After more than six decades in business, the American snack brand turned to the Manchester studio to revitalise its identity and help it stand out in an increasingly saturated market.

Manchester-based creative agency LOVE has unveiled a vibrant new identity for US snack brand Back to Nature. The work, which includes a packaging portfolio redesign, builds on the company's heritage and laid-back West Coast roots but adds a modern refresh.

Let's face it, anyone familiar with the brand will know it's renowned for remaking classic snacks with better ingredients for those of us who prefer tasty, junk-free options. But if we're honest, it was perhaps looking a little tired. And so LOVE was briefed to revitalise it and achieve all the usual magic: drive consumer awareness among the increased competition and stand out on the shelf.

At its heart, the brand features a refreshed logo inspired by the Californian sunrise – one that includes Back to Nature's iconic leaf as a tribute to its "pioneering role in the natural food movement", with bold and chunky typography leaning into vintage-style sign writing, reminiscent of old-school screen prints. The accompanying colour palette is striking and sits nicely with fresh product photography that gives its packaging a nice jolt – all while reminding us of the taste and quality of the product with features that appeal to new audiences.

There's also a new tagline, 'Tasty Snacks Since Way Back', which definitely implies that some laidback surfer on a beach somewhere uttered those words. This is all successfully paired with a confident, easy-going tone of voice that continues to highlight the brand's rich history in the space while making it more approachable and current. It certainly feels like a clever mix of retro and modern, one that channels that easy-breezy spirit of 1960s California, where Back to Nature was dreamt up over six decades ago.

Interestingly, the packaging overhaul spans over 30 product SKUs, including cookies, crackers, nuts, and granola. It includes a palette of vivid, punchy colours, each chosen for its visual links to the West Coast. One can simply imagine the palm trees, stretches of golden sand and beautiful sunsets and wonder how they sprung to mind. There's also a whole suite of key brand assets to help support the system, such as bold stickers designed to ramp up brand personality.

"I'm so pleased to show this sunny new brand to the world," says Jennifer Jorgensen from Back to Nature. "We set out with huge ambitions, and we've delivered. Not only have our packs got incredible on-shelf standout, but our brand has such depth, too. It's been a long road, but I'm endlessly proud of the work that has been done, and I can't thank LOVE enough for breathing some life back into our beloved brand."

It must be a real "heart in mouth" moment when an established brand undergoes such an overhaul, particularly when it's already considered a sector winner. However, one must never rest on their laurels when so much competition springs up, and consumer habits change. As such, the rebrand for Back to Nature was guided by consumer research, clearly indicating where the market is heading and how it might engage loyal customers and attract new audiences.

"Our greatest strength is taking a brand and understanding its roots, figuring out what makes it authentic, and moving it forward. So, when Jennifer and team approached us with the opportunity to overhaul Back to Nature, we knew we could deliver," says David Palmer from LOVE. "From Manchester to the US, this has been a mammoth effort that has enveloped all corners of the agency, and we're immensely proud of the outcome."

Keir Starmer says the UK can become a leader in AI – but at what price to the artists, illustrators, animators, musicians and writers who have given the country its thriving creative industries?

The Creative Rights in AI Coalition has called on the British government to provide assurances that copyright held by creatives will continue to be protected by law. This follows the unveiling of a plan by the prime minister, Keir Starmer, to turn the UK into an artificial intelligence superpower.

The AI Opportunities Action Plan claims, "…uncertainty around intellectual property (IP) is hindering innovation and undermining our broader ambitions for AI". It recommends following an opt-out approach, which the EU is currently considering.

In response, the Creative Rights in AI Coalition has issued a release stating: "There is no 'uncertainty' in the UK text and data mining regime: it is clear that UK copyright law does not allow text and data mining for commercial purposes without a licence. The only uncertainty is around who has been using the UK's creative crown jewels as training material without permission and how they got hold of it, making transparency provisions vital."

While the PM and his ministers have outlined all sorts of ways in which AI can benefit the health service and boost productivity in various other sectors, the plan has caused a ripple of worry to run through the country's creative industries, which are already feeling the full force of the AI revolution as copyrighted works are used to train generative AI applications without permission or compensation.

Thrown under the bus

Under the government's proposed opt-out system, the assumption will be that any work can be used to train AI models unless the creator opts out. How this can be implemented is unclear, whereas current copyright law is very straightforward. Without transparency from AI companies, artists can't prevent work scraped from the internet from being used.

Writing in the Guardian, Ed Newton-Rex says Labour's plan will throw creatives under the bus. "The only upside to upending copyright law in the manner proposed is attracting a few large, foreign AI companies to set up offices here. These are the companies that have been lobbying the government heavily for this change. They are also, incidentally, some of the companies that have ecstatically welcomed the action plan," he points out.

To add to the confusion, the government is currently in the middle of a consultation on the way forward in AI and copyright, which won't conclude for another six weeks. What will happen if the consultation makes recommendations counter to Recommendation 24 in the government's 50-point plan? Or has that ship already sailed?

Only the corporates will survive

If copyright is turned on its head as the government proposes, Jill Bainbridge, Head of Intellectual Property at law firm Harper James, believes it's the small businesses and independent artists who will suffer most. The logistics of opting out will be more feasible for large creative businesses, which already have legal departments to protect their IP.

"An opt-out system assumes that all material is available for use, which undermines the rights of creators and risks devaluing their work. Striking the right balance between fostering innovation and protecting creators' intellectual property is crucial," says Bainbridge.

Creative Rights in AI Coalition – which includes bodies representing illustrators, writers, photographers, musicians, publishers and more – points out that in a recent survey by Reset Tech and YouGov, 72% of respondents said that AI companies should pay royalties to creatives, and 80% said they should be required to disclose what material their model had been trained upon.

The organisation is calling on creatives to contact their MPs to pressure for a rethink. Details can be found on the organisation's website.

A surprising fact about the LBX model is that its SUV-style "planted" look is partly inspired by the shape of traditional Japanese kagami-mochi rice cakes.

As someone whose first car was a mint green Fiat 500, I've always wanted to feel the confidence that comes with that 'big car energy' on the roads. The problem is that I live in a city with narrow roads and no driveway (and my parallel parking skills are somewhat subpar).

But when I heard about Lexus' LBX model—made with the UK and European markets in mind—I thought it might be the perfect solution to have the best of both worlds. The smallest Lexus yet, the LBX is a self-charging hybrid crossover designed to be accessible and easy to live with.

It's managed to incorporate both contemporary and high-quality cues with a casual feel that isn't intimidating despite having all the latest tech integrated into the driving experience. As a young woman living in the city, I've never really found a car that felt like it was designed with someone like me in mind, so here are a few things that stood out to me about the LBX from a design perspective.

The new generation of Lexus drivers

Lexus' desire with the LBX was to make a car with strong visual appeal for younger, city-smart Europeans who would appreciate having the unmistakable qualities of luxury craftsmanship but still feel at home driving it in jeans and trainers. It would also suit anyone looking to downsize or have a second vehicle, a more dynamic car to fit into their evolving lifestyle.

Chief engineer Kunihiko Endoh says: "Our aim was to challenge the conventional concept of a luxury car. We have thoroughly pursued a driving experience that enables a natural dialogue between the driver and their vehicle and a design that has a refined presence."

If there's one thing that younger generations like, it is having choice and the opportunity for self-expression. After all, a car is probably the second most expensive thing you'll ever own after a property, so you want it to be an extension of yourself.

With the idea of "making luxury personal" in mind, the LBX will be offered in grades that adopt different "Atmosphere" influences through styling details, colours, textures and finishes. If you prefer a Cool look, the LBX interior can be kitted out with a mix of genuine leather and Ultrasuede. In contrast, the Relax theme features semi-aniline leather and intricate saddle tan embroidery.

A car with muscle

If you don't know what I mean by 'big car energy', let me explain through the lens of the LBX exterior design. While the exterior dimensions are more compact than those of any other Lexus, the designers and engineers have still managed to give the car that powerful stance and muscle-tone features that are all part of the traditional SUV look.

From the side, the short overhangs and powerfully flared front and rear wings are clearly visible. According to Lexus, achieving the taut, muscular surfacing around the rear doors proved one of the toughest challenges. However, it is definitely one of the key elements in the car's road presence.

The visual message is that this is a car you can drive with confidence, whether on city streets, exploring country roads or cruising on the motorway. I've done all three in the LBX and felt just as confident on the winding country lanes as I did navigating the narrow city streets. But, of course, looks aren't everything, and the shape of the car also optimises its aerodynamic performance.

Another key feature of the LBX's exterior styling is the reinterpretation of the famous spindle grille on the front, essentially giving the car a 'new face'. The spindle grille – a signature feature of every Lexus model for over a decade – has been rethought as a smaller, unified and frameless unit that blends into the bodywork.

And, if you're looking for an element of surprise, its SUV-style "planted" look is in part inspired by the shape of traditional Japanese kagami-mochi rice cakes, exemplifying how Lexus references heritage aesthetics in its contemporary designs.

The tazuna concept

One thing that sometimes worries me about modern cars is having too much tech in the cabin. I found the digital integrations in the LBX interiors to be quite unobtrusive, and some really help keep your eyes on the road.

The Lexus LBX's head-up display (HUD) is a transparent screen that projects important driving information onto the windshield, directly in the driver's field of vision. I've never experienced this before in a car and was pleasantly surprised. You also get a little telling off if the car detects that you're looking away from the road for too long (you'll soon kick that habit).

Similarly, the whole interior is centred around driver engagement, with a focused driver's cockpit based on Lexus's tazuna concept. Inspired by a rider's precise use of the reins to control a horse (the meaning of tazuna in Japanese), controls and information sources are arranged so that only small movements of hand and eye are required for operation.

The overall environment of the cabin is light, open, and uncluttered - not something you might expect in a smaller model - with an instrument panel that wraps around smoothly into the door panels.

The sounds of silence

Now, we're going to go a bit technical but stay with me. The LBX boasts Lexus' new powertrain, self-charging 1.5-litre hybrid system, which helps deliver low-speed agility that's well-suited to the demands of urban driving. As well as this, a new bi-polar nickel-metal hydride hybrid battery has been integrated to provide greater responsiveness from this smaller and lighter package, while extensive measures have been taken to address road noise and vibration.

You really can't underestimate the difference that a quiet cabin makes. After all, what's the point in having a beautiful, relaxing and seamless design if the experience is just going to be polluted with noise? It really is the cherry on top of the whole driving experience.

So, has the LBX challenged the status quo and redefined what a small car can offer through design? A resounding yes. It's nice to have some new blood in the Lexus portfolio that feels energising and expands the brand's reach and profile.

The Takumi spirit is a philosophy of excellence and attention to detail that drives the design and development of all Lexus vehicles. You can definitely see strong evidence of this thinking in every touchpoint of the LBX.

Senior Designer at Nike Global Brand Design Retail Yenny Zhang takes us through her education and career so far, revealing the best bits and the challenges she faced along the way.

As a child, Yenny Zhang was always into drawing and calligraphy, using it as a tool to help her stay calm and focused. It was in middle school (that's early secondary school years to us in the UK) that she decided to pursue art and design more seriously.

Zhang also remembers that her passion for spatial design was sparked during high school. She attended summer courses at Parsons School of Design in New York and the Rhode Island School of Design, where she explored drawing and furniture design.

"That's when I discovered the joy of creating three-dimensional spaces and decided to make design my career," she says.

Later in her education, Zhang moved out to Pasadena, California, to study Environmental Design at ArtCenter College of Design. She says: "One of my favourite aspects of studying there was how the program encouraged us to think beyond architectural aesthetics and focus on storytelling and spatial experience.

"I loved the hands-on projects and collaborative environment, where I could bring ideas to life." One of her biggest challenges, though, was time management (anyone who's completed a demanding university degree can relate). From rigorous coursework and internships to fitting in personal freelance work, Zhang gave 110% to excel, describing it as "tough but rewarding".

She adds: "I also had to push myself to step out of my comfort zone, constantly learning new tools and ways of thinking to stay ahead in such a competitive program."

While she was still in school, Zhang interned at the Nike headquarters and media company Complex. During this time, her key focus was to build a strong portfolio and connect with industry professionals who might help further her career.

After graduating, Zhang continued working for Nike, leveraging those connections and building on her understanding of the brand. "The internship provided a great foundation, and I was lucky to transition into a full-time role there," she says.

In just four years, Zhang progressed from intern to senior designer, which is no easy feat. She describes it as "an intense and fulfilling journey" and credits her success to her ability to adapt and take initiative.

"At Nike, I quickly learned to balance creativity with strategy, collaborating across teams to bring fresh ideas to life," says Zhang. Some of the most challenging projects she worked on were campaigns for the World Cup and Air Max Day, which pushed her even further to deliver work at a high level.

She explains how "consistently seeking feedback and staying curious" helped her refine her skills and stand out among her peers. "I made sure to show that I wasn't just a designer—I was someone who could think strategically and add value to the brand," Zhang adds.

Speaking on her approach and what makes it unique, Zhang believes that her storytelling is what sets her apart. "I don't just think about the visual or functional aspects of a space; I always ask, 'What's the story here? What feeling should people take away?'."

Not only this, but her love for trend culture and spatial storytelling often leads her to create immersive, emotional experiences that resonate with users. In her view, this mindset helps her design spaces that are "more than just visually appealing" and can connect on a deeper level.

"One of the earliest key moments for me was attending ComplexCon," says Zhang. "It was such an amazing experience; seeing famous artists and designers standing proudly in their brand spaces, introducing their products, was incredibly inspiring."

There was everything from people creating graffiti, skateboarding, and dancing to "a living, breathing celebration of creativity and culture," according to Zhang. She says: "The vibe was unbeatable—I felt like I was stepping into these uniquely crafted brand worlds, each with its own strong personality."

Experiencing something so immersive and captivating is what inspired her to use compelling brand stories to design spaces while being just as dynamic and fun.

Landing her internship at Nike was undoubtedly another key moment in Zhang's career. She explains how it completely altered her perspective, showing her "the scale and impact of working with a global brand". Zhang recognises her work on the Pegasus 41 campaign as a career-defining moment.

"It was a project that challenged me to think on a larger scale while still paying attention to the smaller details on execution," she says, adding, "These experiences have shaped not just my career but also the way I approach design."

Zhang also named Pegasus 41 one of her favourite projects, as she had the opportunity to blend the dynamic energy of running with immersive storytelling.

As far as other favourite projects go, the 2022 World Cup campaign is a clear standout. "The energy and playfulness surrounding it were incredible, and seeing the space come to life with bold, inspiring visuals was unforgettable," she says.

"Both projects pushed me creatively and involved incredible collaboration with the team, making them not just rewarding but truly memorable highlights."

Though Zhang has clearly had a dynamic and exciting career so far, it has not been without its challenges. Like many others in the industry, she has struggled with balancing workload and staying inspired and creative.

She says: "I think this is something every designer can relate to - when we're constantly producing ideas and delivering designs on time, we're outputting so much.

"At the same time, we need to stay connected to inspiration, like exploring new trends, learning from others, and seeing all the amazing things creative people around the world are doing."

Her tip to all who experience these difficulties is to take time to step back and take breaks regularly. "It's so important to give our brain time to reset and recharge, so I make it a point to carve out time for learning, whether exploring other people's work, attending events, or meeting new friends in the creative industry," she explains.

"Those moments of input keep me energised and ready for the next creative challenge."

Zhang definitely plans to continue pushing the boundaries of spatial design and storytelling. Right now, she is really enjoying working in-house at Nike. She says, "It's such a creative and innovative brand, full of youthful energy and a rebellious spirit that resonates perfectly with my personality.

"Starting as a design intern, Nike gave me my first job and introduced me to the industry standards, shaping me into the designer I am today."

Looking ahead, Zhang's goal is to become a well-rounded creative professional who seamlessly blends branding, spatial design, art direction, and technology.

"Whether I stay in-house, move to a studio, or eventually start my own business, I want to keep evolving as a designer and crafting stories that leave a lasting impact."

Mott's Clamato Caesar is a legacy brand that has barely changed for decades, but its new identity has found a way of reinforcing its heritage with a modern and desirable touch.

Montreal and LA-based studio Wedge has been behind the brand evolution of Mott's Clamato Caesar, "Canada's Cocktail", since 1969. If you're not a local, think of this drink as the Canadian Bloody Mary - the cocktail you always saw your parents enjoying growing up at every BBQ, holiday party and brunch special.

After its successful modernisation of Canada Dry, the Keurig Dr Pepper team brought Wedge on to refresh Mott's Clamato Caesar, another icon in its portfolio awaiting revival. Appealing to a new generation of cocktail lovers was central to the brief and - with the rollout of new flavours from Pickled Bean to Lime and Extra Spicy - the identity needed to support Mott's ambition to go beyond the classic original cocktail and expand the expression.

Having already achieved great results for the client, Wedge was confident that they would work well with the internal creatives. "A strong relationship is mutually collaborative, never dictatorial, where solutions come with strategic rationales, thinking is shared, and curious questions are asked," says Wedge founder and chief design officer Justin Lortie. "The Mott's team behind this one deserves a round of applause."

In Canada, there are polarizing opinions on the Caesar cocktail; people love it or hate it. When Wedge conducted ethnographic studies across the country, it quickly became clear that flavour was at the heart of why people love drinking Caesars, including the new generation.

In homage to its distinctive taste, the brand platform, 'Bring on the Flavour', informed the strategic narrative and visual world.

Competitor analysis also revealed that there are few similar options out there, aside from more "craft cocktails" and less accessible offerings. Instead, Wedge turned to the food category for inspiration, tapping into a world of flavours to express Clamato's unique portfolio of taste offerings: Spicy, Salty, Savory, Zesty, Peppery, Fiery, Umami, Limey, Tangy, Briny, etc.

"It's a rich universe that allowed us to not only evolve the brand world but add more richness to it, standing out from the category with the permission to own a bold, tasty and personality-filled universe," says Lortie.

Heritage will always have its place in a brand as iconic as Clamato, but its identity has gone unchanged for decades and started to become a little bit dated. To reach the new generation and solidify its reputation as "Canada's Cocktail", it needed a boost in perception, relevancy, and desire, and so Wedge refreshed the brand holistically across the full experience.

According to Lortie, the most important asset the brand has carried over the years is the classic and iconic Caesar cocktail image. He says: "There's a researched effect they call 'the Caesar effect' — when you see one, you want one.

"We embraced the glass but modernised it, knowing it had to play a central role and, beyond this, other key assets were honoured to maintain strong brand recognition, including the navy brand colour, the "Caesar" script, and the Mott's logo."

While the iconic Mott's Clamato Caesar glass is central to the brand's identity, Lortie reveals that it was also the most challenging to solve. The studio had to consider everything from the choice of glass shape and garnishes to the way it looks on the packaging. The solution was a 3D iteration, which allows for a seamless adaptation across all flavours and more flexibility in its integration across packaging.

From a production point of view, printing the glass artwork on aluminium cans with only six spot colours added another layer of complexity. "Achieving the equivalent vibrancy of a full CMYK process required meticulous colour separation," says Lortie.

"Keep in mind most of the spot colours need to be the brand's base colours, so you're truly left with one last colour to pick to bring the mix together."

After multiple rounds of testing, the design team got to the desired result.

Graphic refinements began with a custom-drawn wordmark, designed to feel timeless, bold, and elevated while honouring the namesake's iconic status and carrying the brand into the future. The wordmark lives free of the badge throughout the brand world, standing on its own for greater flexibility. The broader visual system was then simplified, with certain elements being streamlined for a more modern, impactful look.

Lortie says, "To infuse character and personality, we introduced a new brand font, Goudy Bold, with a quirky meets classic persona.

"This choice brings both a bold and fun tone to the system, with all the quirks you can find in the letters that are quite unusual, as seen in the wave in the x or the uppercase A, for example."

Charm and personality are further reinforced through the verbal identity, which always seeks to amplify 'what it tastes like' with strong use of colourful, flavour-focused adjectives. "Think of Mott's Clamato Caesar as the dinner party host, making everyone feel welcome at the table, great food, great drinks (always topped up), lively music, engaging conversation, and laughs," says Lortie.

Wedge's scope of work also encompassed Mott's Clamato Caesar packaging across its diverse portfolio, from its alcoholic RTD and non-alc to its variety of formats and multiple flavours. Lortie notes how the design team ensured that the brand as a whole would be consistent across all applications but expressed a particular fondness for the boxes.

He says, "They play a pivotal role in retail as the main touchpoint, a billboard. We were able to bring strikingly bold brand impact in this setting. When stacked in a store, the repetition creates a brand moment."

The entire library of the type foundry is used across the book, highlighting the best and worst musical double acts over the years.

If you're a music enthusiast and a type geek, you'll know that finding a book to satisfy those two interests would be quite the challenge. Well, look no further! Transatlantic type foundry Commercial Type's latest launch, Double Acts in Pop, is the answer to your prayers.

Described as a "272-page visual journey meets 1,652-word essay", the book features Commercial Type's entire catalogue of typefaces (60+ families). Designed by Chris Wu, edited by writer Caren Litherland, and printed by Conti Tipocolor, Florence, Double Acts in Pop is obviously visually stunning, but it is meant to be read as much as admired.

For the book, Commercial Type co-founders Paul Barnes and Christian Schwartz partnered with MTV podcaster and Pitchfork writer Molly Lambert to explore enduring musical duos, fleeting collaborations, and side project partnerships within bands. Think Wham!, Simon & Garfunkel, Lennon and McCartney, and the list goes on.

Lambert reveals the creative peaks, feuds, and hilarious pettiness of some of her favourite and most hated musical duos – all through the typefaces of one of the most prolific type design duos to date.

The double act in type design

Barens and Schwartz have worked together since 2003, when they were paired up to draw a new set of typefaces for The Guardian. "We knew each other a bit before but quickly bonded over shared interests, especially pop music," Schwartz reveals.

"When we've done lecture tours, Paul always comments on how we're 'the best as a double act,' so making a book about double acts in pop music seemed like an obvious idea to us."

Schwartz reveals that some of his favourite double acts mentioned in the book are Pet Shop Boys, Wham!, and Sparks. He says: "You've got the more gregarious member of the pair, with the quieter one amused in the background - I like that dynamic.

"Paul can't stand Eurythmics and wanted to leave them out; Molly hates Paul Simon but wrote about Simon & Garfunkel anyway, and I really don't like Steely Dan, but the way Chris used Seance and Blanchard together more than makes up for it."

Despite the more fun aspect of the project, the type design duo didn't lose sight of the fact that explaining to music audiences that the book is also a type specimen and explaining to design audiences that it's also a music book (that you can actually read cover to cover) would be a big part of the challenge. "It's always been important to us that our type specimens can be read in addition to being looked at," says Schwartz.

He believes that, while Pangrams have their place, they're "not very interested in grumpy wizards, brown foxes, and liquor jugs". Instead, they prefer to judge the character of a typeface when looking at real text.

Finding the right approach

Early on, the idea was to use a line or two from each Billboard #1 song, starting with "West End Girls" by Pet Shop Boys in 1986 and running through the '90s and '00s. However, Schwartz says this quickly turned out to be "unwieldy", especially for text faces that longer chunks of copy would better serve.

Instead, they commissioned one 13,000-word essay, making the book much stronger and easier to follow. Schwartz adds, "I know it was tricky for Chris to figure out the overall rhythm of the book, maintaining the right level of energy across 242 pages without it feeling too choppy and frenetic.

"Perhaps the biggest challenge of all was the anticipation while the books shipped from the printer in Italy to our office in New York when all we could do was wait!"

A dream team

In Barens and Schwartz's view, Chris Wu at Wkshps was the first and only choice to design the book. "He's a great designer who does work we love, and we've worked together enough to know he would be able to take our vague but ambitious ideas and synthesize them into something wonderful," Schwartz explains.

In some ways, their relationship with Wu is somewhat unconventional, as they've taken turns being on the client side. Commercial Type has previously hired him and his team to design posters, ads, and its previous website. At the same time, he has commissioned custom typefaces and licensed fonts from the foundry for identity, exhibition, and book projects.

Commercial Type also has a history with the book's editor, Caren Litherland, and has worked with her on commissioning and editing text from various writers for two online type specimens: The Food Issue and 'Static Screen'. Schwartz says, "Caren and I bounced ideas back and forth about who should write the essay that would form the backbone of the book, and Molly Lambert was at the top of both of our lists.

"We were drawn to her freewheeling style, thinking it could perfectly thread together the wildly varying layouts of the specimen."

When designing the book, the foundry wanted a compact format that felt comfortable to hold. This format facilitates both sitting back and reading the book and flipping through quickly to browse the typefaces. Commercial Type's whole library is represented in the book: all its releases, all of the Commercial Classics, and much of its Vault.

Schwartz describes the cover as "deceptively simple, not giving a hint of the chaos to come". He adds that Wu designed each spread individually, making the book feel like" quite a journey from beginning to end".

Tactility over tech

"Our last comprehensive printed type specimen was in 2014, so considering how our library has grown over the past decade, we felt like it was time for the next one," says Schwartz. A huge ambition for the book was to give people the opportunity to browse the whole library through a tactile experience.

Schwartz explains: "Foundry websites have taken on the role that specimen books used to play for graphic designers, letting them get a taste of different typefaces to help choose which one would best fit any given project.

"Websites do this better than a book ever could, but, on the other hand, it's a little harder to flip through and find a typeface by chance on a foundry site than it is in a book, so we really wanted to lean into that gap."

The new identity centres on an updated wordmark inspired by the founder's classic trucker hat and an evolution of the iconic blue and yellow colour palette.

For the first time in 20 years, Walmart has thoroughly refreshed its brand identity to demonstrate its position as a people-led, tech-powered omnichannel retailer.

Though we now recognise it as a global supermarket giant, Walmart started out in Bentonville, Arkansas, in 1951 with the same goal that it has today: to help people save money and live better. While this core sentiment remains, its brand identity has evolved to more accurately reflect what the retailer offers today, from affordable prices to digital and health services.

Rooted in the legacy of founder Sam Walton, the contemporary updates seek to show how Walmart continues to evolve for our customers while staying true to its founding principles. Building credibility and connection was one of the main goals of the identity, as it was better to communicate Walmart's convenient digital-first services and position it as a more modern, culturally dynamic brand.

Walmart's updated wordmark is inspired by Sam Walton's classic trucker hat, which has been brought to life with a modern, custom font designed to differentiate Walmart from the crowd. The spark graphic is another asset optimised to convey Walmart's energy and act as a beacon that guides customers through all facets of the Walmart experience.

True blue and Spark Yellow are the hero hues in the colour palette, leaning on the retailer's most recognisable tones and its heritage of blue while ushering in new updates to keep the brand fresh.

For the overall tone, Walmart wanted to come across as relatable, approachable, and representative of the millions of customers who shop there, whether conveyed through its brand voice, illustrations, or photography.

Walmart U.S. senior vice president and chief marketing officer William White says, "While the look and feel of our brand are more contemporary, our refreshed brand identity reflects Walmart's enduring commitment to Sam's principles and serving our customers however they need us. As our customers evolve, we will, too.

"Our Walmart will always be their Walmart, and our brand will always be a testament to how we innovate and change alongside them."

The redesign speaks to how heritage and innovation can coexist and also aims to save its customers and members time while enabling people to be healthier, build their wealth and strengthen communities and the planet.

"Walmart aims to be an inspirational, digital retailer that provides all the products, brands and services our customers need and want," says White. "This update, rooted in the legacy of our founder, Sam Walton, demonstrates our evolving capabilities and longstanding commitment to serve our customers of today and tomorrow."

Walmart will apply the refreshed brand across various channels and customer touchpoints, from its website and app to its stores and new Home Office, which will open in Bentonville, Arkansas, in January 2025.

The rollout in physical stores began in October 2024 in Springdale, Arkansas, and the remaining stores will continue to be redesigned over time. The brand will also officially launch on Walmart.com, the Walmart app, across marketing campaign assets, and the corporate site in January, with the remainder of Walmart's assets rolling out throughout the year.

Islington Squares transformational rebrand seeks to attract people to the site through bold motion graphics and a welcoming tone of voice.

Campbell Hay has developed a new identity for Islington Square, establishing it as a new London retail destination that brings energy and life to the area.

While Islington Square's original brand focused on residential sales, this new iteration aims to capture its transformation. It needed to transition from a property-led brand to one that champions place and experience, speaking to a wider audience and showcasing the vibrant lifestyle and cultural experiences that define it.

The studio has a longstanding relationship with Islington Square and has been working with them for over a decade. Campbell Hay's design team has worked on everything from the initial marketing suite, placemaking strategy and initiatives to their latest rebrand.

"We understand the brand, where it all started and where to move next," says the studio's design director, Wai Ming Ng.

In fact, Campbell Hay actually proposed the rebrand as they understood that the initial branding needed to adapt for the next phase of Islington Square.

As mentioned, the mixed-use development initially focused on residential sales in its first phase. However, with most of the apartments now sold, the focus has shifted to promoting the site and its offerings.

"The new place brand is tailored to the consumer and promotes Islington Square as a destination," says Ng. "We have not retained any original assets besides the brand name."

After conducting competitor analysis and research, Campbell Hay knew that the new brand for Islington Square had to be intriguing. Ng explains that they wanted to create "a sense of discovery in order to captivate and draw people to the site".

He says: "We wanted a brand that felt bespoke and dynamic to reflect the independent offering of Islington Square."

Since most of the marketing and promotion happen online, it made sense to design a suite of animated brand visuals that could evolve over time, creating a renewable sense of intrigue. "The various animated 3D arches are specifically designed to help promote on-site placemaking initiatives and are different each time depending on the actual event," according to Ng.

On the design thinking and process, senior designer Carolyn Ang says the main key graphic assets were inspired by the location itself, particularly the two big Edwardian-style arches through which you enter the site. Ang says, "Throughout the years, we have dressed these arches to help promote various on-site events and activities.

"We have built on this further by incorporating them as a key visual asset of the new brand."

For the verbal identity, Campbell Hay sought out words and phrases that were inviting, active, and encouraging to bring people to the site, such as Visit, Discover, and Explore (Islington Square). "We have created a visual system that would allow us to expand on these and form sentences such as 'Discover (world-class dining experiences) Islington Square' and 'Explore (London's new favourite retail destination) Islington Square'," Ang adds.

Ultimately, the new Islington Square brand is defined by bold brand graphics, colours, and expressive motion design, positioning it as the beating heart of the neighbourhood.

Breadstall's disruptive identity firmly places it in the subcategory of new-wave pizza restaurants emerging across the capital, but its bakery-style brand differentiates it even further.

If you're a Londoner, you'll definitely have heard of Breadstall, one of the most popular food vans in south-west London. Since 2008, queues have formed along Northcote Road full of people eager for a slice of their twice-baked, slow-fermented biga dough pizzas.

Biga is an Italian pre-ferment, or yeast starter, used to make bread and pizza dough. It results in a more complex, slightly nutty flavour and light, open texture, which helps with consistency. So yes, it's a really great pizza that's worth the wait.

The brains behind this Biga creation—Honest Burgers co-founder Dorian Waite and baker Sebastian Vince—aspired to turn their pizza van into a brand that could compete in the crowded Quick Service Restaurant (QSR) sector. London-based design agency Without was brought on board to prepare the identity for moving from single-site retail into one of London's most crowded sectors.

Since the sector is saturated with trippy pizza dudes, US East Coast nostalgia, and recreations of Napoli, Without wanted to recreate the open, welcoming feel of a bakery for Breadstall's first city-centre site on Berwick St, London. Its new identity seeks to highlight its point of difference, repositioning its team from pizza makers to pizza bakers who are part of a new wave of British pizza restaurants coming to the high street.

"We'd been looking for a robust high street food concept to work on, as some of our favourite projects have been progressive food brands, and this sector had understandably stalled following the pandemic," says Without design director Jonathan Jarvis. The rest of the design team only had to try Breadstall's pizza to be convinced that it had potential.

While Breadstall has been around for 16 years, the van was just a vehicle for the product, so its visual identity had minimal assets. Jarvis says, "We were tasked with creating a brand that would help Breadstall grow, starting with the first restaurant on Berwick Street."

You only have to walk the streets of Soho to realise how big the pizza sector in London actually is. Without's ambition for Breadstall was to put it up there with the likes of Crisp (a pizza restaurant in a pub) and Yard Sale, two viral pizza joints that are known for creating the 'mongrel' of pizza by taking the best practices and styles and combining them to make something new.

However, the studio wanted to take it even further when it came to differentiating them, doubling down on Breadstall's methodical approach to a great product and repositioning them from pizza makers to pizza bakers.

"We leant heavily into the meticulous world of the baker, taking inspiration from the visual language of flour mills, bakeries and craft," Jarvis reveals.

Jarvis remembers co-founder Vince being adamant about the idea of "one thing done well" when it comes to pizza, and so Without took inspiration from this line of thinking for the graphics. "We created a new 'biga' logo that is bold, confident, and straight-talking with a monogram to match," says Jarvis.

He adds, "The grotesque powerhouse that is Caslon Doric is used for the confident typography throughout and is a beautiful blend of function and character".

A series of simple shape illustrations inspired by the product and how it's served—by the quarter, half, or whole—are also used across the brand. Jarvis explains that they are "a versatile tool for telling the core story" that can elevate comms in a bold, recognisable way.

On the verbal identity, Jarvis describes Breadstall's tone of voice as "'floury', not 'flowery'" and as "direct, human and functional, just like a baker."

He says, "Distilling a brand's charm that originates from a food van and translating that essence into a bricks-and-mortar space is always going to be hard.

"With such a devoted fan base, you want to do it justice and ensure it still feels as great as the original."

The result is a restaurant that replicates the openness and transparency of the original van.

As the world faces existential crises and the codes of success falter, witchcraft offers more than a nostalgic aesthetic—it's a call to rethink brands, creativity, and connection. Holly Kielty explores how.

Witchcraft. It's a word that's had a visible, powerful rebrand throughout the ages, going from a byword for healing in ancient times to being branded as evil during the witch hunts and now representing positive spirituality and feminine energy. Looking beyond the Wicked merch, this aesthetic can be seen everywhere from Primark to TikTok (or WitchTok, if you prefer), but I'm not sure it's just a 'trend'.

As society is entrenched in fear, the planet is on fire, and the codes of 'business success' come increasingly unstuck, I believe we're at a pivot point where we can look to witchcraft to guide us as brands, creatives and thinkers. Maybe it could even change behaviours and systems to create a commercial world that's more magical, more truly connected and more readied for the future.

Thinking about the notion of spirit, this can mean whatever you want it to – be it God, the Universe or just a general guiding force that's not your CEO. Similarly, masculine and feminine energies are not owned by their respective genders. They are simply modes that differ and can exist in both men and women.

Find your brand's spiritual soul

Too often, brands are relentlessly focused on growth and profits, with little thought for the world beyond. Even 'brand purpose' is starting to feel more like a soulless gesture fuelled by external pressures than a heart-led intention. It's my belief that many brands require a re-evaluation of their motivations and internal drivers, starting with rethinking the brand compass or its equivalent, giving space for more soulfulness, intention and the natural world.

Analysing what truly motivates a brand's reason for being – like the witch, thinking about lineage and legacy, atmosphere, moral focus, energy, and the resulting emotional resonance - means it will act more authentically, appealing to an audience that wants to be in conversation with rather than subject to the brands they buy from.

As people look more towards the spiritual in times of uncertainty (sales of crystals are rising astronomically, excuse the pun) where organised religion is predominantly absent, brands must do the same to prove they can bridge the gap between the modern, secular world and the natural, ancient one. Brands need to act as healers, conduits, antidotes and comforters amidst the fear and overwhelm we feel.

Spells, not spreadsheets

Taking cues from the instinctual creative thinking of the witch sisterhood, we need to rethink our spreadsheets, campaign calendars and marketing plans in favour of a more intuitive approach, one focused more on behaviours and energies than box-ticking.

With Gen Z craving more immersive and emotional thinking, brands must leave room for mystery, surprise and coincidence, acting as provocateurs and creatrixes. We could even call it a conjuring – bringing brands to life with more opportunistic energy and, dare I say, wildness.

More brands are leaving room for the unexpected and the magical. Think back to Mango's in-store cosmology evenings last year and Charlotte Tilbury's emotion-led fragrance range launch. Consumers crave more sensorial, instinctive and memorable brand experiences like this in a world dominated by the digital and the coded.

Embrace the divine feminine

Historically, branding has been firmly rooted in the masculine. Even the terminology of a brand's foundations (targets, missions, aims) can feel warlike and bullish, failing to offer us real fulfilment. Instead, it's caused damage to our planet, lowering our self-esteem and fuelling the uglier aspects of our society.

On the other hand, we're entering an era when the divine feminine will rise and retake its space within society. There should be more emphasis on the communal, knowing, and untethered aspects of our souls and on nurture and protection. Every brand needs to reflect that—from its foundation to its expressions.

Brands that create space for people's lives and minds will tap into people's need for human connection and collaboration. For example, beauty brand Fluff positions its products as emotionally intelligent with blush shade names like 'nervous' and 'shy'. Any brand that adds more of the sensorial and mindful will resonate.

Ask yourself how your brand could collaborate with healers, therapists, neurologists or community groups or create ranges that suit natural cycles and seasons as well as taste profiles. Then reframe your company's aims and performance measures – how can your culture foster a more feminine energy? After all, individualism, aggression and dominant masculinity have run their course; it's time for a more nurturing, intuitive and communicative power to rise.

Rites and Rituals

A fundamental part of a witch's existence is leaning into rituals through a spiritual calendar. Today, war, destruction and division have only highlighted our human need for a sense of control through rituals and predictability. Even Covid triggered a turn toward prayer, spells, and new kinds of fan-ship. Rituals have even been proven to lower cortisol levels, so, as in any spiritual framework, communal and personal rituals should be at the front of every brand's mind.

Rituals can be integrated into internal daily practices, like sharing knowledge or gathering daily for food, or instilled into your product or service through your pack opening ritual, an inviting loyalty scheme or how you manifest your physical retail experience, for example. Ritualising your brand positions it as a supportive and mindful presence in our lives rather than just an 'add-on', giving it more resonance and longevity.

Make more magic

With the emergence of AI, the metaverse, and other technologies, things can feel threatening and 'other-worldly'. Let's learn from that other-worldliness, as we did with the emergence of space travel and the invention of the computer, and, like our witch ancestors, let's foster our own ACTUAL human creative magic more avidly.

We can still recognise the magic and wizardry of AI as both master and apprentice, employing it for good while leaving room for ourselves rather than bypassing our own mystical, innate authenticity and power. Witchery is a craft, after all – and a reversion to the irreplaceable facets of our artistry – and is defined by deep thinking, hands-on making and immersive creativity, which will help us navigate this new age.

Soul and storytelling over 'stuff'

It's time to choose what relics, artefacts, and talismans we truly use, connect to, and need. As we become more conscious of our consumerist burden on the planet, we will be forced to recognise that a more mindful approach to purchasing is the better choice.

Melanie Rickey's 'Enoughness' movement exemplifies this less accumulative attitude, urging us to find our 'just right' when it comes to what we use, own and consume. Alongside this, I think we'll see a new affection for a product's tactility, brands with more naturality built in, and a love for things that foster human connection, compassion and emotional health. Jewellery maker Alighieri is a great example, making pieces with an emphasis on storytelling to act as talismans rather than simply accessories.

Convene with nature

From wars to the wonder of invention and evolution, nature has witnessed it all. The witch knows that nature is a constant; it won't be governed but must be embraced and adored. Considering the climate crisis, we must strive to be more adaptive and self-reflective as a species and a consumerist society, learning that true harmony comes from behaving with consciousness, awareness and intention.

That's the witch's way: acting in communion with Earth, following its cycle, and connecting with its power. This is already evident in a new wave of brands; Clif, makers of the energy bar, have an ethos of 'think like a tree', while Rebel Energy donates to restorative projects that will repair the Earth with every customer it gains.

Instead of focusing on 'survival of the fittest' in a commercial sense—defeating competitors by being bigger, louder, stronger—let's follow nature's example, being both resilient and flexible and fitting into new contexts. Brand values must also fully acknowledge nature, putting the planet at the heart and soul of every business's behaviour, foundations, and aims.

The bottom line

Having written all of the above, I'm completely aware that in a recession and a brutal climate crisis, anything 'woo-woo' can sound like a flighty, misinformed gimmick. But I'd guess that if you've done any delving into what gives us as humans purpose, you'll have seen a glimmer of why thinking beyond the secular, the material and the commercial is so vital.

Witchcraft, considering the universe, and simply looking for more meaning, compassion, and connection isn't just for the tie-dye or crushed velvet-wearing among us. Post-pandemic, the spiritual inner work and moral realigning we all need to do as human beings to answer the loneliness and division we all sense must echo into the work we do as creatives, strategists, and brands. Our earth, society, and human race demand it of us. Now, where've I put my sage?

The new film is the seventh instalment in the Generosity campaign, also known as the 'There's a Glass and a Half in Everyone' platform, which highlights family bonds and the lasting impact of small, special acts of generosity.

Cadbury has unveiled its latest ad 'Memory', created in collaboration with its global agency of record, VCCP. This latest iteration marks the seventh year of Cadbury's generosity brand platform, a globally recognised campaign known for its heartfelt and emotional storytelling. Let me tell you—not many have come away from this ad without shedding a tear.

Its aim is simple: to highlight how gifting chocolate can serve as a powerful gesture of kindness and connection. It has been released through a powerful yet humble storyline, which tells a moving story of a daughter and her father written by Simon Connor, directed by Steve Rogers (who also directed previous Cadbury films' Garage' and 'Speakerphone') and produced by Biscuit Filmworks.

According to VCCP creative director Simon Connor, the brief for these films is always completely open and asks for "a story of generosity with Cadbury at the heart of it". He adds, "If you can take the product out and the story doesn't fall apart, it doesn't make the grade."

The film opens with a daughter visiting her father - who is living with dementia - at his home, bringing with her a bar of Cadbury Whole Nut. Her father smiles and clearly recognises the chocolate as a gift his daughter has bought him since she was a child. But, at this moment, he doesn't recognise her as his daughter.

Instead, he begins to tell her how this ritual gifting always makes his wife laugh because, as he proudly reveals, he's always hated nuts. The daughter laughs and is touched by the idea that her father has kept this secret for so long.

Her father then asks her not to tell his 'daughter'—meaning her—about the secret because "it makes her so happy", and the daughter responds softly, "It does". The storyline highlights the generosity of the daughter and of her father, despite him not always remembering who she is.

To ensure that the story was rooted in truth, Cadbury consulted with dementia specialists throughout the development of the film. It was also partly inspired by a conversation with a VCCP account director.

"When we first got the brief, Katie, our account director, told me this beautiful story about when she was growing up, between her and who would later become her stepdad," says Connor. "It was all about that little white lie you say to someone, saying you like something (that really you don't) because it makes them feel good. It felt like such a great truth and very relatable - we all have a story like that."

However, Connor initially found it really difficult to tell the tale without it becoming "a long sort of contrived monologue". It eventually got parked, and it wasn't until he tried to fix a second, different script that it resurfaced.

He asked himself: 'What if someone was revealing a little white lie to the person it was about, but they didn't realise?' and then it all fell into place.

"There are sort of two stories happening at the same time," he explains. "One is actually quite funny, and the other is very moving. From the moment it was on the page, we knew it was the one."

Cadbury has also extended its partnership with Alzheimer's Research UK, the UK's leading dementia research charity, into 2025. The two organisations first joined together in 2024 to celebrate Cadbury's role in the nation's shared memories and support the charity's mission for a cure for dementia.

Cadbury senior marketing director Elise Burditt says: "'Memory' illustrates how even a small gesture, like gifting a bar of chocolate, can hold deep meaning and connect us in unexpected ways.

"We're incredibly proud to continue to work with Alzheimer's Research UK to support their vitally important work."

Unlike other brands in the sector, Cadbury's campaign focuses on small, emotional moments rather than action-packed narratives, including previous films such as 'Mum's Birthday', 'Fence', and 'Bus'. This opposite approach has clearly resonated with creatives and the public alike, winning D&AD pencils, British Arrows, and effectiveness awards from the IPA, Marketing Week, and The Marketing Society.

Cadbury global equity lead Nikhil Nicholas adds: "It's been an amazing journey, and we are very excited to launch our latest instalment of the generosity platform.

"This campaign is a continuation of our commitment to shining a spotlight on the really small everyday acts of generosity that are packed with emotion, bringing us closer to each other."

VCCP's global content production studio, Girl&Bear, also helped bring the campaign to life. The film will run across the UK throughout 2025, appearing on TV, VOD, YouTube, and in cinemas.

From the timeless sophistication of SLTF Bergamot Grotesk to the cultural preservation of Munegascu, 2025 is already shaping up to be a stellar year for type.

Wow, where does the time go? We're well into a new year and an astonishing quarter of the way through the 21st century. Meanwhile, the creative scene continues to develop at breakneck speed, and typographic innovation shows no sign of slowing down, either.

This month, type foundries and designers are bringing their A-game with releases that push the boundaries of form, function and artistry. From neo-grotesques with a modern edge to culturally significant designs preserving endangered languages, these typefaces reflect the diversity and depth of contemporary typography.

So read on as we present six of the best new font releases of January 2025. We hope they inspire you to experiment typographically and reinvigorate your design toolkit in the year ahead.

1. Place by Commercial Type

Commercial Type designer Julien Priez's latest typeface marries elegance with versatility. Place is inspired by historical forms, from 16th-century French Renaissance types to Blackletter structures while introducing forward-looking, inventive shapes.

With low stroke contrast and two full sets of capitals—Latin and Blackletter—Place shines as a display face and a workhorse for complex typography. Key to its appeal is sharp, minimal terminals, which ensure adaptability across design contexts. Overall, it's a celebration of the balance between aesthetics and functionality, making it ideal for logotypes, headers, and page navigation.

2. SLTF Bergamot Grotesk by Silverstag Type Foundry

A bold statement in uppercase elegance, SLTF Bergamot Grotesk draws from Art Deco's geometric sophistication. Its nine weights, from Thin to Black, along with more than 70 custom ligatures, make it a standout choice for luxury branding, editorial layouts and digital campaigns.

This typeface combines vintage charm with modern precision and is available for free for both personal and commercial use. Its multilingual support for over 90 languages ensures global versatility, while its sharp lines and distinctive ligatures will help you add flair to any design project.

3. Munegascu by Bruno Bernard

Designed to preserve Monaco's endangered Monégasque language, Munegascu is a triumph of cultural and technological innovation. Developed by Bruno Bernard in collaboration with the Centre Scientifique de Monaco and the Comité National des Traditions Monégasques, it addresses the language's unique tonal accents with an intuitive input system. It's available to download for free.

Rather than starting from scratch, Munegascu was developed as a fork of the open-source typeface Archivo, created by Héctor Gatti and distributed by the Argentine foundry Omnibus Type. To this, an innovative feature was added to overcome the lack of Monégasque-specific characters on standard keyboards. By typing a vertical bar (|) after a vowel, the system automatically transforms it into a tonal accent, correctly positioned above the letter. This simple yet intuitive solution works with most software without requiring special hardware.

Overall, Munegascu bridges tradition and innovation, supporting multiple languages and offering a free, accessible solution for educators, publishers and cultural advocates. A fabulous project that underscores typography's power in safeguarding heritage.

4. Milla by Vivian Dehning

Milla is a labour of love from German designer Vivian Dehning. It blends classical letterforms with hand-drawn details, evoking the warmth of handwriting and the texture of letterpress. Inspired by music, botany and rococo ornamentation, Milla strikes a perfect balance between timelessness and individuality.

With its robust glyph set supporting major Latin languages and succinct ligatures, Milla is as versatile as it is expressive. Whether used for editorial design or branding, this typeface offers a natural, authentic feel.

5. Haltung by Order Type Foundry

Drawing inspiration from mid-century neo-grotesques such as Helvetica and Univers, Haltung reimagines the genre with added "air" in its letterforms. Designed by Joe Moore, the typeface combines influences from Walter Käch, Emil Ruder and Adrien Frutiger, resulting in a refined, contemporary sans serif.

Its open apertures and subtle contrast create a sense of lightness, while its roots in classical Roman lettering bring humanist warmth. Haltung is a sophisticated tool for modern graphic design, elegantly bridging past and present.

6. Starborne by Chisaokwu Joboson

Inspired by the cosmos, Starborne is a decorative serif that dazzles with star-like details and intricate ligatures. This all-caps typeface supports over 160 languages and would be a good option for editorial design, branding and poster work.

Designed by Nigerian type designer Chisaokwu Joboson, Starborne combines cultural resonance with celestial beauty, making it a standout choice for expressive projects.

7. NN Arosa by Nouvelle Noire

The NN Arosa typeface family, designed by Edgar Walthert, draws inspiration from the charm and craftsmanship of classic Swiss tourism posters. Originally commissioned by a Swiss client who provided a book of vintage travel art as a starting point, Walthert set out not to revive these classic type styles but to create a fresh interpretation that captures the essence of Swiss graphic heritage.

Rather than relying on calligraphic traditions, the letterforms in NN Arosa are inspired by the pragmatic yet expressive hand-drawn styles favoured by early 20th-century Swiss graphic designers. Designers like Hugo Laubi, Karl Bickel, and Carl Böckli crafted bold, clear, and uniquely vibrant letters unbound by strict typographic conventions, a legacy Walthert honours in this humanist sans serif.

The NN Arosa family is conceived as a superfamily, with three distinct versions—Text, Display, and Script—to be released over time. The Text version refines intricate characteristics for versatility and legibility, making it suitable for a broad range of typographic situations. With support for central and eastern European languages and meticulously crafted small caps, it celebrates Swiss heritage while offering a fresh perspective on contemporary design.

Magazine-turned-podcast-turned-design studio MOUTHWASH is celebrating five years this year, so we caught up with the founders to see how it's gone so far and what they have in the pipeline for the next five.

The four partners of MOUTHWASH Studio in Los Angeles always knew they would do something significant in the creative industry. What they didn't expect was that it would come so soon in their careers.

Young millennials Alex Tan, Mackenzie Tan, Abraham Campillo, and Ben Mingo are already celebrating the fifth anniversary of their studio, which has just opened its first office space in LA's Chinatown. With a team of 18, MOUTHWASH has people based all over the world, from New York and Texas to London and Sao Paulo.

What started as a community idea, inspired by Instagram, organically turned into a value-driven business. It began back in 2012 when Instagram had a pretty small community of artists and designers contributing to the platform that Alex Tan remembers a circle of people called 'suggested users', who all started to find each other through the network.

From magazine to studio

Despite being spread out across the US and never having met, the soon-to-be business partners became friends through this medium. In 2016, Tan and Campillo both landed in LA with a desire to create a community that didn't live exclusively online, resulting in a creative print magazine called MOUTHWASH. The name was chosen to communicate how the platform would be a breath of fresh air—something completely different from what people had seen before.

Of course, producing a magazine is no easy feat, and it will cost money. Ultimately, it has to be something that people want to spend their money on, so building awareness is crucial. To help with this, Tan and Campillo developed a podcast to help gain traction and followers and boost the magazine's success.

"Every time we posted a podcast, we'd come up with some new and unique way to visually promote it through graphic and motion design," says Tan.

All of their efforts were not in vain. The first issue of the magazine sold out, with 600 people attending the launch party in Chicago. Campillo admits, "I'd been to Chicago once in my life. I barely knew anyone there and was like, 'What is going on?'.

"That's when we thought 'Oh wow, there might be something here'."

The big break

By the time they'd finished producing the second magazine and podcast series, they started connecting with people inquiring about identity work, website design and photography. "It got to the point where we were working at different agencies and then working on MOUTHWASH at weekends," says Tan, but one big client changed everything.

This career-defining project allowed Tan and Campillo to quit their jobs and give their full attention to the project, although it was still a risk, and they were very early in their careers.

According to Campillo, the magazine and podcast gave them a taste of working together as a group. "We were doing a lot of passion projects, like Waka Waka furniture, so there was a bit of momentum and an appetite to work together more."

He adds, "MOUTHWASH, at its core, is us working together across different disciplines, and Alex, Mackenzie, Ben, and I complement each other well."

Holistic or nothing

With the rise of Squarespace and templated websites, MOUTHWASH saw a huge gap in the market for custom website design. Equally, the founder noticed a need for more pragmatic production as social media became more popular.

"I think those two things made a space for a young studio like ours," says Campillo.

A non-negotiable for all of their projects—even early on—was that they would only work holistically. Campillo explains that they're "quite diligent" in this approach because they truly believe it makes the work better. "We left our jobs and took pay cuts for that belief," he adds.

MOUTHWASH defines this holistic approach by always starting with strategy—not just "design this thing and make it pretty," which means everything is a case study. The team generally doesn't develop sites that they don't design and only works with clients who value them as consultants.

Tan says, "The key difference in how we think about the work is that we try not to think about ourselves as a service; we are a product that people pay for, and I think that perspective makes us really unique.

"We don't just do what people say because they're paying us money."

One of the first big projects that MOUTHWASH worked on was Air Company, where they carried out the rebranding, website, development, and campaigns. "It was a true example of what the process should be like going forward," says Campillo, adding, "It came at a really good time and allowed us to do some of the larger scale work we're doing now."

Like the studio, the client was also in a phase of growth, which fostered a good relationship from the start. They were moving from selling sustainable vodka to sustainable aviation fuel, which is quite the pivot.

For Tan, the best and most notable projects are those where the studio works on every aspect of the brand. He says, "Designing a website and then volunteering to re-photograph everything is a really good example of how we showed that every part is as important as the other part.

"It's not an egotistical thing, but how can you tell a cohesive story when the point of view is being spread across different studios and agencies? It's like a different author writing each chapter of a book."

Embracing challenges

"Working on a project where there isn't much of a reference point is the most exciting but also the hardest," says Campillo. For Air Company, MOUTHWASH had to render products and create a campaign when the product didn't even exist.

Similarly, the studio had never worked with a client like fashion house Thom Browne before, and they were subjected to extra pressure and time constraints due to New York Fashion Week. "The challenging thing was the speed at which we had to work," Campillo says, explaining how they had three or four photoshoots with famous people, which had to be sent out to GQ and other magazines the next morning.

However, he says that "these experiences yield the most self-fulfilling results."

From Tan's point of view, the challenges are more about managing your culture and retaining your values and vision. He says, "I think as you get bigger, quality is always a hard thing to maintain.

"We got here by having a vision, working on every single project, and doing every single pitch, but as you grow, you can't do that. You have to learn to trust people on your team to do those things and expect them to care as much as you would."

Tan also notes that running a business means "dealing with people's lives and managing emotions", which is a huge challenge they didn't see coming. "It's much more than creative work, but that's the job," he adds.

Company Culture

From the beginning, the MOUTHWASH Studio partners spent a lot of time on culture, culminating in a culture manual that everyone in the team can access. "We're not scared to say 'this is how we operate and do things'," says Tan.

It is clear that the partners are all very much involved in the work and that the whole team only works on things they enjoy working on.

Campillo says, "I think that value is more important for us than money because the alternative is a short-term business mindset.

"At some agencies, information funnels down, and you're very far from the source, but we're ultra transparent so everyone can see every conversation and have a culture where the best idea can come from the youngest person."

He adds that, while in previous jobs he sometimes felt like "a speck of dust" who barely came into contact with the senior team, at MOUTHWASH, every person has access to the partners.

Equally, the team had positive experiences they wanted to bring to their studio. MOUTHWASH used to be a fully remote team and only recently moved into their new studio space, so Slack is a place where people are encouraged to have healthy debates and speak their minds.

"In our Monday morning meetings, we start the call with Snaps – which I learnt from a previous agency – where you give a shout-out to someone in the team," says Tan. "Little things like that really create positivity and encouragement."

MOUTHWASH even has multiple celebrations every year, giving the team opportunities to learn new things, and flying colleagues in from all over the world. "We also give the most extra gifts both to clients and the team," says Campillo.

A home away from home

MOUTHWASH's brand new office space in LA, where three of the four partners are based, truly reflects its culture and values as a business and also nods to its community origins.

"It felt like we were building a house and having everything that mattered to us. It's like a living room – it's very warm and only uses lamps," says Campillo.

Designed by Aunt Studio (founded by Noam Saragosti and Juhee Park), the MW.S office serves as an incubator for cross-collaboration between the industries, people, and communities that have impacted the team's professional journey in the five years since its founding.

The space is hugely inspired by a cabinet of curiosities, specifically what the team's LA cabinet of curiosities would look like. It is also filled with artefacts, art pieces, and furniture designed and made by their friends, including art from John Zabawa, a phone booth and platform by Waka Waka, and a Cristina Moreno side table and coffee table.

"These are all people with whom we are genuinely best friends, and they show up for us all the time," says Campillo.

Tan describes it as "a true modern representation of everything [they've] built".

Turning his thinking to the future, Campillo says, "We don't just want to be known as a website studio, or a branding studio, or a photo studio—we always wanted to challenge the mediums that we work in, and our space reflects that."

One of his personal goals is to start a New York office, as they already have many team members and clients there. He also wants to dive into more projects in the spatial world, building on MOUTHWASH's work with Thom Browne.

Tan adds: "I'm looking forward to working with more clients who trust our process and what we're doing even if we're not the obvious choice for them."

Not filed your return to HMRC yet? Don't panic. Follow these eight simple steps to avoid a fine and sleep easy.

Have you seen the date? For months now, you've thought tax deadline day was ages away. Now it's just a matter of days! Argh!!!!

Missing this deadline can result in hefty penalties, not just the immediate fine but also accumulating interest on unpaid tax. Yet, for creative freelancers juggling multiple projects and inconsistent incomes, the self-assessment process can feel overwhelming.

But don't panic: there's still time to get everything done in an orderly fashion. Just follow our step-by-step guide, and you'll be able to meet the 2025 deadline without breaking a sweat.

1. Check if you need to self-assess

First of all, it's worth checking if you need to file a self-assessment at all. That might sound dumb, but I once went through the whole rigmarole of completing a return, only to be told that I wasn't considered freelance. That was back in the 1990s when HMRC decided that if you primarily freelanced for one company, you couldn't be considered a freelancer. (Don't think too badly of me: a similar thing happened to the Governor-General of the BBC.)

At the other end of the scale, there are people who think they don't need to file a self-assessment because they "only earn a bit on the side"). Generally, you must self-assess if you earn more than £1,000 in revenue (not profit) from a side hustle, and even selling a few items on Etsy can add up to that.

Other triggers include earning over £150,000 annually, receiving untaxed income (such as dividends or rental income), generating significant interest outside tax-free accounts, or needing to repay child benefits due to high income.

If you're unsure if you need to self-assess, use HMRC's self-assessment eligibility checker to clarify your obligations.

2. Understand what you owe

One thing that surprises many freelancers is that the 31 January payment isn't just about the previous year's tax bill. It also includes the first 'payment on account' for the current tax year, typically 50% of your estimated annual liability.

The important thing is that payments on account apply unless your previous year's tax bill was under £1,000 or if more than 80% of your tax is deducted at source. For detailed guidance, visit HMRC's self-assessment page.

3. Gather your financial records

Effective record-keeping is the foundation of stress-free tax filing. So, before you get started filling in your self-assessment form, you'll need to ensure all your invoices, receipts, and bank statements for the tax year are in order.

For the tech-savvy, digital tools like QuickBooks or FreeAgent can simplify the process, while for some, old-fashioned spreadsheets are easier to get your head around, even if it might take a little longer.

Either way, you need to do this work, even if you're paying an accountant to complete your tax return. In general, accountants want to be paid for their expertise, not tedious legwork, especially this late in the day. (If you find one willing to just sift through a load of shoeboxes full of receipts, please let me know their details!)

Over the longer term, it's a good idea to separate your personal and business finances by maintaining a dedicated bank account for each. This clarity will help you identify deductible expenses and streamline the preparation of your tax return.

4. Check for allowable expenses

Claiming allowable expenses is the most "fun" part of the tax return process, not least because it can significantly reduce your tax bill. But you're not allowed to take the mickey.

For example, I plan to claim back the cost of the MacBook I bought recently because I use it entirely for my freelance work. However, I wouldn't claim the cost of a TV, even though I write the odd article about TV shows, because I couldn't honestly argue I use it solely for work.

There are some areas, however, where you can claim some expenses that you partly use for work. For instance, if you work from home, you're allowed to claim an appropriate proportion of your electricity and heating costs.

In general, as a creative freelancer, you should be looking to deduct costs such as:

• Software subscriptions (such as the Adobe Creative Cloud).
• Home office expenses (including proportional utility costs).
• Travel expenses for work-related journeys.
• Professional development courses
• Fees for co-working spaces.

The important thing is not to overlook small expenses because they can really add up. HMRC provides a comprehensive list of allowable expenses to guide you.

5. Double-check your tax return

Accuracy is critical when filing your return, so double-check all your figures. Be rigorous in including all income sources, from freelance projects to royalties or other untaxed earnings, as well as all taxable expenses. Some of these are easy to forget, so it's useful to go through all your bank and credit card statements line by line.

That might sound like obvious advice, but many don't follow it and live to regret it. Mistakes can delay processing and lead to penalties. They can also, of course, mean you end up paying more tax than you need to. So consider using tax software or consulting an accountant if you're unsure about any part of your return. A second pair of eyes can save you both money and stress.

6. Make the payment (or plan for it)

Paying your tax bill is fairly straightforward via HMRC's online portal. You can use a debit card, direct debit, or bank transfer. That said, I've found on a number of occasions that paying my bill has been more complicated than it should have been. Sometimes, that was because the website didn't make it clear how to make the payment. At other times, the payment was rejected by my bank for some weird reason. Often, the website was overloaded and not working properly due to overwhelming traffic that was close to the deadline.

With all that in mind, you should always aim to complete your tax return a few days before the official deadline. However, if you're unable to pay the full amount, don't panic. HMRC offers a Time To Pay arrangement to spread the cost over manageable instalments, although it will only do so if it's satisfied you can keep up with the payments.

7. Avoid penalties and know your rights

Missing the 31 January deadline results in an automatic £100 fine, even if you don't actually owe HMRC any tax. And that's just the start.

Additional penalties include daily fines after three months and interest on unpaid taxes. So, even if you miss the deadline, it's still important to complete your return as soon as possible. Also note that even if you can't pay in full, filing your return helps to minimise penalties.

You can appeal if you have a valid excuse for not filling, such as illness or technical issues. And believe me, this can work: a family member successfully claimed back hundreds of pounds through this route. Success, of course, will vary on a case-by-case basis. For guidance on appealing, visit HMRC's reasonable excuse criteria.

8. Prepare for the next tax year

Whatever happens in 2025, avoid repeating the January rush in 2026 by taking steps to prepare for the next tax year:

• Save 20-30% of your income for taxes.
• Use accounting software to track income and expenses throughout the year.
• Set regular reminders for tax-related tasks.
• Consider hiring an accountant if your finances are complex.

Ultimately, the 31 January deadline needn't be a source of dread. By understanding your obligations, keeping organised records and leveraging available resources, you can confidently manage your taxes and focus on what you do best: being creative.

Start early, follow these steps, and you'll navigate the self-assessment process stress-free, year after year.

For a sport as dynamic as this one, expect an identity full of dynamic curves and exhilarating motion design.

When you watch MotoGP, you'll soon realise it's more than just a sport. Those who compete show exceptional levels of skill, physical fitness, and mental toughness, and it needed a brand identity that could convey all of this, clearly positioning it as the highest level of motorcycle road racing in the world.

MotoGP approached the Pentagram team with the view of evolving into a digital-first and impactful entertainment brand. "The project aligned perfectly with our expertise in building flexible, future-proof branding systems," says Pentagram partner and creative director Angus Hyland.

One of the biggest challenges with this design work was future-proofing while respecting the brand's heritage. Another was consolidating MotoGP's complex brand architecture. He believes that "close collaboration with the MotoGP team and iterative design processes were key to navigating these challenges successfully".

Though he has worked with high-energy, global brands before, this was his first foray into motorsport. "The sector is crowded with logos and identities that often prioritise sponsorship visibility over brand clarity, so, with MotoGP, we aimed to cut through that noise by focusing on simplicity, motion, and storytelling," says Hyland.

Capturing the essence of the sport - the speed, the adrenaline, the precision - was key to the strategy, as was building a flexible system reflective of the sport's evolution into a global entertainment brand that can accommodate its teams, sponsors, and fans. The motion, angles, and dynamism of the riders inform every element of the visual identity, including the logo, which references the lean of the bikes and their geometry through its rounded forms.

When animated, other elements also mirror the thrilling motion and impossible angles of the sport. Hyland explains: "The design had to stand out against the visually crowded motorsport sector while being adaptable for digital and physical contexts."

MotoGP's design system was created to work across all touchpoints: digital, physical, and motion. Its new wordmark is entirely bespoke, directly inspired by the logo's rounded forms and dynamic angles.

The custom MotoGP typeface, developed in collaboration with F37®, features alternate characters designed to inject a sense of movement and energy. "This typeface is a vital part of the brand's visual identity, working especially well in motion to reflect the sport's dynamism," says Hyland. A complementary text typeface was also developed for versatility and readability.

According to Hyland, changes have been made to the colour palette but in "a nuanced way". He explains that the master brand remains "colour agnostic," which works well with "the vibrant and diverse colours of the teams and sponsors."

He adds, "Instead of fixed colours, we've introduced a flexible system in which different areas of the brand use distinct sections of the colour wheel.

"This approach allows consistency while embracing the sport's variety and vibrancy."

For the verbal identity, Pentagram sought to capture MotoGP's energy, passion, and inclusivity. Hyland describes the tone of voice as "direct, bold, and celebratory, embodying the spirit of the riders and fans alike".

Driven by the key message of 'Faster. Forward. Fearless', the brand voice aims to encapsulate the sport's nature of speed, innovation, and courage. "It's a rallying cry for the MotoGP community and a nod to its future aspirations," he adds.

The whole brand system includes motion design guidelines, patterns, and iconography, all inspired by the fluidity and energy of the sport. Each component was carefully designed with flexibility in mind to ensure that the brand remains fresh and engaging as it evolves.

It's not just about movie stars. We chat to ordinary creatives whose lives have been turned upside-down by this evolving disaster.

Los Angeles County is currently facing one of its worst wildfire disasters in history. Fuelled by hurricane-force Santa Ana winds and bone-dry conditions, a series of relentless wildfires has engulfed the area since 7 January, wreaking havoc on local communities. At time of writing, around 179,000 residents are under evacuation orders, and another 200,000 are under evacuation warnings, which means they may have to leave their homes soon.

While the media is largely focused on how all this affects movie stars, that's only a tiny part of the story. These catastrophic fires have levelled entire neighbourhoods, including the homes, studios and livelihoods of countless creatives.

Freelance illustrator Jess Miller is among those who've lost both her home and studio to the Eaton fire in Altadena. She shared on Instagram: "I'm in total shock and completely numb and devastated [...] It's really hard to process that my entire community and the things I worked so hard for were taken away from me so quickly."

Jess describes the experience as "truly heartbreaking", revealing that her entire Altadena community, including banks, schools, gas stations, restaurants, and coffee shops, is gone. She said on Instagram that it is "so hard to wrap my head around the fact that this happened in less than 24 hours". A friend has launched a GoFundMe page to support Jess and help her rebuild her life. "I really appreciate all your support, big and small," she said. "My online community reached in a huge way and I am forever grateful [...] I'm grateful for my family and so glad we are safe."

Losing your life's work

The list of similar stories is endless. Abstract painter Daniel Mendel-Black's home and studio, containing five years of work, was lost to the flames. Multidisciplinary artist Kathryn Andrews saw her Pacific Palisades home burn down; the second time she's faced such tragedy following the 2020 Bobcat Fire. Artist and scholar Beatriz Cortez has lost her home too, writing on Instagram: "My heart is broken for my friends, and neighbours, for L.A. and for the things that I lost in the fire, like the one thing I had from my childhood, or my dad's paintings."

Photographic artist George Byrne reflects on the shared trauma. "Our house is safe, but so many friends have been evacuated and left homeless," he explains. "A close friend who was evacuated is now staying in our place."

George himself was lucky enough to miss the fires by two days, having flown out of LA to Montreal on Saturday. "I think I'm still processing what I'm seeing," he adds. "Just beyond comprehension. Very sad for many, many people. I'm just praying those winds abate and give the fire crews a chance to get a handle on it all."

Watching and waiting

Others, meanwhile, are still watching and waiting. They include Cat How, co-founder of the design agency How&How, whose home in Santa Monica sits on the edge of the evacuation zone, leaving her family in a constant state of readiness.

"We've packed our emergency bags and are keeping a close eye on evacuation notices," Cat tells us. "The first night was terrifying. We could see massive clouds of smoke just six minutes from our house. Places we've frequented, where friends live, were suddenly in danger."

Cat compares the experience to the early days of the COVID-19 pandemic: "It feels like lockdown all over again. Schools are closed, the air quality is dangerous, and we're stuck inside trying to keep things running remotely while keeping the kids calm."

Despite the challenges, Cat highlighted the resilience of the local community. "People are coming together to help each other out. First responders have been incredible, and local support networks are stepping up in ways that inspire hope."

Industry disruption

The fires have brought LA's creative industry to a standstill. Filming on everything from America's Got Talent and Suits: LA to Fallout Season 2 has halted, while events like the Critics Choice Awards and the Oscar nominations announcement have been postponed. Galleries, studios and co-working spaces lie in ruins, compounding the financial toll estimated at over $10 billion.

But while big studios will have insurance, many freelance creatives are uninsured or underinsured and face immense hurdles in rebuilding their careers. "This is a wake-up call," says Cat. "Climate change is no longer a distant threat; it's here. We must rethink how we operate and support one another."

The one glimmer of light in a catastrophic situation, though, is the solidarity the creative community has demonstrated. Local organisations and collectives are rallying to support affected creatives. Relief funds have been set up, and temporary workspaces are being offered across the city. Social media platforms have become lifelines for creatives seeking support and sharing resources.

If you'd like to help

You can support the people of Los Angeles right now in many ways. You can:

• Contribute to verified wildfire relief fundraisers via GoFundMe's wildfire relief page.
• Support the Entertainment Industry Foundation's Defy: Disaster relief fund, which provides resources for first responders and displaced residents.
• Donate to Transforming Lives to help all those impacted by the wildfires this week.

The winning artwork explores themes of the divine feminine and features a very particular shade of blue with strong line work.

Tonight, Art Vinyl unveiled the winner of the 20th Best Art Vinyl Award, the annual art prize for the best record cover design of the year, at the Hari in Belgravia, London.

First place was awarded to Toronto-based multimedia artist Rajni Perera for her artwork on the cover of Australian Jazz/funk band Hiatus Kaiyote's fourth studio album, 'Love Heart Cheat Code'. The album – released by Brainfeeder and Ninja Tune – was chosen from a diverse shortlist of 50 iconic and memorable vinyl cover art from 2024.

There's no doubt that this year, album art has been an integral part of music artists' brands. You need only to think about 'Brat Summer' to appreciate the huge levels of cultural resonance that some album art has experienced recently.

First place artist Perera's work explores issues of hybridity, futurity, ancestorship, migrant and marginalised identities/cultures within the symbolistic style of her paintings. Perera explains that the work on the album cover is about "acknowledging the sacred female energy that drives this universe and restores balance to it".

"Even by painting it, I have been blessed," she says.

The band's singer/guitarist, Nai Palm, first encountered Perera's illustrious work years ago and first reached out to her to ask permission to tattoo some of her work. "It was for my mastectomy scar, which was super important for me to challenge beauty standards, and I wanted imagery that was both powerful but effeminate," she explains.

The art used for Love Heart Cheat Code was an existing piece of Perara's work that was to be the final piece in Palm's tattoo but ended up being the right fit for the album. Palm adds: "It was sentimental to close that chapter of my life with this record and imagery.

I love that the line work has strong design elements, and the blue took many attempts, as I worked directly with the layout designer to find the right Pantone."

During this process, Palm says she learned a lot about blue and how light affects how we perceive colour. She describes the final artwork as "simple yet refined and totally striking".

On winning the prize, Perera says: "Thank you so much for this award. I have so much love for Nai (Palm) and Hiatus Kaiyote, their skill as artists, their generosity in sharing their gifts, and their incredible work. Thank you for this honour."

Taiwanese artist Lulu Lin came in second place with their artwork for 'Romance', the fourth album by Dublin band Fontaines D.C, who were the Glastonbury Park stage headliners in 2024. The band licensed a series by Lin for use across their 'Romance' album campaign.

Lin's work on this album cover is characterised by bold colours. Adopting a bright, electric palette dedicated to distorted, stretched, and warped faces, Lin produces visuals that become just as iconic as the album itself.

In third place is London-born, now New York-based photographer and director Louis Browne. The cover was a photography project with Turkish-Italian DJ, producer, and multi-instrumentalist Carlita (real name Carla Frayman) for her long-awaited debut album, Sentimental.

Browne, known for his eclectic approach to visual storytelling, was recognised for bringing a unique sensitivity to the album artwork, perfectly complementing Carlita's reflective vision. The cover image encapsulates Carlita's musical shift, moving away from the high-energy aesthetics and instead embracing a softer, more nuanced visual language.

Browne's work has often been celebrated in the music industry, having collaborated with artists including Billie Eilish, Mumford & Sons, Olivia Rodrigo and The 1975.

Best Art Vinyl founder Andrew Heeps says of this year's competition: "In our 20th year of the Best Art Vinyl Award, we're proud to acknowledge the incredible art and design that looks so intriguing and different from any of its award-winning predecessors.

"Our Art Prize, specific to vinyl records and the astonishing cultural phenomenon they have now become, explores the collaboration between musicians and visual artists and celebrates the renaissance in vinyl visual storytelling as an essential part of the listening experience."

All 50 shortlisted nominees now form a striking art installation in the window of the Hari, London. It will be showcased from 5 January to 1 February 2025 and can be viewed on the Art Vinyl website.

In this fun and creative ad, the iconically northern tea brand has recruited Sarah Lancashire CBE to solve a crime against tea lovers.

Back in 2017, Yorkshire Tea launched its extremely successful and comedic campaign, 'Where Everything's Done Proper'. It has since welcomed countless stars into its team, from Sir Patrick Stewart, Sean Bean, and Sir Michael Parkinson to the Brownlee Brothers, Dynamo, and the Kaiser Chiefs.

Since its inception, Yorkshire Tea has collaborated with creative media company Lucky Generals on the campaign, winning over tea lovers and judges alike with a Grand Effie and a Gold IPA award. "The campaign has been hugely successful for Yorkshire Tea, helping them become the UK's #1 brew, so yeah, it was a case of, let's have some more of that, please," says Lucky Generals creative director Nick Bird.

Creative director Lee Smith adds, "We opened up the field a bit and (being an equal opportunities employer) were keen on exploring people beyond Yorkshire—even if it's just a bit beyond."

This latest ad—which hit TV screens this week—introduces Sarah Lancashire CBE as the newest recruit of the Yorkshire Tea team, fulfilling a job that only she can do. Best known for her role in BBC's Happy Valley as non-nonsense copper Catherine Cawood, Lancashire is once again taking on the bad guys as head of security at Yorkshire Tea's head office, demonstrating how the brand only employs the best and is doing things' proper'.

In the ad, the staff over at Yorkshire Tea HQ find that the biccies have gone walkabout, so it falls to Lancashire to find the culprit. After giving poor old Barry the third degree and dragging out cheese triangle confessions from Anya, she hunts down the culprit via CCTV and a carelessly discarded wrapper. But, just as the case looks to be done and dusted, a missing stapler sees Yorkshire Tea's new head of security back on the case.

"You have to get the brand voice right when you get into the writing," says Bird. "We spend a fair bit of time up at Yorkshire Tea HQ in Harrogate, and the canteen is gold for observing the people that work there, listening to their patter, embracing that straightforward Yorkshire way of saying things, but always with a wink and a smile."

Smith further explains how Lucky Generals helped create "a distinct voice in their comms", which is visible everywhere, from their pack copy to their TV ads. He adds: "In terms of the new TV spot, nothing was off the table, and we had a lot of fun exploring everyone, from fictional characters to cartoons.

"We also always have a good percentage of real Yorkshire Tea staff featured in the ads. We run a casting session for them and try to get as many in as the script requires, which was about 20 this time."

"We're chuffed to bits with our new ad and hope that everyone loves it as much as we do," says Yorkshire Tea senior brand manager Lucy Hoyle. "Yorkshire Tea is the home of Where Everything's Done Proper, and just as our advertising has gained momentum over the last seven years, so too has the nation's appreciation of a proper Brew.

The London motion directors Kitchen have unveiled a gorgeously dazzling and psychedelic animation for The Great Frog Vintage Market.

Your eyeballs are in for a wild ride if you happen to land on any of the social accounts promoting The Great Frog – a jewellery brand going back to the 1970s, famous for its eclectic rock star collections. Bold, colourful and quirky, the animation will beguile your brain with wizards and bats, a forest of giant mushrooms, plus a groovy version of hell, which ends with you floating in a lava lamp inhabited by a great big magenta and turquoise snake.

This kaleidoscope of 1970s references was cooked up by Kitchen, the duo comprised of Rachinta Platts and George Coffey at London production company, Jelly.

"The Great Frog came to us with a really cool idea of going through four different lands or worlds that represent the jewellery in their new collection. A wizard land, a comic book land, a mushroom world and Hell with a Baphomet pendant," says George.

"The challenge was to go through all these different styles but still make it feel like one cohesive piece," he continues. "We both have an affinity for '80s and '90s retro styles, so we wanted to bring elements of that in whilst also taking from some comic styles you may see. I personally enjoyed drawing a land of mushrooms using only greyscale."

Having just finished an animation about super pollutants for the Climate & Clean Air Coalition, working with The Great Frog gave the animators a chance to scratch some different style itches. Another wonderful thing about the piece was that it came about through word of mouth via Dark Arts Coffee, one of Kitchen's ongoing clients.

The deliverables included a 10-second ident and a 20-second social animation. Despite the limited duration, George and Rachinta managed to pack in a mad amount of characters and detail, all on a very tight timeline.

"We created all the artwork in Photoshop," says Rachinta. "We had a relatively short amount of time to animate it all, so we composited it in After Effects, adding the camera moves and then cel-animated elements for an organic flow. We then used After Effects to add the glows, dust and colour offset transitions."

In many ways, it was a dream project for animators who love having the freedom to explore and experiment. With its clashing colours, there was a fair amount of 'accident method' during production.

"The clients were great the whole way," adds George. "They were always letting us know how buzzed they were, which was great encouragement. The Jelly team have been amazing about it, and anyone who's responded to it has only had positive things to say."

2024 was a big year for Kitchen, as it picked up new clients in sustainability, Costa Coffee, and continued old alliances such as Dark Arts. In 2025, the plan is to keep up the momentum, get fresh pitches out there, and begin some new personal projects, too.

While brands in the fusion space are already falling into stereotypes, STEP is standing out from the crowd with a colour palette inspired by the synthetic image of future plasma.

Among Equals is behind the identity for new UK energy programme STEP, designed to position the brand as ambitious as NASA's Apollo missions.

As a brand-new government-backed organisation, STEP (Spherical Tokamak for Energy Production) wants to establish itself as a pioneer in fusion energy – a sustainable, low-carbon energy source with far-reaching economic, scientific, and technological benefits. With plans to build the UK's first prototype fusion power plant by 2040, STEP is laying the groundwork for a scalable commercial fusion industry.

"The industry for fusion simply doesn't exist yet," says STEP CEO for UK Industrial Fusion Solutions and Senior Responsible Owner Paul Methven. "As well as designing, building, and operating the UK's first prototype fusion energy power plant, STEP is building a whole industry which will benefit the world because we'll have low-carbon, virtually unlimited power."

He believes that the brand is a key part of making this happen, as it has the power to engage and excite a broad range of people, whether politicians or schoolchildren. "We needed an agency partner who could distil the complex science and technology of fusion into a clear, easily comprehensible visual and verbal language that will inspire and excite people in the same way NASA does," Methven adds.

Not only did STEP need a bold, dynamic brand to match their ambitious vision, but they also needed to find a way to make the complex science clear and compelling for a diverse audience. With a strong background in sustainability and prior experience in fusion, Among Equals was a great partner for the project.

Among Equals creative director Nick May says: "A lot of brands in this sector tend to play it safe and feel quite corporate.

"Fusion energy, though, is amazing – it could be the next big breakthrough for humanity, yet many brands in space aren't capturing that level of excitement."

He also notes how many fusion brands rely heavily on sun-related visuals - think sun-based emblems and orange and yellow colour palettes - because fusion is a process happening at the heart of the sun. However, May believes this to be "an oversimplification, since fusion also happens at the heart of all stars - the sun is just the star closest to us.

"Pedantic? Maybe, but it's actually pretty annoying from a science point of view," May adds.

We wanted STEP to break away from classic fusion energy branding and really stand out. Instead of relying on sun graphics and predictable orange and yellow colour schemes, we leaned into a more futuristic aesthetic inspired by the great space missions of the past.

"Fusion is incredibly complex, and STEP is no less so," says May. "With multiple stakeholders, diverse audiences, and a challenging development timeline, distilling all of this into a simple, impactful visual identity and messaging for a wide audience was a major task."

The real challenge, though, is that nothing exists yet. Due to years of engineering and tech development, the STEP project won't break ground until the 2030s.

As a result, Among Equals tried to make the identity as relatable as possible by drawing on STEP's sheer ambition and the collective mission driving it. "From there, we blended these core elements with hints of the technology behind it, creating a brand that's visually striking yet layered with complexity for the audiences who need it," says May.

STEP's whole strategy is underpinned by its potential to be as trailblazing and memorable as the Apollo missions, and so it hinges on bringing a sense of excitement to the identity. NASA is more than a space centre—its brand is iconic, something people wear on t-shirts and tote bags, something that could inspire future generations.

In homage to this, STEP's brand borrows visual cues from space exploration and other legendary tech brands of the past, like NASA and Concorde, which is where the idea for STEP's 'mission patches' came from. Modelled after the badges astronauts wear, each patch combines STEP's distinct colours and key descriptors in a bid to celebrate the teamwork and collective mission driving the project.

"Of course, fusion itself was a huge source of inspiration," says May. "The logo, typography, and colour palette all reflect the science and technology behind fusion and the cutting-edge design of the STEP power plant. It's a brand that's as forward-thinking and powerful as the energy it represents."

As well as representing the brand name, the curves of STEP's abstract S emblem reflect the shape of the tokamak, the machine that will sit at the heart of the STEP fusion energy plant, where fusion actually happens. May explains how the star at the core references how fusion power works: "Fusion is the process that powers stars, and the STEP reactor will be recreating that process".

STEP's tagline, 'Forward to Fusion,' was developed to convey the energy and ambition behind the project, serving as a call to action and nodding toward a brighter, more sustainable future. It also works nicely in tandem with the name, reading 'STEP Forward to Fusion' when used as a whole phrase.

As May mentioned, the fusion sector's main colour palettes often rely on oranges and yellows - inspired by the sun – or greens in reference to sustainability and clean energy. Among Equals took a different approach with this brand, creating a unique palette in collaboration with STEP's scientists. The hues derive from a synthetic image of future plasma, resulting in what May describes as "a striking and futuristic colour palette of pink, purple, and blue, setting STEP apart and capturing the innovative, forward-thinking spirit of the project".

STEP's wordmark was created using a bespoke typeface developed by Among Equals in collaboration with Pangram Pangram. The extended typeface, customised from Pangram's Monument, is inspired by the structure of the STEP tokamak core.

May says: "The shape, which resembles an apple core, influenced the curves which we incorporated into as many letterforms as possible.

"The result is a typeface that feels modern, innovative, and space-like."

Among Equals also created motion assets using TouchDesigner to visualise the plasma of fusion, a design which has also been reproduced in static images. "Since STEP doesn't exist yet, it was crucial to have a visual interpretation of what fusion looks like, helping to bring the concept to life," May adds.

The leader of the school's new Online Master in Brand Design explains why it's the ideal launchpad for aspiring brand design leaders.

If you want a career in a creative field, then brand design is very much considered, not least because it's a skill that's very much in demand right now. Why? Quite simply, in the world of 2025, even the biggest and best-known companies are finding it difficult to stand out in a world dominated by digital noise.

This is where the power of strategic brand design comes into play. And it's a skill set that LABASAD, the Barcelona School of Arts and Design, is perfectly positioned to cultivate.

We've previously told you about their superb motion design course. So we were excited to hear about their new Online Master in Brand Design, which launched last November.

This innovative new course promises to be a real game-changer for aspiring brand designers. Developed in collaboration with industry leaders, it equips students with the complete toolkit needed to thrive in the dynamic world of branding.

The course is led by Storm Wiggett, a strategic brand and packaging design specialist who's worked with some of the biggest brand names in the FMCG and CPG industries. We chatted to her to find out more.

Depth and rigour

Storm begins by emphasising that the new course is unlike anything you'll find elsewhere. "What differentiates it is the sheer depth and rigour of the curriculum," she explains. "Many online design programs focus narrowly on core creative skills such as graphic design, web design or UI/UX. In contrast, this course takes a truly comprehensive approach, weaving together strategy, research, psychology, and a diverse array of design disciplines."

Consequently, students will gain a level of expertise unmatched by typical online offerings. They'll master both theoretical and practical aspects of brand design, equipping them to tackle the complex, multifaceted challenges of brand building in today's landscape. As Storm puts it: "This new Master's is specifically focused on developing the complete skill set needed to be a successful brand designer in today's competitive market.

"By combining strong theoretical grounding with hands-on practical training across a range of disciplines, the program equips students with unparalleled expertise," she adds. "This level of depth and breadth is unique compared to LABASAD's previous course offerings."

Some key highlights include:

• An in-depth exploration of brand history, psychology and the science of consumer behaviour, giving students a deep understanding of how brands connect with people.
• Training in cutting-edge brand strategy and research methodologies, empowering students to develop data-driven, strategic brand positioning.
• Mastering a diverse range of creative disciplines such as typography, illustration, logo design, stationery design and packaging to elevate brand identity.
• Learning to craft compelling brand stories and present and launch new brands.
• The culmination of a major final project where students create, implement and launch an end-to-end brand identity.

Industry focus

The Online Master in Brand Design is also noteworthy for its practical focus. This was of prime importance to the LABASAD team when they originally designed the syllabus.

"Our primary goal was to reflect the real-world demands and best practices of the brand design industry," Storm explains. "We wanted to give students the exact toolkit that professionals use to conceptualise, build, and launch distinctive, impactful brands."

As such, the program is structured around five core modules, each led by a renowned specialist in their field. From brand psychology and strategy to packaging design, typography, and launch planning, every aspect is imbued with relevance and applicability.

The art of storytelling

Take, for instance, the brand strategy and research methodologies module led by Dr. Jaqui Hiltermann. "She is a Ph. D.-level expert in human geography and cultural studies, and her ability to translate complex research principles into actionable brand insights is a major asset," stresses Storm. Jaqui believes that the best way to change people is to change their environment, and the best way to learn is to tell a good story."

Or consider the packaging design module led by the celebrated Frederick Peens, founder of MARK Studio. "Renowned for his unwavering commitment to quality and innovation, Frederick has garnered global acclaim, establishing new standards in the packaging design field," notes Storm. "His outstanding contributions have been celebrated with prestigious awards such as Bronze, Pentaward, D&AD Yellow Pencil Award, and the World Brand Society Gold Award, to name but a few."

Importantly, the program also devotes significant time to developing students' presentation and launch skills – an often overlooked but crucial aspect of successful brand rollouts.

"Dr. Ron Irwin, our Presentation and Launch instructor, is a seasoned brand management consultant who has taught at the University of Cape Town since 2009," says Storm. "He brings extensive experience in brand strategy and creative writing to the course."

Expert instructors

As you're probably sensing already, the calibre of instructors assembled for the Online Master in Brand Design is pretty exceptional. Boasting decades of collective experience, these industry pioneers have shaped the visual identities of some of the world's most recognised brands.

Another leading name on the list is brand psychology and strategy specialist Haldon Burns. "He's an independent creative powerhouse with over 32 years of expertise in brand positioning, naming and copywriting," says Storm. "Having worked with prestigious brands such as Bang & Olufsen and Aston Martin, he brings that high-level, luxury brand perspective to the course."

Then there's Tyrone Beck, the creative director instructor. "He boasts a rich 22-year career as a designer and art director, spanning diverse industries," says Storm. "He has earned acclaim for his innovative solutions, successful campaign executions, and strong collaborative approach.

By learning from this esteemed group of practitioners, students will gain a 360-degree perspective on the art and science of brand design. As Storm explains: "Each instructor brings a unique area of specialised knowledge and real-world case studies to elevate the learning experience."

Why you should apply

Ultimately, the Online Master in Brand Design at LABASAD is designed to produce the next generation of industry trailblazers—individuals who can think strategically, create distinctively, and launch brands that captivate audiences in an ever-evolving landscape.

"Successful brand designers are part strategist, part visionary, and part cultural anthropologist," Storm reflects. "The ability to anticipate change, create distinction and connect with audiences in fresh, compelling ways is the hallmark of the most impactful brand work."

Whether you aspire to work in-house at a global agency, build your own brand consultancy, or make your mark as a solopreneur, this program will equip you with the skills and mindset to thrive. And with LABASAD's track record of producing design leaders who have made significant industry impact, the future looks bright for those who seize this opportunity.

More broadly, LABASAD offers a wide range of educational programmes, including the Online Master in Art Direction, Online Master in Motion Graphics, Online Master in Interior Design and Hospitality, Online Master in Editorial and Advertising Illustration, Online Master in Graphic Design and Applied Typography, Online Master in Graphic and Digital Design, among others.

And if you want to know why these courses are worth taking, just listen to LABASAD's graduates. Take Fleur Willems from the Online Master in Graphic and Digital Design. "My journey through the master's program in graphic design has been an incredible adventure," she enthuses. "With a background as an art director in advertising, I decided to specialise in graphic design to explore new creative avenues. This master's program was the perfect opportunity to delve deeper into the field."

Or there's Zuzanna Wasążnik, who graduated with a BA in Graphic Design & Art Direction from NABA in Milan, and later pursued an Online Master in Graphic and Digital Design at LABASAD. "My year at LABASAD was especially transformative, helping me evolve and become more conscious as a creator," she recalls. "I'm grateful to LABASAD and my teachers for giving me the tools and freedom to express my ideas visually and find my own voice. This experience has deepened my commitment to using design to drive positive change in the world."

We could go on, but you get the idea. These are just two examples that showcase the calibre of designers and brand professionals that LABASAD has produced. "And we're confident that our new brand design course will continue this tradition of excellence, equipping the next generation of industry leaders with the skills and mindset to elevate brand experiences worldwide," says Storm.

So, if you're serious about future-proofing your career and making your mark as a brand design visionary, look no further than LABASAD's Online Master in Brand Design. The world of branding is yours for the taking.

Chuck Studios business lead Robert Volten highlights the best and worst uses of famous brand assets in 2024 and gives brand leaders three resolutions for 2025.

The start of a new year always brings time for reflection. However, where many are looking back at the effectiveness of their favourite campaigns from last year, the fundamental question brand leaders should be asking is: "Did we push our brand to be distinctive enough in 2024?"

As branding experts in the food and drinks category, we constantly ask this. Although we witnessed some great examples of distinction last year, there were undoubtedly some missed opportunities. A brand marketer's role is to promote the brand, not just the category, but, as with every year, some fell into predictable patterns.

For example, most chocolate brands use the same ad template to depict the logo appearing from a pool of liquid chocolate. Even burger ads are typically shot with a masculine colour palette on a wooden board and bold font.

For this piece, I wanted to spotlight those brands we feel have used their famous and unique assets most effectively this year, as well as those where the marketing missed an opportunity. Good news—this does not include Jaguar.

Unanimous branding

Distinctive Brand Assets (DBAs) remain the core ingredient driving brand recognition engagement and recall in ads. They're vital to branding, as they trigger brand recognition without using the brand name or logo. Think of the 'lime wedge in a bottle of beer', and your mind connects the dots.

Brand leaders who aren't focusing on their DBAs are missing a trick. No other part of a brand's identity is so powerful that it can be used in all paid and owned media. If creativity is the system used to develop an outstanding campaign, then the DBA is the hardware.

Distinct Winners

Once again this year, KitKat expertly reminded us why its 'Have a Break' tagline and break of the bar is timeless. Kit Kat is the best-in-class brand that can use the same ingredients but in modern contexts. Look at how effective it was back in 1994 - over thirty years later, its value is a lesson to all marketers.

Meanwhile, Magnum leveraged nostalgia with a "fake" vintage ad that captivated audiences by celebrating its role as the 'original' ice cream. In addition to this great campaign proposition, the team expertly blended in the crack and Magnum pour. Even my Mum, who doesn't understand anything about marketing, instantly knows what I mean when I describe these two brand assets.

Cheetos has perhaps one of the best DBAs out there—not the product, but the effect of the product, is the most precious brand asset they own. The marketeers dazzled this year with the 'Hand Genius', reframing how everyone experiences the brand—the residue of the snack on your hands when you eat it—adding a completely new layer to their DBA: the effect of the effect. This makes it an even more memorable and relatable symbol of indulgent snacking.

When you have such a strong, distinctive, and famous visual identity, imagine the fun you can have with it when you don't have to mention the brand. McDonald's paved the way with the icons campaign a few years ago. Tesco did its own twist this year, replacing the letters of the logo with food items, making their core proposition of bringing food to families unapologetically clear.

The end of the year brought a new great case in which a very famous brand used its strongest brand asset. Kellogg's brought Cornelius the Cockerel back onto the screen in both a logical and smart move for the brand. The Kellogg's cockerel not only has deep-rooted associations with the cereal brand but also epitomises the morning time, which strengthened its leading role in the breakfast category.

Brand Breakdown

So, who failed to use their distinctive assets last year?

KFC has one of the best DBAs around: its founder. While Wieden Kennedy has made amazing campaigns for years, putting this front and centre, unfortunately, this year, the US brand took the radical step of not using this representative anymore. I'd be interested to know if this is a short or long-term marketing decision and urge them to reconsider if so!

Twix decided not to highlight its iconic "two-bar" uniqueness, opting for edgy humour that felt disconnected from its strongest asset. The number 2, or as they translated it into 'Left and right Twix', is famous and unique. It is such a pity to throw away its heritage.

Tropicana fumbled this year - again - by ignoring its packaging as a crucial DBA. After a refreshing film highlighting its brunch appeal and building distinction with its original logo and packaging, the brand reverted to a design that stripped away its distinctiveness, drawing consumer criticism reminiscent of past mistakes.

Don't go changin'

The life of a brand leader is not easy. For 2025, I recommend starting the year with three resolutions: define your DBAs, use them consistently with disruptive creativity and tell whoever to keep their hands off.

In my experience at Chuck Studios and previously building campaigns at TBWA Amsterdam & Shanghai, the greatest creatives embrace a brand's limitations and use the distinctiveness that represents the brand to create the best campaignable work. I call out to our industry in 2025 to do just that.

With a multimillion-dollar campaign by Leo Burnett and a fresh brand identity by Wolff Olins, the all-inclusive resort company hopes to bring the soul of the Caribbean to the forefront.

Sandals and Beaches Resorts has unveiled its new multi-media advertising campaign, developed by Leo Burnett. It includes an evolved visual identity designed to span customer experience and internal culture created by Wolff Olins.

Known to be pioneers in all-inclusive travel, Sandals and Beaches Resorts is going down a new path of what they're calling "pure Caribbean expression" in a bid to inspire travellers through authenticity, expertise and a genuine connection to the islands. This new omnichannel campaign centres around the tagline 'Made of Caribbean' and spans linear television, digital, print, social, and out-of-home advertising in key markets.

A new brand film narrated by Stewart sets the tone for the campaign and aims to convey the Caribbean's vibrant soul, rich traditions, and natural beauty while highlighting the brands' commitment to the islands and their people.

The campaign kicks off with two captivating launch spots chosen to showcase the unique elements of Sandals' and Beaches' offerings. For Sandals Resorts, 'Three Things' seeks to take people beyond the brand's typical perception. For Beaches Resorts, 'Memories' takes viewers through generations of family vacations through the lens of a child.

Ultimately, the goal was to emphasise the lasting impact of vacation experiences and how they bring families closer together.

"Sandals and Beaches Resorts are exclusively and uniquely 'Made of Caribbean,' that is who they are," says Leo Burnett EVP and executive creative director Mikal Pittman. "The creative platform is designed to celebrate their authentic self and lays the foundation for the next stage of the brands' evolution."

When it came to the brand work, Wolff Olins was equally committed to driving impact internally and externally. Instead of completely reinventing the logomark, the studio chose to refine it, retaining Sandals and Beaches Resorts' brand equity.

Wolff Olins global principal Thomas Wilder explains: "We developed the brand ethos of 'Natural Vibrancy' to guide our work, drawing cues from the fullness of the Caribbean, its nature, people, and culture.

"Every element is at home to Sandals and Beaches: colours and graphic elements are found on the islands, and typography is inspired by travel and the original Sandals wordmark itself. With that, we were able to build on the brand story by embracing all the islands have to offer."

Wolff Olins' approach also sought to bring the Sandals and Beaches brands closer through a shared colour palette, typography, and graphic language while evolving the brand marks, which now have commonalities. Both brands are now able to better communicate how they are similar while honouring each of their differences.

In terms of verbal communication and experience design, Wolff Olins also developed fresh messaging, tone of voice, and copy across the brands, from the website and property signage to the in-room turn-down service.

"The brand is built to represent the distinctiveness of each island, acting as a frame for the unique qualities of Caribbean culture," says Wilder. "We hope to inspire people to delight in the islands' richness and charming mix of tastes, styles, and influences. It's an invitation to give into the rhythms of the islands and enjoy Caribbean life's vibrancy."

Wolff Olins executive strategy director Brian Meyers adds: "Travellers today are looking for the authenticity that Sandals and Beaches resorts stand for, so it's an incredible opportunity to help a family business born in the Caribbean to continue innovating from its legacy and delivering all-inclusive hospitality for the next generation of travellers."

The multimillion-dollar campaign and new brand identity will be visible across various platforms and touchpoints throughout 2025, including print ads in Travel and Leisure, Condé Nast Traveler, Town and Country, and Travel Weekly.

In the new and improved brand, expect graphics inspired by art books on Cold War propaganda, spy movie posters from the 1950s and '60s, and vintage adventure and educational book covers.

New York City and New Orleans-based design studio The Collected Works has developed the branding and overarching design system for SNAFU Media and the cover art for season two of their flagship podcast.

Hosted by American actor and comedian Ed Helms, the SNAFU podcast delves into history's greatest screw-ups. Each season focuses on significant yet often overlooked historical events marked by major blunders and their far-reaching consequences.

The Collected Works immediately saw the potential to take a concept that blends comedy, history, and cultural critique into something visually distinctive, playful, and meaningful.

"The chance to collaborate with FilmNation, whose projects we're big fans of, and have our stamp on a popular podcast hosted by Ed Helms, was an easy 'yes' for us," says The Collected Works partner Jose Fresneda. "FilmNation presented SNAFU as more than just another podcast – it was a rallying cry for the underdog, a celebration of glorious mess-ups, and an opportunity to subvert authority in a fun, thought-provoking way."

While the studio has worked in audio spaces before, it has often been music-oriented, with artists like The National or designing systems for music festivals. "SNAFU presented a fresh challenge in that it blends humour with historical critique and, at the end of the day, is all about storytelling," says Fresneda.

After studying other investigative or historical podcasts, the design team noticed that many of these brands play it safe visually, opting for clean, tidy, and minimal identities. This allowed SNAFU to fill that gap with something more dynamic, subversive, and tactile.

The combination of the SNAFU podcast's rebellious and witty nature and its educational element made Ed seem a bit like the kind of teacher you wish you'd had in school. This gave the studio a sense of direction while leaving plenty of room for exploration.

Nailing the tone of voice was a challenge, though. FilmNation described the SNAFU brand as "not afraid of the messy mishaps" and, while messiness can be fun, it can be hard to get right. Fresneda says: "Too much, and the brand feels disjointed; too little, and it feels clean and controlled, which goes against the entire spirit of the show.

"Finding the balance between irreverence and professionalism took research, care, and intention to get right."

It was equally crucial to ensure that the brand didn't come across as too polished or sterile, reflecting both a comedic edge and expert storytelling to be able to carry serious historical topics. The podcast name is actually an acronym for 'Status Normal: All Fucked Up', which called for "a design language that embraced imperfection, where Ed serves as an anchor, both literally and figuratively, guiding you through the chaos", according to Fresneda.

He adds that the final result is "a sort of controlled messiness, like a classified file that's been heavily redacted, but still tells a profound story if you look close enough".

The logo aimed to create something big and bold that could stand out in both small podcast icons and large out-of-home advertising. "It should also feel timeless, like an artefact you could pull from a vault of government secrets," explains Fresneda.

For inspiration, The Collected Works looked at art books of Cold War propaganda, spy movie posters from the 1950s and 1960s, and vintage adventure and educational book covers. The team was particularly captivated by the typography from these artefacts, often in all caps, dramatic, and sometimes angular, which Fresneda says "hints at some danger or edge-of-your-seat excitement"."

He adds that a 3D style was chosen to give it "a sense of physicality". He explains how it looks similar to a monument casting a long shadow, "moving subtly, finally ready to reveal what had been unspoken for so long". The shadow on the podcast cover art's transparent red treatment is also reminiscent of decoder filters that can be used to find a secret message.

The Collected Works curated a colour palette that balances historical gravitas with modern boldness. It consists of nearly-black and creamy off-white tones – evocative of 1970s government files – and a 'Top Secret Red' to lend a contemporary edge and a bold pop. "The idea was to signal '"this is serious, but not that serious', "with a blend of muted and bold colours," says Fresneda.

Typography followed a similar logic, inspired by pulp novels, propaganda posters, and newspaper headlines. Marvin Visions by Atelier Triay – which Fresneda describes as "both authoritative and a little quirky" – was a firm favourite from the off, so much so that it's being used beyond the logo as a headline font or is even used sparingly as body copy.

In Fresneda's view, the cover art is where everything came together as the brand's flagship piece. He says, "It might be the only visual component that listeners of the podcast ever see, so it had to do a lot of heavy lifting: stand out from other podcasts in its category, visually show that Ed Helms was the host, and describe a sense of what the storytelling is like.

"We think it achieves that in a pretty distinctive fashion while feeling at home with the rest of the design system, whether that's social posts, large posters, or even a book."

Since The Collected Works was developing the brand after Season 1 had already been launched, the team also had to consider how they could leverage the equitable components so as not to alienate current fans or throw away what was already working. "Everyone agreed that 'Ed at the news desk' was already feeling right and doing some heavy lifting, but we gave him a new coat of paint with some textural and colour changes and a scale adjustment," Fresneda explains.

Other elements, like the background, which was a direct reference to the global nuclear warfare themes of season 1, were out-of-place for the second season and replaced with the studio's collage of redacted documents.

TikTok could be banned in the US in a matter of days. Here's what we know.

No, you're not dreaming. The US is on the verge of banning TikTok, the wildly popular video-sharing app. And there's a very good chance it will happen.

Driven by national security concerns about consumer data, Congress has passed legislation that will ban TikTok from Sunday 19 January, unless its Chinese parent company, ByteDance, sells its Stateside operation to a US entity. ByteDance has disputed this legislation in the courts, and the Supreme Court will hear arguments on Friday.

If the Supreme Court sides with Congress, TikTok will be out of legal options and will have just eight days to negotiate a deal. That seems unlikely in the extreme, particularly as ByteDance has said that breaking up TikTok in this way just is not an option.

Incoming President Donald Trump tried (but failed) to ban the app during his first term, although on the campaign trail for his re-election, he said he'd had a change of heart. But what he could do legally to stop the coming ban is questionable, and now he's won the election, it doesn't seem there's much incentive for him to do so.

While the UK may seem far removed from this political drama, the potential consequences of a US ban could have a significant ripple effect on the global content creation landscape, affecting us all. So if TikTok is banned on 19 January, what will actually happen?

1. An end to updates

The first thing to note is that TikTok won't be forcibly removed from people's phones. Americans will be able to continue using the app as before. The main issue, though, is that they won't be able to get updates. Specifically, the law prohibits any entity from facilitating the maintenance of the TikTok application, and that includes the likes of third-party software and hosting providers.

Consequently, over time, the app will become glitchy and ultimately stop working. When that will happen, though, is anyone's guess.

2. No new downloads

A second consequence of a ban will be that app stores such as the Apple Apple Store and Google Play must remove the TikTok app from 19 January. From this date on, no one in the US will be able to download TikTok to their phone or tablet.

TikTok currently has 170 million American users, so that won't make a huge impact in the short term. But over time, as people upgrade their phones, they'll lose access to TikTok, and younger people entering the marketplace won't be able to download TikTok either.

3. An exodus of creators

Given that TikTok won't immediately be removed from people's phones, the platform can probably keep going in the US for at least a few months. But anyone producing regular content for TikTok will at least start diversifying to other short-form video platforms if they have any sense; it's not like there's a shortage of them.

Certainly, no one focused on US users will launch anything new on the platform. And so, culturally speaking, TikTok in the US will likely, at some point, become a dead duck.

4. The flow of money stops

There's also the business side of things. TikTok's ad revenue in the United States has been increasing significantly in recent years and is estimated to have reached $11 billion in 2024, a 25.8% increase from 2024. But it's likely to decline sharply if the ban comes into force, and influencers looking to partner with US brands will likely find the same dynamic in play. After all, if your nation's lawmakers, on both sides of the house, have decided a company is an enemy of the people, it's not a great look to associate with it.

Creators might, of course, continue producing TikTok content that drives people to other channels like YouTube, where they can monetise their following. But this does beg the question: why would they bother rather than put all their efforts into YouTube in the first place?

5. Effect on other countries

Outside the US, will the ban lead to a decline in TikTok audience elsewhere? It's difficult to know. After all, despite the cultural hegemony of America in the 2020s, it's not all anyone cares about. Hence the fact that many social platforms that are virtually unknown in the United States are dominant in other regions and countries, such as Telegram in India, Line in Japan, Thailand and Taiwan, and WeChat in China. Also, bear in mind that several countries have already banned TikTok, most notably India, and yet its global popularity has survived just fine so far.

Ultimately, then, I'd say there's no immediate need to panic. Anyone in the UK who produces content for TikTok will probably find their videos are being viewed and shared on 20 January just as much as today, even if the ban is enacted. Indeed, there may even be a small bump in interest as Americans grab their phones and start bingeing TikTok while the going's still good.

In the medium term, though, the future of TikTok in the US looks murky, to say the least. So, at the bare minimum, any content maker should look to diversify to other platforms and ideally think about making an online home of their own—one that no one can ever shut down.

Get the rizz and don't be Ohio, with our guide to the new generation making everyone else feel old.

It's 2025, and that can only mean one thing. Just when you'd got used to 'Gen Z' being a synonym for young people, the game has changed again.

Right now, members of Generation Z —the successors to Millennials—are entering maturity. And now the focus is switching to the next generation, Gen Alpha, aka Gen A.

This generation, born between 2010 and 2024, numbers around two billion, with the eldest now entering their mid-teens. And while these seemingly abritrary categories are easy to dismiss as marketing BS, they're also something creatives need to know about.

Firstly, because they'll increasingly be thrown about by clients, stakeholders, employers, collaborators and colleagues over the years to come. And secondly, they're widely used by Gen Z and Gen Alpha themselves, from web chats to conversations in real life.

In this article, I'll share 10 things creatives need to know about Gen Alpha: what makes them tick, why they're different, and some of the weirdest things this generation has thrown up to date.

1. Who they are

As defined by social researcher and futurist Mark McCrindle, Gen Alpha refers to individuals born between 2010 and 2025. This makes them the first generation to be born entirely in the 21st century.

Generation Alpha follow Generation Z (b. 1997–2009), Millennials (b. 1981–1996), Generation X (b. 1965–1980) and Baby Boomers (b. 1946–1964). Most of Generation Alpha are children of Millennials.

2. Why they're called the iPad Kids

While Gen Z are often celebrated as digital natives, Gen Alpha take things a step further. This is the first generation born entirely in the digital era, with no memory of a pre-smartphone world. For them, technology isn't just a tool—it's a way of life.

The first members of Gen Alpha were born in 2010, the year of the first iPad. For this reason, this generation has often been dubbed The iPad Kids, and for good reason.

Over the last decade or so, we've all seen toddlers navigate their parents' screens more adeptly than the adults. (Not to mention swiping on print magazines, and getting confused when nothing happens.) And now these same kids are entering their teens, their profound digital immersion is revealing itself in fascinating ways.

3. The web is their world

Growing up with smart devices hasn't just meant Generation Alpha can Google stuff easily. More fundamentally, they've collectively forged online homes for themselves in the chatrooms of platforms such as Roblox, Minecraft, Twitch, TikTok, Instagram and YouTube.

In these spaces, they can chat more freely than at home or school and not just passively consume content but create their own. To get around content moderators, they've become savvy in their use of language, using words like "unalive" for murder or suicide and "pew pews" for guns to avoid their chats getting auto-flagged. This, in turn, has encouraged the growth of Gen A-speak (of which more in a moment), which is often incomprehensible to outsiders and thus more bonding as a community.

That doesn't mean Gen Alpha doesn't engage with legacy media, such as broadcast TV. But it is far less important to them than previous generations, both in terms of cultural impact and total viewing hours.

4. They've spent less time outside

If Generation Alpha kids staring into their screens annoys you, it's probably not them you should blame. Research suggests that in the UK at least, children are held back from play without adult supervision by two years, compared to when their parents had been allowed.

There was also that little matter of the Covid lockdowns, which stopped many members of Gen Alpha from attending school, meeting their friends, or even going outside, for months or years at a time.

There were fears at the time that they'd be psychologically scarred by the experience—leading them to be dubbed 'The Coronials'. And while, thankfully, these fears don't seem to have materialised, it's still too early to tell what lasting effects this enforced isolation may have had.

5. They talk funny

One of the most evident impacts of internet culture on Gen Alpha is the slang they use. Here are a few examples.

• sigma: a cool or popular kid
• gyat: literally, a person's backside, but also an expression of surprise
• skibidi: cool, bad, or sometimes just a filler word
• mewing: making your jawline look sharp by repositioning your tongue
• delulu: deluded
• cap or cap cap: a lie
• no cap: the truth
• rizz: charm and charisma
• Fanum tax: stealing food from someone
• It's giving: something (like a dress) is stylish
• Ohio: weird
• You ate that: you look good or did something well
• bussin': very good

Much of this slang originated in online content. For example, skibidi comes from the YouTube series Skibidi Toilet, which features a storyline about human-headed toilets fighting an army of camera-headed men. Similarly, Fanum tax comes from Twitch streamer Fanum, who'll swipe food from his fellow content creators, such as Kai Cenat, as a "tax".

Two things are important to note here. Firstly, it's useful to know what Gen Alpha slang means, but fairly obviously, anyone older should never use it themselves; that would be Big Yikes (embarrassing or disturbing). And secondly, it's ever-changing, so the moment you learn something, it'll probably soon be out of date.

6. They're more culturally diverse

Gen Alpha is the most culturally diverse generation yet. This is due to a range of complex factors, including both mass migration and a rise in cross-cultural relationships.

We can't generalise too much here: some countries, such as Japan, are still largely monocultural, after all. Yet even where members of Gen Alpha don't meet a diversity of people in real life, they're at least more likely to do so online compared with previous generations.

7. There's an issue with skincare

One of the oddest phenomena associated with Gen Alpha to date has been an explosion of interest in skincare. This has resulted in the rise of Sephora Kids: children and tweens who shop at beauty chains like Sephora and Ulta and post videos of their experiences online.

Gen Alpha beauty influencers and tutorials have flooded platforms like TikTok with this content, and as a result, children have started demanding their parents buy them expensive skincare brands such as Drunk Elephant and Glow Recipe.

Angry Gen Zers, in turn, have taken to YouTube in droves to complain about tweens behaving badly in stores, being rude to store assistants, abusing tester pots and making a mess of display visuals.

The skincare brands themselves have resisted the temptation to cash in on this craze, and instead focused on education, not least because often the products are actually bad for children's skin.

But whether or not the Sephora Kids trend lasts is beside the point. More fundamentally, it points to the power of this social media-savvy generation to create micro-trends from the ground up, without any gatekeeping or even encouragement from older people needed. This could potentially be hugely positive or hugely negative, but it's worth keeping an eye on either way.

8. Some of them are pretty famous

Some members of Generation Alpha are already household names, but mainly because of the families into which they were born. Take, for example, the future King of England, Prince George, along with his siblings Charlotte and Louis, and their cousins, Harry and Meghan's Archie and Lilibet.

Similarly, all of the children of the Kardashian sisters born thus far, except Mason Disick, are also Gen Alpha. As is Blue Ivy Carter, daughter of Beyoncé, whose gurgling was featured in Jay-Z's song Glory, making her the youngest person ever to appear on the Billboard Chart. She's since grown up to be a successful singer and actress, making her movie debut last year in Mufasa: The Lion King.

That's only one half of the story, though. On social media, there are many members of Gen Alpha who've become known to millions as (largely) self-made influencers, with a little help from their parents.

Take Hayley LeBlanc, a 14-year-old actress and model based in LA, who's amassed 4 million followers on Instagram. There's also Ryan Kaji, a 13-year-old YouTuber with 38.5 million followers on his Ryan's World channel. Meanwhile, the Russian-American YouTuber Like Nastya has the 5th most-viewed and 7th most-subscribed channel in the world, with 124 million subscribers. Not bad for a 10-year-old, right?

9. We'll probably be a burden to them

Feeling cross about all the advantages these kids will have compared to your tough childhood? Well, bear in mind that the first wave of Generation Alpha will reach adulthood in the 2030s, by which time the world is predicted to have the highest-ever proportion of people over 60.

If that's the case, then Gen A will bear the burden of an ageing population. Out of pure self-interest, then, it's best not to be too mean to them.

10. They've reached their peak

It may feel like Gen Alpha only just arrived, but in terms of raw numbers, they've already reached their peak. All babies born after the clock struck midnight on 31 Dec 2024 are members of the new and ever-growing Generation Beta. Time waits for no one, right?

Life is short, I guess. The lesson is to make the most of it... whatever generation you belong to.

Most of us are spending far too much on unnecessary subscriptions. Follow our tips on how to slim things down.

Let's be honest; it's astonishingly easy to sign up for subscription services. From streaming platforms and fitness apps to meal kits and premium software, many of us find our bank statements littered with recurring charges.

These often start as a free trial offer and might even get us free or discounted stuff in the process. We tell ourselves we'll cancel before we have to pay anything. But then life gets in the way. And anyway, you think you enjoy the service, and it only costs a few pounds a month.

Those "few pounds" can really start to add up over time, though. And if you're not paying attention, all those subscriptions can quietly drain your finances and time.

So why not start 2025 by cancelling all your unnecessary subscriptions, as an important step toward reclaiming control over your schedule and mental bandwidth? In this article, we'll offer tips to help you kill the subscription beast.

How to stop procrastination

The biggest obstacle to cancelling your subscription is procrastination, which is something our brain does when we, deep down, don't want to do something. Rather than facing up to our feelings, though, we tell ourselves things like "I'll do it tomorrow", "I'll wait till I'm at the office", or "I'll do it when I'm on top of my freelance work" (i.e. never).

The best way to overcome these feelings is to properly run over the benefits of cancelling in your mind. These will typically include:

1. Financial freedom

Subscriptions, with their seemingly small monthly fees, can quickly add up. A £10 Netflix subscription, a £5.99 meditation app, and a £8.99 fitness plan might not seem like much individually, but together, they amount to over £30 a month or £360 annually. Multiply that by other services, and the financial impact becomes even more stark.

So do the maths, write it all down on a piece of paper, and work out what you could do with the money saved. (Holiday? Debt paydown? Gift for a loved one?) That'll give you far more motivation than just the abstract thought of 'saving money' (yawn).

2. Minimising digital overwhelm

Every subscription often comes with its own set of apps, logins, and emails, which can lead to a hugely cluttered digital experience. Reducing your subscriptions can help declutter your devices and inbox, giving you greater control over your digital life.

3. Reclaiming your time

Subscriptions don't just cost money; they demand attention. From binge-worthy shows to relentless notifications, many services compete for your time and focus. By reducing the number of subscriptions, you can simplify your life, spend more time on what matters, and enjoy moments of true rest.

4. Promoting conscious consumption

Subscription models often lead to passive consumption. Ask yourself: do you stream shows because you're paying for them or because you genuinely enjoy them? Cancelling subscriptions encourages a more mindful approach to consuming content and services.

How to go about it

Once you've plucked up the motivation to cancel unnecessary subscription services, how do you actually go about it? Follow this step-by-step plan, and you'll soon be counting your extra cash.

1. Audit your subscriptions

Start by identifying all the subscriptions you're currently paying for. There are probably more than you think, so thoroughly check your bank statements, credit card statements, app store accounts and emails for receipts or recurring charges. Some subscriptions, especially annual ones, might be easy to forget, so be thorough in your audit. You may well uncover a subscription you never even knew you had.

2. Evaluate each one carefully

For every subscription on your list, ask yourself the following questions:

• Do I use this service regularly?
• Does it add meaningful value to my life?
• Is there a free or cheaper alternative?
• Can I (legally) share this subscription with someone else to split costs?

If a subscription fails to justify its cost or use, it's time to consider cancelling it.

3. Find free or cheap alternatives

Often, we cancel subscriptions because no free or cheap alternative is available. Over time, though, that can change, so put the work into finding other options for your current subs.

For example, if you subscribe to Creative Cloud but only use Photoshop, you might find Affinity Photo (available for a small, one-off fee) just as good. In which case, I'd suggest you take out a free trial and give it a go. Of course, make sure, if necessary, that you cancel in good time, lest you compound the problem!

Similarly, for streaming video, it's worth investigating the content on the numerous ad-supported streaming channels. You might find the same shows you're paying for on Disney+, Netflix, Apple TV, Paramount, or Amazon are actually available for free elsewhere: either on platforms run by national broadcasters such as My5TV or newer services such as Pluto, Tubi or Samsung TV Plus.

4. Schedule regular subscription reviews

Make it a habit to review your subscriptions every three to six months. This ensures that you're not accumulating unnecessary services over time. Setting calendar reminders or automating the review process with apps can help here.

5. Opt for pay-as-you-go

Instead of subscribing to services, consider pay-as-you-go options. For example, instead of maintaining a gym membership, you could pay for individual classes or use free resources like outdoor workouts or YouTube tutorials. Similarly, if you're keen on a TV show or movie, it's usually possible to rent it, buy it on DVD, or head out to the cinema, all of which will make watching it more of an occasion.

6. Put the effort in

While some subscriptions are easy to cancel, others can be more challenging. Some services make it intentionally difficult to unsubscribe, which you can understand from a business point of view, but from a humanity point of view, it can make you want to punch someone. Don't be discouraged, though: there's always a way. Rather than tearing your hair out, treat it as a fun challenge, like completing a cryptic crossword.

Read cancellation guides thoroughly. Contact customer service if necessary. Look up cancellation discussions online. Ask for help on social media. Most importantly, persist until the job is done. Otherwise, well, the bad guys will have won.

Conclusion

In 2025, subscriptions have become ubiquitous, but their convenience often comes at the cost of financial and mental well-being. By taking a deliberate approach to cancelling, you'll save money, reclaim time, and live a more intentional life.

Yes, it's an effort, but the rewards—from financial freedom to a simpler digital existence—are well worth it. So start your audit today and take the first step toward a more empowered future.

Ultimately, when you actively choose the services you engage with, you're likely to feel more satisfied with them. Cancelling subscriptions allows you to align your spending and time with your true priorities, and once you achieve this, it feels so good.

We sat down with Katie Kubrak, a Central Saint Martins alumni and head of insight at Nirvana CPH, to discuss the future of packaging design. Hint: It's circular, sensorial, and doesn't cut corners.

In an era when consumers expect packaging to be far more than just a protective shell, designers are reimagining how a box, a bag, or a label can foster connections and spark delight. As a result, one emerging challenge has become particularly urgent: how can we craft packaging that both enriches our sensory experiences and aligns with the critical need for sustainability?

This question drives the work of Katie Kubrak, a designer specialising in CMF (Colour, Material, Finish) and material-first strategies. Having been trained at Central Saint Martins by prominent figures such as Chris Lefteri and Rob Thompson, Kubrak is now seeking ways to harness colour, material, and finish to captivate the senses while staying firmly rooted in environmental responsibility when designing brand experiences.

Part of her role as President of the UAL Sustainable Alumni Network involves urging creatives and businesses to move beyond superficial aesthetics and commit to ethical, regenerative design. For the last eight years, Kubrak has also worked at London-based agency Nirvana CPH, collaborating with world-leading brands, from Pangaia, Burberry, and Dunhill to Bang & Olufsen, Bodyform, and Fortnum & Mason.

She believes in promoting a balanced, material-driven approach and, together with the rest of the Nirvana CPH team, is convinced that the colours, materials, and finishes mindset is vital for the brands of tomorrow.

So, can packaging be simultaneously sustainable and sensorial? Why are both important and how can design enable them to coexist without compromise?

The role of sensory design in packaging

"Packaging design isn't just about containment; it's about creating an emotional connection between the product and its consumer," says Kubrak.

In her view, sensory design taps into our innate human tendencies to explore the world through touch, sight, sound, smell, and even taste. "Think of the soft matte exterior of a premium product box or the crisp crackle of layered tissue paper - these elements enrich the unboxing, transforming it from a routine moment into a memorable and multi-sensory experience," she explains.

Kubrak pinpoints that when done right, sensory design builds brand identity, fosters consumer loyalty, and, most importantly, differentiates products in a crowded market. At Clerkenwell Design Week, Kubrak brought this notion to life through her 'Tactility Speaks' exhibition, exemplifying how subtle sensory choices can be both sustainable and impactful.

Collaborating with Fedrigoni UK on behalf of Nirvana CPH, she showcased a range of FSC-certified papers - each with distinct textures and finishes - alongside an ASMR-style video exploring their auditory qualities. "Even seasoned designers were surprised by how these conscious material selections elevated the emotional resonance of packaging," she adds.

The sustainability imperative

According to Kubrak, there is an increasing need for designers to be "acutely aware of the environmental impact of their creations", especially since "the design industry has long faced criticism for its over-reliance on single-use plastics and non-recyclable materials".

She said, "Our job is no longer to dazzle the customer; it is to design a better tomorrow."

In her view, sustainability is not merely reducing waste but designing regenerative systems that keep materials circulating within the economy. Having a material-first mindset means considering an entire lifecycle, from sourcing and manufacturing to disposal and end-of-life infrastructure.

Through her focus on renewable, compostable, and easily recycled substrates, Kubrak is trying to demonstrate that designers can still deliver engaging designs that meet today's environmental challenges.

Core to her process is posing questions that cross brand strategy and supply chain logistics. Where does this material come from? How is it manufactured or produced? What is the end-of-life infrastructure like in the intended market? Can it be reused, repurposed, or easily recycled? This is what all designers should ask before even starting to design a packaging solution.

"Sustainability in packaging goes beyond the choice of materials; it extends to the systems in which those materials exist," says Kubrak. The move toward circular design principles means products and packaging should be easily disassembled, reused, or recycled.

For instance, Nirvana CPH's packaging for Kleos+Klea used a mono-material construction that simplifies recycling while still projecting luxury. Another project for TP Vision/Philips involved developing a material calculator that scores various substrates on their environmental impact, providing a roadmap for designing more responsibly across multiple product lines.

Bridging sensory design and sustainability

It's no secret that some brands have been put off by the stereotypes of sustainable packaging, driven by a belief that it can't be as high-impact or luxurious as its less eco-friendly counterpart. However, Kubrak's work proves otherwise.

"The challenge lies in balancing sensory richness with environmental responsibility," she says, mentioning Nirvana CPH's collaboration with Nanushka as a striking example of how this works in practice. Kubrak notes how the project began with in-depth material research and sustainability audits, mapping colours, materials, and finishes to align with Nanushka's aesthetic and environmental ambitions.

By opting for sustainable paper handles and an elegant black gloss foil logo - while remaining a fully recyclable mono-material solution - Kubrak's team showed that sustainability and premium branding can successfully converge.

Kubrak adds: "Similarly, Burberry's packaging under Christopher Bailey blended tactile cues from the brand's iconic trench coat into its boxes, bridging heritage and modern design. This textural homage evolved under Riccardo Tisci and then under Daniel Lee, maintaining a consistent brand identity while utilising the highest percentage of recycled fibres to date."

The role of CMF in sustainable sensory design

CMF design is a niche discipline that merges aesthetics, sensory expression, engineering, cultural relevance, marketing storytelling, legislative compliance and environmental responsibility. It is about much more than colour swatches and finishing touches; it's a strategic approach that can help a brand with up to 90% of its product and packaging's environmental impact, according to Kubrak.

"No other discipline within the creative industry brings all of these topics into one conversation so seamlessly," she says.

By creating "material toolkits," Kubrak and her team aim to enable multi-departmental collaboration across design, brand, procurement, marketing, procurement, and logistics. This holistic approach was developed to ensure that aesthetics, function, and sustainability are addressed from the outset, preventing last-minute compromises while allowing design teams to lose themselves creatively with curated materials.

Kubrak adds that it also lays the groundwork for the industry's "next wave of leadership roles". She envisions a future where a 'Chief Material Officer' is a standard presence in major global businesses.

Practical tips for a material-first mindset

Through the lens of Colour, Material, and Finish, Kubrak offers some advice on making choices that align with a material-first mindset.

When it comes to colour, opting for natural dyes or low-impact pigments and considering hues inspired by nature is a good way to start. For example, she notes how Gmund Biocycle's 'grass' colour is vibrant yet sustainable. She adds that "strategic designs and use of graphics and print can reduce resource use".

For the material element, she suggests investigating emerging alternatives, like mushroom-based packaging, seaweed films, and fibres derived from food waste fibres (e.g., cherries, cocoa beans, and lavender). "Uncoated kraft papers and recycled boards in mitred edge constructions add texture and character without extra finishing processes," says Kubrak.

Finally, with the finish, Kubrak advises replacing petrochemical-based laminates with water-based coatings, adding that "embossing and tactile patterns introduce sensory depth without adding extra layers of unsustainable material".

Challenges and opportunities

"Of course, designing at the intersection of sustainability and sensory experience comes with its challenges," says Kubrak, reflecting on how "sustainable materials often have limitations in terms of availability, cost, and scalability".

She adds that some materials might also lack "the tactile or aesthetic qualities designers are used to working with".

What we can't forget is that a challenging landscape is the perfect breeding ground for innovation. These constraints often lead to breakthroughs like mycelium-based packaging or algae-derived bioplastics, as well as new constructions and production methods.

Kubrak also points to Product IDs, QR codes, and other technologies that can extend the story beyond the product, enabling brands to track materials, promote reuse, and build deeper consumer engagement.

A collaborative conversation

"'Design that feels' does more than indulge our sense of touch - it brings together ecological integrity and sensory richness, creating packaging experiences that honour both people and the planet," says Kubrak. From her work with Nanushka and Burberry to her forward-thinking initiatives for TP Vision/Philips and Canada Goose, Kubrak has demonstrated that sustainability and sensory delight are not mutually exclusive and can be achieved by embracing a material-first approach.

She will delve deeper into these themes at the free-to-attend Paris Packaging Week later this month, offering more practical guidance for designers and brands eager to embrace the future of packaging.

"It's important to be part of key industry events like this. It's how we come together to make better things,"
says Kubrak. As the conversation shifts to regenerative solutions, designers and strategists should be looking to prove that packaging can be as engaging to the senses as it is respectful to our environment.

Struggling to get motivated right now? Follow our practical guide to reigniting your creative spark this January.

The festive season has faded, the last mince pie has been devoured, and the fairy lights have been packed away. But hold on a second… it feels like the holidays have only just begun! How can it be time to go back already?

It doesn't matter how grown-up we feel; this transition from holiday relaxation to workplace productivity can feel as jarring as going back to school after Christmas did as a child. And that can make the post-holiday period an emotional and creative minefield, where you struggle to come up with creative ideas, your productivity slumps, and everything starts to feel overwhelming.

But it doesn't have to be this way. Ideally, January should be an opportunity for renewal, reflection, and reinvention—one of the best, most fun times of year to come to work.

In this article, we'll present five simple steps that can help you get back on track with the enthusiasm and mindset to start knocking it out of the park in 2025. As always, we include practical help and advice from members of the Creative Boom community that really works.

1. Keep the holiday buzz going

It's not that you hate your work or anything. It's just that you enjoyed the holiday so much, you don't want it to end. So, if that's the case, then why not find ways to keep the holiday buzz going?

That's exactly how marketing designer Ana Pereira goes about her post-holiday transition. "I think it's important to make it so the magic doesn't end," she explains. "Slowly winding it down, rather than stopping it all at once, tends to help. If you celebrate Christmas, that doesn't finish until 6 January. And even after that, there's nothing stopping us from making sweets and fancy meals well after the holidays. Food always helps."

She makes an excellent point: it doesn't have to be Christmas Day to enjoy Christmas pud, and unsold stock of such seasonal treats usually gets discounted after 1 January. The same goes for streaming another Christmas movie (there are thousands out there!) or catching up with friends (there's always someone you didn't get a chance to see over the Yuletide period who'll relish the chance to catch up).

Alternatively, maybe you spent the festival period abroad catching some winter sun? Then, when you get back from that, the same applies. Here's a tip that might sound weird, but bear with me. On the first day you're back home, slap on some suntan cream in the morning, just as if you're still abroad. It's good for your skin and makes you feel like you're still on holiday. It might sound weird, but try it: it really does work in lifting your mood.

The point is that by creating a sense of continuity and excitement, you can reintroduce yourself to the world of work more smoothly, avoiding a jarring switch from one mental state to another.

2. Don't go from zero to 60

Another way to stop the return to work from feeling jarring is to ramp up slowly. Take inspiration from illustrator Giulia Ferrari Ulbrich.

"I start small, with some 'warm up' illustrations and sketches," she explains. "No big plans or expectations. It's hard to return with the same energy and pace you were before the holidays, and that's okay. The world is at a different pace in January."

This gentle approach is echoed by Bianca Bramham, artist agent and creative producer at talent agency Jacky Winter, who emphasises the importance of connection. "Don't do it alone!" she stresses. "Schedule a coffee date with an industry peer to talk shop, and ease yourselves back into the working year."

3. Prioritise self-care

Feel less like conquering the world and more like staying in bed? Don't beat yourself up. Instead, focus on small but achievable ways to build yourself back up.

Start by establishing a gentle routine that supports and improves your sense of wellbeing. This might involve setting a consistent sleep schedule (after all those late nights over Christmas), incorporating morning meditation or light exercise (after all that lazing on the sofa over Christmas), and being intentional about nutrition (after all that… well, you get the point). Just doing this can make a surprising difference to your overall mood and sense of wellbeing.

Beyond that, create small rituals that signal a positive start to your workday. This could be enjoying a special coffee blend, listening to an inspiring podcast during your commute, or spending ten minutes journalling about your goals and intentions. By treating the return to work as an opportunity for personal growth rather than a chore, you'll naturally boost your motivation and resilience.

Finally, be kind to yourself during this transition. Acknowledge that it's normal to feel a bit disoriented, and approach your work with curiosity and compassion. Your attitude can be the most powerful tool in reigniting your professional passion and setting a positive tone for the year ahead.

4. Set goals for the year

It may be a cliche, but only because it's true: the start of a new year is an excellent time to think about making positive changes in your life and career. As such, Nicki Field, joint MD at Jelly London, recommends setting aside the early days of January for this very task.

"Give space to those first days back to do some goal setting, in whatever way works for you," she recommends. "They can be as loose as possible or shoot for the sky."

One method she favours is: "a visual mood board of projects you find inspiring or you'd like to try your hand at—or you wish you'd got commissioned for if you're freelance. We're visual people, so this helps you focus just through the exercise of doing it. Plus it's something to look at in those moments you lose your way, and can help reignite or affirm your direction."

5. Shake things up

Have you tried all that, and you're still struggling to motivate yourself? Sometimes, the best way to overcome post-holiday blues is to shake things up.

"January blues are a real thing," acknowledges Lili M. X. Price, creative director and founder at Onomy. "I really suffer from it. Getting back into creative work can be hard, especially in the cold weather. I love to jump onto a plane and work as a digital nomad for a few weeks to get back into the swing of things. I'd recommend it if you're lucky enough to have remote clients. I'm heading out to Bangkok in January to kick off the work from there. I can't wait to meet other creative people out there and work from there."

If that's a step too far, then Dan M., head of creative at Eleven, suggests something more down to earth: making positive steps towards professional development in the coming year.

"Giving yourself something to look forward to after Christmas softens the blow of coming back to work a little," he explains. "So get signed up for some training if it's looking like a quiet one, or some talks to attend; we've got some with Right Aligned in the diary for 2025."

By implementing these strategies, you can transform the post-holiday period from a drag into an opportunity for growth, creativity and renewed passion. We wish you the best of luck, and here's wishing you a fantastic 2025 from all of us at Creative Boom.

Lexus's chief designer, Sellene Lee, and general manager of international strategic communications, Heather Updegraff, give us a glimpse into the future of the Lexus brand and products.

On average, a person spends four and a half years in a vehicle over their lifetime. Given this, it's unsurprising that many people see their cars as an extension of themselves and form emotional attachments to them.

Like our homes, clothes, or anything else we invest significant amounts of time and money into, we want it to align with our personality and our values. So, when the chief designer at Lexus' CALTY Design Research studio, Sellene Lee, said that she draws inspiration from fashion, home interiors, and lifestyle in her job, it made total sense.

Lee's background is in CMF (Colour, Material, Finish) design, a discipline that was historically associated with aesthetics and making cars 'look good' from the outside. But at the beginning of her 14-year tenure at CALTY, Lee was already noticing a transition, and attention was finally shifting to interior design.

Redefining CMF

In the last five or so years, Lee has noticed a transition again towards "sensorial design" and a recognition of the importance of creating an emotional connection with consumers. "As we move in that direction, we need to spend a lot more time thinking about how we can make the design seamless and invisible but emotional and sensory," she explains.

When asked to define what really good CMF design looks like, Lee says: "Let's imagine you go to a really nice hotel and, even if it doesn't have really extravagant or ornate decorations, it makes you feel good, but you don't know why.

"Especially for me when I go to Japan, where I'm amazed by purely simple designs - but even these require a real attention to detail."

As digital elements have become more prevalent in automotive, the CMF role now consistently works alongside UX designers. "Digital is part of our curation, and it's getting bigger and bigger and dominating interior space, so it has to be part of the CMF coordination," says Lee.

However, she notes that you don't want "too much stimuli" and that you should integrate a certain level of tactility so users can focus on driving. She adds that working on software as well as hardware is the most notable transition of her career and that she is excited to see what the next big transition might be.

Beautiful, functional, reliable

One of the biggest challenges for CMF designers at CALTY is sustainability. "There was a time as a CMF designer that you would get really excited about sustainable materials and how they looked because we thought everyone would like it," says Lee.

Unfortunately, the truth was that customers didn't appreciate materials just for their sustainable credentials; they wanted to love them from the first impression. Ultimately, materials need to be beautiful, functional, and reliable for people to buy into them. Lee admits that it's a challenge but reinforces that it is also one of their core goals.

For the LF-ZC (Future Zero-emission Catalyst) concept car, every part of the interior was made from sustainable materials, mostly bamboo. But it certainly doesn't look like bamboo, as this aesthetic might automatically put off some luxury customers.

One of the door materials is bamboo fibre woven with copper yarn, resulting in an interactive surface, while the floors are bamboo chips mixed with recycled carbon, which helps make the car lighter.

Appreciating craftsmanship

"I believe that the general trend of the luxury market is that the more high-end it gets, the more people appreciate craftsmanship," says Lee.

From a mass-market perspective, she feels an appreciation there but is unsure how much it affects purchase decisions.

"We always aim to propose something that will enlighten our customers and management so they can see its potential and value," Lee adds. She remembers finding inspiration for the interiors of a sports concept car from a handbag with painted edges and ended up replicating this style on the car seat, which was a very unusual but innovative choice.

Omotenashi spirit

One of Lexus' core principles is summarised in the Japanese word 'Omotenashi', meaning 'thoughtful consideration'. "We are a very human-centric brand, and we put people at the centre of everything we do," says Lexus' general manager of international strategic communications, Heather Updegraff.

That much is evident from the interactive and multisensory installations that Lexus has exhibited year after year at events like Miami Art Week and Milan Design Week. Updegraff stresses the importance of participating in events with a creative focus and "standing for something beyond what they sell" to further establish that connection.

In her view, it helps people "embrace the brand and identify with it on a deeper level". She says, "Design is a natural connection for Lexus because of our vehicle design and UX design, and we can connect with people intentionally outside of the automotive arena."

A future of diversity

Lexus is a global brand that sells vehicles in over 19 markets—Mongolia and Cambodia were added last year—which means a "one size fits all" approach. "While some companies have said, 'We're going to go 100% battery electric vehicles,' that is not our approach," says Updegraff. "We don't want to force our customers' hand."

From country to country, the infrastructure varies, and EV chargers are not readily available everywhere.

Updegraff asks, "Is the battery electric where we're headed, or is that unrealistic?" and adds that we can achieve lower emissions by having different options. Some areas are no longer designed for cars and favour public transport, which is why Lexus sees itself as a mobility company, not just an automotive company, according to Updegraff.

She adds: "We're exploring and investing in the future, which won't look like our world today." Lexus has already invested in Joby - essentially a flying vehicle - and Lexus KINTO One, a long-term rental program for business owners and company car drivers that encourages car shares and offers the benefits of driving a new Lexus without the need to own one.

These are just a few examples of how an automotive brand can diversify beyond EVs while staying on track to meet sustainability targets.

Change is coming

In 2011, when Akio Toyoda (now chairman) was CEO of Toyota Motor Corporation, he said, "No more boring cars". He wanted to move away from "safe" design and find a new identity driven by innovation.

Lexus' signature spindle grille resulted from this moment of evolution and made its debut on the 2011 Lexus LF-Gh study, becoming an iconic style feature for Lexus models. However, Updegraff says this was just the beginning, as it opened their eyes to how design could be leveraged as "an agent of change".

From a brand point of view, one significant change was the word Lexus being spelt out across the tailgate or trunk in place of the emblem, previewed by the 2022 Lexus NX. Otherwise, the brand has been pretty consistent over the years.

"We're more of a brand that says 'This is who we are, and this is how we're going to continue', but in the next year, there will be some announcements about some shifting of our brand," Updegraff reveals.

We can expect to hear more on this at the Japan Mobility Show in October 2025. Watch this space.