Not long after, the former PRINT New Visual Artist donned gloves and mask and picked up his camera, working alongside co-director Dan Addelson to capture the performance under the dramatic ambiance of the audience’s headlights. The 45-minute show was put on by Jacob Jonas The Company and took place on May 16, the 59th day of quarantine in Los Angeles. It managed to raise $4,000 for Jonas’ dancers via donations from attendees, who had entered a lottery to take part.

Check out Cash’s film, which was produced with support from a City of Los Angeles Department of Cultural Affairs grant, below.

As Cash says, “We navigated unprecedented constraints while following health guidelines to prioritize everyone’s safety, and I couldn’t be more proud.”

Directed by: Ivan Cash & Dan Addelson

Produced by Cash Studios & Jacob Jonas The Company

Line Producer: Jenna Cedicci

Director of Photography: Michael Pescasio

Editor: Blake Bogosian

Camera Operator 1: Joey Graziano

Camera Operator 2: Dylan Schwartz

Drone Footage: Dylan Schwartz

Sound Mixer: Daniel McCoy

Composer: Anibal Sandoval

Art Department: Eliot Addelson

1st AC: Owen Patry

2nd AC: Bradley Wilder

Audio Mix: Pete Kneser

Color: Beau Leon

Senior Color Producer: Andrew McLintock

Project Manager: Louie Jimena

Special Thanks: Devin Whetstone, Jesse Dana

Performance

Creator & Choreographer: Jacob Jonas

Producers: Jill Wilson

Lighting Design: Will Adashek

Assistant Choreographer: Mike Tyus

Rehearsal Director: Marissa Labog

Content and Research: Joy Brown, Emma Rosenzweig-Bock

Dance Captains: errese Adams, Anthony Bryant

Dancers: Jerrese Adam, Georgia Bryan,

Anthony Bryant, Joy Isabella Brown, James “Jstylz” Blackston, Chandler Davids, Marissa Labog, Miguel Lopez Jorge, Jacob "Kujo" Lyons, Emma Rosenzweig-Bock, Mike Tyus, Angelo "Vo Vera" Sapienza, Santiago Villarreal, Jill Wilson, Diána Worby, Patricia Zhou

Special Thanks: Don Norman, Elizabeth Yochim, Jonathan Pony

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“This piece speaks to the variety of disciplines that fall within the realm of art.”

Meet New Visual Artist Amber Vittoria

Age: 27.

From: Carmel, NY.

Current city: New York City.

Education: Boston University; BFA, graphic design.

Earliest creative memory: It was second grade, and we were drawing our self-portraits with crayon. The boy across from me stated, “Why do you make the arms and legs so long? That is wrong, you know.” I looked down at my masterpiece and back up at him and said, “That is how I see myself.”

Path that led you to design: It was the only path I felt OK with failing on.

Career thus far, in a nutshell: Unsolicited emails and a prayer for a response.

Current place of work: Freelance illustrator.

The key to good design: Putting yourself into the work (shout out to James Victore for teaching me that one).

Motto/design philosophy: Keep making.

Work of which you’re most proud: “Plant Goals,” as it was the first piece I allowed myself to put out there in the style I was most afraid of sharing for years.

Biggest influence: My brother.

How you would classify your style: Contemporary. Heavily inspired by modern events and perspectives on women, my pieces focus on femininity and the female form, leveraging physical traits such as body hair, overtly extended limbs and rounded features.

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Design hero: James Victore.

Favorite artist: Jenny Saville.

Favorite typographer: Jessica Hische.

Favorite writer: Miranda July.

Cause that means the most to you: Pushing intersectional feminism forward.

Biggest fear: Death.

What you want to accomplish before all is said and done: Run another marathon (preferably Boston, and while not nursing an injury).

Your idea of happiness: Content.

The future of design is: Social.

Website: ambervittoria.com

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-cultureof the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“My cover is a window that invites people to peek into the work and playground of this year’s New Visual Artists.”

Meet New Visual Artist Khyati Trehan

Age: 25.

From: New Delhi.

Current city: Berlin.

Education: National Institute of Design, Ahmedabad; BA, visual design.

Earliest creative memory: I was really lucky to have gone to a school called Mirambika till the 8th grade. Those 10 early years of mine involved making bridges over ponds to learn about architecture, going to France to learn French, doing pottery and carpentry between math and science, and taking music, theater and art just as seriously as any other subject.

Path that led you to design: My hands-on schooling definitely had a huge influence on the years that came after it. I had no idea what design was till I found out about NID from a very friendly senior at Mirambika—Apurba Pawar, who was studying product design at the time. In retrospect, I’m glad I was one of the less skilled ones in the batch at design school because it pushed me to be competitive and hungry.

Career thus far, in a nutshell: I’ve been catapulting from one corner of the gamut of design to another, spanning from type design at the Indian Type Foundry, user experience and research as part of my thesis project amidst engineers, scientists, product designers and animators at the Think Tank Team (Samsung Research USA), branding and publication design at Codesign (Gurgaon), to UI design and 3D animation at Struckby (New Delhi). My career thus far has also been a series of unfortunate events that have helped me deal with failure: an internship at Sagmeister & Walsh (visa rejected), Saffron London (visa issues), Fabrica (rejection after trial), Google Creative Lab (visa issues).

Current place of work: the Studio, Zalando.

The key to good design: Logic and empathy.

Motto/design philosophy: Design, don’t decorate.

Work of which you’re most proud: My college project “The Beauty of Scientific Diagrams” will always be my favorite just because of the rush I felt throughout those two months. I was so thrilled with the idea that I couldn’t wait to give it some form. It took form integration to complex territories using typography, illustration and several days in the company of research books and patent drawings. The project aimed at fusing the initials of a scientist with the diagram of their invention or discovery. The most challenging part of the project was figuring out how to distort the diagrams to fit [each] letter such that it wasn’t rendered useless, so that if a physical model was made in front of you, it would work as efficiently as the original diagram. #gallery-2 { margin: auto; } #gallery-2 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 50%; } #gallery-2 img { border: 2px solid #cfcfcf; } #gallery-2 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

Biggest influence: Everything and everyone within a 20-meter radius.

How you would classify your style: Brief-dependent.

Design heroes: Stefan Sagmeister and Sanchit Sawaria.

Favorite artist: Moonassi (Daehyun Kim).

Favorite typographer: Satya Rajpurohit.

Favorite writer: Palash Singh.

What defines you: My environment.

Cause that means the most to you: Saving resources.

Biggest fear: My mother or sister getting hurt.

What you want to accomplish before all is said and done: I only make short-term plans for myself. It’s easier to get to them.

Your idea of happiness: No stress.

The future of design is: Newer platforms.

Website: www.khyatitrehan.com

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“I love puns, so hiding the ‘15’ literally under ‘30’ seemed like a fun way to showcase the gems we find after digging down.”

Meet New Visual Artist Colin Webber

Photo by Lisa Lok

Age: 25.

From: Ellicott City, MD.

Current city: Brooklyn, NY.

Education: School of Visual Arts; BFA, design.

Earliest creative memory: Drawing and doodling, for sure—ever since I can remember. I’d fill sketchbooks and notebooks with made-up characters and comics. In school I’d always draw in the margins on my tests.

Path that led you to design: I was always very particular about the way things looked. I felt a connection to everything from book covers to playing cards, album art and packaging. During my childhood, I collected bottle caps, foreign coins, arcade tickets, etc., because I liked what I would later learn was the design. Now, being in the industry, I love creating and curating a vision that hopefully resonates in that same way with others.

Career thus far, in a nutshell: During school I interned at the Visual Arts Press and Knopf Doubleday. After that I worked part time at the Public Theater and started full time at Penguin Random House.

The key to good design: The key to good design is understanding. The content should drive the design as much as possible. The better you know the project, the better you can fight for your work and explain to a client the choices you made (and why you’re right!).

Work of which you’re most proud: I’d have to say the covers I did for Samuel Bjork’s thriller series. The hardcover got approved pretty quickly and it was my favorite project for the longest time. …When book No. 2 and the paperback for book No. 1 came around, I was crushed to learn that they wanted to see a brand new direction for the series. My art director called me in and gave me the choice to either try something new or give it out to a freelancer for a fresh take. After much thought, I decided to stick with it. Having some extra parameters to work around this time was difficult, and I tried so many different things before finally landing on the cover with the girl’s dangling legs and the gritty hand-rendered type. This new look went over even better for The Owl Always Hunts at Night, where the big piercing eyes pop out at you from the shadows. This experience taught me to never give up and always push yourself. That one last comp really makes a difference, and you’ll be happy you took the time to do it.

Biggest influence: Ephemera and old design from back when everything was done by hand and carefully crafted.

How you would classify your style: Colorful and tactile.

Design hero: Saul Bass.

Favorite artist: It’s hard to pick just one, but I’ve been a fan of Mattias Adolfsson for a long time.

Favorite typographer: Paul Renner.

Favorite writer: Kurt Vonnegut. He was a sassy old grump who knew how to tell a good story. He dabbled in design and rocked a sweet mustache.

What defines you: Humor and a lip ring.

Cause that means the most to you: Climate change.

Biggest fear: Stagnating and settling.

What you want to accomplish before all is said and done: I want to work with people who aren’t afraid to take risks. I’d hate to limit myself to one thing designwise, but I aim to always be improving and taking on new challenges.

Your idea of happiness: Corgi beach day meetups.

The future of design is: Economical, sustainable and beautiful. The mediums will always change but the principles remain the same.

Website: www.squareyroute.com

Anything else: Shout out to my wife, Lisa, for always helping me through the rough days and my parents for letting me chase a dream in New York.

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This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“The paper sculpture represents the rising stars—the new upcoming designers. With its explosion of color it visualizes the power the new talent has.”

Meet New Visual Artist Tina Touli

Age: 27.

From: Athens, Greece.

Current city: London.

Education: Central Saint Martins; MA, communication design. Technological Educational Institute of Athens; BA, graphic arts and design.

Earliest creative memory: I remember when I was a child, my German mother was teaching me how to read and write in German and bought me a book to learn calligraphy. I never really bothered to ask her why I was learning calligraphy at that point, just because I really enjoyed it. It was actually the most exciting part of my homework. I was much more interested in learning how each letter could be drawn in so many different beautiful ways than actually learning the language. After so many years, I realized how big the impact was—how these little exercises enhanced my passion for typography.

Path that led you to design: I always loved communicating through any form of art. [When] I was little I was keen on dancing, drawing, playing music and others. I attended a music school, which kept me involved with all disciplines of art, from architectural drawing to acting. Only a few months before graduating I realized what I wanted to do with my life. When a friend told me about design, a field that would allow me to combine everything that I was passionate about—audio, motion, visuals, etc.—I knew exactly where I belonged.

Current place of work: My private London-based multidisciplinary studio.

The key to good design: A good design is something that you will still remember next month, next year and over the passage of time. It can be very simple, but it has to be clever or brave, unexpected or funny and, of course, communicate the message that it was intended to carry.

Work of which you’re most proud: [30 Years of Adobe Illustrator.] I had the great opportunity to be invited byAdobe to take part in the graphic design livestream and share the way in which I am working, and challenge myself to design a poster for this special anniversary live, over three days, two hours every day. Inspired by the way in which we flip the pages of our notebooks—representing the past, the present and the future—I created a three-dimensional paper sculpture and used it as a guide for the design. It depicts the number “30,” a horizontally symmetrical number.

Biggest influence: My friends, both designers and nondesigners, and my family have always been the biggest influence for me. [They] defined who I am today, both as a designer and as a person.

How you would classify your style: Multidisciplinary. I enjoy building solid concepts and constantly blending things from the physical and the digital world, working across different platforms and mediums.

Design hero: Paula Scher.

Favorite artist: René Magritte.

Favorite typographer: Jurriaan Schrofer.

What defines you: Persistency. I like to continuously challenge myself by experimenting and setting up new goals, never giving up on them, and by learning new skills and exploring new fields, new mediums.

Cause that means the most to you: Consumerism.

Biggest fear: Stagnation. What motivates me and keeps me going is the excitement of something new.

What you want to accomplish before all is said and done: Work [created] with passion that will be remembered and inspire others.

The future of design is: Design was and will always be about solving problems. The tools and the mediums of design will only change according to the new technologies and the new needs.

Website: www.tinatouli.com

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“New Visual Artists giving print CPR.”

Meet New Visual Artist Natalie Shields

Age: 24.

From: Seattle.

Current city: Brooklyn, NY.

Education: Rhode Island School of Design; BFA, graphic design.

Earliest creative memory: Being very proud of a horse that I drew in preschool. I’ve looked at this drawing since then and it’s essentially a misshapen circle.

Path that led you to design: In high school, I kept the majority of my artistic inclinations under wraps. However, I was obsessed with Martha Stewart and loved baking. I got my first DSLR camera and started documenting what I made, gradually getting more into food styling. I was known to bring in treats the day of an exam that was destined to be particularly brutal as an attempt to console many of my classmates afterward. While I don’t really bake anymore, I was clearly leaning toward what I now recognize as some of the elements of graphic design: manipulation of color, texture, composition, and so on. Much of my portfolio when applying to art schools was pictures of cupcakes.

Career thus far, in a nutshell: Graduated from RISD in 2015 and worked at a studio in Manhattan until the spring of 2016 while working on my first book, Love, Floppy Disks & Other Stuff the Internet Killed. Moved to my current workplace, Doubleday & Cartwright/ Victory Journal in Brooklyn. My second book, Loving Football When It Doesn’t Love You Back, releasing September 2017, is a mix of photography, illustration and prose on the connections between athletics, physicality, femininity and violence—the complicated dynamic of loving something which treats you poorly.

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The key to good design: Only listen to yourself.

Motto/design philosophy: We’re here for a good time (not a long time).

Work of which you’re most proud: Originally my degree project at RISD, Love, Floppy Disks & Other Stuff the Internet Killed. What began as a research and collecting process over three years, the book developed as I started combining anecdotes from my own adolescence with the voices of male and female rappers, anonymous posts on confessional apps (Yik Yak, Secret, Whisper) and demographic data regarding what’s wrong with millennials. The book composes a portrait of a generation that feels a lot but doesn’t know what to do with these feelings. Born in Seattle in 1993, I belong to a generation of young adults who grew up in tandem with the internet. Millennials—conditioned participants in virtual romance, fantasy computer game worlds and robot companions—are supposed to be overstimulated, hypermediated, unable to connect. For them, is love—like the floppy disk—a symbol of something now defunct? Is love now a cipher—something that used to exist and has become pure abstraction? Or is it actually the opposite? Is the idea of love so omnipresent in millennials’ cultural discourse that they have monumentalized it? What is it about love that the internet killed?

Biggest influence: Punk flyers.

How you would classify your style: A jock signing your yearbook.

Design hero: Raymond Pettibon.

Favorite artist: William Eggleston.

Cause that means the most to you: Well, right now, I think the work Colin Kaepernick is doing with Know Your Rights is excellent and important.

Biggest fear: Silly one: sharks. Real one: watching all my friends and family die.

What you want to accomplish before all is said and done: Squat twice my bodyweight.

Your idea of happiness: Not feeling existential dread for 10 minutes!

Website: www.natalieshields.co

Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

1. A look at the rebranding of an old industry made anew: marijuana

2. A Manifesto from Scott Boylston on the dire need for sustainability in design

3. Paul Sahre’s memoir/monograph Two-Dimensional Man

4. Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff

5. And much more!

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“We’re staking our territory and waving our victory flag.”

Meet New Visual Artist Amy Schwartz

Age: 27.

From/current city: Chicago.

Education: Cranbrook Academy of Art; MFA, 2D Design. DePaul University; BA, art and design, BS, interactive media.

Earliest creative memory: I remember drawing outfits for my dolls. I would design clothing with chunky Crayola markers and use my special stamp markers to create patterns on the outfits.

Path that led you to design: I was editor-in-chief of my high school newspaper for two years. I became editor-in-chief of design my senior year, which allowed me to focus on the production, layouts, photographs and infographics. I was so fascinated by the idea that design could impact the reader’s understanding of the content. That’s how I realized my passion lay in graphic design and not journalism.

Career thus far, in a nutshell: Designer at Bright Bright Great > designer at Skidmore Studio > interaction designer at Gravitytank > design director at Cards Against Humanity > product director at Blackbox > creative director at Bright Bright Great.

The key to good design: Iteration and experimentation.

Photos of Cards Against Humanity, taken in Chicago, at Some Office, IL for Cards Against Humanity’s use. brentknepper.com All photos ©2016 Brent Knepper

Motto/design philosophy: “If you’re gonna flip burgers, flip burgers like a motherfucker.” —Elliott Earls

Work of which you’re most proud: I’m proud of the overall body of my work because it can be judged not purely by its aesthetic quality, but on its impact and implicit value system. As a commercial designer working in a capitalist sphere, all of my work is inherently political. This is true for all of us. By working for companies who economically devastate whole cities, build internal applications to avoid law enforcement, have sexist and racist hiring practices or financially support fascist policies, you are co-signing that behavior. You can’t condemn a company on your Twitter on Monday and work on their new app on Tuesday.

Biggest influence: The Cranbrook Academy of Art.

How you would classify your style: A Lisa Frank Trapper Keeper full of riot grrrl zines and Tales From the Crypt comics.

Design heroes: Nicole Killian, Robyn Kanner, Amélie Lamont, Nancy Skolos.

Favorite writer: Shonda Rhimes. (Not everything has to be about graphic design, people!)

Cause that means the most to you: Fighting fascism and white supremacy and protecting the lives of people of color, trans men and women, and religious minorities. It shouldn’t be a radical belief that the most marginalized people in our country should not be murdered, attacked or made unsafe in any way.

Biggest fear: Making life worse for another person, in any way. What you want to accomplish before all is said and done: To leave things in better condition than I found them.

Your idea of happiness: Eating a Mickeyshaped food product and riding Space Mountain. Walt Disney World is a special place to me. All of my childhood vacations were to Disneyland or Walt Disney World. Now that my parents no longer own my childhood home, I have few physical places that hold intimate childhood memories.

The future of design is: Ethical designers with strong backbones.

Websites: www.amynicole.co; www.brightbrightgreat.com

Anything else: I walked away from a dream job this year to take a risk on myself. My end goal has always been to run my own design studio. It’s important for me to work with clients whose values align with mine. I also take seriously my responsibility to mentor young designers, to foster a healthy work environment and to build a diverse team. Self-employment means controlling these factors and practicing what I preach.

Photos of Cards Against Humanity, taken in Chicago, at Some Office, IL for Cards Against Humanity’s use. brentknepper.com All photos ©2016 Brent Knepper

Photos of Cards Against Humanity, taken in Chicago, at Some Office, IL for Cards Against Humanity’s use. brentknepper.com All photos ©2016 Brent Knepper

Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

1. A look at the rebranding of an old industry made anew: marijuana

2. A Manifesto from Scott Boylston on the dire need for sustainability in design

3. Paul Sahre’s memoir/monograph Two-Dimensional Man

4. Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff

5. And much more!

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“The cover deconstructs the title of the issue, using each individual element to create a composition and reference to the issue being comprised of pieces of work from multiple designers.”

Meet New Visual Artist Chad Miller

Age: 29.

From: Cincinnati.

Current city: Brooklyn, NY.

Education: I have an MFA from Vermont College of Fine Arts and some sort of associate’s degree from Cincinnati State—a small technical school in Ohio.

Earliest creative memory: Having my older brother show me how to draw skulls at my kitchen table.

Path that led you to design: An interest in subcultures, specifically punk and post-punk.

Career thus far, in a nutshell: I spent a few years in the Midwest working on packaged goods and ad campaigns, followed by a few more years on the East Coast working mostly on branding efforts for consumer brands and higher education clients. Most recently I worked in the New York office of Pentagram under Emily Oberman.

Current place of work: I work as an independent graphic designer.

The key to good design: There are endless interpretations of what good design is, but I think a pretty common throughline is honesty. Good design has to be honest. Contrived work usually comes off as such.

Motto/design philosophy: I try my hardest to make work I like regardless of the context. I used to get bogged down by the potential of a project; now I approach everything with the same mindset, whether it’s a contemporary art museum or a lawn care service. This might sound a bit rudimentary but was an important hurdle for me to get over.

Work of which you’re most proud: The work I created in graduate school has pushed my boundaries the most. It came from a really personal place, so I have more of an attachment to it than most client work.

Biggest influence: Music, and the subcultures associated with it, are what made me aware of graphic design in the first place. It has continued to be a large influence.

How you would classify your style: I’d like to think my style is fairly representative of my cultural identity, the visual result of my upbringing and experiences.

Design hero: I’m not sure I have a design hero. I’ve been on a big Peter Saville kick since I was a teenager, but even he designed that one heinous New Order cover from the ’90s. Some designers that have had a large impact on me though are Karl Gerstner, Rudolph de Harak and, of course, the New Wave guys like Dan Friedman and Wolfgang Weingart.

Favorite typographer: I try and support contemporary type designers as much as I can. My favorite typefaces of the last few years have been designed by Kris Sowersby.

Favorite writer: Richard Brautigan.

What defines you: John Hughes movies, circa 1985.

Cause that means the most to you: Not compromising who you are as a person, despite pressures from cultural or societal standards.

Biggest fear: Either being framed for a crime and sent to prison, or bugs.

What you want to accomplish before all is said and done: Making work on my own terms for causes I believe in. Preferably in a house reminiscent of something by Frank Lloyd Wright, in the remote depths of the Pacific Northwest.

The future of design is: As technology progresses and more and more design necessities are created, I think a return to a more universal design philosophy is inevitable. I personally welcome a collapse of these hyper-specific design genres. I’m critical of the effects they have on design education in particular. Entire programs tailored to a specific role force students down a certain path despite their individual interests. I just feel the unnecessary taxonomy of the industry leads to stagnation more than anything.

Website: www.chdmlr.com

#gallery-1 { margin: auto; } #gallery-1 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 50%; } #gallery-1 img { border: 2px solid #cfcfcf; } #gallery-1 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

1. A look at the rebranding of an old industry made anew: marijuana

2. A Manifesto from Scott Boylston on the dire need for sustainability in design

3. Paul Sahre’s memoir/monograph Two-Dimensional Man

4. Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff

5. And much more!

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“… A custom-lettered, 1:12 scale version of a magazine cover, constructed of flowers and acrylic paint on a large roll of paper.”

Meet New Visual Artist Adé Hogue

Age: 28.

From: Asheville, NC (but my family is from South Boston, VA).

Current city: Chicago.

Education: University of North Carolina at Charlotte; BFA with a concentration in graphic design.

Path that led you to design: After essentially flunking out of engineering school, I stumbled into a drawing class in college because I needed enough credit hours to remain a full-time student. I thought it would be an easy ‘A.’ I quickly realized it was going to be much tougher than I expected and I began practicing more. I just happened to fall in love with it!

Career thus far, in a nutshell: I would say that my career up to this point has been about exploration and self-discovery. Every move I have made, and every piece that I have created, has been about trying to find what I enjoy doing the most.

Current place of work: Freelance.

The key to good design: The key to good design is an obsessive [amount] of preparation, knowledge and understanding. Knowing what has been created before you, knowing what’s worked in the past, and knowing what hasn’t is key to creating successful things today. Perhaps it’s my lettering background, but I’m a firm believer in referencing older pieces to create something new—borrowing subtle details and techniques from different places to ensure the final piece is cohesive.

Motto/design philosophy: Share, share, share. It’s easy for us as designers to curl up in a corner with something we’ve created and not solicit feedback from others.

Work of which you’re most proud: In October of 2013 I started a simple daily lettering project. I was interested in learning something new, and thought it might be a great way to get started. While I’m not necessarily proud of those particular lettering pieces anymore, I realize that it literally kickstarted my career and pushed me to where I am today.

Biggest influence: A few years back, one of my uncles told me a story about what made him join the military. It was a crazy story that should never be repeated, but he ended the story by simply saying, “That was my GO,” and told me to “Find GO, nephew.” That simple little phrase inspires everything I do, and now it’s tattooed on my arm as a daily reminder. It reminds me to get up and find what is worth living for each and every day.

How you would classify your style: Modern, personal, thoughtful.

Design hero: My design hero/icon would have to be Doyald Young. To be able to flourish like him is literally a dream of mine.

Favorite typographer: Adrian Frutiger.

What defines you: My energy and my willingness to experiment in life and in art.

Cause that means the most to you: The fight against systemic racism toward black people in America and across the world.

What you want to accomplish before all is said and done: I want to create something iconic that will be used for decades at a high level. I also hope to have my own solo exhibition at a gallery one day.

Your idea of happiness: I’m not sure exactly what happiness looks like for me, but I think it has something to do with living a comfortable life and the opportunity to create work I’m truly proud of each and every day.

The future of design is: In my opinion, the future of design won’t be a positive one if we don’t stick together and fight for respect for what we do. We have to get the world to stop looking at what we do as a “hustle” or a “side gig,” and realize that this is our profession. We can’t pay the bills on $50 logo projects and exposure.

Website: www.adehogue.com

#gallery-3 { margin: auto; } #gallery-3 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 50%; } #gallery-3 img { border: 2px solid #cfcfcf; } #gallery-3 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

1. A look at the rebranding of an old industry made anew: marijuana

2. A Manifesto from Scott Boylston on the dire need for sustainability in design

3. Paul Sahre’s memoir/monograph Two-Dimensional Man

4. Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff

5. And much more!

éhogue #print #letteringdesign #designinspiration #newvisualartists #NVA #lettering #Printmagazine #inthemagazine

Deadline for entry: November 20, 2017

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“This is a cover people can interact with.”

Meet New Visual Artist Andrew Herzog

Age: 26.

From: Coatesville, PA.

Current city: Brooklyn, NY.

Education: Savannah College of Art & Design; MA, graphic design.

Earliest creative memory: It’s more like an amalgamation of many memories—thinking that a signature was an entire drawing, drawing Free Willy, coloring people blue.

Path that led you to design: When I was growing up, my dad worked for a company that made labels. Labels that get slapped on all sorts of things. Ingredient labels for food, and stuff like that. Because I doodled and had an imagination, my dad insisted that I spend time with Jess, the “Graphic Artist” who worked there. I wasn’t even sure what being a graphic artist meant. His job consisted of setting type and graphics to create print-ready files that would go to the presses and become labels, but he was technically an artist and had a job. Meeting him cracked open a world of possibilities I otherwise might not have known. It also meant that later on, my parents would be OK with me going to art school because they knew there was at least one job out there for someone like me. Another contributing factor was a crush I had on an AP art student my junior year of high school. She was going to SCAD, so I did too.

Career thus far, in a nutshell: R/GA → Sagmeister & Walsh → Google Creative Lab → HAWRAF.

Motto/design philosophy: Make things that people want to interact with.

Work of which you’re most proud: Last fall, at HAWRAF—a studio I co-founded with Carly Ayres, Nicky Tesla and Pedro Sanches—we did the A-Z project. Every hour for 26 hours straight, we created something new, starting with a randomly chosen word from the dictionary. We live-streamed it to open our process to anyone who was curious how a design studio like ours functions. I’m also really proud of the Google Creative Lab 5 application site and AutoDraw, which sprang from that project. I’d love to see the tools that we designers use every day be made more readily available and free to everyone. Not all of us are born with Creative Suite installed on our home computers, and not everyone has any idea what we as creatives do on a day to day. These projects are two of my favorites because they begin to explore the possibilities of accessible creative tools when made by a company like Google. In my personal work, I’ve loved making Natural Navigation and the Ergonomics Studies. I find that we miss a lot as human beings. Through interactive interventions we can punctuate the mundane.

Biggest influence: People. There are so many of us. There are so many perspectives. Everyone is thinking, doing and valuing different things. That’s very interesting to me.

How you would classify your style: Medium-agnostic Interactive.

Design hero: Virgil Abloh.

Favorite typographer: George Arial.

Favorite writers: Dr. Martin Luther King Jr., Ta-Nehisi Coates, Kendrick, Meek Mill, Wale.

What defines you: Socks with slides.

Cause that means the most to you: Education. Education is a privilege, and it can be a barrier or a stepping-stone.

Biggest fear: Being on a list like this with 14 other white dudes.

What you want to accomplish before all is said and done: Create a body of work and a career path that is inspiring and accessible for anyone who might be interested in pursuing a career where they can use their creativity to survive.

The future of design is: Giving more control to the audience and users.

Websites: www.andrewherzog.com; www.hawraf.com

#gallery-1 { margin: auto; } #gallery-1 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 50%; } #gallery-1 img {< br /> border: 2px solid #cfcfcf; } #gallery-1 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

1. A look at the rebranding of an old industry made anew: marijuana

2. A Manifesto from Scott Boylston on the dire need for sustainability in design

3. Paul Sahre’s memoir/monograph Two-Dimensional Man

4. Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff

5. And much more!

Deadline for entry: November 20, 2017

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“I illustrated the silhouettes of 15 artists in different studio and home environments, working and interacting with their projects in different ways.”

Meet New Visual Artist Siobhán Gallagher

Age: 27.

From: Moncton, New Brunswick, Canada.

Current city: Ridgewood, NY.

Education: Nova Scotia College of Art & Design; bachelor of design.

Earliest creative memory: Drawing outfits for bear ballerinas (my mom drew the bears, then I gave them tutus and crowns).

Path that led you to design: I think it started when, as a kid, I was allowed to cover my bedroom walls with magazine clippings, drawings, photos and poems, which led to my interest in layout and book design, which led to being my high school yearbook editor, which led me to study design in art school.

Current place of work: Abrams Books by day, my couch by night.

Career thus far, in a nutshell: After art school, I interned for a summer at Penguin Young Readers, and soon after got a job there as junior designer. When I started, I was depressed and felt frustrated/stifled creatively and had a need to work on more outside of my office job, so I spent evenings and weekends drawing for fun. Drawing became a way to kind of work through anxiety, depression and heartache, so this continued into more personal projects and self-published zines, which is how my creative director at Abrams found me (at a comic festival).

The key to good design: Being as clear and concise as possible without being boring.

Motto/design philosophy: If you’re going to show it, don’t say it, and if you’re going to say it, don’t show it.

Work of which you’re most proud: I’m most proud of my new book, In a Daze Work, which came out in July from TarcherPerigee, an imprint of Penguin Random House. It is an illustrated choose-your-own-adventure book for adults that goes through the span of an average day, and focuses on the humor in the little things in life (often through observational illustrated puns). Since this was my first book, I really tried to make the most of each page and experimented with methods of visualizing a narrative. I wrote, designed and illustrated the whole thing, so this is the most “me” project I’ve ever done. Working on this, it felt like I collected every mundane thing I experience in a day, what my thoughts are during those moments, and put it all together to share with the world, like, Here’s how my mind works—does it make sense to you? This is how I am—maybe this is like you, too? It feels very satisfying to pull from my own life and illustrate memories in a way others can relate to and find funny. Sometimes I need to remind myself that I’m not alone and others are dealing with the same things I am.

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Biggest influence: Amy Krouse Rosenthal.

How you would classify your style: Cartoonish visual wordplay.

Design hero: Jim Tierney.

Favorite artist: Steve Powers.

What defines you: Sometimes I feel defined by whatever drawing I worked on last, but what probably defines me is what I do when no one’s looking.

Cause that means the most to you: Women’s rights, which as a kid I thought had pretty much
been achieved, but as an adult I’m disappointed how often I’m reminded of the amount of progress yet to be made.

Biggest fear: Forgetting.

What you want to accomplish before all is said and done: I want to do good and do it well.

Your idea of happiness: An ice coffee in my hand and my boyfriend, John, by my side.

The future of design is: Hmm, let me Google that.

Website: www.siobhangallagher.com

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#SiobhaánGallagher

Deadline for entry: November 20, 2017

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“For this cover I wanted to connect the way the design looked with what the words were saying, so I created lettering inspired by the way a brush stroke streaks.”

Meet New Visual Artist Griffin Funk

Age: 28.

From: Lake Oswego, OR.

Current city: New York City.

Education: University of Oregon; BA, journalism.

Earliest creative memory: One: My mom teaching me how to sew. Two: Lying on my bedroom floor drawing comics and skateboard graphics.

Path that led you to design: My path to finding design was pretty indirect, pretty roundabout. I went to journalism school in Oregon and discovered publication design there. I worked at the school newspaper as a designer and art director and worked on a couple campus magazines. I think what really set me off on magazine design specifically was finding a “Best Magazine Art Directors” list through a Google image search while in school. The list was like: Brodovitch, Lois, Fleckhause, Woodward, Baron, Brody, Carson. Ya’know? Their work felt like high art smuggled into popular culture. It was subversive and smart and provocative and it really spoke to me.

Career thus far, in a nutshell: Looking at an iMac, clicking a mouse.

Current place of work: GQ.

The key to good design: Tension between image, typography and word.

Work of which you’re most proud: I’m most proud of the feature design work I’ve done so far at GQ. It’s my favorite part of the job, it’s what first drew me to magazines and it’s what continues to excite me. GQ has been my only real job and it’s a really special place to me. It’s given me the opportunity to learn and collaborate with the best editors, art directors, photographers and illustrators in the business. … I credit my design director, Fred Woodward, for instilling a culture in the GQ art department where everything that is done, whether it be a logo for a collaboration with GAP, an opening spread for a feature in the magazine or a gif for GQ.com, is expected to be really good, and that kind of environment is super motivating. The process of coming up with a concept to art a story and seeing it come alive, and then seeing it out there in the world, is really satisfying to me. I guess my job, in a broad sense, is to help tell the story by expressing an idea through an interesting and meaningful interaction between type, image and word. I think when you get that mix right the result can be really powerful, and I think I’ve done that once or twice, and I’m proud of that.

Biggest influence: Fred Woodward. Handsdown. Period. No question about it. I started as his assistant and kinda just stuck around until he let me design features. He’s been so generous to me and I’ve learned so much from him. I didn’t go to art school, so the GQ art department has really been my art education. Fred has trusted me and elevated me and pushed me to be better, and I’m immensely thankful for that.

How you would classify your style: I would try not to.

Favorite artist: I can’t just pick one, so a few favorites are Jenny Holzer, Isamu Noguchi, Donald Judd.

Favorite typographer: Ed Ruscha.

Favorite writer: Joan Didion.

What defines you: Once got hummus on a tuxedo. That seems like a pretty good microcosm.

Cause that means the most to you: Mental and emotional health issues.

Biggest fear: Burning the roof of my mouth on the first bite of pizza. That, or dying.

What you want to accomplish before all is said and done: I want to be an honest man and liked by dogs.

Your idea of happiness: A nap.

The future of design is: Emoji Ligatures. No, I have no idea, and I think anyone who claims to know what the future of design is is probably full of it.

Website: www.griffinfunk.com

Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

1. A look at the rebranding of an old industry made anew: marijuana

2. A Manifesto from Scott Boylston on the dire need for sustainability in design

3. Paul Sahre’s memoir/monograph Two-Dimensional Man

4. Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff

5. And much more!

Call for entries: HOW Logo Design Competition

Deadline for entry: October 30, 2017

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“My Print cover is a celebration of artists’ unique ways of seeing the world and interpreting its intricacies.”

Meet New Visual Artist Lucy Engleman

Age: 28.

From: Northfield, IL.

Current city: Pittsburgh.

Education: University of Michigan; BFA, art and design.

Earliest creative memory: I didn’t do much drawing as a child. I can remember mostly collaging, playing with kitchen spices and having puppet shows. My siblings and I spent a lot of time making things, and my parents always celebrated that. The walls of our home were always covered with whatever we had created. My dad would always put a drawing in our school lunches. We’d bring it home and he’d add to it and put it back in our lunch the next day.

Path that led you to illustration: I always knew I wanted to draw; I just needed to find a way to apply it. … I worked in a build shop for a theater company, taught art therapy, created some murals I’d like to forget about, and made lots of coffee and hung hundreds of shirts on the side. I hustled so hard when I’d get off work—drawing until I couldn’t keep my eyes open anymore. I started to get hired more for illustration work, specifically editorial. I loved the pressure of the quick turnaround and continued into the world of editorial freelance headfirst.

I started to overcommit myself and ended up getting carpel tunnel after the first year of 14-hour days. After medical insistence, I became more realistic and more intentional about the work I took on. Working with Bon Appétit was the first pivotal client relationship in my career. They hired me when I was very green to illustrate their magazine spines for what grew into three years of issues, culminating in one continuous image. When they moved into their new offices in 1 World Trade Center, I had the opportunity to design their wallpaper, based on the image I’d been creating for them over the years. The experience of seeing my work on such a physically large scale has fueled much of where my personal work is headed these days.

The key to good design: Imagination, being fearless and trying new things, listening, and editing.

Motto/design philosophy: Stay in touch with the person you were when you fell in love with making things. Allow for time in spaces where you can make work for yourself. It’s important to remember why we loved creating in the first place, especially when we get overwhelmed and overworked. The best ideas come when you take a break.

Work of which you’re most proud: I’m particularly proud of the work I’ve created with my work family at Collective Quarterly. Since its infancy, we have been a small team creating a publication out of true collaboration, something I’m proud to be a part of.

Biggest influence: The natural world has been a huge influence on my work. I find plants and animals just make me happy and I am absolutely fascinated with all of their intricacies. I take time once a year out of my schedule to travel to a remote place to make work for myself.

Design hero: I’ve always been inspired by the work Julia Rothman is doing and the fact that she’s doing it all on her own, without an agent or design firm behind her. I love that she is an illustrator who is really a jack-of-all-trades.

Cause that means the most to you: The environment and animal rights are two causes I think about daily. They effect every decision I make and are all over all of my work.

Your idea of happiness: Big pla
nts, healthy family, early morning coffee time, days at the beach, surprise hugs, dancing in the kitchen, dessert, dogs playing in the snow, and laughing until your stomach hurts.

The future of design is: I hope the future holds designers having faith in their own ideas and taking chances instead of questioning if their work fits with what is already “trending.”

Website: www.lucyengelman.com

Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

1. A look at the rebranding of an old industry made anew: marijuana

2. A Manifesto from Scott Boylston on the dire need for sustainability in design

3. Paul Sahre’s memoir/monograph Two-Dimensional Man

4. Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff

5. And much more!

Deadline for entry: October 30, 2017

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“A young visual artist possesses a creative mind that is not bound to the box … and is never afraid to show the crazy, weird and peculiar in his revolutionary artworks—artworks that ultimately define him as a person.”

Meet New Visual Artist Sean Eidder

Age: I am 17 years old, and am just patiently waiting for the 21st of March of the upcoming year to enter into legality.

From/current city: Manila, Philippines.

Education: Because my family has been moving to different places around Manila, and also living abroad in the United Arab Emirates, I have attended quite a number of schools. Now, I am in senior high school at Operation Brotherhood Montessori Center. For college, I am planning to go to art school and take up a degree in multimedia or information design.

Earliest creative memory: Coloring Disney character books around age 3.

Path that led you to design: At first it was just the thirst for fame and approval from everyone, but as I got deeper into every [part] of my design work and learned more about the field, I discovered that the local art scene in the Philippines is not given much importance. I thought that it is high time for the Filipinos to recognize how crucial design is in life.

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Career thus far, in a nutshell: Since I started out at 15, I have had a fair number of published artworks and editorial features in local and international magazines, and in a few institutions as well.

Current place of work: I am a freelance artist, but I occasionally apply for internships in publications whenever there is no school (also just to skip doing all the house chores and enjoy my vacation).

Motto/design philosophy: “If you can dream it, you can do it.” I have always believed in this quotation by the visionary Walt Disney. A few years before I started designing, I was just adoring the collages inside the pages of a local youth publication. Then I got into creating my own artworks. One morning, I received an email from the same publication, commissioning me to create collages for them.

Work of which you’re most proud: The art piece used to accompany Tavi Gevinson’s editor’s letter for the June 2016 issue of the wonderful Rookie magazine. I love how it turned out, and how it defined my artistic taste. It was very dreamy and colorful, just the way I imagined it to be.

Biggest influence: I am inspired by anything! But pop culture and childhood nostalgia would be my fixed influences. Any time I construct my design, I look back to my fun memories as a kid—the toys and games I played with, and the colorful books I have read—and I add in a few modern takes on it as well. Childhood experiences are universal and everyone can relate to them.

Design hero: Creative director Martine Cajucom would probably be on top of my long list of design heroes. She is the branding master of Sunnies Studios, a celebrated local eyewear and lifestyle brand—I strive to be the design genius that she is. I have always taken inspiration from the brand’s retro and classic look with a modern twist. I mean, who wouldn’t fall for vintage-inspired marketing materials drenched in millennial pink?

Favorite typographer: I am an avid fan of Chip Kidd and his works! His works are, indeed, revolutionary.

Favorite writer: Call me biased as I am a huge Potterhead, but J.K. Rowling will always be my queen-writer.

What defines you: I am defined by my body of work. I think that what I create affects how I sense, feel and act. My art pieces are just portions of myself, like pieces of the jigsaw puzzle that is entirely me.

Your idea of happiness: I have a simple idea of happiness, and that is doing what I love and making others benefit from it.

The future of design is: The youth.

Website: www.cargocollective.com/peculiarboy

Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

1. A look at the rebranding of an old industry made anew: marijuana

2. A Manifesto from Scott Boylston on the dire need for sustainability in design

3. Paul Sahre’s memoir/monograph Two-Dimensional Man

4. Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff

5. And much more!

Deadline for entry: October 30, 2017

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

Meet New Visual Artist Audrey Jungwon Choe

Age: 23.

From: Korea.

Current city: New York City.

Education: School of Visual Arts; BFA, design.

Earliest creative memory: Doing origami with my mom.

Path that led you to design: I started from fine arts but naturally got interested in studying graphic design.

Career thus far, in a nutshell: Creative in an ad agency and a freelance designer.

The key to good design: Principles (intentionally designed).

Motto/design philosophy: Always keep in mind that this could be better. Believe in revisions.

Work of which you’re most proud: My very first brand identity—AO Fish Market—means a lot to me since it was the turning point of getting interested in not only overall printed matters, but also branding perspective. After this project I realized this is what I wanted to do with my future.

Biggest influence: Everything around me—people, culture, art and music.

How you would classify your style: Variety. Broadening all the possibilities to explore.

Design hero: Paula Scher.

Favorite artist: Alexander Calder.

Favorite typographer: Adrian Frutiger.

Favorite writer: Haruki Murakami—I’m a fan of his sophisticated but honest writing style.

What defines you: <undefined> is what I am. I’m still roaming.

Biggest fear: Losing good eyes, tastes and freshness.

What you want to accomplish before all is said and done: No work done that I’m not proud of.

Website: www.audreychoe.com

Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

• A look at the rebranding of an old industry made anew: marijuana

• A Manifesto from Scott Boylston on the dire need for sustainability in design

• Paul Sahr
  e’s memoir/monograph Two-Dimensional Man

• Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff

• And much more!

Deadline for entry: October 30, 2017

This is the third year we’ve run our New Visual Artists: 15 under 30 issue. What was once a highly edited list of 20 of the best and brightest young designers is now a deeper exploration of 15 of the most original talents working in visual communications today.

This issue of Print comes at an interesting time. This new group of designers, while undeniably adroit, is part of a generation fully proficient in the art of self-promotion in a digital age. Getting the word out about one’s work is now de rigueur. But at a time when new work is relentlessly blasted out on platforms where seemingly everyone in the room is shouting, is it really possible to break through the volume of voices all vying to captivate and capture attention? Moreover, in the Insta-culture of the early 21st century, how does one navigate through the metadata to find the meteoric? As in years past, that’s exactly what we’ve sought to do here. We’ve gone in quest of craft and cunning ideas and ideals. We’ve looked for substance and style and star-power. The list of Print’s New Visual Artists has become a who’s who of the industry’s leaders, and includes Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische, Frank Chimero and, more recently, Zipeng Zhu, Joe Hollier and Joey Cofone. This year’s 15 New Visual Artists are bold in name and in voice, and are bravely making new work in a new world.

“We wanted our cover to be representative of us and the Charles & Thorn workspace, as well as an excuse to be selfish and draw our favorite things. What began as a simple idea of shelves and letters as objects soon turned into a chaotic shelfscape full of Easter eggs and hidden jokes.”

Meet New Visual Artists Charles & Thorn

Age: Kelly Thorn: 28.

Spencer Charles: 29.

From: T: Portland, PA.

C: Salt Lake City.

Current city: T&C: Brooklyn, NY.

Education: T: Tyler School of Art; BFA, graphic and interactive design.

C: University of Utah; BFA, graphic design. Cooper Union; postgraduate certificate, type design.

Earliest creative memory: T: Not my earliest, but my favorite: In fifth grade, I got really into writing spooky stories and making them into their own little booklets. Each booklet was set entirely in 12 point Curlz and was absolutely riddled with spelling errors. I illustrated the pages, drew ornaments for each chapter opener and page number, and designed the front cover, complete with spiky, gothy, scary letters that looked like bat wings.

C: Making stick figure stop-motion animations using the earliest version of Quicktime on Mac OS 7 or 8.

Career thus far, in a nutshell: T: I interned in the Lettering and Illustration department at Hallmark, and then went to work for Louise Fili straight out of school (thank you, universe!). I met Spencer there, and after we got married, we decided to open up our own design studio.

C: In college, I interned for letterpress printer/typographer David Wolske. After graduating, I worked as a sign painter for Whole Foods in Salt Lake. Shortly after, I moved to New York to work for Louise Fili.

Current place of work: T: Charles&Thorn. Spencer and I officially started our own studio about one year ago. We specialize in lettering, illustration, branding, type design and bein’ doofs.

The key to good design: C: A breadth of knowledge acquired from an absurd amount of practice.

Work of which you’re most proud: T: Any project that Spencer and I are able to truly collaborate on. When a design comes together organically, without too many arguments, it always makes me so happy! Also, I’m so proud of my newfound hobby: tattooing. I have been teaching myself how to do hand-poked tattoos on the side, and I am so excited about the illustrations I am producing through the process.

Biggest influence:T: The Wiener Werkstätte, Arts and Crafts, Art Deco, and the Art Nouveau design movements. I consistently come back to art from the early 1900s for inspiration. There are so many gems from that era!

C: Kelly.

Cause that means the most to you: T: Supporting and lifting up women, in every

aspect.

C: Any form of environmentalism. My biggest source of anxiety and sadness is the destruction humanity has caused to all the living things on this planet.

Biggest fear: T: Sounding stupid in printed publications.

What you want to accomplish before all is said and done: T: Before I take a dirt nap, I’d like my life and my work to be at peace with one another.

C: I think all the skills I have been acquiring are really only leading to one place: learning to carve the inscription on my headstone. (The ultimate design project!)

The future of design is: T: As designers, we have a big responsibility to develop and improve our social and political climate. We have such an important role in shaping how we see the world around us, and that can be used for so much good.

C: I think the history of design has largely been driven by new technology, and how humans respond to that technology. If current trends hold, virtually all work will become automated, and a new generation o
f artists and designers will have to learn to exist and respond to that.

Website: www.charlesandthorn.com

Meet more of PRINT’s New Visual Artists in the Fall 2017 issue of PRINT.

PRINT’s 2017 New Visual Artists Are Here!

Get the latest issue of PRINT to discover our annual list of 15 of the best creatives today under 30. Plus …

• A look at the rebranding of an old industry made anew: marijuana
• A Manifesto from Scott Boylston on the dire need for sustainability in design
• Paul Sahre’s memoir/monograph Two-Dimensional Man
• Debbie Millman’s Design Matters: In PRINT, featuring Jonathan Selikoff
• And much more!

But combing through this year’s New Visual Artists, you will discover a universe of young designers who don’t simply make pretty things for us to fetishize. They don’t create merely with galleries in mind or accolades to garner. These are artists who have passion. They have causes, loves, fears, dreams. They have conviction. And perhaps most importantly, they have an immense talent that will allow them to execute on that conviction and make change in the world-a world that, right now, appears to be slowly playing history in reverse.

Discover what may be lying just beyond the horizon of today’s design world in the Print Fall 2017 issue.

PURCHASE COPY or PDF

Featured in This Issue:

FEATURES

Introducing Print‘s 2017 New Visual Artists 15 creatives under 30 who are shaping tomorrow’s design landscape

Smoke Signals With change in the air, it’s time to say goodbye to the skunky marijuana branding of yesteryear and embrace a newly designed future. By Sam Holleran

Graphic Design And The Anthropocene An argument for more sustainable design thinking-and thus a more sustainable world. By Scott Boylston

UP FRONT

The Fine Print Leave Me Alone With the Recipes and Two-Dimensional Man with words by Karli Petrovic

Observer The once-forgotten Blueprint for Counter Education embodied its era-and foreshadowed design’s future. By Rick Poynor

Historiography Before the Legibility Skirmishes, key design battles were fought during the War of Abstraction. By Steven Heller

Evolution When it comes to speculative design, the future ain’t what it used to be. By Steven Heller

In Progress A leading design agency in London is truly upping the standards of sustainable design around the world. By Alex Harrell

Design Matters: In Print Brand gutu, writer and letterpress artist Jonathan Selikoff reflects on his career. By Debbie Millman

Released just this past week, the stop-motion animation video for U2’s new single “You’re the Best Thing About Me” is making waves—not only among the band’s fans, but also in the design world.

Created by Art Camp, the studio of animator/designers Santiago Carrasquilla and Jos Diaz Contreras, the book in the video was created after photographer David Mushegain asked songwriter and musician Ary Warnaar—who was dining with Carrasquilla and Contreras at the time—to help him create a lyric video for the Grammy-lauded rock band.

“We all put our heads together and pitched ideas until we arrived at what eventually got made: designing a massive book of David’s photographs and hand-written lyrics and animating that book one page at a time,” Art Camp told Rolling Stone. “The Art Camp vibe is all about collaboration and making the kind of work that’s only possible when different types of artists come together.”

[Related: 8 Imaginative Stop-Motion Animation Projects]

The video’s concept was rooted in tactility and energy—a challenge when using photography and type to make a video. Typically, lyric-based videos rely on motion graphics and CGI, but Carrasquilla and Contreras said it was important to break out of that limitation. The team created a digital mockup as they put the book together for the final stop-motion animation.

The team shared some of their process:

Our goal was definitely to try to push the format as far as we could take it. The books we printed were at physical limit of how many pages you can bind together without them falling apart, and we worked backwards from there. A lot of very talented people worked really hard on putting this thing together. It was a great time—working around the clock and sleeping in shifts, all sorts of friends coming through to contribute on the layout or suggest an animation. A lot of people have asked us how much of it was done physically and how much was CGI. None of it is CGI! Santiago spent 17 hours on his feet, puppeteering the book with string.

As it happens, this isn’t the first time Carrasquilla has impressed us; in 2016 he was named a Print New Visual Artist. “Produce as much work as possible and learn from the process itself,” he told us at the time. What’s most important is the momentum generated by having done a lot of work and letting it envelop your life. With patience the answers reveal themselves.”

[Earn a Certificate in Animation online]

Age: 28, but feel like a starry-eyed 13-year-old.

From: Born in Freetown, Sierra Leone, grew up in Alexandria, VA.

Current city: Los Angeles.

Education: The Art Institute of Washington (BFA).

Earliest creative memory: This memory is still vividly imprinted in my mind. And if it radiated a color it would be electric red. I remember my 10-year-old self or so arming himself with scissors and superglue in an eff ort to create hybrids of his toys. I had a red Mighty Morphin Power Rangers action fi gure I would tightly clutch in my tiny hand and wildly run around with, pretending he was flying. One day I thought it would be so cool if the action figure had wings. So I got my Gargoyles action figure that had wings. And before you know it, my red Mighty Morphin Power Rangers action figure had Gargoyle wings superglued to its back! I remember being pretty amazed with the results, but mostly that my idea had come to fruition.

Path that led you to design: If I were to plot my current location like a constellation in the night sky, I would say I’m currently at the star of a polymath, multi-hyphenate. My artwork is mixed media photography that utilizes elements of photography, illustration and painting. I make electronic music under the moniker Shy Away, which samples ’80s music that’s accompanied by my chopped-up vocals. And I also write short stories.

The path that led me to where I’m at can be traced back to when I picked up skateboarding. It taught me how to see the world in a new way. Handrails and staircases were all of a sudden obstacles to do tricks down, whereas before they were just structures that assisted walking. Also, I had skater friends who were writers, musicians and artists. By just hanging out all the time I got into various creative outlets. … My skater friend whose dad was a cameraman would let us borrow his video and photography equipment. So we would make skate videos and take photos to document our tricks. Because of skateboarding I developed a love for photography and went to art school.

After graduating, I still stayed in tune with photography, writing and music. But my photography started to morph because I didn’t have access to all the super-nice cameras I used while at art school. I had to reinvent. That reinvention is what got my photography work to where it is now—a combination of multiple mediums.

Current place of work: Museum of Contemporary Art, Los Angeles.

The key to good design: Minimal. Alluring. Intuitive. Easily functional.

Motto/design philosophy: Think like a kid.

Work of which you’re most proud: My new book Gallery Walk-ins (Unsolicited): Starting From the Bottom of the Creative Ladder. It’s a collection of short stories and art criticism. It documents what it’s like to be a 20-something-year-old artist trying to make it. I gave that book my all, it drove me insane, but I’m elated it exists in the physical world.

Biggest influence: Probably Pharrell Williams, since I wanted to be a combination of him and Usher when I was younger. Also other creative people making amazing stuff—it could be a film by Wes Anderson, a record by Childish Gambino or an installation by Snarkitecture.

Design hero: Jonathan Ive. I have a religious obsession with Apple. And the skeptic part of my brain believes that Steve Jobs is in Tron getting it ready for the rest of humanity.

Favorite typographer: Herbert Bayer and the whole Bauhaus typeface.

Favorite writer: Tao Lin.

What defines you: I define me.

Cause that means the most to you: The cause to embrace and celebrate the things that make you different. I’ve always been the “weird kid,” the one who doesn’t really fit it. The misfit.

What you’re most afraid of: Complete happiness.

What you think the future of design is: Kanye West?

Website: www.victorkphotography.com

“My Print cover design captures the exuberance of being a young creative—and how we are all kings of our individual creative worlds.”

Meet more of PRINT’s New Visual Artists in the Summer 2016 issue of PRINT, or subscribe to get print all year long.

Meet New Visual Artist Yazan Halwani

Age: 22.

From: Beirut, Lebanon.

Current city: Between Beirut and Dubai.

Education: American University of Beirut (Bachelor of Computer and Communications Engineering).

Earliest creative memory: That is very hard to remember, as creativity for me is a continuous process rather than “eureka” moments. I create my pieces through continuous thinking and focus in small amounts of time for each piece.

detail featuring Arabic calligraphy for Yazan’s 2016 PRINT New Visual Artists cover

Path that led you to design: My main objective was to paint a positive image of my city, Beirut, after the civil war, and to remove all pictures of politicians on the walls that hijack the city’s beauty. I designed murals that sprayed across the city.

“The Arab Man, and the Asian Cherry Blossom Tree,” painted live during the Singapore Art Fair in 2014.

Mural of Lebanese singer and actress Sabah in the Hamra neighborhood of Beirut.

Career in a nutshell: An Arab muralist/artist on the move.

The key to good design: When a mural fits within the urban landscape as if the city was built around it.

Motto/design philosophy: Letters can be letters, faces and art at large.

Mural of Lebanese singer Fayrouz installed next to the 392rmeil393 art gallery in Gemmayzeh, Beirut.

Fayrouz on Canvas, Part of Yazan’s past show in Courtyard Gallery Dubai in March/April 2014

Biggest influence: Traditional Arabic calligraphers who paint old-school political propaganda banners—I love their talent, but hate their messages.

How you would classify your style: A blend of faces and Arabic calligraphy with a twist.

Design hero: I don’t believe in heroes.

Favorite artist: Leonardo da Vinci.

Favorite writer: A poet, Mahmoud Darwish.

A mural that serves as a tribute to Ali Abdallah, a homeless man that lived on Bliss Street in the Hamra neighborhood of Beirut, 2015.

Favorite typographer: An Iraqi calligrapher called Khalil Al-Zahawi.

What defines you: So far, my perpetual search for identity …

Cause that means the most to you: Making cities reflect the lives of their inhabitants.

Your idea of happiness: People getting possessive over murals I have painted: stealing my cement sculptures from the street, taking out a door that was part of my mural, or asking me to fix a mural that was damaged because the mural is next to their homes.

What you think the future of design is: For Arabic calligraphy at least: being able to express meaning not through the meaning of the word (which can only be understood by Arabic readers) but by the shape and stroke of the letter.

Website: www.facebook.com/yazanone

More work by Yazan Halwani:

Musical calligraphy

“The Arabic Spring, or the Girl and the Calligraphy Flower” in Djerba, Tunisia.

“The Flower Salesman” mural in Dortmund, Germany.

Meet more of PRINT’s New Visual Artists in the Summer 2016 issue of PRINT, or subscribe to get print all year long.

Meet Illustrator & Designer Raphael Geroni

Age: 28.

From: Perkasie, PA.

Current city: Brooklyn.

Education: Tyler School of Art (BFA).

Geroni’s cover for the 2016 PRINT New Visual Artists issue

Earliest creative memory: Making cut-paper portraits of Bert and Ernie from “Sesame Street” when I was 2. I insisted they be hung at my height on the refrigerator and that I be photographed between them, wearing a vest and bow tie, giving a thumbs-up.

Art Nouveau–inspired birth announcement.

Path that led you to design: When I was accepted into Tyler School of Art, I had every intention of becoming a fine artist. I hadn’t realized that many of my interests were graphic design–based or that typography was a thing I could learn more about or do for a living. Growing up, I loved music, and my favorite part of getting a new CD was reading the inserts. I read the small type and saw who designed them, then noticed their work in other places. I valued design very early, and that never went away.

The Gershwins and Me

Career in a nutshell: Growing up in the suburbs, every weekend I traveled with my family, competing as a professional drag racer from age 8 until 18. While dominating the dragstrip, I secretly wanted to become an artist, so I applied to art schools. To pay for my apartment, I worked as a background actor and started a T-shirt business with a friend where we screenprinted out-of-copyright quotes about wine on shirts that got into in Napa, CA. In my at Tyler I worked as the Heads of State’s first intern and designed an exciting typographic project about The Great Gatsby with them. After winning top portfolio and graduating from Tyler, I worked at Headcase Design as a book designer and illustrator for five years. I wanted to focus more on typography and lettering, so I applied for a position with Louise Fili in NYC, and a few short weeks after that, my husband and I packed up our 1,100-square-foot loft to move into an apartment half the size in Brooklyn, with our anxious cat and boxes of irreplaceable books.

Harry Potter: The Complete Series – book cover and package redesign proposals

The key to good design: I’m drawn to people and work that are authentic, personal and sincere.

Motto/design philosophy: “Always be a first-rate version of yourself, not a second-rate version of somebody else.” — Judy Garland to Liza Minnelli

From the official companion book of HBO’s “Game of Thrones” (designed with/art directed by Paul Kepple at Headcase Design).

Work of which you’re most proud: I’m especially proud of The Gershwins and Me. During this project I realized I wanted to do more with historically based typography and that having an interest in the nerdy or obscure could be an asset. It made me want to learn more and truly invest myself in subjects that I can’t get enough of. It also led to my recently completed film title project.

Design hero: Doyald Young. (I have a tattoo of one of my favorite pieces of his, elegant and simply says: “I fuss a lot.”)

Biggest influence: I’m always looking for undiscovered typography and ornament in vintage printed ephemera.

How you would classify your style: Typographically focused, historically inspired and never the same.

Monogram for an investment advisory firm in New York (designed with/art directed by Louise Fili).

Favorite artist: Alex Steinweiss.

Favorite typographer: Mark Simonson.

What defines you: I’m known for being a wearer of dapper hats with color-coordinated feathers, and I usually have a glass of wine in my hand—and if I don’t, I’m certainly looking for one.

Cause that means the most to you: LGBT equality.

Cookbook cover that combines the author’s passions

Your idea of happiness: I would be absolutely thrilled if someone contacted me to create something for them simply because they wanted my personal take on it. It sounds so simple, but that’s it!

What you think the future of design is: I hope it will involve more storytelling rather than the perpetuation of internet memes and “going viral.” I’m hoping things will advance like they did during the “print is dead” phase. Many outside of the print industry bought into that phrase, but those within it rose to the occasion, asserted the value of physical objects, and some of the most exciting print pieces now exist because of it.

Website: www.raphaelgeroni.com

Meet more of PRINT’s New Visual Artists in the Summer 2016 issue of PRINT, or subscribe to get print all year long.

This is the second year we’ve run our New Visual Artists: 15 under 30 in Print. What was for years a tightly edited list of 20 of the best and brightest up-and-coming artists and designers under age 30 working today has become a more in-depth portfolio of 15 of the most interesting, challenging, provocative new voices working in visual communications. Print’s NVAs have managed to make it happen and make it last. The list of past NVAs reads like a veritable who’s-who in graphic design: Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische. While their output is varied both in style and execution, the common denominator is a work ethic of epic proportions.

NVA issue cover by Santiago Carrasquilla

To achieve acclaim so young is certainly enviable. But our history of NVAs and our current crop of up-and-coming artists and young designers proves that design can be both timely and timeless. It will be interesting to see how the 2016 class of New Visual Artists grows and evolves over time as well.

—Debbie Millman

Meet New Visual Artist

Santiago Carrasquilla

Age: 27.

From: Bogotá, Colombia.

Current city: New York City/Los Angeles.

Education: School of Visual Arts.

SHMM by Space People casette design and animation.

Earliest creative memory: When I was about 7 years old, asking my mom to take me to an art supply store to buy a canvas and some paint. I got home and painted a beach scene. I remember the very strong visceral feeling that painting gave me.

Path that led you to design: I always had an affinity for the arts (as most children do). During my childhood I drew a lot, and then in my teenage years I spent most of my time playing music. When I was 17 I fell in love with Malia, who moved to New York. I decided to move too but in order to make that happen I had to make a cover-up plan. Somehow, I decided I would study advertising at the School of Visual Arts. I spent a year at Santa Monica Community College taking all sorts of art classes and building a portfolio to get me into art school. When I arrived to SVA I switched to design and animation and spent four years learning and developing with incredible teachers in a very special city. It was a beautiful time in my life.

Career in a nutshell: I worked at Sagmeister & Walsh for three years and left that to start my own studio and work with my friends.

The key to good design: Good designers.

Limited-edition packaging for typographic films shown as part of the traveling show “The Happy Show” (in collaboration with Sagmeister & Walsh).

Motto/design philosophy: Produce as much work as possible and learn from the process itself. What’s most important is the momentum generated by having done a lot of work and letting it envelop your life. With patience the answers reveal themselves.

Work of which you’re most proud: I particularly like all the work I’ve done with my collaborators and friends Gabriel Garzón-Montano and Joe Hollier. The work we’ve made together is special because it closely mirrors our friendships. When you work with your friends, one word carries much more weight; everything can be more efficient and rich. The work also often becomes a symbol for some of the best memories.

Vinyl design for The Sentence by Zach Cooper

Biggest influence: Nature.

How you would classify your style: I wouldn’t.

Design Hero: Stefan Sagmeister.

Album cover for Alma del Huila by Gabriel Garzón-Montano.

Favorite artist: The list is very long and impossible to narrow down to one. But I would say that Kenny Scharf was a crucial and huge influence during the first few years of my development. My proximity to him and his family allowed me to see the inseparable quality between his life and his art. That fact alone has been a huge guiding star in my own life.

Favorite typographer: Ed Ruscha.

Favorite
writer: Gabriel García Márquez.

What defines you: My friends and family.

Cause that means the most to you: Education.

Biggest fear: Not seeing the core of my fears clearly enough and therefore being blinded and controlled by their side effects.

What you want to accomplish before all is said and done: A full life.

Meet more of PRINT’s New Visual Artists in the Summer 2016 issue of PRINT, or subscribe to get print all year long.

This is the second year we’ve run our New Visual Artists: 15 under 30 in Print. What was for years a tightly edited list of 20 of the best and brightest up-and-coming artists and designers under age 30 working today has become a more in-depth portfolio of 15 of the most interesting, challenging, provocative new voices working in visual communications. Print’s NVAs have managed to make it happen and make it last. The list of past NVAs reads like a veritable who’s-who in graphic design: Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische. While their output is varied both in style and execution, the common denominator is a work ethic of epic proportions.

To achieve acclaim so young is certainly enviable. But our history of NVAs and our current crop of up-and-coming artists and young designers proves that design can be both timely and timeless. It will be interesting to see how the 2016 class of New Visual Artists grows and evolves over time as well.

—Debbie Millman

Meet New Visual Artist Liron Ashkenazi

Age: 26.

From: Israel.

Current city: New York City.

Education: School of Visual Arts (BFA, Design).

Earliest creative memory: As a teenager in school I didn’t do as well as my parents hoped. I had all the potential—or so everyone kept saying—but I was never in the right mindset. Instead, my thoughts would carry me towards spaces and shapes and my notebooks were filled with doodles and poems rather than notes. At the age of 21, I learned that I have ADD. This helped reconcile what had seemed previously like disparate parts of me—I was always drawn to do something, but lacked the means to harness my passions. Instead, I had developed my own methods to feeling fulfilled and self-worthy. The first activity I chose to partake in was photography. The camera gave me a way to express myself at a time in which there was no other way for me to shout to the world, “I am different.”

Path that led you to design: After completing my two-year service in the military, I knew that I needed to continue with the three things that, very quickly, became my biggest passions: composition, typography and motion. So I decided to apply to SVA simply because I knew it was the best, and decided to focus on design and not motion simply because I already had experience in that field.

Career in a nutshell: I can’t say what is going to happen next, but I do know a few things. I was fortunate enough to work very closely to both Jessica Walsh and Stefan Sagmeister at Sagmeister & Walsh throughout this year. The amount of knowledge and creativity I have been exposed to is truly singular. The studio shaped me a lot as a designer. Specifically, my close connection with Jessica, who taught me something new every single day. Next, I am hoping to partner with my husband, Gal Eldar, whom I’ve been with for 10+ years. We are hoping to work as a duo doing experimental web design, installation, motion, print and basically anything creative we feel passionate about.

Motto/design philosophy: Good content, good eye, less rules.

Work of which you’re most proud: My thesis project, “Fuck the Block,” discusses all the aspects of creative block from a helpful standpoint. I begged Jessica Walsh to join me on a journey to the unknown, as my mentor. As the months went by, I slowly found myself in a deep creative block and couldn’t produce anything meaningful. Jessica tried to help me in any way possible. … I realized that the only way I would be able to produce work was to just focus on the only thing I was feeling and living at the time—completely blocked. So I started researching how to resolve the situation that I got myself into. The project consists of six separate visual projects, each reflecting a different side of the block, all trying to find a solution to overcome it or a way to produce despite it. I’ve designed a card game, a few websites, two books, a packaging project, posters, an app, and collected stories and testimonials from other creatives about their experiences dealing with creative block.

What defines you: Passion, curiosity and love.

Cause that means the most to you: Fighting against animal cruelty, supporting animal sanctuary farms; also, helping people understand ADD better, and finding ways to treat children who suffer from it—with art instead of medication. What you want to accomplish before all is said and done: I want to make a change in the world through my art. I hope one day I can open a school that teaches design, conceptual thinking and art to students who aren’t given the chance to excel in conventional educational systems.

What you think the future of design is: More creativity, more technology, more individual talents. Design is becoming important and relevant to everyone in the world, not just designers. I see that continuing to move forward. Interactivity is becoming a key quality of good design, and I love it.

Website: www.lirona.me

Anything else: The amount of creative energy I get from the people around me is massively influential: My friends and family, all of them in their own way or field, are the reason I do what I do.

Meet more of PRINT’s New Visual Artists in the Summer 2016 issue of PRINT, or subscribe to get print all year long.

#newvisualartists

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Featured in This Issue:

“Magical Thinking and Apostasy: A Manifesto” — Why does so much graphic design look the same? Here, the Malcontent thinks deeper about design thinking. Mark Kingsley

“Black Designers: Still Missing in Action?” — The author of a 30-year-old Print article on diversity surveys the industry to see who is designing the solution to a problem that continues to this day. Cheryl D. Holmes-Miller

Related web series:

1. Read Cheryl D. Holmes-Miller’s original article, “Black Designers: Missing in Action,” published in 1987

2. Black and White: A Portfolio of 40 Statements on a Single Theme, originally published in Print in 1969

3. The Black Experience in Graphic Design, originally published in Print in 1968

Also in This Issue:

1. Grids + Guides: Gustavo Piqueira redefines reading. Penguin resurrects Romeo and Juliet. Aaron Draplin reveals Pretty Much Everything.

2. Evolution: Print traces the rise of tabloid headlines that give life to headless bodies in topless bars, bat boys and everything in between. Steven Heller

3. Stereotype: Tired of all the “type crime” talk? It’s time to declare an end to the wasteful War on Type. Paul Shaw

4. Historiography: In 1968, the head of RCA proved he had a bold appreciation for a subject many corporate CEOs disregard: Design. Steven Heller

5. Observer: Is the illustration field primed to get the critical eye and appreciation it deserves? Rick Poynor

6. Design Matters: In Print: By creating a phone that is simply a phone, Joe Hollier proves that less is truly more in our digitally disruptive age. Debbie Millman

7. The Last Word: Lewis Carroll and the final rabbit hole. Seymour Chwast

We are thrilled to announce PRINT’s 2016 New Visual Artists—the 15 best creatives today under 30.

This is the second year we’ve run our New Visual Artists: 15 under 30 in Print. What was for years a tightly edited list of 20 of the best and brightest young designers working today has become a more in-depth portfolio of 15 of the most interesting, challenging, provocative new voices working in visual communications.

What does it mean to receive this type of accolade so young? I wouldn’t know, as it never happened to me. But the advantages are clear: lots of exposure, bigger opportunities, public acclaim. But there, buried beneath the benefits, is a sinister challenge: When you “make it” so young, you have that much more to maintain. Ask any one-hit wonder of the music industry; being “of the moment” is quite a different phenomenon than making work that lasts over time.

Print’s NVAs have managed to make it happen and make it last. The list of past NVAs reads like a veritable who’s-who in graphic design: Scott Dadich, Eddie Opara, Alan Dye, Jessica Walsh, Jessica Hische. While their output is varied both in style and execution, the common denominator is a work ethic of epic proportions.

To achieve acclaim so young is certainly enviable. But our history of NVAs and our current crop of young designers proves that design can be both timely and timeless. It will be interesting to see how the 2016 class of New Visual Artists grows and evolves over time as well.

—Debbie Millman

PRINT 2016 NEW VISUAL ARTISTS

Liron Ashkenazi

Santiago Carrasquilla

Raphael Geroni

Yazan Halwani

Victor Koroma

Adam J. Kurtz

LaMia

Tony Lee Jr.

Jiani Lu

Gemma O’Brien

Eric Rohter

Jeff Scardino

Karishma Sheth

Joseph Veazey

Eva and Marta Yarza

The New Visual Artists are here! In the Summer issue of PRINT, meet our 2015 class of 15 brilliant creatives under 30. These carefully selected designers are on the scene making the most cutting-edge work today—and as many of our previous NVAs, they may go on to become tomorrow’s design leaders. Why not get to know them now?

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In this issue you’ll find:

1. Dangerous Ideas on Design Education: A manifesto by James Victore, who riffs on his ideal vision of education—and proves, once again, why he has been accurately described as “part Darth Vader, part Yoda.”

2. PRINT75: To celebrate Print’s 75th anniversary, we asked 75 of the best creatives working today to design a single word—“print”—in any manner of their choosing. Our latest installment features exclusive new work by Aaron Draplin, Ann Willoughby, Ed Fella, Armin Vit & Bryony Gomez-Palacio, and 15 more.

3. Historiography: Discover how Paul Rand had to master the past to be able to move design into the future with Direction magazine.

4. Interaction: What the fall of Google Glass can teach us about tomorrow’s big tech.

5. Online Exclusive: We asked the experts what user interface technologies, software and/or hardware from science fiction books, movies or television look promising… or downright awful. Read their responses.

6. Stereotype: Nearly 10 years in the making, Hoefler & Co.’s newest font showcases the true power of collaboration.

7. Dilemma: Want to make a difference in the world? As Rule29’s latest project—Wheels4Water—proves, you have a crucial advantage: You’re a designer.

8. Design Matters: Debbie Millman interviews Frank Chimero.

9. Observer: Rick Poynor asks: Are we documenting the design world all wrong?

10. Love Letters: Sean Adams reflects on his hero and friend, Michael Vanderbyl.

11. Into the Archives: Albert Einstein riffs on his embattled artist friend, Josef Scharl.

12. The Last Word: Seymour Chwast documents Archimedes taking one last geometric stand against the Romans.

In case you hadn’t noticed, this issue opens with a cover design by each of the New Visual Artists! Meet all of the NVAs here.

Here’s the subscriber cover by Joey Cofone:

Print is thrilled to reveal our 2015 New Visual Artists.

We’ve been publishing the New Visual Artists issue since 1998. Though the effort is vast, the goal of our annual list is simple: We seek to find the most interesting, challenging and provocative young voices working today. To do so, we research designers from all over the world and exhaustively review their work, both online and off. The results reveal a group of creatives very much of the moment and reflective of the times.

The “20 under 30” chosen every year have amounted to a veritable Who’s Who list in the business of design, and include the likes of Eddie Opara (1998, first class, now a Pentagram partner), Alan Dye (2003, now creative director of Apple), Scott Dadich (2005, now editor-in-chief of Wired), Jessica Hische (2009), Frank Chimero (2010), Jessica Walsh (2011) and Caleb Bennett (2012, of Wired and The New York Times Magazine).

This year we decided to shake things up a bit. First, we reduced the number of inductees to 15 in an effort to provide each artist with more space to showcase their talent. Second, rather than run a brief write-up, we asked the creatives to answer a customized “Proust Questionnaire”—a format designed to shed a degree of intimate light onto the personality and individual viewpoint of a subject, popularized by French literary legend Marcel Proust.

And finally, to go a layer deeper into the visual minds of the artists, for the first time in Print’s 75-year history we challenged each of the 15 NVAs to design an original cover for the magazine. We gave everyone the same specs and an open brief, and declared, “Do whatever you want. Show us how brilliant you are.” The results will be arriving in your mailboxes and on newsstands soon, and we believe this issue represents and celebrates the best young designers working today. Let us know what you think—and don’t forget to nominate next year’s NVAs by emailing us with “NVA” in the subject line. —Debbie Millman

The 2015 NVAs:

Laura Berglund

Ricardo “Buddy” Bojorquez

Ivan Cash

Joey Cofone

Daniel Fishel

Ryan Fitzgibbon

Shane Griffin

Tina Ibañez

Anne Jordan

Anna Laytham

Wael Morcos

Sue Murphy

Isabel Urbina Peña

Alex Proba

Ryan Romanes

For profiles of the NVAs, their brilliant work, and 15 covers designed exclusively for Print, grab a copy of the latest issue. It hits stores July 14, and will be available a
t MyDesignShop.com soon.

Guldig is no stranger to illustration work, as her client lists includes NPR, The New York Times, The Wall Street Journal, among others. As Slagle explains, “We really wanted to work with one of our artists for this cover. Leigh’s illustration style is so unique and striking, we decided she would be the best fit for the project.”

And Guldig was kind enough to let us peer over her shoulder and learn more about how she approached this particular piece of work.

The final April 2014 cover

Can you describe the elements of the cover and the images?

I roughly played around with the concept of artistic development. I considered different tools that represented an artist and how I could use those tools to demonstrate growth and promise. Ultimately, I settled on a paintbrush blooming into a full bouquet of flowers. With my process, the idea comes first, followed by the alignment of that idea with shapes while playing on the positives and negatives within the space or page.

How did you choose this color palette?

I typically scan old color sheets but with this project, I drew inspiration from an old Sears-Roebuck paint sample brochure. Old ephemera gets me every time. The final color palette was inspired by vintage elements.

Print art director, Ronson Slagle adds additional insight:

In the end, I think we were most drawn to the bouquet imagery – which we brought back from last year’s New Visual Artist cover. It avoids the trap of a lot of cliched imagery associated with being young and talented. We might even consider bringing it back again next year and use it as sort of a symbol for the issue.

What was your process in developing the cover? Was this different than your typical approach?

By now, I’ve developed a fairly regimented process. I begin with research and word maps to generate ideas. From there, I sketch a series of rough thumbnails to play with space and shape and to make my concept ideas visual. This is one of my favorite steps of the process — I love discovering new ways to solve visual puzzles. Because my ideas can evolve rapidly, I usually don’t show my thumbnails during the process, but have included it here as an example.

After narrowing down thumbnails, I take at least three ideas to a full sketch. Once a direction is decided, I then take the sketch to a final. This project was particularly fun, because I was really excited to play around with the concept of growing as an artist.

1. Thumbnail: Quick sketch (one of many) to get my ideas out/consider layout2. Sketch: Complete first round of sketches without background elements or value complete assemblage / start line work3. Working sketch: Add value & complete line work4. Final sketch: Incorporate the image with the header and other elements for the final cover, make any necessary layout adjustments5. Final: Complete color, execute back ground

What medium(s) did you use to create the cover?

I used ink, a digital Wacom & pen, scanned textures, old scanned engraved pieces and lines, gauche, and cut paper.

How long did it take you to create this piece?

For my first set of sketches, I submitted three directions. Bringing the idea and assemblage together with line work takes a while, so it took me about 55 hours to create the first round of sketches. I also had several ideas that didn’t work in execution. The final image with type took another 70 hours.

Sketch to final comparison

Do you listen to music while you illustrate? What did you listen to while working on this cover?

Yes– in fact, there are few occasions where it’s not blaring in my studio. Lately, I have been streaming on Spotify — it’s perfect for long nights spent on a project deadline. When I need an extra boost of inspiration, I’ll break out my record player and some of my favorite Motown albums.

What did you enjoy about creating the cover?

Working with the fantastic team at Print was one of the best creative experiences I’ve had. I was so grateful for the freedom and flexibility of this project.

What does it feel like to know that there is an article about you, as an NVA, in the magazine that you’ve also designing the cover for? Is there additional pressure?

I feel so honored to be a part of this. I’ve been a Print fan for years, and I have such great respect for the magazine and its content. There is always pressure with any project, but I just try to enjoy the creative process and focus on making the best piece I can.No, we didn’t pay her to say that. Guldig didn’t disappoint, as Slagle points out, “She really brought something special to this cover. The colors, the way the banner wraps into the flowers, the butterfly – they’re all very unique to her style. Great flourishes on what could have been a tough assignment for an illustrator.”

More About the Leigh GuldigLeigh Guldig is a freelance illustrator who lives in Boston, MA with Bonzo, her grumpy French Bulldog. Her work has appeared in newspapers, magazines, books, packaging and advertising with various clients such as National Public Radio, The New York Times, The Wall Street Journal, AARP, Gap Inc. and more. She received her BS in graphic design from the University of Cincinnati and her MFA in illustration from the Savannah College of Art and Design. See more of her work: www.leighguldig.com and follow her on twitter @leighster.

Additional ResourceDiscover the other New Vi
sual Artists and get your copy of Print’s April issue. Plus, learn more about Seymour Chwast and his process. Don’t miss another issue, subscribe today.

These exceptional professionals hail from countries near and far, working in studio apartments and top design firms. They push boundaries, blur creative lines and prove that “older” doesn’t necessarily mean “better.” These superstars join Jessica Walsh, Frank Chimero and all the other hardworking former NVAs whose projects continue to turn heads. We can’t wait to see what they all do next. Learn even more about this year’s NVAs and their work in the April issue of Print.

Meet (in alphabetical order): Dan Blackman, Kevin Cantrell, Sougwen Chung, Justin Colt, Sam Wolfe Connelly, Taylor Goad, Richard Gray, Leigh Guldig, Joe Hollier, Tran Nguyen, Sebastian Padilla, Sasha Prood, Manik Rathee, Marco “Goran” Romano, Lizzy Showman, Leta Sobierajski, Trey Wadsworth, Julia Yellow, Nathan Yoder and Zipeng Zhu.

Dan Blackman

Age: 29From: Warren, PALives in: New York CityDiscipline & Place of Work: Graphic Designer/Art Director,self-employedEducation: Ringling College ofArt and DesignWebsite: www.danblackman.com Twitter: @danielgblackman

“[Creatively, in 10 years, I hope to be] helping run some kind of firm, startup or design studio—happy and still pushing myself.”

Poster series created for Rivendell Bicycle Works in Walnut Creek, CA, with one poster representing each Rivendell bike.

A promotional poster for DelVal College’s botany program.

Kevin Cantrell

Age: 29From: Scranton, PA (born); Heidelberg, Germany; Johannesburg; Rio Grand doSul, BrazilLives in: Salt Lake CityDiscipline & Place of Work: Art Director/Designer, Hint Creative (by day); Kevin Cantrell Design (by night)Education: Brigham Young UniversityWebsite: www.kevincantrell.comTwitter: @kevinrcantrell

An identity for the Law Office of Matthew Messina. Cantrell’s personal and client work shows off his passion for custom lettering.

“[I’m inspired by] books (fiction and non-fiction), movies (especially period movies), Pinterest, design blogs and nature.”

A personal poster project.

Sougwen Chung

Age: 28From: TorontoLives in: New York CityDiscipline & Place of Work: Multidisciplinary, self-employedEducation: Hyper IslandWebsite: www.sougwen.comTwitter: @sougwen

“My influences are often ‘what’ rather than ‘who.’ I find inspiration in space, time, light, sound and you.”

“Chiaroscuro”; a sculpture called “Exuviae”

A print in a series called “Étude Op. 2: 1-4” that captures themoment before upheaval.

Justin Colt

“I love all my children equally. I couldn’t pick a favorite. Top projects include … work for those who deserve it: friends, family, people who are working really hard on something they believe in.”

Age: 26From: State College, PALives in: New York CityDiscipline & Place of Work: Designer, working forMilton Glaser/Co-Founder,The Collected WorksEducation: Penn State; Designer as Entrepreneur program at
the School of Visual ArtsWebsite: www.justincolt.comTwitter: @justincolt

Design work for Made Here, a web platform for manufacturing and selling products.

Retail design for Converse.

Sam Wolfe Connelly

Age: 25From: Alexandria, VALives in: New York CityDiscipline & Place of Work: Illustrator/Gallery Artist, self-employedEducation: Savannah College of Art and DesignWebsite: www.samwolfeconnelly.comTwitter: @wolfesclothing

“[In 10 years, I hope to be] doing what I do now—creating new things.”

onnelly captures a particular mood in his work, such as in “Envy.”

Connelly created an atmosphere ofintrigue while also maintaining historical accuracy with his“The Great Gatsby” illustrations for The Folio Society.

Taylor Goad

Age: 25From: Durant, OKLives in: PhiladelphiaDiscipline & Place of Work: Designer/Illustrator, Hatch DesignEducation: Oklahoma Christian UniversityWebsite: www.taylorgoad.comTwitter: @taylorbgoad“[My influences are] Scott Hill, Brian Miller, Bill Gardner, Luke Bott, Matt Goad, Mikey Burton, Mauricio Cremer, Ty Wilkins, Christian Helms, Erick Montes, Matt Willey, Brent Couchman and Daniel Kent.”

A contribution to The Everywhere Project representing Goad’s home state of Oklahoma.

A fictional bottle and cap design for North Coast Brewing.

Richard Gray

Age: 24From: Isle of Wight, EnglandLives in: StockholmDiscipline & Place of Work:Graphic Designer/Animator, SnaskEducation: University of PlymouthWebsite: www.snask.com“Between the ages of 20–30, you spend your time figuring out who you are. Between 30–40, you’re trying to prove who you are . So in 10 years, I hope to be proving to people that I’m someone [who] I don’t yet know.”

The papercraft work that Gray completed for The Malmö Festival is among his favorite projects.

Snask organizes the YAY Festival every year. The 2013 visual identity was made by hand and photographed.

Leigh Guldig

Guldig also created the cover for the NVA issue.

Age: 29From: Columbus, OHLives in: BostonDiscipline & Place of Work: Illustrator, working from her own studio in Arlington, MAEducation: University of Cincinnati; Savannah College of Art and DesignWebsite: www.leighguldig.comTwitter: @leighster

“My favorite pieces are the two calendars I recently worked on: National Public Radio and Dellas Graphics Annual Frogfolio.”

An illustration for NPR’s 2014 wall calendar.

Illustration for Orange Coast Magazine

Joe Hollier

“In 10 years, I’d love to be in a position [where] I could make many of my bigger ideas real.”

Age: 23From: Cranford, NJLives in: New York CityDiscipline & Place of Work: Multidisciplinary Artist, self-employedEducation: School of Visual ArtsWebsite: www.joehollier.comTwitter: @fiveonthat

Five on That is Hollier’s skateware company.

Custom patterns for FIve on That.

Tran Nguyen

“My influences are Gustav Klimt, Hayao Miyazaki and James Jean, and I find inspiration in people—and their stories—that I come across every day.”

Age: 26From: Can Tho, VietnamLives in: AtlantaDiscipline & Place of Work: Fine Artist/Illustrator, self-employedEducation: Savannah College of Art and DesignWebsite: www.mynameistran.com

“Wandering Across a Borrowed Belief”

“Wandering Across a Borrowed Belief”

Sebastian Padilla

Age: 29From: Monterrey, MexicoLives in: Mexico CityDiscipline & Place of Work:Graphic Designer/Creative Director, AnagramaEducation: Universidad de MonterreyWebsite: www.anagrama.comTwitter: @antisebastian, @anagramastudio

“Inspiration could come from anywhere: travel, trying out new food, a sports game, the title sequence from a movie, a book, a concert, etc.”

Architecture and interior design for a children’s library and cultural center.

Packaging work for a restaurant called Montero.

Sasha Prood

Age: 29From: PhiladelphiaLives in: New York CityDiscipline & Place of Work: Illustrator/Handletterer/Designer, self-employedEducation: Carnegie Mellon University; Type@Cooper; School of Visual Arts (M.F.A.)Website: www.sashaprood.com

“I find inspiration everywhere … the organization and sense of simplicity found in geometry … everyday ‘mundane’ things that are basic and utilitarian.”

“Geometric Crystals” uses crystallization, liquids and gels.

Hand-drawn “Wired Growing Logo” for Wired U.K.’s masthead.

Manik Rathee

“I follow a lot of incredibly talented designers and developers. Some of my primary influencers [include] Dieter Rams, Louise Fili, Craig Mod, Cameron Moll and Paul Irish.”

Age: 25From: Old Bridge, NJLives in: San FranciscoDiscipline & Place of Work:Designer/DeveloperEducation: Kean UniversityWebsites: www.manikrathee.com, www.fluenceapp.comTwitter: @manikrathee

Rathee h
elped overhaul the donation platform for Obama for America.

Rathee’s design for his personal blog, one of his favorite projects.

Marco “Goran” Romano

“I try to approach every project with confidence. I like the fact that between the [client] and me, there’s harmony.”

Age: 27From: Ugento, ItalyLives in: MilanDiscipline & Place of Work: Illustrator/Letterer, self-employedEducation: ISIA Florence;CFP BauerWebsite: www.goranfactory.comTwitter: @goranfactory

Illustration “En Charrette” represents an expression used in architecture.

“Zen Garden” artwork used in Wired Italy

Lizzy Showman

Age: 28From: SeattleLives in: Splits time between Seattle and NYCDiscipline & Place of Work:Graphic Designer/Creative Director, self-employedEducation: School of Visual Arts; University of WashingtonWebsite: www.lshowman.comTwitter: @lizzyshowman

For the Seattle-based restaurant Evergreens, Showman created the identity and range of collateral, including icons, menus and signage. “The identity is designed from the perspective of a top-down view of a salad bowl, and reflective of the chop-to-order mentality,” she says.

“Every project I created in grad school and at Sagmeister & Walsh was an opportunity to look at the creative process from a different angle, giving me the confidence to pursue my own ventures through design.”

A Capaella, an interactive iPad magazine, combines music with editorial content.

Leta Sobierajski

“Whether designed for personal or promotional uses or for client-based projects, each piece presents a process in which multidisciplinary ideas and approaches lead to unexpected results.”

Age: 25From: Jefferson, NYLives in: New York CityDiscipline & Place of Work:Multidisciplinary Graphic Designer,working from home studioEducation: Purchase CollegeWebsite: www.letasobierajski.netTwitter: @letasobierajski

“24,” a photo illustration project developed solely in camera with paper, wood, paint and fishing wire.

“2013,” a complex Rube Goldberg–esque typographic poster created to celebrate the arrival of the New Year.

Trey Wadsworth

Age: 29From/Lives in: AtlantaDiscipline & Place of Work: Senior Designer, Adult Swim and freelanceEducation: “I owe my education to a few key moments and personal experiences.”Website: www.treywadsworth.com

Two of a series of neon graphics, which acted as branding for Adult Swim and represented each of the network’s shows.

“I have the privilege of working with an amazing group of smart and talented people at Adult Swim. Going to work every day feels like some strange, beautiful dream.”

Design and illustration for the fifth season of Adult Swim’s “Squidbillies”

Julia Yellow

Age: 27From: TaiwanLives in: New York CityDiscipline & Place of Work: Illustrator, self-employedEducation: Savannah College of Art and DesignWebsite: www.juliayellow.com Twitter: @_juliayellow

“Bravery” is meant to be an encouraging piece. ”Never let anyone or anything stop you from pursuing and fulfilling your dream. Leave the comfort zone if you must,” Yellow says.

“In 10 years, I hope to become a well-known illustrator with clients from all over the world.”

The “Holy Cow” postcard design shows her sense of humor.

Nathan Yoder

“I don’t like thinking too hard about what I’m working on, as strange as that may sound. Overanalyzing kills momentum, but concept paves the way for beautiful design.”

Age: 24From: Tulsa, OKLives in: Santa Ana, CADiscipline & Place of Work: Illustrator/Designer, SevenlyEducation: Oklahoma State Institute of TechnologyWebsites: www.nathanyoder.com, www.yondrstudio.comTwitter: @nathanyoder

“Act of Kindness”

“Heroes Around Us” poster

Zipeng Zhu

Age: 23From: Shenzhen, ChinaLives in: New York CityDiscipline & Place of Work:Graphic Designer/Vector Illustrator, Sagmeister & WalshEducation: School of Visual ArtsWebsite: www.zz-is.itTwitter: @zzdesign

nspired by hell itself, Zhu created the branding for Hell’s Kitchen Pizza, and used the “K” to form a military badge in which the negative space creates an arrow pointing to the word “pizza.”

“[I hope] to get into more different industries. I’d love to do more videos, furniture and exhibitions—anything new and fun and challenging.”

Zhu designed imagined branding, including film posters and the logo, which was created from his square alphabet.

An illustration for NPR’s 2014 wall calendar.

After a few years in San Francisco, she took a job at a print and pattern company in New York City, and eventually moved to Savannah to pursue graduate studies in illustration. Today, she rocks a successful editorial illustration career from Boston, and her client list includes everyone from The New York Times and The Wall Street Journal to NPR. If asked to describe her process-driven work, Guldig says, “I make stuff out of stuff” or “I make old things out of new things.”

Age: 29From: Columbus, OHLives in: BostonDiscipline & Place of Work: Illustrator, working from her own studio in Arlington, MAEducation: University of Cincinnati; Savannah College of Art and DesignWebsite: www.leighguldig.comTwitter: @leighster

A new illustration almost always involves the old as she hunts through the tubs of vintage engravings in her studio. While she never uses these images as-is, she may scan in a number of items that she manipulates and pieces together in unexpected ways with imagery she creates. Her final illustration often includes a range of unrecognizable source material: paper scanned in for texture, gouache painting swatches scanned in for color and even vector drawings made to look like old engravings.

One small illustration might require 500 or 600 different layers, and a large illustration might reach as many as 2,000. But in the end, it’s all about the message those countless layers tell when they’re all together. “I’m really interested in playing with visual concepts and how you provide meaning with images,” she says.

Illustration for The New York Times

Guldig also illustrated the cover for the April issue of Print. See even more of Guldig’s work and learn more about the other 2014 New Visual Artists in the magazine.

Illustration for Orange Coast Magazine

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Cover by Leigh Guldig

Web extra: Read more about the cover and take an inside look at Guldig’s process.

FEATURES

New Visual Artists 2014Neatly packed in this issue, you’ll find a window into the portfolios and minds of emerging designers, illustrators and photographers.By Jessica Kuhn, Melissa Mazzoleni, Karli Petrovic & Michelle Taute

DEPARTMENTS

Grids+Guides: The Print Celebrates Design Awards winner explains their standout design; Shadow Type provides plenty of visual treats; a combination pun and clamp holds it all together.

Web Extra: Discover all the Print Celebrates Design Awards winners.

Interview: Future design leaders can make the world a better place. School of Visual Arts’ Cheryl Heller teaches them how.

Evolution: Rabbits have been hopping their way into art for centuries. Find out more about this ubiquitous symbol.

Dialogue: Millions anxiously read the 40 Days of Dating saga as it unfolded online.Timothy Goodman tells Steven Heller what’s still to come.

Observer: A site designed by Pentagram will likely be praised by designers looking to fill their bookshelves. Learn about the challenges in creating must-read lists.

Web Extra: Learn more about Designers & Books with Print’s interview with founder Steven Kroeter.

Stereotype: The late Michael Harvey was an esteemed type designer, lettercarver, author and book jacket designer. Paul Shaw looks back at Harvey’s legacy in letters.

IN BACK

Reviews: Jessica Hische’s Daily Drop Cap blog takes on new literary life in the form of 26 rereleases of classics—the “A” to “Z” Penguin Drop Caps series.

THE Last Word/Interview: Get an exclusive glimpse into the career and work of famed designer and illustrator Seymour Chwast.

The Last Word: James Dean sounds off one final time.