#art-director

#art-director

The new consolidated studio will be led by Josh Mandel, previously CEO of The Mill, who will be taking on the new role of President of Advertising at Technicolor Creative Studios.

Xinyu Hou designs for adaptation, working with the body as it actually behaves under stress, rather than how it is only expected to perform for an audience.

The dream is the confusion machine I didn't have to build, a space where perception slips beyond authorship. Within Communal Dreams, influence operates as a subtle signal rather than a directive force.

"If we are successful, we make people feel something as a result of our work," says Crisan, emphasizing the emotional impact of design.

Elisava's Master's in Graphic Design is ingrained with societal, cultural and critical contributions to the creative industry, going beyond its aesthetic output while fostering self-awareness in creatives.

"It's bizarre to watch people in this way - even in gay cruising areas you wouldn't stare at other bodies this intensely. Now, whenever I go to a concert, especially at the Berliner Philharmonie with its encircling seating, my gaze hovers over the audience as well as the stage."

"We are uniquely global and local, historic and contemporary, collection driven and exhibition driven," Westermann said. "I really needed someone who understands that complexity."

Seeing the Alhambra in Granada was an extraordinary experience for me. It was the first time that I understood painting as something other than an object hanging on a wall. I thought that paintings could be in a fixed place, made for that place, made for the light of the place, experienced kinesthetically.

Yale came to me and said there isn't an overarching book about the history of printmaking; they wanted it to be about the printed image. There are a lot of books about printing-about the history of journalism or the history of books, the printing press and the printed word-but not so much about the printed image and its processes. So that was my challenge.

The texture of the material and the handcrafted quality were aspects that particularly interested them. The challenge was to translate my style from stone to paper.

To really work in the high end of the industry, formal schooling is an absolute necessity. It isn't just about whether you can say, oh, that floral looks good with that stripe. Rather, it's about mastering foundational design principals and developing fluency with the rendering and software tools required of day-to-day work. It's about designing to satisfy a question.

Static images don't show motion. You can't inspect real product structure. You don't see how interfaces evolve over time. You rarely understand what actually works in production. So I decided to go deep. I reviewed every major design reference platform I could find - not just the popular ones - and analyzed how they actually help in real-world work. The conclusion?

We've both fought against needless promotional content before and lamented that frontier AI platforms are falling into the same pattern. As designers and users, we've learned that "free" usually means putting up with interruptive, slightly creepy ads that feel more like a tax than a benefit - a frustration tax that now colors how we approach free‑tier services and now AI tools.

AT FIRST GLANCE, the phrase "avant-garde advertising" might seem like a contradiction in terms: The avant-garde is assumed to be inherently anti-capitalist and the realm of advertising crassly commercial. But the involvement of avant-garde artists with advertising is in fact rich, complex, and long-standing, encompassing a full century of collaborations, critiques, and reworkings of all sorts. That entanglement-in all its diversity-is the topic

We needed a visual identity that was uniquely Getty and distinct enough to unify how we show up globally. This system gives Getty one clear, ownable expression in support of the work we do around the world.

The ridges of eucalyptus bark, the geometries of shell formations, moss-covered trees, Indigenous grasslands and the hidden networks of fungi beneath the soil. These landscapes produce organic yet abstract patterns - natural systems that quietly shape the way we see and design the world around us.

A graphic designer that isn't limited to working in 2D, Ward Goes has been working in aluminium of late. His recent solo show in Rotterdam, Literally Anything, was full of things that moved beyond the screen or printed page, including some wonderful metal signage and archival storage. The exhibition at Alley Space was the result of the designer's decision to pursue more tactical investigations alongside his commissioned work at the start of 2025.

What design programs rarely prepare students for is how little agency designers often have once they enter professional practice. And this challenge doesn't disappear with experience. When my co-author and I toured our book Designing Tomorrow, the most common question we heard was not what designers should do differently - but how to drive positive change in the face of resistance.