When Finnish food company Anton&Anton decided to close its boutique stores and focus on convenience foods, creative agency Kuudes helped it rebrand accordingly.

Anton&Anton is a Finnish food company that has gained significant recognition for its ready-made meals. They've become a popular choice for busy individuals and families seeking convenient yet good-quality food options.

Unlike typical providers of ready meals, Anton&Anton prioritises using fresh, high-end ingredients and crafting meals with a focus on taste and flavour. The company is also committed to sustainability, striving to reduce its environmental impact through practices like using eco-friendly packaging and sourcing sustainable ingredients.

Originally established in 2008 as a boutique grocery store, Anton&Anton has now started to position itself as a soulful alternative to large supermarket chains. And they've been working with Kuudes, a creative business design agency based in Helsinki and Stockholm, to drive that new vision forward.

The brief

Piëtke Visser, creative director at Kuudes, based in Helsinki, outlines the problem. "This cherished brand, boasting a loyal fan base in Southern Helsinki and exceptionally tasty products, faced challenges in sustaining its brick-and-mortar stores and home delivery service," she explains.

Anton&Anton then made the strategic decision to shut down its boutique stores and proprietary home delivery service, shifting focus entirely to the burgeoning convenience food sector.

"The market dynamics had shifted significantly during the pandemic," explains Piëtke. "This necessitated a careful strategy to carve out a new market position that would enable Anton&Anton to thrive beyond the capital area, where brand recognition was minimal. "

Research and strategy

Their research showed that the pandemic had already reshaped the ready-made meal market, with more people eating at home and restaurants starting to produce their own products for retail. As competition intensified and consumers became more discerning, that meant Kuudes would have to position the brand carefully.

"Our consumer insight team played a key role in identifying crucial target groups," says Piëtke. "One valuable insight we gained was the opportunity for a new type of ready-made meal category: one made from high-quality ingredients without being positioned too premium. Products are clearly designed for mass distribution but still maintain authenticity compared to industrially produced convenience food products."

The result was to recalibrate the pricing strategy to slightly lower price points, impacting the overall brand positioning.

"Seizing the opportunity, we embarked on a journey to first redesign their commercial concept and then rebrand Anton&Anton to align with their new strategic direction," says Piëtke. "We had to ensure that the new identity communicated authenticity, fresh ingredients, high quality and deliciousness without positioning it as a premium brand. Fortunately, Anton&Anton was not so widely known outside the Helsinki Metropolitan area, allowing us to introduce the brand to many without pre-existing perceptions."

Brand concept

So how did Kuudes balance retaining the brand's soulful, boutique essence while shifting it towards convenience food? "That was the real challenge," says Piëtke. "How to communicate the charm of the former boutiques, the atmosphere, and the quality it represented, on a set of tiny packages."

The original boutiques were designed to be minimalist, offering a black and white backdrop for high-quality, mostly organic nearby foods. "Stepping into the spaces, you would be met with an ocean of colour," she recalls. "Intense red tomatoes, beautiful yellow chanterelles, and deep delicious leafy greens. We scaled this down to a set of packages that bang with intense, delicious natural colour."

Consequently, a rich, saturated, and irresistible colour palette is the cornerstone of the Anton&Anton rebranding. As Piëtke puts it: "Satisfying experiences and good food go hand in hand with colour. The objective of the visual language was to appeal to the hidden foodie in every consumer."

Colour strategy

Piëtke outlines how they determined the colour palette. "We believe delicious food is something everybody can relate to," she begins. The starting point of food enjoyment is how it looks: delicious colour suggests satisfying flavour. So each pack was given a rich base colour, representing one of the ingredients in the meal, keeping in mind how these colours would look next to one another."

The contemporary yet crafted packaging suggests that even a quick, ready-made meal could be delicious. Each meal offering has been carefully paired with a distinct base colour and illustration to communicate the ingredients at a glance.

The illustrations for each meal are playful and "rough around the edges", as Piëtke puts it. "Working with raw food ingredients can be messy," she explains. "As these meals are handmade, the wholesome illustration style was chosen to communicate a carefree and fun approach to food, the kind you would imagine in an ideal home kitchen.

Logo and typography

The Anton&Anton logotype was the only brand element retained in this rebranding project, and for good reason. "It has a strong and elegant presence that offers a perfect counterbalance for the rougher illustration style," says Piëtke.

The name and logo, Anton&Anton, needed to be impactful and visible at a distance. Instead of settling for a small, discreet logo placement, Kuudes scaled it up, spreading it from one pack to the next. "The result would be that when you stand in front of the shelves, it would be hard to miss Anton & Anton & Anton & Anton," notes Piëtke.

Overall, the identity's new positioning has been achieved through a combination of rich colours, sympathetically illustrated ingredients and a stylish logotype that creates a pleasant contrast with the overall design. "In addition to the visual identity, we also focused on verbal communication to find the right tone: maintaining the essence of a small-sized business where people are passionate about high-quality, locally sourced food made with delicious seasonal ingredients."

A strong sense of nostalgia and authentic enjoyment comes through in the Beachside Hotel's identity, reinforced by an eclectic mix of typefaces and imperfect patterns.

San Francisco-based design studio LMNOP has crafted a new identity inspired by classic American summers for the Beachside Hotel in Nantucket, using a "blue sky thinking" approach to encourage guests to fully immerse themselves in the hospitality experience.

This unique strategy fused recreation and relaxation, encouraging guests to enjoy every moment in the hotel without feeling the need to leave. It positions the hotel as more than a place to sleep and eat breakfast before heading out for the rest of the day – why not explore the whole environment and take time to engage with the different spaces and experiences on offer?

LMNOP principal and creative director Leigh Nelson says the aim was "to break away from Nantucket's traditional mould by creating a laid-back yet high-touch self-service environment". This, along with the rest of the brief, really resonated with the studio's ethos,, and it offered the team creative freedom where they could embrace analogue methods and curate holistic and immersive experiences.

"The brief encouraged us to explore the uncharted territories of free time and creativity, with no rigid agenda, only boundless possibility," says Nelson, adding that they were also able to collaborate with Parts and Labor, an architectural firm that they have "a seamless working relationship".

"Familiar, casual nostalgia"

Even in the UK, it's not hard to imagine a 'classic American summer'. Think casual nostalgia, open-air experiences, and timeless fun. This image and the wider brand idea were underpinned by four core pillars: understated, unexpected, comfortable and fun.

The studio's "Less is More" philosophy drove them towards simplicity and elegance, with typefaces and layouts that lean towards a utilitarian style. Nelson notes that "this effort to avoid being overdesigned and instead present a familiar, casual nostalgia sets the tone for the experience".

Inventive design elements make for unexpected moments in the brand, with its layered visual system creating new touchpoints and experiences for guests so they don't feel like they are encountering the same thing over and over again. "Materiality is important here," says Nelson, "so choosing unexpected materials for things like wayfinding signage or the guestroom compendium provides that extra layer of discovery."

"An approachable sophisatication"

To ensure all guests felt comfortable in the hotel, LMNOP geared the design towards "an approachable sophistication". This comes through in features like the checkerboard patterning, which Nelson describes as an "intentionally imperfect pattern that echoes nostalgic picnic imagery, blending refined aesthetics with a sense of casual comfort, creating an inviting and warm environment".

Finally, the 'fun' pillar ultimately comes through in the Beachside Hotel's sunburst brand mark. "Designed for use in merchandise and digital platforms, this mark encapsulates the joy and vibrancy of the season, bringing an element of fun and excitement to all touchpoints, Nelson explains.

This was paired with the typographic logo, which used the PP Agrandir font. Pangram Pangram describes it as "a contemporary serifless type family that celebrates the beauty of being imperfect". It was designed to be a brave antipode to neutral modernist fonts. It is defined by unaligned, quirky and funky shapes, adding an element of humanity to it. Other fonts used across the identity are Garaje Condensed, PP Right Serif Mono, and PPFraktionMono.

"The joy and silliness of all ages"

Beachside Hotel's colour palette features tweaked primary colours to add to the vintage vibe. Red became more of a burnt orange, blue was made softer and dustier, and the yellow is close to a cream shade.

When it came to brand photography, LMNOP planned a lifestyle and interior photoshoot, which they were unable to do due to construction delays. This meant that they initially had to rely on stock photography, which they meticulously combed through to find images that were cohesive and truly representative of The Beachside Hotel's unique look and feel.

Luckily, they were able to conduct their own photoshoot later on in the project, which Nelson says "undoubtedly enhanced the brand's authenticity and visual appeal".

She explains how it captures "the joy and silliness of all ages, celebrating the idea that summer is a time for everyone to have fun".

"Light-hearted and engaging"

Though the studio didn't change the hotel's name – since it was the original name of the property and had strong equity – the team did get to name the outdoor-indoor restaurant. LMNOP decided to call it Swim Club, reflecting "a playful blend of high and low elements, capturing a nostalgic, Caddy Shack-inspired charm", according to Nelson.

"It's designed to be a lively, social hub where guests can enjoy both casual swimming and vibrant social interactions, encapsulating a fun and inviting atmosphere."

For the brand voice, the studio sought to develop something timeless and evocative of a sense of -coming-of-age. The result is a selection of copy that signals friendship, camaraderie, and childhood innocence and focuses on the joy of shared experiences made in a welcoming and memorable environment.

Nelson says: "In every communication, from signage to digital content, our voice remains light-hearted and engaging, encouraging guests to embrace the spontaneous and delightful moments of their stay.

"This approach ensures that the hotel's atmosphere is always inviting, vibrant, and infused with a sense of adventure and play."

"Small, cherished moments"

LMNOP also created the digital experience for the Beachside Hotel, which includes high-spirited lifestyle photography with vignettes that showcase real-life moments. "Vintage photos set a nostalgic tone, while new assets will gradually take precedence," says Nelson.

She notes that the focus of digital photography is on "small, cherished moments and branded touches", like hotel keys and signage, with vibrant lighting and colour.

People are prioritised in the images and are captured having fun in the surrounding environments, such as the pool, beach, and grassy areas.

"The brand language and utilitarian design provide a blank slate that allows the property and its merchandise to be infused with vibrant, personal touches," Nelson adds.

"This approach not only honours the spirit of classic summer but also ensures that every interaction with the brand feels fresh and engaging."

Strong on concept and beautifully executed, Studio Morfar's explainer video for the Nigerian green energy startup SunFi brings a fresh aesthetic to the renewables space.

Fossil fuels have been the main driver of Nigeria's economy since the 1960s, so it can be difficult for a renewable energy company to get a look-in. SunFi, which helps people finance solar panels and storage batteries, aims to change all that and turned to Studio Morfar in Copenhagen to create a short video to win the hearts and minds of Nigerian consumers. Out with dirty generators, in with clean solar energy.

The two-minute piece is a striking departure from explainers you'll see from other energy companies, which typically feature vector outlines of houses with solar panels and little sparks running along cables to batteries or pylons that represent the grid. Instead, the aesthetic was laid down by British illustrator and animator Con McHugh, who works in a rougher, wobblier, and more honest style but is still bold and graphic.

"When I found Con's work, the first thing that stood out was just how clever he is at creating playful transitions between light and dark. He has this amazing ability to capture so much emotion and energy through simple compositions," says director and Studio Morfar co-founder Torsten Power.

The second brave decision was to base the video on a single, inspirational concept: light. As a result, the story and visuals are divided into two acts. The first is entirely black and white, depicting a city where energy sources are unreliable and people live under strain. But in the second act, the sun's power illuminates a world full of lively blues, greens and yellows. Each is accompanied by a unique soundscape composed by Alysha Takoushian.

"In the first act, everything is framed by beams of light. We had a lot of fun experimenting with how the characters interacted with these shapes. We wanted to show characters struggling to keep the lights on, quite literally pushing back at these light beams and feeling very claustrophobic," says Con McHugh.

He continues: "Our decision to go black and white for the first act really lends itself to this idea of contrast, and it made sense then to go full colour for our final act. This was a real challenge for me as an illustrator who works mostly in black and white, and Torsten and the team at Studio Morfar were brilliant for trusting me to do something I had never tried before."

It was a risky project for Studio Morfar on a number of levels. The SunFi piece is the studio's first motion work, and Torsten and his team wanted to make a big impression and repay the client's trust. "We were also cautious of the fact that none of our team are from Nigeria, so we were very reliant on the client's direction regarding what was culturally appropriate and accurate. They were so helpful in sending us visual references and even afrobeat playlists for the second act," says Torsten.

It became an even closer collaboration with SunFi when Studio Morfar invited the founder, Rotimi Thomas, to read the voiceover. "When I proposed the idea, I thought Rotimi would think I was insane, but it turned out he'd not only done a couple of voice acting gigs before but also had studio-grade recording equipment in his home. He was brilliant – altering the script where it didn't sound natural and sending countless drafts, all with different variations ranging from sad to happy to energetic to relaxed," says Torsten.

Thanks to SunFi's innovation and Studio Morfar's creativity, Nigerians are discovering an alternative to fossil fuel electricity.

Red Antler used its expertise working with start-ups to design a category-disrupting dip for New York foodies.

As a lover of Middle Eastern foods and cuisine, I was more than intrigued when I came across the Bezi brand, which claims to be on a mission to unseat hummus as the go-to, healthy(ish) snack dip. The new Labneh company hit shelves across NYC this September. For those who don't know, Labneh is a Middle Eastern dairy product made from strained yoghurt with a similar texture to mascarpone cheese.

Now, even if the dip was absolutely delicious, it would definitely take a compelling and well-thought-through brand to convince consumers to switch from hummus to Labneh. Luckily, Brooklyn-based studio Red Antler specialises in working with start-ups and new ventures and was excited to rewrite the rules of the dip category.

Red Antler strategy principal Rohan Krishnan says: "We couldn't resist the idea of introducing America to its next favourite dip.

"We love working with clients who want to disrupt established spaces, and Bezi presented the perfect opportunity to do just that."

The studio was first connected with Bezi's founder, Ilay Karateke, through one of her former roles. When Ilay was ready to start her own venture, rooted deeply in her Turkish heritage, Red Antler was keen to collaborate.

In the long term, Karateke hopes that Bezi will be in fridges across the country, but it was first introduced to speciality retail in the NYC area. Krishnan describes the target audience as "people who are in the know when it comes to food" or "Engaged Eaters".

Since these types of consumers are often early adopters of food trends, it makes sense to include Bezi in this crowd.

During the research phase, the design team made a few trips to Wegmans, Whole Foods, and a few other boutique grocery stores in a bid to better understand the landscape. While labneh brands aren't common, Krishnan notes that there are a huge number of "better-for-you" brands in the dips and spreads space.

"Bezi was an underdog here and needed to stand out on a crowded shelf," he says.

Not many people in the US have heard of Labneh, but even if they had, Bezi is slightly different from the usual. Most Labneh is yoghurt-based, making it slightly tangy, while Bezi is milk-based, making it tang-free and creamier.

"In a world where labneh brands were fighting over being a sidekick, we crafted a brand strategy that made Bezi the star, expressed in our strategy line 'no wrong way to labneh'," says Krishnan.

The bespoke lettering of the rounded geometric logotype was designed to align with the brand's friendly and approachable personality and signify the product's smooth texture. The soft edges communicate warmth and accessibility, while the geometric form adds a modern, clean touch.

Taking inspiration from Labneh's distinctive swirls, Red Antler designed the Bezi mascot to embody the "fun and crave-able nature of the product while also adding a playful element to the brand", Krishnan explains.

"The mascot's design reflects the smooth, inviting quality of labneh and serves as a friendly face that engages consumers and reinforces the brand's lively identity."

Bezi's rich flavour profiles come through in the vibrant colour palette, reflecting the variety of tastes and the lively personality of the brand. Each flavour has been assigned its own distinct colour, which, according to Krishnan, creates "a visual association that enhances the product's appeal".

He adds, "This approach not only makes the product stand out on shelves but also reinforces the sensory experience of enjoying Bezi's labneh."

The playful brand illustrations were all done in-house at Red Antler, and the same geometric illustration style was adopted as the logotype, matching the brand's overall aesthetic. Krishnan explains how the style allows for "a whimsical yet sophisticated look that complements the bold colours and design elements of the packaging".

Catchy yet educational copy also sits on the pack, including the line "Dippable, Spreadable, Infinitely Enjoyable". The copy flanks the wordmark, highlighting the product's versatility.

The art direction further reinforces the product's key attributes and variety of uses. "We used high-saturation colours and playful design elements to evoke a sense of community, fun and excitement, as the goal was to make the product visually irresistible and showcase its delicious qualities," says Krishnan.

I don't know about you, but I think I've been convinced to switch out my usual hummus for Bezi. Let's hope we get a taste of it over in the UK soon.

In the second of our special six-part series, we look at how music can elevate your visual storytelling and enhance its emotional power.

In the realm of visual storytelling, the power of sound often goes underappreciated. Yet, as we all know from our favourite movies and Netflix dramas, a well-chosen soundtrack can elevate a narrative, evoke emotions, and create a lasting impact. That applies equally to advertising, influencer marketing, and other forms of video content.

Epidemic Sound, the popular provider of royalty-free music, has been at the forefront of helping brands and content creators harness this power. So, we at Creative Boom have partnered with them to bring you a six-part series on the use of music in modern design.

For the second article in this series, we'll explore three compelling case studies showing designers – whether in-house, agency-based or freelance – how soundtracks and music can breathe life into their visual narratives.

1. A new sound for crispbread brand Wasa

Wasa, the world's largest provider of crispbread, faced a big challenge. As part of the Barilla group, this 100-year-old Swedish company aimed to expand globally while staying true to its Scandinavian roots. To help achieve this delicate balance, they were looking for a brand sound. So, they decided to partner with Epidemic Sound to bring their brand platform, 'Sounds good', to audio life.

The challenge

Wasa needed a brand sound that could connect closely with their product, encompass a wider food culture and shared experience, appeal to a global audience, and maintain authenticity to their Swedish heritage.

The solution

Wasa worked with Epidemic Sound's Music Curation team every quarter to refine their selection of around 100 tracks by Swedish artists, which were handpicked for their brand. They also used Epidemic Sound's crunch sound effects to elevate their brand storytelling. For a recent campaign, Epidemic Sound even collaborated with artist pär to adjust a track, tailoring it to fit Wasa's specific narrative.

Meanwhile, a robust license covering 15 core markets made content distribution across Wasa's global reach nice and simple for the global company.

The outcome

Jakob Osborne Edman, senior global brand and communications Manager at Wasa, praises the collaboration. "With our strong partnership, we're able to do things faster, easier and more authentically," he says.

"We came with a brief to Epidemic Sound and said we wanted a clear brand sound. We came over, worked with their Music Curators and figured out what sound we were looking for. It turned into a close collaboration where we now refine our sound together on an ongoing basis."

This partnership has enabled Wasa to tell compelling stories about its products and its role in food culture. Bringing together authentic Swedish music and product-specific sound effects has enabled Wasa to create a multisensory brand experience that resonates with both existing and new customers.

2. All-encompassing audio for esports league NBA 2K

First launched in 2017, the NBA 2K League is an esports league joint venture between the National Basketball Association and Take-Two Interactive. Since 2020, they've been working with Epidemic Sound to create a dynamic audio landscape for their brand across multiple touchpoints.

The challenge

NBA 2K needed a comprehensive audio solution that could provide background music for video content, soundtrack video games, enhance live broadcasts and events, and, more generally, reflect the league's brand values and personality.

The solution

The partnership evolved far beyond the initial brief. In addition to accessing brand-appropriate tracks from Epidemic Sound's extensive library, NBA 2K also benefits from tailor-made tracks created by Epidemic Sound artists specifically for the brand.

The outcome

The collaboration has resulted in a rich, varied soundscape for NBA 2K, enhancing every aspect of their brand experience. Featured artists such as Janset, Iso Indies, King Sis, Katori Walker and NBHD Nick have become integral to the NBA 2K identity.

Matt Arden, head of content and media at NBA2K, highlighted the success of this partnership. "Janset's track 'Icon' was the perfect hook to rally around for the #nba2kleague Playoffs and Finals," he says. "Big shout out to the team at Epidemic Sound for the partnership on this project."

The music has become so intertwined with the NBA 2K brand that it now extends beyond background audio, featuring in promotional videos and live events and even inspiring collaborations between the league and artists.

3. BabyBjörn: Scoring the emotional journey of parenthood

BabyBjörn is a Swedish company known for its high-quality children's products, which sell in 50 markets worldwide. For their brand story 'Always By Your Side', they sought a soundtrack that could match their creative ambition.

The challenge

BabyBjörn needed music that aligned with its brand identity, enhanced its storytelling about the highs and lows of parenting, evoked the right emotions in its audience, and integrated seamlessly with its visual content.

The solution

BabyBjörn's creative team collaborated closely with Epidemic Sound's Music Curation team to define a music brief rooted in the brand's identity and the specific content requirements. Together, they explored various musical directions across different genres.

The Music Curation team's comprehensive understanding of Epidemic Sound's catalogue enabled them to find the perfect track. Ultimately, BabyBjörn chose a soulful piece that matched their brand story in both mood and lyrics.

The outcome

The result was a heartwarming campaign that showcased BabyBjörn's brand through a perfect harmony of visuals and sound. The chosen music integrated seamlessly into their brand story, enhancing the emotional impact of the content.

"Working with Epidemic Sound is a textbook example of a great music collaboration," says Anna Ekman, visual creative at BabyBjörn. "By working with the Music Curation team at Epidemic Sound, we could leave music direction and track selection to the experts."

The power of sound in visual storytelling

These case studies all demonstrate the transformative power of well-chosen music and sound effects in visual storytelling. In each case, Epidemic Sound's vast library, expert curation and flexible licensing have played a crucial role in helping these brands find their perfect sound.

But how can you apply these lessons to your own content? Here are some practical tips to help you effectively use music to enhance your visual narratives.

1. Align music with brand identity: Choose music that reflects your brand's personality and values. For instance, if your brand is youthful and energetic, upbeat tracks might be suitable. For a more serious or luxury brand, classical or ambient pieces might be better.

2. Match the mood: Select music that complements the emotional tone of your visual content. For instance, use uplifting music for positive messages and more sombre tones for serious topics.

3. Consider pace: The tempo of the music should match the rhythm of your visuals. Fast-paced music can add energy to quick cuts, while slower tracks can emphasise thoughtful or emotional moments.

4. Use sound effects strategically: Thoughtful use of sound effects can create a sensory connection to your product or enhance key moments in your narrative.

5. Be mindful of transitions: Pay attention to how music transitions between scenes. Smooth transitions can maintain the flow of your story, while abrupt changes can signify shifts in mood or topic.

6. Avoid lyrical clashes: If you're using music with lyrics, ensure the words don't compete with or contradict your visual message. Indeed, instrumental versions of songs can be a safer choice for many types of content, especially for international, multilingual audiences.

7. Test different options: Don't settle for the first track you find. Try several options to see which best enhances your visuals and message.

8. Consider the cultural context: If your content is going to be viewed internationally, be aware of how different cultures might interpret certain musical styles or instruments.

9. Balance volume levels: Ensure the music doesn't overpower voiceovers or crucial sound effects. The music should enhance, not distract from, your primary message.

10. Respect copyright laws: Always use properly licensed music. Services like Epidemic Sound can provide a wide range of high-quality, legally safe options.

11. Use silence effectively: Sometimes, the absence of music can be just as powerful as its presence. Don't be afraid to use moments of silence for emphasis.

By keeping these tips in mind, you can more effectively harness the power of music to elevate your visual storytelling. Remember, like any aspect of content creation, using music effectively is a skill that improves with practice and experimentation.

By partnering with a service like Epidemic Sound, you can access not just a vast library of music but also the expertise needed to make the most of it. Because when visuals and sound work in perfect harmony, the result is storytelling that truly resonates.

In part three, we'll look at how to integrate music into your design workflow.

Not to be confused with overconfidence, true self-belief is a foundation that fuels creativity and resilience. Here's why it's so important and how to develop it for yourself.

As creatives, we all want to believe that we're talented, hard-working, driven, capable and ready for anything that life throws at us. In short, we want to believe in ourselves.

The good news is that as you focus and improve over time, that should come naturally. You should find that people aren't just returning your calls; they're hunting you down and trying to give you work. That, in turn, will make you feel more confident. And as you project that confidence, more people will take note of you. A virtuous circle.

Well, that's the theory anyway.

In practice, many of us are held back by our shy or introverted nature. Couple that with the typical British fear of being seen to "show off", and the feeling that everyone on social media is doing better than you (even though they aren't), and even talented, experienced professionals can end up lacking confidence.

Take me, for instance. I set up Creative Boom in 2009 with no money whatsoever. Through grit, hard work, determination, and many serious personal and business challenges along the way, I've made it into a global success, both critically and commercially. If anyone should feel confident about my abilities to take on anything, it's me.

And yet.

Since 2018, I've been intensely aware of how important video, especially short-form video, has become for the media specifically and our culture more broadly. However, the personal fear of putting my face on camera has held me back.

In 2024, though, I've finally summoned enough belief in myself and my brand to throw myself into it. I won't lie: it's been scary, to say the least, and I'm still very much learning. But I'm so glad I've made a start, and already, the results have been fantastic.

Taking the plunge

Through my videos, I've shown people the real me. As a result, I've had a ton of new connections come through on LinkedIn. Loads of nice emails. Expanded my network. And gained a ton of new followers via Creative Boom.

In short, it's opened more doors in less than a fortnight than what would normally have happened in six months. It's cultivated a new level of conversation with the Creative Boom community and given people an excuse to reach out to me. And it's given my platform a voice again, where X/Twitter once did, before all the algorithm changes.

Do you know what all of this has made me realise? That self-belief is a quality we often undervalue as creatives. And the good news is that it's not something you're born with; you either have or don't have. It's something we can all cultivate with a bit of effort.

In this article, I'll share some tips on how to do so, with tips and insight from the Creative Boom community. You can also read the full discussion of this topic on Threads and X.

1. Tell yourself the right story

Let's start by defining our terms. What actually is self-belief?

I'd argue that, at its core, self-belief is the quiet conviction that your ideas, skills, and perspective have value. It's the inner voice that encourages you to take risks, to put your work out into the world, and to keep pushing forward even in the face of rejection or criticism.

Delano Patterson, artist and professor of digital media at SUNY Buffalo State University, puts it well. "As a design professor for two decades, I've learned that the stories we tell ourselves about ourselves directly affect our performance," he explains. "To that end, I make sure students have and believe in a personal narrative of capability and success."

This narrative is not, though, about inflating one's ego or ignoring areas for improvement. It's about recognising your strengths, acknowledging your potential for growth, and trusting in your ability to overcome challenges.

In other words, if you tell yourself that you're useless, hopeless and not as good as anyone else, you'll end up believing it, and it will become true.

However, if you tell yourself the story that you're doing the best you can, you're getting better, and you'll get there in the end, that will become true instead. It's your choice.

2. Trust the process, not just the outcome

Another key to self-belief is trusting the process of creation rather than fixating solely on the final product. This mindset allows for experimentation, learning, and growth—all essential components of creative development.

Călin Balea, founder of interface and brand design studio Contrast, says that what's helped him most is "embracing the idea that no design is ever perfect and you're not a bad designer for producing something imperfect. Keep iterating as you learn. That's how everybody works, even world-class designers."

Doing so not only relieves the pressure to create "perfect" work but also encourages continuous improvement and innovation. Believing in your ability to learn and grow creates space for taking creative risks and pushing boundaries.

3. Silence your inner critic

For many creative professionals, one of the biggest obstacles to self-belief is the inner critic—that nagging voice of self-doubt that questions one's abilities and worth. Overcoming this internal negativity is obviously crucial.

That's something illustrator Helen Ridley has a lot of experience with. "Personally, it has taken practice to believe in myself and my abilities as an artist," she says. "Part of this has been about embracing rejection and understanding that it's an important part of developing your work. The more I've put myself out there, regardless of the response, the more opportunities I have found, and my confidence has built."

One practical technique for silencing the inner critic is to keep a record of your positive feedback, accomplishments and milestones. Katie, a freelance merchandiser and Shopify VA, sees the sense in this. "It's important to remember all the things you have achieved so far, in those moments where your confidence may be low," she explains, and recommends "keeping a folder of emails of nice feedback to look back on when you need a confidence boost".

4. Harness rejection to build resilience

In creative fields, rejection is often an unavoidable part of the journey. However, it's the ability to bounce back from these setbacks that truly defines success. Indeed, building this resilience is part of where self-belief comes from.

But psychologically, how do you cope with rejection? Here's some good advice from art director Sara L. Soltis. "Whenever I begin to doubt whether I belong in this industry or have the talent to succeed," she says, "I shift my perspective and ask, 'Even if I don't, who's going to stop me from trying?'"

This kind of determination in the face of doubt or rejection is what allows creatives to continue growing and eventually find success. It's about believing in your potential, even when others might not see it yet.

5. Understand the difference between self-belief and overconfidence

While self-belief is crucial, it's equally important to distinguish it from overconfidence. True self-belief is grounded in reality and open to growth, while overconfidence can lead to stagnation and missed opportunities for improvement.

Multidisciplinary creative Chris Spalton offers a good example to follow. "I just work on the basis of 'do I think the world will be a slightly more interesting place if I put this idea out into it?'," he explains. "The answer is always yes. No expectations. Launch and scale things step by step, sensibly. Don't put all my eggs – i.e. money – in one basket. Enjoy the process. See what happens."

This kind of mindset allows for confidence in one's ideas, while remaining open to feedback and adaptation. It's about believing in your vision while also recognising that there's always room for growth and improvement.

6. Get help from the community

While self-belief ultimately comes from within, the support of a community can play a crucial role in nurturing and maintaining it. Connecting with other creatives, sharing experiences and receiving feedback can all contribute to a stronger sense of self-belief.

But what if that feedback is negative? Won't that be counterproductive? Illustrator Judith Mayer argues not. "I credit all of the critiques I participated in at fine arts college for my confidence. Learning to evaluate my work and the work of others and having to defend my decisions prepared me to create work I believe in and gave me the ability to communicate my process and decisions to my clients. This has led to successfully working with several of my clients for 20+ years. My clients trust me because I trust myself."

Being involved in a community is also a great way to avoid jealousy of other people's success. As illustrator Ollie Brown poins out: "Seeing a lot of other amazing work on social media can have both a positive and negative effect on your attitude towards your work. It can be inspirational, spark ideas or even just make you feel a sense of wow. But it can also create self doubt in your own work and if it's any good."

Surrounding yourself with supportive peers and mentors can be a great help in preventing this from happening. By engaging with creatives with a wider range of skills and experience, you'll be much better equipped to deal with the social media-prompted idea that "everyone is doing better than you". Not to mention creating an environment that fosters growth and reinforces your belief in your abilities.

7. Forge daily habits

Building and maintaining self-belief is an ongoing process that requires consistent effort. To meet this challenge, it can be useful to develop daily habits and practices to nurture your confidence and keep self-doubt at bay.

Part of this is simply following the Nike slogan: Just Do It. As Karl McCarthy says: "For me, it was never about believing in myself at first. It was more about the fact that all I wanted to do was create. Sure, there was a small part of me that believed, but not enough to think I could run my own business and support my family. Over time, though, my belief has compounded, and I realise that patience, support, and understanding my purpose have been key to that growth."

Further practical strategies for cultivating self-belief daily include:

1. Set small, achievable goals: Consistently meeting them builds confidence over time.

2. Practise positive self-talk: Be aware of your own negativity and challenge it.

3. Celebrate small wins: Acknowledge your achievements, no matter how small.

4. Continuous learning: Developing your skills helps boost confidence in your abilities.

5. Seek and accept constructive feedback: Use feedback as a tool for growth rather than a measure of your worth.

8. Put your work out there

One of the most effective ways to build self-belief is simply by taking action and putting your work out into the world. Although this can be daunting, it's often the first step toward building real confidence in your abilities.

"It can be so hard to hold onto self-belief as a creative who works alone, especially when our peers' highlights are shown to us daily," says illustrator and animator Ellie Foster. "But I remind myself there's no one out there shouting about me but me. And aside from some drawing skills, it's all I really have to make myself known. I gather as much self-belief as I can and let it drive me to finish that project, share it and keep talking about its place in the world. Oh, and when I feel cringe about sharing, I push through and do it anyway."

This willingness to push through discomfort and share your work is often what separates successful creatives from those who struggle to gain traction. It's about believing in the value of your work enough to let others see it, even when it feels vulnerable to do so.

9. Embrace imperfection and focus on growth

A crucial aspect of self-belief in creative fields is embracing imperfection and viewing it as part of the growth process. This mindset allows for experimentation and innovation without the paralysing fear of failure.

Illustrator and author Katie Vernon encapsulates this beautifully. "For me, it's been more a belief in growth and consistency," she says. "These aren't actually that hard to believe in because the more time you put into something, the more you grow. The harder part at the start was believing that my work was worth sharing: that's a totally uncomfortable leap. I can't say that leap has gotten more comfortable over time, but the more I shared, the better I got at sitting with the discomfort."

By focusing on growth rather than perfection, you create space for taking creative risks and pushing your boundaries. This approach not only leads to better work over time but also builds a more resilient sense of self-belief that can weather the ups and downs of a creative career.

Why it's all worth it

This might sound like a lot. But ultimately, it's very much worth it. Because when you truly believe in yourself and your vision, it shows in your work. And this authentic confidence can be the differentiating factor that sets your creative output apart in a crowded market.

As designer Fabián Sanabria explains: "Confidence is required constantly as designers. Design itself is a series of decisions that lead to a bigger outcome: choosing the right font, colour or concept. Without confidence in our choices, we would be paralysed by the empty page or stuck in an endless iteration loop!"

This confidence in decision-making allows for more bold, innovative work. It enables you to trust your instincts and take calculated risks that can lead to creative breakthroughs.

Conclusion

We'll end with some advice from collage, print and surface designer Megan Fatharly that sums a lot of this up neatly. "Believing in yourself is essential in the creative industry, where uncertainty and rejection are common," she says. "Self-belief is not about being overconfident; it's a quiet conviction that you have the skills and ideas to make an impact.

"Early in my career, I struggled with self-doubt, often questioning if my work was good enough. But embracing self-belief allowed me to take risks, pitch bold ideas, and keep going despite setbacks. For those in a similar situation, remember that self-belief grows with every small victory.

"Celebrate those moments, stay true to your vision, and don't compare yourself to others. Trust that your unique voice has value, and keep pushing forward even when it feels challenging. Remember, every creative journey is different, but believing in yourself is the foundation that helps you navigate it all."

From plant-based ice cream to sustainable chewing gum, these forward-thinking branding projects are reshaping the food and beverage landscape across the world.

It's not something we often think about, but we in the West have an almost insane amount of choice regarding the food and drink we buy. There's nothing wrong with that, of course: as famed cookbook author Anna Thomas once said: "We all eat, and it would be a sad waste of opportunity to eat badly."

Or, as Mark Twain more succinctly wrote: "The secret of success in life is to eat what you like and let the food fight it out inside."

But while the huge expansion of the range and quality of food we enjoy is great for consumers, it does present a challenge for food and drink brands, who are constantly struggling to stand out on crowded shelves.

Necessity, though, is the mother of invention. As a result, food and drink branding is one of the most dynamic areas for creative inspiration, with brands constantly leveraging bold design choices, eco-conscious packaging, and innovative visual storytelling to connect with their audience on a deeper level.

With that in mind, we've picked five of the best new branding projects for September to inspire your own projects. From Helsinki to London, these five standout branding projects showcase the power of thoughtful design.

From bold colour palettes to eco-conscious packaging, these five standout branding projects showcase how creative design can transform food brands into visual experiences that connect with consumers on a deeper level.

1. Friidu Ice Cream by Kuudes

Location: Helsinki, Finland

Friidu is a vegan-friendly Finnish ice cream brand made from fava beans. While the texture is smooth and creamy consistency, as you'd expect from ice cream, the taste is slightly earthy and nutty, making for a surprising yet enjoyable eating experience.

This unique product stands out on the shelves thanks to a vibrant and bold visual identity created in-house. The branding centres around the concept of independence and playfulness, with each of the seven flavours, such as Chocolate on Chocolate and Salty Liquorice & Creamy Lemon, represented by a distinct and sassy character.

A key design element is the terracotta-coloured tubs, inspired by the traditional clay pots used for plant growth. This reinforces the product's plant-based nature. The colour palette, meanwhile, integrates warm earth tones with pops of vibrant hues that differentiate each flavour while maintaining the brand's cohesive look.

The typography, in turn, is bold and playful, using friendly sans-serif fonts that keep the design approachable while still feeling premium. Overall, the visual language reflects the brand's ethos: fun, free, and rooted in nature.

2. Twinings Sparkling Tea by Magpie Studio

Location: London, UK

When the days are cold and short, there's nothing better than a steaming hot cup of tea. But in the long summer evenings, you might fancy something different. Hence, Twinings, a British brand with over 300 years of heritage, has come up with Sparkling Tea: a blend of sparkling water, fruit juices, tea, herbal infusions and essential vitamins.

To create packaging for this new range, they turned to Magpie Studio. The goal was to balance Twinings' long-standing legacy with a fresh, modern aesthetic that would appeal to a new generation of tea drinkers in the competitive ready-to-drink category.

The design features vibrant, bold colours like citrusy yellows and cool greens, creating a standout look in the chiller aisle. The clean, sans-serif typography signals both health and refreshment, while the subtle bubble motifs on the cans reference the sparkling, effervescent nature of the tea.

The packaging uses simplified illustrations to convey flavours quickly, ensuring the product's accessibility for on-the-go consumers. Magpie Studio's design captures the complexity of Twinings' blends in a simple yet modern format, blending tradition with innovation to appeal to both loyal and new customers.

3. Forest Gum by Jens Nilsson

Location: Germany

Made near the Black Forest region of Germany, Forest Gum is a vegan and plant-based chewing gum brand that sets itself apart by using tree sap instead of synthetic plastics. This offers a sustainable alternative in a traditionally wasteful industry. Jens Nilsson has been behind the brand's visual identity since 2019, crafting a cohesive and fresh design language that speaks directly to eco-conscious consumers.

The colour palette is dominated by natural, earthy tones, reflecting the product's plant-based origins. Greens, browns, and soft whites evoke the natural world, tying the packaging back to the gum's sustainable source.

Typography complements this approach. Tusker Pro by East of Rome adds a bold yet clean look that feels modern and approachable. Paired with Athletics by Family Type, the font choice reinforces the brand's active, forward-thinking vibe.

The design also incorporates playful and minimalistic icons highlighting the brand's values while maintaining a sleek, clean aesthetic. The packaging, meanwhile, emphasises simplicity and sustainability, using eco-friendly materials that align with the brand's mission to reduce waste.

Today, Forest Gum is available in over 2,500 stores across Germany, and the brand's visual identity has played a key role in its success, consistently communicating its eco-friendly ethos through every design element.

4. Havana Club RTD by JDO

Location: Global

Havana Club needs no introduction: it's the world's leading premium dark rum brand. But more recently, it has redefined its Ready-to-Drink (RTD) range with a bold and vibrant new design by JDO. This updated look captures the 'Spirit of Cuba', blending rich cultural energy with its reputation for quality. As Havana Club expands its RTD offerings globally, this new design architecture ensures a cohesive brand experience across markets while retaining the brand's unique Cuban flair.

JDO has developed a vibrant colour system to unify the range. Subtle graphical elements such as palm leaves and layered hues evoke the rich cocktail recipes and the brand's dynamic personality. The enhanced logo is now bolder, ensuring instant brand recognition, while integrated, cleaner fonts make the product's cocktail variety clear and accessible to consumers.

This new approach is helping to elevate the brand's presence on shelves globally and setting the stage for future expansion in markets like Germany.

5. Wholy Greens by Control Studio

Location: Amsterdam, Netherlands

Based in the Netherlands, Wholy Greens is a forward-thinking food production company that seeks to transform how people view and enjoy vegetables, promoting a shift from "having to eat veggies" to genuinely "loving to eat veggies." They also pride themselves on using varieties that are underutilised, allowing farmers to improve food biodiversity.

Control Studio's creative direction positions Wholy Greens as a fun, vibrant, and health-conscious brand that connects consumers with nature and sustainability. At the heart of the identity is the Wholy Ring of Goodness, a symbolic logo representing balance, wholeness, and the brand's commitment to reducing waste through sustainable practices.

The playful Wholy Veggi family, a set of engaging illustrative characters, brings the brand to life, making the idea of eating vegetables fun and approachable. Bold colours, dynamic typography, and lively imagery create a youthful, innovative spirit that sets Wholy Greens apart from more traditional health-focused brands.

Its products, such as its vegetable-rich pasta, can now stand out on the shelves, reinforcing the message that eating well and living sustainably can be joyful and impactful.

A cultural cornerstone of New York City, the Brooklyn Museum has revealed a striking new brand identity to mark its bicentennial year, spearheaded by Brooklyn-based design studio Other Means.

Originally founded in 1823 as the Brooklyn Apprentices' Library, the Brooklyn Museum institution has grown to become the second-largest art museum in New York City, housing an impressive collection of over 500,000 objects.

Situated in the heart of Brooklyn, the museum's Beaux-Arts building, designed by the renowned architectural firm McKim, Mead & White, has been a beacon of art and culture for nearly two centuries.

The museum houses a diverse range of art, including ancient Egyptian artefacts, European paintings, African sculptures and contemporary art. But its significance extends beyond its vast collection. It has played a crucial role in shaping the cultural landscape of New York City and has been a pioneer in public education and community engagement.

It's also long been at the forefront of social and cultural movements and has hosted exhibitions that challenge societal norms, promote diversity, and raise awareness of important issues.

The brief

This new rebrand was spearheaded by Brooklyn-based design studio Other Means in collaboration with the museum's in-house team. It involved more than a year of audience research and essential discussions with staff and key stakeholders in order to marry the institution's rich history with a contemporary vision.

"The ways that audiences are engaging with museums are expanding, and we needed a new brand that meets the demands of the day, honours our rich history, and brings a whole lot of energy," explains Anne Pasternak, director of the Brooklyn Museum. And there's no better time to launch it than our 200th anniversary."

The new identity draws inspiration from these two centuries of history. In particular, it references the building itself and its evolution from an original neoclassical design to its moves toward modernism in the 1930s to recent projects that have created more open and welcoming spaces.

Logo and typography

At the heart of the new identity is a refreshed logo featuring a modern sans serif typeface. The designers have introduced an intriguing element here: two dots bookending the logo, inspired by the punctuation framing the names of ancient thinkers on the building's facade. This subtle nod to the museum's literary roots (it began as a library) adds depth to the visual narrative.

The new design system showcases remarkable flexibility. The dots serve multiple functions, from motion graphics to textual elements, and can even be replaced with symbols or illustrations. A particularly clever touch is the interlocking of the double 'O's in 'Brooklyn' and the merging of 'M's and 'U's in 'Museum', creating a visually engaging logotype that speaks to the institution's multifaceted nature.

Colour also plays a crucial role. A palette of greys pays homage to the museum's limestone edifice, while vibrant, saturated hues inject a distinctly Brooklyn energy into the identity. This juxtaposition of old and new, formal and vibrant, encapsulates the museum's position as both a historical landmark and a contemporary cultural hub.

Shining example

In short, the rebrand goes beyond mere aesthetics; it's a thoughtful reflection of the museum's role as a convergence point for diverse ideas, identities, and origins. It acknowledges the encyclopedic nature of the collection while emphasising the museum's multiple roles: from educational centre to weekend hotspot.

Overall, this rebranding exercise is a great example of how a major cultural institution can reinvent itself while honouring its heritage. The Brooklyn Museum's new identity demonstrates the power of considered design in communicating complex institutional values and history through simple, adaptable visual elements.

In other words, it's not simply a refresh but a bold statement about the enduring relevance of art and culture in our ever-changing world.

New initiative highlights iconic BBC logos and graphic design, offering a nostalgic collection for apparel, accessories, and gifts – or even just inspiration.

Today, the BBC has unlocked a treasure trove of visual history with a new platform that showcases its iconic graphic design archive. Titled BBC Playback, the creative initiative—led by the BBC Studios' brands and licensing team—spotlights some of the most memorable logos and visual elements that have shaped television and radio over the decades.

For instance, for those who fondly remember the futuristic vision of Tomorrow's World in the 1980s or the vibrant energy of Live & Kicking on a 1990s Saturday morning, BBC Playback is set to bring back those cherished memories. It is a visual time capsule illustrating how the BBC's design language has evolved alongside its programming.

Among the highlights is the analogue test card, a familiar sight that once signalled the end of nightly broadcasting. (Yes, that's right. We didn't have 24/7 back then.) Then there's BBC Ceefax, the world's first text-based information service, which transformed how we accessed news, weather, and TV schedules—or even booked holidays with just a few taps of the remote ("Booked it, packed it...").

Launched in 1974, Ceefax was indeed a game-changer, pioneering real-time updates long before the internet became mainstream. Though it was discontinued in 2012 due to the digital switchover, it remains a nostalgic touchstone for many.

Radio lovers will also enjoy a trip down memory lane with the original 1978 Radio 1 logo, marking the station's transition to FM frequencies. Design aficionados can marvel at BBC 2's 1980s 3D ident—one of the first computer-generated logos on television.

As Andrew Carley from BBC Studios puts it, "These designs tap into the current trend for retro fashion." With nostalgia running high and technology reshaping the creative industry, BBC Playback arrives at the perfect moment. It celebrates the BBC's graphic design heritage while allowing licensing opportunities for third parties to create merchandise. You could say it reminds us of the profound impact these visuals have on culture today.

BBC Playback officially launches on 24 September at the Brand Licensing Europe show at London's Excel, offering a sneak preview into this visual journey through BBC's past. It's a chance for fans to reconnect with the logos and designs that once filled their screens, reflecting on how far both technology and design have come.

Reflecting its commitment to social change, the Hague-based design agency has crafted a colourful and impactful new identity for itself.

Located in The Hague, Netherlands, JUST is a design agency deeply committed to making a societal impact. Founded in 2007, it offers a comprehensive range of design services, from strategic branding to digital solutions, all crafted in its own studio.

Clients include disaster relief organisation Giro555, youth health community JOGG, research foundation Stichting Toekomstbeeld der Techniek, pregnancy and baby app 24baby and the Museum of Literature. Most recently, we reported on their work for Theatre De Muze.

"We believe that making good work is not incidental," they say. "That's why we have a strong focus on process and planning, and we aim to do all of our development in-house." This approach, they argue, enables them to create bespoke identities, websites, apps and print that truly reflect their clients' visions.

Now, JUST has unveiled a new visual identity based on its dual design principles of Simplicity and Wonder. These foundational principles guide JUST's creative process and are captured in its mantra:
"Start with logic. End with magic".

Brand concepts

'Simplicity' is at the core of every project at JUST. The agency always starts by distilling the client's brief to its most fundamental elements, often boiling the project's intent down to a single, clear sentence.

This process ensures that every creative effort is purpose-driven and anchored in clarity before the brainstorming begins. Once the essence of a project has been clearly defined, it becomes the catalyst for sparking creative ideas that add an element of Wonder.

Wonder, in turn, is the feeling experienced when interacting with a product they've designed. It is a sense of amazement or surprise, often evoked through innovative graphic design, compelling copywriting, engaging animations, and other creative elements that enhance the user's experience.

Logo

These concepts of Simplicity and Wonder are key to JUST's approach to creating memorable and effective designs, so it's fitting that they've been baked into the new visual identity.

The logo of JUST features a distinctive letterform 'J', cleverly divided into two components: the stem and the hook. The stem is presented as a solid white block, which is said to symbolise simplicity with its clean and minimalistic design.

The hook contrasts this with a colourful and almost fluid round end, representing the concept of wonder. This contrasting design in the 'J' visually represents the agency's dual principles of maintaining clarity while embracing creativity.

In the broader wordmark, the 'J' and 'S' are designed with unique and expressive features, representing Wonder. In contrast, the 'U' and 'T' are styled in a straightforward and unembellished manner, clearly embodying the principle of Simplicity.

Colour and typography

Moving away from the monochrome minimalism of many studio identities JUST has embraced colour to mirror its vibrant company culture.

Their new identity merges the simplicity of a clean, sans serif font on a stark black background with the vibrancy of colourful and distinctive fonts, showcasing the principle of Wonder.

The new identity also extends into the physical space where the JUST team operates. The agency's studio mirrors the new branding with a foundational palette of black and white, enriched with strategic splashes of colour, embodying the principle of Wonder.

With a background as a tattoo artist, Tom Strom is an emerging American illustrator whose images will draw you in and perhaps give you a little scare. But what's life without a little peril now and again?

One minute, you feel like stroking the cute, cycloptic kitten as it sits amongst the birdhouses with a yellow chick perched in the crook of its tail. But the next frame has you whipping your hand back to avoid its claws. And that birdy? Well, he's pinned in the cat's fangs, a fat drop of blood dripping down like a tear. Because as sweet and benign as his creatures seem, there's a dark side to most things Virginia illustrator Tom Strom conjures up.

This suits some of his clients down to the ground. For example, he created album covers, t-shirts, and various graphics for death metal bands like Revocation and Baest. There's plenty of scope for dark horror with projects like these. But what Tom is really looking for is the chance to work his sweet little nature-inspired creatures into a narrative, using a softer, more nuanced palette.

"Usually, when you see darker-themed art, it's also coloured in a way that it feels dark and almost unnerving with heavy blacks, reds and the like. I wanted my work to have the same darker themes but a more approachable, brighter and inviting palette," says Tom.

Growing up in the woods of Western Massachusetts, Tom used the drawing skills he developed as he grew up to become a tattooist. It's a field that demands versatility, so he has drawn in a great many styles while honing his illustration skills alongside the ink work. "Over the years, I started to incorporate different parts of what I had learned and put them to use with what I was already doing. I had to create a lot of cute images and give them a personality that my clients would enjoy, but at the same time, I couldn't seem to stop adding a dark flare to each piece. It just seems to be how I'm wired," he says.

Unlike many new illustrators, Tom is eschewing digital tools to work with natural media. He can and does work digitally if the project requires it, but in his heart, he's devoted to watercolour, gouache, acrylics, oils and even sculpture. Tools like Procreate are fantastic, but in his images the textures, patterns and details are that little bit more intricate and individual. Leaves, mosses, rock and wood textures, fur and feathers – their soft, organic nature juxtaposes the shadows in his storytelling.

"I've always loved painting in its real form and learning to understand and control each medium. They offer things to me and a sense of creative direction that I just don't feel digitally," says Tom. "Nothing replaces the feeling I get from pushing paint on paper, panel, or whatever substrate I want to tackle. Painting also gives me the classic look that I fell in love with in the first place. Every artist I grew up loving works in traditional mediums."

At the time of writing, Tom is illustrating one of his own stories with a view to telling it in pop-up book format. He's illustrating the characters while learning the techniques of pop-up book design, and the pop-up cards he's created can be found on his website.

"My ideal illustration project would be a story or book cover," says Tom. "I like working with a narrative that I can really develop. I also love singular images that can capture a whole story in one shot, like you see on book covers. Album covers work in the same way. I've bought more albums than I can count solely because of the painting on the cover."

The West Coast steak 'n' seafood chain went bust in 2020. But now it's back, and the brand has been reinvented from the ground up.

Not to be confused with Sizzling Pubs in the UK, Sizzler is a US-based restaurant chain with locations mainly in California and some in the nearby states of Arizona, Nevada, New Mexico, Idaho, Utah, and Oregon. Known for steak, seafood, and salad bar items, it was once a beloved West Coast institution. However, in September 2020, the company filed for Chapter 11 bankruptcy after the pandemic.

Now, though, it's being brought back to life with a brand-new visual and verbal identity in partnership with Tavern.

Tavern is a branding and design agency based in Brooklyn specialising in crafting modern heritage brands. They've helped reinvent Sizzler through a transformative rebrand that reignites its nostalgic heritage while embracing a contemporary aesthetic.

The challenge

"Over the years, Sizzler faced an identity crisis and lost its way," explains Mike Perry, founder and creative director of Tavern. "Today, even most folks couldn't tell you if it still exists. But what remained was its pop culture status and its sentimental, warm-and-fuzzy place in our collective memories."

Tavern set out to bring this California icon back and instil it with some of the brand's original magic. "For a brand with such a strong nostalgia factor, a sense of heritage was key to winning back the hearts of fans," explains Mike. "Plenty of Millennials share fond recollections of infinite salad bar trips and cheese toast. Now that they're parents themselves, they're looking to recreate those core childhood memories of eating out with friends and family."

Following this thinking, Tavern built a new identity system from a selection of heritage assets revived from the brand's archives and refreshed to suit contemporary tastes. By tapping into the restaurant's rich history in this way, the agency crafted a reimagined identity that blends timeless elements with modern design sensibilities.

Logo and typography

Tavern wisely recognised that they didn't need to tweak much regarding the logo. Instead, it was about repurposing an element that already had decades of equity.

Refreshing the visual identity meant reimagining how those assets could be used across the entire 360-brand experience in a way that enables endless creativity, injects variety into the brand, and inspires an array of creative executions.

Using the wordmark, they turned it into an actual cattle brand. They also repurposed the classic ZZs from the logo and the word "sizzle" itself (borrowed from a crispy, burnt 70's logo) as secondary assets that could dial up the playfulness and ownability of clever copy and menu item names.

A curling heritage typeface drawn from old in-store ephemera—a contemporary cut of Windsor, which was often used by Sizzler during the 1960s and 1970s—was paired with a more contemporary Block Berthold to add variety and punch up the identity.

Colours and characters

Tavern also stripped away the gradient and used a rich burnt maroon colour as the hero of the identity's palette, emphasising the concept that medium rare is still the "proper way" to order a New York Strip.

Elsewhere, a forgotten cow mascot from the 1950s was brought back to life and renamed Ribby Ribeye. Ribby now has an entourage of new Taste Buddies, including Rippy, the lobster tail; Toasty, the brand's beloved cheese toast avatar; and the Salad Bar-barian.

These characters were inspired by elements of 1950s Hanna-Barbera cartoons, mid-century Southern California, and items on the Sizzler menu.

Beyond the visuals

The rebrand went beyond a new look and feel, with the Tavern team reimagining Sizzler from the inside out. Behind the scenes, Tavern helped the company overhaul its brand strategy, tone of voice, sonic branding, product innovation, and naming strategy.

From the restaurant interiors and menu boards to staff uniforms, every detail has been thoughtfully redesigned and will be implemented as the remodelled restaurants roll out. This even includes how servers greet customers going forward.

"We wanted to create a brand that resonates with longtime fans and a new generation of diners," explains Mike. "By combining the best of Sizzler's heritage with a modern aesthetic, we've revitalised a brand that isn't just nostalgic, it's joyful and exciting, and casts the brand in a new, timeless light."

Last night, the winners of the World Illustration Awards were announced via an online ceremony hosted by renowned artist Aurélia Durand, along with a collection of special guests to present them. Today on Creative Boom, you can check out the winning artworks.

Alongside the Society of Illustrators Awards in the United States, the UK's World Illustration Awards rank among the most prestigious across the applied arts. Run by the Association of Illustrators, which is based in London, the awards are open to illustrators globally and cover ten categories.

In each category, a professional and new talent winner was selected, and highly commended artists were also noted. In addition, sponsored awards were presented last night – some of which overlapped with category winners.

With high-powered judging panels featuring leaders in the industry, the awards recognise not just the winners but over 5,500 artworks, which were entered from 75 countries.

"Our 2024 winners truly excel in their fields, illustrating complex narratives and ideas through their work. They also highlight the importance of illustration in our everyday lives, in books, news, packaging, murals, and more. We are proud to recognise these artists for their significant contributions to the illustration industry and to showcase exceptional illustration talent from around the globe," said AOI's CEO, Rachel Hill.

Here at Creative Boom, we decided to celebrate the field of illustration by bringing you the full listing of the winners so that you can be inspired by the artwork or maybe even identify an artist you'd like to collaborate with on a future project.

Professional Overall Winner: Mark Smith

After winning the Professional award in the Editorial category for his image The Missing Mouseketeer, Mark Smith was also announced as the Overall Professional winner by the judges. The image was commissioned by the Alta Journal to accompany a piece about one of the original members of the Mickey Mouse club, Dennis Day, who went missing and the mystery surrounding his disappearance.

Daniel Cobb, a judge in the editorial category, said: "This is an amazing execution that brings a dark and moody undertone to the world of Disney that's typically so overly positive and unblemished. The illustrator's understanding and skill with depth and natural light is next-level; there's a sense of photo-realism at first glance that's quiet captivating, and I love the use of colour throughout the entire collection."

Mark's prize includes £2000 in cash, a two-page marketing package in the Directory of Illustration worth $2,700, and a 100-image professional portfolio on directoryofillustration.com.

New Talent Overall Winner: Kayla Salim

In the Publishing category, Kayla Salim was awarded the New Talent prize, and the artist also took the Overall New Talent award for the image Ama No Inori: Prayer of the Ama. Kayla, who was studying at Sheffield Hallam University, created the piece as part of her course. The book she has created depicts the 2000-year-old Japanese pearl diving tradition known as Ama.

Category judge Jenny Grigg commented: "Very sophisticated work for a student. Thoughtfully resolved and designed to a professional standard, including use of scale variation (dynamic change) across single pages, covers and double page spreads, extended/inventive use of two colours."

Kayla has won £1000 in cash, a copy of the Directory of Illustration and a year-long AOI membership.

AOI Member Award Winner: Glen McBeth

When BBC History magazine tackled the question of what was used for deodorant in the olden days, illustrator Glen McBeth turned to the works of the poet Ovid, who, peculiarly, once wrote about avoiding allowing the 'rude goat' under one's arm. Presumably, this was in reference to body odour, and Glen imagined the scene in a mosaic-style image.

Advertising Professional Winner: Sveta Dorosheva

When the British Library hosted its fantasy exhibition last year, the organisation chose the Israeli illustrator Sveta Dorosheva to create a piece of key art covering fantasy literature throughout the ages and from around the world. Sveta's artwork includes over 50 references to characters and stories from the realms of fantasy – all meticulously hand-drawn and intertwined with an environment that brings together the British Library's architecture with fantasy locations.

Advertising New Talent Winner: Zhang Jiayi

Originally from China but studying at the Savannah College of Art and Design in Georgia, USA, Zhang Jiayi decided to create artwork to honour the Master Bao Pastry shops in his hometown. His aim with the work was to capture a sense of nostalgia, help the business improve brand visibility, and attract customers.

The Highly Commended artists in Advertising were Su Yun Song and Sebastiano Fossali.

Animation Professional Winner: Xaver Böhm

Created for the Marshall Project and VICE News, Xaver Böhm 's illustrations became the basis for The Economy of Solitary Confinement, a film that looks at how prisoners in solitary confinement cope and even manage to trade things with other prisoners as they struggle against the isolation.

Animation New Talent Winner: Fangfang Han

The hustle and bustle of the London Underground comes to life in Fangfang Han 's animation project, The Tube. Created to celebrate the 160th anniversary of the Underground, the work has been featured on TfL's Instagram account. It was made using paper cutouts shot using stop-motion, digital art created in Procreate, with editing in Adobe Premiere Pro.

In addition to winning the New Talent award in Animation, FangFang Han also won the Society of Artists Agents New Talent Award on the night.

Tsz-wing Ho and Jiayin Zhang were the Highly Commended artists in Animation.

Book Covers Professional Winner: Thomas Hayman

Based in Paris, illustrator Thomas Hayman 's winning work in the Book Cover category actually consisted of seven illustrations for novels by Italian author Italo Calvino. They were commissioned by the Vintage Classics imprint at Penguin Random House for a reissue that marks the novelist's 100th anniversary. The illustrator's style merges a sense of nostalgia with futurism, which makes his work quite beguiling.

Book Covers New Talent Winner: Teow Jing Ming

An illustration student at Taipei Shih Chien University, Teow Jing Ming, created this image to capture how people grow - both physically and in terms of the ageing process. The hair in the image grows like grass, and the artist connects it to how, as a child grows, their parent ages. Although presented in the Book Cover category, it isn't connected to a book per se.

Work by Marta Orlowska and Sergiy Maidukov was Highly Commended in the Book Covers category.

Children's Publishing Professional Winner: Kate Rolfe

Children's illustration is one of the most highly competitive spaces in the creative industries and there's always excellent work being produced. This year, Kate Rolfe was the judges' choice for her work on Wriggling Words, which she has written and illustrated. Through imagery created using letterpress blocks, cyanotype printing and ink drawings, Kate's book will help neurodivergent children face the challenge of learning to read informed by the illustrator's own experiences.

Children's Publishing New Talent Winner: Lizzy Metcalfe

Mr Crisps is a proposed children's book in tribute to the father of illustrator Lizzy Metcalfe's children, who sadly passed away. The imagery aims to help them come to terms with his death by imagining places he could be and things he could be doing, along with a ginger cat – an illustrated adventure. The artworks were created using Procreate.

In Children's Publishing, the Highly Commended artists were Amber Au and Yuxin Ding.

Design, Product and Packaging Professional Winner: Jun Ioneda

With the craft spirits revolution there has been a proliferation of brands and products in the spirits category creating plenty of opportunities for illustrators to come up with label artwork to meet the demand. Brazilian graphic artist Jun Ioneda caught the eye of the judges with his rainbow-effect vodka labels for Hotel Tango Distillery, commissioned to celebrate Pride.

Design, Product and Packaging New Talent Winner: Pingnan Lu

The winning work in the New Talent section for Design, Product and Packaging was as colourful as in the Professional part. Fashion Institute of Technology student Pingnan Lu, who has relocated to the US from China, created a set of letterpress postcards depicting the four seasons in a colour-coded format, incorporating animals, plants and food.

Martha Olivia and Lucy Davey were Highly Commended in Design, Product and Packaging.

Editorial New Talent Winner: Sia Yang

With Mark Smith taking the Professional awards in Editorial and Overall (see above), the New Talent winner in this category was Sia Yang, whose stunning piece depicting gymnast Zhang Boheng was commissioned by Harpers Bazaar China. The young artist is based in New York, where she is studying Illustration and Game Design. She uses a variety of media, including Procreate.

The Editorial Highly Commended awards went to Cheng Zhibin and Dion MB.

Exploration Professional Winner: Inès Pagniez

The Exploration category is an open forum for artists' self-initiated work, whether for self-promotion, self-expression, or to develop new areas of creativity. Following pregnancy and coping with caring for an infant, French sculptor Inès Pagniez created a series of stop-motion animations that highlight some of the not-so-glamorous parts of motherhood.

Exploration New Talent Winner: Zhang Xuyang

Say the word 'cat', and it gets people interested. So focusing on the lifestyles of six different cats was a winning decision by Tianjin University student Zhang Xuyang when she created her Cats Apartment series. She has visualised the architecture of the feline apartment building in three different ways and provided lifestyle imagery of the cats across the project.

In Exploration, artists Ro Fen and Amogh Lux were Highly Commended.

Publishing Professional Winner: River Jiang

Do Don't is an illustrated book created by Chinese illustrator River Jiang, who is studying at the University of the Arts London. It explores how rules dominate our daily lives, ranging from instruction manuals to road signs to more ambiguous things like the mores of society. The symbols she illustrates represent the rules, with the project silk screen printed.

The New Talent Winner in the Publishing category was also the Overall New Talent Winner, Kayla Salim (covered above), while the Highly Commended works were by Katy Edelsten and Kate Osmond.

Science and Technology Professional Winner: Jennifer NR Smith, WonderTheory

The publisher Thames and Hudson must be well happy with the creativity of Jennifer NR Smith of the creative studio [WonderTheory])https://www.wondertheory.co.uk) put into BANG: The Wild Wonders of Earth's Phenomena. Illustrated in a way that incorporates the book's educational content, her imagery depicts volcanoes, geysers, caves, crystals and all that elemental stuff that goes on beneath the Earth's surface, cutting it wide open with... um... cutaway illustrations and the like. Infographics have never been so hot.

Science and Technology New Talent Winner: Nightcrow

The tech-inspired imagery of Computationalism, a series by Chinese illustrator Nightcrow, is what won the judges over as they selected the New Talent Winner in the Science and Technology category. As well as imagining magazine spreads and posters, Nightcrow is studying computer science and loves drawing nature, wildlife and, yes, technology.

In Science and Technology, Highly Commended went to Xinyue Chen and Hyun Jin.

Site Specific Professional Winner: Bomfha

In the tenth and final category, the Professional award went to Bomfha, the creator of a series of phenomenal murals for the Asian food court at Emsphere Mall in Bangkok. The works span two floors and celebrate the street festivals and parades of various countries in the region through brightly coloured characters and creatures.

Site Specific New Talent Winner: Sammi Wong

New Talent Winner Sammi Wong has reimagined Ipswich using enormous pieces of urban art to bring life and colour to some of its grey, concrete structures. A student at the University of Suffolk, Sammi's project demonstrates what the town could look like with a view to rekindling a sense of pride in the place.

Highly Commended artists in Site Specific were Joël de Ruiter and Miguel Bustos.

Digital Innovation Award Winner: Jason Raish

Illustrator Jason Raish collaborated with Dandy Wellington to raise money for the Fashion Institute of Technology Black Student Illustrators Award in 2023 through the creation and sale of two 12x17-inch prints. With a mid-century vibe, the artworks sold for $3000, which was awarded to two black illustration students in an industry where only three per cent of artists are black.

Huion Digital Innovation Award Winner: Cai Ruchen

Entered in the Editorial category, Cai Ruchen's series, which focuses on authority and glory, won the award sponsored by Huion. It explores what we sacrifice to win praise and honour. The artist is a UI designer and a self-taught illustrator who works in Procreate and Illustrator.

The stress goes out as the creativity comes in with Fran Cieslar's oracle deck, which combines anatomical and botanical illustrations to help us see the inner world of our bodies in a different light.

You're lying on the yoga mat trying to get into a calming position that is impossible to relax in when the instructor says, "Now think about your spleen. How is it feeling? Let the tension go from your spleen…"

It sounds strange the first time you hear it – you might even lose your poise and burst out laughing – but being in tune with your body can really help with your mental and physical well-being. It's something that the Berlin-based designer, illustrator, and art director Fran Cieslar aims to promote with The Anatomy of Healing – a deck of 40 cards, each of which depicts a bodily organ along with a different plant or flower.

The set is presented as an oracle deck and comes on 400gsm matte art paper. The cards are wrapped in a white ribbon inside their box. Also included is a 100-page guidebook that explains the meaning of each body part, its location and function, and how it can influence your body and emotions.

Fran first had the idea when she was taking a break in Bali, recovering from burnout with plenty of yoga, meditation, and stillness. Four years on, she has used all her creative skills to design the deck and the materials that accompany it, meticulously illustrate each card image, and publish it via Kickstarter.

"I'm absolutely fascinated by human anatomy and wanted to create a harmonious fusion of anatomy, botany and emotions. The aesthetic was inspired by early anatomical visuals and natural elements that resemble strength and resilience," says Fran.

She continues: "I wanted the anatomy to look appealing, release it from the 'everything is red and bloody' stigma and instead celebrate the beauty we have within. My background in art, illustration, design and tattooing influenced my drawing style too, especially since tattoos are also deeply embodied under our skin."

There are no set rules to playing with an oracle deck. Loosely, it resembles the Tarot cards, but there's no fortune-telling aspect to it. You just shuffle and draw some cards, consider the artwork and the organs you're looking at – perhaps looking them up in the book and thinking about where and how your feelings manifest themselves. Anyone can use the deck – it isn't intended solely for those interested in spirituality.

The plants in the imagery might not have a deep connection to the body parts they are paired with, but they symbolise personal growth and add another layer of meaning. Each was intentionally selected. "To give one example: I paired holly leaves with the hip to reflect the sharp, stinging sensation that we can feel when we experience pain in this area; this also symbolises the barriers we put up and hints that we may hold onto past hurts," says Fran.

Hundreds of customers have already ordered The Anatomy of Healing, and Fran has issued a second edition of the deck. Sets are still available on the website she created for the product. Card prints can also be purchased.

"It all started as a very small idea on the pages of my sketchbook, and after working on it for so long, I'm incredibly happy to see how many people can relate and use it to connect more with themselves. This is my most personal project so far, and it makes me really proud to see how it grows," adds Fran.

Thirst designed the new campaign, centred around three "irreverent heroes", to counteract the stuffy scenes associated with whiskey drinkers.

New York and Glasgow-based agency Thirst has collaborated with B-Corp-certified Bruichladdich Distillery on its latest campaign, 'Not Your Classic', following a successful redesign project in 2023.

The partnership between the design studio and brewery has been ongoing for around four years, during which Thirst has worked on its brand strategy, visual identity, and packaging. This is now the second through-the-line campaign that the team has worked on with Bruichladdich.

"Working with Bruichladdich is always very fulfilling," says Thirst executive creative director Matt Burns. "They're a super progressive whisky brand that gives you absolute license to be creatively disruptive - there is never a dull brief from them."

Although the brand is immediately recognisable as a category disrupter with its bold-coloured bottles, its progressive nature is more than just skin deep. Bruichladdich exists to be thought-provoking and stimulate conversation, and, according to Burns, "they're not your classic whisky brand".

He explains how the campaign was designed to "capture the hearts and minds of modern whisky drinkers globally by showcasing the irreverent side of Bruichladdich's personality and turn up in a way your classic whisky brand wouldn't dare to".

Since Bruichladdich Distillery is values-led and the first Scotch whisky and gin distillery in Europe to be B Corp certified, Thirst sought to target consumers seeking brands that stand for something more, going beyond the product they produce. This created a challenge, says Burns, because Bruichladdich "didn't want to be seen or heard of as being worthy, but rather irreverent", so the strategy involved sharing the brand's values in a manner that was inviting and less serious.

Speaking on challenges with this project, Burns says: "Humour is always a delicate one, and we weren't aiming for a LOL-funny, but instead, a thought-provoking smile.

"The tone and clarity of the 'humour' within the photography were super important, and this is what Justin Bettman absolutely nailed. From casting to set design to the final product – it couldn't have been a better match."

According to Burns, the design team had Justin in mind from the beginning, as his "innate style and staged cinematic approach" was exactly the direction they wanted to take. He describes how it allowed them to "pull focus" onto the hero characters, giving the campaign "an elevated look and feel, whilst theatrical compositions dialled up the wit and irreverence".

As you can imagine, Scotch whisky brands can often take a pretty serious tone with tales of provenance, lochs, and stags, all typical signifiers of status in the category. But Bruichladdich is anything but typical.

The Thirst team asked themselves, 'When was the last time a Scotch whisky brand made us smile in the whisky aisle?' and realised that it hadn't happened before. To rectify this, they built the Not So Classic campaign to highlight the progressive values behind the Bruichladdich brand in a fun, inviting, and irreverent way.

The campaign's positioning centres around three "irreverent heroes," each developed to tell a unique and compelling story. Burns explains, "Our bold characters are Not Your Classic bunch; they communicate that Bruichladdich is for unique people who take pride in being true individuals and doing things their own way and convey Not Your Classic attitude, outlook and thinking."

In the Not Your Classic Attitude campaign story, the message is that Bruichladdich's whisky is as unique as those who drink it. The hero character here is eccentric and oozes natural charisma and can be seen reclining while drinking from a pineapple, challenging preconceived scenes of stuffy whisky lounges.

For the Not Your Classic Outlook element, Thirst wanted to convey that age doesn't define Bruichladdich's spirit. Burns says: "Here our hero character - a lady in her 80s - is going against the norm with her unconventional attitude and confident energy, defying convention by enjoying a night out at a roller disco and portraying a youthful, irreverent outlook."

Finally, there is a character built around the idea of Not Your Classic Thinking. In her scene, she confidently makes herself at home in a public library.

"The casting here plays on subverting the cliche that women don't drink neat whisky and, at the same time, she is displaying a thirst for knowledge, tapping into our role for the brand as progressive thinkers," says Burns.

Swedish studio Bedow is helping the Nordic retailer reimagine 3,500 products across four countries, harmonising diverse market identities through clever use of a superellipse.

Not to be confused with the British retailer Co-op, Coop Trading is a Danish trading company owned by four Nordic consumer cooperatives. Recently, it decided to consolidate its presence across four Scandinavian markets, which required a comprehensive rebranding effort.

The project began in spring 2022 and is now coming to fruition as the first products featuring the new designs hit shelves in Sweden, Denmark, Norway and Finland. The work was carried out in partnership with Swedish design studio Bedow.

Founded in 2005, Bedow's work moves beyond what is often lazily categorised as Scandinavian style, bringing together moments of hand-drawn details, design craft and artfulness to create simple, thoughtful, practical design.

The challenge

The scale of this task was huge: over 3,500 products across four countries, each with its own unique brand identity, needed to be unified under a single cohesive design system.

Until now, that brand identity has been very much fragmented. For instance, Coop's logo is used differently in the four countries, and in addition to the packaging design, part of the task was to find a way to handle the logo on the packaging.

Swedish Coop used a green circle with a white wordmark, Denmark and Norway used a red square with a white wordmark, and in Finland, the brand previously known as Rainbow used a blue square with rounded corners.

This meant that these three colours and shapes had to be avoided, and instead, a new way to apply the logo had to be presented.

At the heart of the new design system is a clever use of the superellipse: a geometric shape conceived by mathematician Gabriel Lamé in the 19th century.

"The superellipse has been a frequently used shape over the years," explains Perniclas Bedow, creative director at Bedow. "But it has its own expression and isn't as generic as a square or circle. The best part is that its mathematical formula allows it to scale seamlessly without losing its integrity."

Bedow's designers created a shape based on the superellipse that they dubbed "the plate". This is elastic enough to be stretched in all directions while maintaining its geometric features, making it ideal for a packaging system that includes various shapes, formats and sizes across all four countries.

Flexible design system

A related challenge was finding a design system that can be recognised as Coop throughout the store but allows each category to stand independently and compete with the category leader.

Bedow's solution incorporates a range of design elements, including colours, typography, illustrations, and photographs, to differentiate categories while maintaining a cohesive brand identity. As Perniclasputs it, "We've found a very good balance between horizontal and vertical design strategies."

Looking ahead

As intended, the new Coop brand unites all Nordic markets under a single private label to create a more inspiring everyday experience.

Thousands of products have found their home in a design system revolving around "the plate" as the primary content carrier throughout the packaging. These spread across four languages and a wide range of categories, from batteries to frozen fish to freshly squeezed juices. The result is a design system that can be as versatile as it is recognisable.

With approximately 1,400 units redesigned and a target of 1,700 by year's end, the project is progressing as planned. "We typically receive a brief each week and then deliver design and guidelines for five to ten units per category, which Coop Trading's design team then takes forward," explains Perniclas. "It's a fun and rewarding collaboration."

Facing your fears and sharing your creative work online can be daunting, but it's essential for growth and success in the digital age. Here's how to overcome the hurdles and thrive.

A lot of us don't like to admit this, even to ourselves. But in today's digital landscape, putting yourself and your work out there is crucial for creative professionals.

It doesn't matter how talented you are; people aren't going to find out unless you show them. So whether you're an illustrator sharing your latest artwork on Instagram, a designer showcasing your portfolio on Behance, or a writer publishing your thoughts on a blog, visibility is key to success.

But there's a problem. The fear of negative feedback, trolls, and criticism can often hold us back from sharing our work and ourselves online. And this fear is not unfounded.

The internet can be a brutal place, full of people emboldened by the shield of anonymity, ready to unleash their negativity at a moment's notice.

Illustrator Katie Chappell offers a depressing example. "On a video I made about 100 days of drawing, someone commented, 'Why not try 100 days at the gym?'," she recalls. "YouTube can be brutal."

Such experiences can be disheartening and make us question whether putting ourselves out there is worth the potential pain. But ultimately, the benefits of sharing your work and building an online presence far outweigh the risks.

So, how do you find the courage to face your fears, develop resilience, and focus on the positive aspects of sharing your creativity with the world? In this article, we'll explore practical tips and strategies, along with some insights shared by the Creative Boom community on Threads and X.

1. Find the silver lining

While it's easy to get discouraged by negative comments, try to see the positive side of them. Although you might not believe it, that's possible even when the worst trolls strike.

As multidisciplinary designer Reggie Perry, Jr. points out, "If you're getting unsolicited negative feedback, you're doing something right. It can sting, but don't let it bring you down. Onward." Katie Chappell agrees. "My best advice is to laugh about it and give yourself a pat on the back," she says. "Any comments, even mean ones, are a sign that you actually shared something!"

Even dumb and malicious negative feedback is a sign of visibility, then. Meanwhile, other bad comments – even when they're expressed in an unpleasant manner – can sometimes contain a kernel of truth and an opportunity to improve.

Importantly, reframing personal attacks in this way strips the bullies' words of their power. Doing so will help you build a more resilient mindset over time.

2. Remember, it's all subjective

Of course, it's not just attacks from trolls that wound. Polite criticism of our work can feel just as bad, if not worse. So, how do you deal with it?

Well, for starters, it's crucial to remember that creative work is inherently subjective, and not everyone will appreciate or understand your vision.

After all, we don't all like the same type of music or TV shows. So you shouldn't expect absolutely everyone to love what you're creating, either. That doesn't mean you're not talented; it just means it's not for them.

Art director Craig Sanderson recalls: "I used to get wound up by negative comments, but then I realised that all creative work is subjective. Who are you talking to? Unless the target market was 'everyone', that work won't resonate with some people. And that's fine."

Rosie Greener, founder of Good Daze Jewellery, echoes this sentiment. "I always try to remind myself that everything is subjective; there truly is no right or wrong when it comes to creativity," she says. "Nothing is for everyone. If you have that mindset, it's easier to take things less personally and focus on those your work does resonate with."

By accepting this simple truth, you can focus on connecting with your target audience rather than trying to please everyone.

3. Focus on continuous improvement

Of course, logic is one thing; emotion is another. And it's an inescapable fact that a single negative comment about our work can have a devastating effect on us emotionally.

Depressingly, there's no level of success you can achieve that will prevent this. According to countless press interviews, even the world's biggest stars often get sucked into a downward spiral of obsessing over criticism. It's simply a part of being human.

So there's no way around it. You're going to get slagged off, and it will hurt and anger you. That's something you can't control.

But what you can control is what you do next.

It's perfectly natural to obsess over negative feedback and let it stew over time. But that's ultimately a waste of energy. Instead, you need to channel your energy into consistently improving your craft. This approach not only helps you grow as a creative professional but also builds confidence in your abilities.

In the words of motion designer Ryan Grandmaison: "Make it and put it out there. Do it a lot. Be so busy doing the next thing that you forget about the last. Anything that doesn't help make your next work better is just noise."

By maintaining a focus on improvement and progress, you'll find that the fear of criticism becomes less overwhelming. Each piece of work you share becomes a stepping stone in your journey rather than a definitive statement of your worth as a creative.

4. Develop a thick skin

While it's important to be open to constructive criticism, there will always be trolls and idiots reacting to your stuff. So, toughening yourself up is something you're going to have to do over time, like it or not.

As illustrator and designer Rich Banks says: "You need thick skin and be able to take criticism; otherwise, the creative industry isn't for you. People will never be kind or give you anything, so you must be honest with yourself and your work and always try to improve. Otherwise, any feedback will always hurt."

Of course, this doesn't mean becoming callous or dismissive. But it does mean developing the ability to distinguish between constructive criticism and baseless negativity. By building up this resilience, you'll be better equipped to handle the challenges of putting yourself out there.

As graphic designer Mike Sullivan notes: "People are very forgiving. We need to realise that. It's not as daunting as we're made to believe. We're professionals: embrace it."

5. Practise gradual exposure

If all of this feels overwhelming, a good strategy is to start small and gradually increase your exposure over time.

Illustrator Heather Zhou shares her personal approach. "I practise expressing myself better through small actions such as sharing daily on social media and supporting others to build a community. In this way, my attention is largely taken up by positive feedback and continuous self-improvement, and I gain greater resilience to handle rejections."

For those nervous about appearing on camera, glass artist Linda Rossiter offers some practical advice: "Write down the bullet points of what you want to say: not a whole sentence, just a reminder. Look for a few areas in your space where you could record. This might be at the doorway of your studio, sitting at your desk, standing with a piece of your artwork, or at your printer. Record one sentence at a time in each area."

By taking small, manageable steps, you can build confidence over time and gradually become more comfortable sharing your work and yourself online. For further tips, read our introvert's guide to creating video content.

6. Embrace the power of authenticity

Here's something super-important when putting yourself out there: don't pretend to be something you're not. People can smell BS a mile off and won't let you off lightly. So, instead, be genuine and true to yourself.

That might seem scary, but it's the best way to connect with your audience and build trust and credibility. Plus, it's a lot less tiring than putting on a facade! As artist Chris Cyprus advises: "Be as authentic as possible. It's easy to spot the ones who are faking it. Your true self will gain trust with your audience and customer base."

That doesn't mean you'll connect with everyone, of course. In fact, it's inevitable that when you put your stick in the sand, some people won't like it.

But over time, by embracing your unique voice and perspective, you'll attract an audience that appreciates you for who you are. And that will make it easier to brush off negative comments from those who don't align with your vision.

7. Use storytelling to connect

Following that last point, sharing the story behind your work and your creative process is a great way to build a deeper connection with your audience and provide context for your creations.

As artist Daniel Sroka puts it: "Learn how to write about your art. We like to think art can speak for itself, but it really can't. All art needs some context in order to be really appreciated. So, practice writing about your art: what you do, what you see, and what you feel while making it. The more you write about your art, the more comfortable you'll be talking about it, and the easier it will be to share it. And the more your audience will understand and appreciate it."

By sharing your journey, challenges and inspirations, you'll humanise your work and create opportunities for deeper engagement with your audience.

8. Embrace imperfection

The fear of putting work out there that isn't "perfect" can be paralysing. And again, it's a natural human trait that affects all of us. For instance, Leonardo da Vinci famously worked on the Mona Lisa for years and never considered it finished, constantly revisiting and refining it.

The irony is, though, that embracing imperfection and sharing your journey, including the stumbles, can be a powerful way to connect with an audience.

Connor O'Neill, creator of design resource Nollie Design. offers a real-world example. "I put my first video out a few days ago," she says. "It was pretty much: 'This video is terrible. It's intended to be terrible. It's only going to get better from here.' And honestly, that helped a lot. Everything I do now is better than that first video."

By accepting that not everything you share will be flawless, you'll give yourself the freedom to experiment, learn, and grow in the open. On the other hand, waiting until your work feels "perfect" only sets you up for frustration and missed opportunities.

9. Focus on positive outcomes

Instead of dwelling on potential negative outcomes, try to focus on the positive possibilities that come from sharing your work. That might sound a bit self help-y, but it really does work in practice.

That's what illustrator and artist Yusra Na'im has found, anyway. "My secret to pushing through fear is exposure therapy, backed with what I like to call 'positive delusion': prioritising best case scenarios," she explains. "This came about after I noticed how much power and validity I was giving to my negative 'what-ifs'. Now, instead of letting initial doubts set the tone, I challenge myself to consider and lead with the other extreme: 'What if this takes me to the next level?'"

Designer Brandon Moore puts it another way. "Instead of asking yourself 'What if it doesn't go well?' ask yourself 'what if it does?'," he explains. "You're sharing your work to make a living at this and get more work. Just keep that goal in mind. Don't feed the trolls."

By focusing on the potential positive outcomes – new opportunities, connections, and growth – you'll soon find the motivation to overcome your fears and put yourself out there.

10. Remember who pays the bills

Of course, no one is saying any of this is easy. As Boma Krijgsman, brand and talent manager at design agency JDO, notes: "Dealing with trolls and negative comments on social media can be daunting. But it's important to remember that these individuals are often driven by their own insecurities and have nothing better to do than spread negativity. They're just miserable people trying to make themselves feel better by putting others down. I always say that their opinions don't pay my bills!"

At the same time, remember that not all feedback is bad. "Constructive criticism can be valuable for growth," Boma adds. "If comments are constructive, consider them thoughtfully and use them to improve. If they're just negative or hurtful, try to let them slide off your back or just block and delete.

"Surround yourself with positive feedback and supportive communities and set clear boundaries for your social media use," she continues. "Decide which platforms and types of interactions you're comfortable with and stick to them. You can also use privacy settings and content filters to manage your experience, for example, turning off the ability for people to add comments. Although this does impact your engagement, which is one of the main things the algorithm loves if you're trying to grow your account."

Ultimately, though, developing a thick skin, taking breaks when needed, and understanding the nature of online behaviour can help you through all of this. "Engage positively, build a support network, and educate yourself to better manage your experience," says Boma. "If you stay true to yourself and focus on your goals, you should be able to navigate social media with confidence."

Lucky Duck is a quirky twist on the classic UK Chinese restaurant, blending traditional elements with tongue-in-cheek charm.

At Creative Boom, we're big fans of the work of Angel & Anchor, who describe themselves as "a ballsy branding studio based in Belfast; we work hard, we listen, we give a shit." And so back in March, we reported on their work crafting a visual identity for a stylish New York-esque cocktail bar in the city called Southside Social.

Well, it turns out that was only the half of it. In parallel with developing the Southside Social brand, the studio has been working on creating a sister brand. Angel & Anchor, known for their work in the eating and drinking space, describes Lucky Duck as "an authentic Belfast Chinese restaurant, nestled in the centre of Southside Social".

Name, logo and colours

Naming the restaurant was at the top of the list when creating the brand and setting the tone for its personality going forward. Taking inspiration from Chinese culture, cuisine, and its many 'good fortune' traditions, the brand follows the naming convention for Chinese restaurants in the UK and Ireland.

It also plays on the English phrase "you lucky duck", giving a nod to both of the takeaway's "cultural parents".

Visually, the brand identity comes to life through a personality-driven logotype and an illustrated core mark. The logotype is built from Decoy Medium. This serif typeface has distinctive flicks and curves in its uppercase letters, which combine with the quirky character mark to embody an ironically playful tone. Meanwhile, the logo mark is the Lucky Duck itself, an illustrated mascot with ruffled feathers and staring eyes.

Lucky Duck's palette of colours borrows from traditional Chinese decor to add some retro kitsch to the takeaway. As you'd expect then, a classic rich red dominates menus, signage and packaging, with contrasting pops of Prawn Cracker Pink and Yellow Duck in the interior decor and digital assets.

Brand language and interior

Inspired by the mismatched language and unique syntax habits of traditional UK Chinese takeaways, Lucky Ducks' language oozes an ironic personality.

Establishing itself as an "Authentic Belfast Chinese", it draws on instantly recognisable phrases such as "under good management" and "Little House of Big Flavour". Taking reference from Chinese sign painting with thick, tapering brush strokes, the fun typeface Ohno Casual infuses each phrase with a little extra flavour.

The studio also developed art direction to guide the interior space: a curated fit-out that aims to create a quirky but familiar experience. Brought to life with the help of Hong Kong-based interior design and architecture studio A.D.O. and joinery specialists at Carter's Workshop, the theme of the space is a Wes Anderson-like environment.

As customers place their orders, staff take notes in a retro-style receipt book surrounded by ephemera, such as a static-filled '90s TV and a waving cat ornament on the countertop.

With its tongue-in-cheek branding, nostalgic interior, and fusion of cultural influences, Lucky Duck stands out as a fresh take on the classic Chinese takeaway experience. As Lucky Duck takes its place alongside Southside Social, this creative agency is helping to shape a new era of dining experiences in Belfast, one quirky concept at a time.

The Manchester-based creative studio Flow has created an exciting set of animated GIFs and stickers for the Met Office, and they're proving to be a huge hit on GIPHY.

How do you feel about the weather today? If you want, you can share that emotion with your social media circles with one of the 27 moving meteorological moments now available from the UK's Met Office on GIPHY.com. The animations, which all feature a cute cloud character called Christopher Cumulonimbus, were created by the Manchester creative studio Flow and, at the time of writing, are trending in first place on the GIPHY homepage with over 450 million views.

It's all part of an initiative by the Met Office – one of the world's leading authorities on the weather – to reach new audiences. The animations are a great way to get people talking about the weather. The organisation had been talking to Flow about a possible collaboration for some time, and this project seemed the perfect fit.

"They wanted a set of GIFs that would appeal to a younger demographic," explains Flow cofounder and creative director Karl Doran. "The style we developed had to work in GIF form and needed to stand out when it would be used on socials. So, the style had to be fairly minimal in design but detailed enough to allow us to convey emotions and humour. We also had to keep the characters within the Met Office brand colours."

The visual route chosen chimes a little with the vector graphic cloud, rain, and sun icons seen in most weather apps and on TV weather maps, but it introduces more nuance with shading, rougher edges, and all the expressiveness animation can bring. Christopher Cumulonimbus doesn't just represent different types of weather; he captures how the weather makes us feel.

During the development process, three potential character concepts were tested – a cloud, a walrus, and a duck – and it's interesting that Christopher wasn't the first choice initially.

"We fought hard for the Walrus!" says Karl. "We felt it conveyed a sense of British stoicism to the weather. Ultimately, when we properly sat down and developed the style, the cloud proved to be a more relatable and nuanced character. The cloud allowed us to have it more integrated with the different types of weather we wanted to depict compared to the other two. The duck and walrus would have just been reactive to the weather, whereas the cloud's emotions could depict the weather."

The look, feel, and content of the GIFs take the Met Office in a new direction in terms of communication. However, Christopher has already become something of a mascot for the organisation.

"We are delighted to have been working closely with the amazing team at Flow to launch an exclusive animated sticker pack, made in collaboration with GIPHY, for launch on our ever-expanding channel. The bright, colourful set features a loveable cloud character designed to make you laugh, smile and share in those moments when weather impacts how you feel," says Ross Middleham, creative lead at the Met Office.

Although Playmate exists in the world of sexual wellness, it goes against the explicit graphics and phrases typical of the category in favour of a brand that promotes meaningful connections between couples.

Sexual wellness is becoming less taboo by the day, with people of all ages, genders and orientations becoming more informed on the topic. The fact that the sector is growing can only mean good things when it comes to our relationships with our partners and ourselves, but there is one little problem.

When it comes to brands in this space, their visual and verbal identities haven't quite caught up with increasingly progressive consumer outlooks. "It is quite a predictable marketplace, as you might imagine, where brands sit in more explicit or sleazy territories, and they're often very product-focused," says Unfound Studio creative director Jay Topham.

This was something that the studio's team wanted to avoid when working on a recent project: a natural aphrodisiac chocolate brand called Playmate. Unfound was recommended to the founder by word of mouth, and they were intrigued from the beginning, though they immediately noticed that the initial branding ideas had to work harder if it was going to succeed.

Topham says: "The founder was ambitious; they told us they wanted the brand to be the new 'Netflix and chill', a little snippet from our early conversations that got us excited.

"The brief also explained that this was a growing sector, but that Playmate was more concerned with trends showing a growing physical and intimate disconnect between couples than libido-enhancing products."

Some might say this is quite a niche sector for a design studio to work in; however, having recently worked with a women's probiotic brand, an innovative collagen brand and a sex and relationship education platform, Unfound is no stranger to deconstructing taboos. Topham believes that a part of their role is "helping brands to find their point-of-view in complicated landscapes".

With this in mind, Unfound focused on the idea of bringing couples closer together and forging better connections for the strategy phase rather than looking too much at the current sexual wellness marketplace. Topham says: "Difference drives our studio, so we knew if Playmate was to be memorable, it needed a more distinct point-of-view."

Not only this, but if Playmate was going to achieve its goal of bringing couples closer together, Topham says, "it needed a more relatable and considered tone", according to Topham.

Although it was a challenge, the studio sought to create a brand that guides people's opinions from the first second. "This brand opinion affects everything, the mood, the colours, the copy", he explains, adding that "too little or too much" will marginalise certain audiences, so the project was all about balance.

Playmate already had some branding in place, but it hadn't yet been launched publicly. Topham recalls that one of the first and most important changes they made was to the logo, adding a question mark to position Playmate as "a proposition or a call to action".

"To be as synonymous as something like 'Netflix & chill', we knew we needed the brand to become part of everyday language", says Topham, and the question mark was a step in that direction. The logotype – "a smooth sans-serif typeface that brings a playful edge to the brand" – was also changed to lowercase to soften the tone. Overall, the logo is simplistic but ownable and instantly recognisable.

Playmate's wider type treatment was developed with flexibility in mind, making use of three different font styles. One is a hand-written type used for notes, adding a personal touch, while the sans-serif type is reserved for detail-orientated comms. The final serif type is used in most headlines and was chosen to add a premium feel to Playmate.

Deep shades of blue and red have been paired with soft beige, supported by classic black and white for the brand's colour palette. "Our colours provide a luxurious feel to every touch-point while remaining both approachable and intimate," says Topham.

Some of the stand-out graphic assets in this identity are the tokens, designed to reference romantic keepsakes, such as tickets, love letters or a restaurant bill. Topham explains how they showcase the Playmate personality, "reminding consumers of the intimate moments it can set up, no matter how small or big".

He adds that it also helped to keep things "light, fun and suggestive". On a functional level, they're used across the identity to communicate headlines, elevate images and inform customers.

Early on, Unfound recognised that Playmate would be a social-first brand, so the photography referenced lo-fi content styles, used POV shot types, and leveraged multiple mediums, from point-and-shoot digital cameras to printed Polaroid and 35mm film.

Topham says, "Building a brand that will resonate with its audience means understanding where it will appear.

"The style was designed to feel relatable and easily replicated by couples, but also to land on a brand style that moved away from polished high-production campaigns to something more aligned to the user-generated content that prompts engagement and impact on social channels."

Unfound also translated Playmate's brand identity into a clever packaging system, centring around the idea of being 'hidden in plain site'. Topham says the packaging was inspired by a conversation with Unfound designer Lauren Scarlett and copywriter Abbie, during which they discussed that you should not be embarrassed to have this brand on the bedside.

"Instead, it should be understated but desirable," says Topham. He explains how the production process dictated the shape and size of the chocolates but that Unfound was able to create "a pull-out draw for an engaging unboxing experience".

All of the product details – including the nutritional information – are kept inside the packaging on a little playing card (one of the brand tokens). The card includes lines like 'anything but vanilla' and 'ingredients that let things flow naturally'.

Today, we kick off a special six-part series focused on the use of music in modern design. In part one, we look at the importance of music to visual content, share examples of how this works in practice, and share pro tips for picking the right tracks.

In the digital age, where visual content reigns supreme, music is a secret weapon that can elevate your videos, presentations and social media posts from good to unforgettable. The right soundtrack can transform your visuals, evoke emotions and captivate your audience in ways that visuals alone simply can't achieve.

Yet there's just one problem. Licensing music directly from artists or agencies can be expensive, a legal minefield, and just a massive headache. Thankfully, though, there's an easier way. Since 2009 Epidemic Sound has been providing a simple solution for content creators, marketers, and businesses looking to harness the power of music without the headaches of licensing and rights management.

We've partnered with Epidemic Sound to bring you a six-part series of articles focused on the use of music in modern design. In this opening article, we'll look at why music matters, explore how three companies worked to bring their content to life through music and share practical tips for transforming your visuals with music.

Why music matters

First, let's consider why this matters. Music can profoundly impact the success of visual content in the following ways.

• Emotional resonance: Music has the unique ability to tap into our emotions, setting the tone and mood for your visual story. Whether you want to evoke joy, nostalgia, excitement or contemplation, the right track can instantly transport your audience to the desired emotional state.

• Audience engagement: A well-chosen soundtrack can keep viewers watching longer, increasing engagement metrics across platforms. Studies have shown that videos with appropriate background music can significantly increase watch time and reduce bounce rates, leading to better performance in algorithm-driven platforms.

• Brand identity: Consistent use of certain musical styles or genres can become part of your brand's sonic identity, making your content instantly recognisable. Just as visual elements like logos and colour schemes define your brand, a distinctive musical style can create a powerful auditory association with your brand in your audience.

• Narrative enhancement: Music can underscore key moments, build tension or provide resolution, enhancing the storytelling aspect of your visuals. By carefully synchronising music with your visual narrative, you can guide your audience's attention, emphasise important points, and create a more memorable experience.

How this works in practice

Now, let's explore how Epidemic Sound is helping brands and creators achieve these transformative effects in the real world.

1. "The platform is so user-friendly" – Glanbia

Glanbia, a global leader in nutrition products, faced a common challenge in the digital marketing world: finding high-quality music that could be safely used across multiple marketing platforms, including content produced by influencers, that would align with their brand identity.

Partnering with Epidemic Sound gave Glanbia access to a vast, varied catalogue of high-quality tracks that could be safely by influencers across all platforms in a flexible and cost-effective way. As a result, they experienced a dramatic improvement in the quality of content and public engagement with it.

This transformation wasn't just about sourcing better music but creating a more cohesive and engaging brand presence across social media. Glanbia's content now resonates more deeply with its audience, particularly on platforms like TikTok, where music is crucial to its success.

And none of this was at all difficult. "The platform is so user-friendly and very intuitive when searching for music to match a specific type of content," enthuses Stuart Dansby, senior director of market activation at Glanbia. "The discovery journey from a genre or mood is both fun and fast. The service and platform are top-notch, but I can't recommend them enough."

Stuart and his team especially value the close partnership they have formed with their personal Customer Success Manager, who can assist the team within an hour. With access to varied soundtracks and insights, such as the most trending tracks every month, they can help influencers spread the word about their brand in the most effective way possible.

2. "Our process is 2-3 times faster" – FabFitFun

FabFitFun, a lifestyle brand known for its premium subscription boxes, understands the power of storytelling in branded content. However, as their content production volumes increased, they faced a significant challenge: inefficient music sourcing and rights management were slowing down their creative process.

By turning to Epidemic, they were able to speed things up significantly. Instead, they now have a streamlined post-production process that saves them much time and energy, and they have easy access to high-quality, legally safe music.

"Thanks to Epidemic Sound, our post-production process is two to three times faster," says Andrew Inglin, director of content at FabFitFun. "With stems available on each track, we're able to really tailor our edit with the music to create the sonic experience that we want to represent," Inglin explains.

The brand continues to hone its brand sound through smooth experimentation and iteration. The team regularly works with Epidemic's music curators to get inspiration for a specific vibe or a new direction. In between music curation rounds, the team uses the mood filter to quickly find the right nuance for their video and adds sound effects.

3. "Objective tools help win over clients" – Interbrand

For a big agency like Interbrand, helping clients develop a comprehensive brand identity isn't just about visuals; it's about creating a multi-sensory experience. When tasked with defining the sonic identity for a client in the energy sector, Interbrand turned to Epidemic Sound for a collaborative solution.

Interbrand's client was a brand with a strong visual identity but one that lacked a cohesive sound strategy. With Epidemic's help, the agency crafted a comprehensive sonic identity that aligned with the brand's goals and values, driving recognition and loyalty.

The process involved deep research into the brand's perception, YouTube tags and associated genres and moods. The resulting identity featured a number of elements: a Music Playbook guiding the use of music across all touchpoints, a curated library of high-quality tracks, a hero track for the rebrand launch video, and a sonic logo.

Sue Daun, executive creative director at Interbrand, explains that it can be difficult to nail down clients to agree on the 'sound of their brand'. "There is a lot of subjectivity around what good sounds like – let alone what the brand should sound like," she points out. "So building measurable principles, whether they be tempo, instruments or sound treatments, all help to remove the subjectivity."

Tips for transforming your visuals with music

Drawing from Epidemic Sound's extensive experience in this area, here are some practical tips for using music to enhance your visual content.

• Match the mood: Use Epidemic Sound's mood filter to quickly find tracks that align with the emotional tone of your visuals.
• Experiment with genres: Don't be afraid to try unexpected musical styles to create contrast or add interest to your content.
• Utilise stems: Take advantage of the ability to customise tracks by removing or isolating specific instruments or elements.
• Create consistency: Develop a sonic brand identity by consistently using certain styles or genres across your content.
• Align with trends: Stay current by exploring Epidemic Sound's trending tracks, especially for platforms like TikTok, where music plays a crucial role.
• Enhance storytelling: Use music to underscore key moments in your narrative, building tension or providing resolution as needed.
• Consider sound effects: Don't forget about Epidemic Sound's extensive library of sound effects to add depth and realism to your content.

Why Epidemic Sound?

So, what exactly sets Epidemic Sound apart in the crowded field of music licensing platforms? Here are just a few reasons why it's so popular among designers, agencies, brands and independent creators.

• A vast, high-quality library: With over 40,000 tracks and 90,000 sound effects, there's something for every project.
• Flexible licensing: Use the music safely across multiple platforms, including for influencer content.
• Customisation options: Access to stems allows unprecedented control over the final sound.
• User-friendly interface: Quick and intuitive searching makes finding the perfect track a breeze.
• Expert curation: Work with music curators to find the perfect sound for your brand.
• Regular updates: New tracks are added regularly, ensuring fresh options for your content.

In part two, we'll focus on visual storytelling, explain the integral role played by music, and offer our top tips on doing so effectively.

We talk to Yvette Earl, Tatyana Alanis, Kyle Platts, Alxndra Cook, and Ryan Gillett – five talented illustrators who draw people convincingly and in unique styles that engage the viewer.

As many an artist will tell you, illustrating people is one of the hardest skills to learn. Although it seems to come naturally to some – inherent talent, you could say – the reality is that it's an ability learned through practice, patience and observation until, eventually… perfection!

Or not, as the case may be. Because the curious thing about drawing people is that the harder you try to make your figurative drawing realistic, the more people scrutinise the image. Your audience consists of human beings, after all. People know what their bodies, hands, faces, and limbs look like and can just tell when something isn't right.

So, it's a curious fact of being an illustrator that when you take your figurative drawing in a more expressive, exaggerated, and unrealistic direction, new opportunities open up to you. Art directors don't necessarily want perfection; they want illustrations of people that communicate, resonate, command attention, and mean something to the viewer.

The artists we're looking at here have that rare ability. The people they draw aren't anatomically correct down to molecular level, but they're rendered with a human touch, and that's one of the things that makes these illustrators stand out. The other is that they can consistently deliver their individual drawing styles to their clients. Each artist has a one-of-a-kind aesthetic, and yet each can create work in that look time and again.

Let's check out their work and learn more about their creative approaches to drawing people.

Yvette Earl

Based in the North of England, Yvette Earl is loved by many clients for her architectural drawings, but for us, the way she illustrates people is really eye-catching. Drawing in Procreate and then upping the colour dynamics in Photoshop, she's winning work from fashion and lifestyle clients such as Union Clothing, Carhartt, and Goodhood.

"Drawing people took a lot of practice, and I'm still learning and developing this skill. I spent much time drawing people in different poses and creating outfits for them. I love the fashion aspect of it. I work from photo references; this includes photographing myself sometimes if I'm looking for a particularly tricky pose," says Yvette.

Tatyana Alanis

Originally from California but now working out of Forth Worth, Texas, Tatyana Alanis is a rising star in American illustration who also goes by the name French 75 Studios. Already, she has household names such as Google, Walmart and the LA Times on her client list. The way she draws people is one of the reasons behind her growing success – simple, soft and nostalgic. There's enough realism there in terms of proportions to indicate she's worked hard developing this skill – along with reading plenty of Golden Age comic books and watching cartoons.

"When I had the opportunity to work with the Dallas Stars, they invited me to a few games so I could take pictures of the crowd and ambience. They wanted me to understand ice hockey and be a part of the community that they have in Dallas. From there, I started sketching out a large, excited crowd that I felt encapsulated the Stars fanbase. I went through a round of revisions, and then we went to print. Most local projects I've worked on go like this," says Tatyana.

Kyle Platts

Like Yvette, Kyle Platts is based in the North of England, and like Alyana, he has a deep appreciation of comic book art. However, departing from a realistic approach, he creates characters in his own unique style that resembles early cartoons and newspaper comic strips, giving them a contemporary twist. Pulling a few lines here and there, he deftly creates their expressions and adds to the feeling by suggesting how they'll move through their posture.

"I enjoy the physical comedy in character design and making the tone of the character match whatever absurd situation I put them in. More recently, I've been spending a lot of time animating my characters, and that's where it gets tricky. Now I also have to consider how they move, which has added a whole new dimension to characters and their personalities," says Kyle.

Alxndra Cook

Sometimes, it's the detail you include in an image that makes it charming, but often, what an artist leaves out makes the work memorable. Alxndra Cook is an English illustrator who draws figuratively to realistic proportions but dares to go very minimal with facial features. A simple dot or row of eyelashes will often do for the eyes, and this unique approach is putting her name on awards shortlists.

"When I started my illustration practice, I primarily drew simple, cute, stylised characters based on animals or inanimate objects. After getting my first iPad and receiving requests from a new client, I felt inspired to develop my style and began practising drawing with the aim of drawing more realistic people, but I wanted to retain the simplicity of my original style. Over time, my style evolved to become more detailed, and I dropped the fun little characters, working on a style to attract an older demographic but preserving the simplicity in my work with a focus on my form and line," says Alxndra.

Ryan Gillett

Brighton-based illustrator Ryan Gillett draws like an old-school cartoonist – each line is like a gesture committed to paper, and in just a few strokes, a human form comes together that we can quickly relate to. It all seems so effortless, but the reality is anything but. Even in a 'loose' style like this, getting people right can be tricky. However, it's a trick Ryan has mastered as he hops between sketchbooks, Procreate and Photoshop, illustrating for clients from Wolff Olins and The Guardian through to skateboard companies.

"It's not like I sit on a park bench drawing people as they go by, but I do believe that when a drawing is complete, you can tell if something is off. Whether it's a leg that is too long or a hand is on the wrong arm, it's just a case of try and try again. There's a lot of trial and error.

"If I am unfortunate enough to find myself in the illustrators' wormhole, I can end up drawing a couple of hundred of the same image until it's exactly how I want it to be," says Ryan.

We speak to the Brooklyn-based photographer about the inspiration for her unusual new series, and her tips for photographing pets successfully.

Based in Brooklyn, New York, Winnie Au is an editorial and commercial photographer who spends her time photographing "people, animals, food, and the spaces where all of these things live". She's just released a new coffee table book, published by Union Square & Co called Cone of Shame.

In case you didn't know, 'Cone of Shame' is a slang term for an Elizabethan collar: a large, plastic cone-shaped device placed around a pet's neck to prevent them from licking or biting at wounds or surgical sites. The name comes from the fact that pets often look both comical and distressed while wearing them.

The book features photographs of 60 different dogs wearing bespoke cones. The goal of the project is to help raise awareness for rescue dogs with urgent medical needs.

The series has exhibited most recently at Fotografiska New York, Fotografiska Tallinn, and Fotografiska Stockholm. Each dog, cone, and backdrop have been conceived as a mashup of abstract shapes, tones and textures. The cones were all created by designer Marie-Yan Morvan, who's been collaborating with Winnie since 2017.

We'll make no bones about it (ouch): we love this series and were keen to chat to Winnie about how she went about making it.

Original inspiration

We begin with the obvious question: what inspired this unusual subject matter? "Cone of Shame was born out of two things," says Winnie. "Firstly, I'd always seen dogs wearing cones post-surgery, and that image and shape was sort of seared into my head and floating around. I knew there was something strong about the visual and that I could do something interesting with it.

"I also loved how the cones made a dog look both sad and funny at the same time," she continues. "And the cone has a transformative nature: when it's worn, it really transforms the energy that a dog has. So I wanted to create a series that transformed our own vision of the cone. I decided to turn the cone of shame upside down and really make it into a majestic, beautiful and artful moment."

The second thing that made Cone of Shame into a series was the passing of Winnie's corgi Tartine. "She was diagnosed with throat cancer, and after about a month of chemotherapy and endless doctor visits, we had to put her to sleep," she recalls. "It was one of the hardest decisions we've ever had to make.

"The whole experience was so difficult and sad, and it made me acutely aware of the high cost of medical bills for dogs. It made me want to make sure that other pet parents would not have to make any medical decisions based on finances. So I decided that the Cone of Shame series would help raise funds for rescue dogs with urgent medical needs."

Consequently, for every print, notecard, and now book sold featuring the Cone of Shame, a portion of the proceeds is donated to Animal Haven's Recovery Road fund.

Passion project

Taking animal portraits, espcially dogs, had always been a passion project of Winnie's. "It's a subject that I have gravitated towards since early in my career," she recalls. "I have always been interested in the changing role of dogs in the modern family.

"One of the first series I worked on was a project featuring dogs captured at their homes. I shot everything on medium format film, and it was my first exploration into creating regal portraits of dogs that showed their elevated status in today's home. This series exhibited in Photoville in New York City, and one of the images was my first published magazine image: an art magazine called Look Look."

She's done many other dog series since then, including a portrait series at New York's Halloween Dog Parade, a fashion series called Bodega Bitches, and an ongoing series called At Home, which features composited images of her dog, a rescue basset hound called Clementine, in various places around her home, which Winnie shot during the pandemic.

"My work is all about capturing personalities, whether they are human or dogs or other animals," she explains. "I love working with colour and incorporating colour into my photographs, and I love showing reality, but with a slight twist. I am inspired by classic portrait photography and street photography, such as Avedon and Cartier-Bresson.

"I love looking at painters and other media for inspiration as well," she adds. "I believe that some of the greatest photographs in the world are just simple and beautiful and don't need to be overly complicated to convey a lot."

Dealing with chaos

Despite the serious and sad reason for the shoots, there were also a lot of laughs. "Dogs are always a little unpredictable, which is a big part of the fun of photographing them," Winnie notes. "For instance, Honeynut the dachshund was super beautiful but she DID NOT want to stay on our backdrop. Most of my photos of her are her scurrying off set. I think she had a more important meeting to be at."

She also fondly recalls: "Logo the lagotta romagnolo rolled up to set in a backpack on a scooter. A classic New York dog. Then there was Bowie, a husky mix who wears a faux fur cone, who showed up her with her own emotional support animal.

"Bowie and Uma are best friends who are inseparable, and they do everything together," she explains. "Uma spent the whole shoot in the corner watching and cheering on Bowie, acting as her 'emotional support animal' for the photo shoot.

She'll never forget, either, Calvin the komondor's time on set. "He looks like a giant mop," says Winnie. "It was hard to find his face. Komondors are a lot of maintenance. He had apparently had two to three baths the week of the photo shoot to be ready. And to go on a walk, all of his cords had to be put in ponytails so that he wouldn't get any pee on himself. It was quite the sight to see."

Winnie's cover star Izzy was also adorable, "but definitely drooled all over her cone. So a lot of the retouching notes for the cover image involved 'remove drool here'. And while I won't name names, there was definitely at least one dog who pooped inside our studio. It surprisingly did not happen a lot. Just comes with the territory of working with animals."

Wind moments and keeping things cool

Winnie explains used a fan ("the EFX kind used on fashion shoots") to keep her dogs cool, and to create some 'wind moments' with the dogs with longer fur. "We had two different dogs in the book whose favourite food is a bagel," she remembers. "It doesn't get any more New York than that. Then there was Lola the Saluki, who loved chasing a laser light pen around like a cat. "First dog I've ever met who does that," she notes.

Some of the dog models did not want to stay still, so to get them in one spot, it would be the job of Winnie's assistant to pet their back or butt until they were content. "Meanwhile I would zoom in on a close-up shot of the dog's face to get something that looked elegant, and not at all like a dog who was getting overly pampered behind the scenes."

Thankfully, though, Penn the Newfoundland came to set with her own bright orange cooling blanket to help her stay cool between shots. "They're a very large and furry breed so get hot easily," she says.

Shooting pets always involves a lot of planning, but sometimes what happens on the day isn't quite what you expect. "Do you ever order a laundry detergent online," asks Winnie, "thinking you'll get a standard size but then the tiniest mini version of the laundry detergent appears at your door? Well, dogs are similar in that even with getting measurements and seeing photos, sometimes the scale of them is just not what you expect. One of our models Bodhi the Mutt showed up and was much larger than he looked in any of the photos. We made it work, but our backdrop was a bit smaller than it should have been for his size."

The importance of quiet and careful casting

Winnie's biggest tip for others trying to follow in her footsteps? "Always try to create a serene quiet environment for the dogs," she says. "Think of it like a dog spa. So no loud music, not too many people, no other dogs around, and plenty of treats. Also, the dog's owner or someone close to the dog must always be present."

Casting is also of obvious importance. For this series, Winnie got submissions from her network and Marie-Yan's, from Instagram, from street casting, and from animal agencies. "Marie-Yan and I would decide together which would be the final dogs we chose, based on look, availability, colouring, and temperament," she says. "We often had very serious conversations trying to decide between various dogs and I would honestly get stressed trying to make the right decision, trying to put the most diversity of dog type in the book. It was the kind of conversations that felt very much like the movie 'Best in Show.'"

Winnie and Marie-Yan had originally while working on a photo shoot: a beauty story with people, for Refinery 29. "She had not done a lot of work with dogs at this point, but she was into the concept for the project and loved the abstract quality that working with dogs brought to the table," recalls Winnie.

Marie-Yan custom created every cone in the series, and the two worked together in this book to decide on the concepts, colours and dogs, and how they'd all fit together. "So she has been very integral in making Cone of Shame what it is," adds Winnie. "We are now friends and it has been wonderful working with her for so many years. She has the perfect blend of being a lovely human and extremely talented artist."

At its core, Winnie wants the book to bring joy to people. "The dedication for the book is to my former dog Tartine, and if you read the intro, it's about Tartine's passing and how difficult that was. It's about transformation and taking that difficult moment in my life and turning it into something better and happier. I also want people to know that there are so many dogs out there who need funds for medical needs, and that by purchasing Cone of Shame, we can all help raise more money for these pups in need."

From doodling characters to illustrating for global brands, Alyah Holmes shares her colourful journey in the world of illustration.

Illustration may be an increasingly competitive field, but Alyah Holmes has succeeded in standing out. The American-Canadian illustrator and designer has managed to carve a niche for herself thanks to her vibrant, playful style, which has won her work with clients ranging from Nike and Coca-Cola to Penguin Random House and The Ellen Degeneres Show.

Represented by IllustrationX, Alyah has also been recognised by a number of awards bodies, most recently being shortlisted for both the 2024 World Illustration Awards and Communication Arts awards. We chatted to Alyah about her love of drawing, her creative journey to date, and her plans for the future.

Childhood passion

Alyah's distinctive style, characterised by bright colours and character-driven illustrations, has deep roots in her childhood interests.

"I've always definitely been attracted to bright, vibrant colours," she explains. "That's the kind of artwork that stands out to me. I do a lot of character work, and that definitely comes from being obsessed with Archie comics when I was younger. I also just liked reading about people and seeing people. And I started doodling a lot, which was always people, mostly women. So I think it all came naturally."

In other words, she always knew that drawing or illustration art was her thing. "I took art classes for Christmas and birthdays," she recalls. "My family would always ask me to do paintings for them. I was always gifted things like sketchbooks. It was definitely always my passion." But transitioning from a hobby to something you get paid for wasn't so clear-cut.

"In high school, we didn't learn about the creative avenues you can take," she explains. "And the city I grew up in was pretty small. We didn't have any creative university or college programs that really matched what I wanted to do. So it wasn't until years later that I ended up finding a program, moving away and actually pursuing it."

The joy of creation

Her persistence has paid off, though, and today her work spans various media, including editorial, commercial, advertising, packaging, branding and publishing projects.

And her enthusiasm for this work is palpable. "I can create worlds and create people, which is what I love," she says. "Like when I was younger, I used to sit there and doodle and draw people, make up their personalities and what their name would be. And now I get to do that for a career."

And it's a career that works well for the self-declared introvert. "I love that I can work from home and feel cosy and safe in my office, just drawing," she notes. "And one project is not usually exactly like the other, so it's very exciting. You get to bring stories and ideas to life. It's great to just also see your work out there in the real world as well."

Looking ahead

As she continues to build her impressive portfolio, Holmes remains focused on consistency and growth. Her future goals include maintaining a strong social media presence, although she recognises that when it comes to commissions, this is a pretty hit and miss affair.

"Honestly, you could be posting every single day and drawing every single day and maybe you're not getting as many clients as someone who has tons of followers," she says. "So it's definitely not a reflection on your work. It's more about just being continuous and posting work out there. And the more you post, you just never know who's going to come across it. You know, one person sharing your work can lead to your next big client."

With her unique style and growing list of clients, Alyah Holmes is clearly an illustrator to watch. And her journey serves as an inspiration to aspiring artists, showing that with passion and perseverance, it's possible to turn a love for drawing into a thriving career.

As the leaves change colour and the air turns crisp, many creatives find themselves grappling with a series of challenges in their professional lives. From lack of work to seasonal blues, here's how to navigate the hurdles of the autumn season.

The creative industry is ever-evolving, and with each season comes a new set of challenges. This autumn, artists, designers and other creative professionals are facing a myriad of issues, from the lingering effects of a slow summer to the looming pressures of the holiday season.

In a recent discussion on Threads, members of the Creative Boom community shared some pressing problems that we're hearing from more and more of you these days. So, we thought it might be useful to address them in an article to help you not just survive but thrive in the coming months.

So whether you're a seasoned professional or just starting out, we'll offer some advice on coping with these common creative problems as the days get shorter.

1. The post-summer slump

As the days grow shorter and daylight hours decrease, many creatives struggle with mood changes and a lack of inspiration. This is often linked to Seasonal Affective Disorder (SAD), but it can also just be a natural reaction to less going on and fewer opportunities to go out and socialise with people.

Illustrator and designer Isaac LeFever shares this concern. "Not looking forward to the long dark nightmare of fall/winter here in the Netherlands," he says. "Hoping I can keep my momentum for personal projects going strong through it. That can be a challenge; I feel like it can sap a lot of my energy."

Recognising a problem is the first step to solving it. So, September is a good time to be proactive about the changing of the seasons.

Establish a routine that maximises your exposure to natural light during the day. Make more of an effort to arrange meetups with friends and colleagues. Combat the effects of shorter days by creating a bright, inspiring workspace. Invest in good lighting, including light therapy lamps designed to mimic natural sunlight.

To maintain creative momentum, set realistic goals for personal projects and break them into smaller, manageable tasks. Consider collaborating with other creatives on projects to stay motivated and accountable. Create a cosy, inspiring environment for work, perhaps with seasonal elements you enjoy.

Finally, if you have more time on your own, use this time for introspection and exploration of new ideas or techniques you didn't have time for during busier seasons. Remember, sometimes the best inspiration comes from pushing through periods of low energy or motivation.

2. Market saturation and fierce competition

This autumn, one of the biggest concerns among creatives is the increasingly saturated market and the resulting intense competition for jobs and clients.

Graphic designer and illustrator Emma Rodriguez expresses this frustration: "The job market in the creative industry is so competitive. Hiring companies are ghosting you and asking for unpaid design tasks in the interview stages, then not even responding to you after. There are a lot of scam jobs, especially on Threads and LinkedIn, because people know how desperate designers are for work these days, so they target a vulnerable group of people."

We share these frustrations, and it's important to be cautious of potential scams or exploitative practices. First and foremost, that means setting clear boundaries about unpaid work. If something feels exploitative, it probably is, even if it's coming from a reputable company; sadly, this kind of thing is all too common nowadays. So the only option is to Just Say No.

That in itself doesn't answer Emma's concern about difficulties finding work. The main thing we'd say to that is that there are plenty of clients out there who are also finding it difficult to hire good people! So it's really about making yourself as visible as possible to them.

To stand out in a crowded market, develop a unique style or niche that sets you apart. Invest time in building a strong personal brand and online presence. Network actively within your industry and seek collaborations with other creatives to expand your reach and skillset. Then, find a way of communicating your value confidently to potential clients. For more detailed advice, see our article on how to thrive as a freelancer.

Alternatively, you could consider diversifying your income streams by exploring different types of creative work or teaching your skills to others. Above all, remember that your unique perspective and experience are valuable assets that can't be replicated.

3. Stressing about Christmas

The approach of the Christmas season brings both opportunities and stress for many creatives, especially those in retail or product-based businesses. Self-proclaimed 'Queen of Sequins' Kate G. William expresses this dual nature. "I am pinning a lot to Christmas this year, and it is stressing me out," she shares. "For anyone who wants to shop small, please do so. We are giving more than ever, and I promise you we are not overpriced."

There's nothing wrong with focusing your sales strategy on Christmas, but there is a danger in putting all your eggs in one basket. Remember, there are many other occasions when people might be looking for gifts. We live in a multicultural society, so do you have a strategy for maximising sales around Diwali, Eid, Hanukkah, Kwanzaa…? Not to mention Halloween, Thanksgiving, Valentine's, Easter, school prom season and many more.

Finding ways to present your products as potential gifts for such occasions, as well as year-round events like weddings and baby showers, can be a lot of work and a bit of a gamble. But the rewards can be potentially huge if you go about it in the right way.

And what of December itself? As collage, print and surface designer Megan Fatharly says: "I'm tackling wholesale for Christmas! But I'm exhausted!"

We'd say the main way to avoid stress is to start planning early. Analyse your performance from previous years to inform your strategy. Develop a clear production schedule and set realistic goals for the season. To make it all worthwhile (i.e., make a lot of profit), consider creating Yuletide-specific products or services that can command higher prices due to their seasonal nature.

Implement systems to streamline your work process, such as pre-scheduling social media posts or setting up email automation for customer inquiries. Don't be afraid to raise your prices if necessary to reflect the additional work and stress of the season.

Above all, remember to pace yourself. Consider hiring temporary help or collaborating with other creatives to share the workload. Most importantly, schedule time for self-care and relaxation to avoid burnout during this busy period.

4. Changing social media landscapes

One of the biggest issues creatives are struggling with this autumn is changes to social media algorithms. Specifically, the shift in how these platforms operate is affecting our ability to reach our audiences.

Abstract artist Jan Skácelík expresses this frustration, citing: "Instagram and their horrendous algorithm selectively completely limiting or boosting reach on different accounts, without any real reason. This is the main issue for many artists and designers I know, who've spent years building their presence and business on Instagram but are no longer seen."

While it's tempting to dwell on the unfairness of it all, it's more productive to adapt your strategy. That means diversifying your online presence across multiple platforms to reduce dependence on any single one. It also means exploring emerging platforms that might be a better fit for your work.

Focus on building direct connections with your audience through email lists, personal websites, or community-building platforms. Create content that encourages engagement and sharing, as this tends to be favoured by algorithms. Consider using paid promotions strategically to boost important posts or launches. For more tips, read our article Instagram is dead to us... so what's next for creatives?.

As Isaac advises, "The sooner people get over this and stop stewing about it, the better. These platforms are shifting, and so is the behaviour of their users. It's probably not going to go back to the way we'd like it. It's time to move on."

5. Feeling you're in the wrong career

The changing of the seasons helps to focus our minds on the future. Right now, many creatives find themselves at a crossroads in their careers, considering shifts in direction or questioning their current path.

Donna Sarah shares her dilemma: "I've been working as an illustrator for nine years now," she explains. "But I've yet to get to where I want to be with it, and it's beginning to feel like a bit of a struggle. Now, I'm considering changing routes, but I'm not really qualified for anything else. For example, I've been looking at design jobs because that's my degree, but my drawing-based experience means I'm not getting a look in."

If you're considering a career pivot like Donna, start by assessing your transferable skills. Many creative skills are highly valuable in various industries. Look for opportunities to blend your current expertise with new areas of interest. Consider taking online courses or workshops to fill skill gaps and make yourself more marketable in your desired field.

Just as important is networking within the industry you're interested in transitioning to. Attend events, join professional groups, and reach out to people for informational interviews. You'll soon get a feel for whether you can succeed in your pivot and how best to do it. Also, consider freelancing or taking on small projects in your new area of interest to build experience and connections.

Remember that you're not just starting from scratch. Your unique background can be a real asset, offering potential employers or clients fresh perspectives. So, frame your experience in terms of how it can benefit your new career direction.

Above all, be patient with yourself during this transition and celebrate small victories along the way. For more on this, see our article How to change careers.

6. Dealing with self-doubt

As the nights get darker, our thoughts sometimes get darker, too. For many, that means struggling with feelings of inadequacy and self-doubt, questioning their abilities and worth in a competitive industry.

Designer Saba Saiyed articulates this common feeling: "Am I good enough? I always see others work better than me. It has been a common theme among creatives more than any other industry! The imposter syndrome is very real!"

To combat imposter syndrome, recognise that these feelings are common and don't reflect your true abilities. Keep a record of your achievements, positive feedback, and growth over time to refer to when self-doubt creeps in.

Avoid comparing yourself to others, especially on social media, where people tend to share only their best work. Instead, focus on your own growth and progress. Set realistic goals and celebrate when you achieve them, no matter how small.

Seek out a supportive community of fellow creatives. Sharing your struggles with others can help you realise you're not alone and can provide valuable perspective and encouragement. Remember that creativity is subjective, and your unique voice and perspective are valuable. Embrace continuous learning and see challenges as opportunities for growth rather than indicators of inadequacy.

For more on this, read our article Three easy tricks to help you beat imposter syndrome.

Everyone's favourite furry recycling creatures are set to return to our television sets with a new identity and an extensive bank of assets.

The much-loved children's TV show The Wombles is back on our TV screens with a refreshed identity, as well as a full character and illustration toolkit, by London and LA-based studio How&How.

The furry characters have returned over 50 years after the first episode aired in 1973 with a renewed sense of purpose: to champion sustainability, a love of nature and the importance of community more than ever before.

For those who aren't familiar with The Wombles, they are creatures that live underground, collecting and recycling human rubbish and, since its initial run on the BBC between 1973-75, it has been repeated many times by the likes of Cinar Films (1998), Channel 5 (2015), and most recently Altitude Television.

When The Wombles team started to think about getting a new look and feel, they reached out to How&How, which has experience working with clean-tech and sustainably-focused brands.

"We actually couldn't believe it at first. It was surreal…in a good way!" says the studio's founder, CEO and executive creative director, Cat How. Excitement rippled throughout the How&How slack channel at the prospect of working with such a cherished brand, and the added sustainability angle made it even more appealing.

How playfully refers to The Wombles as "the UK's original environmentalists" and was glad to hear that the Wombles team wanted to "refocus the narrative once again around this core truth of the characters". Since The Wombles have stayed true to their resourceful, sustainable roots since the beginning, the project was all about resurfacing their story of turning trash into treasure and leveraging it in a contemporary way.

With the show celebrating 50 years of being on screen, it was the perfect time to consolidate everything under a refreshed brand identity.

As there was so much source material spanning several decades, How says one of the biggest challenges was "trying to distil something which felt truly 'Wombly' through a contemporary lens, but which still felt true to the original brand from the 70s". Like many creative challenges, it was tough but rewarding, particularly when working on the characters themselves, according to How.

She explains how the design process involved "working out whether it was the 'droop' or a nose, the texture of the fur or the way the mouth was placed", which felt "truly Womble, but still new". The new Wombles identity features recognisable icons, patterned pictograms and illustrations derived from a vast bank of source material that How&How scanned and documented at Wombles HQ. How says: "This provided a rich base for our collage patterns, as well as helping us work out the themes which emerged most often to determine what was truly 'Womble'."

How&How also developed a mascot icon with Brooklyn-based animation and illustration designer Remi Sorbet in three levels of fidelity for merchandise tags, as well as an extensive illustration toolkit for each of the characters. This included props, fabric designs and specific colour palettes for each Womble.

How describes how these elements came together in "a rich, eclectic tapestry across the brand".

Like the visual identity, The Wombles brand already had a collection of well-known taglines and existing catchphrases, which the studio repurposed for the new identity.

"I loved how the creation of this rebrand in many ways mimicked the cut-and-paste nature of how the Wombles approach old content and find 'treasure'. Where they reclaim, polish, and patch it up into something new," says How.

The new Oasis tour is expected to make half a billion dollars. What lessons can we learn from this incredible marketing success?

The recent announcement of an Oasis reunion has sent shockwaves through the music world and ignited a frenzy of excitement amongst many who grew up in the '90s. This cultural earthquake serves as a powerful reminder that some bands, and indeed brands, never lose their grip on the public consciousness.

But what is it about the Gallagher brothers, along with their '90s pop counterparts, the Spice Girls, that continues to draw such attention… while many of their contemporaries fade into obscurity?

More specifically, why are Oasis expected to generate a cool half a billion dollars from their upcoming tour, while others – who sold similar numbers of records in their time – are struggling to earn a wage from group revival tours and the smaller stages at festivals?

According to the experts at Landor – the design agency behind such iconic projects as the FedEx logo – the answer lies in the enduring power of a strong brand.

The intangible essence of brand strength

Let's start by reminding ourselves what a brand actually is.

It's not just the product itself, although that's obviously important. It's not just the packaging, the logo, the advertising. It's essentially about how all that adds up together and produces something pretty indefinable… but instantly recognisable.

So when someone says "Coke", "McDonalds", "Tiffany", or "Apple", for example, you immediately get a sense of what that brand means to you.

And so it is with certain bands. From Bob Marley to KISS, the Sex Pistols to Elton John, their very names evoke an emotional reaction.

Witness the continued popularity of band T-shirts at mass-market stores like Primark. They are often bought and worn by youngsters who couldn't name a single one of their songs but have somehow absorbed their brand appeal through osmosis.

Cultural importance

"For fans, a lot of a band's appeal is intangible," explains Matthew Kissane, global executive director at Landor. "It's the memory of how those acts made people feel, the era that they encapsulated. The music and the visuals are important, of course – they're the core product. But what makes the difference between any other song or artist and these bands is the cultural and emotional context that surrounded them."

Oasis, with their anthemic tunes and fierce brotherly rivalry, didn't just create music; they captured and reflected the zeitgeist of an era, from Britpop to lads mags, 'Cool Britannia' to the reinvention of British football. In short, for people of a certain age, Oasis weren't from the '90s. In some way, they were the '90s.

It's this emotional connection that forms the bedrock of brand loyalty that spans decades. And the new reunion taps into that wellspring of nostalgia, offering fans a chance to relive the heady days of their youth.

However, other elements of what you might call Oasis's "brand mix" have also played an important part.

The power of design assets

"When we talk about brand assets, both Oasis and the Spice Girls had stronger, more singular assets – whether visual, verbal, sonic or motion," believes Matthew. "From how they looked to how they sounded, to how those assets showed up in the world – you'd see them, hear them, and know it was them."

And that's vital, he argues. "Design assets are mimetic," he points out. "They allow brands to move through culture across different media. You see the Oasis logo or the iconic SPICE letters and you know who it's talking about, what they sound like, what they represented."

Three decades later, these visual and sonic cues continue to serve as mnemonic devices, instantly evoking not just the music but the entire ethos of the band. "They're not the only thing that ensures longevity," says Matthew. "But they help provide a multi-sensorial shorthand that reinforces the brand's presence in the collective memory."

Personalities as brand pillars

A brand also needs to have a personality. With some pop groups, it's all about the music, and the musicians tend to vanish into the distance. In the case of Oasis and the Spice Girls, though, it's always been the opposite. The distinct characters within each band play an important role in shaping their overall image and appeal.

"A big part of what made both bands cultural phenomena was their respective philosophies – and those philosophies were encapsulated in the personalities of the band members," Matthew notes. "Liam Gallagher was the quintessential '90s lad; Geri Halliwell was '90s 'Girl Power'. What makes these acts more memorable than their contemporaries is that they stood for something."

This embodiment of cultural philosophies through the band members' personas creates a deeper connection with fans, fostering loyalty that extends far beyond the music itself.

The tumultuous relationship between the Gallagher brothers, for instance, has been a defining aspect of Oasis's legacy. It adds a dramatic element to their story that has kept fans and the media fascinated for decades.

We're not sure how happy people who've paid £300+ a ticket will be if Liam storms off stage 10 minutes into the gig. But if that does happen, no one can really complain they weren't warned...

The role of nostalgia

The role of nostalgia in maintaining the relevance of legacy brands like Oasis and the Spice Girls obviously cannot be overstated. Matthew describes it as "hugely important", noting that both bands "encapsulate a moment – one which, today, probably seems a lot more innocent and easy to understand. They both arrived at the peak of modern British optimism, something which has been in short supply for years."

This longing for a perceived simpler time creates a powerful emotional pull. "And factor in that their core fanbase is now hitting or north of 40, starting to look back on their youth fondly – with a sense of yearning for an era of opportunity and easier choices," Matthew observes.

Nostalgia doesn't just happen by itself, though. There are plenty of bands and songs we've completely forgotten about because we simply haven't heard them since they first charted. Music needs to be continually resurfaced, and in today's digital landscape, social media plays a crucial role.

How music resurfaces in 2024

Platforms like TikTok have proven particularly powerful in resurfacing older music and giving it new relevance. "What's been fascinating about TikTok is how it's revived old music and icons unexpectedly," Matthew notes. "From Kate Bush to Mariah Carey, it resurfaces content – sometimes hits, sometimes flops – from years gone by and gives them relevance again."

That said, for bands like Oasis and the Spice Girls, their enduring appeal goes beyond social media trends. "There's also a sense of handing-down or transferral from parents to their kids – just like the generation prior passed down ABBA to their children."

The rise of streaming has also significantly impacted how so-called 'legacy bands' maintain their brand dynamics in 2024. By making catalogues more discoverable, streaming algorithms and playlisting policies are shaping how these brands endure musically.

For example, the most popular streams from legacy artists aren't necessarily what you'd expect from their original record sales. As Matthew points out: "One of Oasis's biggest hits, their 1997 UK number one D'Ya Know What I Mean, is almost nowhere in their top streaming list."

The scarcity principle

While reunions and comebacks can reinvigorate a band's brand, they also carry risks. The concept of exclusivity plays a pivotal role in maintaining the appeal of legacy acts.

Matthew points out that scarcity can enhance value. And that's why reunions and comebacks don't happen often. "You saw this from ABBA – their refusal to do anything together for years allowed for their legacy to be protected. We only got to celebrate the very pinnacle of their work; we never had to face long years of diminishing returns."

This scarcity principle creates a sense of anticipation and heightens the brand's perceived value. "So people come to miss them. They value them more because content or presence is scarce. So when they come back together – finally – it feels truly exciting."

This explains why the Oasis reunion has generated such frenzied headlines: it's been such a long time coming. The reason for this may be more about Liam and Noel's rocky relationship than a carefully planned strategy, but it's worked well for them all the same.

That said, the execution of a comeback is important too. "Whilst the feelings this reunion stirs up will deliver monetary value, the way that Oasis land it also matters," says Matthew. "The fan uproar provoked by Ticketmaster's dynamic pricing has created a media storm. By the time the concerts roll around, the upset will probably have faded into the rearview. But it's been an unfortunate misstep in what could have been a flawless return to relevance."

Lessons for modern brands

The branding strategies employed by these iconic bands offer valuable lessons for modern brands across industries, adds Matthew.

"The iconic design assets that these brands used to imprint and transmit themselves through culture are no different to the Coca-Colas and Apples of the world," he explains. "You see them, you hear them, and you know. The Spice Girls, in particular, was the first pop group to put branding at the heart of their strategy – effortlessly transposing their image onto all kinds of other goods and merchandise."

For marketers and brand strategists looking to create enduring brands, Matthew offers this advice: "Think about all of your design assets: visual, verbal, sonic and motion. Having assets that can move through culture and across different media – just as we saw with Charli XCX's Brat this summer – is hugely potent."

The sonic dimension

While we're talking about music, of course, we can't ignore the importance of sound in creating a lasting brand impact. Karolina Namyslowski is the creative director and global head of creative at amp, Landor's sonic branding specialists. She notes: "Oasis's sound has attitude and personality. It is the sound of hedonistic, pissed-off Britain."

This distinctive sonic identity contributes significantly to the band's enduring appeal. As such, it offers lessons for brands today beyond the music industry.

"We live in a world where a lot of brands choose conformity over braveness and character when it comes to their sound," Namyslowski argues. "There are many missed opportunities when it comes to contributing to a holistic and unique brand expression. Today's customers are looking for originality and iconicity in a brand's sound that can help them navigate through the sea of sameness."

Her solution? "A distinct sound connects bands, and brands, with their audiences on a deep emotional level," she points out. "This is what creates loyalty that will make you queue for a ticket for 12 hours straight."

Conclusion

The hysteria surrounding the Oasis reunion serves as a powerful reminder of the lasting impact of strong branding in the music industry and beyond. Through a combination of iconic design assets, distinctive sounds, clear messaging, and unforgettable personalities, bands like Oasis and the Spice Girls have created brands that stand the test of time.

For graphic designers, marketers, and brand strategists, the lessons from these enduring musical acts are clear: create multi-sensory brand experiences, tap into emotional connections, and develop assets that can evolve with culture while remaining true to the core identity.

By doing so, brands can aspire to achieve the kind of lasting cultural relevance that keeps audiences coming back for more, even decades after their initial impact.

From the valleys of Kashmir to the studios of Florida, Ghazal Qadri crafts vibrant illustrations that tell stories of culture, empathy, and the power of art to inspire change.

Both an illustrator and graphic designer, Ghazal Qadri has relocated from a picturesque valley in Kashmir, northwest India, to the sunshine state of Florida. There, she creates whimsical characters and settings for children's books and comics using a mix of imagination and keen observation.

"I love diving into my daily experiences and indulging in people-watching – a quirky habit that my partner finds amusing but which sparks endless creative ideas for me," says illustrator Ghazal Qadri. "Watching people's interactions and expressions helps me craft characters as lively and multi-dimensional as they are relatable."

Using a vector-based graphic style on more commercial projects, when the opportunity arises to create children's books and comics, Ghazal moves towards a freer form of work, which is colourful, playful and a little rougher around the edges. Everywhere she goes, she sketches in Procreate and jots ideas in her notebook that may later come to life in a story she's working on.

Birds are another passion of Ghazal's – as they chirp and flutter, she sees a tiny personality expressed through their movement. "Just like each bird has its own flair, I strive to give my characters and worlds a distinctive charm that makes them truly special," she adds.

One of her most meaningful projects was undertaken for UNICEF. The brief was to create a comic for Kashmiri children – girls in particular – who don't have access to mobile phones. To research the piece, Ghazal worked with children and listened to their stories firsthand, discovering their struggles and aspirations, but also their creativity. Some of their artwork was incorporated into the final artwork.

"It's a project that taught me the importance of empathy in design and how art can be a tool for advocacy and change. Creating something so personal and significant for my community was incredibly fulfilling," she says.

On a more light-hearted note, Ghazal has created greeting cards for Gifts of Love, enjoying the opportunity to celebrate festive occasions while incorporating hand-drawn lettering into each artwork. The colours give the artwork its energy.

Collaborating with the author EK McCoy and Atmosphere Press, Ghazal had fun anthropomorphising animal characters in a story about a squirrel that embraces how its white fur makes it stand out from the rest. The artwork brings something different by using photography for some of its backgrounds.

"From the moment I read the story, I knew it was something special – filled with heart and meaning. When it came to the illustrations, I wanted to create something that felt just as unique as Allie's story. That's when I decided on an illustration-over-images style. It was a choice that felt fresh and new, bringing a distinct visual depth to the book. Both the author and I loved how this approach turned out; it really captured the essence of Allie's journey," says Ghazal.

Then there are her Kath Baath playing cards - a personal project introducing people to Kashmiri culture, stories, and artistic traditions. The inspiration came from the traditional paper mâché patterns, part of Kashmir's rich arts and crafts heritage. 'Kath Baath' means conversation; the cards represent a way of starting conversations between cultures.

In future, Ghazal would love to collaborate with like-minded clients and non-profits to continue working on meaningful projects, although sometimes it proves challenging. At the time of writing, she's working on a graphic novel for Little Bee Books, due out in 2025.

If you're looking for inspiration fuelled by bright colours with swirls of surrealism and sprinkles of absurdity, then illustrator Andrey Kasay's latest exhibition to hit London is worth a slot in your diary.

How did the baguette become a giraffe? We're not sure there's an answer, but if there is, it might involve a giant pink carp, a water dispenser and an armchair balanced on a sombrero – all elements from a new collection of works by Andrey Kasay showing at the Pocko Gallery in London from 5 September to 11 October 2024.

Of course, you're not obliged to take Andrey's work literally. Interpreting his work is like playing a game – one where you're free to make your own associations between the unusual items he includes in the pictures, both individually and as a collection.

"The idea has been in my head for a while," says Andrey. "Well, not exactly an idea, more a phrase that I liked: comedy versus tragedy. So, the selection of images at the exhibition is based on these themes. The name itself, How the Baguette Became a Giraffe, is just a funny title I stole from the title of a song by a punk band I listened to as a child."

Represented by the creative agency Pocko, Andrey is originally from the far eastern part of Russia, on the Amur River. He first became an artist 18 years ago when he was a musician and needed a little extra money to get by. He reverted to the drawing skills he'd developed as a child and today creates his strange, psychedelic, satirical pieces for clients such as Nike, Gucci, Red Bull and The New Yorker.

"For me, the three most important things about my work are: it should be funny, beautiful, and surprising in some way," says Andrey. "So basically, I just draw as I can – there's no specific method. Sometimes I start with an idea, and sometimes I just begin, and the idea comes to me during the process."

Animation has been added to his skillset, and if a racoon can be used as a scrubbing sponge or armchairs can absorb anyone who sits in them, then that's what will happen in Andrey's Magritte-esque universe. In future, he'd like to create longer forms of animation. "I'm probably the most unplanned person in the world, but I'd love to make a cartoon – that's my big goal," says Andrey.

In the meantime, you can appreciate his work until 11 October at the Pocko Gallery, 51A King Henrys Walk, London, N1 4NH. Andrey has previously exhibited at Pictoplasma and Supernova.

Web3 isn't so much a technology than a cause to rally around. And so Fold7Design's designs for [REDACTED], a new Web3 movement and IRL event, are a real call to arms.

Fancy a trip to Thailand? Then, if you're involved in digital design, there's a great excuse to visit. [REDACTED] is bringing together visionaries, builders and pioneers from across the AI and Web3 community in Bangkok. The aim is to shape a future where technology belongs to users, not centralised in the monopoly of Big Tech.

If that all sounds like gobbledegook to you, then let us explain. Web3 is, broadly speaking, a vision for the next evolution of the internet, emphasising decentralisation and user empowerment.

The main point of Web3 is to shift control away from large tech companies towards individual users, utilising technologies like blockchain (which powers things like Bitcoin) to create a more transparent and secure online environment.

What is [REDACTED]?

Those are the fundamentals, but bear in mind that Web3 isn't really something you can define yet: it's still very much in development and faces many challenges in terms of technical development, social acceptance, and government regulation.

That's where [REDACTED] comes in. The event will upskill AI knowledge through essential workshops and deep-dive discussions led by the teams defining the intersection of AI x Web3. Over 1,000 developers, founders, researchers, and leaders will also build tools and groundbreaking dApps together at a hybrid Hackathon that kicks off in September and culminates in an Awards Ceremony in November.

To brand the event, they turned to brand design studio Fold7Design.

Visual identity

The studio aimed to create an immersive and irreverent identity system for [REDACTED] that could grab attention, rally the community and flex to the more positive, empowering spirit of the IRL event itself.

Tom Munckton, creative director at Fold7Design, explains the thinking behind the designs. "The [REDACTED] brand idea creates a core visual language from individual graphic 'blocks'," he explains. "This is symbolic of the individual and disparate nature of the Web3 communities. They form together in a multitude of ways to demonstrate the collective power of bringing communities within Web3 together."

As well as the logo itself, the blocks inform everything across logo expressions, typography, iconography, and photographic treatments across an array of digital assets to merch and the physical experience at the event itself.

The overall visual and verbal attitude of the brand identity aims to harness the spirit of activism combined with a dark-mode low-fi quality to appeal to Web3's developer base. It sees shifting, glitching graphics and monospace type scrambles met with oblique provocative messaging.

Tom considers this approach timely. "Right now, big tech has gotten a seat at the table to regulate AI and further centralise the world's most powerful technology," he explains.

"[REDACTED] captures the moment and rallies that Web3 communities most importantly need to combine forces and play as a team to fight against archaic infrastructure and closed-source conglomerates. It's been our honour to create an identity built entirely to inspire the people at the heart of this movement."

David Morrison, [REDACTED] 's head of creative, says of the collaboration: "Fold7Design? It's more like Fold360°Design because that's the type of view they take when developing brand identity. The creativity around [REDACTED], our flagship event for which Fold7Design has joined us, has been top-tier."