PRINT readers are lovers of type. So, it’s only natural that the 2024 PRINT Awards reflected that love in the Type Design category. Extraordinary type was also represented across categories such as Illustration, Design for Social Impact, Annual Reports, Book Design, Logos, and Concept Work.
Annual Reports
First Place
SPH This Year 2023
Susan Prentiss – Boston University Creative Services
USA
Boston University School of Public Health (BUSPH) is preparing for its 50th anniversary in 2026 by releasing a series of annual report-type publications over the next four years. The theme of the 2023 issue is “Our People,” focusing on individuals who have significantly contributed to BUSPH’s legacy. The design aims to create a visual narrative that connects with the audience, featuring stories of these key figures. Inspired by the Beatles’ ampersand typographic pattern, the cover design exudes celebration and vibrancy, using copper foil to draw attention and highlight the names of current faculty and staff. The accompanying duster includes portraits of faculty and staff, setting the tone for this special edition.
Additional credits: Illustrator, Diego Kuffer; Maureen Moran, Rhonda Mello, Rob Davison, Charles Alfier, Veronica Beaudoin, Pam Cooley, Josh Comas-Race. Printer, Kirkwood
Second Place
The Smithsonian Annual Report
Jason Mannix – Polygraph
USA
The Smithsonian Institution, comprising 21 museums and galleries, the National Zoological Park, and nine research centers, collaborated with Polygraph for its 2022 annual report. This report highlights 38 individuals driving the organization forward, creating a cohesive narrative that spans various disciplines. Structured sections group people under common titles, using photographic and illustrative portraiture to add energy and diversity. Short sheets within the editorial grid introduce a playful texture and rhythm, resulting in a richly woven portrait that showcases the Smithsonian’s cultural and scientific innovation.
Additional credits: Lindsay Mannix, Gavin Wade, Laura Hambleton, Elizabeth McNeely, and the entire team at the Smithsonian Office of Advancement. Photography, Stephen Voss, Schaun Champion, Mike Morgan, Paul Chinnery
Third Place
The future is Nuclear, Bruce Power Annual Review and Energy Report
Erin Grandmaison – Bruce Power
USA
The 2023 Bruce Power Annual Review and Energy Report showcases the achievements and partnerships of the past year, emphasizing the pathway to a clean energy future. The Creative Strategy team incorporated a graphical line throughout the design to symbolize various paths, such as journeys, electrical circuits, and future directions. The design features bold text and colors paired with delicate elements like thin lines and icons, creating a dynamic visual contrast. A vibrant electric yellow, an enhanced version of their safety yellow, was used to evoke a futuristic and energetic feel. Documentary-style photography highlights people and the natural environment, with intentional yellow and blue accents to signify safety, light, and innovation. Additionally, the data visualizations were redesigned to improve comprehension and complement the report’s narrative.
Additional credits: Designer, Jessica Hillis; Communications/Writing, Tim McKay, Kate Bagshaw, Megan Adams; Web Development, Jen Johannesen. Photography, Francis Lodaza and Riley Snelling. Printer, Flash Reproductions
Student Honorees – Annual Reports
First Place – Victims First Annual Report by Aurora Schaefer, University of North Texas, USA
Books—Covers, Jackets
First Place
Opinions
Robin Bilardello – Harper
USA
The book jacket design for Opinions by Roxane Gay, created by Robin Bilardello, follows the impactful designs of Gay’s previous works, Bad Feminist and Hunger. Opinions is a collection of Gay’s best nonfiction pieces from the past decade, covering a wide range of topics including politics, feminism, culture wars, civil rights, and more. The anthology includes a new introduction where Gay reflects on the past ten years in America. Known for her role as a New York Times opinion contributor and “Work Friend” columnist, Gay addresses both societal issues and personal dilemmas with her wise and insightful voice. This thought-provoking collection is set to engage her existing fans and attract new readers.
Additional credits: Hand-drawn Type and Author Illustration, Robin Bilardello. Printer, Phoenix
Second Place
Evil Eye
Milan Bozic – Harper
USA
In her new novel, Etaf Rum explores the expectations placed on Palestinian-American women and the impact of unresolved family history. After protagonist Yara faces workplace trouble, her mother attributes it to a family curse, prompting Yara to reflect on her strict upbringing in Brooklyn. Rum’s follow-up to A Woman Is No Man delves into intergenerational trauma and the struggle to break free from cycles of abuse.
Additional credits: Illustration and typography, Lauren Tamaki. Printer, Phoenix
Third Place
Feminist Designer: On the Personal and the Political in Design
Alison Place – University of Arkansas
USA
Feminist Designer, edited by Alison Place, delves into the intersection of design and feminist theory, moving beyond the traditional focus on women’s representation in the field. The book emphasizes collaborative processes that challenge power structures and center feminist perspectives. Designed as a feminist project, it features typefaces created by women, non-binary, or trans designers, bold typography on the cover reminiscent of protest chants, and purple hues symbolizing suffragette history and contemporary activism. Every contributor’s name is prominently displayed on the cover, reflecting the feminist principle of giving credit where it’s due.
Student Honorees – Books—Covers & Jackets
First Place – Zubaan by Ariana Gupta, School of Visual Arts, USA
Second Place – Speaking in Tongues by Yoon Seo Kim, School of Visual Arts, USA
Third Place – Artist Book by Jiawen Zhang, School of Visual Arts, USA
Books—Entire Package
First Place
Milton Glaser, POP
Mirko Ilic – Mirko Ilic Corp.
USA
Milton Glaser, POP contains well over 1100 visuals, covering Milton Glaser’s work from when he was a 12-year-old (1942) to 1975. The book contains many unknown or lesser-known and unpublished works of Milton. This includes some sketches and comps. The challenge was to design the book without distracting from Glaser’s work.
Second Place
Type Something For Me
Joyce Shi – G Axis Press
USA
Type Something For Me documents an interest in typography through three distinct perspectives: type as enigma, type as a way of seeing, and type as reflection. It is the capstone of a year-long exploration into what type can be, and is meant to serve as a starting point for further investigation. With articles such as “The Power of Design(ers)?” “Design as Commodity,” “On Art and Its Form in the Age of Mass Media,” and a number of others, Shi has crafted a volume that offers multiple points of entry for those interested in thinking more deeply about typography and its effects.
Third Place
Alucinação
Felipe Goes – Felipe Goes Designer
Abu Dhabi
This work, curated and edited by Rodrigo Marques from a poem by Samuel Maciel Martins, captures the everyday lives of young, black individuals on the outskirts of Brazil with dense and precise language. Born in Quixeramobim, Martins introduces a persona striving to preserve personal and ancestral memories through a daring artistic consciousness, offering profoundly resonant poems. The book’s black-only print and simple visual design emphasize a rhythm based on mathematical relationships, with stitching as a graphical element. The dust jacket features a poster with simple shapes and vibrant screen-printed colors, contrasting the book’s minimalism. This project, focusing on visual aesthetics and meticulous detail, embodies imaginative fervor and hallucination,
Student Honorees – Books—Entire Package
First Place – Bento Memories by Shiyao Wo, China
Second Place – Dos Palmares by Maíra dos Palmares Santa, Brazil
Third Place – Six-Legged Book by Seo Jin Lee, School of Visual Arts, USA
Brochures & Catalogs
First Place
Naked Trails
Kyle Poff – Leo Burnett Chicago
USA
Granola is often seen as a commodity but Bear Naked aims to elevate its brand from functional to emotional through a campaign designed by Leo Burnett Chicago. Targeting hikers and outdoor enthusiasts, the campaign encourages thinking “Bear Naked” over “granola,” emphasizing the brand’s real ingredients and great taste. As attitudes towards nudity, mental health, and self-expression shift, the niche community of nude hikers has grown. However, despite being legal in National Parks, nude hiking faces challenges due to inconsistent enforcement. Bear Naked’s “Naked Trails,” powered by Gaia GPS, provides a safe, community-supported trail system for nude hikers. Launched on Naked Hiking Day 2023, the campaign partnered with Outside Inc. to produce custom content, video, and social engagement, promoting safe and confident exploration of nature. Additionally, they created a hiker’s belt to hold granola, ensuring hikers are always prepared.
Second Place
MCA NOW
Museum of Contemporary Art Chicago Design Studio
USA
With the international re-opening of museums, the Museum of Contemporary Art produced MCA NOW to amplify museum programming and exhibitions. Building awareness of the MCA to a broad audience, including families, art lovers, and tourists, this new series of collateral is designed as part of a brand refresh to be welcoming and encourage repeat visitation. This first issue, distributed in-person and mailed, transforms from a matte, bi-fold booklet into a 20 x20 inch glossy poster that lists the events and exhibitions of the season. The Creative Studio at the MCA centered full-color, inspirational imagery of both art and the community within the asset, using hits of neon pink from the updated brand palette to highlight museum information and event summaries.
Additional credits: Designer, Brian Hedrick; Director of Creative, Suraiya Nathani Hossain; Production Designer, Katie Williams; Creative Producer, Drew Colglazier; Director of Content Strategy, Kelsey Campbell-Dollaghan; Senior Editor, Tyler Laminack; Chief Communications and Content Officer, Laura Herrera
Third Place
I.a.Eyeworks Booklet
Becca Lofchie – Becca Lofchie Studio
USA
With more than 40 years of groundbreaking work in the realm of optical design, retail/wholesale development, and a frequently slippery, idiosyncratic brand identity, the parameters outlining this print project for l.a.Eyeworks asked for something gigantic in scope and condensed in presentation. The publication’s designer was tasked with serving multiple goals: to encapsulate l.a.Eyeworks’ enormous visual and material history into five “pillars” without becoming a dense and confining history/chronology; to create a document with multiple points of entry and enticing reveals from front to back (and back to front) for anyone unfamiliar with the brand; to make a training manual of sorts for opticians who sell l.a.Eyeworks glasses worldwide; to create a document alluring enough to find a place front of house in independent optical boutiques; to likewise craft a publication that would stand apart from glossy seasonal look books that crowd the optical field; to illuminate the brand’s affinity for artistic collaboration, passion for expressive color, and devotion to thought-provoking wordplay; and above all, to honor the pioneering eyewear designs and visual culture of l.a.Eyeworks.
Additional credits: Photography, Joshua Schaedel
Student Honorees – Brochures & Catalogs
First Place – FORM by Fiona Tran, Drexel University, USA
Concept Work
First Place
Orb Time Font (OTF)
Raven Mo
USA
This clock is called OTF, or Orb Time Font. Living on a tiny blue orb that is the Earth, time is what we all experience, and fonts are the shapes of our languages. Before Raven Mo started research in script and language representation in design, the designer had always thought that our creative industry works around what seems to be everyone’s norm. Design for English-speaking users is just called design, and Latin typography is mostly just typography. Though humans revolve around what is perceived as default, like clockwork, there is so much more beyond Latin and English. To that end, Orb Time Font gives users the choice to recenter the conversation, to people who are native to the language they speak.
Second Place
Hand Copying Meditation
Miki Kawamura
Germany
Miki Kawamura embarked on a year-long project to craft a unique alphabet influenced by Japanese Buddhist principles, fashioning each letter as if reciting a prayer. Inspired by the Japanese belief in perseverance and repetition fostering transformation, Kawamura sought to create a new visual realm by arranging basic elements into bubble-like structures, symbolizing adaptability and diverse meanings through different combinations. Initially resembling typical text posters, a closer look reveals the alphabet embedded within clusters of bubbles, with notable examples including ‘Fizzy’ and ‘The flow of the river is constant and it is not original water,’ achieved by printing the alphabet and spraying water droplets over them. The phrase ‘The flow of the river is constant and it is not original water’ embodies Buddhist concepts of impermanence and ongoing change, encapsulating Kawamura’s reflections throughout the project within the bubbles.
Third Place
Afar: Cultural Cards
Andy Vera
USA
“Afar” is a customized version of the popular two-player card game, Lost Cities, played by designer Andy Vera and his long-distance boyfriend. The project involves the creation of bespoke card decks that reflect their unique identities and shared journey, with a website documenting the design process. Inspired by their Indian and Mexican heritage, the decks feature thematic elements symbolizing unity and individuality, including a vibrant color palette inspired by Mexico City, Arabic horses representing Vera’s family history, and jaguars symbolizing strength and transformation in Mexican mythology. The face cards replace the traditional Jack with representations of the Queen, King, and “Joining,” signifying unity, while floral motifs from both cultures adorn the cards, with the lotus flower symbolizing divine perfection and unity in their relationship.
Additional credits: Printer, Make Playing Cards
Design for Social Impact
First Place
Foundry Field
Clinton Carlson – Clinton Carlson Design | University of Notre Dame
USA
Foundry Field in South Bend, Indiana, is poised to become one of the rare publicly accessible baseball fields in the urban core, representing a collaboration among various community stakeholders, including an adult recreational baseball league, neighborhood association, Boys & Girls Club, Civil Rights Heritage Center, public schools, and the city’s parks department. Named after the Foundry Giants, an all-Black baseball team from the 1920s, the field seeks to revive history by honoring underrepresented teams and narratives, including an all-black women’s team from the 1940s, a Potawatomi team from the early 1900s, and the pivotal role of South Bend in baseball’s integration in 1947. Featuring murals by underrepresented artists depicting these histories, Foundry Field aims to ignite conversations about race, representation, and accessibility, enhancing the space alongside a vintage baseball field, hand-operated scoreboard, public pavilion, and historical markers. Intended as a community gathering spot for intergenerational play, the project celebrates the strength, resilience, and innovation of historically underrepresented community members.
Additional credits: Creative Director: Clinton Carlson; Design: Clinton Carlson, Kiaya Jones, Neve Harrison, Kenny Garrett, Taylor Li, Catie Procyk, Jennifer Santana, Thomas “Detour” Evans, and, students from Boys & Girls Club and Riley High School; Producer: Clinton Carlson, Michael Hebbeler; Research: Katie Walden, Greg Bond, and Baseball and America students from the University of Notre Dame, Kevin Buccellato, Clinton Carlson, Michael Hebbeler, Matthew Insley, Sean Kennedy, Nick Mainieri; Copywriting: Clinton Carlson, Michael Hebbeler, Matthew Insley, Sean Kennedy, Nick Mainieri, Carrie Gates Jantzen
Second Place
One Small Step
I/D.W Studio
USA
A recent Pew Research Center poll highlighted widespread frustration among Americans regarding the tone of political discourse, particularly leading up to the 2024 election. In response, StoryCorps and I/D.W launched One Small Step, an initiative promoting unity by facilitating conversations between individuals with diverse political views. The initiative garnered significant media attention, including coverage on major platforms such as 60 Minutes and The Wall St. Journal, reaching millions of viewers and generating over 20 million paid media impressions in 2023. I/D.W’s design strategy prioritizes inclusivity, with a scalable design system tailored to each city to encourage widespread adoption and participation. Expanding into Washington DC, the initiative engaged 16 Congressional members from opposing parties, demonstrating its potential to bridge political divides.
Additional credits: Executive Creative Director, Leigh Okies; Creative Director, Sorenne Gotlieb; Design Director, Enrique Barrios; Executive Producer, Alex Ashton; Integrated Producer, Yesenia Lara; Strategist, Sarah Thorpe; Copywriter, David Begler; Photography, Drew Kelly; Motion DP, Andrew Birchett
Third Place
Curt Bloch and his Onderwater Cabaret
Thilo von Debschitz – Q
Germany
During the Nazi occupation of the Netherlands, Curt Bloch, a German Jew, evaded deportation and death by creating 96 magazines titled “Het Onderwater-Cabaret,” containing nearly 500 German and Dutch poems over three years. These circulated within the Enschede resistance network, reflecting Bloch’s emotions of fear, despair, and hope for freedom. Now, 80 years later, these magazines and poems are showcased on curtbloch.com, providing insight into Bloch’s courageous efforts. The website, developed with Bloch’s daughter Simone and supported by German Rotary Clubs, aims to educate about Nazi injustices in the face of contemporary nationalism and antisemitism. It features keyword lists, timelines, and trilingual content, with volunteers worldwide assisting in translating the poems and providing historical context on editorial pages.
Additional credits: Tim Siegert, Normen Beck, Markus Reweland, Mathias Schaab, Luella Döringer, Janic Bussat, Linda Eisenlohr
Student Honorees – Design for Social Impact
First Place – Elephant in the Room by Eason Yang, USA
Second Place – Phantom Limbs: Design Interventions and Site-specific Storytelling by Veronica Tsai, Art Center College of Design, USA
Third Place – Ace Week by Nicole Tocco, Savannah College of Art and Design, USA
Handlettering & Type Design
First Place
Handy Type
Rozi Zhu
USA
Handy Type revolutionizes type design by integrating interactive hand tracking data into its dynamic font creation process. Departing from traditional pre-designed typography, Handy Type enables anyone to craft personalized fonts from anywhere, at any time. With the use of artificial intelligence and machine learning techniques, a customized system was made for capturing hand-motion data, aiming to create a new approach to the type design, making both design process and using experience more playful and innovative.
Additional credits: Lead Designer / Creative Technologist, Rozi Zhu; Designer, Haocheng Zhang
Second Place
Life Less Scary Alphabet
Mitchell Goodrich – Dunn&Co.
USA
Grow Financial, a Federal Credit Union, launched the “Life Less Scary” campaign to address the financial anxieties experienced by millennials and Gen-Z. The campaign aimed to recognize and alleviate these fears by personifying financial products as friendly monsters. The design team collaborated with 3D artists to create an alphabet of “monster letters,” which were used in out-of-home placements to represent Grow’s core financial products in a playful yet relatable way. Inflatable versions of the monster letters were featured on billboards, while custom-made monster costumes appeared in various digital and social media platforms, emphasizing the message that financial products can be less intimidating with the help of Grow Financial.
Additional credits: Chief Creative Officer, Troy Dunn; Creative Director, Stephanie Morrison
Third Place
The Typography of a Genius Industry
Gaetano Grizzanti – Univisual
Italy
Fittype is a custom typeface designed for FITT, a prominent European group specializing in garden hose production and advanced fluid technologies. The font, utilized for the institutional logo, product names, and communication texts, reflects the flexibility associated with the company’s products. Fittype features slender and sinuous letters, with a unicase glyph-set that maintains rational proportions and a modular matrix, creating a clean texture reminiscent of an infrastructure network of pipes. It includes 464 glyphs, covering 42 Latin languages, and is available in three versions: desktop, web, and app.
Additional credits: Giancarlo Tosoni
Student Honorees – Handlettering & Type Design
First Place – Up in the Air Gonggi Typography by Jae Young Kim, Pratt Institute, USA
Second Place – Amunet Type by Xinyu Liu, School of Visual Arts, USA
Third Place – Bird Words by Jada Merritt, California Institute of the Arts, USA
Illustration
First Place
Metropolitan Transportation Authority Courtesy Campaign
Ricky Sethiadi – MTA Marketing
USA
The MTA’s “Courtesy Counts” campaign was designed to remind subway, bus, and railroad customers to be considerate of their fellow riders. The campaign seeks to nudge passengers toward better behavior by depicting everyday transit scenes with lively illustrations, witty taglines, and splashes of color. The MTA leveraged nearly 10,000 digital screens, printed posters, and its social media accounts to highlight over 35 unique illustrations covering each mode of transportation, winning positive local media coverage. As more people return to public transportation and re-socialize to life outside their living rooms, “Courtesy Counts” is a fun, friendly reminder that the city works best when we treat each other with respect and kindness.
Additional credits: Designer, John Wong; Illustrator, Sophie Ong; Writer, Chris Sartinsky
Second Place
Joystick Jazz
Mark Borgions – HandMade Monsters
Belgium
This project is the cover art of a 12″ vinyl album containing big band interpretations of classic videogame tunes (Sonic, Donkey Kong, Megaman, Zelda, … ). The album’s music is by the Blueshift Big Band. This release is produced by production company iam8bit in Los Angeles. The cover depicts the main characters of the included games in a jazzy art style rendering, balanced with recognizable props from these games and musical instruments — all subscribing the style of the music. The art is produced straight to digital with a limited color scheme (yellow, red, green, cyan), all 100% flat color and their blending, with minor shadow grain. The artwork included front and back cover, front and back inner sleeve and labels for this single record release.
Vinyl Producer, Bailey Moses
Third Place
Simple Mills Illustrations
Ellie Schwarts – Design B&B
USA
Vibrant, energetic, and rich, the Simple Mills illustration style conveys the brand’s nutrient rich and diverse offerings in the better-for-you food aisles. The illustrations artfully highlight the ingredients used across the Simple Mills portfolio, narrate the farming practices that grow them, and hero the individuals who enjoy them. Balanced with a simple geometry inspired by the Simple Mills logo, the library of artwork adds depth, appetite appeal, and humanity to the brand’s expression.
Additional credits: Ellie Schwartz, Olivia Noll, Sammy Smith, Parker Sheley
Student Honorees – Illustration
First Place – Stilts, Bears & Skeletons by Heike Scharrer, Cambridge School of Art, United Kingdom
Second Place – Neon by Xiaoyun Tian, Cambridge School of Art, United Kingdom
Third Place – Gulf Horizons by Jazmine Garcia, University of North Texas, USA
Invitations & Announcements
First Place
Marwen Invitations
Brian Berk – Leo Burnett Chicago
USA
The Marwen Paintbrush Ball is an annual event supporting Chicago’s youth through art, uniting philanthropists and community leaders. Funds raised sustain Marwen’s youth programs, ensuring accessibility without financial burden. Inspired by Marwen’s Art@Work internship program, the design team merged “art” and “work” in their visual language, imagining interns’ creative expressions with office supplies. This approach underscores art’s transformative power and the potential for creativity in everyday materials.
Additional credits: Alisa Wolfson, Shereen Boury; Printer, The Fox Company
Second Place
Monroe Community College Foundation Gold Star Gala Invitations
Jewel Mastrodonato – Dixon Schwabl + Company
USA
The Monroe Community College Foundation’s annual Gold Star Gala is a fundraising event supporting MCC students through scholarships. Each year, a new theme is adopted to generate excitement and attendance. In 2023, the theme was “Wonka’s Garden,” offering a glimpse into Willy Wonka’s colorful and flavorful garden. The agency tasked with developing the concept created a captivating invitation experience. Using specialty print techniques like holographic foil stamping and seed paper, the invitation resembled candy and promised a magical event. A magnifying card allowed recipients to explore hidden messages, enhancing engagement. The event successfully raised $300,000 for student scholarships.
Additional credits: Mark Stone-Chief Creative Officer, Marshall Statt-Executive Creative Director, Nick Guadagnino Copywriter, Stephanie Miller-Prepress Supervisor, Bob Charboneau-Director of Production, Jen Moritz-Senior Copy Editor, Amanda Maxim-Account Director, Mel Brand- Account Supervisor
Third Place
American Heart Association Gala Invitation Suite
Hana Snell – Caliber Creative
USA
Inspired by this year’s theme of floral elegance, the invitation suite designed for the American Heart Association’s annual Côtes du Coeur gala incorporates blossoming greenery and romantic regency into a garden of printed materials. The delicate hand-drawn blossoms, wine motifs, customized script typography, and opulent gold details set the tone for an enchanting vineyard escape of an evening. The set of invitations welcomes patrons to events of indulgence and philanthropy, all leading to the main gala in support of the fight against heart disease.
Additional credits: Brandon Murphy, Erin Brachman
Logos
First Place
Turks Head
CF Napa Brand Design
USA
Pennsylvania’s Main Line Wine Company is a unique establishment featuring a wine lounge, tasting room, and community wine education center exclusively serving their flagship brand, Turks Head. The brand name pays homage to the Turks Head Tavern, a significant historical landmark in West Chester. The project aimed to create an upscale, exclusive brand identity that was simple, elegant, and easily recognizable. CF Napa drew inspiration from the clean design of the tasting room and the Turk’s head knot, a symbol of unity. They developed an icon based on the knot, incorporating an interlocking TH monogram, representing the brand’s connection to the community. The icon, embossed with gold foil, stands out on clean white labels, ensuring brand recognition. The label system allows for flexibility across various SKUs, with a color-coding system highlighting different AVAs and supporting the brand’s educational efforts on terroir impact.
Second Place
Benny’s Bike Shop
Sam Allan – Onfire.Design
New Zealand
Benny Devcich, a legendary figure in the New Zealand bicycling community, established a boutique bicycle shop focusing on professional bike fitting, high-end service, and rare components. Onfire was tasked with creating the brand for this unique shop. Inspired by Benny’s larger-than-life personality and iconic moustache, the design team developed a modern-retro wordmark and moustache icon reminiscent of early 20th-century bicycle emblems. The color palette, featuring British racing green, reflects the historical significance of bicycling culture. The brand has been applied across various materials, including printed collateral, signage, cycling uniforms, and promotional items. Even the wooden ramp leading to the store is hot branded with the logo, honoring cycling history and Benny himself.
Third Place
Kinetic Identity
One Design Company
USA
Kinetic is developing an infrastructure-as-a-service solution aimed at streamlining maintenance for modern digitized vehicles. Their offerings promise seamless speed, accuracy, and precision. The Kinetic logo and monogram reflect their comprehensive, self-contained solution, featuring bespoke letterforms evoking engineering and cutting-edge technology. The visual system, comprising illustration, iconography, animation, photography, and video, honors the innovative solutions designed to ease the transition to the modern era of mobility for various stakeholders in the automotive industry.
Additional credits: David Sieren, Hannah Cormier, Karly Hoffman, Erick Morales, Ryan Paule, Mike Phillips, Danielle Pierre, Kristen Romaniszak; Photography, Connor Weitz
Student Honorees – Logos
First Place – Architectural Digest by Mishen Liu, Art Center College of Design, USA
Second Place – Tiger Ale by Emily Brown, The University of Texas at Arlington, USA
