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New work for Wes Anderson and The Criterion Collection! Designing this box set was an honor of a lifetime.

These films have meant so much to me over the years and have given me so much inspiration and joy, so to have the opportunity to design this box set of Wes’ first 10 films is a true gift.

Thank you to @criterioncollection for all you do and to @ericskillman for your incredible support and art direction.

New work for Wes Anderson and The Criterion Collection! Designing this box set was an honor of a lifetime.

These films have meant so much to me over the years and have given me so much inspiration and joy, so to have the opportunity to design this box set of Wes’ first 10 films is a true gift.

Thank you to @criterioncollection for all you do and to @ericskillman for your incredible support and art direction.

New work for Wes Anderson and The Criterion Collection! Designing this box set was an honor of a lifetime.

These films have meant so much to me over the years and have given me so much inspiration and joy, so to have the opportunity to design this box set of Wes’ first 10 films is a true gift.

Thank you to @criterioncollection for all you do and to @ericskillman for your incredible support and art direction.

Welcome to the world of The Wes Anderson Archive.

After settling on the “archival” design concept, I knew this box set was going to need a logo. The typefaces for the box set are inspired by encyclopedias from the 70s but I wanted to find a way to slip in that infamous “Futura” font that Wes Anderson films are known for. So here in the logo you’ll find the WA set in Futura Bold as a nod to his films.

The holiday train campaign keeps on rolling for @lamarzoccohome . I was asked to design a few vignettes that show a peek inside the 1920s train cars that have been featured in their “Polar Espress” video campaign. I started with designing a logo for the “Polar Espress Rail” and applied it to three luggage tag designs. Each tag is a different train line, but the logo holds them together as one great P.E.R. train ride adventure. I love designing for exactly this reason. It’s a chance to be imaginative if the client gives you the freedom to do so, and for that, I thank them!

This past weekend, I taught my second “Vintage-Inspired Graphic Design Workshop”. Designers from all over the country came, and for 2 days, we dug into design references and explored storytelling through design by creating our own design brief based on the mysterious Catalina Island Bird Park, built in the 1920s. We dreamt up “deliverables” like boat tickets, bird guides, hand-painted entrance signage, carrier pigeon notes back to the mainland, and bird trainer I.D. badges. On day two, I led live Illustrator and Photoshop design demos, a hands-on design session with ink pads and stamps, and we scanned old type specimens so each designer could leave with their own vector-based vintage design library.

For two days, I heard the phrases “this is so therapeutic,” “how can we make an agency like this?”, and “I’m going to miss this when it’s over.” And not for a single second did we discuss AI.

Last week, I saw someone post about being frustrated that younger designers always want to know the process behind their work. Another design curmudgeon chimed in and said, “You want in? Figure it out yourself.” In my opinion, we can’t be designers angry about the weight of AI at our door if we’re not willing to help show younger designers the light and the non-AI way. As “elder” designers, I believe it’s our responsibility to welcome them into the ride, support them, and show them that this job can be magical and we don’t have to use AI “tools” to build and design beautiful worlds that make us excited to be at our computers.

That’s all for now. Young designers are brilliant and curious and deserve our support. Thank you to the talented designers that joined this weekend!!

I was told that the “grid” might go away and my first thought was “But where will all of our designs that didn’t make the cut go?” At the end of last year, I worked on a bourbon label with the direction to make it feel like it stepped out of prohibition. Fun! Here are two concepts from that project. I changed the name so they may live on. Looking forward to sharing the final version soon! 🥃

I was told that the “grid” might go away and my first thought was “But where will all of our designs that didn’t make the cut go?” At the end of last year, I worked on a bourbon label with the direction to make it feel like it stepped out of prohibition. Fun! Here are two concepts from that project. I changed the name so they may live on. Looking forward to sharing the final version soon! 🥃

I was told that the “grid” might go away and my first thought was “But where will all of our designs that didn’t make the cut go?” At the end of last year, I worked on a bourbon label with the direction to make it feel like it stepped out of prohibition. Fun! Here are two concepts from that project. I changed the name so they may live on. Looking forward to sharing the final version soon! 🥃

I was told that the “grid” might go away and my first thought was “But where will all of our designs that didn’t make the cut go?” At the end of last year, I worked on a bourbon label with the direction to make it feel like it stepped out of prohibition. Fun! Here are two concepts from that project. I changed the name so they may live on. Looking forward to sharing the final version soon! 🥃

I’m 41 today. This past year I did a lot of things I’ve always dreamed of doing but didn’t have a clue how to do like teaching a design workshop, speaking at a conference, backpacking a long distance, and now a sign-painting class. Because of this, I’ve felt like I’ve been walking through wet concrete the past year aka mentally pushing myself through uncharted territory. I’m so unbelievably lucky for everything and everyone in my life. If I could bold that statement I would. I love you all! I love this world! Let’s take care of it and each other! 41 is a weird year to celebrate!

I originally designed this pattern for a doughnut brand who wanted their designs to feel like they popped out of a 1930s parlor but they ended up going a different direction. I imagined it as being the doughnut box liner. So, instead of it dying a sad death on a harddrive, here she is reimagined as a chocolate bar company. Wouldn’t it be fun if this was a foil on the inside of the packaging?

Every day, there is horror that comes to light with our deranged leader. Whether it’s killing protesters on his orders, destroying our natural world and public spaces, locking people up in horrific environments, enacting racist laws, or demolishing anything to do with diversity. And then it gets so dark with the files that I can’t even bring myself to think about or talk about them.

Last week, I posted my protest poster saying I was sick of all of this and jokingly (but not) sick of his hair. I received online death threats because of this. Everything his presence touches is dark, corrupted, hateful, and psychotic.

I feel deep grief for how far this has all gone and for how many people his actions continue to hurt and terrify. I feel shame that we, the millions of US citizens against this, weren’t able to stop it. I feel anger that those at the top with a voice and power continue to either stay silent or enable it. And I feel deep disappointment at continually having to come to terms with the fact that millions of people still say “yes” to this person.

This world we live in is so beautiful. We have the choice to live in it peacefully. I love my country, but I’m deeply ashamed of our government’s actions. I hope that those in power do the right thing. Remove him. Sentence him. Lock him up.

As someone who’s been in the design arena for 20 years, I keep coming back to the question “what would have been helpful for my younger self?” Inspired by reading advice columns in the Sunday paper growing up, I’ve launched a new Substack series called “Dear Designer” where I’ll collect your questions and share my insights. No question is too basic.. if you’ve wondered it, someone else has to!

Since this is a special feature for paid subscribers, I’m offering a 20% discount on subscriptions from now until April 1st!

Oh boy, am I a fan of hand-painted signage.As a graphic designer who works primarily digitally, I love studying handcrafted methods and thinking about how to apply those techniques to digital work.

The art of the drop shadow with type has been on my mind, so I researched sign-painting methods from the 1800s and early 1900s and studied their shadow techniques. I wanted to know “why this shadow should be on the left“ and “how a script shadow should be positioned?” I wrote all about what I’ve learned about shadows and shading from sign-painters of the past on my Substack.

Spent the last 3 years building and growing this spot for my family, the bees, the heath of the soil, Snacks Mathews, and for myself. I love being able to “grocery shop” our yard. And more and more I think about “what tools can I learn in case things hit the fan even more.” 🤠 I’m so grateful for this place.

Crop is two months away!!! Have you registered yet? We hope so, because you’ll get to hear @bethmathews on the keynote stage!!

We’re stoked to welcome Beth to Crop for the first time. Beth is an Art Director and designer based in Los Angeles who has collaborated with folks like Wes Anderson, Criterion, EMI/Capitol Records, Penguin Random House, and more. Her work is incredibly dialed. The attention to detail, the subtle touches that make everything feel tactile, and her incredible use of typography and composition are all just… chef’s kiss.

Come see Beth (and a whole lineup of amazing speakers) this April!!

Get your tickets now. Link in bio!

Crop is two months away!!! Have you registered yet? We hope so, because you’ll get to hear @bethmathews on the keynote stage!!

We’re stoked to welcome Beth to Crop for the first time. Beth is an Art Director and designer based in Los Angeles who has collaborated with folks like Wes Anderson, Criterion, EMI/Capitol Records, Penguin Random House, and more. Her work is incredibly dialed. The attention to detail, the subtle touches that make everything feel tactile, and her incredible use of typography and composition are all just… chef’s kiss.

Come see Beth (and a whole lineup of amazing speakers) this April!!

Get your tickets now. Link in bio!

Crop is two months away!!! Have you registered yet? We hope so, because you’ll get to hear @bethmathews on the keynote stage!!

We’re stoked to welcome Beth to Crop for the first time. Beth is an Art Director and designer based in Los Angeles who has collaborated with folks like Wes Anderson, Criterion, EMI/Capitol Records, Penguin Random House, and more. Her work is incredibly dialed. The attention to detail, the subtle touches that make everything feel tactile, and her incredible use of typography and composition are all just… chef’s kiss.

Come see Beth (and a whole lineup of amazing speakers) this April!!

Get your tickets now. Link in bio!

Crop is two months away!!! Have you registered yet? We hope so, because you’ll get to hear @bethmathews on the keynote stage!!

We’re stoked to welcome Beth to Crop for the first time. Beth is an Art Director and designer based in Los Angeles who has collaborated with folks like Wes Anderson, Criterion, EMI/Capitol Records, Penguin Random House, and more. Her work is incredibly dialed. The attention to detail, the subtle touches that make everything feel tactile, and her incredible use of typography and composition are all just… chef’s kiss.

Come see Beth (and a whole lineup of amazing speakers) this April!!

Get your tickets now. Link in bio!

Crop is two months away!!! Have you registered yet? We hope so, because you’ll get to hear @bethmathews on the keynote stage!!

We’re stoked to welcome Beth to Crop for the first time. Beth is an Art Director and designer based in Los Angeles who has collaborated with folks like Wes Anderson, Criterion, EMI/Capitol Records, Penguin Random House, and more. Her work is incredibly dialed. The attention to detail, the subtle touches that make everything feel tactile, and her incredible use of typography and composition are all just… chef’s kiss.

Come see Beth (and a whole lineup of amazing speakers) this April!!

Get your tickets now. Link in bio!

Crop is two months away!!! Have you registered yet? We hope so, because you’ll get to hear @bethmathews on the keynote stage!!

We’re stoked to welcome Beth to Crop for the first time. Beth is an Art Director and designer based in Los Angeles who has collaborated with folks like Wes Anderson, Criterion, EMI/Capitol Records, Penguin Random House, and more. Her work is incredibly dialed. The attention to detail, the subtle touches that make everything feel tactile, and her incredible use of typography and composition are all just… chef’s kiss.

Come see Beth (and a whole lineup of amazing speakers) this April!!

Get your tickets now. Link in bio!

Crop is two months away!!! Have you registered yet? We hope so, because you’ll get to hear @bethmathews on the keynote stage!!

We’re stoked to welcome Beth to Crop for the first time. Beth is an Art Director and designer based in Los Angeles who has collaborated with folks like Wes Anderson, Criterion, EMI/Capitol Records, Penguin Random House, and more. Her work is incredibly dialed. The attention to detail, the subtle touches that make everything feel tactile, and her incredible use of typography and composition are all just… chef’s kiss.

Come see Beth (and a whole lineup of amazing speakers) this April!!

Get your tickets now. Link in bio!