And yet, for this year’s Kentucky Derby held in early May, partner and official hard seltzer of the Derby, White Claw, teamed up with the designer brand Homme+Femme and VCCP for an exclusive Kentucky Derby Collection. The main attraction in this collection is undoubtedly the White Claw-inspired windbreaker, dubbed the Clawbreaker, designed in two vibrant colorways.

We found inspiration in the heritage and vibrance of the iconic jockey silks. As a brand rooted in spontaneity, we look for the freshest spin on whatever we do. Exploring what a White Claw silk would look like led us to The Clawbreaker.

Gianmaria Schonlieb, Group Creative Director at VCCP

“We wanted to do something that celebrated the tradition of the Derby but also had our own White Claw spin,” Group Creative Director at VCCP, Gianmaria Schonlieb, said about the Clawbreaker development process. “We found inspiration in the heritage and vibrance of the iconic jockey silks. As a brand rooted in spontaneity, we look for the freshest spin on whatever we do. Exploring what a White Claw silk would look like led us to The Clawbreaker.”

While the fashion associated with the 150-year-old horse race might be a bit stuffy, The Clawbreaker is anything but, though it still harkens to traditional Derby motifs. “We wanted to stay true to ourselves while celebrating The 150th Kentucky Derby,” explained Schonlieb. “We designed this jacket with our brand ethos in mind. It’s designed to be both fashionable and functional, with the structure of the jacket reminiscent of an elevated jockey silk. We used bold colors from our hard seltzer flavors for the reimagined patterns. We incorporated embroidery and patchwork that nods to the legacy of the Derby and White Claw.”

The two colorways took inspiration from the Mango, Black Cherry, Blackberry, and Natural Lime White Claw flavors, chosen with the authenticity of Homme+Femme and jockey silks top of mind. “White Claw” is emblazoned on the back of each in the brand typeface, with detailed patches sewn on the front for added flair. “The patches nod to celebrating the 150th Kentucky Derby,” said Schonlieb. “It’s a unique way to inject the brand into a garment.”

The Clawbreaker provides White Claw’s avid consumer base with a fun and distinctive way to show their White Claw love, all while looking pretty spiffy in the process. “We created a garment that sits at the intersection of fashion, a cultural moment like the Kentucky Derby, and our fans’ love for the brand,” added Schonlieb.

White Claw lovers 21 and older can purchase their very own Clawbreaker for $150 to honor 150 years of Kentucky Derby fashion while supplies last.

That’s why when I came upon photos of the new RIXO location in the Marylebone neighborhood of London, I was instantly captivated and had to learn more about the unique design concept and those behind it.

RIXO is a contemporary clothing boutique specializing in bohemian sundresses and vibrant prints. Their new Marylebone location brings the whimsical energy of their clothing to life, with brightly colored architectural motifs organically illustrated all over its otherwise crisp white walls. The saturated color palette and hand-drawn line quality create a pop-art-like look, infusing the space with a playful take on classical design elements. Illustrator Sam Wood developed this aesthetic in partnership with the design studio Cúpla, helmed by Gemma McCloskey. I reached out to Wood and McCloskey to learn more about the process behind their design concept and what it was like bringing such a fresh take on retail space to fruition.

(This interview has been lightly edited for length and clarity.)

What was the development process like for this distinct store design concept?

Sam Wood: The initial process was driven by Gemma. She approached me after seeing some of my work with Claridge’s and other clients in the UK and asked me to devise something bold and colorful that told the story of RIXO in a distinctly new way.

GM: When I first stumbled across Sam’s Instagram page, his use of color felt really bright and fresh alongside his beautiful, fluid style. I knew instantly Sam would be perfect for the new Marylebone RIXO; his handwriting lent itself to enveloping the whole space while still allowing it to breathe.

SW: After I had taken a look at the other RIXO stores and got a feel for their story, it was a pleasure to bring something of Marylebone to the space and interpret that in my own line. I spend a lot of time in the area because a local gallery I work with is down the road, so I’m always roaming about looking at the mishmash of architecture from Gothic Revival (which was the basis of the alcoves) to Neoclassical (which was the basis for the floral details). I hope the eventual style reflects the multiplicity of the area and is a playful reference to how I see things existing alongside each other.

What was the rest of the collaboration process like?

GM: We had an initial meeting where I discussed the concept, design, and materials being used in the space. One of the threads from our concept for Marylebone was this nod to classical London architecture; therefore, creating illustrated paneling with a whiff of Jean Cocteau was the foundation of the design. Within this framework, it was important to give Sam the breathing space to be creative, and it was exciting seeing him embrace the concept and bring his own stamp to the design. 

Once we had reached the final internal designs, we decided we needed to use these on the external windows to fully embrace the concept. When Sam was actually onsite doing the mural, it was a very fluid process, and we would discuss colors and tweak a few things with the benefit of actually being in the space. We also added in some of the pendants which sit centrally in the space and look great.

Did you first map out the design digitally and then bring it to life on the store walls? What was it like free-handing the motifs? Nerve-wracking, exhilarating?  

SW: I am a stickler for being analogue early on; I work on full-scale drawings on paper, which gives me an idea of how the motifs will work at scale as well as the tones and quality of line. The client does not always see these, but they are an essential part of how I conceive of a design and have the confidence to execute it. After this, I can mark up the digital renders to hone the design so the client can get a full idea of the vision.

A great deal of forward planning and preparatory drawing goes into making sure that when I put the pen on the wall, it’s all where it should be. That’s an essential collaborative exercise, in this instance, with Gemma, who was fantastic to work with. Building sites are often chaotic places, which is a far cry from my day-to-day in the studio, so yes, it’s a heart-in-mouth moment every time with the first mark on the wall, but I do get a kick out of it!

Is this markers-on-walls technique a style you’ve done before? Or was it specially created and executed for this particular project?  

SW: I’ve used Posca markers for years in various contexts, they have such a nice uniformity of tone, which is ideal for bringing to life a design which needs to keep its clarity and “poppyness.” I used them for the first time in a mural context last year for Bryan O’Sullivan Studio, painting a celestial ceiling which is still on show in their gallery on Brook Street Mayfair.

Ordinarily I use a brush and acrylic when doing murals, so it was fun to what is possible with these works in the medium.

How did you feel at the end of the process after drawing your last line, stepping back, and seeing the completed store? 

SW: It’s always a moment of thinking, “Is it finished now?” There’s always the possibility of another line, filling out this corner, or changing that line. I habitually look for flaws in a work, and the “finished product” is always an opportunity to see how everything has worked together. It’s a strange feeling to hand the thing over— after a couple of days of the room being yours, it now belongs to the client and, of course, the public, who interprets it in their own way. That’s why I love working so spatially— the works sometimes divide people, but once I’m finished, that’s down to the viewers.

What sort of experience do you hope shoppers have when stepping into this RIXO store? What sensations do you hope they feel as they move about the space you all created? 

SW: So much of what I do is about storytelling and creating places where people can escape in some way. Here, the murals are front and center in the design and are a key part of the store’s identity. I hope anyone coming into the space gets a sense of the layers of detail that go into evoking the story that RIXO wants to tell, as well as how my own journey as an artist marries with that.

GM: We want the shoppers to feel invited like they’re stepping into someone’s living room at home. We didn’t want a sterile interior, which can sometimes be intimidating for a shopper. There is also a sense of escapism with the store, which we hope the customers find uplifting.

Unbeknownst to Airbnb at the time, this concept was just the beginning of what would become the company’s newest category and most impressive endeavor yet: Icons.

After the success of the Blockbuster experience, Airbnb pushed this idea of world-building even further by making the Home Alone House bookable on the site and bringing the Barbie Malibu DreamHouse to life last summer. They’ve gone all-in on bringing imagined worlds into reality, launching the first 11 new Icons experiences this week.

“Airbnb’s DNA has always been about inviting people into other people’s worlds,” Global Head of Marketing for Airbnb, Hiroki Asai, told me. “In the beginning, it was sharing homes, and then it became submarines and tugboats and castles, and you really came to Airbnb because you had this world opened up to you. So it was natural for the Barbie house and the Home Alone house to be listed, and I think what struck a chord is people got to participate in these imaginary worlds. That was the impetus for all of this.”

At a celebratory affair in sunny Los Angeles on May 1, Airbnb CEO Brian Chesky proudly presented each of the 11 Icons, which he said have been a decade in the making. And you can see why. Each concept is impressive enough, but the execution to bring the experiences to life reaches a new level of audaciousness. “Magic is not limited to our imagination,” Chesky said triumphantly to an awe-inspired crowd as he walked us through each Icon. “Icons take you inside worlds that only existed in your imagination until now.”

The Up! House

At the Icons launch event, it was clear that the Up! house was the room’s favorite—and not just because the house itself was on-site for us to tour. This recreation is an exact replica of the house from the movie, down to the most minuscule detail. “We even had to create our own rust!” Chesky said of the antiquing effect his team created for a zeppelin toy on the mantle.

“We built the house down to its specific Pantone colors and weathering of the shingles to make sure it looks exactly like what was in that film,” said Asai. “The whole house, down to the pill bottles inside and the photos in the hallway and the little chair that Carl rides up the stairs, it’s all reproduced exactly the same. The fireplace even has the ropes coming out of it that you can strum like a guitar, and it makes noise.” And what’s most impressive? This 40,000-pound structure, attached to 8,000 balloons, was built to float 50 feet above the ground in New Mexico. “If we’re going to create a world for Disney fans and Up! fans to come experience, we’re going to make that world as magical as possible,” said Asai.

The Musée d’Orsay

When I asked Asai if he had a favorite of these 11 Icons, he told me without hesitation that it was what the Airbnb team had created at the Musée d’Orsay in Paris.

This legendary art museum along the River Seine is one of the most historic buildings—a former train station—known for its two massive clocks. Airbnb worked with Mathieu Lehanneur, the designer of the Paris 2024 Olympic Games torch and cauldron, to create a luxurious bedroom in the clock room.

Guests will spend a night at the museum, with private access to the Musée d’Orsay collection, including four of Van Gogh’s most famous works. The stay will also coincide with the Paris 2024 Olympics Opening Ceremony, to be held along the River Seine just below the clock tower terrace.

The X-Mansion

Airbnb recreated the X-Mansion to look and feel like you’re stepping into a cartoon. They achieved this by working with artists to painstakingly paint black outlines along the furniture and objects in the house to create a 2D-animated effect. According to Chesky, each prop took over an hour to paint. There are well over 100 objects in the house.

The Ferrari Museum

At the Ferrari Museum in Maranello, Italy, Airbnb built a sleeping experience for those with a need for speed. The bed is crafted from the same leather as Ferrari seats and is surrounded by—you guessed it—Ferraris.

Prince’s Purple Rain House

Until now, the house Prince purchased in Minneapolis, Minnesota, for the film Purple Rain has never been available to the public. Hosts Wendy Melvoin and Lisa Coleman of Prince’s band The Revolution are opening the home’s doors for guests to spend the night in Prince’s restored bedroom from the movie and listen to unreleased Prince tracks.

Game with Khaby Lame

A handful of the Icons are less about the physical spaces and more about the incredible people with whom guests will interact. TikTok creator and gamer Khaby Lame is one such host who will spend the night with guests gaming and eating pizza at his home in Milan.

On Tour with Feid

Reggaeton sensation Feid is bringing guests along for the ride on his FERXXOCALIPSIS World Tour for an entire week. Guests will join the crew for rehearsals, ride along on the eye-catching tour bus that’s decked out with fuzzy green interiors, and get backstage access for every show.

Inside Out 2 Headquarters

To build excitement for the upcoming release of Pixar’s Inside Out 2, Airbnb has brought the famous headquarters of Riley’s emotions to life. Guests can sleep in what they’re calling a “dreamatorium.”

The Kapoor Family Home with Bollywood Star Janhvi Kapoor

Asai told me that the locales of the Icons were imperative, considering that cultural luminaries reside around the globe. “When you look at the icons of music and film and culture and art, they naturally sprout up from all over the globe and across all categories.” Janhvi Kapoor represents one of these cultures as a member of one of Bollywood’s most famous families. She is opening the Kapoor family home in Chennai, India, for the first time and will share her beauty secrets and favorite Southern Indian dishes.

“”From a business perspective, these icons allow us to talk to new audiences and stay relevant,” elaborated Asai. “In the case of someone like Jhanvi Kapoor or Feid, they allow us to talk to not only different generations of our guests but also totally different geographies.”

A Living Room Session with Doja Cat

This Icons experience is about getting intimate access to one of the music’s biggest names. Doja Cat will host a private living session for guests with songs from her latest album.

A Private Comedy Show with Kevin Hart

Superstar stand-up comic Kevin Hart typically performs for sell-out stadium crowds, but this Icons experience offers the opposite. Guests will have a private tequila tasting and comedy show with Hart at the Coramino Live Lounge, with the promise of some of his comedic friends stopping by for a set.

“What Airbnb stands for is human connection, and for us, that’s connection in the real world,” Asai said about the importance of creating physical spaces. “We don’t want to be a platform where people connect behind screens or in any other way except in real life. That’s what travel and sharing, and accommodation are all about: connecting in the real world. So, these experiences are about creating something in the real world, not virtual. But to do that, you have to build something amazing.”

When asked about the most rewarding part of working on a project of this magnitude, Asai told me it was seeing a decade of work from hundreds of people’s efforts finally come to fruition. “When you work on something this long with this many teams that are all working their hardest to do the right thing and the best quality thing that they can, it’s really rewarding to see it all come together,” he said. “Then when you show it to people that have never seen it before, and to be able to appreciate it for the first time through the eyes of someone new to it, it’s unbelievably rewarding.”

Sharp Type is a global type foundry based in New York City. It was co-founded by Chantra Malee and Lucas Sharp and is known for font projects such as Ogg, Sharp Grotesk, and Sharp Sans. Chantra Malee, Sharp Type’s CEO, started the namesake scholarship fund as a passion project.

Malee was happy to answer a few questions about the scholarship, why she started it, and her experience as a woman of color in design. Our Q&A is below.

In past interviews, you’ve discussed type design being “beholden to the typographic exemplars of the past.” How have you experienced this in running a studio and digital foundry? Do you find that this reverence for what came before is diminishing?

It has become less relevant. The type design industry is rapidly evolving as the digitization of type becomes more and more accessible. Sure, there are still plenty of historic type figures that we revere. But inspiration comes from more than your antiquarian book market these days, and even more so from social media and transient digital landscapes, making it harder to cite and credit sources. This changes the landscape that type designers have been akin to for centuries. As a foundry, we have always relied on digital platforms to produce our work; however, we’re more careful not to jump the gun and share our work on our social channels before it is ready for release. In our excitement in the past, we have shown sketches very early in our design process, which has the potential to inspire others’ work, often resulting in uncomfortably similar work. While type design has been harder than ever to protect, it has never been easier and more widely accepted to experiment and push the limits. Sharp Type has taken great advantage of this progressive atmosphere. This past year, for example, we conducted extensive research to create a new Omni Latin character set and develop a complex Omni Latin tool to support indigenous languages in South/Central American and African regions that are not traditionally accommodated in the type world. This is an exciting example of the kind of work we can do now with all that is available to us. 

How does reverence for the past hurt or help today’s expanded design considerations, such as accessibility/readability and inclusiveness?

We live in a vastly different landscape than our predecessors, so it’s hard to compare our contemporary needs with theirs from the past. It’s important to have a healthy respect for them to learn and benefit from their triumphs and failures. Ignoring them would be a detriment to our progress as an industry. However, looking back shouldn’t bind us to a single track, and we should expand our awareness to incite constructive change in the industry. 

What sparked your idea to start a scholarship program? What specific experiences or aspirations led you to create the Malee Scholarship? 

As a young woman, I received a scholarship from The Urban League of Rhode Island. They granted me $5,000 cash to go toward my upcoming year in college to support me however I needed, whether for books, gas, food, or directly for my education. For me, what felt even more gratifying than receiving the money was being recognized, seen, and acknowledged. They believed in me and my potential and trusted me to use my best judgment to use the money however I needed. So, later in life, starting The Malee Scholarship came naturally to me. I had a good model. 

Paying it forward is an important aspect of my mission for The Malee Scholarship—to be grateful for any opportunities we may have had in life and offer support or mentorship when we’re in the position to do so. I actively choose not to dwell on any particular experience that I may have had but instead take action to make positive change. The Malee Scholarship was my effort to create an opportunity to uplift, recognize, and support other women from an underrepresented ethnic background. 

When I first entered the type industry, much like the world of branding where I started, there was space, and I felt a need for a platform like mine. I’m so proud and happy to see that more and more women from across the globe are getting much-deserved recognition and opportunity that further enriches our industry and paves the way for greater inclusiveness and creative progress. 

Typefaces created by Malee Scholarship winners and finalists.

How can type foundries and design studios further the work of this scholarship opportunity? Can you offer any insights from Sharp Type’s culture?

There is so much incredible talent out there. Work with people from all walks of life and use it to your advantage to learn. As a personal example, when we first invited My-Lan Thuong [left], who is half-Vietnamese, as a type designer to the team, she recognized that Vietnamese was widely unsupported. It didn’t take much to convince us to add Vietnamese support to our default character set. Just from that one connection and authentic relationship, we moved the needle in the right direction. That is one of many experiences we’ve had since the beginning. If you do that enough, you can make incredible progress and positive change.

While perusing the Sharp Type website, I found myself ogling Ogg [pictured below]. Do you have a favorite Sharp typeface? What’s next for the foundry?  

Oh boy, so many! Ogg is certainly one of my all-time favorites, but I’m also incredibly excited about what is around the corner. Next month is a big moment for us as a foundry. We will drop a brand new website and release our most expansive typeface ever called Sharp Earth, which took five years of development and will be available in seven language scripts and a plethora of global languages. We’ll also release our first published book, Sharp Type Volume 1, a visual homage to our 8+ years as a foundry. 

Header photo: past Malee Scholarship winners and finalists; all images courtesy Sharp Type.

Sister Mary, led by founder Leigh Chandler, unveils a new limited-edition printed publication designed exclusively for The Signal, a global current affairs brand based in Washington, D.C. “The Long Game” highlights the global struggle between authoritarian states and democratic life.

Created in partnership with the Human Rights Foundation, in support of the Oslo Freedom Forum, the magazine features interviews with the Bosnian investigative journalist Miranda Patrucić, the American social scientist Francis Fukuyama, and others—on questions from how autocrats are adapting artificial intelligence to how corruption inside dictatorships is spreading beyond them to what the issues of democracy and human rights might end up meaning for your investment strategy.

The Signal’s team, including John Jamesen Gould and Hywel Mills, partnered with Chandler to infuse the inaugural issue with the alternative spirit of underground publishing. Samizdat, a term derived from Russian for “self-publishing,” refers to literature clandestinely written, copied, and circulated during the Soviet era, often critical of the government.

The Signal offers a different approach to current affairs. Its focus is on exploring urgent questions in dialogue with knowledgeable companions around the world—an approach meant to support readers and help them develop their interpretations of global events.

This debut issue not only pays homage to samizdat but reimagines it. The editorial design captures the raw essence of underground publishing while presenting it in a contemporary context.

The layout demands attention, using layering, cropping, aged textures, and bold typography to create a sense of urgency.

Unbleached newsprint was chosen for the paper stock, reminiscent of samizdat’s historical context. The color palette of light beige, black, red, and gold reflects the publication’s rebellious yet premium aesthetic.

The typography is bold and commanding, with headlines in Manuka and complementary text in Untitled, echoing the theme of defiance and urgency.

The publication’s imagery invites readers to explore deeper narratives, aligning with The Signal’s mission to engage with complexity in today’s rapidly changing world.

To be able to assemble our work in a print publication like this isn’t just beautiful; it’s transformative. It’s allowed us to bring a historical connection with the samizdat publications of the Soviet era to life in the language of design—and that’s allowed us to create a reading experience with a completely different emotional resonance and, ultimately I think, a deeper meaning.”

John Jamesen Gould – Editor, The Signal

About The Signal
Current affairs. Strange world. As our world becomes more intricately connected, changes faster, and seems only to get more disorienting, we’re all navigating it—or trying to—in a digital media environment dominated by algorithmic manipulation, polarizing engagement, and partisan spin. It can be hard to focus on what matters—and harder to think. The Signal is for people who want something different. The nonpartisan U.S.-based current affairs organization has diverse global contributors and is committed to liberal democracy.

About Human Rights Foundation
The Human Rights Foundation (HRF) is a nonpartisan, nonprofit organization that promotes and protects human rights globally, with a focus on closed societies. HRF aims to raise awareness about the nature and vulnerability of freedom worldwide while strengthening the work of grassroots activists in countries ruled by authoritarian regimes. Grounding its work in a deep commitment to individual liberty, HRF achieves its impact through unique policy research and legal advocacy, global events and educational initiatives, innovative and creative campaigns, and direct support to activists on the frontlines of democracy.

The Oslo Freedom Forum (OFF) is a global conference series hosted and produced by HRF. Established in 2009, OFF brings together the world’s most prominent human rights advocates, journalists, artists, technologists, entrepreneurs, and world leaders to share their stories and brainstorm ways to expand freedom globally.

House Industries, founded by Andy Cruz, has a rich 30-year hand lettering practice that has visualized legendary brands like Hermès, Porsche, Lego, The Eames Office, Heath Ceramics, The New Yorker, and Jimmy Kimmel. Derek Galkin founded Autotype to celebrate designers and give them the freedom to operate outside of their daily craft; past collaborations include designers Pam Shamshiri and Jonathan Ward of Icon. Galkin notes, “It’s our way to express our love of design. Often, creatives get stuck in their means of what their expertise is.”

Andy and I grew up in the world of skateboarding. Our identity as youths in youth culture was defined by what posters we hung on the wall or the t-shirt we wore. Now that we are grown up and immersed in the world of graphic design, how does that evolve and how do we celebrate that today?

Derek Galkin, founder of Autotype

Working as friends for over 20 years, Galkin calls their partnership an “inspiration injection.” The two met pre-social media in the early 2000s, during the House 33 project in London. “Andy and I grew up in the world of skateboarding,” says Galkin, continuing, “Our identity as youths in youth culture was defined by what posters we hung on the wall or the t-shirt we wore. Now that we are grown up and immersed in the world of graphic design, how does that evolve and how do we celebrate that today?”

With a shared love for Los Angeles architecture, Neutra type, and the expansive Photo-Lettering, Inc. archive purchased by House Industries in 2003, the collection features a selection of House’s favorite typographic specimens and graphic inspirations translated into everyday objects, remixing inspiration into new hits.

“We’re fans first,” says Cruz, adding, “If you’re a fan, you don’t want to bum anyone out.”

More than a cool project inspired by cool letterforms, the collaboration comes from the heart and honors a typography archive that is often overlooked in the syllabus of design history. Founded in 1936 by Edward Ronthaler and Harold Horman, Photo-Lettering, Inc. (known as PLINC) was a prolific type foundry once housed at 216 East 45th Street, within what was then New York City’s typesetting district. Today, all 1,500 cubic feet of graphic film reside at House Industries’ Baltimore studio. As Cruz put it, the library charts “The golden era of type as it moved from metal to the film reproduction process.”

Left: Rondthaler, Edward, Life With Letters…as they turned photogenic, Hastings House, 1981. | Right: One Line Manual of Styles visual index, Photo-Lettering, Inc, 1971.

As a major collection of mid-twentieth-century type design, the archive contains film negatives and positives of most of the 10,000 alphabets, decorative motifs, and logos produced in the company’s 55 years by the foremost gifted type designers and lettering artists of the time, including Peter Max, Bob Alonso, Vincent Pacella, Vic Carus and ringleader Ed Benguiat.

Cruz explains, “From WWII up until the Mac, they were the spot to get type from. Once you had your font drawn, they perfected the high-speed turnaround of stepping and repeating these films to set type for designers and creative directors.”

The scrappy process and quick hustle of Photo-Lettering, Inc. embraced commercial lettering artists working in and around Manhattan, including women type designers. The archive continues in this spirit of accessibility as a personal reference for House Industries which has slowly digitized the archive since acquiring it, and also as a source for other type designers and creative directors. Kate Moss tapped the archive for her work with TopShop, sourcing and re-engineering an old Harper’s Bazaar font, as one example.

Making type accessible is one part of the equation for Autotype and House. The other part is enthusiastically telling untold stories of typography’s history, through a lens of personal significance. The Neutraface A to Z eye chart, for instance, showcases the geometric sans serif font collection designed by House, inspired by the work of mid-century master architect, Richard Neutra. The collection of items and objects offers entry to a world of type, hopefully generating more fans. Stirred by a shared love for visual design that began with unvarnished influences in skateboarding culture, the pair have produced a product experience that is a genuine, not-so-scrappy tribute to the art of type.

Autotype and House Industries invite individuals to embrace the art of typography through their collection, available exclusively on Autotype and the Los Angeles location of Heath Ceramics beginning April 11th for one month. Notably, 5% percent of sales will be dedicated to supporting the Letterform Archive, a nonprofit design institution.

To honor Adams’s legacy and impact and to chart his journey to stardom, Dania Beach’s Mad Arts is currently hosting a retrospective of his work entitled “CEY ADAMS, DEPARTURE: 40 Years of Art and Design.” The show contains over 60 of Adams’s designs in various media, including photography archives, mixed media collage, paintings, textile, fashion, street art, contemporary fine art, and more. The exhibition serves as a visual timeline of Adams’s artistic evolution, beginning in the 1970s when he started out painting graffiti on the streets and trains of New York City. The show is on view through May 26th, with Adams himself on-site this Friday, April 19th.

While in Florida, Adams will also make an appearance at The Museum of Graffiti for the launch of their latest exhibition, “Sneaker Stories,” which delves into the historical ties and cultural relationship between graffiti and sneakers.

I recently had the honor of speaking with Adams myself about DEPARTURE, and the secret to his success. Our conversation is below (edited for length and clarity).

Whoever said you can get more flies with honey than with vinegar knew what they were talking about.

Cey Adams

How does one go about curating a retrospective of this magnitude? Forty years is a long time! 

I sat down with the curator, Liza Quiñonez, and we talked about my journey and what it meant to me. I said I wanted this exhibition to be a vehicle to tell the story of a young teenager who started out writing graffiti. Along the way, I’ve had an opportunity to make art and meet some extraordinary people. I wanted to showcase everything I have in my archive and, if we’re lucky enough, to also find a lot of the original art from back in the day that I made when I was a kid. That was how we thought about it.

I still have relationships with many people from 40 years ago, and I got on the phone and asked people to loan me pieces. Folks were kind enough to loan us certain pieces—some things I had in my personal collection. I also have boxes and boxes of photos from back in the day, so we just laid everything out, and we figured out how we could make something that really makes people feel like they’re on this journey with me.  

How did it feel to excavate so much of your past like that?

It was really emotional because I don’t get to look at these things all the time; I’m focusing on what I’m doing today. But looking back has been absolutely wonderful because only a small handful of my peers are lucky enough to have a career. I could count on one hand the number of people I knew from back then who are still working at a high level to this day. 

A lot of the journey is about trying to figure out how to make it because none of this stuff was promised to us. That’s what I realized when I looked at the work—and I’m still working!

What do you think propelled you to this incredible career and a level of success that so many other artists will never reach? 

It’s a combination of talent, passion, and perseverance. And being a nice person; if you’re kind to people, people want to be around you. If you rub people the wrong way, they don’t want to be around you. That’s a lot of what it is! I know because I have friends who could not crack the code, and they haven’t been able to carve out a career for themselves.

I learned that, by being who I am, people who love your work and love being around you will call you. The same thing happens with people who support your work. Everybody who buys my paintings and supports my mural work are the people I enjoy being around, and the feeling is mutual. That’s not lost on me.

Everything is about the journey and if you’re not enjoying the journey, what’s the point of it all?

It sounds simple, but being genuinely likable can get you far in life! We lose sight of that sometimes. 

Whoever said you can get more flies with honey than vinegar knew what they were talking about. I learned that as a teenager, and you can see it in all the old photographs in the show. I’m always happy to be around people who treat me well. Everything is about the journey and if you’re not enjoying the journey, what’s the point of it all?

As humans, we get caught up in the mythical concept of a destination and “making it” or achievement, but that’s missing the point.

You hear people say it all the time, but you don’t understand it. But that’s one of the things that I was lucky enough to learn right from the start— the journey is its own reward. It might sound strange when you’re trying to get somewhere, and you think there’s some better thing, but you must remind yourself to be in the moment and to enjoy it because that’s what it’s about.

That is the essence of what being an artist is all about—getting to make what you want to make on your own terms. You have to take stock of that every day because that’s as good as it gets! You have to enjoy the moment.

What has been the biggest surprise of your career?

I didn’t imagine having friends I would know for 40 years; that’s certainly a surprise. And to have good friends is an even better surprise: people that show up. When I turned 50, I had a surprise birthday party, and the room was packed with all these people who flew into New York to celebrate me. I never imagined any of that! It certainly didn’t happen in my 20s; I don’t even know if it happened in my 30s. But by the time I reached my 40s, people started to show up in major ways. It’s been that way ever since, but I’m beyond appreciative because I’ve had these milestone moments.

It’s a beautiful thing to have people who care about you, support you, and show up for you. 

I’m not coming in after they’re superstars. I’m there to help shape what is going to be the thing that everybody’s familiar with. 

Looking back on your career for the exhibition, is there a time period, moment, or project that you’re proudest of? 

The thing that I’m most proud of is that I got an opportunity to do this kind of work. I got to be the guy that worked with Jay-Z. I got to be the guy that worked with Dave Chappelle. I got to be the guy that worked with LL Cool J, Beastie Boys, Public Enemy, Run-D.M.C.—I’m talking about from ground zero. I’m not coming in after they’re superstars. I was there to help shape the thing that everybody’s familiar with.

Usher was the Super Bowl halftime show this year—do you know how big you have to be to be the Super Bowl halftime act? And I worked on his first record! Like, wow! I’ve been very fortunate to have had the opportunity to work with so many amazing, talented people before anybody else.

Have you maintained relationships with any of those stars you helped create? 

Sure! I was in LA a couple of months ago at a dinner with Jay-Z, Jermaine Dupri, and Diddy— everybody was there. We’re all sitting down and enjoying each other’s company, and it felt like, you know, that thing where you’re at a reunion, and everybody showed up. Nobody’s got security, hangers-on, handlers, and all of it. It was just us—just like it was back then. And we had the best time that night. I never wanted it to end because it was so wonderful.

I’m one of the lucky ones that gets to be treated the exact same way as back when we first started.

People hadn’t changed. There’s a perception that people are this way or that way, or they don’t want to be bothered. I realized that I’m one of the lucky ones who gets to be treated the same way as back when we first started, and that’s exactly what you want. You could have this dream that maybe one day I’ll run into so-and-so, and they’ll be really kind to me, but most people don’t get to experience that. I got to experience that. It felt as good as it did in the beginning, only better, because now we’re dressed up! Everybody’s happy! Everybody’s needs are all met, and they’re as friendly as can be! That is not a small thing.

Way back when, did you ever get an inkling that any of those guys would get as big as they did?

No! You can’t predict anybody would get as big as these folks have gotten. You just can’t! Also, I didn’t have that kind of vision because I hadn’t been there. The idea that I started as a graffiti artist, and by 2016, I was on the National Mall making a giant piece of my original artwork in front of President Obama in a ribbon-cutting ceremony! That’s the definition of a dream come true. And I get to have my name alongside all these great people who have come up in hip-hop; it’s just the best! It’s the absolute best.

A lot of my career has been about being first, and that’s what’s so amazing to me. It’s that I got an opportunity to be one of the first, and it’s come around again and again and again. It’s not lost on me because there’s no blueprint.

Is your career now a blueprint for the next generation?

I doubt it because so many things had to be aligned for it to happen. Also, you can’t put the genie back in the bottle. This was the very beginning when hip-hop was not in its infancy, but right after that. I got to benefit from all the hard work that some of the early pioneers from the 70s put in, but because I was an artist, and nobody had seen anything like that. I was really fortunate to be in the right place at the right time, and that’s also the benefit of growing up in New York City.

I love the vivacity of Las Vegas and the duality of the desert together. I hope this exhibition sparks joy, connection, and a sense of wonder for everyone who dives into the experience.

Cj Hendry

The installation, dubbed Public Pool, ran in Las Vegas from April 4 through April 7. Steeped in glitz and whimsical kitsch, Public Pool‘s hot pink flamingos, neon inflatables, and colorful floral motifs invited visitors to indulge in the extravagant and fantastical.

To commemorate the exuberant exhibition, a sampling of limited-edition drawings and editions, along with a collection of beach towels, floaties, sunscreen, totes, hats, t-shirts, and other pool-themed items, are available for purchase at CjHendryStudio.com.

I’m far from immune to the appeal of a giant inflatable pool in the desert, and I had to hear more from the artist herself. I asked Hendry some questions about the project and her joyful artistic perspective.

How would you describe your POV as an artist?

I really want to keep pushing boundaries and challenging perceptions. I believe in the power of hyperrealism to captivate and intrigue, blurring the lines between reality and the surreal, while at the same time, keeping my exhibitions immersive.

Also, have fun with everything and a sense of humor.

How did the idea for the exhibition, Public Pool develop?

The idea for Public Pool came to me me as I contemplated spaces of communal experience and recreation. I wanted to create an immersive environment to transport viewers into a nostalgic yet surprising setting. The concept evolved from the desire to play with scale, perspective, and nature— inviting visitors to dive into a world where the ordinary becomes extraordinary, with the vibes of a Las Vegas pool party in the middle of a desert.

Where did your idea for that super fun and unique Public Pool promo come from?

That was a stroke of whimsy and spontaneity. I wanted to capture the essence of the exhibition—its vibrancy, its playfulness—in a way that would resonate with audiences. It was all about infusing a sense of joy, wonder, and interaction.

What’s your favorite aspect of Public Pool?

My favorite aspect of Public Pool is how it plays up paradoxes and blurs the lines between reality and illusion. Creating a Las Vegas pool party with an Olympic-sized pool in the desert is quite a scene! It’s unexpected and fun— every element is designed to provoke a sense of wonder and fascination. I love watching visitors lose themselves in the immersive environment, exploring every corner and discovering new surprises.

WWhat experience do you hope people have when they interact with Public Pool?

I hope viewers experience a sense of childlike wonder and curiosity when they visit Public Pool. I want them to feel transported to a world where the ordinary becomes extraordinary, where the mundane transforms into the magical. Whether they’re enjoying the pool or marveling at the intricacies of my artwork, I hope they leave feeling inspired and invigorated, ready to see the world through fresh eyes.

This year’s festival, which runs from June 10 through June 18, offers a Conference (June 14-15), a Workshop/Tour series, a Type Lab (demos, interviews, and more), a Book Fair, and many more paid and free events. Registration for the main stage conference is on sale now at a highly discounted early bird rate, which runs until April 30.

Typographics brings together global perspectives in web and app design, publication design, book design, type design, packaging, branding, corporate identity, advertising, motion graphics, information design, and hand and digital lettering. The festival focuses on typography and its future, so the speaker line-up includes emerging and established designers and programming designed to foster inclusive dialogue.

Typographics is organized by Type@Cooper, the leading post-graduate degree program in typeface design, the Herb Lubalin Study Center of Design and Typography, a graphic design archive housing more than 6,000 pieces of design ephemera, and The Cooper Union School of Art.

It’s been incredible to see the unique and individual interpretations of the Coca-Cola logo. … We’re proud to celebrate and embrace their work.

Islam ElDessouky, Coca-Cola Global Vice President of Creative Strategy & Content

While many brands are quick to protect their copyrighted materials and likenesses, Coca-Cola has recently launched a campaign that does the opposite, celebrating the many interpretations of their logo created around the world for generations. The ‘Every Coca-Cola is Welcome’ campaign (developed by WPP Open X, led by VML, and supported by Essence Mediacom and Ogilvy PR) embraces and showcases grassroots interpretations of the wordmark created by bodegas, shopkeepers, and local artists. Instead of slapping these creators with lawsuits or cease-and-desists, Coca-Cola is honoring the distinct and diverse ways people have reimagined the brand. 

“It’s been incredible to see the unique and individual interpretations of the Coca-Cola logo,” said Islam ElDessouky, the Global Vice President of Creative Strategy & Content at Coca-Cola, in a press release. “These visuals are so meaningful and impactful—signs for local businesses capturing colors of cultures and personalities of communities. We’re proud to celebrate and embrace their work.”

The campaign features a range of logo interpretations that span color palettes, fonts, and styles in out-of-home and print placements throughout Brazil, Mexico, Indonesia, Australia, and the US. Each unofficial logo offers us a view through a different cultural lens, honoring those who have sold and consumed Coca-Cola globally. ‘Every Coca-Cola is Welcome’ also consists of a robust content series, including films and interviews capturing stories from local store owners and their interpretation of the Coca-Cola logo. This video component of the campaign will run on the brand’s YouTube and Instagram.

“What is so special about this campaign is that the Coca-Cola brand is being reinterpreted in every corner of the world through countless creative expressions,” elaborated Rafael Pitanguy, the Deputy Global Chief Creative Officer at VML. “These reinterpretations are only possible because the Coca-Cola logo is so ingrained in culture across the globe.” At its core, ‘Every Coca-Cola is Welcome’ shows how brands can see imitation as the highest form of flattery and use it to their advantage.

It’s really exciting to just make the change you want to see.

Michelle Norris and Forest Aguar can’t be stopped— and thank God for that. The creative power couple are the co-founders of the studio Tropico Photo, where they’ve curated a distinct signature aesthetic dominated by brightly saturated colors, patterns, and vibrant vibes. Now, the duo has taken their talents and keen design eye to retail, opening their very own vintage store in Atlanta called Space Queen.

I’ve been an avid follower of Norris’s Instagram over the last few years, where she has become somewhat of a vintage-shopping, image-making, fit-finding tastemaker. The leap from her prowess as a shopper to owner of her own store feels natural and almost destined. I was thrilled when she announced her long-time dream of opening her own vintage shop was becoming a reality, and of course the images she shared of the shop’s space did not disappoint. The store officially opened its doors last weekend, and Atlanta just got a little bit—nay, a lot a bit—brighter.

Before I’m able to plan a trip to Atlanta to check out Space Queen in person myself, I reached out to Norris and Aguar to learn more about their process of designing and opening the retail space. Check out their responses below.

I read on your Instagram, Michelle, that opening your own vintage store has long been a dream of yours. Why is that? What is it about having your own store that you coveted? 

Vintage shopping has always been one of my favorite activities. I love that you never know what you’ll find and that creates an environment of wonder and exploration for me. I want to give that to others. Also, in a larger way, I think vintage and resale is more important now than ever. Not only do I love these special items, but I think that this is the path forward for fashion-loving folks to enjoy shopping in a way that’s sustainable. 

How have translated your distinct aesthetic as a creative duo into a brick and mortar retail space?

We approached it like the other projects we’ve done interior design for, leaning into our love of color and playful forms. For Space Queen, we really wanted it to feel bright and airy because the space has gorgeous skylights and lots of natural light, and then sprinkle in our bolder palette to create something playful and fresh.

What are a few of your favorite details in the store design?

The squiggles on the center table and in the archways, the vintage chandelier, and the paper flowers that I found at a yard sale in Middle Georgia.

How have you gone about curating the products for the shop?

I lean on my own sense of style and love of eclectic items. It’s a variety of pieces that are for all ages and types of folks, but they are tied together by an unusual element, whether it be a bold color, unique cut, playful detailing, or subject matter.

Were there existing stores you looked to for inspiration in designing and developing Space Queen?

I’m so inspired by Century Girl Vintage, Saint Claude Social Club, Blue Dream (all three are in New Orleans), as well as Antique Antics in NC and Seven Wonders Collective in NYC. They all have something special in their curation and presentation that keeps me coming back!

What’s been the most exciting aspect of opening your own store?

Creating something that we’ve wanted Atlanta to have. We’ve taken over a beloved building that the neighborhood has been waiting to see brought to life for awhile. It’s really exciting to just make the change you want to see.

What’s been the biggest challenge?

Completing a renovation at the same time as figuring out the logistics of a new business.

What advice would you give someone looking to open up their own store?

Wait for the right space. The availability of this really wonderful building that suits all of our needs really inspired us to take the leap, and know that we could do something magical because it’s the perfect place.

Since its founding, National Geographic, or NatGeo for short, has evolved into a multifaceted platform spanning print, digital, television, and more, exploring science, geography, history, and culture. NatGeo seeks to inspire curiosity, foster understanding, and champion conservation efforts worldwide through its articles, documentaries, educational initiatives, and photography.

The globally recognized magazine, which has over 84 million monthly readers, unveiled a significant design refresh this month. This transformation, revealed in the March issue, marks the debut under Editor-in-Chief Nathan Lump and Creative Director Paul Martinez, who assumed their roles in 2022. With Lump’s rich editorial background, including publications like TIME and The New York Times, alongside Martinez’s creative expertise at Travel + Leisure, the duo brings a bedrock of experience to the publication.

The key design and content highlights include:

• New sections, including “In Focus,” a selection of full-page images from National Geographic’s photographers in the field, amplify the focus on photography and visual storytelling.
• Short-form content is now interspersed with in-depth features to create a more varied and dynamic reading experience.
• A larger typeface for an easier read – an intentional update taking reader feedback into account.
• And a subscriber-only cover that features more artful, intimate visuals.

I reached out to Lump and Martinez, eager to discuss the driving forces behind this redesign and their plans for holding 130+ years of tradition, while addressing the evolving needs of print and digital audiences. Our conversation (condensed for length and clarity), is below.

The redesign marks a significant shift in National Geographic‘s visual identity and content structure. What was the inspiration behind deciding to introduce new sections like “In Focus” and the added emphasis on visual storytelling?

NL: We’ve had an emphasis on visual storytelling in our pages for many decades, so while I don’t see our recent adjustments as a particular shift in that direction, we are continually looking for ways to heighten for the reader what is special about what we do. The core of our mission is helping readers to discover and better understand the wonder of our world, and for me, a lot of what I wanted to accomplish with this refresh was to showcase the true diversity of the subjects we cover and what we’re learning about them – from animal behavior to science to history and more. Our new recurring story types are designed to do just that. “In Focus,” a handful of pages at the start of the book, is in many ways a microcosm of that wider approach: we are fortunate to have relationships with great photographers around the globe who are always at work, and this column brings readers a selection of their recent images from out in the field, across the full spectrum of topics of interest to our readers. 

PM: A segment such as “In Focus” truly emphasizes one of our strengths: photography. Placing this at the forefront is not just about captivating the reader with compelling images but also about swiftly propelling them into the heart of the magazine. This seamless transition leads directly into our initial main feature, where we aim for readers to immerse themselves in a deeper narrative.

How do you balance honoring the magazine’s rich heritage of storytelling, particularly through its iconic photography, while also pushing boundaries in today’s media landscape? In what ways does the redesign reflect the evolution of storytelling mediums and audience preferences?

NL: I am extremely conscious of our legacy and of the incredibly loyal, devoted readership we are fortunate to have, and of course that makes you be very deliberate and thoughtful when you make changes. But legacy can also lead you to be too conservative and hold you back from making genuine improvements in the service of your audience. My feeling is that as long as you retain your commitment to telling meaningful stories that align with your brand and meet your reader’s expectations of quality, you have permission to adjust as long as you are putting yourself in the reader’s shoes and thinking about what will serve them best. I thought a lot about what it means to innovate in print as we approached this work and tried to ask myself whether traditional conventions still held true. Years of working on digital content and products have grounded me in UX thinking and research, and I drew on that in this process. Our decision to radically simplify the book structure—essentially, almost the entire magazine is one unnamed “section” that consists of shorter and longer stories mixed together—stems from an understanding that digital and social environments have conditioned us to consume content in more free-flowing and serendipitous way. The story selection and flow are still highly curated, as any great magazine should be, but it allows for more variation and surprise that we think makes the overall experience more pleasurable and engaging.

Design plays a significant role in ensuring that readers do not encounter difficulty with the content.

Paul Martinez, Creative Director

The decision to incorporate more short-form content alongside in-depth features is interesting. How do you navigate maintaining depth and substance while catering to shorter attention spans in today’s digital age?

PM: Many of our decisions revolved around the concept of pacing. Our strategy involved interspersing shorter stories among the longer ones to create a dynamic flow of peaks and valleys for the reader. We discovered that grouping all the longer features together risked reader fatigue, so placing shorter pieces between them offers readers a chance to engage swiftly with the content.

From a design standpoint, we aimed to signal to the reader when they were transitioning from a longer feature to a shorter story. To achieve this, we developed a consistent template for the shorter stories, facilitating a smooth exit from and entrance into the longer features. Additionally, we sought to engage the typographer more in introducing the features to signify the beginning of a substantial story.

Typography plays a crucial role in readability and accessibility, and your decision to introduce a larger typeface reflects a commitment to improving the reader experience. How did you approach this aspect of the redesign, particularly in response to reader feedback?

PM: Ensuring readability is a constant and top priority. Design plays a significant role in ensuring that readers do not encounter difficulty with the content. Moreover, from an aesthetic perspective, we aimed to provide sufficient space for the increased type size in the body copy and captions to breathe. By augmenting the white space in the layouts, we were able to strike that delicate balance and hopefully improve the reader experience.

The subscriber-only cover featuring more artful and intimate visuals is a bold move, especially in an era where digital content often takes precedence. What motivated this decision, and how do you see it contributing to the magazine’s relationship with its most loyal readers?

NL: I am conscious that our relationship with subscribers is a personal one—they’ve invited us into their homes—and that the experience of receiving a printed magazine in the mail and diving into it on your sofa is quite particular relative to other ways that you encounter content in other environments and platforms. On a traditional newsstand, you need to shout, as it were, to gain a potential reader’s attention. In digital, it’s much the same—you have milliseconds in someone’s scrolling to grab their attention. When they’ve subscribed, they’ve already indicated an interest in your content and a willingness to engage. That’s not to say that the cover doesn’t need to provoke engagement, but when you hold a magazine in your hands at home, you are quite literally up close and personal with it. That allows us, I think, to showcase artistry and to be quieter in our choice of image when it’s appropriate, and we deliberately went minimal with type, in a nod to the old National Geographics with type-only covers that essentially served as a table of contents. Our goal is still to intrigue or to move the reader in some way, but we can take a different approach that we hope delivers something tailored to the subscriber’s mindset now that they’re ready to sit down and read.

How do you navigate the preferences and consumption habits of print readers versus digital consumers, and what lessons can other content creators learn from your experience? Any advice for media companies looking to strengthen connections with their audiences in an increasingly digital landscape?

NL: Like many publishers, we know that our print and digital audiences are quite distinct, and while they share some common affinities, they are not mirror images of each other. For many years, at other titles, I tried to achieve nearly total platform convergence—with all content designed to flow seamlessly between platforms—but I no longer think that’s the best approach. Increasingly, we take a fluid approach to our content creation, with some stories designed specifically to satisfy the needs of either print or digital (or social) audiences, and then selectively, those stories migrate to other platforms, often with modifications and sometimes in a different medium. It’s more bespoke and requires more care, but if you build the intention into your production process from the outset, you can ensure you’re generating the right type of material and minimize the effort required after the fact. This is an essential part of being responsive to audience preferences. What will work for a certain type of reader or user in one place will not necessarily work for another reader or user somewhere else. My goal with all our storytelling is to maximize the reach and impact of our work, and the way that works is by recognizing how preferences and behaviors vary based on where someone is and their mindset. The through line, of course, is quality – personally, I find this thinking and the process it informs so much more creatively energizing than when I started my career, although it is undoubtedly more complicated. You can’t do everything all the time, so it’s also important to be mindful of who you are most focused on reaching and strategically what you are trying to get out of building that relationship. I think that today, in digital environments, in particular, success is a lot about super-serving more specific audiences and interests. In some ways, we’ve always done this with our printed magazines, so we’re well positioned to thrive wherever we may be because we think consumer-first, fundamentally, and build that into everything we do.

Led by Pentagram Partner Abbott Miller, the Pentagram team developed a new brand identity for the Aquarium that builds on its legacy while looking ahead. “This evolution of our branding embodies all the wonder and delight that connects people to the Aquarium and the living ocean,” said the Monterey Bay Aquarium’s Executive Director, Julie Packard, on Pentagram’s website. “In vibrant ways, it honors our past and aligns with all the possibilities ahead of us.”

Miller told me the Monterey Bay Aquarium turned to his crew to create cohesion amidst disparate touchpoints. “The aquarium’s brief was to update the visual identity to unify all aspects of the brand,” he said. “This included print and digital graphics, environmental graphics and exhibitions, merchandise, and advertising and social media.”

Miller and Co. met this brief by developing a strong central icon, establishing an earthy color palette, and landing on approachable yet sophisticated typography. “I think the typographic and color systems have created a really solid foundation for the whole institution,” Miller shared. But in many ways, the kelp icon is the star of the show.

“The kelp symbol was there at the founding of the Aquarium and is a beloved icon of Monterey,” explained Miller. “There are many fans of the Aquarium who have the kelp symbol tattooed on their bodies!” One of the Aquarium’s early exhibition designers, Richard Graef, created the original kelp logo, which has been in use since the Aquarium opened its doors. “The Aquarium is deeply committed to the icon; our careful redrawing of the form optimized its use and created some interesting ‘variants’ of the symbol for merchandise. We also created a beautiful translation of the symbol into a continuous pattern.”

This kelp redrawing simplifies the fronds to streamline the mark slightly and make it more scalable. The icon can be used in new and unexpected ways throughout the system, like as frames and filters for images or in variations as a halftone or multi-line drawing. The repeating pattern Miller alluded to was developed in collaboration with the illustrator Yehrin Tong and is for use on apparel, merchandise, and elsewhere.

The organic quality of the symbol thoughtfully extends into the brand typography. Pentagram collaborated with type designer Peter Bil’ak and Nikola Djurek of Typotheque to design the new wordmark. They did so by adapting their serif Nocturno, reworking it to have shorter descenders and stronger connections to the kelp symbol, as well as fluid curves that harken to the movement of the ocean. The brand typefaces include the original Nocturno and the sharp sans serifs Peak and Peak Rounded (by Xavier Erni of Neo Neo / Extraset).

“Since the project’s core was the kelp symbol, we thought the typography should take its cues from the interplay of smooth and sharp forms,” elaborated Miller. “Our goal was for the type to echo the kelp to achieve a unity between the two elements.”

Regarding the system’s color palette, Pentagram was keen to go beyond blue. “At their founding, the Aquarium used a kind of two-tone sand color, and over time, it migrated to the classic ocean blue,” said Miller. “We looked at directions in the sand realm and then in the rich yellow greens and the blue of the previous identity. While we settled on the blue, our experience with the other colors proved that a broader palette derived from the spectrum of the ocean would be really strong.” These new core colors consist of three shades of ocean blue and green, a range of neutrals, plus black and white.

When asked what the most surprising aspect of the project was for Miller, he offered an unexpected answer. “When I got a ‘behind the scenes’ tour, I was able to feed the giant red octopus, and she stretched out her tentacles, attached her suckers to my forearm, and started to pull me towards her,” he said. I’m no deep-sea expert, but I’d wager the octopus was simply showing Miller some love for a job well done!

The New York City-based design studio Nik Bentel Studio has recently paid homage to Wes Anderson’s aesthetic and his beloved filmography by creating a handbag replica of a pastry box from Anderson’s 2014 feature, The Grand Budapest Hotel.

Nik Bentel is no stranger to the clever and creative handbag game, having previously “broken the internet” with his Pasta Handbag in 2021. Bentel’s Box Bag, however, represents the first product creation by Bentel to be inspired by a film. “As a studio, we’ve already explored reimagining paintings to foods, but we have not yet explored stories told in films,” he told me. “Our mission is to tell stories through objects that are big, small, and in between. Films are one of the best ways we humans currently have to tell stories, and what better story to choose an object from than a cult classic film like The Grand Budapest Hotel!”

Bentel’s Box Bag is a spot-on 5-inch-square recreation of Mendl’s patisserie box from the film. The pink pastel exterior is made from genuine leather and lined in suede, with a delicately decorated rich pink serif that reads “Bentel’s” instead of the original “Mendl’s,” accompanied by ornate swirling flourishes. A blue ribbon encircles the box with a bow at the top, which cleverly serves as the bag’s handle. As a limited edition item with only 300 units released, each bag comes with a metallic identification card for authentication.

Bentel told me that while this is the first product from his studio inspired by a film, it certainly won’t be the last. “I would love to reimagine the worlds of more films!” he said. Bringing concepts from the silver screen into the realm of physical objects feels like exciting new territory for Bentel and his team. “Being able to tell stories through objects opens new doors to storytelling because there are no language barriers. All of one’s senses are activated when you hold an object in your hands. In designing an object, we get to think about every aspect: the presentation, touch, smell, etc. It’s not just a visual experience. You have so much more ability to add depth and detail with an object than many other mediums.”

The question remains: What would Wes Anderson himself make of Bentel’s Box Bag? Bentel hopes he’d appreciate the interpretation from a fellow craftsman. “I hope that he sees the project and appreciates it as a unique take, inspired by the films he creates!” said Bentel. “I also hope he appreciates the attention to detail, or at least the detail that a small studio can include in such a project.”

What Souza started as a grassroots effort to build an event featuring 13 Black designers on an online panel has now blossomed into a bi-annual program that serves as the only national effort to establish young Black professionals and recent college graduates in design careers.

This year’s State of Black Design Conference will be held this week (in-person and virtually, on March 15 and 16) in Nashville at Tennessee State University’s Art and Design Department. To learn more about the history of the conference, its offerings, and its impact, I had the pleasure of speaking with Souza. He opened up about the struggles he’s faced as a Black designer himself in the design industry and academia, the difficulties of putting on the SOBD Conference, as well as the extreme joy and fulfillment he feels from creating opportunities for so many Black students and designers who have otherwise been excluded. Our conversation is below.

(This conversation has been edited and condensed for clarity and length.)

What has your personal experience been like as a Black designer navigating the lack of diversity in this industry? 

There’ve been a lot of difficulties in many regards. My current institution has been the most supportive of my work and my line of research, but at past institutions, there have been a series of things. I’ve had faculty members who went to school in time periods when people who looked like we weren’t allowed to study with them. So when you have a professor who’s getting published, getting a certain type of attention, and challenging the status quo, that is often met with resistance. There have also been power struggles, especially regarding some of the positives that I’ve attempted to do with the State of Black Design.

When you have a professor who’s getting published, getting a certain type of attention, and challenging the status quo, that is often met with resistance.

Being the only Black person in a particular space is difficult. I teach UX design, and we talk about ingroups and outgroups all the time. As an example, I ask my students, “Who has an iPhone?” The majority of the students raise their hands. Then I ask, “What color is it when someone who doesn’t have an iPhone text messages you?” And they all go, “Oh, my God, green!” And then I ask them, “What inconveniences them when you text back?” And no one has an answer. When you’re in a space where you’re the only Black person or the only person of a particular group, and you fall within that outgroup, no one cares about what your experiences are, what inconveniences you have, or what makes it difficult.

When you talk about those issues and bring them to the forefront, because you’re not in the ingroup, they act in greater annoyance to you for bringing up something that they don’t care about, especially if you’re asking them to change. That’s been my experience as a professor and designer. If I talk too much about race, it annoys some people. If I’m getting too much attention about my work around race, it annoys particular people. If I’m raising too much money and creating too much change, and certain groups don’t feel included—even though there’s not much work to make me or other people like me feel included in the industry—there’s pushback given as well.

How did you first get the idea for the State of Black Design Conference? How did it develop? 

In 2020, I taught at Texas State University (south of Austin in San Marcos, Texas). It was a Hispanic-serving institution (similar to the one I’m currently at) that was predominantly minority— I want to say it was 53% or 54% Other. I was one of 80 faculty members in the Art and Design College, and I happened to be the only Black one who was tenure-tracked. So when the George Floyd incident happened, many students were trying to figure out what they could do, especially in their field of practice. When they began looking at faculty members, they asked, What are we going to do? All of them looked towards me as the sole Black professor. They asked, So what are you going to do?

There were ideas around potentially getting a Black designer or two to talk about what it feels like to experience racism, and I told them I didn’t want to do that. Because who wants to relive their trauma for an audience? At the time, there were few conferences featuring people of color on their stages, and when asked, the typical response that we would get was that there weren’t enough qualified designers of color or they didn’t know of any.

So, when considering what I could do, I thought about gathering a number of Black designers from different corners of design and having them speak about what they wanted to talk about, which was very different from what other conferences were doing.

We were expecting about 100 people, and ultimately got 5,000 people registered for the first event.

I got 13 designers and broke them into four categories: entrepreneurs, professors, design activists, and people working in the industry. I asked them what they wanted to discuss, and then we made 30-minute panels for each category. We live-streamed it on YouTube; we didn’t even get real estate on the university’s website— we had to share it with our students via Eventbrite. But then our students shared it with their friends, and their friends shared it with their friends, and so on. We were expecting about 100 people and ultimately got 5,000 people registered for the first event.

How did the SOBD continue to grow from that inaugural year in 2020? 

We started getting contacted by several companies and a number of those same organizations that weren’t featuring speakers of color in the past, with interest in partnering with us and recruiting from our next conference. So we added a career fair to the following conference, and instead of 13 speakers, we had close to 50 speakers of color. IBM recruited from our event— they were our title speaker—and within a day at our event, they recruited between 12 and 19 Black designers from their partnership with us, which was more designers than they had recruited in the history of their design program. We also had companies like Amazon, eBay, Microsoft, USAA, and several other tech companies come to recruit.

The following year, we were able to repeat having 50 speakers and having the career fair, and we were also able to raise sponsorship dollars for scholarships— we gave about $50,000 worth of scholarships away. My mother was a design aspirant and dropped out of college when she got pregnant with me. So I named the scholarship after her and told the students who received it that my mother couldn’t finish it due to cost and life, so giving them the scholarship felt like I was giving my mother a second chance. Our third event was headlined by Nikki Giovanni, which was amazing considering her history.

What was the development process like for this year’s conference? 

We had a long conversation about what we wanted to do for our first in-person conference and how we wanted to be different. We found that many conferences, especially those focused on equity in partnership with companies attempting to recruit people of color, usually go to destination cities like New York, Atlanta, Boston, Chicago, and Los Angeles. Although these cities are beautiful, they’re wildly expensive to visit and stay in. Many people who need these events get priced out often before they can attend.

The goal for me was to find cities with high Black populations that resided in flyover country instead of going to these destination cities and bringing our partner companies to these locations. This would make these types of careers more tangible for people who traditionally don’t see people who look like them in these roles and never see these types of companies visit their communities.

With that, we started looking at cities like Jackson, Mississippi; Jackson, Florida; St. Louis, Missouri; Cleveland, Ohio; Detroit, Michigan; Mobile, Alabama; Memphis, Tennessee; and Nashville, Tennessee, where we landed on hosting this year’s event. Nashville is uniquely situated with three HBCUs in one city, including Tennessee State University, our host institution. We also secured a partnership with Scarritt Bennett in Nashville, who is willing to rent dorms at a much cheaper rate to students for the events, making it more accessible.

What are you most looking forward to regarding this year’s conference?

I’m really excited to see how the students of Tennessee State University respond to this. I don’t think anything like this has happened on their campus. For these students to see designers that look like them, walk like them, talk like them, and have the same cultural backgrounds as them, end up in some of these areas that they’ve never even heard of before, I feel like a lot of students will have their minds blown.

For many of our partners and allies who aren’t of color and are coming to a historically Black college, it will be a cultural exchange that will also be really interesting. I think it will be amazing for them to see some of the Black Greek organizations, some of the bands, and the cultural offerings of Nashville in general. I’m looking forward to the conversations that will be had afterward, too.

What do you hope participants of the SOBD walk away with? 

For the students of color who attend, I want them to look at the designers and careers there and feel like they belong. I want them to feel like there’s an opportunity for them and that even if they’re not confident in their skill sets yet, they leave with a better understanding of what they need to do to improve.

For designers not of color who are attending, I want them to come willing to experience something different and gain an understanding of people who belong to an outgroup. We don’t always do a great job of taking people who belong to an ingroup and placing them in a scenario where they have to learn more about outgroups. The conference not only exposes them to another world but also gives them an opportunity to understand a demographic they may be designing for and designing with in the future.

For the companies that are coming, I’ve been trying to challenge the recruiters to show up and look at it differently. Instead of saying we want your best and your brightest, I want them to look at it from the standpoint of investing in this particular audience to make them the best and the brightest. To work with and nurture versus going to destination institutions that everybody goes to to recruit. In my opinion, that keeps design extremely incestuous and locks people out, and not just people of color. There are plenty of white designers in Nashville and white designers in these flyover countries who also don’t get an opportunity to speak to these companies. So, if we shift how companies build relationships with institutions and how they recruit, I think it would benefit us all.

I can throw something together and then open a pathway for others so that when they graduate, it makes it easier for them to get into a field that was extremely difficult for me.

What aspect of the SOBD are you proudest of?

Every time I throw this conference, I tell myself I will never do it again because of how difficult it is. The day the conference ends, I go home, turn off my cell phone, and go to sleep because I am just exhausted. But then the next day, and for the next two weeks, I am flooded with “thank you” messages from people telling me they got an internship with this company that they never thought they were going to. I’ve had friends who have gotten partnerships with companies to do design work because they saw their participation in the event. Or people who get internships with companies like IBM or Amazon just because of the strength of the conference. For me, that’s what makes it worth it. I can throw something together and then open a pathway for others so that when they graduate, it makes it easier for them to get into a field that was extremely difficult for me.

There’s so much in the world that’s not positive, so if you’re creating something, why not make it brighten somebody’s day? 

Mary Lai has no time for pessimism. The Los Angeles-based multimedia artist moves through the world fueled by positivity and happiness, and this is reflected in all of her work. The next chapter of her joyous exploration is a solo exhibition entitled Synchronicity, which is on view now at the DTLA gallery, The Art Room. Replete with 30 pieces of Lai created over the last two years in various mediums, Synchronicity is a visual manifestation of meaningful coincidences. “Meaningful coincidences seem to happen when preparation and hard work meet opportunity, validating our artistic journey,” she says.

I had the pleasure of speaking with the effervescent Lai about Synchronicity and received a hardy dose of her signature warm-hearted enthusiasm in the process. She walked me through her journey from handbag designer in New York City to multi-hyphenate fine artist in LA, provided some insights about the show, and reflected upon her always-positive worldview. Read our interview below.

(Interview edited slightly for clarity and length).

Can you walk me through your creative journey? How did you make the leap from handbag designer to fine artist?

I’ve been in this creative industry now for 20 years, and the first decade was in New York. That was great for learning and building a foundation. I studied graphic design in college, and began doing graphic design for kids bags, but I ended up falling in love with product design. So I was doing handbags for a very long time, and even had my own namesake handbag collection.

Then, one of my previous bosses in New York, who had moved out to LA, started building these beautiful homes that he would curate with art and furniture to then sell as one whole package. He wanted to build his design team in LA, so he offered to relocate me and my husband to LA to help with the design curation. That’s when I transitioned from handbags to the design side. It really pulled the curtain back on the art world for me, where I got to see how the art world runs.

Art was something that I’ve always loved; I just never pursued it because I didn’t think I could make a living at it. I would always go to all the different exhibitions and Art Basel and paint murals on the side. Once I moved to LA and the project with my former boss ended, I took that leap to be a full-time visual artist in 2019. I haven’t looked back since!

Since then, I’ve expanded all the different mediums I use. Because I have a graphic design and design background, I love creating and experimenting. I’ve done murals, sculptures, paintings, and mixed media, so it’s a wide range.

I’m always curious to hear about artists’ studio spaces. What’s yours like?

My studio is in Lincoln Heights, about five to ten minutes from Downtown. I’m in this cool space called Keystone Art Space. It’s a community of artists that have studios within the warehouse. So there are 50 different artists, and then in the center, there’s a gallery, and everybody shows in the gallery. It’s a nice community space of like-minded people.

In a creative career, there’s no formula. You’re putting work out there and hoping for the best. 

Can you describe Synchronicity? What are the main themes of the exhibition?

In my career, I’ll have these moments where I feel like the stars align, and I’m like, Oh! I have to do this! In a creative career, there’s no formula. You’re putting work out there and hoping for the best. 

So recently, I was at Art Basel in Miami with an eight-foot sculpture, and it was on its way back to LA. I had yet to sell it; I thought it would go into storage. Then, I met up with the Art Room and had a five-minute conversation with the co-owner and founder, where he looked at photos of my work. He said, “Do you have that sculpture coming back? Do you want to put it on the front patio?” He told me they’d just had an artist postpone, so they had a slot open. “Are you ready for a solo show?” I said, “Oh, my God, yes!” It was two months away when he asked me that, and even though I wasn’t really ready, I wasn’t going to say no to a great opportunity. 

So everything lined up. I had all of this work that I’d been actively creating in 2023 and exhibiting nonstop, so I had some existing pieces, then created some new pieces and pulled the Synchronicity show together in two months. The base of this show coming together was serendipitous—a bit of luck, a bit of the stars aligning—and that’s why I titled it Synchronicity.

What sorts of artworks are on display in the show?

There’s a huge range within price points, series, and styles, but it’s curated very well because there are many different areas. When you enter the gallery side of the space, it’s divided into two areas: I have my new works in the front and my earlier works in the back, so it has a nice flow.ow.

Within the 30 pieces, there’s the sculpture right in the front, smaller sculptures in the gallery, and then paintings made out of wood that I call my “Cloud Series.” So it’s a blend of many different series but curated in a way so that they’re in distinct areas. That said, they all come together with this vibrant, contemporary, and modern color palette. There’s always an uplifting, positive vibe to my artwork, which you can see consistently throughout.

What sort of experience do you hope viewers of Synchronicity have? What feelings and sensations do you hope they walk away with?

The sculpture right out front is eight feet tall, called “The Dream Portal.” It’s the best introduction to the collection because I created that sculpture to inspire people to create their own doors and paths of opportunity. The sculpture looks like a big door, and if you look at it from afar, it seems almost like a rainbow arch with a sun and cloud shape, but there’s also a door handle. It’s also activated by AR (augmented reality), so viewers can go into this dream portal world.

I feel like all of my art and everything I’ve done, is the result of me making my dreams a reality.

The whole point of “The Dream Portal” is for each person to be inspired to create their own doors and make their dreams a reality. All of my art and everything I’ve done is the result of me making my dreams a reality. So if other people come, see the artwork from the beginning all the way through, and then leave saying, I’m inspired. I want to go after my dreams, that would be a great takeaway from the collection.

Part of your ethos as an artist is having what you call a “Dreamer mindset.” Can you elaborate on what you mean by this? 

I’m definitely a glass-half-full type of person. I have this mentality of abundance versus a mentality of scarcity. I’m very optimistic and always try to see the best in situations. I keep that sense of what’s presented in the artwork; somehow, when people see the artwork, that’s the emotion they get, too. People say my artwork makes them smile or makes them happy. I know that sounds very fluffy, but that’s exactly how I am. I can have the worst day, but I try to walk away smiling and ask, What did I learn from it?

I always try to see the positive, what I can learn from it, and what I can change to do better. So that’s the “dreamer mindset”— making more positive art. There’s so much in the world that’s not positive, so if you’re creating something, why not make it brighten somebody’s day?

Photography by Meg Hudson

But what about the people behind those headlines and numbers? In my near decade-long tenure working as a Diversity & Inclusion practitioner, I have listened to the experiences of Black people in higher education, law, and advertising. Their backgrounds were unique, but the commonality was a feeling of being overlooked, underpaid, and dispensable in the workplace. While this is a significant issue in all industries, we must have more people-centered conversations regarding DEI in advertising.

Two Steps Forward, One Step Back

In May 2020, amidst the murder of George Floyd and the mourning of yet another Black person dying at the hands of the police, we witnessed what seemed like a racial reckoning. The workplace was changing. DEI departments were being created or expanded, Black ad talent received more promotions, and companies were tackling difficult conversations about race relations. 

However, the progress we made from 2020 to early 2022 has not only been undone, but things are arguably worse. There was already resistance to DEI advancements, but the combination of anti-Affirmative Action legislation, hundreds of companies firing their DEI teams, and billionaires like Elon Musk and Chip Wilson going to war against diversity added fuel to the flames. 

Over time, this anti-DEI rhetoric led to indifference and detachment toward the people most impacted by the current DEI shift. Black ad talent fights every day to find our way in this unwelcoming industry. We are your employees and colleagues. We make the advertising industry better through our undeniable cultural and creative influence. With that in mind, I honor the final day of Black History Month by centering Black ad talent. I want this article to serve as a reminder that DEI is more important today than ever. 

Inescapable Inequality 

Inequality is embedded into every crevice of advertising’s career pipeline–from portfolio school admission to C-suite access. Black talent deals with the remnants of America’s history of enslavement, Jim Crow, and economic oppression before we ever step foot in an agency. 

I have listened to countless advertising leaders and recruiters emphasize the importance of attending portfolio school to get ‘proper’ training and build a solid book. Organizations like The One Club have created laudable initiatives such as The One School—a free online portfolio school for Black talent–which has helped over a hundred Black creatives enter our industry. Yet, many agencies still recruit from a small number of schools, which, in and of itself, is a barrier to entry for Black talent. 

The typical White household has 9.2 times as much wealth as the typical Black household, according to research published by the Pew Research Center in 2023. This racial wealth gap often pressures Black professionals into more ‘traditional’ career paths like law, medicine, or education in search of economic security. While traditional postgraduate programs and portfolio schools are both expensive, the risk is different. In my experience, many Black families will celebrate the decision to follow a conventional career path. However, advertising is often perceived as low-paying and unpredictable. 

Some people never get to actualize their creative abilities in the workplace, but others, like Terence Raines, defy the odds. Raines is a senior creative director at a global full-service marketing agency and leads their Atlanta creative team. Raines recalls his days as a student at an elite ad school and the financial challenges he faced while under pressure to perform his best work. 

None of my peers knew that I would bring a massive sketch pad to my job so I could sneak schoolwork in while also trying to serve tables during peak rush hour.

Terence Raines, senior creative director

“None of my peers knew that I would bring a massive sketch pad to my job so I could sneak schoolwork in while also trying to serve tables during peak rush hour,” he says. “They didn’t know what it was like to leave a shift, sit through rush hour traffic, and pray you made it to class on time so you don’t get docked credit or what it was like to be negative in your bank account, but must explain to your critique panel why you couldn’t get your one-off designer spirits bottle fabricated for quarterly review.”

Graduating from ad school is an undeniable accomplishment. It is also just one out of many difficult steps toward career success for Black talent. Dèja Mays, a mid-level art director and co-founder of ‘The Come Up Brunch,’ a new networking event for Black mid-level professionals looking to upskill, has faced her own challenges within the industry. 

Mays has an impressive resume, graduated from a top ad school, worked at some of the industry’s leading agencies, and was featured in Adweek’s Profiles in Black Creativity. She almost pursued a career in psychiatry but decided to follow her passion for creativity. Years after Mays’ graduation, and with multiple awards and TikTok followers under her belt, she’s back on the job market. 

While internships provide a foot in the door, the journey to a seat at the table feels like an impossible voyage.

Dèja Mays, mid-level art director and co-founder of The Come Up Brunch

“The job search before my first role was tough, and it seems even more challenging this time around,” she says. “Many of my friends who are Black in the ad industry face similar struggles. While internships provide a foot in the door, the journey to a seat at the table feels like an impossible voyage.”

Many companies are quick to offer Black talent internships and entry-level roles, but what happens next? There is an almost impenetrable ceiling for Black talent looking to enter more senior ranks. Only 6% of managers and 4% of corporate executives are Black, according to She Runs It’s #Inclusive100 study on diversity and inclusion in marketing, media, and adtech.

“We lack the connections needed to secure a spot. Many of us talk about changing careers or taking on a second one as a backup, even though we are passionate about what we do. Our future in advertising seems so uncertain,” Mays says. 

What is advertising’s responsibility to address these shortcomings? What changes will we make within agencies and industry-wide to reflect the diverse population of America that we are marketing to? Will we, as an industry, succumb to the ‘DEI is Dead’ narrative? Or, stand firm and protect Black talent?

If you believe in the latter, evaluating your agency from top to bottom is critical. Ask yourself: Where are we recruiting Black talent? Are we investing in mentorship and sponsorship programs? Mental health and wellness workplace resources? Pipeline programs? Inclusion training for leaders, hiring managers, and recruiters?  

We are committed to the idea that this isn’t just a moral issue. We believe diverse perspectives will ultimately lead us to the best work possible.

Chris Breen, Partner & Chief Creative Officer at Chemistry

Failing to address these issues is a choice because some advertising leaders –like Chris Breen– are making the effort. Breen is a Partner & Chief Creative Officer at Chemistry, an independent creative agency. He is also a proud ally and diversity advocate. 

“We are committed to the idea that this isn’t just a moral issue,” says Breen. “We believe diverse perspectives will ultimately lead us to the best work possible. If we all used this as the lens to look at the problem, I think we would feel less angst around the fact that, to date, we have all done a poor job solving it. The industry can’t agree on the business value of fighting systemic racism. That’s the real issue we are facing right now.”

Agency leaders–if you want to support Black ad talent, understand the obstacles we face, listen to our stories, and provide growth opportunities. I hope this inspires you to research ways to invest in your Black employees and talent pipeline.

Initiatives Supporting Black Ad Talent

The One Club for Creativity

• Where Are All The Black People: The One Club’s annual diversity conference and career fair attracts over 3,000 creatives at the hybrid event. Talent can participate in portfolio reviews, panels, wellness sessions and network with recruiters. Contact adrienne@oneclub.org for more information. 
• One School: A 100% free, online portfolio school for Black creatives in the US and UK. Contact oneschool@oneclub.org. 
• Equify: A diversity training and certification program to help senior executives and staff create more inclusive and equitable practices throughout their organizations, created by James Kinney and powered by The One Club. Contact air@oneclub.org. 

And many other organizations and initiatives, such as:

• 100 Roses from Concrete: A 501(c)3 network for people of color in advertising, marketing media, and public relations industries. This platform aims to help people of color in our industry find strength and community in a space where they are encouraged and inspired by veterans and their peers. Founded by Keni Thacker.
• Black Visionaries: A nonprofit aimed at supporting Black professionals through tools, resources, and networking events. Founded by Aaron Francois. Contact aaronf@blackvisionariesinc.com for more information.
• Blvckdoor: An online platform that helps companies diversify their creative talent pools and helps creative talent of color find job opportunities, resources, and each other.
• Bold Culture: A business management firm founded by Darren Martin Jr, providing cultural insight reports and diversity, equity, and inclusion consulting. Contact darren@boldculture.co for more information. 
• Caged Bird HR: A black-owned HR support company on a mission to improve employees’ lives and work experiences worldwide. We do this by providing access to independent HR professionals and leveraging cutting-edge technology and data analytics.
• Cannes Can Diversity Collective: An organization founded by Adrianne C. Smith to increase the representation of talented people of color at advertising’s largest events, including the Cannes Lions International Festival of Creativity.
• Hire Black Now: An organization aiming to get 10,000 Black women hired, trained, or promoted into corporate roles.
• In for 13: A pledge designed to stomp out systemic racism and create equity in the advertising industry by raising the percentage of Black representation in leadership positions to 13%.
• The Come Up Brunch & Dinner Series: An event series co-founded by Dèja May and Kelsey Matthews, with support from The One Club, that empowers, educates, and connects mid-level talent with mentors and job opportunities. Contact dejapocahontas@gmail.com for more information.
• Transform the Hustle: A Black-owned and led cultural consultancy, co-founded by Candice Grevious and Hilda Adeniji, specializing in Social Corporate Responsibility, DE&I Advisory, Content Creation, Experiential Marketing, and Digital + Marketing Strategy. Founded in 2021, their mission is to increase the representation of Black corporate professionals and independent creators by developing brand collaborations, employment opportunities, philanthropic initiatives, and innovative programming. Contact transformthehustle@gmail.com for more information.

Adrienne L. Lucas, JD is a cultural strategist with 10+ years of specialized experience working on community engagement and DEI initiatives in the private, public, and nonprofit sectors. She is the Global Head of DEI & Strategic Partnerships at The One Club–an advertising nonprofit established in the 1960s to celebrate and support the global creative community. As part of her role, Adrienne hosts creative boot camps, lunch & learns, and cultural programming. She is also the Executive Director of advertising’s largest diversity conference and career fair–Where Are All The Black People. WAATBP was co-founded by Jimmy Smith and Jeff Goodby in 2011 with support from The One Club. 

Adrienne is a frequent guest on panels and podcasts covering DEI, culture, and Corporate America. She holds a J.D. from NYU Law, a B.A. from the University of Pittsburgh, and a Diversity & Inclusion Professionals Certificate from Cornell University IRL School. She is passionate about the arts, civil rights, and social justice.

Banner images courtesy WAATBP Conference and The One Club, photographed by Derrick Larane of Pocstock.

Though partnering with young ballers like Bellingham, Adidas has recently been looking to the past for their slate of new releases. There’s nothing subtle about the brand tapping into the power of nostalgia within sports design, and a recent leak shows that Adidas is plotting to unveil a logo of a silhouetted Bellingham not unlike the quite literally iconic Michael Jordan Jumpman logo from Nike.

This news has already elicited a litany of polarized hot takes, so I sought a few more from trusted sports design correspondent Todd Radom. As a prolific sports designer and branding expert, Radom’s hot takes are more than just hot: they’re credible. I threw a few questions his way about this logo news, and he was happy to offer some insider insights.

“You come at the king, you best not miss.”

Is Adidas creating their own version of a famous logo from their direct competitor, a design diss track? How is this sort of thing typically received in the sports design world?

“You come at the king; you best not miss.” There’s no missing the connection and the brash statement here. It’s hard to quantify the global impact of the Jumpman logo, which is now 36 years old.

I’m not sure I’d equate this to a “diss track,” but I would say that the messaging here is unmistakable. Sports fans (and, in this case, sneakerheads and streetwear fans) will know what’s happening here, which is essentially a glomming onto long-established brand equity. The sports design world will likely split into two groups: Here in America, many might well view this as a copycat exercise, more or less, while the rest of the world may well chalk it up to football being the global sport that it is, regardless of the phenomena that Jordan, the NBA, and the Bulls provided more than a generation ago.

Visually speaking, what do you think of this (reported) Jude Bellingham silhouette as a logo? For me, it’s not as compelling or active as the shape of Michael Jordan dunking.

Agreed! A static image cannot compete with the otherworldly silhouette of an airborne Jordan. Can you believe that he could fly like that? How aspirational. Tack on all those years of accrued equity, and this new logo pales in comparison in many ways. Any of us can raise our arms in victory, but few, if any, of us can be like Mike.

Any of us can raise our arms in victory, but few, if any of us can be like Mike.

Adidas is leaning heavily on reviving old designs and products right now (bringing back Predators cleats is at the top of the list). What are your thoughts on appealing to nostalgia and relying on reboots (no pun intended) instead of being more forward-thinking and innovative and creating entirely new designs?

I say it all the time: we live in unsettled times. Nostalgia is like a big heaping bowl of mashed potatoes— it makes us feel good. It reminds us of better and simpler times (even if they weren’t, shhh!) And when it comes to sports, it can remind us of past glory, uncomplicated and easily received. All that said, I love a nostalgic approach when appropriate; I’ve built part of my career off of that. But the world doesn’t stop moving, and new consumers and enthusiasts deserve stuff that reflects their own worldview and sensibilities. Besides, everything that’s new now will be considered “retro” in 20 years or so.

The world doesn’t stop moving, and new consumers and enthusiasts deserve stuff that reflects their own worldview and sensibilities.

Some have clutched their pearls at the buildings’ makeover, considering the graffiti vandalism and calling the state of the buildings an eyesore. Meanwhile, others have welcomed the transformation, making the point that the real tragedy is that three 53-story billion-dollar apartment buildings have sat dormant in the city’s center for five years and that artists bringing life and flair to the buildings is beautiful.

It became a staple in Los Angeles, and I am grateful and honored to be a part of it.

Fleat, graffiti artist

One of the graffiti artists who took his talents to these buildings happens to be a friend of mine. He goes by the moniker Fleat, and has been doing graffiti in LA and beyond since the mid-90s.

Fleat was introduced to graffiti by his uncle, a graffiti writer in LA in the late 80s and early 90s. “He was really inspiring because he was a graffiti artist, not just a tagger,” Fleat says. “A lot of people in LA just vandalize, but he was an actual artist.” Fleat was about ten years old when he first picked up the can, and he’s been painting ever since. He’s not only making his mark in his hometown of West LA and Venice Beach but also all over the world, traveling to Guatemala, Greece, Taiwan, Barcelona, Colombia, and the Philippines. He networks with local artists in each destination, usually meeting them at art stores while getting supplies. Through these connections, he finds places to paint and other graffiti writers to collaborate with. “It’s just a beautiful thing; they treat me well everywhere,” he shares. “The feeling is out of this world. I never thought I would feel this good over graffiti.”

One of the graffiti artists Fleat has met through his work is a prolific writer named Pemex, who recently visited LA from Northern California, where he’s based. His trip coincided with this massive graffiti moment gripping the city, and Fleat and Pemex couldn’t miss it. They hatched a plan for the excursion, gathering old paint Fleat had kicking around from previous projects, and then set out on a mission to the buildings late one night.

By the time of their outing, artists had utterly transformed the buildings, each writer claiming a window, leaving their tag behind in bold letters up above. “It was already grilled, but there were open spaces,” says Fleat of the state of the buildings when they arrived. They scouted out two open windows near one another at the top of one of the buildings and dove in. “Getting inside the property is probably a quarter of the battle. In graffiti, somebody has always cut a hole out somewhere,” explains Fleat. “We saw a few people coming out, and they told us there was a hole nearby.”

Once inside, it was go time. Fleat and Pemex began their long journey up the stairs of the building, dripping in sweat under the weight of their clothing layers and bags of supplies. “It was really tiring,” says Fleat, always mindful of the risks inherent to doing graffiti. “When you do things like this, danger is lurking. Anything can happen.” The duo reached the 49th floor, and Fleat claimed the first blank window. He walked through the empty unit, out to the balcony, and got to work. “I’ve never been that high before. I’ve never felt the air that high. And it was one of those rainy, gloomy nights.”

Fleat talked to himself as he worked to stay motivated and inspired and to remain calm. When he works, he cuts out all distractions to stay focused; he doesn’t even listen to music. “It’s conducting business at 100%,” he explains. “There’s no room for error.” It took Fleat roughly an hour and a half to complete his piece, which features his moniker in vibrant letters that blend down from pink to purple to black, all outlined in bright yellow.

Fleat tells me that the end of every piece feels like a dream come true, and this one was no different. “That’s how I treat every piece,” he says. “It goes deep. I get really emotional; I get overwhelmed with happiness.” Being part of this project, in particular, has been especially meaningful to him. “It became a staple in Los Angeles, and I am grateful and honored to be a part of it,” he reflects.

But what’s to become of this public art piece? There are reports that the LA City Council has just voted to allocate $4 million toward efforts to remove the graffiti and secure the building from future tagging.

The fleeting nature of graffiti is part of the deal, though, and artists like Fleat are at peace with that. “It’s just part of it. It’s already incorporated in the culture, but it won’t be there forever,” he says. “I’m not tied to any of my pieces; some kid might go over it, somebody might run a line through it, anything.” With this reality at the core of the art form, graffiti artists find value more in the moment of creation than in their finished product. The art is in the experience of execution—finding the hole in the fence, trekking up the 49 flights, bracing yourself against the windy gloom with the paint can in your hand. Once finished, the piece takes on a life of its own and belongs to the next artist, whoever (or whatever) that might be.

While the games and drama therein were, of course, the most important aspects of AFCON and the Asian Cup, the various kits sported by the countries participating in each were a close second. Seeing what sorts of kits each national team rolls out for these major tournaments is always a delight, with some in the past even transcending sportswear and making a splash in the greater fashion landscape.

So what of the kits that debuted in AFCON and the Asian Cup this year? I’ve rounded up a few of my favorites below.

AFCON

Mali Away

As a proud maximalist, I’m predisposed to gravitate toward flamboyant and bold kit designs that don’t play it safe. The Mali Away jersey is, without a doubt, the splashiest of the AFCON bunch, and I’m not mad at it one bit!

Nigeria Home

The Nigerian Super Eagles have done it again with yet another stellar kit. Never shy of graphic patterns and textures, the Nigerian Home kit sticks to that trend and then some.

Tanzania Home

I enjoy the retro, classic flair to the Tanzania Home jersey, featuring a bulky yellow collar that reminds me of my first-ever soccer jersey as a kid in the ’90s. The subtle pattern in the blue fabric modernizes the otherwise vintage feel.

Algeria Home

The Algeria Home kit is simple yet striking, with three jagged teal stripes down the side. The asymmetrical stripes elicit movement and speed, but it doesn’t feel like the design is trying too hard, either.

Ivory Coast Home

I’m a sucker for Creamsicle orange, so I can’t help but put the Ivory Coast Home kit on my list. Puma is rightfully letting the color do the heavy lifting here, accenting it simply with crisp white trim and numbers.

Guinea-Bissau Home, Away, Third, and Fourth Kits

The entire kit line-up for Guinea-Bissau deserves some love! The designs act as a cohesive collection, though each is distinctly different. The geometric patterns on each at once allude to woven tapestry aesthetics and early-generation computer graphics.

AFC Asian Cup

China Away

The electric teal of China’s Away kit might be too reminiscent of toothpaste for some, but I’m here for it. Subtle polka-dots speckle the jersey, and the red-orange of the accents is an unexpected color pairing that pays off.

Jordan Away

It’s all about the sleeves for me when it comes to Jordan’s Away jersey. The rest is pretty pedestrian, but I like making a bold choice with one section of an otherwise traditional red kit.

Australia Home

Classic yet vibrant, Australia’s Home kit makes my list for the subtle dual-toned yellow pattern in the jersey and the always-charming kangaroo and emu coat of arms.

India Home

I’m a fan of this soothing blue hue of India’s Home kit, embellished with a subtle animal-print-like pattern for some visual intrigue. The red stitching is also a nice detail, which pops nicely in contrast to the blue.

South Korea Away

The South Korea Away kit is one of the most polarizing kits of both tournaments, but I support any jersey that starts a conversation. The abstract markings and color palette remind me of the carpeting at old movie theaters, but that’s not necessarily a bad thing! In a world where derivative and cookie-cutter designs are all too common, it’s refreshing to see a kit that takes a big swing. Making contact with the ball is beside the point.

You aren’t alone if you’ve ever responded with ‘huh?’ to someone speaking International Art English at you, or felt icky about the unspoken social capital at work at a gallery opening, or found yourself struggling to come up with the correct answer to ‘But, what do you see?’ when standing in front of a painting or sculpture.

The promise to confirm all my sneaking suspicions propelled me into the story. Many moments provide red meat for my inner judge, not least of which was Bosker’s hoop-jumping first assignment as a Brooklyn gallery assistant and her expectations around her first Art Basel Miami. But alongside this look at the art glitterati under a microscope is a softer, more personal story about a woman yearning to understand why art is so important. Why did Bosker’s grandmother teach art in a displaced persons camp in Austria after World War II? Why do world cultures honor art as essential as air, food, and shelter? Why do artists toil away in their studios for years in obscurity with little financial reward? When artists do ‘make’ it, why do they put up with the incredible heaps of bullshit from the art-capital machine?

This why is the essence of Bosker’s research in Get The Picture. I sat down with her to discuss the book, and we veered into art, writing, and life. Our interview is condensed for length and clarity.

Reading Get The Picture, I was struck by how untouchable and unknowable the art world is, and I couldn’t help but draw parallels to the publishing industry. As a writer, did your immersion change how you view your place in your industry and the process that writers go through? 

So much about the world is magnified by the art world: the way we judge quality, the extreme wealth disparities, and the power of gatekeepers.

I went into this process to develop me eye, to learn to see the world the way hyper-obsessed art fiends look at it. I wanted an answer to how a work of art goes from being the germ of an idea in someone’s studio to a masterpiece that we ooh and ahh over in a museum? I learn by doing, and so my way of learning was to throw myself in, to insert myself into the nerve center of the art world. It’s very different to listen to someone describe how they sell an artwork from schmoozing with billionaires for a week at an art fair and selling a $9000 photograph in the backseat of an Uber while people are doing cocaine around you.

Observing all the power plays behind the scenes, I couldn’t help but reflect on my own industry.

I learned that all the decisions that shape an artwork are all the decisions that shape us: what we define as art, who can make art, and why should we bother to engage with it? Throughout this process, my relationship with art changed but my relationship with everything else changed as well. 

I hope that Get The Picture empowers people to develop their eye and trust themselves. And if we do that, then that has implications far beyond the art world. My hope is that people reading this book, whether they are in finance, or publishing, or simply developing a new recipe, is that it will spark them to think more expansively, but also to think more for themselves.

You mentioned it just now: the question of, well, “What is art?” Someone has to define it, right? 

The intimidation we feel is not an accident. I got an intimate look at how the art world wields strategic snobbery to build mystique and keep people out. Based on what the art world advertises about itself, I expected to find this group of open-minded iconoclasts who wanted to share the magic of art with as many people as possible. But I encountered the clubby elitism that I associate with stodgy country clubs. Case in point: I worked for someone who encouraged me to get a makeover, rethink how I spoke and dressed, and rethink my “overly enthusiastic” personality. He wanted me to address what he saw as my fatal uncoolness. But you can also see this in how galleries hide themselves on the second floor of nondescript buildings. The way that art aficionados use this unnecessarily complex, made-up language of art speak. The way that gallery professionals judge you even more than you judge the work. All of this contributes to this deliberate gatekeeping.

Through tracing the history of the museum, I was surprised that these seemingly “public” institutions have historically had mixed feelings about letting in the general public. Deliberately or accidentally, the art world erects these barriers to preserve power in the hands of gatekeepers, to preserve the mystique, and to preserve it as the playground of an anointed few. Getting to see all of this helped me feel validated. The art world is doing anything but rolling out the welcome mat for the “Schmoletariat.”*

[*Joe Schmoes, aka Schmoes, is the term for the rest of us. Bosker first learned this term from the same gallerist who had suggested a makeover.]

We’ve been told for the last 100 years that everything that matters about a work of art is THE IDEA. This outsized importance on context has effectively put up a barrier to anyone engaging with works of art. Gallerists I met offered data points, often “a cloud of names,” such as where an artist went to school, the social capital of the artist, who their friends are, and even who the artist has slept with.

Being a museum guard at the Guggenheim made me rethink my relationship with art history and museums. I’d always thought of them as these unimpeachable custodians of the best culture had to offer, and working in galleries and museums shook my faith in that idea. You come to understand that that piece over there is only in the show because one person or collector forced it to go in. Or that a curator took a rich person by the elbow through an art fair and then said collector bought two copies of a piece and sent one to the museum collection. What we see in these hallowed halls of culture is not necessarily the “best” but the result of a series of decisions by flawed individuals who are all like us – read subjective. 

Ultimately, when you see what’s at play, it loses a little bit of its power. Everything you need to have a meaningful relationship with art is right in front of you.

My hope is that people reading this book, whether they are in finance, or publishing, or simply developing a new recipe, is that it will spark them to think more expansively, but also to think more for themselves.

Bianca Bosker

How did this experience change the way you engage with art?

As I worked with Julie Curtiss in her studio, I realized that an idea is not a painting. Making art is practically athletic. It is a bloody business; you must wrestle with the laws of gravity. Following an artist’s decisions offers us a path into the piece. 

One artist encouraged me to notice five things about an artwork. They don’t need to be big. It could be as simple as “I wish I could lick that green” or “that corner of the canvas seems unfinished.” This process also lends itself to slowing down and ignoring the wall text. 

Art is a practice for appreciating life, but art is also a practice for creating a life worth appreciating. Art teaches me to open myself up to the beauty and surprise of everyday life.

We can have that experience of art where our mind jumps the curb.

Bianca Bosker

I loved your relationship with Julie (Curtiss). You describe her expansive mindset; her apartment full of her artwork, other artists’ work, and stuff she’s found along the side of the road and elevated as ‘sculpture.’ Can you talk about what you got from working with Julie in her studio?

Julie changed my life. One thing I appreciated about her was that she taught me how to look at the world with an art mindset. When you do that, the world opens itself up to you. 

I’d always thought of art as a luxury. Yet artists behave as if art is something absolutely essential. But, I was surprised to find that scientists were right there with them, calling it a fundamental part of our humanity. As one biologist said, “as necessary as food or sex.” One scientific idea that intrigued me was that “art can help us fight the reducing tendencies of our minds.” Vision is a hallucination. Our eyes are different, and the data we take in is paltry. Our brains proactively compress, filter, and dismiss the data before we get the whole picture. Art helps us lift our filters of expectation, allowing us to take in the full nuance and chaos of the world around us.

Lifting this filter, like Julie, exposes us to a great nuance of experience, but we can also see art where we never did before. And we can have that experience of art where our mind jumps the curb. 

Let’s spend less time looking at so-called masterpieces and more time looking at underappreciated art that surprises us. It’s difficult, if not impossible, to fix all the flaws in the machine, but we can begin to build a better art world by broadening our horizons about what we choose to go and look at.

Julie taught me that art can emerge when we slow down, when we question, when we lift our filter of expectation, and when we look at something and wonder about it.

Beauty is a moment that nudges us to wonder about the world and our place in it.

Bianca Bosker

How did your relationship with color change? It blew me away when you talked about your experience at the Visual Science of Art Conference in Belgium. 

So much of what we understand of vision science was discovered by artists before scientists discovered it. These historical divisions are more flexible than we currently think.

Vision has always been celebrated as the most trustworthy of the senses. We’re told that good data comes from our eyes. I was shocked to learn that vision is a hallucination. I didn’t realize how slippery color is—it’s befuddling but also a gift. I became enchanted with color and by this concept of color constancy. Color is a great place to feel your filter of expectation at work. 

My love affair with color has only intensified. I’ve started wearing more color. Color spotting has become a hobby. The other day, I was on the subway, and rather than pull out my phone, I watched the ticklish orange of the seats, and it was a delight. It was like eating a delicious snack. I’d never thought of color having that hedonistic dimension, but it does. My two-year-old son is currently learning colors, and I think I’m confusing him. I can’t unsee the variety in colors that might live in the middle. While he sees blue, I see more green. But I’m not going to correct him. When it comes to color constancy, who actually knows what color it is? This knowledge has given me some humility.

So, what did you learn from AllFIRE (the performance artist who sat on your face)? The thought of it scandalized me. At the same time, if art is supposed to get us slightly off-balance and spark questions about our thinking, our biases, and our outmoded ways of thought, then, by that token, AllFIRE is art on steroids. I appreciated the internal conversation you invited readers to have with themselves.

Art doesn’t have to be a physical object. It can be a behavior. Art is a handshake between the viewer and the creator. 

The night in question, I did not leave my house that evening expecting to be sat on by a nearly naked stranger. Weirdly, my mind went to my fictional future political career, and I felt nervous and concerned. To my surprise, I was very much at peace once she was on my face. Afterward, I felt intensely conflicted and intrigued. As I engaged deeper with her work, it took me to an interesting place. Her work hits at the definition of art. It taught me to look for art in places I didn’t expect to see it and helped me see it in places I didn’t anticipate. Everyone can have an opinion about AllFIRE’s work (not just in the art world). It’s accessible. Her work caused me to think so deeply in ways that many abstract sculptures or more obvious art forms did not. Her work is not uncontroversial. It’s not easy. And it’s not for everyone. But, I hope that people go through this journey with me from thinking it’s absurd and, by the end, happy that she helped you consider these questions. That’s a gift that can knock our brains off their well-worn pathways and let the universe jostle our souls.

At the beginning of the book, you fondly mention your grandmother’s watercolor of carrots. Do you have a different relationship with her carrots after going through this experience?

For me, it brings up our relationship with beauty. Beauty has become a dirty word—in the art world, in elite society. There’s an idea that beauty is corrupted, frivolous, and a waste of time. That it’s old-fashioned. I came to feel differently about beauty. It’s essential. It’s not something that can be found in a color, a shape, or morality. Beauty is a moment that nudges us to wonder about the world and our place in it. Beauty is something that pulls us close and pulls us deeper into life. 

With that, there’s a value in challenging our idea of beauty. One of art’s gifts is the ability to stretch our ability to see beauty in places we never thought to look. 

Regarding my grandmother, I wonder how she’d answer these questions for herself if she were alive. The way she turned to art when the world was turning itself inside out speaks to the primacy of art in our lives.

In 2023, Monotype predicted maximalism, comic book-inspired styles, and textured 3D letterforms, to name a few. But what should we expect in 2024? Curated by Monotype Type Designers Jordan Bell and Damien Collot, this year’s report identifies ten trends in type and brand design set to shape the broader cultural zeitgeist. “In this, our fourth Annual Type Trends Report, we found a movement away from the trend of cuddly, squishy, empathetic fonts that many brands and creatives embraced after the alienation and stress of the pandemic,” said Bell. “This year, in a time that can feel nostalgic for the digital simplicity of the pre-smartphone, pre-AI world, we see designers returning to the heritage and comfort of more traditional serif fonts, and also finding new creative inspiration in ’90s and early ’00s scenes like grunge, jungle, and early rave culture.”

As part of the report, the Monotype team reimagined each of the ten trends as worn vinyl LP covers, thus connecting each type of trend to a specific musical genre. Each vinyl cover was created through Midjourney AI to underscore the tension between our current nostalgia for the old analog world at odds with simultaneous immersion in a new AI-infused digital age.

Against a backdrop of break-neck speed innovation and social change, we found seemingly opposing concepts being combined by designers and influenced by both future possibilities and nostalgia for the past, perhaps heralding a new, more contradictory era of creativity.

Damien Collot

A sneak peek breakdown of the report is below. 

1. EVERYTHINGALLOFTHETIME

As the name of this trend suggests, EVERYTHINGALLOFTHETIME (a reference to comedian Bo Burnham’s song, ‘Welcome to the Internet’) is all about more is more. “EVERYTHINGALLOFTHETIME challenges designers to use all the colors, textures, and typefaces they could reasonably fit in a design,” states the report. Monotype points to cannabis company Ben’s Best BLnz as an example of this trend in action, whose branding uses multiple typefaces from Vocal Type’s Tré Seals with vibrant artworks by black artists Dana Robinson and Pentagram’s Eddie Opara.

2. Whatever

The Whatever trend is born from ’90s nostalgia, encompassing “a spectrum of styles from nihilistic grunge to colorful pixel play,” says the report. “Picture digital gradients, big, bold type, and drop shadows.” Influenced by Gen Z and Millennials coming of age in the twenty-twenties, Whatever acknowledges the resurgence of ‘90s aesthetics permeating industries ranging from fashion to music to design.

3. SYSTM

In contrast to EVERYTHINGALLOFTHETIME, the SYSTM trend is a return to structure, control, and precision. It embodies the concept of Slow Design peddled by Martijn van der Does (the Executive Creative Director of Amsterdam studio, WONDERLAND), which is all about a reconsideration and even a return to traditional principles. “Despite having an engineered feel or approach to designing letters, SYSTM projects feel analog and human-made,” writes Monotype. “Softer forms and thoughtful grid-breaking construction of letterforms enhance the human factor.”

4. De-form

The aptly named De-Form style invites designers to use methods of typographic distortion that have previously been frowned upon. “Maybe we need to break age-old rules to express a deep state of uprising after what we have collectively seen and experienced this year,” writes Monotype.

The rebellion will be typeset!

2024 Monotype Trends Report

5. Flux

Flux goes hand-in-hand with the De-Form trend. It looks fast and dynamic and harkens to movement, whether animated or static forms inspired by motion. Flux often employs AI to create dynamic or interactive movements.

6. Quirk

Quirk pinpoints that sweet spot in branding and visuals where something stands out but still feels comforting and accessible. A slight flourish or a subtle something extra to capture one’s attention is central to Quirk. “This trend is all about finding a balance between comfort and a little bit of chaotic energy,” reads the report, “where subtle quirks wink at you from behind the familiar forms of solid, stable sans serifs.”

7. Counter Attack

Serving as the inverse to Quirk, Counter Attack is all about packing a punch through what isn’t there. The negative space here demands to be seen and celebrated.

The type in this trend is full of charisma and dynamic energy all formed around the hollow shapes at the heart of each letter.

2024 Monotype Trends Report

8. PROFESHINAL

PROFESHINAL harnesses the ability to appear effortless yet carefully considered. Off-handed and quirky, yet balanced with a professional sophistication. “If the world of graphic design strives to produce perfect creations,” explains Monotype, “this trend offers a counterbalance by celebrating perfectly imperfect designs that are proudly and unapologetically authentic.”

9. 100% Natural

100% Natural is a two-fold trend. It nods to brands looking to imbue their look and feel with an element of nature while looking to the quality of the organic and handmade. “This trend sheds light on how our environment inspires us to create and how textures and techniques can convey raw, honest, and playful emotion,” reads the report.

10. Return of the Serif

Look who’s back! After a dominant phase of the streamlined cleanliness of sans-serif styles, serifs appear to be back with a vengeance. Chalk it up to nostalgia or the comfort of tradition, as more and more brands are looking to the delicacy and classic look of serif typefaces to elicit warmth and stand out in a field of minimalistic sans.

The Monotype team curated playlists on Spotify to accompany the report for an added experiential dimension. Sink your teeth into the full Monotype Trends Report for 2024 here!

While initially exciting, the Air India facelift took an unexpected turn by opting to sideline historical nuances in favor of positioning the airline within the ‘global market’. The rebrand seems to turn away from what could have been a very significant change. Travel is a market that feels akin to quicksand, undergoing constant change, where preferences oscillate between consumers and corporations, and budgets redefine scopes overnight. Designers face the intricate task of delicately balancing brand legacy with the desire for a new and innovative approach. The Air India rebrand prompts us to explore not only the transformation of a logo and wordmark but also the deeper implications of cultural distinction being turned into consumable morsels for the West in the name of progress. 

Founded by JRD Tata, an industrialist, entrepreneur, and India’s first commercial pilot license-holder, Air India (originally known as Tata Airlines) established itself as an independent company in the country’s aviation sector, launching its first aircraft in 1933.If you came of age in India during the early ’90s, the aviation scene was characterized by simplicity, with only a handful of airlines dominating the skies. Among them stood the Maharaja mascot of Air India, first conceived in 1946 by Bobby Kooka, Air India’s commercial director, and illustrated by Umesh Rao, an artist at J. Walter Thompson. Characterized by a potbelly, distinctive oversized curled mustache, sharp nose, striped turban, and a calm expression, he stood as a symbol of the nation’s hospitality etched into every Indian’s memory forever. The identity before the rebrand showcased the Flying Swan silhouette and the Konark wheel within, complemented by a deep red wordmark and Devanagari script. It marked Air India’s distinctive presence in the aviation sector and encapsulated an era when air travel was a novel and privileged experience—a time when aviation in India was synonymous with wonder and wealth.

Initially establishing itself as an independent entity, Air India bloomed in India’s aviation sector before being acquired by the Government of India in 1948. After operating under government ownership for roughly 70 years, Air India was reacquired by the Tata Group in 2022. In December 2023, Tata announced the rollout of a new global brand identity for Air India, led by the London, UK, office of Futurebrand in collaboration with its Mumbai counterpart. The rebrand also seems like a valid step to distance itself from the negative pushback accumulated during decades of government management. But, the agency charged with redesigning one of the oldest airlines in India was left with a research task that must have been both daunting and exhaustive.

Air India’s historic fleet of iconic Boeing 747s, nicknamed “Your Palace In The Sky,” featured interiors curated by Tata himself. The fleet epitomized luxury travel’s golden age, with the renowned Maharaja Lounges and a first-class cabin adorned with Indian motifs, vibrant bandhani print uniforms, Gupta period art, murals from the Ajanta caves, and Kashmiri textile patterns. The white facade and red ‘jharokha’ windows became a signature. Air India was known for amalgamating heritage and meticulous design.

While the history of the aircraft featured so many elements to draw inspiration from, the new identity seems to limit itself. The updated logo and livery feature a revised color palette, and typeface and the airline’s mascot now assumes a predominantly subdued role confined to the premium classes. As a component of the rebranding effort, the airline has launched a fresh website and app, along with initiatives such as round-the-clock customer service, full lounge access for premium passengers, and a revamped loyalty program.

The logo underwent a major overhaul, replacing the previous red swan and Konark Chakra with a gold window frame symbolizing a ‘Window of Possibilities.’ The wordmark appears impressive along the entire length of the fuselage. While the custom type family designed in collaboration with Fabio Haag Type, Air India Sans, is a crisp addition to the identity. The new visual system features deep red, aubergine, and gold hues, along with a chakra-inspired pattern and the main element i.e., ‘The Vista’ graphics.

Inspired by the 747’s jharokha window, the Vista graphics use the window as a framing device. Though neatly executed as an animation, the gradients and chakra patterns seem force-fed into the system. The sarees, designed by celebrity designer Manish Malhotra, are sharp and don’t dilute the essence or authenticity of the uniform but rather transform it.

While the new identity aims to position Air India as a globally recognized brand, some critics argue that it might have diluted its distinct cultural elements. Introducing a more minimalist logo, featuring a gold window frame, deviated from traditional symbols like the red swan and Konark Chakra, potentially disconnecting from the airline’s rich heritage. The shift in the mascot’s role, with the Maharaja appearing predominantly in premium classes, signaled a departure from its historical international prominence. 

The public reaction to the Air India rebranding in India has been a mixed bag. While some individuals appreciate the airline’s efforts to change its image, others have criticized the changes for potentially disregarding cultural nuances. Positive feedback emphasizes the modern and vibrant aesthetic, considering it a step towards aligning with global standards. However, there are concerns about the potential loss of the airline’s distinctive identity and whether the rebranding adequately honors its rich history.

When comparing Air India’s rebranding with other global airlines, it becomes evident that the pursuit of global standards often leads to a certain level of homogenization in identity. In an interesting development, the new branding of Air India bears a resemblance to another airline, Vistara, also owned by Tata. This similarity is not coincidental, as Tata Sons and Singapore Airlines have agreed to consolidate Air India and Vistara by March 2024. This consolidation highlights the challenge of maintaining distinct brand identities while aligning with global standards in an industry marked by increasing convergence.

In an article titled ‘Are rebrands starting to look the same?’ writer Elizabeth Goodspeed phrased it right “While designers might debate the intricacies of truly unique branding, beneath these immediate concerns, there’s an underlying truth: what’s seen as popular often holds a key to broader appeal and effectiveness.” The tension between global aspirations and cultural preservation is a challenge faced by many companies seeking international recognition. Air India’s rebranding reflects a broader trend where the quest for global standards (aka recognition from the West) poses challenges in maintaining cultural nuances. Air India’s rebrand underscores the delicate balance required to navigate growth strategies while preserving the unique cultural fabric that defines its identity.

Roshita Thomas is a writer, designer, and business development manager. She previously worked with Porto Rocha as the Operations and New Business Associate and as the Editorial Assistant for Oculus Magazine with the American Institute of Architects. She graduated with a Master’s Degree in Design Research Writing and Criticism from SVA shortly after which she worked with Buck alongside the resourcing team.

Banner image licensed from Unsplash+

Having an appreciation for vehicles instilled in me at a young age by my father, I couldn’t help feeling a strong sense of deja vu when looking at the new logo and photos from CES. Where have I seen this before? Why does my mind automatically jump to my childhood watching Blade Runner, Tron, and Back to the Future? Visions of DeLoreans racing in my head …

Because I have seen this before.

Honda is attempting to marry cutting-edge electric vehicle technology with a nostalgic design philosophy, retrofuturism.

Retrofuturism is a movement in the creative arts showing the influence of depictions of the future produced in an earlier era. If futurism is sometimes called a “science” bent on anticipating what will come, retrofuturism is remembering that anticipation. I’m still waiting on my flying car.

However, as the automotive industry is familiar with retrofuturism, the question arises: is Honda’s approach truly novel, or does it fall flat in pursuing innovation?

While Honda’s attempt to infuse the 0 Series with a sense of nostalgia is commendable (if it was indeed the strategy), it also raises questions about the originality of the approach. Numerous automakers have explored similar themes in the past, making it a somewhat predictable move in a landscape that often craves innovation.

Aesthetics vs. Practicality

The two concept cars, the Saloon and the Space-Hub showcase Honda’s commitment to marrying form and function. Saloon’s sleek and aerodynamic design and Space-Hub’s roomy rural-centric approach are aesthetically pleasing. Still, do these designs contribute meaningfully to the practicality and efficiency of electric vehicles, or are they merely a surface-level attempt to stand out in a crowded market?

A “New” Logo

Another blast from the past is the “new” logo. Honda states, “This new H mark expresses our corporate attitude of going beyond our origin and constantly pursuing new challenges and advancements.

This design expression, like two outstretched hands,
represents our commitment to augment the possibilities of mobility and face our users sincerely.” However, the rendition is eerily similar to Honda’s 1961-69 logo; one might argue that this new mark is a refinement rather than something entirely new. I say that there’s a certain irony in “going beyond our origin” by referencing a previously used logo unless that was an intended meta nod to their past.

In that case, Honda, I salute you.

The launch of Honda’s 0 Series electric vehicles presents an interesting blend of nostalgia and modernity. However, the inadvertent lean on retrofuturism raises questions about the originality of the approach, as this design philosophy is a familiar approach. While the Saloon and Space-Hub boast eye-catching aesthetics, the true measure of success for the 0 Series lies in its ability to deliver practicality, efficiency, and a genuinely innovative driving experience. Only time will tell whether Honda’s gamble on retrofuturism pays off or if it proves to be a stale attempt in a rapidly evolving electric vehicle market.

After launching their “An Eames of Your Own” guide last year via their online magazine Kazam!, The Eames Institute has set its sights on an exciting endeavor through its newly opened headquarters in Richmond, California. You might want to sit down in your Eames Molded Plywood Chair for this one …

The Eames Archives will be open to the public for the first time ever. Starting now, you can purchase tickets for guided tours of The Eames Archives at their newly refurbished Northern California headquarters. This Richmond location will be a permanent space for the public to experience the Eames Collection firsthand. Tours will be given personally by Llisa Demetrios, the chief curator and granddaughter of Ray and Charles Eames.

It’s such a pleasure to expand the reach of the Eames Institute and further share the Collection with even more people.

Llisa Demetrios

“The Eames Archives is so special to me because it holds the things my grandparents loved and cherished—it’s an absolute joy to finally be able to share these pieces in this way,” says Demetrios.

The collection offers an expansive view of Ray and Charles Eames’ practice, including 40,000 artifacts that range from mass-produced furniture designs and unique one-of-a-kind prototypes to personal ephemera and private correspondence. The Eames Institute’s internal teams collaborated with Brooklyn-based designers Standard Issue to create a unique display that enables visitors to experience this material intimately. Much of the collection on view originates from the famed Eames Office at 901 Washington Boulevard in Venice, California.

Some particularly noteworthy items in the Archive include the Airplane Stabilizer (1943), the Plywood Sculpture (1943), the Molded Plywood Seat (1942), and the fake college diploma Saul Steinberg illustrated for Charles, who never completed his architecture degree (1950). In addition to experiencing this collection up close and in person, the space will also offer a behind-the-scenes look at the daily activities performed by the Eames Institute team in pursuit of preserving this cultural legacy.

And, of course, there’s a gift shop! At the end of each tour, guests are encouraged to explore a selection of books, vintage items, and design objects inspired by the Archives’ collection, all available for purchase. Reservations for guided tours of the Archive are available now through eamesinstitute.org. Tours will begin on February 14—the perfect Valentine’s Day date, perhaps?—and will be held on Wednesdays, Thursdays, and Fridays by appointment only. Going forward, tickets for the following month will be released on the first of each month.

Recently, the firm created a custom set of playing cards in collaboration with the Historic Districts Council (HDC) and renowned type designer Tobias Frere-Jones. The Rowhouse Playing Card deck celebrates the beauty and utility of these 19th and early-20th-century architectural gems across Manhattan, Queens, Brooklyn, and The Bronx.

The cards feature The Brooklyn Studio’s favorite rowhouses in various architectural styles, from Flemish Renaissance to Federalist, rendered in watercolor by artist Diane Hu.

The Brooklyn Studio chose Community Gothic —specifically, an unreleased weight, Extra Condensed Medium – from Frere-Jones Type for the typography. Inspired by 19th-century printing, Community Gothic’s gritty forms and somewhat irregular curves embody the imperfections of small jobbing presses of the time. Community Gothic was a perfect anchor for the Rowhouse deck artwork. Christopher Devine, a consultant who oversaw the design of the playing cards, said. “There is a remarkable parallel between Community Gothic and New York City rowhouses. Today, we tend to romanticize rowhouses, but their design and construction were rooted in utility. Community Gothic was created in a similar spirit: it celebrates the ordinary, utilitarian letterforms that characterized nineteenth-century print culture.” 

“In addition to philosophical and historical parallels,” Devine said. “Community Gothic and Hu’s illustrations share some noteworthy aesthetic similarities. The typeface’s letterforms are characterized by slightly irregular, asymmetrical outlines, which mirror the playful irreverence of Diane’s watercolors. From the day Community Gothic was released in late 2022, I had been waiting for the perfect opportunity to specify this typeface. As soon as Diane signed onto the playing card project, it was clear that the time had come.”

With the illustrations and typeface in place, one crucial design element remained. “Pairing Community Gothic with a set of crisply drawn suits would be, to paraphrase Adrian Frutiger, like wearing jeans and a tailcoat, “ said Devine. 

So, Devine approached renowned type designer Tobias Frere-Jones to design custom suits. “Tobias grew up in Brooklyn and is something of a resident expert on nineteenth-century New York City. He responded right away, said that he’d love to be involved, and we had a call the following day. Beyond some general details, I did not provide any specific artistic direction; I trusted his instincts wholeheartedly.”

Rounding out the design is a card back featuring a delightfully asymmetrical Flemish bond pattern evoking a 19th-century bricklaying technique, created using hyphens and en-dashes from the Community Gothic family.

Part of the proceeds from Rowhouse Playing Cards go to the HDC to help them continue their work advocating for New York’s historic neighborhoods. Learn more and shop on The Brooklyn Studio’s website. 

Find out more about Frere-Jones’ 2022 release of Community Gothic in this article on their website by Elizabeth Goodspeed, and here, in our Type Tuesday feature from early 2023.

Christopher Devine also oversaw the design of The Brooklyn Studio LEGO set, featuring Brooklyn highlights such as the Carroll Street Bridge, Park Slope rowhouses, and Grand Army Plaza. Like the Rowhouse Playing Card deck, part of the proceeds support HDC’s mission.

Photographs by Ethan Herrington.

In addition to Landekic’s praise, the director of Saltburn, Emerald Fennell, shared an inside scoop about the title card via Twitter/X in conjunction with the film’s release.

Hand drawn? Gilded? Stop motion? This title card pushed all my buttons— and I had to learn more! So, I reached out to the graphic designer and illustrator behind the title card, Katie Buckley, to hear more about the meticulous process that Fennell alluded to in her post. Buckley generously responded to my questions below, illuminating the journey she and her assistant, India Paparestis-Stacey, took to bring the Saltburn title card to life.

(Interview edited for length and clarity.)

Can you describe what process(es) you used to create the beautiful effect of the opening title card? I know illustration, gilding, and stop motion were all involved.

The process for the animation was hand drawn, hand painted, then gilded. I did, however, send Emerald some pencil stop animation of each thorn growth to check she was happy with the feel of it. 

There were over 300 cells for the piece of animation. We needed to check that the gold leaf read as gold because gold is notoriously not great unless it’s real. A lot of time goes into digitally creating the gold sparkle; without that, gold can look very “grey.”

Is this process something you’ve done before, or did you develop it, especially for this project?

Saltburn was my first title card and animation project. I was lucky that Emerald believed in my style enough to let me into the world of the title. So, yes, this was specially developed for this project; I relied on my instinct rather than knowledge.

Emerald asked me to do the Saltburn titles because, I quote, ‘I’d like it to feel like the crazy lady in the attic, scratching at the rafters.’ How could I resist that brief?

Katie Buckley

How did the concept for this title card develop? Did you work closely with Emerald to land on the idea, or was it something you conceived and pitched to her?

Emerald asked me to do the Saltburn titles because, I quote, “I’d like it to feel like the crazy lady in the attic, scratching at the rafters.” How could I resist that brief?

To start with, Emerald had said she didn’t want any animation— just 25 title cards, hand drawn and painted. She had mentioned that she liked the Hammer House of Horror (1980) “feel” to the lettering. 

Emerald had said she would like “Saltburn” to be in a banner; here are the first sketches that we talked about regarding what she wanted:

After seeing the banners, Emerald thought she would like the Saltburn titles animated and asked if I was prepared to do it. I said yes, but I was honest. I hadn’t done animation before, so I would always keep her up to date in case she wanted to go to someone with more experience. I was so lucky that Emerald had complete faith in me because there were moments when I had to take a few huge gulps! (So did she, I’m sure!) There were doubting voices, but I kept saying that none of us knew exactly what Emerald wanted, so let’s buckle up for the ride.

At first, I played with creating a font that Emerald liked. We went through a few different samples of fonts below. The third one is the font that Emerald decided on as soon as she saw it.

[Spoiler alert below]

The whole concept developed quite organically. Emerald had said she wanted the lush green foliage to turn into thorns and be black and threatening. It felt right that the blood red seeped into the black and that the gold was the final creeping vein as the want of riches killed off the whole cast. One of the mood boards had the saying, “Everyone wants to eat the rich because they are so delicious.”

While creating something so time-consuming and meticulous, do you find yourself getting impatient and going a bit mad, or do you relish the lengthy process and enjoy it? and enjoy it?

I felt the pressure of being hunched over tracing, drawing, painting, and gilding for sometimes 15-hour days with very little time. I never felt impatient, but I definitely thought I was going mad. I sent Emerald a photo of my studio one day just to show her that I was the crazy lady in the attic; it was completely covered in gold leaf (it does go everywhere; I still find bits of gold leaf in my garden today), paint, and screwed-up bits of trace and paper.

I can honestly say I have never been so invested in a project.

Katie Buckley

How did it feel once you finally finished the title card? What was it like seeing it in use in the movie?

I can honestly say I have never been so invested in a project. I am so proud of the work my assistant, India, and I did on this. It was thrilling to see the final film and to be part of the coolest film … ever! And to top it all, it’s probably the only film I’ve ever worked on that both my 17-year-old daughter and 82-year-old mother completely loved.

Monotype and Neurons, an applied neuroscience company, are collaborating to answer why and how and many more questions about the cultural differences in perceiving meaning and emotion in type. Monotype has released the first results of their ongoing study, revealing the emotional impact and cultural nuances of fonts across eight different countries: Australia, France, Germany, Japan, Portugal, Spain, the UK, and the US (with plans for more).

Here are three interesting findings.

English-speaking countries are not a monolith.

In the US, UK, and Australia, different typefaces resonated for the value of trust. One value these three countries share is distinction, so it pays to be repetitive, memorable, and build an easily recognizeable identity.

Neither is Europe.

France, Portugal, and Spain preferred classic serif styles. All three countries scored highly for associations such as surprising, so they might be the perfect market to try something more avant-garde or shocking.

Unlike many of its Romance language-speaking neighbors, the research found that Germans favored bold visuals and tended to value prominence and memorability. Germany scored lower on all other emotional attributes, such as trust, honesty, and quality.

The one thing they share? A love for Cotford, above.

In Japan, handwritten attributes and traditional forms win the day.

This is Monotype’s first foray into Japanese, Chinese, and Korean type research, but with its acquisition of Fontworks last year, it stands to reason that we will see a lot more in the future. In this initial data finding, the experts selected fonts to test the matching stimuli of the Western regions, and all the results defied expectations. The Japanese audience scored gothic, low-contrast, humanistic fonts highly for innovation. With its expressive brushwork and embellished serifs, Shuei Min scored highly for trust, honesty, and authenticity.

“Everyone brings their own history and personal perceptions to a typeface,” says Phil Garnham, Executive Creative Director at Monotype. “But what’s fascinating about our research is that it reveals those perceptions are, at least in part, influenced by where we live and the history of our culture and language. Our research is not exhaustive (to date, we’ve studied eight countries around the world) and as we continue to expand and diversify our research program with Neurons, we expect to uncover more insights on the complex, nuanced, and infinitely fascinating interplay between type and emotion.”

Read about the initial findings, samples, and survey methods in the e-book, available at Monotype – Typography Matters.

Banner image elements and e-book snapshots courtesy of Monotype.

Based in New York City and New Orleans, The Collected Works — lovingly referred to as TCW — stands out as an independent design studio dedicated to crafting dynamic identities. Despite its boutique studio setup, TCW prides itself on delivering outstanding results comparable to larger agencies. With a remarkable track record spanning over a decade, TCW continues to champion rad work for rad people.

See how their rad mantra came to life in crafting The North Face – 50 Years of Parkas campaign.  

We were thrilled to work with The North Face, developing a design system for their 50 Years of Parkas campaign. Through a limited-edition zine and lots of motion assets, we aimed to celebrate the parka – not just as a brilliant piece of technical gear for extreme conditions, but a cultural symbol that has resonated with the masses.

Justin Raymond Park, Project Manager, TCW

“​​The system we developed enabled us to integrate campaign photography and written interviews with some absolutely incredible people,” TCW’s Justin Raymond Park explained. “Conrad Anker and Jimmy Chin recount epic stories of mountaineering, Quannah Chasinghorse shares what The North Face has meant to her in her advocacy and sustainability work, and Danie Sierra speaks of the parka’s resonance in urban culture.”

We had the immense pleasure of laying out their words alongside beautiful photography, from the heights of the Rocky Mountains to the streets of New York.

Justin Raymond Park

Fun fact: TCW branded this year’s PRINT Awards, check it out!

The deadline to enter your work for the 2024 PRINT Awards is TODAY (January 15). Submit your work here!

“The Styx were a community of Black people who migrated to Palm Beach island to build what is considered to be the birthplace of American hospitality,” Durrett explained. “It’s a rich yet tragic and familiar history. One in which Black people are used for labor and when that labor is no longer needed, and the land on which they inhabit is deemed valuable, they are removed from their land by violence or eminent domain— in this case, by fire.”

As part of ArtLife West Palm Beach, Durrett constructed a large-scale, site-specific sculpture in Heart & Soul Park in West Palm Beach entitled Genius Loci. Meaning “spirit of a place,” Genius Loci depicts the form of an RCA gramophone made from copper sheeting supported by concrete that resembles charred wood. It’s inspired by the former Sunset Lounge, a famed jazz club dubbed “Cotton Club of the South,” and the overlooked history of The Styx.

The public commemoration for Genius Loci took place December 1, 2023, kicking off West Palm Beach’s New Wave Art Weekend with an artist talk and marching band celebration. To continue honoring Durrett’s stunning tribute to The Styx, I reached out with a few questions about the project. Her responses are below.

Why did you decide on a gramophone for this sculpture? What about a gramophone is so symbolically rich and visually compelling?

In doing research, I looked to early photographs of happenings at the Sunset Lounge, a historic jazz lounge established by the residents of the Northwest community in the 1940s. I read accounts of people who attended performances there. As part of the so-called “Chitlin Circuit,” all the greats of the time performed there— Ella Fitzgerald, Count Basie, Louis Armstrong, Duke Ellington, and so on. In a remark that fills me with inspiration, Duke Ellington once spoke about the inspiration behind one of his songs called “Airshaft.” He describes the air shaft of a Harlem tenement as a “loudspeaker” because, when you put your ear up to it, you could hear couples fighting or making love or even smell what people were cooking for dinner. I loved this visual of the air shaft as a speaker amplifying the euphony of Black joy and sorrow out into the world.

I found images that showed the progression of speakers and amplifiers from the 1940s to the present day, and I designed a mashup of an RCA gramophone’s flowerlike form and the tweeter of a modern-day speaker and went from there. For me, the placement within the park suggests that the voices of the past are being amplified up from the ground and out toward the viewer and beyond. Many people have asked if there is a sound component. The answer is no, but I believe if one is paying a certain kind of attention, a vibration can be felt. Copper is a powerful conductor, after all.

By that same token, why copper? What was the thought process behind that material for this project in particular? 

The people of The Styx who built Palm Beach in the late 19th century were artisans, highly skilled, pride-filled people who used these skills and the love of their trades to build exquisite and marvelous structures with the highest quality materials— the Florida East Coast Railroad from Florida to West Palm Beach and two opulent hotels, The Breakers and the Royal Poinciana. These were spaces that they would never be able to enjoy for themselves. Additionally, there are accounts that, despite the wealth of oil tycoon Henry Flagler, who bankrolled these projects, these artisans and hotel workers were paid little and not on time. When those migrants initially moved to the island, they were tasked with building their own homes. These modest, shanty-like homes were built with what they had access to— scraps from the structures they toiled to build with hardly any pay.

I wondered what they would build for themselves if they had access to the finest building materials and space to dream? I’ve always been drawn toward the beauty of copper roofing and cladding and imagined that gramophone speaker decked out in copper. Something that came to me later, after Genius Loci was well into production, was the healing properties of copper and its capacity to conduct electricity and produce power. I was hiking in the mountains of Virginia when a group of Black hikers decked out in copper jewelry and copper walking sticks got me out of a literal tight spot— I had wedged myself into a tight opening between two large rocks. They encouraged me to find my way out by shouting down from the top of the opening that I was following in my ancestors’ footsteps and to let the power of my mind, body, and breath lead me out. I was so moved by the experience that I researched copper when I got home. I always envisioned this piece as a site for healing, so this discovery seemed apropos.

Another thing about copper is how it changes over time. Patinated copper is so beautiful. Weathering from the elements only makes the material richer. It’s also important to note that the plinth for the sculpture is made to resemble charred wood, a detail that echoes the appearance of the former Styx community after their homes were burned to the ground by white folks who wanted them gone. 

What do you hope viewers of Genius Loci feel or think about when experiencing it? 

I can share a couple of encounters I experienced during the week of the installation of Genius Loci in the park. A gentleman approached me and asked what the sculpture was, and we talked for a while. He shared with me that his leg had been injured, and it seemed that he had been on a long physical and spiritual healing journey. He said that to heal his leg, he began removing his shoes and socks so that his bare feet could have direct contact with the earth. I asked him if he knew that the sculpture was made of copper. He did not, but a smile grew on his face when he learned this and asked if he could touch it. I told him that, of course, he could, and he climbed into the sculpture pad and laid both hands on the surface for several seconds. I asked if he felt it, and he said, “Yeah! I got chills!”

Later in the evening, a young man named Zamari strolled up to me and the crew. I don’t think I’ll ever forget his name. He had the same question, “What is this?” We talked and then stepped into the sculpture pad together. I wanted him to see himself in the reflection of the mirror polished, coppertone tweeter. On instinct, he pulled a lighter from his pocket and lit it between the two of us with the night sky reflected behind us. I turned to him and told him, this is yours now. He said, “Mine?” I said, “Yep.” And he goes, “Wow.”

Genius Loci is an abstraction of the complex history distilled into this rather simple form. It is the spirit of that place. The work is not didactic; it’s not literal, but in that moment, Zamari made a flame between the two of us, and we shared in its glow. The flame that destroyed his ancestors’ home now conjoined us two strangers. How powerful is that?

I heard something recently— “If you don’t shape your heart, the world will shape it for you.” The people of The Styx did not let the sentiments of outsiders nor their fire destroy them or shape their hearts. They took that experience and their will, and their genius lit a flame, shaping their hearts in the form of a beautiful community, a network of care and love still standing.

The effort has gone viral and Pablo quickly built a website to house the burgeoning results. I had the opportunity to talk with him about how and why he started this initiative, his thoughts about artificial intelligence and why he’s not worried about the future of artificial art.

Debbie Millman: Pablo, I understand this project really started as a joke. What was the inspiration?

Pablo Delcan: I spend a lot of time drawing with my son, drawing things he wants to see, or things that make each other laugh. The day when I started this project, I was at the studio starting a fire, trying to get the studio to a decent temperature, while I waited to see if the logs were catching the flame, I had this idea that made me laugh. I thought it’d be funny if I turned myself into a non-AI artist that spits out simple drawings of any prompt it gets, I named it Prompt-Brush 1.0. So I put this on my social media, announced that I had created the very first non-AI art generator model and that I was taking in prompts to showcase it.

I had recently seen the latest announcement from Google Bard and I had been toying with the new GPTs feature from OpenAI, where you can train your own AI model. I’m in awe at how powerful and useful these tools are already. 

The response was immediate and viral—why do you think people responded so vigorously?

There is a real tension about how AI is going to change everything. I think the excitement is overshadowed by the destructive potential it could also have. The idea of poking a little fun at this serious concern drew people in. It’s also really fun to be able to ask someone to draw something for you, see them interpret something you’ve thought of. With AI we’re all commissioning endless amounts of images and text, but it’s interesting how different it is when that same process is applied to one person instead.

Talk about the new website: what do you hope to accomplish?

I’ve done around 200 drawings that I’m slowly updating to the website every day, there is also an embarrassing queue of more than 200 prompts that I’m trying to catch up to. I think by the end of this month I will have chipped away at most of these prompts, I’m getting faster and better. It’s hard not being an AI. 

I’m not sure where this project will lead but I’m really enjoying it as it is. I’m connecting with people in a new way, and I’m developing these drawings at the same time. I want the drawings to get looser as this progresses. As opposed to Midjourney and Dall-e, that keep getting better and better and highly detailed and hyper-realistic. I want these drawings to get rougher, still communicating something but in a more direct way, more child-like. 

How can people participate?

I’d love for more people to participate. If anyone is interested, it’s very easy.

Visit Prompt Brush.com input your prompt in the text box on the main page, add your email so I can send you the drawing, and then be patient… The biggest difference right now between Prompt-Brush 1.0 and any other generative model is how slow it is. Prompt-Brush doesn’t operate on weekends and sometimes takes vacation days.

What have been some of the prompts that have surprised you?

I really enjoy the ones that become a mental puzzle. I’m trying to create something that speaks to the prompt, so the image and the text compliment each other but aren’t redundant. Those are more challenging. “5 second rule” was fun in that way. There are some that are more abstract, there is more for me to interpret. For example, a one word prompt I got was “Forgiveness”, it took some playing around to get to an image for that.

I want these drawings to get rougher, still communicating something but in a more direct way, more child-like.

Pablo Delcan

Any particularly difficult or challenging prompts?

The harder prompts are the ones where there is something that I don’t know how to draw. Yesterday I had to draw some frogs, different breeds of dogs, an ostrich and some horses. I don’t think I had ever drawn a frog before. So it’s a bit of a crash course on drawing anything well enough that someone might identify what it is.

What are your goals for the site?

I’m hoping the site keeps archiving these drawings for the rest of 2024. It’d be fun to see how these drawings change, or don’t change. I’m hoping to finish the year with hundreds of them and see what the next chapter, Prompt-Brush 2.0, might be. I’d also like to offer the option to have an original drawing of their prompt delivered. That might come next. 

You’ve stated that that this is “a topic that has consumed so much of this year, and will likely pick up even more next year – especially for artists and illustrators.” How are you feeling about AI? Are you scared, worried, excited, all of the above? What do you think its power really lies?

Once AI is able to do the work that I do better, there won’t be a reason for me to continue doing it anymore. I don’t think I’m scared of that possibility. I think there is an existential edge to it too, would anyone want to create something that a robot can do faster and better? Once that happens the work will have to change, maybe my work will need to be more human, and I’ll have to figure out what that means. I’m mainly very excited to see all the changes that AI will bring. So far, at it’s current stage, it’s been an immensely helpful tool.

There is something AI can’t replace yet. The uniquely human need to connect with the maker.

Pablo Delcan

Have you used any AI prompts in your own work? If so, which ones and how did you feel about the results?

I use AI every day for my work. I created a GPT assistant to help me organize the prompts and keep a running queue for the Prompt-Brush project.

For my editorial images or the book covers I make, I frequently use Midjourney, Chat GPT and the new Photoshop generate tool for sketching. The results are great and get better and better each month. It’s fun and empowering.

You’ve stated that “there is something about being able to make people laugh or smile with what I’m doing that just seems so incredibly gratifying!” How do you try to do that in your practice with other projects?

I’m always trying to spark some kind of emotion in myself with the work that I do. Either making myself laugh or get that feeling of a deep breath of fresh air you sometimes get when you see something beautiful or profound. If I can get a bit of that during the process, hopefully that eventually carries through to someone else.

Anything else you’d like to share?

There is something AI can’t replace yet. The uniquely human need to connect with the maker. Consuming music, reading a book or watching a movie generated by AI is going to be an artificial connection, no matter how good it is. And I don’t think most of us will want to consume artificial art, I don’t think I would. I’ll want to feel a real connection and the real warmth of something made by another human.

Alina graduated from the University of the Arts in Philadelphia in 1970 and, in 2012, received the university’s Silver Star, an award given to outstanding alumni. In 2003, she first published Designing Brand Identity. This book demonstrated the relationship between strategy and design and showcased compelling best practice case studies from the global public and private sectors. Designing Brand Identity was a novel reinvention of the idea of a marketing textbook because it demystified branding and illuminated the range of tools and techniques used by experienced practitioners. Alina’s book was an immediate hit, striking a deep cultural chord and unequivocally proving how the branding practice engaged intelligence, creativity, imagination, and emotion, unlike any other business discipline. Now available in eleven languages, the sixth edition of Designing Brand Identity will be published next month (February 2024). Wheeler also co-authored Brand Atlas: Branding Intelligence Made Visible in 2011, a comprehensive guide to the brand process enriched with illustrative diagrams.

Alina was also a passionate member of AIGA. In 1980, she was a founding board member of AIGA Philadelphia and became its president in 1985. Alina also served on AIGA’s national board from 1991 to 1994 and was honored as an AIGA Fellow in 1999, the inaugural year of this prestigious award. In 2020, she was a founding board member of African Design Matters, a global partnership cataloging the creative work of people of African descent.

Alina Wheeler, one of the world’s great brand consultants, described her business as managing perception. She could talk as vividly about David Bowie as about Dove Soap or Deloitte. Alina was an enchanting presence, deeply committed to her family and friends, and one of the kindest, most generous souls in design and branding. Alina’s celebration of life will be held on January 27 at the Barnes Foundation in Philadelphia.

Read more about this extraordinary woman on her website. And listen to Debbie Millman’s 2011 interview with Alina Wheeler on Design Matters.

Following the success of their previous book, AFROSURF, Mami Wata’s AFROSPORT is a 320-page exploration of the broad landscape of sport in Africa to understand its history and global influence through photography, stories, profiles, interviews, and design. It contains contributions from 25 writers, 30 photographers, 130 photos, and more than 100 original new graphics, as it delves into 26 different sports. Highlights include interviews with Joakim Noah, Didier Drogba, Dr. Gerard Akindes, Dricus du Plessis and Siya Kolisi.

“The book takes the reader on a journey beyond pitches, ballparks, training halls and stadiums and into the melting pot of heritage, innovation, politics and identity.”

Mami Wata

Mami Wata has collaborated with the platform for digital collectibles called CENT to create a limited-release collectible of the cover art included with every online book purchase at no additional charge. The book is available for pre-order here for $60, with copies slated to ship on January 24. 

This limited edition first run of 2,000 copies will be each individually numbered. Profits from the sales of AFROSPORT will go to African youth surf therapy organizations, Waves for Change, and Surfers Not Street Children.

1. The Group W. Bench – New Haven, CT 

An institution in this small New England city, amidst the crowds of Yale’s campus, The Group W. Bench has been a beloved gifting hot spot since 1968. Filled from floor to ceiling with jewelry, clothing, art, tchotchkes of all kinds, and so much more, The Group W. Bench is a veritable treasure trove with something for everyone— if you’re willing to look around long enough!

2. Jessica Hische & Friends – Oakland, CA

The brilliant hand letterer, graphic designer, and author Jessica Hische recently launched her latest endeavor: opening a retail store. Jessica Hische & Friends officially opened its doors in Downtown Oakland this past September and is filled with art, books, and “beautiful, useful things” curated by Hische herself.

3. Corners – Catskills, NY

Corners is an art and design store in upstate New York that boasts a careful curation of framed art, books, paper goods, design objects, and magazines from all corners of the art and design world. Nestled in the small town of Livingston Manor, Corners is a haven for art enthusiasts and design seekers alike. This is the spot to find the perfect vintage exhibition poster or design book for your art-obsessed uncle!
(Images by Michael Groth.)

4. Printed Matter, Inc. – New York, NY

Founded in 1976, Printed Matter, Inc. is the world’s leading non-profit organization dedicated to disseminating, understanding, and appreciating artists’ books and related publications. Their flagship bookstore in Manhattan’s Chelsea Arts District offers a range of artists’ books, zines, posters, apparel, ephemera, and more.

5. The Botanical Bar – Indianapolis, IN

If you’re shopping for that green thumb in your life, look no further than The Botanical Bar. The minority and women-owned shop is committed to supporting diverse suppliers and vendors, focusing on selling unique houseplants and lifestyle products.

6. Bond & Bevel – Caldwell, ID

Husband and wife duo Heath and Krista founded Bond & Bevel after unlocking their creative sides during the pandemic lockdown. Their brick-and-mortar store houses their custom-made leather goods, vintage finds, and even a coffee shop!

7. NicSon Mercantile – Los Angeles, CA

The groovy Highland Park neighborhood on the east side of LA is home to many intriguing small businesses, and NicSon Mercantile is right up there with the best of them. Founded in 2019 by the ridiculously talented sign painter Sonny Boy, the shop carries artisanal goods made by other craftsmen and products from Sonny Boy himself. During the holiday season, Sonny Boy offers custom hand-painted Christmas ornaments for purchase!

8. Paper & Craft Pantry – Austin, TX

Paper & Craft Pantry is a retail stationery shop and workshop studio in Austin, fueled by a love of all things paper, workshops, and community. They host monthly creative workshops ranging from cake decorating to felt flower making, and they donate a portion of the shop’s profits from their in-house stationery and product line to the Make-A-Wish Foundation and Black Mamas ATX.

9. Neighborly – Chicago, IL

Neighborly is the proud supplier of modern home goods, gifts, and artwork that are all handmade, fair trade, and eco-friendly. Alongside heirloom quality handmade finds, they carry a wide selection of gifts that give back to non-profit organizations and job training programs.

10. 826 Valencia – San Francisco, CA

The non-profit organization 826 Valencia is dedicated to supporting under-resourced students in San Francisco as they hone their writing skills, and their Pirate Supply Store helps fund their services. From apparel to “exploring essentials,” all sales benefit 826 Valencia’s mission.

11. Acorn Toy Shop – Brooklyn, NY

Toy stores can be sophisticated, too, and Acorn Toy Shop is proof. Peddling unique, handcrafted, ethically-made toys and goods that inspire the imagination and foster healthy childhood development, Acorn Toy Shop is one of those dreamy toy shops you fantasize about as a kid.

12. Hatch Show Print – Nashville, TN

Hatch Show Print is an operational letterpress studio and print shop founded nearly 150 years ago (in 1879). Using its vast collection of vintage type and hand-carved imagery, Hatch Show’s artists create timeless designs that express and commemorate America’s evolving cultural identity. Shop prints made at Hatch Show Print here, and find their other collections here!

From Form took a highly visual and nostalgic approach, staying away from text-heavy applications, instead inviting the audience to curate their own unique experience during the event. And that’s exactly how the duo approached the project. Equipped with two cameras, co-founders and creative directors Jurjen Versteeg and Ashley Gover explored Amsterdam’s museums and captured visual fragments of their experience. The resulting flip-book aesthetic mimics how people might discover the city’s cultural treasures in a seemingly endless number of combinations.

From Form has a reputation for combining real and imagined worlds in a playful, colorful, and approachable way. In addition to filmmaking, the duo are painters and set builders with a strong affinity for analog and “the imperfect.”

We opted for an optimistic and upbeat tone of voice. One that’s playful and rhythmic putting a strong emphasis on the analogue approach – such as the flip-book, printed textures and stickers – with a hint of nostalgia.

Ashley Govers

The studio also produced the 2021 and 2022 campaigns. This year’s campaign builds on their efforts to encourage people, especially the young, to experience well-known institutions such as the Rijksmuseum, Van Gogh Museum, and Ann Frank Huis, alongside smaller collections like the Amsterdam Pipe Museum, The Black Archives, and Mediamatic (an organization that features workshops and exhibitions at the intersection of art, nature, and food).

The campaign played out on the Museum Night website, its social media channels, and on posters and billboards throughout Amsterdam and its public transport system.

As Adobe’s audience diversifies, from newcomers to professionals, the company aims to enhance intuitiveness and inclusivity in its tools for creative exploration. Adobe Firefly and Spectrum 2 are part of this update. They represent a monumental shift to make Adobe tools more intuitive, inclusive, and joyful, catering to various user needs while staying true to their mission of enabling Creativity for All.

Three major improvements define Spectrum 2: inclusivity and accessibility enhancements, a more approachable and expressive design, and adaptability across platforms. To achieve greater accessibility, Spectrum 2 adheres to Web Content Accessibility Guidelines (WCAG) and focuses on adaptive palettes, accessible colors, and attention hierarchy.

But the design evolution doesn’t stop at accessibility. Inspired by the success of the more welcoming Adobe Express, Spectrum 2 reimagines icons, typography, and UI themes to cater to a broader audience. Additionally, Spectrum 2 adapts its appearance across different platforms, providing a familiar yet tailored experience on each.

Comprehensive shifts in icons, colors, illustrations, and shapes underpin everything. The update transforms icons from classic to trendy, adjusts color systems for better integration with Adobe’s brand colors, and introduces a more versatile illustration toolkit.

I was thrilled to speak with Eric Snowden, Adobe’s VP of Design, to ask about the strategies, challenges, and transformative elements behind Spectrum 2’s evolution, offering insights into its sure-to-be monumental impact and future-ready design ethos.

(This conversation has been edited and condensed for clarity and length.)

It’s been a decade since the introduction of Spectrum 1. What were the primary factors or challenges that contributed to this extended timeline between the two releases? What influenced the evolution and scope of this latest design system?

It was a bunch of small to medium changes, adding up to a much bigger shift for us. With generative AI coming to many of our tools, there’s a real canvas to think about things differently. Once we started adding all these things up, it made sense to take a bigger step back rather than an incremental approach to look at the system for the next few years. We looked back at some of the original designs from 2013 and where our products are now. We’ve been iterating it since then on a yearly basis, but for us, it felt like time to do a more revolutionary versus incremental change. It was driven by many new products that Adobe is making and new markets we’re talking to. People are using more of our products even across the multiple Adobe Clouds in a way they weren’t ten years ago. There’s an intermixing of our tooling in a way that is happening more and more over time. The devices and the platforms people use have changed.

With the rapid evolution of technology and design trends, how does Spectrum 2 anticipate staying adaptable and future-proof while catering to the diverse needs of designers and users across Adobe’s extensive ecosystem?

The components we’re using to design are generated from the tokens, and the tokens generate the code people use in the software. We’ve got this really interesting connection all the way through to keep things up to date. If we change the underlying token, this cascades through the system in a much easier way to update than historically it has been. Having the token from design to code will make it easier for us to revise this as we move forward. We also want to ensure that while it is easier for us to update, there is a sense of stability for people. Our software is changing a lot. GenAI is a big catalyst and will continue to change. We want to make sure we have a system that allows us to move quickly and be flexible as these changes happen.

What feature are you most proud of and excited for with this new system update?

I get excited about the little things like the new icon set or tweaks we’re making to the typography. It’s not always the big features. As someone who lives and loves design, I think those little changes we’re making are really exciting. I get excited about it because bringing all our tools, especially our creative tools, to a much broader audience will allow more people to communicate and express themselves. That’s why I have been at Adobe for as long as I have been. Seeing what people are going to be able to make with our software in the future is the thing that drives me.

Are there any other aha moments you’ve had working on this project?

We’re building fairly fully functional software versions as we iterate a design, use it, and test the updates. It allows us to play with things like density on the desktop to see how it works, different contrast ratios, and what controls we want to give our users. A real superpower for us is having a strong engineering team within design that can help us abstractly think about design and make it real, use it, learn, and iterate. That feedback loop between design, research, prototyping, and our customers has been a real superpower for the team.

More and more people are using Adobe products than ever before. More people want to be creative. If you look at what we’re doing with things like Adobe Express and Adobe Firefly, we have all these new people making beautiful things for the first time, which is super exciting. We think Spectrum 2 can be a piece of modernizing and making those tools more approachable to a whole new audience of people.

Eric Snowden, VP of Design for Adobe

For a closer look at Spectrum 2 and its future, visit the Spectrum 2 site.

BREAD, a free, limited-edition zine, uses design to tell stories and educate readers in a relatable and accessible way. As a brand extension for Cash App, the zine bridges financial literacy and culture, using design and storytelling to make complex financial concepts more accessible and engaging. The inaugural issue focuses on Bitcoin, offering readers a fresh, inclusive perspective on the digital currency.

Cash App’s vision for BREAD extends beyond just information sharing; it aims to transform how people perceive financial education. In a world where discussions about money can be daunting or exclusive, BREAD seeks to make learning about finances more accessible and enjoyable for everyone.

What sets BREAD apart is the collaborative effort of influential artists, designers, and writers, including Allison P. Davis, Richard Turley, and DAISUKE. Their diverse contributions explore various topics, from Bitcoin mining to rebranding the cryptocurrency and unveiling the enigma surrounding its creator.

The BREAD Bitcoin Issue is available in select stores across major US cities. Readers can also access the zine online to order a free print copy.

BREAD Contributor Highlights:

Writers: Allison P Davis, Collier Meyerson, Emilia Petrarca, Margaret Rhodes, Elise Craig

Designers & Illustrations: DAISUKE, Richard Turley, Porto Rocha, FRKO, Cevallos Bros, Stephanie Specht, Steven Montinar

Raul Lopez (LUAR Founder) 

Yesterday, the Pantone Color Institute introduced their 2024 color of the year, Peach Fuzz — a cozy and comforting hue, nurturing compassion and heartfelt kindness.

The introduction of PANTONE 13-1023 Peach Fuzz brings a special milestone — the 25th anniversary of the Pantone Color of the Year program. First introduced in 1999 with PANTONE 15-4020 Cerulean Blue, the Pantone Color of the Year program captures the global zeitgeist, reflecting the mood and attitude of individuals. Over the years, Pantone Color of the Year has become an iconic cultural symbol, highlighting how our global culture beautifully speaks through the palette of colors.

Last night, I had the pleasure of attending the 2024 Pantone Color of the Year launch party, a captivating blend of warm and fuzzy sophistication. The event, held in a venue beautifully adorned with the chosen color’s hues, highlighted the creative potential inspired by this new shade. Guests were enveloped in everything peachy from décor to fellow attendees’ attire. It was a carefully crafted evening that ended with an immersive dessert experience by Chef Jozef Youssef, the creative force behind the Kitchen Theory design studio. This visually stunning and warm ambiance made me wonder if I was living a sophisticated version of James and the Giant Peach. Needless to say, the hue is undoubtedly comforting, and I respect the theme of togetherness and kindness that the curators are imploring us to carry into this new year.

Peach Fuzz radiates a sense of warmth and a sense of reassurance. Perhaps that is exactly what we’ve been missing and what we’re reaching out for, imagining ourselves in a time and place where kindness and empathy can lead us to write a better future together.

Elley Cheng, President, Pantone Color Institute

The color we selected needed to express our desire to want to be close to those we love and the joy we get when allowing ourselves time to tune into who we are; it also needed to be a color whose warm and welcoming embrace could be a message of compassion, empathy, and one that is nurturing, who’s cozy sensibility brought people together.

Laurie Pressman, Vice President, Pantone Color Institute

This year’s official Pantone Color of the Year 2024 partners include Motorola, Shades by Shan (the first-ever cosmetics brand to be Pantone’s beauty partner), Ruggable, Ultrafabrics, and Spoonflower. Each partner has crafted swoon-worthy, inviting items for 2024’s collaboration with Pantone. I am currently churning my thoughts to see whether turning my living room into a maximalist, fuzzy, peachy oasis is viable; stay tuned.

Imagery supplied by Motorola, Spoonflower, Shades by Shan, and Ruggable for Pantone.

The heralded organization and curator of an invaluable online archive of type resources and references from the ages is hosting a rare book sale this Saturday, December 9. The sale will run both online and in person, so shoppers from near and far can take advantage of Letterform Archive’s incredible collection. 

“We’re clearing out a treasure trove of rare duplicates from the collection, from 19th–20th-century type specimens and hard-to-find design books and periodicals, to ephemera and other design collectibles,” the organization explained on their Instagram. 

The online sale will open exclusively to Letterform Archive members at midnight PST. Not a member? This is the perfect time to join! Or consider giving a Letterform Archive membership as a gift to a type-obsessed loved one. ⁠Annual memberships start at $30 and are available here.

Following the members-only preview, the online sale will open to the public at noon PST. For those in San Francisco, head to Letterform Archive’s headquarters for the in-person sale! The member preview will open at 10 am and run through noon, at which point the public is welcome to shop until 4 pm when the sale concludes. 

You won’t want to miss this chance to acquire your very own piece of the Letterform Archive in your personal book collection. Mark your calendars now!

A cozy peach hue softly nestled between pink and orange, PANTONE 13-1023 Peach Fuzz brings belonging, inspires recalibration, and an opportunity for nurturing, conjuring up an air of calm, offering us a space to be, feel, and heal and to flourish from whether spending time with others or taking the time to enjoy a moment by ourselves.

Leatrice Eiseman, Executive Director, Pantone Color Institute

More from Leatrice Eiseman, Executive Director of the Pantone Color Institute:

“Drawing comfort from PANTONE 13-1023 Peach Fuzz, we can find peace from within, impacting our wellbeing. An idea as much as a feeling, PANTONE 13-1023 Peach Fuzz awakens our senses to the comforting presence of tactility and cocooned warmth.”

We’ll bring you more Peach Fuzz news tomorrow, but for now, deep breath …

Image and video: The Development