeply rooted in the work, purpose and people of your organization. Our job as their branding process is to facilitate a process by which we can collaboratively unearth these roots, meaningfully wrestle with the insights and tensions at the heart of the organization’s work, and arrive at a core idea we can build their brand around. The goal of this process of branding “from the inside out” is to build brand resonance that reflects inner clarity, external confidence and a singular voice that makes people feel something when they connect with the brand. The resulting internal cohesion around the brand unlocks the organization’s ability to better leverage its resources, facilitates the execution of its mission and leads to increased impact.

The post The Daily Heller: A Vision for Branding Nonprofits appeared first on PRINT Magazine.

Multi-disciplinary artist and designer Yinka Ilori is right there with me in my romantic regard for playgrounds, and recently took his bold, colorful visual style to the wonderful world of playground design. Ilori bestowed the UK’s Parsloes Park with a vibrant play paradise called The Flamboyance of Flamingos, co-commissioned by public art project Create London and the London Borough of Barking and Dagenham.

Ilori also collaborated with Becontree Forever, the painters over at The London Mural Company, and fabrication specialists at setWorks to create his designs. The result is an imaginative wonderland that pays homage to the history and wildlife of Parsloes Park, most notably nodding to the flamingos that previously inhabited the area. Some of the playground’s many scintillating features include a refurbished basketball court, a cocoon hillside slide, a seesaw, monkey bars, balancing blocks, an accessible merry-go-round, a joint swing, and a flamingo seating circle, of course!

I was completely captivated by Ilori’s stunning design (and woefully jealous of the children who get to play on it), so I needed to learn more about The Flamboyance of Flamingos from Ilori directly. His reflections are below.

Where does your love of color and pattern come from?

I was introduced to color at a young age, seeing my parents and their friends dressed in bright colors and rich textiles. This left a really strong impression on me, and has since become an important part of my work. I think color can be an incredibly powerful tool. Throughout my projects, I have explored how it can be used to tell stories, transport ourselves somewhere else, and influence our mood.

Did you enjoy playing on playgrounds yourself growing up? 

Growing up on a council estate in Islington, my friends and I would use any available space to play together. This included our balconies, where we would race around and come up with our own ideas of how to play together. The communal estate playground provided a more purpose-built space for us to be together, and begin to learn, to dream, and imagine. It had swings, tires, and motorbike spring rockers, and was a space where we could all come together and exchange ideas on how to play.

I come from a large family and neighborhood where sharing was a very big part of my upbringing, so I have a deep understanding of the value that community play spaces bring to children. They are incredibly important in providing the freedom to be together, learn from each other, and build relationships and memories. The playground from my childhood encouraged me and my friends to be ourselves and have some fun. These are some of the best, most positive memories I have.

The general aesthetic of your design work is so colorful, bold, and graphic, which really lends itself to a playground design. But in what ways was designing a playground different from your other design work? Do you see yourself designing more playgrounds or other types of play areas for kids in the future?

My work is inherently playful and engaging. I try to create installations, graphics, and architectural elements that can become a unique part of a local community and bring people together on the streets to experience their neighborhood in a new way. So in that respect, you’re correct: my work does lend itself well to the design of a playground.

I’ve worked on a number of projects that incorporate elements of design that encourage people to use the structures in exciting new ways to work collaboratively, and the design for Flamboyance of Flamingos is similar in that way. Rather than using the standard play structures you see in every park, I’ve created some slightly more unusual design elements that encourage kids to be creative in how they play together. 

The main difference would be that we had to really think about the way the space was going to be used by a large number of kids over a very long period of time. When children play, they do so very enthusiastically, climbing over things and running around, so we needed to make sure every element could stand up to this, and that the materials were hard-wearing and long-lasting. 

What was the ideation process like for designing the playground? I know that you conducted creative workshops with residents and children as part of this discovery phase. What was that experience like?

We wanted the park to be reflective of the local community, and accessible and appealing to children of all ages. Working with local residents on creative workshops to hear their stories was a really important part of the design process. We wanted to make their stories heard and base the design on what they wanted to see in the space. 

It’s always an incredibly rewarding process being able to go into a community to hear what they think about their local area, their lived experiences of spaces, and what they want from the facilities around them. So this was an incredible journey, and I’m so thankful to have had the time to work with the families around Becontree Estate. 

In addition to the workshops, I also researched the history of Parsloes Park. I wanted to explore memories of the park, and took inspiration from the wildlife that once inhabited the space. The flamingos that were once seen here have inspired the spring rockers and also the title of the project.  

How does it feel watching real kids enjoying the fruits of your labor as they play on a playground that you designed yourself?  

I am constantly amazed and inspired by kids. They have this incredible capacity to dream, and imagine, and turn the things around them into a fun game, and they are generally open and collaborative with each other. Sadly, as we grow up, we lose this ability. It’s an absolutely incredible feeling being able to watch how the kids decide to use the play space. How kids think, work together, and come up with new ideas is a great reminder that we all need to make more time to be playful. Being able to provide them with an engaging space to be themselves and see that spark in them is so rewarding.

The post Yinka Ilori’s Flamingo Playground Will Make You Wish You Were a Kid Again appeared first on PRINT Magazine.

UK beverage company innocent and London design studio ShopTalk provide an excellent example of where to step in with their new digital platform The Big Rewild. This charming, intuitive app not only provides concise information about innocent’s sustainability efforts, but invites consumers to take part. Green tones and leafy design emphasize the project’s passion for nature, while games, easter eggs, and witty illustrations add a sense of play and optimism. This fun, accessible educational hub shows how brands can hold themselves accountable and empower consumers at the same time.

ShopTalk designs digital platform as part of innocent’s new campaign: the Big Rewild

London-based design and brand studio ShopTalk has partnered with innocent to create a digital platform as part of the Big Rewild, innocent’s new campaign inviting drinkers to support rewilding efforts.

ShopTalk created a digital hub which forms an integral part of the digital toolkit for innocent’s campaign content – from core information on carbon reduction plans to rewilding inspiration and activities. The interactive site sits alongside innocent’s digital strategy, limited edition pack and OOH advertising to bring together the campaign and drive strong awareness and support for the rewilding initiatives that innocent is enacting within its business and beyond.

ShopTalk’s design is built to delight and engage people, with an emphasis on assets that encourage interaction and participation – first online and then in the community. One stand-out element is the “Spin the bottle” game, which prompts users to spin an innocent orange juice bottle to receive a random challenge that inspires them to take an action toward rewilding and saving the planet.

The design overall captures the attitude of the Big Rewild project – leaning into green tones, natural textures, and interactive elements. Quizzes, maps, interactive easter eggs, and a dynamic counter that tracks the trees planted in orchards as part of the campaign infuse innocent’s recognisable playful-yet-informative positioning into the platform for a brand experience that’s both inspiring and reinforcing.

James Wood, Creative Director and co-founder of ShopTalk says: “We were brought on to develop the digital platform which demanded translation of incredibly complex material into a playful, easy-to-understand user experience. The Big Rewild hub is designed to inform and inspire people to learn more about innocent’s rewilding projects and get involved in the campaign. We’re proud to have partnered once again with innocent and helped them bring the Big Rewild to life.”

This campaign comes off the back of ShopTalk’s recent redesign of innocent’s website with the brand’s commitment to reducing its carbon emissions in mind. The resulting addition of a “green switch” allows site visitors to opt into an energy saving version of the website – an effective way to reduce the site’s overall carbon footprint.

The Big Rewild, as well as innocent’s new website, are now live.

The post This New Platform by a Beverage Brand Invites You to Help Them Rewild appeared first on PRINT Magazine.

—Hans Hoffman

Technology experts claim that the acceptance and growth of any new technology is a slow progression. It’s a slow income time, placid and shallow at first, slowly growing until the degree of acceptance surges, suddenly becoming a wave that floods everything in its path. The internet grew out of military communication concerns, and blossomed from small utilitarian protocols into the complex living organism that now dominates culture and commerce. Today, we are walking in the shallows of artificial intelligence technologies, and small waves are gently lapping at our ankles. However, those who understand AI know that the tsunami is on its way. At the very least, the changes resulting from AI will be fully enveloping for designers and creators. If we don’t understand or learn how to manage the AI that is currently being incorporated into communications and creative tools, it could undermine humanity’s role in controlling in creativity as we know it.

Artificial intelligence is more than just complex mathematics— it is a process of securing information, turning it into optimized data, and using algorithms to find the best prediction. That best solution is then used to effect some desired result, guiding the car to a desired destination, and navigating the next turn safely. Choosing the best background for an image may involve turning a 2D image into a realistic 3D rendering and, in the process, turning a mere snapshot into a false reality. These are the obvious, open, and sometimes notorious uses for AI; it is the hidden or more subtle uses of the technology that create its seductive powers. The AI chip in your mobile device guides you on your walk, chooses the best images to post, and tells marketers what ads to show you. Social media apps determine who, or what, will be interesting based upon your purchases, browsing histories, and past interactions. All these functions ride on top of artificial intelligence engines. But AI is not limited to social media technologies— they are just the low hanging fruit for AI creators. The real magic is evident in computationally complex apps, such as applications commonly used by designers.

Design programs are starting to use AI extensively. They’re most visible in magical completion of the missing parts of an image, smart deletion of unwanted backgrounds, auto color, auto exposure and image sharpening tools we use. Designers and photographers have become extremely reliant on these aides, and in response, the way we design and take photographs has changed. It is a self-reinforcing cycle. Adobe, Google, Apple, Facebook, Twitter, and Instagram, among others, rely on AI to make their products easier to use. This simplicity of use comes with a complex trade-off. The data and access to information you give to cloud-based app providers is much deeper than most people understand. This access may even extend to data stored on your hard drive, on the cloud, and even on your mobile device. AI is always searching for data and the creators of AI-enhanced technologies are very creative in the way they consume your data. Why? More data makes the reach with consumers deeper; it may make the product better, more seductive and, undoubtedly, it makes the provider more valuable. However, the use of AI has an echo chamber effect— not only does it affect outcomes, it also shapes decisions regarding inputs. What happens when effect shapes the design brief? I believe AI will eventually become a more commonplace tool for making business decisions. When this happens, AI will begin to influence and shape the creative work product. It will start slowly, but at some point, business managers will likely rely on AI to make even more decisions. But as AI gets better, does that make it any more trustworthy?

Business owners want to ensure the process of creating, designing, and marketing products and services is efficient and, above all, results in measurable profits. Shiny new concepts and tools are always welcome, and few are as new and shiny as artificial intelligence. The process of classic design thinking relies on securing information about customers and understanding their needs, followed by ideation, prototyping, testing, and reiteration. Current AI technology is a perfect fit for the first and second part of this process. As the technology improves, the remaining processes will easily be incorporated into AI design processes. The problem with AI in this context is that it must rely on what it learns, and it only learns from the information that is given. Typically, the humans providing this information are not artists or designers. They are low-paid assembly line knowledge workers who make decisions based on a lowest cost basis. Humans then construct the algorithms that tell the computer what data to use. Designers have little to no influence during this process; they just have to live with the results.

Fields that rely on AI tools include transportation, industrial operations, banking, communications, manufacturing, and medicine. But AI is affecting every industry, and design software is not immune to this trend. Adobe states that their new analytics software, Adobe Sensi, is a set of tools will help designers “optimize and scale user experiences” with “real-time intelligence” and help marketers predict customer behavior based on “attributes, differences, and conversion factors.” Stated simply, what Adobe and similar companies are promising is that AI will create shortcuts, like an easy path from design to market success. But designers should remain mindful that creativity, good artwork, and good design are inherently human pursuits. Will these tools create a valid shortcut in the creative process, or hinder its natural progression?

So when, and how, should we use AI to enhance creativity? While it can be a helpful addition to a design toolkit, designers must understand how it can influence creative processes as it becomes prevalent. AI creates the promise of easy answers, or at least, a faster way to get usable solutions. For a product manager or business owner, any tool that makes it easier to understand customers and their desires is a good thing. The problem with AI in design is that, because usable data is difficult and very expensive, tool creators will be tempted to use the same data sets repeatedly. This is dangerous, as the overuse of certain data will inevitably create bias in the algorithms guiding AI. While the information within an AI solution is what creates its magic, it’s also a significant part of its danger. At the very least, resulting designs will soon lose their distinctiveness.

An artist / designer who chooses to work with AI must remain mindful of the fact that it is not one single technology. Facial recognition, gaming, and many creative uses of AI use Generative Adversarial Network (GAN) networks, a type of machine learning that is also used to create deep fakes. To my knowledge, the issue of licensing a person’s image and subjecting the photos to GANs manipulation has not yet been addressed. If a designer is working with GANs technology, the model release should at least identify that the photos may be computer manipulated.

Deep learning is a subset of AI machine learning that incorporates additional neural networks. This technology is usually associated with automation and “teaches” an AI application to make better decisions for performing analytical and physical tasks without human involvement. This technology could also train a design application to use tools in the designer’s own style or manner of working. If these applications are cloud-based and served to your workstation on demand, review the settings to ensure that you are comfortable with the default level of sharing. You may wish to avoid granting excessive access to the information you’ve created while working with the application.

Convolutional Neural Networks (CNNs) and their cousin, Recurrent Neural Networks (RNNs) are another subset of machine learning. CNN technology is commonly used for image classification (identifying an object in a picture) or feature recognition (identifying patterns and voices), while RNN is associated with speech recognition tasks. Designers who create work that incorporates image and/or voice recognition, such as UX and UXI, should be aware these technologies require specific methods of input which may affect the final UX experience. Designers will also find that computer processing power will impact the possible implementation of their designs. Designers who create UXI for reinforcement learning systems, such as teaching machines that manage large data sets, must ensure they understand the limitations of the technology. In this case, it’s important to ask questions about the type of user, as well as how the design will be used. Find out if the computing devices and human interfaces have input or graphics display limitations. You can always ensure a better solution by learning about the intended uses for a design that interfaces with AI.

As AI tools become more sophisticated, they will certainly go on to influence choices in prototyping, fonts, color ways, image styles, and design element placement. In sum, design decisions will become based upon data selected by third parties who may or may not be designers. Choices by AI engines will not evince the creativity, imagination, and exploration that all good designers exhibit. All of which leads to the following questions: who is selecting the data? What is their design experience, and what are the criteria for selection or exclusion of information? If there are weaknesses in these choices, they contribute to the bias inherent to the algorithms. If this consideration goes unchecked, AI will corrupt creativity and design. The danger of such shortcuts will result in questionable choices being “baked into” a project, and will be part of many projects when an AI engine is used repeatedly. The results will feel devoid of the search and discovery that form the uniquely human elements of creativity. The wise designer will come to understand that while AI is a design aid, it is not a solution to design problems.

The post Is AI a Wedge Between Designers and Creativity? appeared first on PRINT Magazine.