As part of our Financial Transparency theme, we speak with Ana Grigorovici, founder of Design Bench Studio, about learning to value her work, the hidden costs of immigration, and why purpose and pricing don't have to be at odds.

For Romanian-born designer Ana Grigorovici, the path to creative and financial independence hasn't been without its challenges. From navigating unpaid internships and immigration hurdles to launching her own purpose-led studio, Ana has had to learn the business side of design the hard way and often without guidance from the agencies she worked for.

Today, as the founder of Design Bench Studio, Ana has reframed her value, productised her services, and built a model that supports meaningful, mission-driven work. In this candid conversation, Ana shares what she's learned about pricing, stability, and standing firm in your principles—even before the numbers add up.

How did you learn to navigate pricing, salaries, or negotiations in your field?

I started thinking about pricing my design services as packages after hiring a business coach. Jamie helped me with productising and establishing clear processes. This was after a decade of freelancing where agencies and recruiters set the rates based on my level (mid, senior, consultant). Once I began seeing myself as a one-woman agency, I adjusted my pricing to reflect the multiple roles I was actually playing: project manager, content manager, and account lead. Negotiation wasn't something I saw handled well in the design industry, and senior leadership in agencies never offered transparency around pitching or pricing, even when I asked to be in the room for those meetings. I learned most of my business skills from books and talking to my peers. (Company of One, Getting Naked, and Win Without Pitching would be my go-to reads.)

Have you ever experienced pay disparity or financial challenges in your career?

At the start of my career, like most junior designers, I was underpaid and struggled to afford London rent. During my first unpaid internship, I applied for benefit support and jobseeker's allowance, but as an immigrant from Romania, the system didn't recognise my status, which even led to a court case. It took a year to secure the backdated payments I was entitled to, but I had to fight hard for it. Many people from outside the UK I know have faced similar struggles with sponsorship delays and low junior salaries, and I've lost friends to immigration laws.

What's the best piece of financial advice you've received as a creative professional?

A fellow designer advised me to go freelance, explaining that working for three agencies instead of one would provide more financial stability. She compared it to sitting on a four-legged chair rather than a single-legged one. If one leg gives way, you still have three others to keep you steady. That is a great metaphor and great advice.

How do you balance making a living with doing work that feels meaningful?

In early 2022, I made a deliberate decision to stop working with B2C and corporate clients and focus solely on CICs, purpose-led businesses, tech-for-good ventures, and cultural organisations. While making a living as a creative without business training has always been tough, setting clear boundaries around the work I take on has aligned my practice with my values and led to fulfilling collaborations and sustainable financial stability. It turns out you can never be financially stable enough to make big principal decisions, so I made mine before I was on solid ground.

Set inside a centuries-old church in Milan, Future Impact 3: DESIGN NATION traced six decades of Singaporean design, from cultural icons and everyday ephemera to future-facing provocations.

In the middle of Milan's Cinque Vie district, past the glossy showrooms and Aperol-fuelled launches, sat one of the most powerful and quietly confident exhibitions at this year's Milan Design Week. Held in the Chiesa di San Bernardino alle Monache, a 13th-century church turned contemplative design space, Future Impact 3: DESIGN NATION offered a pause from the overwhelming volume of furniture and brand activations.

The exhibition, curated by Tony Chambers, Maria Cristina Didero, and Singaporean designer Hunn Wai, marked 60 years since Singapore gained independence. It invited visitors on a journey through the nation's design history, from nostalgic cultural emblems to present-day innovations and student-led visions of the future.

Set across three distinct zones inside the nave, the show told its story in spatial terms, too. To the right, design's role in Singapore's past; at the centre were contemporary works from eight of the country's leading creatives, and to the left, some speculative ideas from the next generation. It was a chronological walk through an identity forged by design, rich with intention and heart.

Little island of brave ideas

The first section, titled Little Island of Brave Ideas, served as a loving archive of everyday objects that have shaped Singapore's collective consciousness.

Take the Singapore Airlines kebaya, designed in 1974 by Parisian couturier Pierre Balmain. With its batik-inspired pattern, the uniform isn't just recognisable; it's iconic, a symbol of elegance and hospitality that's travelled the world. Here, it stood as an early example of national branding done with grace and intention.

Equally emblematic was the Courtesy Campaign, a 1979 initiative aimed at fostering social harmony in Singapore's densely populated urban environment. "Courtesy is our way of life" wasn't just a tagline; it was an ethos engineered through civic messaging and public design.

Later down the line, humour met innovation with NEWBrew, a sustainable beer made using NEWater, which is Singapore's high-grade recycled water. Originally launched in 2018, the project flips scarcity into opportunity, brewing climate-conscious craft beer from one of the planet's most undervalued resources.

Of course, there were the hawker plates—those melamine icons of Singapore's culinary culture. Colour-coded by cuisine and rooted in generational memory, they demonstrated how even a simple food plate can hold deep social and cultural meaning. "As standardised tableware replaces these plates, their visual legacy endures," the exhibition noted. "A testament to how design, even in its most everyday form, preserves the vibrant, communal spirit of hawker dining."

Present day pioneers

In the heart of the church, the exhibition shifted to the present, showcasing eight diverse and richly considered design responses to today's global challenges. These weren't just objects; they were systems, provocations, and care-driven tools for living.

Among them was Fungariums in Space by Ng Sze Kiat (Bewilder), which explored fungi as both form and function. These stainless steel structures support the growth of medicinal Ganoderma mushrooms at home, marrying ancient wisdom with biotech aesthetics. The work "presents innovation at the forefront of health and wellness," blending "care and wellbeing with solutions rooted in ancient wellness rituals."

Sustainability also took centre stage in Wei Xiang's Knots Stool, a deceptively simple piece of furniture made by knotting old curtains or blankets over a light frame. No tools and no complex technical skills are required to make this piece of furniture—it's more of an elegant invitation to reimagine waste.

Supermama's Kintsugi 2.0 reinterpreted the Japanese art of ceramic repair, mending broken vessels and reconstructing missing fragments using gold-plated 3D-printed resin. Blending sustainability, craftsmanship, and technology, it asked us to rethink what it means to restore, preserve, and remember.

Then came the deeply considered Wishbone Bag by Claudia Poh (Wearable), a sleek modular bag system designed for accessibility and one-handed use. Poh's work embodies inclusive design in the purest sense, proving that fashion doesn't need to compromise on function or style.

Elsewhere, Sacha Leong (Nice Projects) responded to urban overcrowding with the Oku Screen, a beautiful spatial divider made in collaboration with Indonesian artisans. Olivia Lee's Matahari reimagined solar cooking with layered terracotta forms. And Randy Yeo's Modular explored Singapore's graphic design heritage through sculptural typography made from recycled paper.

Together, these works felt timely and timeless, anchored in local culture yet globally resonant, merging sustainability, accessibility and aesthetic clarity with remarkable poise.

Virtuoso visionaries

Finally, the left wall of the church presented a speculative future – one shaped not by fear or dystopia but by curiosity, care, and surprisingly poetic optimism.

Among the standout pieces was TERA by Namjot Kaur, a self-watering planter for climbing plants made with a clever terracotta funnel system. A far cry from plastic pots and cumbersome supports, it "embodies Singapore's inventive essence" and offers "a low-maintenance yet deeply rewarding approach to indoor gardening."

pNEWmatics by Eian Siew was a showstopper in its own right, using inflatable air bladders to create structural joinery and a vacuum-powered brace to aid post-surgical healing. Meanwhile, environmental futures were explored in Celia by Kalinda Chen, a fungi-powered air purifier using oyster mushroom mycelium to absorb pollutants. A beautiful meeting of biophilic design and sustainability, it reframed purification as collaboration with nature, not dominance over it.

Tapestree by Nazurah Rohayat was another standout project that involved using AI to generate fabric patterns that merge cultural histories, redefining heritage as something dynamic and evolving. Rohayat explained how her project challenges the notion of static cultural narratives and instead celebrates multiculturalism as a dynamic force shaped by generations of exchange, adaptation, and reinvention. Her designs have even been worn by two government ministers to mark the Republic's 59th birthday last year.

Another project called Refuse by Wong Eng Geng quite literally took to the bins. Serving as a "dumpster diving craft handbook," it reframed waste as a resource, challenging throwaway culture with radical resourcefulness. Finally, CJ Tan's Standard Singlish project gave Singapore's distinctive Creole a typographic system of its own, playfully questioning who gets to decide what counts as a "proper" language.

These projects went beyond future-gazing and can best be described as thoughtful, grounded, and deeply human. As co-curator Wai put it, "Singapore is well-known for thriving through ingenuity and resourcefulness. Now, the future lies with the new generation of globally attuned, self-aware innovators who can continue this legacy."

A nation by design

What made DESIGN NATION so moving wasn't just the calibre of the work but the clarity of the vision. While many national showcases lean on curation or craft, this was about systems, infrastructure and identity. It showed how design has been quietly and intentionally woven into the fabric of Singapore's story, from public housing and placemaking to accessibility and AI.

Crucially, the exhibition also asked what's next – not with loud proclamations but with curiosity, care, and openness to reinvention.

At a week defined by maximalism and material excess (in most cases), Future Impact 3 offered a rare sense of meaning. In a church once filled with prayer, this exhibition was a quiet act of hope and proof that a nation's future can be designed with thought, purpose, and people at its heart.

CUPRA is extending its design thinking to other products... and it makes me wonder, why aren't other car brands doing the same?

Walking past CUPRA's installations in central Milan, I had to double-check I was in the right place. No cars prominently displayed? A chair made of parametric materials? 3D-printed shoes? This wasn't your typical automotive brand presence… and that was precisely the point.

But first things first: who exactly are CUPRA? Created in 2018, this Spanish automotive brand was spun off as a standalone performance brand from SEAT, which itself is part of the Volkswagen Group. Over the last seven years, they've been developing a distinctive range of vehicles, blending performance with contemporary design, and with a strong focus on electrification.

This month, they've pushed things forward by unveiling the CUPRA Design House; a completely new division that takes the company's design philosophy beyond cars and into lifestyle products, collaborations and conceptual pieces. It's a bold move that positions CUPRA not just as a car maker but as a design-led brand, with a distinctive aesthetic that can translate across categories.

The timing isn't accidental: the launch took place as part of Milan Design Week, where Creative Boom is out in force. I got an invite, and found it the perfect occasion to talk about CUPRA's design philosophy and how they're putting it into practice.

"We use design to dare to challenge," said Ignasi Prieto, chief brand officer, at the event. "The CUPRA Design House is a testament to our obsession with design—an obsession that extends beyond the world of automotive into the realms of creativity, innovation and human connection."

That's quite a statement of intent, but the brand is backing it up with actual products and prototypes. The Design House sits on three pillars: CUPRA Collection (lifestyle products), CUPRA Collabs (partnerships) and CUPRA Beyond (experimental design pieces).

From car seats to actual seats

Perhaps the most striking exhibit was a sculptural lounge chair that clearly draws inspiration from CUPRA's automotive DNA. The seat reinterprets the brand's design language with what they call an "under skin parametric evolution"—essentially creating the effect of skin stretched over bones, with the entire colour palette drawn directly from CUPRA's distinctive bronze and copper tones.

Jorge Diez, chief design officer of the CUPRA Design House, explained that this chair embodies their design principles while pushing into new territory. It's a conceptual piece for now, but it demonstrates how automotive design thinking can cross into different types of objects entirely.

More immediately tangible were several collaborative pieces that you'll actually be able to buy. CUPRA has partnered with 3D printing pioneers Zellerfeld to create trainers that showcase the parametric design language that's become part of CUPRA's identity. These shoes were made available immediately after the Milan reveal; a sign that this isn't just conceptual posturing but a genuine retail strategy.

Another collaboration with Barcelona-based brand MAM has produced a multi-functional vest with what they describe as a "Neo Pen touch and feel": the headline is that it blends a hoodie vest with an integrated backpack. These products will come to market in September as part of a larger collection. Meanwhile the adaptive knitting pieces on display, designed to function as a "second skin", will inspire a forthcoming activewear collection set to launch at the end of 2025.

Fishing nets to suitcases

At the launch, we also heard about a collaboration that hadn't been previously trailed: a partnership with Harper Collective to create a range of sustainable luxury luggage pieces. They're made from fishing nets recovered from Italian coastlines, and the Century Bronze finish changes colour depending on the light; mimicking leather while actually being made from recycled plastics. Co-founder Sebastian Manes explained how their approach perfectly aligns with CUPRA's. "Our philosophy is all about taking trash and turning it into something beautiful and functional," he said. "We see the future of how you can forage trash and turn it into something that you have no idea was trash in the first place."

Beyond the products, CUPRA also showcased what they call a "sensorial capsule"; essentially a vision of future car interiors where the vehicle is "considered not so much like a machine, but more like an alive entity with its own soul," as Francesca Sangalli, creative head of the CUPRA Design House, put it.

This capsule aims to highlight the emotional connection between driver and car: a binomial relationship where the materials and features are orchestrated to enhance functionality while maximising emotional response through all five senses.

What's the point?

The obvious question is why a relatively young automotive brand would invest in creating lifestyle products, rather than focusing solely on cars.

There's precedent, of course. Porsche Design has been expanding that iconic brand's design philosophy beyond cars since 1972. BMW Designworks has created everything from subway trains to gaming computers. But those brands had decades of heritage before branching out.

For CUPRA, this expansion seems like a brave strategic move to rapidly establish a design identity that transcends vehicles. The brand has already sold over 800,000 cars in its seven-year existence—not an insignificant achievement—but clearly sees design as a way to build recognition and desirability beyond traditional automotive channels.

As Cecilia Taïeb, chief operating officer of the CUPRA Design House, explained: "The CUPRA Design House is where we will come together with creatives and brands who share our vision to use design to challenge conventions and embrace the unknown."

What's particularly interesting is how CUPRA is focusing on collaborations with smaller, independent brands rather than just creating branded merchandise. By partnering with companies like MAM, Zellerfeld and Harper Collective, they're connecting with established design communities who already have credibility in their respective fields.

This approach allows CUPRA to extend its reach while learning from specialists—a smart move for a brand still establishing its own design credentials outside automotive.

Leading with design, not engineering

While other car brands tend to lead with engineering prowess or performance metrics, CUPRA is taking a decidedly different approach. By establishing design as its primary value, it's positioning itself in a space where visual and emotional connections matter more than technical specs.

It's a risky strategy, but one that could pay off as car brands increasingly need to differentiate themselves beyond traditional selling points. As vehicles become more similar in their technical capabilities, particularly with electrification, design and brand identity are likely to become more crucial differentiators.

The question remains, of course, whether consumers will embrace CUPRA as a lifestyle brand rather than just a car manufacturer. But by making actual, purchasable products rather than just concepts, the company is putting real commitment behind its design ambitions.

Their rivals should take note—this might be exactly the kind of diversification strategy needed in an industry facing massive disruption. CUPRA may be showing us that the future of automotive brands lies in becoming design houses first, and car companies second.

Koto has reimagined Uniqode—the world's first enterprise-ready QR platform— balancing conceptual depth, technical innovation, and a dash of unexpected humanity.

There's a fine line between utility and experience, and things like QR codes aren't often praised for their emotional resonance. However, when rebranding Uniqode, Koto saw an opportunity to stitch together something more meaningful than pure tech, leaning into a story of connection, clarity, and confidence.

Formerly known as Beaconstac, Uniqode offers a dynamic platform that allows businesses to create, manage, and track QR code engagement at scale. Its new identity, launched with the brand's refreshed purpose of "Map Every Move," reflects a strategic shift from tool to experience, from transaction to relationship.

Koto senior strategist Giselle Childs says: "Just like Uniqode bridges the digital and the physical, we sought to bridge the technical and the human."

This bridging concept took shape through a powerful metaphor: stitching. "Each scan is like a needle passing from one side of the fabric to the other," explains Koto's executive creative director, Arthur Foliard. "That movement felt so reminiscent of weaving or stitching that it became the perfect metaphor for a brand rooted in QR technology."

The new Uniqode symbol was designed to be more than a logo—it's a visual metaphor in motion. Threads converge into a square, subtly recalling a QR code, while the tail of the 'Q' completes the stitching gesture.

The entire design system extends this tactile metaphor across touchpoints. Custom iconography and illustration styles merge digital pixels with physical threads, and even the animations are literally stitched using bespoke software developed by Koto to create dynamic woven effects.

Every element, from the carefully chosen Uniqode blue and functional greys to the typography trio of Uniqode SANS, HEX Franklin, and Inter, was built with both impact and clarity in mind. "Building a custom typeface wasn't just a nice-to-have, it was essential," Foliard says. "We saw a real gap in this space for a brand with genuine distinctiveness."

The brand's sense of craft carries through to its photography and motion language. Imagery leans toward warmth and authenticity—people in real settings, not generic stock abstractions—while animated stitch motifs elegantly link brand moments to user interactions.

Despite the technical sophistication, the identity never veers into cold or clinical territory. That's thanks in large part to a verbal identity that invites rather than intimidates.

"We created a system grounded in a voice that warmly invites people into the world of QR codes," says Childs. "It does so in a relatable way, devoid of jargon or complex language that puts up barriers to understanding."

Uniqode's new voice is as friendly as it is confident, and the brand's mission to "map every move" positions it as a vital tool for navigating a world where physical and digital interactions are increasingly intertwined. It's a forward-facing ambition with an ancient reference point: the map. As Childs notes, "At least for now, QR codes still need humans to operate phones to scan them"—so grounding the strategy in something innately human was key.

This human touch doesn't dilute the brand's ambition—it amplifies it. From product to positioning, Uniqode is moving into new territory with a clear-eyed sense of where it's headed.

"This project sits perfectly at the intersection of practical utility and a deeply resonant brand story," Foliard says. "It's more than just another tech tool—it's an immersive experience spotlighting the 'thread' that connects physical and digital worlds."

In an era where brand identities often blend into one another, Uniqode's stitched-together system stands out not just for its visual polish or technical flair but also for its conceptual clarity. It's a timely reminder that even the most utilitarian tools can be reimagined with elegance, empathy, and a little bit of creative needlework.

The Taiwanese tech brand is redefining the physical design of laptops with stunning designs inspired by Earth's natural landscapes and made from an innovative new material.

If you're anything like me, your laptop is practically an extension of yourself, a constant companion that follows you from coffee shops to client meeting; late-night editing sessions to inspiration-fuelled travels. It's not just a tool; it's the canvas where our ideas take shape, the engine that powers our creative processes, and often, the face we present to clients. It's also our window into the world, where we experience everything from entertainment to world events.

So, I don't think you have to be a nerd to care about the design of your laptop. Like a chair or desk, you need it to be both functional and beautiful. Yet, for years, you've had to compromise between the two.

Consider, for example, my MacBook Air M1. Yes, it's sleek, yes, it's gorgeous. Unfortunately, it's so ultrathin that there's no room for ports, which means that whenever I need to connect it to something like a monitor or TV, I'm left clumsily juggling docks and dongles. Laptops with more ports, though, typically aren't as lightweight and won't look as good.

Once, you'd have expected Apple to work on a radical new design that squared this circle. But recent history suggests that these days, they're more interested in iterating very gradually, and not really innovating around the physical design of existing products.

This, though, leaves the field wide open for competitors to pursue new design ideas that fundamentally reinvent the laptop. And from where I'm standing, the company making the biggest strides here right now is the Taiwanese brand ASUS. So when they invited me to see their new products at Milan Design Week, I jumped at the chance.

While their main release to the public, the Zenbook A14, is impressive, it was the as-yet-unreleased Signature Edition Zenbook range that really grabbed my attention. I'll be honest: I can't remember when I've been this entranced by the physical design of a laptop.

Ceraluminum: the material making it all possible

What's so different about these laptops, fundamentally, is what they're made of. ASUS has developed a proprietary material called Ceraluminum—essentially a process of ceramising aluminium that makes it 30% lighter and three times stronger than traditional anodised aluminium.

Laptops made from this can be thick enough to include the ports you need (most notably, an HDMI slot) while still remaining super-light and running cool. As ASUS sees it, it's the best of both worlds: the premium feel and durability of ceramic with the lightness of aluminium.

They also claim that the manufacturing process is remarkably eco-friendly. While traditional aluminium anodisation relies on acids and produces hazardous waste, Ceraluminum production uses pure water and high voltage, resulting in a 100% recyclable material with no organic compounds, VOCs, or heavy metals in the wastewater.

That's important to ASUS because their fundamental design philosophy is to bring the look and feel of nature into tech, to create "design you can feel".

Nature-inspired design

While many companies pay lip service to that approach in their PR and marketing, it's not always that obvious in the actual products. That certainly can't be said for the four limited-edition Signature Edition Zenbooks that ASUS unveiled at Milan Design Week.

Each features a chassis made entirely from Ceraluminum, and they come in four nature-inspired finishes, each representing different dramatic landscapes. This gives them a look and feel that's totally different from the monocoloured chassis I'm used to seeing on laptops.

What's fascinating is that these finishes aren't achieved with added pigments; the distinct colours and textures are precisely controlled through electric current, voltage and mineral formulas during the ceramisation process. So it's not like looking at a laptop with a decal stuck to it; these devices look more like bespoke, individually made art objects.

Each has a unique tactile quality, too—smooth yet somehow organic—that begs to be touched. Thankfully, though, they appear to be entirely smudge-free.

Of course, these aren't just pretty faces. Inside, they're powered by the latest AI-enabled Intel Core Ultra processors, feature ASUS Lumina OLED displays, and have dedicated Windows Copilot keys.

I can't get more specific than that: ASUS is still working on the details and hasn't even committed to releasing these laptops. They plan to gather feedback first and then have a think. But among the journalists here, at least, feedback was very positive. Interestingly, there was something of a gender split, with me and other men generally preferring the black slate-like 'Iceland-Geldingadalir' designs, while this was the least favoured among the women (although this was hardly a scientific sample, of course).

Design you can feel

ASUS didn't just drop these beautiful devices on a pedestal and call it a day. This was Milan Design Week, after all, a global event where every brand worth its salt creates an art installation to express its design philosophy. Hence, ASUS hosts its own 'Design You Can Feel' exhibition at the Galleria Meravigli, creating a full sensory experience around the concepts of materiality, craftsmanship, and AI.

The highlight was a specially commissioned installation by Studio INI. This experimental design and research studio created a kinetic, biomimetic sculpture that reacted to visitors' presence. As you walked up and down on it, like a model on a catwalk, its fronds opened and closed, and your motion data was used to create AI-generated visualisations.

This was a lot of fun for guests, but it also had a serious point: evoking the tactile quality of Ceraluminum (which was used to make it) while demonstrating how AI can enhance creative expression.

Elsewhere in the exhibition, playful interactive exhibits told the design stories behind various ASUS products, including its ProArt, Adol, Vivobook and ROG devices. From a laptop that emits different fragrances (a real product, currently only available in China) to weighing scales that balanced laptops with chess pieces, there was something delightfully tangible and fun about the whole experience. A refreshing change from the often sterile tech showcases us journalists are used to.

Want one now? Meet the Zenbook A14

While the Signature Edition Zenbooks stole the show, they're not quite ready for consumer hands yet. However, many of their qualities can already be found in the new Zenbook A14 (UX3407)—the first ASUS laptop to feature an all-ceraluminum build.

Weighing under 2.5 lbs, the A14 is the lightest 14-inch Copilot+ PC on the market and comes in Iceland Gray or Zabriskie Beige. It's powered by Qualcomm's Snapdragon X Series processor, which enables an impressive 32 hours of battery life on a single charge—genuine multi-day usage that creative professionals on the go will appreciate.

The A14 also showcases ASUS's commitment to balancing beauty and functionality. It has a healthy complement of ports (two USB 4.0 Type-C, one USB 3.2 Type-A, HDMI 2.1, and a 3.5mm audio jack), an ASUS Lumina OLED display, and advanced AI features courtesy of Qualcomm's Hexagon NPU. All in all, it's an intriguing alternative for creatives who might traditionally default to MacBooks.

A new era for creative tools?

I'll be honest; my expectations for this show weren't that high. A lot of brands stumble into Milan Design Week with great intentions but haven't really thought things through. So they end up with a nice-looking art installation, but the connection to the product seems quite weak, and you find the marketing waffle has to do a lot of heavy lifting to tie it together.

In contrast, ASUS's exhibition made me excited about laptop design for the first time in years. Once released, the Signature Edition Zenbook Series could very well represent a new watermark for laptop design, where technology and art form a new path forward. In the meantime, I'm looking forward to getting my hands on a Zenbook A14.

Fundamentally, it seems like ASUS is the laptop brand most interested in pushing forward physical design right now. Who knows, maybe they could even steal Apple's crown as the go-to for creatives. There's a long road ahead, of course, and given the burgeoning trade wars, all this may become moot. But all other things being equal, I think ASUS is definitely a challenger brand to watch.

Inspired by comic books, horror and Victorian etching, Ben Duchene's intensively hand-rendered imagery reveals his passion for myth, magic and macabre visual storytelling.

Just a few short years ago, the creative world was abuzz with talk of craft and authenticity. Today, all the positivity we had about honing creative expression and human connection seems to live in the shadow of artificial intelligence.

Enter Ben Duchesne, the emerging English illustrator who would very much like to push AI back into the shadows – ones meticulously cross-hatched by hand in his highly detailed, beautifully gothic pen-and-ink style.

"My work is proudly and boldly traditional, and I am determined to stay that way," says Ben. "Art is human and built from imagination, creativity and experience. AI only steals and, ironically, lives up to its name as insultingly artificial."

A 2022 graduate of the Illustration BA at Falmouth University, Ben's focus is visual storytelling based on accompanying narrative from the darker side of fiction. And this is where his work with light and shadow comes into play once again because the themes he loves to explore are often introspective and layered with atmosphere. These themes drive the planning and composition of his images, which also feature human figures emerging from the darkness.

He continues: "My work is naturally quite atmospheric and dramatic, so automatically gravitates to more gothic, thematically heavy stories. As an avid reader and ex-English and history student, I'm bringing all those interests together. Comics are what got me into art, so I'm just attempting to transfer as much of my individuality over into that side of illustration. Horror and noir stories have also made significant impressions on my work."

While studying for his degree, Ben was inspired by Victorian etching, so pen and ink became his media of choice. They are excellent for achieving fine detail and high levels of control, whether you're rendering architecture, scenes from nature, or human anatomy. But he's not confined to Fineliners and sketching paper – acrylic and gouache are also part of Ben's repertoire, and he enjoys experimenting with other media.

After understanding the narrative, the next part of Ben's creative process is identifying where the light source will be. That makes everything easier. From there, he develops the tonality of the image and its colour palette, if applicable, working by hand towards a final illustration. It's a process he finds very rewarding.

"When I first started pushing pen and ink as my primary medium and composing my own images, I tended to overwork pieces to the point where the focus would be lost," says Ben. "I've since thought more about where not to put the ink whilst refining the linework and letting negative space help the images breathe without losing the atmosphere."

Whether it's Greek mythology, Swamp Thing or Jekyll and Hyde, eerie, gothic imagery is Ben's domain as he expands his portfolio, continually improves his techniques and pushes to break into the world of publishing. He's been working on his own comic book, Völd, set in Anglo-Saxon times. When a brief calls for authenticity and the irreplaceable touch of a human hand, he'll be the art director's go-to choice.

"I've always thought that black and white is art at its most honest and raw, similar to black and white photography. Sometimes, it evokes much more than what colour can," says Ben.

To stand out in China's crowded RTD market, Marks has given Starbucks' fan-favourite Refreshers a striking new look, complete with a dynamic bottle shape and vivid visuals.

Starbucks is reintroducing its much-loved Refreshers drink to Chinese consumers with a major glow-up, including an innovative bottle design and bold graphic identity crafted by global design agency Marks. The change aims to carve out fresh space in China's fiercely competitive ready-to-drink (RTD) market.

While Refreshers already enjoys cult status in the US, its role in China is strategic. Starbucks has pinpointed the drink as a key player in its plan to evolve the RTD portfolio and appeal to shifting consumer preferences—especially among a younger generation of self-expressive trendsetters. With the RTD market booming, there's certainly no room for blending in.

"RTD is a crucial sector for us to reinforce our coffee leadership position in China," says Catrina Xiaoyu Wang, senior manager at Starbucks China. "As an exciting and disruptive extension to our line, Refreshers is designed to drive penetration, recruiting new users and boosting our ambition to become the most loved RTD coffee brand in the market."

The rebrand brings a sense of freshness and flair that matches the product's personality. It's aimed squarely at what Marks identifies as 'life autonomists'—Gen Z consumers who embrace individuality, community, and aesthetics and whose drinks are an extension of personal style.

According to Danny Lye, vice president of Marks Greater Asia, the result is "disruptive and eye-catching," with a distinctive visual language that blends elegance, energy, and sensory appeal.

Marks' approach was rooted in local consumer insight and cultural semiotics. The team drew on emerging design trends like expressive abstract patterns, playful illustrations, and vibrant colour cues to build a system that feels premium yet personal.

In other words, this isn't just another pretty bottle—it's a deliberate play on shelf impact and emotional connection, aligning with how China's younger generation navigates the intersection of food, fashion, and self-image.

At the centre of the redesign is a unique bottle structure that feels as good as it looks. Inspired by the texture of fresh fruit and the tactile charm of traditional coffee equipment (notably the iconic Italian Moka pot), the shape delivers both a functional and aesthetic punch.

Design-wise, the label balances familiarity with flair. Key Starbucks RTD equities remain intact, anchoring the product within the broader brand portfolio, but fresh elements elevate the experience. This includes playful hand-drawn typography for flavour names, vibrant colour systems tailored to local preferences, and expressive neck patterns that catch the eye and spark curiosity.

"Together, bottle and graphics deliver an unexpectedly refreshing visual and sensory experience," says Lye. "They mark a significant investment to position the product as a disruptor in RTD beverage, offering excitement and newness in an extremely competitive environment."

The launch is being rolled out with an e-commerce campaign titled Morning Coffee, Afternoon Refreshers—a neat nod to the product's dual appeal as a midday pick-me-up with a playful twist. It's not just about delivering caffeine; it's about delivering a moment.

This project is a clear example of what Marks does best: combining brand strategy, semiotics, structural design, and storytelling into a cohesive, culturally attuned identity. As the line between lifestyle and beverage continues to blur, Starbucks and Marks are meeting the moment with a bottle that's as expressive as the people holding it.

All the drama, ferocity, beauty, and nuance of UK folklore come to life in Myths and Legends, a new set of commemorative stamps issued by the Royal Mail, featuring artwork by London-based illustrator Adam Simpson.

Next time you send a letter in Britain, why not have it spirited to the recipient by one of the fascinating heroes, monsters or spirits of British and Irish folklore? From Selkies to Beowulf to Finn McCool or Blodeuwedd, eight of the most enchanting characters and creatures from our ancient stories appear in Myths and Legends, the latest set of special edition stamps released by the Royal Mail.

Each stamp has been illustrated in evocative detail by Adam Simpson, who spent more than a year developing the composition, storytelling, and all-important atmosphere until the imagery was just right. It has been a labour of love for the artist.

"I bought a sketchbook for each stamp, and then throughout the project, I filled each one with ideas, drawings, and notes as I researched the myths and their locations. I sketched out a lot of very loose ideas, chose my preferred options, then tightened them before sharing with the designer Jason Godfrey and the team at the Royal Mail," explains Adam.

When illustrating a stamp, the canvas is always small. Nevertheless, the imagery is rich in detail and colour, capturing each narrative along with its magic and mystery. Cornish piskies frolic with a sense of mischief and abandon, the Grindylow water sprite of Northern England emerges hungry and malicious. At the same time, a Selkie gracefully slips from the waves and sheds her sealskin alter ego.

The most beautiful stamp in the collection features a Welsh maiden made by magic from broom, meadowsweet and oak flowers. "I love the story of Blodeuwedd the most," says Adam. "I wanted to try to represent the magic within it. But having worked on each stamp from late 2023 to the beginning of this year, I feel close to all of them."

Beowulf and Grendel presented the greatest challenges. "I think there's a lot to get across in the Beowulf scene," says Adam. "The fight, the difference in scale, the mead hall and so on. And I wanted to give a sense that Beowulf is about to tear Grendel's arm off without it being too gory!"

Adam followed a flexible, creative process, using both natural and digital media. The imagery began as drawings and painted studies in Adam's sketchbooks. When he'd resolved a route for each artwork, it was scanned and further edited with digital tools. Works in progress were submitted to the Royal Mail Stamp Advisory Committee, which met at regular intervals to provide feedback. With each round, Adam refined his paintings until they were ready for print.

The release of Myths and Legends has coincided with an uptick in the popularity of folklore and folk horror in books, cinema and on television – for example, actor Charlie Cooper's series Myth Country. "It's funny because I remember I was just finishing the Black Shuck artwork when I saw the first episode of Myth Country was Black Shuck! I loved it," says Adam. "I was aware there's a lot of interest in folklore – and rightly so, as I think it's important to keep these traditions alive and understand their historical and regional importance. I've felt privileged to be asked to respond to them."

Other stamps in the series feature the Loch Ness Monster and Fionn mac Cumhaill, the Irish hero seen hurling a rock formation from the Giant's Causeway at an enemy across the sea in Scotland.

"I wasn't sure what to expect, but it's been fantastic," continues Adam. "It has become apparent to me how much regional pride there is in these stories. And I think it's brilliant that a humble stamp can unlock this."

Since painting the stamps, Adam has continued working in the field of myths and legends. He has recently finished a project involving Norse mythology and has been illustrating the tales of the Brothers Grimm.

For the first time in its storied history, The Folio Society is showcasing the illustrators who bring literature to life through a landmark exhibition at the Society of Illustrators in New York.

Few publishers are as beloved and beautifully crafted as The Folio Society. For nearly 80 years, it has built its reputation on creating the most exquisite editions of the world's greatest literature—books that feel as good in the hand as they look on the shelf.

While its elegant typesetting, fine paper, and bespoke bindings have long been celebrated, the illustrations that define Folio's visual identity are now taking centre stage in a first-of-its-kind exhibition. Opening on April 16 and running until 12 July, The Art of Folio is a landmark showcase hosted at the Society of Illustrators Museum of Illustration in New York City.

The exhibition is a vibrant celebration of the artists behind Folio's most breathtaking visuals, spanning genres, generations, and geographies. It brings together the work of 91 illustrators, from icons like Quentin Blake and Beryl Cook to contemporary visionaries such as Sam Weber, Jamaal Barber, Anna & Elena Balbusso, and Yuko Shimizu.

"Illustration at Folio is never just decorative—it's storytelling," says the publisher. From the richly textured world-building of Dune to the austere intimacy of Wolf Hall, Folio's books are known for illustrations that not only reflect the tone of the narrative but elevate it.

With this exhibition, Folio is placing its illustrators front and centre, highlighting their craft and creativity in a way that both die-hard bibliophiles and art lovers can appreciate.

Spanning two floors of the museum, the exhibition is split into thematic zones. On the ground floor, visitors are immersed in the present and future of Folio, exploring the work of today's most innovative illustrators. There's Weber's moody, atmospheric imagery for Dune, the bold symmetry of the Balbusso sisters' work on The Handmaid's Tale, and the vibrant, kinetic energy of Mu Pan's Monkey. It's a visual journey across literary genres and artistic styles, where each piece offers a different lens through which to experience the written word.

In contrast, the lower floor is a curated look back at Folio's illustrious visual history. Illustrators like Blake, with his instantly recognisable, whimsical strokes, and Cook, with her sharp humour and slice-of-life scenes, represent an era when Folio was cementing its place as a cultural touchstone. These works serve as a testament to the publisher's enduring ethos: that books should be both intellectually rich and visually captivating.

One of the highlights of the exhibition is a dedicated space for Yuko Shimizu's illustrations for the centennial edition of The Great Gatsby. Moving beyond the usual Art Deco tropes, Shimizu captures the emotional undercurrents of Fitzgerald's classic with a dreamlike quality that feels both timeless and freshly poignant. Her artwork, with its intricate inkwork and contemporary flair, perfectly encapsulates the tension between opulence and emptiness that defines Gatsby's world.

"This edition is particularly special because it marks the 100th anniversary of Gatsby's publication," Folio notes. "Yuko's work feels like the perfect match for a novel that continues to resonate across generations."

Beyond the exhibition itself, The Art of Folio is also a platform for emerging talent. Through the Folio Book Illustration Award, now an annual fixture, the publisher continues to invest in the future of book art. This year, illustrators are invited to reimagine Rapunzel, and the entries will be judged by a panel that includes celebrated author Erin Morgenstern.

"We've seen exciting trends in contemporary illustration," the team shares. "There's a growing interest in mixed-media, bold reinterpretations of classics, and a focus on cultural and historical authenticity. The Award is our way of nurturing that spirit and encouraging new voices."

In an increasingly digital world, The Folio Society remains committed to the tactile, tangible magic of the printed book. This exhibition is a fitting tribute not only to the illustrators who define the Folio experience but also to the enduring power of art in literature. As the publisher puts it, "Illustration isn't just an addition to a Folio book—it's a core part of what makes it special."

Whether you're a lifelong collector or a newcomer to the world of fine publishing, The Art of Folio is a rare opportunity to step inside the visual imagination of one of publishing's most cherished institutions.

Koto's work honours five decades of Microsoft—from the early days of Windows to today's AI-powered innovation. It's a nostalgic yet forward-looking tribute to the people behind the progress, reminding us that change needs big thinkers and makers.

Global design studio Koto has unveiled a new identity to mark Microsoft's 50th anniversary, celebrating five decades of the tech giant's influence and legacy while recognising those who are continuing to push things forward today.

For many of us, Microsoft is part of the fabric of growing up: the first computer at school, a clunky grey desktop at home, the thrill of Paint, PowerPoint animations, Minesweeper, and later, Halo, Hotmail, secret card games when the boss wasn't looking and Excel spreadsheets we'd rather forget. It's all of this history and progress that Koto took inspiration from.

But Koto also crafted the campaign brand around the idea that 'Change Needs Makers'. Because if it weren't for the people behind Microsoft, we wouldn't benefit from all the pioneering software and culture-shaping innovations we have today. Nor would we see its current AI-powered era.

With all this in mind, Koto's system hinges on three adaptable storytelling structures: Worlds, which place people and products inside vibrant, imagined landscapes that celebrate possibility; Iconic Moments, which honour defining achievements from Microsoft's five-decade journey; and Then & Now, a juxtaposition of eras that captures the company's constant reinvention.

The result is a dynamic, optimistic campaign that connects past and present with the future—through bold visuals, imaginative compositions, and nods to the cultural moments that defined generations.

That's why the visual language has a nice dose of familiarity, but it is also designed to feel fresh. The 50th-anniversary logo, for example, takes off the original Windows design but gives it more 3D and motion to suit today's digital spaces. Typography leans on Segoe Sans Display, echoing Microsoft's heritage, while a vibrant colour palette of six heritage-inspired gradients infuses warmth and optimism throughout.

"Microsoft's 50th isn't just about looking back—it's about reinforcing what has always set the company apart: its spirit of continuous innovation," explains Cassidy Moriarty, Koto's strategy director. "This campaign had to honour Microsoft's legacy without feeling nostalgic for nostalgia's sake.

"The 'Change needs makers' encapsulates that idea—a recognition of those who shaped the last five decades and a challenge to those defining the next. Our strategy was clear: tell a story that connects Microsoft's past, present, and future—one that keeps people at the heart and invites the next generation to shape what's next."

Joe Ling, creative director at Koto, adds, "Every design decision—from the dynamic worlds to the way artefacts frame people's impact at Microsoft—was intentional.

"We wanted to show Microsoft not just as a company but as a catalyst for creativity, innovation, and achievement. The challenge was to create a system that felt expansive yet cohesive, able to flex across history and the future while always keeping the changemakers at its centre."

Whether seen across digital platforms, internal comms, partner rollouts or at Microsoft's official 50th event earlier this month, the campaign's touchpoints serve as powerful reminders of a company that helped define the tech landscape—and is still defining it.

Koto, the studio behind the work, has certainly made a name for itself, crafting identities for global names like Google Gemini, Netflix, and Venmo. The campaign identity for Microsoft's 50th isn't just another excellent trophy piece for a studio that has recently celebrated its 10th birthday; it's a good reminder that innovation never sits still, and neither should we.

Founded in 2002 by three creatives with a shared vision, Taxi Studio has grown from a bold Bristol start-up into a globally recognised agency. With a new studio space, long-standing client partnerships, and a fiercely independent mindset, the team reflects on their journey so far—and what's still to come.

Nestled in the heart of Bristol's creative scene, Taxi Studio is the kind of place that proves great design isn't bound by geography. Founded in 2002 by Alex Bane, Ryan Wills and Spencer Buck—three creatives who took the road less travelled—the studio has grown into an internationally recognised powerhouse without ever trading its South West roots for a London postcode.

"We set out to prove that world-class creativity doesn't have to come with a London postcode," says Natalie Matti-Brown, client services director. "Why not Bristol? The UK's creative heartbeat isn't just in the capital. Cities like Manchester, Brighton, Edinburgh, and, of course, Bristol are buzzing with talent."

That sense of place is important. Bristol's energy—its independence, vibrancy, and raw creativity—seeps into everything Taxi does. It's a city known for counterculture and colour, so it's no surprise that a studio born here would blend big-brand thinking with a spirit of rebellion.

Building something of their own

Back in the early 2000s, the three founders were working together at a different agency when the owner decided to step away. Left at a crossroads, they could've packed their bags and headed to London like many others. Instead, they took the plunge and built something of their own—something that could thrive outside the capital's shadow.

Since then, the studio has grown steadily, staying true to its founding vision, but that's not to say the road's been smooth. "Every day throws a new curveball," says creative director Karl Wills. "Truth is, staying in business is the challenge. There isn't one single 'we made it' moment—just a deep respect for the industry, and an understanding that creativity and commerce are two sides of the same coin."

That balancing act—between artistry and accountability—sits at the core of Taxi's philosophy. From local start-ups to global household names, every project is approached with the same rigour and curiosity. While the studio's client list may span continents, they're just as happy working with Bristol-born brands.

"We're more than capable of competing with the big agencies," Karl continues. "Doing it from the South West, where we grew up and built our roots, just makes sense. And yes, when the right local project comes up, we jump at the chance."

Milestones and Momentum

While Taxi's rise wasn't marked by a single breakthrough moment, there have been plenty of standout milestones. One early turning point came when the studio pitched a left-field idea to The Science Museum: instead of traditional marketing materials, why not create interactive leaflets that brought the exhibits to life?

It was a bold move that paid off. The client loved it, the industry noticed, and awards followed. "It turned heads, bagged awards, and opened doors to bigger opportunities," says Karl.

However, accolades aside, what really defines Taxi is the strength of its relationships. "Some of our client partnerships span decades," says Natalie. "That says a lot about the kind of work we do and the way we do it."

Projects with purpose

Among the team's personal highlights, a few names stand out. For Natalie, it's the strategic transformation of Minute Maid and Tim Hortons—iconic brands with huge scope and equally high stakes. "As a Canadian living in the UK, working on Tim Hortons was a particularly epic experience. The scale of the work allowed us to create something unforgettable—and award-winning."

For Karl, the most challenging project has been a more personal one: carving out his own path within the studio. "I started here as a junior. Spencer and Ryan were like brothers—well, Ryan is my actual brother. I had to prove myself, fight to stand out, and show what I could do." That sense of ownership and opportunity runs throughout the studio's culture.

"Every project is an opportunity," he continues. "The excitement comes from pushing the work, pushing the brief, and seeing where it takes us."

Culture, not cliques

At Taxi, the culture is intentionally flat and ego-free. Good ideas can come from anywhere, and everyone's voice matters.

"Psychological safety is key," says Natalie. "We nurture people to bring their best without fear. There's no hierarchy when it comes to ideas. When I joined, I had little branding experience, yet my opinion was always valued."

It's a place that balances freedom and responsibility—where the phrase work hard, play hard still rings true, but on your own terms. "There's no one way to be at Taxi," she adds. "The platform is here; it's up to you what you make of it."

A space of their own

That mindset extends to the studio's new space—an upgrade that signals how far Taxi has come. "We'd outgrown our old space," says Karl. "It didn't reflect the scale of who we are now. We're competing with the best in the world, and we needed a space that showed it."

Designed by the team, for the team, the new studio captures the heart and soul of Taxi. It's sophisticated. It's grown-up. But more than anything, it feels like home. "When you walk through, you feel like you're in Taxi," Karl adds. "And that's exactly what we wanted."

Challenging the brief

So what makes Taxi different? For one, they don't just answer briefs; they challenge them. "Strategic design thinking is at the core of everything we do," says Natalie.

That means asking difficult questions, pushing clients to aim higher, and being comfortable offering honest opinions. "We're partners, not suppliers," says Karl. "We want to create something better than expected, and we'll keep going until we get there."

The studio's smaller size is also a strength. There's room for everyone to shine and space to grow. "It's what you make of it," Karl adds. "If you're up for it, Taxi gives you the platform to make an impact."

What's next?

Looking ahead, the studio is focused not on reinvention but on confidence. "We're not about chasing trends," says Natalie. "We double down on what we do best. Confidence is key."

That includes expanding Taxi's presence on the global stage. "Why not?" says Karl. "We've got the talent, the work, and the drive, so now it's about making sure the world knows it."

From bold beginnings in Bristol to global ambitions, Taxi Studio is a shining example of what happens when you choose your own path and build something brilliant along the way.

Creative Boom is on the ground in Milan to experience how the Japanese brand blends tradition, technology, and tactile design through its Black Butterfly concept and a new wave of emerging creators.

The theme of Milan Design Week 2025—Design is Human—couldn't be more appropriate for Lexus. Since launching in 1989, the luxury carmaker has made 'human-centred' innovation its calling card.

"While we make cars that are machines and adopt the latest technology, we want people to have a more emotional connection," explains Koichi Suga, general manager of the Lexus Design Division. "That's been true from the beginning."

It's a sentiment that threads through the brand's latest exhibition at Superstudio Più. With a confident yet considered approach, Lexus is presenting a pair of installations that reflect both its design legacy and its vision for the future: A-Un, an immersive centrepiece created with Japanese studios SIX and STUDEO, and Discover Together, a collaborative project showcasing emerging talent and a refreshed direction for the Lexus Design Award.

At the heart of both installations is the Black Butterfly, which Lexus describes as a dual-interface cockpit control concept from the Lexus LF-ZC, their next-generation EV. Far from just a tech showcase, the Black Butterfly is a motif for how technology can quietly enrich our lives rather than distract from them.

"Experiences today are more complex, more connected," says Suga. "But Lexus wants to simplify the user experience with Black Butterfly – not to remove the joy of driving, but to make it more intuitive and natural."

As autonomous driving becomes more prevalent, Lexus is resisting the urge to automate everything. Instead, it's doubling down on emotion. "Cars have life," Suga says. "They're one of the rare objects that you can attach love to."

That philosophy is brought vividly to life in A-Un. Taking its name from the Japanese concept of "harmonised breath," the large-scale installation features a monumental butterfly-shaped screen woven from 35 kilometres of bamboo fibre.

As visitors approach, the sensor responds to their heartbeat in real-time, pulsating and shimmering in synchrony with data captured from their bodies. It's both beautiful and strangely calming—a blend of traditional craft, biofeedback, and speculative design.

Designers Takeshi Nozoe (SIX) and Tatsuki Ikezawa (STUDEO) worked closely with Lexus's in-house team to translate the brand's Black Butterfly concept into an artwork that is deeply human in its expression. Their work shows how future mobility could be shaped by anticipation, not reaction and imagines vehicles that don't just respond to commands but that evolve with us by growing through constant interaction and learning.

That blend of AI and intuition is echoed in the cockpit design itself. "It's a big change from what we're used to," says Moto Takabatake of Lexus's Vision Design Division. "We've shifted from physical buttons and levers to a touch-based interface that feels safe and fluid. Everything is connected through software, which creates a smarter, more elegant experience."

But Lexus's presence in Milan isn't just about showcasing the cutting edge; it's also about nurturing the next wave of thinkers and makers. That's where Discover Together comes in: a triptych of interactive works from Bascule Inc., Northeastern University, and Lexus's own design team. The installations were developed as a legacy project from the Lexus Design Award, which will relaunch later this year in a new, more collaborative format, with a dedicated showcase planned for Milan Design Week 2026.

Each of the Discover Together works responds to the Black Butterfly concept in a unique way. Bascule's Earthspective repositions human voices as imprints on the future, captured as glowing artefacts drifting through a cosmic void. Northeastern's Our Energy Nexus uses real-time air quality data to visualise collective environmental impact, turning positive action into radiant stars. And Discover Your Butterfly, created by Lexus's in-house team, turns each visitor's motion into a digital butterfly, fluttering in a shared space to suggest the potential of small actions to create big change.

Yuri Tamura, one of Lexus' in-house designers behind the Black Butterfly concept, shared how the project challenged and expanded her own creative practice. "I'm an in-house designer at Lexus, but this time, I was able to collaborate with the brand as a creator, and it allowed me to express myself in a completely new way.

"I had to learn everything from scratch with new tools and new ways of thinking, and it expanded my perspective and my approach."

Through that shift, Tamura discovered something deeper about Lexus's design philosophy: "True innovation comes not just from technology but from creating a meaningful emotional connection."

It's no accident that these experiences are tactile and participatory. As Lexus continues to refine its approach to software-defined vehicles – which can evolve through updates rather than physical redesigns – it's also thinking about how to bring users along on that journey. Imagine if you could update your car the same way you update your phone, getting new software and a more intuitive experience without having to start from scratch.

That tension between digital evolution and emotional continuity is at the heart of Lexus's approach to design. And for Suga, now in his 36th year at the company, it's a challenge worth embracing. "When Lexus first launched, it was a huge turning point for Toyota," he reflects. Now, we're at another one where the future is unclear, but we keep asking ourselves: What is Lexus, and what do we want to be?"

Events like Milan Design Week help Lexus keep that question alive. As Suga puts it: "It's very important for us, and the outcomes this year have been so diverse. That helps us grow too, as it shows us different perspectives."

Perhaps that's the real power of the Black Butterfly—not just as a control system but as a delicate, quiet, and full-of-potential symbol for transformation. In the context of Milan's fast-paced, hype-heavy design scene, Lexus's slow-burn approach stands out. It's not here to disrupt; it's here to connect.

The agency TBWA\NEBOKO recently teamed up with animation studio Ambassadors to create an ad celebrating Ronald McDonald House Charities' work in The Netherlands over the last four decades. It's a bit of a tear-jerker, but it's so good.

'Moving' is the operative word when it comes to animation, but never has this been more the case than with Closer to You. In under a minute, it'll have tears rolling down your cheeks.

The project was led by the Amsterdam-based agency TBWA\NEBOKO for Ronald McDonald House to highlight the charity's 40th anniversary in the Netherlands, with animation by Ambassadors and music by Darre van Dijk. What you'll see is a young girl literally moving her family's home closer to the hospital where her little sister is all alone, receiving treatment. It's a metaphor that neatly reflects exactly what Ronald McDonald House does – it enables families to stay near sick children while they're in the hospital.

A story as beautifully simple as this actually takes time to develop. When the brief came in, TBWA\NEBOKO art director Patrick Wijnhoven and copywriter Olger Ypma knew they wanted to focus on a home – the place where families are closest – but weren't sure where the narrative would lead.

"One of the first ideas we had was to show a house that had five washing machines, four microwave ovens and about three sofas – an idea with an alienating effect to point out that different families live in one house. Another idea was about a man who starts wandering through his house in the middle of the night and bumps into people he doesn't know," says Patrick.

Eventually, they shifted the focus to a little girl who's feeling despair because her sister's unwell and decides to do something about it in the middle of the night by pushing the family home to the hospital.

"We thought it was important to not only show the sadness but make it light-hearted and a bit funny at the same time. Then came the idea of the help from the cyclists, the rapid descent from the mountain, the cutting back to the parents asleep in their bedroom, and a happy dog seeing a house moving from its place," adds Patrick.

With the story developing, it was time to bring an animation studio on board. Finding the right one took up nearly half of the eight-month project. Ambassadors was chosen for its skills in creating filmic 2D animation with an illustrated aesthetic.

To reflect the daughter's journey from sorrow to solution, the colour palette begins with dark, maudlin tones at the beginning of the journey and gradually shifts towards warmer, brighter colours as the challenges she faces are overcome. A simple illustrative style using abstract shapes lends clarity to this progression.

"The movement and transitions flow smoothly while the camera remains in constant motion, mirroring the sister's journey," explains Nick Groeneveld, head of animation at Ambassadors. "This dynamic movement also adds depth and parallax to the shots, enhancing the visual experience. The gentle quality of the animation enhances the film's sensitive message, adding depth to its emotional tone."

Managing the level of detail was one of the key challenges along the way. More detail often helps evoke greater emotion in the audience, as realism helps us see ourselves in the characters. However, the timeline and budget meant that a simple, stylised aesthetic had to be maintained.

While the music played a key role in providing emotional depth, Ambassadors decided to focus on frames where the act of kindness shows through the most. "We carefully evaluated each shot, choosing the best approach. Some were given more detail because they were more significant or because they were closer to the camera. The house is treated like a character, moving and rotating within the shots," adds Nick.

During the project, Adobe After Effects was used for the animation, though Cinema 4D was drafted in for more complex camera effects, projecting 2D objects in a 3D space. Procreate and Premiere were used for the storyboarding.

While the objective wasn't to move people to tears, it certainly happened, demonstrating the storytelling abilities of all involved. "The response has been so positive," says Patrick. "Our client was touched by the result and lots of other people loved the idea, the execution and the music. It has aired on almost every TV channel in the Netherlands, with no media budget."

The home improvement retailer's new campaign blends cinematic craft with everyday charm to champion affordable DIY for all.

British retailer B&Q is focusing on affordability this Spring with 'Prices Nailed', a striking new campaign developed by creative agency Leo Burnett UK.

Designed to demonstrate the brand's ongoing commitment to holding prices across its DIY essentials range, the multi-platform campaign blends craft and accessibility, reminding customers that home improvement doesn't have to come with a hefty price tag.

Running throughout Spring and Summer, the campaign spans TV, video-on-demand, social, print, out-of-home (OOH), digital and in-store channels. At its heart are two high-production 40-second films directed by Scott Lyon, combining immersive close-ups of sanding, painting and planting with candid, relatable scenes from British homes.

The campaign is supported by a voiceover from comedian and actress Kerry Godliman, whose warm, unpretentious tone grounds the cinematic visuals in a sense of everyday charm.

"It's a campaign that's proudly populist," says Mark Elwood, chief creative officer at Leo Burnett UK. "'Prices Nailed' proves that high quality and great value can go hand in hand.

He adds: "Our challenge was to create a campaign that balances striking, beautifully crafted visuals with real-world relatability and affordability. B&Q is a proudly populist brand, and this campaign celebrates the everyday victories of DIYers, whether they're about to tackle a small fix or a bigger transformation."

At a time when financial uncertainty continues to shape consumer habits, B&Q's commitment to price-holding is a clear statement of intent. Since its initial launch in 2023, 'Prices Nailed' has been more than a slogan—it's become a shorthand for trust, offering customers the confidence to take on DIY projects without fear of price hikes or hidden costs.

This latest iteration continues to build on that message but with a new layer of creative polish. Leo Burnett has also introduced a refreshed visual identity for the campaign, using B&Q's distinctive orange '&' as a graphic device to represent the idea of "more". This concept rolls out across campaign touchpoints, from in-store signage to animated digital banners, delivering cohesion with a playful twist.

OOH takes centre stage in the media rollout, with eye-catching placements across some of the UK's most prominent advertising spaces—including London's Cromination and large-scale dual-format sites in Leeds and Slough. Dentsu has handled media planning and buying.

B&Q's marketing director, Tom Hampson, believes the campaign reflects the retailer's longstanding ethos, now brought to life with renewed creativity. "B&Q exists to help create better homes and better lives for everyone," he says. "Since its launch in 2023, 'Prices Nailed' has emphatically demonstrated that we help make home improvement affordable. This campaign continues that in a way that's fresh, creative, impactful and fun."

This is Leo Burnett's first work since being appointed as B&Q's creative agency in September 2024, signaling a confident new chapter. The agency, known for its focus on human storytelling and emotionally resonant campaigns, leans into both polish and populism here. There's a sense of genuine admiration for B&Q's customers—people who get stuck in, whether revamping the bathroom or simply replanting the window box.

The films themselves are a study in contrasts: tight, almost meditative macro shots show sawdust rising and paint gliding across surfaces before cutting to kitchen-table scenes and front garden moments that feel straight out of a British suburb. The blend of the two creates a powerful message: that great design and hands-on practicality don't have to be mutually exclusive.

Crucially, the campaign doesn't just talk to seasoned DIYers. Its strength lies in its universality—it's a nudge for the weekend dabbler, the cautious beginner, the long-time list-maker who needs a reason to start.

With this campaign, B&Q is not only reaffirming its position as a high street staple—it's reimagining what value-led advertising can look and feel like in 2025.

Feeling overwhelmed by the challenges of creating content? You're not alone. But the latest tools and platforms can make everything a lot easier.

It's never been easier or more affordable to make standout content. In practice, though, bringing your fabulous idea to life can feel like walking across a minefield. "How do I record this?" you wonder. "How do I edit it? Where do I find the right music? Who will even see it?" It can all, very quickly, become overwhelming.

If this is you, step back and take a deep breath. Because in the words of Jade Beason, who's turned her YouTube channel into a six-figure business: "No one does it alone."

Yes, content creation is often a one-person operation. In fact, that's often part of the attraction. But there are also some amazing tools, like Uppbeat – a music, sound effects and motion graphics platform – that can cut down the number of decisions you need to make, streamline your processes, and make your life a lot easier.

And that can reduce the general sense of overwhelm, reduce stress levels, and free up your mind to focus on being creative – the thing that truly matters.

A second wave of democratisation

The good news is that right now, content creation is entering a second wave of democratisation. The first wave came about thanks to better and more affordable kit. Smartphones with high-quality cameras, affordable microphones and entry-level editing software enabled almost anyone to start creating content. But raising that content to a premium level of quality... that was another story.

Happily, though, we're now entering a second wave with the arrival of high-quality digital assets and tools that can help elevate your content from amateur to professional. And this is enabling more of us than ever to turn our passions into viable careers.

According to recent industry data, 46.7% of creators now identify as full-time content creators, with another 42.7% creating part-time – numbers that would have seemed impossible just a few years ago. Furthermore, 54% of Americans aged 18-60 say they'd quit their jobs if they could make a living as full-time creators. Sounds good, right?

But turning passion into a profession isn't just about having talent – it's also about efficiently managing your resources, time, and creative energy. The right tools are an important part of completing that jigsaw.

Smarter tools for smarter creators

Thankfully, in 2025, you don't need to build an entire production studio or hire a team of experts to engage your audience. A new generation of tools is making it easier than ever to produce professional-grade content on a budget.

Take DaVinci Resolve. This video editing and colour grading software offers Hollywood-level quality with a free plan that punches well above its weight. For YouTubers, vidIQ is another game-changer. This platform helps you stay ahead of trends and identify SEO opportunities, ensuring your content gets the eyeballs it deserves. Then there's Notion, the Swiss Army knife of productivity tools, which has become the go-to for many creators.

Cutting through the noise

Looking for music, sound effects or motion graphics? Then check out Uppbeat. Designed specifically for content creators, this freemium platform's collection is highly curated, so you don't have to worry about finding the best stuff: it's all premium quality. It's all fully licensed, too, so legal worries and fears of YouTube demonetisation are a thing of the past.

Uppbeat's range of super-cool features include the AI Playlist Generator, which crawls the catalogue to suggest the perfect artist-made tracks for your content. That means it functions like a lightning-fast music supervisor, potentially saving you hours of work.

And that's no accident. Because fundamentally, Uppbeat understands that for creators juggling multiple responsibilities, finding the right creative assets can take a ton of time and energy… something that's always in limited supply.

Supporting the ecosystem

At the same time, Uppbeat doesn't just support creators; it's about supporting the entire ecosystem. Their model ensures musicians, sound effect creators, and motion graphics artists are fairly compensated while keeping resources affordable and accessible for creators. This creates a sustainable environment where both can thrive.

That's more important than ever in the current economic climate. According to the UK Visual Artists' Earnings and Contracts Report 2024, the average income for artists in the UK is now just £12,500 per annum – a decrease of almost 40% since 2010.

Of course, Uppbeat knows most content creators aren't making a lot of money, either. That's why their freemium model grows with you, starting with free resources and simple attribution and evolving to paid tiers – with advanced features like YouTube channel whitelisting and licensing for digital ads – as your channel expands.

The future of content creation

Ultimately, reducing decision overwhelm by streamlining workflows is the key to success as a content creator. But for a platform to enable that while fairly compensating artists at the same time... well, we take our hats off to them.

And as the creator economy continues to grow, we hope others will follow Uppbeat's lead – helping content creators turn their passion into a sustainable career whilst respecting and supporting the creative work of others.

After all, there's clearly a big market to be won here, with 32% of content creators owning businesses related to their creative work. That's a lot of potential demand, and any platform that can ethically meet this growing audience's needs head-on is surely due a bright future.

So if you're embarking on a journey as a content creator – for the love of creation, to promote your business, or for your clients and feeling overwhelmed – don't stress or, worse, give up. Put some time into finding the right tools and platforms that work for you, and you'll soon be able to turn your personal passion into a sustainable career.

Set your freelance prices with confidence by following this expert advice from fellow creatives.

Setting your rates as a creative freelancer can feel like throwing darts at a moving target. Charge too little, and you risk burnout while barely covering your expenses. Charge too much, and potential clients might ghost you faster than you can say "invoice overdue". So, how do you strike the right balance?

Pricing is one of the trickiest aspects of freelancing, and almost every creative has a horror story about undercharging, over-delivering, or being guilt-tripped into working for exposure. Maybe you've accepted a project that seemed well-paid, only to realise you'd overlooked travel costs. Perhaps you've spent hours agonising over a quote, only for the client to disappear without a trace. Or worse—you've set your rates too low, found yourself drowning in work, and still struggled to pay the bills.

The good news? You're not alone. Every freelancer goes through this, and with a bit of strategy, you can learn how to set rates that reflect your value, attract the right clients, and—most importantly—make freelancing a sustainable career.

To give you some pointers, we've gathered insights from experienced creatives who have learned, sometimes the hard way, how to price their work effectively. Oh, and you can read the full discussion on our new bespoke social network, The Studio. Don't worry if you're not a member yet: it's totally free to join!

1. Start with the basics: cover your costs (all of them!)

Freelancing isn't just about talent; it's about sustainability. Your pricing needs to cover not only your creative time but also your expenses, taxes, and even those sneaky hidden costs—like travel.

Take it from Irene Ruby, artist and founder of Makings and Musings. "I have made mistakes in this area before," she admits. "I once said yes to an event that paid £150, but after buying all the supplies and covering my train fare, I ended up making a loss."

Her advice? "Always make sure your pricing includes travel costs. Also, someone once told me that if everyone says yes to your prices without hesitation, you're probably too cheap."

2. Ask for the client's budget up front

Time is money, and if a potential client can't afford you from the start, it's better to find out early. By doing this, you can save yourself from wasted negotiations and unrealistic expectations. So as a graphic designer and illustrator Nvard Yerkanian advises: "Always ask about the budget upfront. Nothing is worse than spending hours on calls and proposals, only to realise the client was expecting champagne on a soda budget.

"I either include this in a questionnaire or ask directly in the first conversation to make sure we're aligned," she adds. "Similarly, sticking to my rates has been crucial. Clients who truly value your work will pay for it, and those who don't will always try to negotiate down. Understanding your worth and confidently communicating it makes all the difference."

3. Value-based vs output-based vs. hourly

Should you charge hourly, based on output, or switch to value-based pricing? Most of our contributors favour the latter, but in truth, each model has its pros and cons.

"I've been burned in each of these models," says brand designer Asa Rodger. "The biggest takeaway for me is to be crystal clear upfront about setting the boundaries, defining the Scope of Work, and ensuring agreements are locked in before starting the work. Quite often, things need to be slowed down in all the 'new work' excitement to tune in to those parts and make sure they're covered. I've definitely shot myself in both feet lots of times."

Over time, though, you should definitely think about which of the three models works best for you and settle on a direction. That's exactly what Nvard has done. "Charging by the hour doesn't work for me," she explains. "I work fast, and I refuse to be penalised for efficiency. Instead, I price based on the outcome, not the time spent. For me, project-based pricing, retainers, and licensing fees have been far more effective."

4. Figure out your minimum rate

Knowing your worth is one thing, but you also need to know your minimum rate—the absolute lowest amount you're willing to accept. Copywriter Denise Strohsahl lays out a practical approach.

"In my experience doing my own pricing and helping my clients with theirs, you need to come at this from two sides: what you need and what your clients are willing to pay," she says. "For this, it's important to know what your expenses are, how much money you need—and want—to earn while taking taxes, buying new equipment, etc., into account.

"Next, decide how much you want to work over a week, month or year and how many billable hours that leaves you with. This helps you define a minimum hourly or day rate. Then, figure out how long it takes you to build your product or deliver your service. Track your time and get an idea of how long things take you, including your non-billables. Last but not least, check what others are charging and what your ideal clients are willing to pay.

"Ideally, you want to end up with a rate that works for both you and your clients without looking too cheap, aka inexperienced or not confident in your own skills, or too expensive—aka exclusive, picky or greedy."

5. Don't undervalue yourself just because a client has a tight budget

As we just mentioned, it's important to consider what the client can afford. Many freelancers, though, make the mistake of pricing their services purely on that basis… rather than what their work is actually worth. Once, designer Abhinav Yadav was one of them.

"When I started out, my pricing was built upon what the client could afford," he remembers. "But over time, I've realised that there's not a lot of point to it. Eventually, trying to meet the client's budget leads to having too many clients and too little profit.

"Now my pricing model is built purely upon charging what I feel to be the value I'm creating for any business," he clarifies. "I remember reading a post by Simon Dixon, co-founder of DixonBaxi, which stated that: 'If they see it as an expense, you are in the wrong conversation. If they see it as an investment, you are aligned.'"

Video producer Nick Hill agrees. "I've found money is kind of fractal," he notes. "For any given amount, there will always be a client for whom that amount is too expensive and another one who couldn't even action a payment that small. The key thing, as others have said, is to get good at working out what something is worth to the client you're talking to, as well as having a minimum amount you won't go below. I time-track everything I do to make sure my effective hourly rate isn't falling below this minimum."

6. Set boundaries, and don't let them guilt you

If you've ever quoted an hourly rate only to realise later that the client's budget doesn't even cover half the work required, you're not alone.

Artist, pattern designer, and illustrator Sally Purser outlines a typical scenario: "Answer a call-out offering a decent hourly rate, get invested in the project, realise very quickly they have no idea how much work is actually involved, then they hit you with their budget… but they're a really sweet person and you feel sorry for them, so you take it on anyway!"

It's easy to fall into this trap, and we all do at some point. But at least recognising it means you can avoid it next time.

7. Offer discounts selectively

Clients trying to lowball is one of the biggest irritations a freelancer can face. However, Asa believes that sometimes you can actually use this to your benefit.

"If the client asks for a discount or cheaper rates, I typically reply by saying I can offer a 5% discount for day-rate bookings longer than a month, and 10% for day-rate bookings over three months," he explains. "This works well for me personally, as I like having longer bookings for financial security, so I'm happy to negotiate my prices a little that way."

Final thoughts: charge what you're worth, and stick to it

Ultimately, freelancing is a business, and your pricing should reflect not only your talent but also your time, effort, and financial needs. So follow these tips, and you won't go far wrong.

• Always factor in your costs, including travel and supplies.
• Ask for the client's budget upfront to avoid wasted time.
• Consider value-based pricing instead of hourly rates.
• Set a minimum rate and stick to it.
• Learn from others, but ultimately, charge what makes sense for you.

At the end of the day, being a creative freelancer isn't just about passion—it's about making a living doing what you love. So, set your rates with confidence... and always say, "No, I won't do it for exposure."

Design studio Special Projects has unveiled Aperture, a concept that combines AI, physical design, and digital wellbeing to help users form healthier relationships with their phones—not by introducing new gadgets but by reinventing the way we use the ones we already have.

We're living in an age where digital attention is a battleground, with our smartphones acting as both lifelines and liabilities. Between relentless notifications, doomscrolling, and an ever-expanding ecosystem of apps, it's little wonder that so many of us are searching for ways to dial things down.

But what if the answer isn't abandoning tech altogether—or adding yet another "wellness" gadget to the mix—but instead rethinking our relationship with our existing devices? Enter Aperture, the latest experimental concept from London-based design studio Special Projects.

Known for their thoughtful blend of physical and digital design, the studio has long been probing the spaces where technology can feel more human, magical, and kind. With Aperture, they've gone one step further in proposing a way to promote mindful tech use through a deceptively simple idea: a phone case that partially conceals your screen.

As with much of Special Projects' work—including previous concepts like Paper Phone and Envelope, developed with Google—it's not about the case itself. It's about what it enables. "Something magical happens when you combine two ordinary objects and create something greater than the sum of its parts," explains Adrian Westaway, principal and co-founder of Special Projects.

By flipping the phone in its case, users activate a small window that limits screen visibility and activates a minimalist, adaptive interface. Whether you're cooking, focusing at work, or gathering with friends, the experience is designed to cut out the noise and allow space for presence. Think of it as a gentle nudge to engage more intentionally.

This tactile interaction plays a key role in the project. "The slight difficulty of flipping the case is a key design element," adds Clara Gaggero Westaway, co-founder and creative director. "This deliberate friction discourages frequent flipping, making the action more intentional." It's a small tweak, but one that introduces a sense of ritual—echoing practices in mindfulness, where tiny behavioural cues can shift broader habits.

Aperture's interface uses intelligent adaptation to tailor what the user sees. Say you're walking to a meeting and only want a timer, directions, and call blocking. Speak your intent, and the system strips everything else away, surfacing only what's essential. In another example, a cluttered recipe website becomes a clean step-by-step guide the moment you flip the case. The AI is there, but it's not showy—it's helpful, discreet, and almost invisible.

"We see AI as a tool to mediate our interaction with technology, not to further complicate it," says Gaggero Westaway. "In Aperture, AI is used in specific, limited ways to filter out the noise and prioritise focus."

While Aperture is currently a concept, it's already attracted attention from potential collaborators, and the studio is actively developing a working version. For a team that typically works behind NDAs with some of the world's leading tech companies, releasing something publicly is a big deal. But it's also essential, says Westaway. "We share experiments like this to push our boundaries, spark conversations, and showcase ideas we believe can make a real impact."

The studio's approach echoes a wider design philosophy: rather than creating more tech for tech's sake, it explores how existing devices can be used more intentionally. That thinking has informed much of Special Projects' work over the years, from making checkout kiosks more hygienic during the pandemic to early collaborations with Samsung on accessible tech for older adults.

Aperture is no exception. Instead of adding to the gadget pile, it reconfigures what's already in our pockets. The case, for example, reimagines the everyday phone accessory as a subtle interface for digital wellbeing. The design nods to familiar cues—its screen window is roughly the size of an Apple Watch display, making it an ideal space for simplified functions.

It doesn't just stop at individual use cases, either. When multiple devices are used together, the concept even enables social modes, encouraging play or conversation at group gatherings.

The design language, too, is considered and approachable. Instead of sterile tech tropes, the visual identity and interactions feel warm, almost poetic. With a name like Aperture—a nod to both the camera lens and the concept of focused openness—there's an underlying invitation to recalibrate our attention rather than cut off from the world.

It's an idea that feels especially timely as the conversation around AI hardware heats up. But where many new devices promise to "replace" your phone with something smarter, smaller, or more intuitive, Special Projects' proposal is refreshingly pragmatic. What if we don't need another screen, gadget, or notification? What if we just need to see our phones differently?

By working with what already exists, Aperture avoids the environmental toll of producing new hardware and instead encourages smarter, more sustainable behaviour. "There's immense potential in optimising and extending the functionality of existing technology," says Gaggero Westaway. Aperture isn't about disruption—it's about gentle transformation."

The team is keen to open up the dialogue further, and a new microsite, focuswithaperture.com, invites people to share feedback, thoughts, and use cases. "We intentionally shared our thinking at this stage because the next phase of development will heavily involve listening to people," adds Westaway. "The best ideas often emerge in that shared space between concept and conversation."

At its core, Aperture isn't about making tech shinier or faster—it's about making it better (more human, more intentional and less demanding). In an industry fuelled by novelty and acceleration, that might just be the most radical idea of all.

With a rebrand that strikes the perfect balance between innovation and charisma, IMPOSSIBREW is showing the alcohol-free beer category how to feel good without the fuzz.

In a crowded category that's finally shaking off its reputation for watery imitations, IMPOSSIBREW has carved out a space all its own. It claims to be not just a non-alcoholic beer with exceptional flavour but one that feels good, too.

At the heart of the experience is the brand's patented 'Social Blend™'—a functional botanical mix that replicates the relaxing effects of alcohol without the foggy side effects. But for a product so full of flavour, the brand's old identity was missing a spark, which is where creative studio Derek&Eric stepped in.

"The previous design had a bit of a clinical feel," says Alex Stewart, creative partner at Derek&Eric. "It was smart but lacked the charisma and confidence that matched the product experience." The creative brief was to evolve the visual identity to reflect both the scientific innovation and the joyful satisfaction at the heart of the brand—making it magnetic, not just functional.

Most notably, the updated wordmark cleverly splits 'IMPOSSI' and 'BREW' with an offset block, making space for the brand's dual personality to shine. "As so often in design, it's the unexpected connection between two seemingly incongruous elements that gives rise to distinctiveness," says Stewart. "The name already carried a level of playfulness—we just brought that to the fore using instantly understandable visual codes."

This visual approach is paired with a verbal identity that balances wit and authority. IMPOSSIBREW already had an established tone of voice—straight-talking, light-hearted, a bit cheeky—but Derek&Eric helped hone that energy into a more consistent and credible system.

"We wanted to strike the tone of a great comedian who keeps a straight face while everyone else is laughing," explains Stewart. "It's that balance of intelligence and levity that makes it work."

Underpinning the entire identity is a tightly structured design system that gives the brand flexibility as it continues to grow. A confident monochrome base palette makes space for product colours to stand out, while clean typographic layouts lend a sense of quality without falling into cold, pharmaceutical tropes. The goal was to retain the brand's smarts without making it feel like it had come straight from a lab.

The impact has been anything but theoretical. Since the refresh, IMPOSSIBREW has sold over one million cans, achieved a 300% three-year CAGR, and captured 20% of the UK's non-alcoholic beer search traffic. It also boasts a 47% repeat customer rate—figures that reflect not just an excellent product but a brand people want to return to. "For us, nothing feels better than seeing our design act as a catalyst for growth," says Stewart.

And with more and more drinkers—especially Gen Z and millennials—opting for alcohol-free alternatives, the stakes have never been higher. But rather than blend into a market now awash with pastel-hued kombuchas and overly earnest wellness brands, IMPOSSIBREW stands apart with attitude and purpose.

"Our job was to make the brand feel more accessible, but also build a system that could flex as the product pipeline evolves," says Stewart. That flexibility will be key as the brand explores new SKUs and potentially new categories—especially with innovation baked into its DNA.

Wherever IMPOSSIBREW goes next, its new identity is poised to help it cut through the noise, delivering a refreshing alternative to the typical 'better-for-you' branding playbook. In a category chasing health halos, IMPOSSIBREW is offering something more nuanced: a drink that feels good in every sense without pretending to be something it's not.

Thansk to Derek&Eric's, that clarity of purpose is now matched by a visual and verbal identity that's every bit as distinctive, putting science and satisfaction, hand in hand.

In this edition, part of our Leadership theme, we speak with Natalie Burns, strategy partner at UnitedUs, about the evolution of her leadership style, navigating power dynamics, and making space for vulnerability at work.

For Natalie Burns, leadership isn't about status — it's about trust, transparency and championing others. From her early experience running TEDxBrighton to her current role as a partner at brand agency UnitedUs, Natalie has built her leadership style on collaboration and care.

Her journey has included moments of radical honesty—from negotiating shared ownership of the agency to openly discussing miscarriage and motherhood with her team. In this candid Q&A, she shares how her perspective on leadership has evolved, why power dynamics deserve closer scrutiny, and how we can better support women in leading on their own terms.

What does leadership mean to you, and how has your approach evolved?

For me, leadership has never felt like a top-down directive. Even when I was running TEDxBrighton in my early twenties, I saw my role as more of a 'shepherd of volunteers'. It was about understanding the constraints, recognising the diverse talents around me, and guiding everyone towards a shared, impactful outcome. I believed then, and still do now, that true leadership lies in nurturing and celebrating the skills of others, providing the frameworks for them to achieve their very best.

My journey to leadership at UnitedUs was also unconventional. I joined as an employee, and it wasn't until a few years in, having rediscovered my confidence, that I approached my now business partners with a proposition: either we take shared ownership and grow this together, or I'd need to forge my own path. Again, I saw leadership as bringing a complementary skillset to the table, building a foundation for collective growth.

The key evolution in my approach lies in the weight of experience I now carry. Back at TEDx, everything felt like a limitless possibility, and my leadership was perhaps characterised by an almost naive self-assurance. At UnitedUs, it's about navigating both the exhilarating highs and the daily realities of building an impactful agency. This requires a much deeper level of personal investment and a greater awareness of the lives and experiences of my team.

In recent years, particularly navigating the difficult journey to becoming a mother, I've learned the profound importance of vulnerability in leadership. Sharing my experiences – the miscarriage, the TFMR, and finally, the joy of welcoming my daughter – wasn't easy, but it was crucial in fostering a culture of trust and empathy within our team. I needed them to know they were my village, and that meant being open about the challenges I faced. This transparency, underpinned by clear processes and accountability, has become a cornerstone of my leadership at UnitedUs.

Have you faced any challenges as a woman in leadership?

Like many women, I've experienced the frustration of having an idea or insight gain traction only when echoed by a male voice. However, something less discussed, and something I've been acutely aware of, is the dynamic where some men in power can actively enjoy receiving advice from women, particularly younger women. Growing up with a significant age gap between my parents gave me an early insight into these kinds of power dynamics, both personally and professionally.

In these situations, you develop a heightened self-awareness. You become attuned to the motivations of your stakeholders, understanding why they might be particularly receptive to your input and whose interests are being served by nurturing that dynamic. For me, this has often meant proactively flagging potential 'interesting' power dynamics with my colleagues – who, more often than not, have already picked up on them too. It necessitates a strategic approach to stakeholder management, ensuring I can operate effectively as a leader without inadvertently placing myself in a vulnerable position. Sometimes, it feels like a subtle form of 'corporate chaperoning' becomes necessary.

Beyond these external dynamics, I believe the creative industries, while still needing significant improvement in female representation at senior levels, are generally more open to diverse voices than some other sectors. However, significant barriers to career progression for women in our industry remain, particularly around motherhood and ageism. The pursuit of 'young talent' can inadvertently disadvantage women who often take on primary childcare responsibilities. The stereotypes associated with parenthood – 'baby brain', for example – reinforce a false perception that parents become culturally irrelevant or less creative. This is simply not true. As leaders, we have a responsibility to challenge these narratives and reframe our understanding of parenthood and age within the creative landscape.

What's the best or worst leadership advice you've received?

The best leadership advice I ever received came many years ago from a client and friend named Lorne, who recommended Ricardo Semler's book 'Maverick'. This book, with its wonderfully dated 90s cover, had a profound impact on me. It champions the idea of devolving autonomy and power to teams at all levels, allowing them to make decisions that directly affect their work. It's a powerful manifesto for decentralisation and fostering initiative, and the lessons I took from it about culture and empowerment still inform my approach today, both within UnitedUs and in my client work.

Another piece of wisdom I've gained over time, rather than a specific piece of advice, is that successful leadership isn't about clinging to people indefinitely. It's about being the right influence for a specific chapter of their lives, one that propels them forward. Sometimes, that means people stay and grow with the business, which is fantastic. But equally, it's a success when someone leaves because they are ready for their next adventure. For me, the goal is to lead a business where those who remain do so because they are continuously learning and developing, and those who depart do so because they are prepared for their next step."

How can we encourage more women to step into leadership roles in creative industries?

I believe there are several concrete steps creative organisations can take to foster a more inclusive environment where women feel empowered to pursue leadership:

Firstly, we need to fundamentally rethink how we support women through the entire journey of fertility, conception, pregnancy, and their return to work. This means actively listening to people with lived experience, supporting initiatives like the Miscarriage Association's Pregnancy Loss Pledge, implementing clear breastfeeding policies, and, crucially, normalising a culture where individuals feel comfortable discussing their life experiences and requesting reasonable adjustments. As someone who has navigated pumping in less-than-ideal workplace settings, I know firsthand how many companies still aren't equipped for these realities.

Secondly, we must be far more conscious of the stories we tell, not just about women, but about parenthood and age. We need to actively challenge ingrained assumptions and make deliberate choices about the narratives we promote within our culture. Stereotypes like 'baby brain' have tangible negative consequences and need to be actively dismantled.

Finally, women who are already in leadership positions have a critical role to play. We need to lead by example, even though it often requires significant energy and vulnerability. Sharing our journeys, reaching out to and supporting other women, and building a network of diverse experiences are essential for creating a ladder for others to climb. It can be lonely, so seeking out connections with other female and mother leaders you admire can provide invaluable support and confidence to shape your own leadership journey.

Ranging from wildly funny to distorted and grotesque, Zosia Bońkowska's artwork explores how we express ourselves, how we behave and the situations we find ourselves in. She shows that there's a whole lot more to someone than how they look.

Originally from Poznań in Poland, Zosia Bońkowska – AKA Zov__ska – moved to London five years ago to study for a master's at the University of Hertfordshire. Since graduating in 2021, she's developed an illustration portfolio that isn't just interesting – it's outrageous, captivating, full of energy, and totally unique.

"I'm fascinated by the human body, and I love creating character-driven lifestyle illustrations using playful contemporary style, with a bit of humour and loose linework. Line and gesture are very important in my work," she explains.

Constantly drawing, she fills her sketchbooks with quirky characters, exaggerating their expressions to the limit, stretching and compressing different parts of their anatomies, finding ways to bring out the drama, the humour and the emotion before embarking on a new character with a new, soon-to-be mangled personality. Nobody is safe from Zosia's morphological explorations.

There is a lot of motion in Zosia's work, something she puts down to studying ballet for 14 years while growing up. Her style continues to develop, from pencil and ink studies of light and shadow to abstracting human forms in life drawing classes to works that balance simplicity and detail, monochrome and saturated colour. The process is ongoing.

Clients seem to love Zosia's approach, which is fearless and dynamic. Some of her characters might not be pretty, but who evaluates artwork on those terms anymore? Her self-initiated campaign No Room for Judgement, which focuses on mental health, exemplifies this open-minded attitude.

Perhaps it's her style, but Zosia seems to attract some truly unusual clients. After graduating, her first commission as a freelancer was Marco Pablo, a Polish company that rebuilds and restores military vehicles and artillery, such as Panzer tanks and Howitzers. Toys for boys. The company wanted Zosia to create military-themed beer labels to adorn its promotional brew.

"The biggest challenge was the initial research – I knew little about the military, so my first draft included some outdated artillery details and inaccurate uniforms. It was a great learning experience, and I love that illustration lets me dive into different subjects depending on the project," says Zosia.

Since then, she's created a range of merchandise for Marco Pablo, such as greeting cards and mugs, continuing in her inimitable style.

One of her favourite recent projects was to create imagery for the carrot issue of Rebel Roots, a magazine about plant-based foods. "They loved my suggestions, and I ended up creating three illustrations and a bunch of mini spots scattered throughout the magazine. To celebrate the launch of the new issue, they hosted a pop-up event at a small gallery in Barcelona last month, showcasing two large-scale prints of my work. It was so exciting to see them on display," she says.

When she's not busy with a brief, Zosia pursues self-initiated work, filling in areas of her portfolio she feels are lacking and aiming to attract her dream clients. Recently, she has been exploring nature and the outdoors in her work, as well as characters from Greek mythology inspired by the Netflix series Kaos. Next, she wants to cover mindfulness and wellbeing.

"I'd love to work on more illustrative branding projects, such as developing chocolate packaging or a mental health campaign for a charity," she says. "I think what's important to us as creatives right now is collaboration and human connection, so the ideal client would be someone open-minded who shares similar values and trusts that the designer will swiftly guide them through the creative process.

After three decades on Polish shelves, Dawtona has undergone a striking transformation defined by bold packaging, mythological storytelling, and a modern, ownable aesthetic.

In a category awash with rustic imagery and clichéd claims of farm freshness, Dawtona's recent rebrand is trying to dig a little deeper. For 30 years, the Polish brand has been a go-to for canned tomatoes, pickles, beans and other processed vegetables. But despite being a family-run business with deep farming roots, you wouldn't have known it from its packaging.

"The brand name, derived from the founders' initials and the idea of producing 'tons' of products (Daw-tona), felt abstract and lacked a direct association with Polish agricultural traditions," explains Martyna Biskupska, brand consultant at BNA. Combined with visually generic packaging, Dawtona's origin story remained elusive, and its price-led positioning meant quality and heritage were often overlooked.

The challenge, then, was to shift perceptions and transform Dawtona from a commodity brand to one that proudly communicates its story of passion, family, and farming craft. BNA's design solution sees Dawtona reimagined as a Slavic goddess of the harvest.

This new brand persona draws on local mythology and symbolism, creating a richer, more emotive identity. Far from another pastoral scene or twee market-stall motif, Dawtona's goddess embodies nourishment, abundance and care—a figure who could only emerge from the soil of a brand with such deep agrarian roots.

"Rather than simply reinforcing the overused 'farm-fresh' narrative, the rebranding drew on Slavic mythology to create a compelling persona – Dawtona, a symbol of earth, abundance, and nourishment," says Biskupska. Now, this character appears on every pack, resplendent in a traditional Polish braid, surrounded by vibrant vegetables.

The verbal identity evolved in tandem, making more of what was once just an enigmatic brand name. Dawtona is now positioned as a character, a storyteller, and a visual anchor for everything the brand stands for. The communication strategy reinforces the story of family, farming, and authenticity.

Visually, the transformation is just as bold. Gone are the generic typographic labels; in their place is a modern, confident system that feels both fresh and rooted. The new oval-shaped lockup serves as a signature brand asset, ensuring strong shelf presence across product lines. Within this structure, each category is brought to life through its own distinct colourway.

"The colour system – bold and quite revolutionary for a mass-market shelf – was redefined to better reflect product variety," notes Biskupska. From the deep green of pickles to the rich red of canned tomatoes, each shade is designed to draw the eye while maintaining harmony across the range.

The result is packaging that feels polished but personal, structured but full of character. It reflects the hybrid approach that BNA took to the rebrand overall: elevating Dawtona with a modern visual language while preserving its familial and cultural essence.

"Everything we did was rooted in tradition but modernised for today's shelf," Biskupska explains. "The harvest goddess concept gives Dawtona something no other brand in the category possesses—depth, narrative, and local resonance."

It seems that this resonance is paying off, as the brand has already received overwhelmingly positive feedback from consumers and retailers alike since the rebrand launched. The new packaging has boosted product differentiation and shelf standout while repositioning Dawtona as a producer of quality, care-led food rather than simply a budget-friendly option.

The timing is also ripe for expansion (yes, we had to get a tomato pun in). With recent launches in juices and sauces and a clear strategy for storytelling, Dawtona is now better placed to innovate, scale, and connect with consumers beyond its core range.

Looking ahead, BNA sees plenty of scope for deepening the narrative. From sharing more of the family's history to exploring other touchpoints beyond packaging, the Slavic goddess has opened up new creative pathways for a brand once caught in anonymity.

"We aimed to make Dawtona feel more human and relatable," says Biskupska. "By connecting the brand to tradition through a mythological lens, we've created something that feels timeless, powerful and uniquely Polish."

Melding ritual with reinvention, 12 sets a new standard for premium matcha through a multi-sensory brand universe designed by Base Design, launching in New York's NoHo.

A new chapter for matcha has arrived with the launch of 12, a contemporary matcha brand with global ambition and deep cultural roots. Its flagship location is 54 Bond Street in New York City. More than just a product or a place, 12 presents a crafted experience, infusing the ancient art of matcha with the aesthetics and sensibilities of wellness, fashion, and design.

Backed by an international collective of culinary, scientific, and creative minds, 12 represents a shift away from the commodity-driven matcha market. Instead, it embraces the ritual, intention, and poetic craftsmanship traditionally associated with Japanese tea ceremonies.

To bring this vision to life, 12 partnered with Base Design, the global creative studio behind a suite of brand universes spanning art, design and retail.

"The matcha market today is highly fragmented, with varying degrees of quality and storytelling," says Min Lew, executive creative director and managing director at Base Design. "12 is here to set a new standard, elevating matcha's qualities of craftsmanship, mindfulness and mastery in a respectful yet relevant way for generations to come."

From Uji to NoHo

12 sources its matcha from Uji, Japan, home to some of the world's most revered tea harvesters. Working closely with tea master Haruhide Morita, the brand developed a blend that honours tradition while inviting newcomers in. This pursuit of excellence is embedded into the brand's DNA—a seamless fusion of cultural reverence and modern refinement.

With Base Design acting as creative director at large, the brand curated an impressive roster of collaborators. Dr. Christopher Loss of Cornell University engineered a precise umami-phytonutrient balance using charcoal filtration.

Culinary innovation came from chef Francisco Migoya, who explored matcha's potential beyond the cup, while industrial designer Michael Young refined the packaging experience. Parisian architecture firm Ciguë created an interior space anchored by a dramatic green marble tasting table, sourced from France's Volvic volcano, designed to evoke the meditative essence of the matcha ritual.

A name with resonance

Even the name 12 carries layered significance, from astrological and spiritual associations to the 12Hz brain frequency linked with calm, alert mental states. "'12' was chosen for its universal symbolism, making the identity broadly resonant while remaining rooted in the ancient craft and ethos of matcha production," Lew explains.

It's this blend of the ancient and the contemporary that defines 12. "This brand was never meant to be just another option on the menu—it was conceived as a moment of calm, a reset, a way to bring vitality back into daily life," adds Lew.

Design with intention

For Base Design, the 12 project was a true 360° engagement—from strategy and naming to visual identity, packaging, website development and spatial design. The brand world they crafted is deliberately restrained yet rich with detail.

The visual identity leans confidently into green as a symbol of vitality and serenity. However, as Carlos Bocai, associate design director at Base, notes, "12 uses green more punctually, with intentional use of white and white space to set the tone."

Typography also plays a key role, with the GC-16 typeface striking a balance between functionality and expressiveness, echoing the tactile beauty of the matcha experience. Meanwhile, the logo is designed to be flexible, with a handcrafted texture that evokes creativity and craft and is capable of adapting across mediums.

A particularly striking brand element is 12's spherical, refillable glass packaging. It brings a fashion-meets-wellness aesthetic to the tea aisle while staying rooted in sustainability and intentional design.

A brand built to last

Though firmly rooted in traditional tea philosophy, 12 is designed with longevity in mind. "We avoided trend-chasing in favour of building something timeless," says Ross Gendels, associate creative director at Base Design. "The exquisite quality of the product speaks for itself, but the brand philosophy and personality became the North Star for every creative decision."

Digital presence is equally considered. Base Design developed a website and digital toolkit to extend the brand's reach across platforms, ensuring its sensorial appeal translates to online audiences.

Matcha with meaning

Stepping into the Bond Street café, customers will discover more than matcha. They'll enter a sensory landscape that draws on centuries of tradition while speaking in a thoroughly modern voice. From the green marble tasting table to the curated product display, every detail supports 12's vision of mindful indulgence.

In short, this is a brand that doesn't just serve tea—it serves meaning, beauty, and craft.

The new Milan-based architecture and design hub opens its doors with Prison Times—Spatial Dynamics of Penal Environments, a powerful exhibition that unpacks the hidden spatial, social, and economic dynamics of prison life.

When it comes to architecture, some of the most rigid and regulated spaces are also the least seen. Prisons, with their harsh geometries and repetitive routines, exist in a world apart – physically contained, socially distanced, and emotionally opaque.

Dropcity, Milan's new urban centre for architecture and design, is changing that with a bold inaugural exhibition: Prison Times – Spatial Dynamics of Penal Environments. Running from 3 April to 31 May 2025 and spread across five of Dropcity's repurposed railway tunnels, the exhibition spans over 1,000 square metres and offers an unflinching look at the carceral world.

Through an archive of objects drawn from prisons around the globe—displayed in clinical, taxonomic arrangements—visitors are invited to interrogate the unseen mechanics of incarceration and the material culture of control.

The ambition of Prison Times is clear: to bring into focus an environment often kept out of sight and, by extension, out of mind. As Andrea Caputo, architect and founder of Dropcity, says: "The topic of incarceration is fraught with social, political, and ethical dimensions. However, this is precisely why we chose it as the first exhibition at Dropcity – our goal is to create a space that encourages critical engagement and open dialogue about under-reported social issues."

For Caputo and his team, this is about more than highlighting the overlooked; it's about revealing the deeply embedded role of design in shaping how incarceration is lived, structured, and enforced.

Unlike most exhibitions that might lean toward empathy or aesthetics, Prison Times opts for something more disarming. Objects—ranging from prison-issue clothing and utensils to routine equipment—are presented with museum-like detachment, labelled, ordered, and repeated. The display mirrors the standardisation of prison life itself. This almost forensic mode of curation strips the objects of sentimentality, revealing their functional brutality.

"By presenting them in a structured, repetitive manner, we highlight the ways in which these objects—though seemingly mundane—are shaped by highly specific design requirements dictated by the prison system," says Caputo. "They're durable, anonymous, and often oppressive. But they also reveal the logic of control and the spatial choreography of incarceration."

In other words, every object is a microcosm of a much larger machine—the prison industrial complex.

While the exhibition is physically immersive, its conceptual focus is time (or rather, how time is experienced in prison). As Caputo explains, "Time in prison is never neutral; it is structured, regimented, and often experienced as an oppressive force." The exhibition's title, Prison Times, nods to this fragmented, fictional timescale, where the outside world runs on one clock and the incarcerated on another.

Here, objects become markers of both passing and stagnation. A simple toothbrush, used at the same time every day, becomes a symbol of routine; a plastic chair might signify both stillness and surveillance. Through this lens, the exhibition becomes a meditation on how design and space mould the temporal experience of inmates and how resistance, too, can manifest in the smallest of details.

One of the curators' more complex challenges was depicting incarceration without romanticising it. Pain and suffering, while inherent to the prison experience, are not aestheticised here. Instead, this show walks a careful line, combining research, data, and public dialogue with moments of artistic intervention.

Alongside the main exhibition, Dropcity has curated stand-alone installations by artists and designers who have independently explored themes of imprisonment. These perspectives offer contrast and depth, creating a dialogue between institutional structure and personal narrative.

A parallel lecture series, programmed by Francesca Verona and Valentina Verdolini, will host voices from across disciplines—artists, prison directors, journalists, and researchers—broadening the public's understanding of incarceration and the systems that sustain it.

"Making complex topics accessible is not an insurmountable challenge—it's a design issue," says Caputo. "Often, we label issues as 'problematic' simply because we have not yet found an effective way to communicate them."

For Dropcity, the exhibition sets a precedent, not just in subject matter but in ambition. Located beneath Milan's Central Station, the centre is already drawing international attention for its radical repurposing of disused tunnels into creative infrastructure. Prison Times is just the beginning. Future programming promises more cross-disciplinary exhibitions, workshops, lectures and community-led initiatives.

As Caputo sees it, Dropcity is not merely a venue but a catalyst. "Architecture and design have historically played a role in reinforcing the repressive nature of the carceral system," he notes. "But they also have the potential to challenge and transform it. Designers, architects, and urban planners must recognise their role in shaping the built environment in ways that either perpetuate or disrupt systems of oppression."

In this sense, it's not a static exhibition. It's an active provocation—a challenge to think, question, and reimagine what design can do.

Where much of the design world currently leans toward optimism and aesthetics, Prison Times offers something more challenging to digest but just as vital: reality. It turns the spotlight on design's complicity in systems of control and its potential for reform.

It also marks an ambitious start for Dropcity, positioning it as a platform for rigorous cultural dialogue rather than just beautiful objects. By launching with such an urgent, layered topic, Dropcity makes a bold statement: that architecture and design should do more than decorate the world—they should help us understand it.

Looking to level up your creativity without putting your career on hold? Falmouth's online MAs offer a world-class creative education that can fit around your existing career and commitments. We chat with staff and alumni to find out how it all works in practice.

Let's face it, the creative industry is a bit of a whirlwind at the moment. Everything from the rise of AI to the shakeout of agencies means that whatever stage you are in your career, you're probably thinking about your future more carefully than ever.

For some, that might mean pursuing an MA, but with rent and bills to pay, most of us won't have the luxury of taking one or two years out of work. That's why Falmouth University is offering the opportunity to study at home, part-time, enabling designers, artists and storytellers to access world-class creative education in a way that fits around their existing careers and commitments.

You might feel an online MA is somehow a lesser option than being physically present on campus. If so, that would be a mistake. In fact, in many ways, it's a better experience.

To discover why, I spoke to Bryan Clark, head of graphic design at Falmouth University, and Jasmine Hortop and Max Bloom, who took online MAs in Illustration and Graphic Design respectively. Read on to find out why signing up to a Falmouth Masterclass taster session could be the first step in developing your distinctive creative voice.

Making online better

The first thing that sets Falmouth's approach apart is its commitment to creating a truly bespoke experience. “Falmouth has 120 years’ experience delivering creative education, but we're not just taking our campus-based courses and putting them on video call," explains Bryan. "We see teaching online as a creative opportunity. We're distilling a large amount of professional, educational and academic experience to teach online MAs that encourage exploration, risk-taking, and deep reflection on personal practice.”

Indeed, Falmouth is something of a pioneer in this space. "We've been offering online MAs for nearly 10 years now, way before COVID," Bryan points out. "That's given us time to really hone things in a way that enables creatives with different learning styles to study in the way that suits them, especially if you’re neurodivergent."

Falmouth has applied this mindset to developing online MAs in a wide range of areas including Graphic Design, Illustration, User Experience, Digital Marketing, Photography and Fine Art. And it's an approach that appeals to recent graduates looking to specialise and established professionals seeking renewal or change.

Graduate Max had already been working as a graphic designer for a few years when he applied. "I had some really good practical experience in the industry and a pretty solid portfolio, but I was mostly self-taught," he says. "I realised if I wanted to progress my career and improve as a designer, I'd need to push myself and get a qualification."

Jasmine, meanwhile, had been working as an illustrator for around eight years, both in-house and freelance. "While I was getting consistent commercial work, I was craving the space to slow down and reconnect with my own creative voice," she recalls. "I wanted to develop work that felt more aligned with my values. I already had a portfolio that reflected some of this, but I was looking to refine and deepen it."

Exploration and risk-taking

So, what of the courses themselves? At the heart of Falmouth's approach is helping students discover and develop their own distinctive creative perspectives.

"We're encouraging students to find and identify their own voice," explains Bryan. "But it's not just an academic exercise. It's about creating work that industry will look at and think: 'That's a really fascinating way of looking at a subject'."

For Jasmine — a Cornwall-based freelance illustrator and muralist, who was recently shortlisted for the World Illustration Awards — this focus on personal development proved transformative for her career. "I'd been wanting to develop a stronger sense of sensitivity and authenticity in my practice," she explains. "The narrative module was especially pivotal in helping me define my visual language and style, particularly within the themes I'm most passionate about."

Max, who currently lives in London and works at Dentsu, one of the world's largest marketing and advertising agencies, experienced a similar breakthrough during his time with Falmouth. "The MA was completely shifted my perspective on design," he explains. "I had some very simple but life-changing epiphanies throughout the course that still stay with me today."

Importantly, Falmouth's online courses maintain strong connections to industry, with tutors typically being practising professionals themselves. "One of my lecturers, Stuart Tolley, is a book and editorial designer I was a really big fan of, even before I began the course," recalls Max. "I'm currently working on my first design book, and it's been really useful being able to contact Stuart for advice. I absolutely loved my tutors at Falmouth; they were all incredibly inspiring people. "

Jasmine tells a similar story. "My tutor, Merlin Evans, was just fantastic in encouraging me to push more explorative collaborations, away from the more commercial work I'd been doing up till then," she remembers. "She really helped me work through the fog of what I was creating and identify new opportunities."

Truly global connections

The courses attract people from all around the world, giving students the chance to connect and collaborate with diverse cultures and ethnicities. "This creates an environment where people from all over the world can engage in innovative discussions about design, art or illustration," Bryan points out.

Jasmine found this diversity particularly valuable during her time with Falmouth. "Studying with a truly international cohort was really eye-opening," she enthuses. "It offered an insight into the diverse creative approaches, styles and perspectives being explored across different cultures and contexts. I found it especially inspiring to see how others tackled similar themes through completely different lenses."

And this diversity isn't just a nice extra; it's purposely harnessed to make the courses themselves more meaningful. For example, the Graphic Design course challenges students to identify local issues that need improvement—from educational access to transportation or clean water. But here's the twist: "The next stage isn't students solving their own problem," Bryan explains. "They're going to solve one of their fellow students' problems. So then you get this lovely interplay of trying to understand different cultural perspectives."

Building bonds

Even though students are connected remotely, they typically develop strong bonds with each other. That was certainly the case for Max. "My cohort started a Discord server," he recalls. "And we used that as an informal space to vent, post memes, and share our collective misery when we were doing our final projects."

Meeting in real life is also encouraged; all courses have an optional in-person event during the year. These are mostly based in the UK or even at Falmouth's campuses in Cornwall, but have been as far afield as Berlin in the past.

In-person meet-ups are also something that often happens naturally while building connections with other students. "There were two other Londoners in my cohort, and a few more living just outside London, and we'd regularly meet up for drinks," reveals Max.

Bryan adds: "We've had some scenarios where online students have got together to form companies. The virtual connections become a real scenario. Students have told me they've made friends for life—even though they weren't expecting to."

Find your creative future with Falmouth

The message is clear. Whether you're looking to specialise your skills, redirect your career, or simply reignite your creative passion, Falmouth's online MA courses offer a flexible, supportive environment to help you achieve your goals.

As Max advises: "It's definitely not an easy two years, but it's completely worth it. The MA is a safe place to just try things. Some of it might work, some might not, but the main thing is what you learn and get out of it."

Want to know more? A series of taster classes, explaining more about each course and how to apply, are taking place over the next few weeks. Sign up here.

From bold type and juicy colourways to signage made from offcuts, Crown Creative's branding for Piquette celebrates imperfection with polish. It captures the charm of Oregon's natural wine scene and the spirit of slow, soulful hospitality.

Set among the vine-covered hills of McMinnville, Oregon, Piquette is no ordinary boutique hotel. Named after a humble French table wine, the property is steeped in local character, serving up natural charm with a side of irreverent flair.

When it came to building a brand identity to match, Piquette's founders turned to Crown Creative to bring their vision to life, enlisting the studio for art direction, branding, signage and strategy. With a philosophy rooted in hospitality done well (but never too seriously), Crown Creative was tasked with crafting an identity that balances polish with playfulness.

"Piquette, in its literal translation, refers to a French wine of low quality," explains Lili Phillips, senior graphic designer at Crown Creative. "Our brand identity and ethos proudly embrace this spirit of imperfection, reflecting the client's mantra: 'We don't take ourselves too seriously, except when it comes to hospitality.'"

This blend of high standards and low-key charm informs every design decision, from a cheeky tone of voice to unconventional touchpoints throughout the space. Typography plays a central role in anchoring the brand's sense of place. Crown Creative opted for LS Adelia as the primary typeface, described as a flare serif inspired by Nordic arts and culture of the early 1900s.

"With romantic ligatures and organic characteristics, the type pays homage to both the iconic Alpine Avenue signage and the year in which Georgia Mason was born — a visionary botanist from Oregon — as well as the name of the existing house on the property," says Phillips.

The all-caps, centred wordmark is a direct reference to Mason's 1982 self-published book, Plants of Wet Moist Habitats in and Around Eugene, Oregon. It reinforces a layered connection between past and present, nature and narrative.

That local influence also spills into the colour palette. "Our palette was inspired directly by Oregon's picturesque wine country and Piquette's roots," Phillips explains. "It feels grounded and natural, but with a confidence that sets us apart."

Each hue tells a tactile story — Amphora, a warm burnt orange, nods to the clay vessels used in traditional winemaking, while Pomace, a rich purple, echoes the hue of pressed grape skins and stems. It's branding you can practically taste.

The identity has been carefully built to stretch and flex across physical and digital touchpoints, from room keys to menus to merch. Phillips says: "Of course, there are foundational grids and guidelines to hold things together, but Piquette's spirit lies in its playfulness and in falling slightly off the mark… and owning it."

That ethos carries through even in the signage, which uses offcuts and leftover materials from local makers. "The interior wayfinding, for example, is crafted from cut-offs and unused pieces from local artists and makers to create something entirely fresh and unique. It's about being resourceful, taking what's overlooked, and giving it a new life. That's Piquette," she adds.

While natural wine culture has become known for its irreverent design codes, Piquette's visual identity carves its own confident, curated, and characterful niche. "Just like in natural winemaking, it was important to us that the hand of the maker was felt in Piquette's touchpoints without falling into some of the expected cues so often seen in natural wine identity," says Phillips. "Ultimately, Piquette is a hotel brand that thrives on contrast; structure meets spontaneity; precision meets play; curation meets cheekiness."

Illustration plays a key role in that dynamic balance. Crown Creative commissioned artist Zack Rosebrugh to create a suite of bespoke illustrations capturing the local people and culture.

These appear across hotel collateral and promotional material, adding a layer of levity and warmth. "These illustrations and loose details are then paired with beautiful, confident typography to establish a visual language that feels expressive yet refined," says Phillips.

Collaboration was at the heart of the project, and its dynamic continues even after launch. "It's rare to work on something that naturally gives you this much room to play with a client who you just click with," Phillips reflects. "Their ethos set the tone from the start: open-minded, curious, and unafraid to break convention. That clarity shaped the brand positioning, and the positioning shaped everything that followed."

The result is a brand that doesn't just speak to its surroundings but feels woven into the fabric of the place, much like a great bottle of local wine. "It's proof that the brand is continuing to grow in the most organic, collaborative way," says Phillips.

In other words, it is perfectly fermented, with just the right amount of fizz.

The luxury self-tanning brand's refreshed identity is defined by an elevated, Riviera-inspired look.

Luxury self-tanning brand St Tropez has revealed a refreshed brand identity in collaboration with Fold7Design, reaffirming its position as the go-to name for radiant, sun-kissed skin.

As competition in the self-tanning space grows, this rebrand modernises the St.Tropez aesthetic while staying true to the effortless glamour that has defined it for decades. The result is a visual and verbal identity that transforms self-tanning from a beauty routine into a lifestyle, evoking the endless indulgence of a French Riviera holiday.

The update includes a new typographic system, refined logomark, and redefined brand voice, all designed to elevate St. Tropez's prestige and ensure it continues to shine in an increasingly competitive category.

With a brand as established as St.Tropez, evolution—not revolution—was the key to success. Rather than completely overhauling the identity, Fold7Design took a more nuanced approach, refining the brand's typography, colour palette, and messaging to create a more premium and sophisticated feel.

"The main challenge is isolating the aspects of a well-known brand that have recall value," explains Tom Munckton, executive creative director of Fold7Design. "With a crowded shelf edge, ensuring consumer navigation at the point of purchase is key. Their mark became the key aspect to simply improve, rather than question in a fuller sense."

A core part of the strategy was reaffirming the power of the St.Tropez name itself. "Their name, as a place, is such a gift in terms of standout and evoking a positive and elevational sentiment for the brand," Munckton continues. "It was underexploited in the original brand—but it was something that we built further on to provide more differentiation in a growing category."

One of the standout elements of the rebrand is the typographic system, which mimics the movement of sunlight—rising, setting, shimmering, and radiating. This approach not only reinforces the brand's luxury and aspirational nature but also provides an instantly recognisable visual signature across digital platforms.

"With the acreage and repetition of the social media cycle, we saw an opportunity to introduce a visual and motion system that makes every communication feel fresh," says Munckton. "It was mainly motivated by giving the brand more expression whilst reinforcing the overall inspiration of the sun."

The introduction of Saol Display, a typeface by Schick Toikka, plays a crucial role in this transformation. "Saol is one of those magical typefaces that actually gets richer and more interesting the bigger it is displayed," Munckton notes. "Both highly readable and, at scale, exquisitely crafted. The lighter overall weight of the typeface also connected with the brand's heritage using Avant Garde."

This bold yet refined typographic identity allows St.Tropez to communicate with elegance, confidence, and a touch of Riviera glamour.

The rebrand also marks a shift in St. Tropez's approach to self-tanning as an experience. Rather than focusing solely on product efficacy, the new positioning centres around the feeling of self-tanning, namely the confidence, indulgence, and escapism it offers.

"There is a tendency in this category to think entirely through the lens of product, their efficacy, and function," says Munckton. "We liked the idea of a brand that thinks a bit more 'feeling' first. Art directionally, we introduced imagery and film that feel more like a luxe hotel or exclusive members' club. The product is a component, but not always the star."

This storytelling-first approach is reflected in the brand's newly refined tone of voice. Described as "knowingly aspirational," the updated messaging invites consumers into the world of St.Tropez—a place where tanning isn't just a routine but a glamorous ritual.

"There wasn't a codified way of speaking before," Munckton explains. "Our hope is that the new guardrails will provide the brand a quirkier style to play with—in combat with an overly serious category."

Refreshing an established beauty brand requires a delicate balance between honouring its legacy and pushing it forward. For St.Tropez, this meant building on its iconic status rather than starting from scratch.

"I think there is a delicacy and open-mindedness of what is possible when a brand is already and continues to be successful," says Munckton. "We all hear a lot about full brand transformations to overhaul perhaps failing brands. In some ways, tearing everything up is easier. Iterating and drawing out more from what is already there is the key challenge—but also a bit of an art to get right."

With its refined logomark, sophisticated typography, and evocative messaging, the new St.Tropez brand identity is both timeless and contemporary. It cements the brand's luxury positioning and ensures it remains the gold standard in self-tanning for years to come.

The refreshed branding is rolling out across key U.S. retailers, including Ulta Beauty, as well as St. Tropez's digital and social channels.

To help protect children in the digital world, SafeToNet needed a brand with emotional power and technical credibility. The result? A bold, human-centred identity for HarmBlock—created not by a big-name agency but by a tight-knit team of independent creatives working under their own names, united by purpose.

In a world where children are increasingly vulnerable online, strong safeguards are no longer optional; they’re essential. HarmBlock, developed by digital safety company SafeToNet, has seen a growing demand for its services as a result. Still, it needed a distinct brand identity that could stand on its own, convey serious technical clout, and build lasting emotional trust.

Rather than a traditional agency, SafeToNet turned to a flexible team of independent creative experts brought together by CMO Lara Chapple. Leading the charge were brand consultants Helen Hartley and Anna Wanczyk, who approached the project not as vendors but as embedded creative partners, working closely with Chapple from strategy through to execution.

A symbol with meaning

The brief was clear: HarmBlock’s identity needed to stand out among consumer-facing technology brands. The logo had to be instantly recognisable and serve as an icon for online safety as ubiquitous as Bluetooth or Wi-Fi.

Wanczyk developed the ‘sapling’ symbol as the core visual metaphor. “It represents an innocent child,” she explains. “If that young tree is exposed to harm, its growth will be stunted. But if it’s protected, it can thrive.” The idea of giving every child a chance to flourish became the heartbeat of the brand.

This visual unit—known internally as an Extractable Brand Unit (EBU)—needed to be just as powerful at 16x16 pixels in a screen corner as it was across a product or billboard. That level of iconography is hard to pull off, but it was non-negotiable for a product designed to integrate across platforms and systems.

Merging tech and emotion

One of the biggest challenges was crafting the right tone. The team needed to convey the credibility of complex AI technology without alienating concerned parents or educators.

“The reality is, decision-makers in tech firms are often parents themselves,” says Hartley. “So we treated business-to-business and consumer-facing communication as two sides of the same coin.”

From the outset, the team leaned into a tech-forward visual language: a black canvas with bright neon accents. But unlike the pastel-soaked palettes of typical safeguarding brands, HarmBlock’s colours are unapologetically bold. “Black gives the identity gravitas,” Hartley explains, “while the hot purple adds warmth, trust and energy.”

That spectrum of contrast plays out beautifully in the explainer video—animated by Wanczyk with a score composed by Got Moves Co.—which guides users from a monochrome problem space into a vibrant, hopeful landscape of growing saplings. It’s a poetic visual journey that ends in a digital world where children are protected, not policed.

Designing for every touchpoint

Building a brand that lives across such a wide array of digital environments meant thinking small and big simultaneously. “We designed the icon to be animated, responsive, and scalable,” says Wanczyk.

That thinking extended to the responsive website, which developer Anthony Jocelyn rebuilt from the ground up. It’s clean, accessible, and mobile-first—crucial, given that most of HarmBlock’s users access it on handheld devices.

The site also needed to explain a deeply technical algorithm in a way that felt intuitive, not intimidating. “People don’t care about how it works,” Hartley says. “They care what it does.” That insight informed every part of the user journey—from the clear icon system to the typographic voice to the emotional weight of the visual storytelling.

A collaborative model with impact

For Chapple, this project was personal. “Creating the HarmBlock brand was a journey,” she says. “And we couldn’t have done it without Helen and Anna. They went beyond the typical client-agency relationship. They became true partners who poured everything into this project.”

That’s the power of this creative model: a group of senior, hands-on thinkers working directly with the client to solve problems, not just deliver assets. “We use agile methods and sprints,” Hartley says, “but more importantly, we create trust. That changes everything.”

Together, the team built the HarmBlock brand almost in real time, developing, testing, and evolving the system across every rollout. The rules of the brand were built as the brand itself came to life.

From start-up symbol to global force

Within weeks of the rebrand, HarmBlock began attracting attention from global telecoms firms that had previously been out of reach. White-labelling clauses were dropped, and investor interest surged. “The brand gave SafeToNet the confidence to say no,” says Wanczyk. “And it gave the technology the voice it needed.”

That voice will soon reach even further, as HarmBlock is set to feature on a “safer phone” for children being developed by SafeToNet and HMD, makers of Nokia. Seeing the logo printed on devices that children will use daily is a major milestone.

“It proves that big things can come from small, independent teams,” says Chapple. “You don’t need a giant agency. You need people who care.”

In an era dominated by digital brand hubs and cloud-based toolkits, Hybrid Design makes the case for the enduring relevance of printed brand books. We explore how these tactile artefacts offer more than guidance – they inspire, commemorate, and connect.

There's something uniquely satisfying about cracking open a beautifully crafted brand book. The texture of the cover, the weight of the paper, the thoughtful layout – it all feels considered. In a world increasingly driven by screens, the printed brand book holds its ground as a design object, a storytelling tool, and a cultural artefact.

"A book is not just a medium; it is a statement. It does not disappear with a software update, and it does not get lost in an algorithm," said Hybrid Design. As the studio behind printed brand books for Sonos, YouTube, and Indeed, they're well-versed in the emotional and strategic power of print. For them, the return to physical artefacts isn't a rejection of digital but a rebalancing act. It's about grounding brand identity in something you can actually hold.

What a digital brand hub offers in flexibility and scalability, a printed brand book delivers permanence and presence. Hybrid describes it as "part instruction manual, part love letter"—something that must be "clear enough to use and beautiful enough to keep."

So why, in 2024, are more brands turning to print?

"A grounding experience."

"Holding a physical book provides a grounding experience," Hybrid explains. "It reminds teams of the brand's identity and the care and precision that shaped it." A well-designed brand book goes beyond utility, commemorating collective achievement and becoming a source of pride for the people behind the brand. It's a moment frozen in time, celebrating the energy and vision of a team while charting a course for the future.

When working on brand books, Hybrid starts with curiosity. "We begin by asking the questions that get beneath the surface—What does this brand believe? How does the team approach their work? What is the goal and function of this book for the brand?"

The answers shape every element of the book, from its grid system to its binding. For Sonos, the brand book became a design object in its own right, using tactile materials to mirror the care found in the product design. The cover embossing echoed the iconic speaker grille pattern, while the interior followed the same grid philosophy used in Sonos packaging.

Indeed's book served as a thank-you, capturing the collaborative spirit behind a major rebrand. YouTube's book, by contrast, functioned as a visual time capsule: a printed snapshot of the brand's evolution and its journey into a new design system. Each was different, yet all three approached the book as more than a set of rules. They were vessels for emotion, craft, and context.

"If something is going to be printed, it must be special."

Creating a brand book isn't without its challenges. One of the biggest, Hybrid says, is restraint. "There's often a temptation to over-explain or document everything, but the most effective brand books are intentional and curated." Ultimately, the goal is to empower, not overwhelm, which means prioritising what truly matters and allowing space for the brand's spirit to shine through.

It's this spirit that makes print so appealing to designers. A brand book is "not just a set of guidelines but a manifesto," says Hybrid. It anchors a brand's ethos in a tangible format, offering a sense of continuity amid the noise of fleeting digital content. When made with intention, these books become heirlooms within organisations – handled, referenced, and remembered.

What's great about a brand is that the craft doesn't stop at the content. Every decision—from typography to texture—speaks volumes. Each design choice hints at an element of the brand's character, reflecting the nuance and individuality that make it distinct.

This ethos is also present in Hybrid's work on Mohawk Quarterly, a long-running publication that championed beautiful print design. "Our philosophy, shaped by our relationship with Mohawk, is that if something is going to be printed, it must be special."

It's a mantra that has carried over into their approach to branding books. When a piece is destined for print, it demands something more—a materiality and physical presence that digital simply can't replicate.

"Clarity and consistency, and inspiration."

Looking ahead, Hybrid believes the role of the brand book is evolving. As branding itself becomes more fluid and multi-sensory, the printed brand book is no longer just a style guide - it's a storytelling device, an onboarding tool, and a cultural artefact. "In a world where touchpoints are constantly changing, a well-crafted brand book brings clarity and consistency, but also inspiration."

So, what makes a brand book iconic? For Hybrid, it's about how the object exists in the world, how it feels in your hands, and what it communicates without saying a word. "If all these qualities reflected in the book are born of the same qualities in the brand, you can achieve something that feels honest and true."

Their advice for designers dreaming of working on brand books is to start with questions, be curious, and look beyond the obvious. "Don't just look at other brand books—look at editorial design, architecture, packaging, maps, signage—any system that organises information and tells a story."

As the rise of remote work continues to blur the line between café and co-working spaces, one UK town is taking drastic action — by taxing creativity itself.

A small coastal town has made a controversial move to reclaim its cafés from the grip of the creative class.

The picturesque seaside town of Netherford-on-Sea has become the first UK town or city to introduce a so-called Creative Tax. The charge is aimed at freelancers, remote workers, and "digital nomads" who regularly use local cafés as makeshift offices.

The tax — which came into effect on 1 April — requires anyone visibly working on creative projects in public hospitality spaces to pay £3 per hour. The new scheme, officially known as the Public Space Creative Usage Levy (PSCUL), has been met with confusion, mild outrage, and several illustrated protest posters.

According to Netherford Council, the initiative is intended to "protect the ambience and availability of independent cafés for traditional customers", after a recent study found that nearly 40% of the town's seating in coffee shops was being "monopolised" by freelancers with laptops, sketchbooks, and "creative energy drinks in obscure packaging".

"We're not anti-creativity," said Councillor Sheila Booth, who spearheaded the campaign. "But we've reached a point where you can't order a tea without overhearing someone discussing their Substack newsletter or planning a risograph zine."

The new regulation defines a "creative activity" as any of the following:

• Using Adobe software in public
• Writing on a laptop while wearing noise-cancelling headphones
• Sketching in an A3 pad with "excessive focus"
• Saying the phrase "I've got a pitch at 3"
• Occupying a table with a KeepCup, banana, and visible Moleskine for more than 90 minutes

Freelancers found working without a Creative Licence (available for £45/month via the council's new Creative Portal) could be fined or asked to move to one of the newly installed Designated Freelancer Benches, which feature solar-powered USB ports and "lightly padded" seating.

Local café owners are divided. Barry Trent, who runs Flat White Whale, says, "I love my creative customers — they basically pay my rent. But I haven't seen my window seat in months. It's been taken over by someone editing a podcast about typefaces."

Not everyone is taking the tax seriously. A group of illustrators has begun selling protest stickers reading 'Tax This Doodle' and 'PSCUL is Pants'. Meanwhile, a rogue band of copywriters is allegedly drafting a 'Manifesto for Public Creativity' in a Google Doc titled 'REVOLTFINALv3_REALFINAL.docx'.

One local graphic designer, who asked to remain anonymous, said: "I just wanted to draw foxes in peace. Now I'm paying more in coffee fines than I do in National Insurance. What happened to supporting the creative economy?"

Netherford Council insists the measure is a trial and will be reviewed after six months. In the meantime, neighbouring towns are said to be "watching with interest" — particularly East Plumwich, which has seen a sharp rise in creative activity since the opening of a new artisan bagel co-working café last month.

To mark a decade of social impact, the Glasgow-based studio reimagines the brand of a bakery that's changing lives, one loaf at a time.

As far as design briefs go, this one had all the right ingredients. A social enterprise built around real impact, a founder with a crystal-clear purpose, and some of the finest sourdough in Glasgow.

For their latest project, creative studio Jamhot has teamed up with Freedom Bakery to craft a refreshed brand identity that celebrates ten years of meaningful change and world-class bread.

Founded in 2014 by Matt Fountain, Freedom Bakery aims to help people leaving prison find employment, purpose, and fresh starts through the simple but powerful act of baking. A decade later, the bakery has become a local institution, supplying some of Glasgow's top cafes, restaurants, and shops.

While the mission remains the same, the team felt it was time for the brand to rise alongside the business. The partnership with Jamhot resulted in a vibrant new brand identity shaped by a platform that neatly ties product and purpose together: It's Time To Rise.

"For us, this was of the utmost importance," says Graeme McGowan, co-founder and creative partner at Jamhot. "We wanted to develop a simple but powerful concept that put the product at the heart of the brand while tying into the bakery's wider social mission." 'Rise', of course, speaks directly to the process of baking but also symbolises the organisation's deeper aim—to lift people up, raise ambition, and support reintegration through meaningful work.

Visually, the concept comes to life in striking product photography, where loaves are positioned like champions atop podiums, celebrating the craft and care that goes into every bake. Working with Glasgow-based photographer Mark K Seager, the Jamhot team developed a suite of hero imagery and behind-the-scenes photography that communicates the bakery's dedication to excellence without losing its soul.

"We wanted to communicate the exceptional quality of the products and the bakery's well-earned reputation," explains McGowan. "But also retain an inherent simplicity in the shots. Mark is known for capturing the humanity in his subjects, so he was perfect for bringing the concept to life."

Beyond photography, the refresh extends to illustration, tone of voice, and digital applications. A new linocut illustration style was introduced to help communicate the bakery's six core values. The handmade aesthetic feels rooted in craft, echoing the human-centred, honest approach upon which Freedom is built.

"Everything the bakery does and stands for begins and ends with people," says McGowan. "So we wanted a style that felt human and embodied the care and thoughtfulness that goes into everything Freedom does."

That care extends into the language, too. The tone of voice was refined to balance warmth and professionalism—staying true to the seriousness of the mission while reflecting the light, hopeful attitude that defines the bakery's culture. "There's a playful and happy nature to how they go about things," McGowan explains. "We wanted the tone to reflect the light Freedom shines on the many lives it has touched without taking itself too seriously. That's reserved for the bread."

The identity has rolled out across the bakery's new website and into its everyday communications, creating a cohesive and contemporary brand system that feels authentic, proud, and full of momentum. While the 10-year anniversary marks an important milestone, the team was far more focused on what comes next.

"A milestone like this is always a time to reflect, but working with Matt, we were more interested in looking forward than looking back," says McGowan. "This refresh gave us the opportunity to shine a light on the quality of the product—because that's what really sets Freedom apart."

As a studio that regularly works with not-for-profits and arts clients, Jamhot's contribution to the project also comes from a place of purpose. "You can't help but be inspired by Matt's vision and the work that Freedom Bakery does to lift people up," McGowan adds. "It means everything to us that, in our 18th year as a studio, we're still able to work on projects like this. It's something we're really proud of—and never take for granted."

Ten years in, Freedom Bakery continues to rise—with a new identity that matches the heart, soul and ambition of the people behind it.