Fabio Sasso

Studio Vanadium: Indonesian Editorial Design Outlook Studio Vanadium: Indonesian Editorial Design Outlook abduzeedo February 02, 2026 Studio Vanadium explores the future of Indonesia's creative economy through minimalist editorial design and data-driven insights for the 2024/2025 outlook. The "Outlook Parekraf 2024/2025" serves as a definitive guide to the evolving landscape of Indonesia’s tourism and creative economy. Studio Vanadium takes on the challenge of transforming dense statistical data into a narrative that is both accessible and visually engaging. The studio focuses on providing a clear look at growth patterns and economic contributions through a lens of modern editorial design. By balancing complex information with clean layouts, the project helps stakeholders plan for the short-term future of the industry. The core of this work lies in its ability to translate data into insight. Studio Vanadium handles everything from content editing to the final art direction. This holistic approach ensures that every page feels intentional. The use of custom illustrations and a strong book cover design creates a cohesive brand identity for the report. It moves beyond being a simple PDF. It becomes a tool for investment and strategic planning. The visual hierarchy helps the reader navigate through tourism trends and creative industry forecasts without feeling overwhelmed by the volume of information. Studio Vanadium employs a minimalist aesthetic that prioritizes clarity over decoration. This choice reflects a deep understanding of the audience—decision-makers who need quick access to facts. The layout utilizes white space effectively to frame key statistics. Bold typography highlights the most critical data points from the 2024/2025 projections. By keeping the visual language simple, the studio allows the content to remain the primary focus. This is editorial design at its most functional, yet it does not sacrifice style. The art direction bridges the gap between traditional reporting and contemporary design. Specific visual details, such as the tailored illustrations, add a human element to the data-heavy sections. These graphics do more than just fill space; they clarify the relationship between different economic sectors. The result is a publication that feels authoritative. It positions Indonesia as a major player in the global creative economy. Studio Vanadium demonstrates how design can serve as a bridge between abstract numbers and tangible economic strategy. Credits: Studio Vanadium on Behance Editorial Design

New blog post: Studio Vanadium: Indonesian Editorial Design Outlook

Soccer Brand Identity: S.C. GJØA Modernizes Brooklyn Roots Soccer Brand Identity: S.C. GJØA Modernizes Brooklyn Roots abduzeedo January 28, 2026 Explore the new S.C. GJØA soccer brand identity by Athletics. See how geometric ship crests and bold systems redefine New York’s oldest youth soccer club. History is a heavy lift in sports branding. S.C. GJØA has carried that weight in Brooklyn since 1911. Founded by Norwegian immigrants, it remains one of the oldest youth soccer clubs in the United States. Athletics NYC took on the task of refreshing this legacy. They focused on art direction and a comprehensive design system. The goal was to create a visual language that speaks to both heritage and modern youth development. The project centers on the concept of collective play. Soccer in New York is about more than just a ball. It is about culture and community identity. Athletics needed a symbol that young athletes could wear with pride across Brooklyn’s diverse neighborhoods. They looked to the club's maritime roots for the answer. The "Gjøa" ship is the heart of the new identity. Athletics distilled the ship into bold, geometric forms. This move replaces complex historical imagery with clarity. The new crest is designed for the modern era. It works on a digital screen and scales perfectly for a physical jersey. The ship represents forward movement and shared direction. It acts as a rallying symbol for players and families alike. The visual system extends far beyond a single logo. It includes a wordmark and a cohesive color palette. The typography feels strong and local. It avoids the hyperbole often found in corporate sports marketing. Instead, it offers a voice that is approachable and confident. This system now lives across uniforms, training gear, and digital touchpoints. It turns every training field into a shared, branded space. Great design solves for both the past and the future. Athletics managed to honor the club’s storied history while energizing its next generation. The result is a soccer brand identity that feels rooted in the soil of Brooklyn. It is a foundation for strengthening the community around the game. The GJØA Way is no longer just a slogan. It is now a visual reality that players can see and feel every match day. This work proves that tradition does not have to be stagnant. It can be a tool for growth. Credits * Design by Athletics NYC in collaboration with North Sea Air. Soccer Brand Identity

In case you missed it: New blog post: Soccer Brand Identity: S.C. GJØA Modernizes Brooklyn Roots

A Design Conversation at the Apple Creator Experience A Design Conversation at the Apple Creator Experience abduzeedo February 01, 2026 Some thoughts from my Apple creator experience in LA. Discover how I use Pixelmator Pro and the iPad to help me overcome the blank canvas and create. The blank canvas is a wall, one that carries enough weight to stall any project. At the Apple Creator Experience in Los Angeles for the launch of Apple Creator Studio, I shared how the right tools can bridge that fear, along with personal stories from my twenty-year journey as a designer. In 2006, my office was robbed. I lost every piece of hardware, every digital file. Years of work and personal projects, gone. That moment forced a new path. I started a blog to back up my work and document my process. That site became Abduzeedo. Standing in LA two decades later, spotlighting a tool I've used throughout my career, felt like coming full circle, engaging and learning alongside a new generation of global creators. I've been a dedicated Pixelmator user since its 2007 debut. The software redefined my expectations for design tools through exceptional performance and obsessive attention to detail. Whether on Mac or iPad, the experience is seamless, encouraging experimentation and creative play. I find similar joy in Keynote, especially when demonstrating features like Magic Move. There's still magic in watching those transitions. The Apple Creator Experience allowed me to transition my work from screen to physical space. Seeing my digital designs scaled onto massive walls was humbling. It reminded me that while pixels may turn to ink, the creative idea beneath remains constant across every medium. Tools matter because they help us start. They push us through the fear of the blank canvas. Whether on Mac or iPad, technology serves the story we're trying to tell. My path, from losing everything to sharing my story with other creators, proves that design is a constant process of starting over, and starting again. Apple Creator Experience Images used with permission from Apple.

New blog post: A Design Conversation at the Apple Creator Experience

Humanizing Brand Identity Design for Gry Consultancy Humanizing Brand Identity Design for Gry Consultancy abduzeedo January 27, 2026 Discover how Michele Verze uses character-led brand identity design to transform Gry, a Swedish leadership consultancy, through warmth and illustration. Leadership development often feels stiff. The industry relies on cold colors. It uses safe fonts. Michele Verze decided to break this cycle for Gry. Gry is a Swedish consultancy. They focus on organizational health. They needed to look different from their peers. Most competitors use blue and gray. These colors feel distant. They feel corporate. Verze chose a different path. He focused on the soul of the work. Leadership is about people. It is about growth. It is about finding a voice. The new brand identity design starts with a metaphor. Verze calls it "standing on your toes". This idea represents visibility. It shows confidence. It hints at the moment of transformation. The logo symbol captures this feeling. It is bold. It is geometric. Yet, it feels light. This shape acts as the DNA for the whole project. It is the foundation for every other visual element. The standout feature is the illustration system. Verze created over 20 bespoke characters. Each character comes from the logo shape. They are not just decorations. They tell stories. They show interaction. They show conflict. They show collaboration. These are abstract concepts in leadership. Usually, they are hard to visualize. Verze makes them human. He makes them accessible. The characters add a layer of warmth. They make the brand feel like a partner, not a vendor. Color choice was vital for this shift. Verze avoided the usual corporate palette. He picked orange as the lead color. Orange means action. It means creativity. It brings energy to the screen. He balanced this with soft neutrals. He used subtle pastels. These colors create a sense of calm. They provide a safe space for dialogue. The palette is fresh. It stands out in the Swedish market. It looks like a brand that understands emotions. Typography provides the final balance. The chosen typeface is refined. It adds a layer of trust. It ensures the brand remains professional. It keeps the playful illustrations grounded. The system works everywhere. It looks good on a website. It works on social media. It scales for course materials. This flexibility is key. It allows Gry to grow without losing its heart. Michele Verze shows us that leadership can be visual. It can be playful. It does not have to be boring. By using character-led design, he created a brand that speaks to the human experience. It is a lesson in how to build a visual language with personality. The result is a system that feels alive. It is a bold step away from tradition. Credits:Michele Verze Brand Identity Design

In case you missed it: New blog post: Humanizing Brand Identity Design for Gry Consultancy

Archivo Canarias: A Living Index of Creative Talent from the Canary Islands Archivo Canarias: A Living Index of Creative Talent from the Canary Islands ibby January 26, 2026 Archivo Canarias is a digital archive that treats creativity as present tense, spotlighting designers, artists, and studios shaping culture in the Canary Islands. Archives usually feel like places you visit once you are done making things. Archivo Canarias does the opposite. It’s a digital platform that captures creative work in motion, building a living index of designers, artists, architects, photographers, filmmakers, and cultural producers across the Canary Islands. Instead of freezing culture in time, the project treats creativity as something active, evolving, and very much present tense. Think of it less as a museum and more as a well-curated map of who is doing interesting work right now. Less filing cabinet, more creative ecosystem What makes Archivo Canarias especially compelling is how it frames individual practices as part of a broader cultural network. You can browse by discipline, island, or theme, but the real value is in seeing how different fields intersect. Architecture sits next to photography. Graphic design brushes up against fine art. Independent studios share space with multidisciplinary collectives. It feels closer to how creative scenes actually function. Messy, interconnected, and full of unexpected overlaps. From an interface standpoint, the platform stays refreshingly understated. Clean typography, generous white space, and a structure that puts the work and the people first. No visual noise, no algorithmic chaos. Just a clear system designed to encourage exploration. Design shaped by geography There’s also a strong sense of place running through the archive. Many of the featured projects respond directly to the islands themselves, from architectural studios working with volcanic landscapes to photographers documenting everyday life far from the usual cultural capitals. It is a reminder that regional identity is not a limitation. It is a creative advantage. For designers especially, Archivo Canarias is one of those rare resources that feels both specific and expansive at the same time. You go in looking at one profile and suddenly you are three tabs deep discovering new studios, new perspectives, and new ways of thinking about practice. Why this kind of archive actually matters At a moment when so much creative discovery is dictated by feeds and platforms built for speed, Archivo Canarias feels intentionally slower. It rewards curiosity. It values context. It gives emerging and established voices a place to exist outside of trends and timelines. And honestly, it is just nice to see an archive that does not feel like a graveyard of past projects, but more like a well-lit studio where things are still being made. Consider this one a bookmark worth keeping. Daniel González ​​Belén Santiago Gabriel Ramos Pérez Óscar Hernández Xstudio Moneiba Lemes Jairo Díaz  

In case you missed it: New blog post: Archivo Canarias: A Living Index of Creative Talent from the Canary Islands

Modernizing Brand Identity Design for Data Intelligence Modernizing Brand Identity Design for Data Intelligence abduzeedo January 31, 2026 Explore Orsyn by Sohan Chakraborty. Discover how brand identity design transforms complex data engineering into a structured, minimalist visual system. Data is often messy and loud. Most companies try to fix this by adding more layers. They build more dashboards and more charts. This usually leads to more noise. Sohan Chakraborty takes a different path with Orsyn. Orsyn is a data intelligence company. It focuses on stabilizing complexity. The brand does not just show data. It creates a flow where fragmented inputs become ready for decisions. This project is about the transition from chaos to order. It is a system built on trust and logic. The core of the identity is the logomark. It uses four vertical elliptical fragments. These shapes are not the same. They vary in size and spacing. This is a deliberate choice. These fragments represent data in its raw state. In isolation, the forms look unstable. When placed together, they form a unified structure. This reflects the Orsyn methodology. It shows how distinct signals align to create intelligence. The design proves that order does not require perfect uniformity. It requires alignment. The result is a mark that feels alive. It suggests movement and progress. Chakraborty avoids common tech clichés. There are no glowing gradients or complex nodes. The visual language is lean. It uses a monochromatic palette to emphasize form over fashion. This choice builds credibility. In the world of data engineering, stability is the goal. The typography follows this lead. It is clean and highly legible. The layouts use ample white space. This creates a sense of calm. It allows the viewer to focus on the information. The brand feels like an architect rather than an illustrator. The identity works because it is honest. It admits that data starts as fragments. The design shows the process of refinement. We see this in the brand's behavior across different touchpoints. From digital interfaces to physical assets, the logic holds. Each element serves a purpose. There is no decorative fluff. This approach makes the brand feel operational. It looks like a tool that people can actually use. It is a visual promise of foresight. Orsyn stands out in a crowded market. Many brands try to look advanced by looking complex. Orsyn looks advanced by looking clear. It demonstrates that good brand identity design is about solving problems. It is about making the invisible visible. Sohan Chakraborty has captured the soul of intelligence. He has turned a technical process into a human experience. This is design at its most effective level. Credits: Sohan Chakraborty Brand identity design  

New blog post: Modernizing Brand Identity Design for Data Intelligence

Bauhaus Design: Breuer Marcell Walkway by BIVAK Studio Bauhaus Design: Breuer Marcell Walkway by BIVAK Studio abduzeedo January 25, 2026 Discover how BIVAK Studio uses Bauhaus design principles and minimalist illustrations to create a compelling memorial walkway for architect Marcel Breuer. The legacy of Marcel Breuer finds a new rhythm in the memorial concept developed by BIVAK Studio. This project, titled Breuer Marcell — Walkway, serves as a quiet tribute to one of the most influential figures of the Bauhaus era. The design does not rely on grand gestures. Instead, it uses a minimalist visual language to guide visitors through a physical and historical narrative. The core challenge of such a project is to honor a giant of industrial design without cluttering the space. BIVAK Studio solves this by integrating art directly into the path. They created a series of illustrations that depict Breuer’s most iconic furniture and architectural works. These visuals are not merely decorations. They act as signposts. Each illustration captures the essential geometry of his chairs and buildings. This approach mirrors the "form follows function" ethos that Breuer himself championed. Visual consistency is maintained through a strict Bauhaus-inspired composition. The illustrations are paired with monospaced typography. This choice of font adds a technical, industrial feel to the environment. It evokes the blueprints and cataloging systems of the early 20th century. The layout along the walkway is abstract. It creates a specific visual pace. This rhythm draws people forward. It moves them toward the final destination of the path: a simple bench. The bench is the centerpiece of the experience. It offers a moment of rest. In this quiet spot, visitors can reflect on Breuer’s work. The design uses the surrounding industrial textures to frame the view. Photography by YANEP LUST Collective and close-up shots by Bernáth Milán highlight these material details. You see the contrast between the sharp lines of the illustrations and the tactile nature of the memorial path. This project succeeds because it focuses on the "soul" of Breuer's work. It does not try to reinvent his style. It simply translates his principles into a modern walk-through experience. The use of simple shapes and bold lines ensures the message is clear. It is a lesson in how to use graphic design to enhance a physical space. The walkway feels like a living archive. It is functional, educational, and visually light. By stripping away the unnecessary, BIVAK Studio has created a space where the architecture can speak for itself. It is a fitting nod to a man who changed how we sit and how we live. Full project gallery follows below. Credits: BIVAK Studio Bauhaus Design

In case you missed it: New blog post: Bauhaus Design: Breuer Marcell Walkway by BIVAK Studio

NDK: A Gritty Visual Identity Design for Nigerian Street Food NDK: A Gritty Visual Identity Design for Nigerian Street Food abduzeedo January 30, 2026 Explore the NDK visual identity design by TMN Studios. A bold blend of retro-industrial aesthetics and authentic Nigerian soul in the heart of Abuja. [Article Body]: Design often fails when it tries too hard to be clean. In the premium Maitama district of Abuja, street food usually swings between chaotic stalls and sterile, characterless shops. TMN Studios chose a third path for Naija Doner Kebab, also known as NDK. Lead designer Muhammad Nasir and his team avoided the trap of making something look new. Instead, they focused on making it feel seasoned. The project is a deep dive into what they call Retro-Industrial Heat. It is a visual language that speaks to the grit of the grill and the spice of the sauce. The core design problem was cultural translation. The Doner Kebab is a global staple with deep European and Middle Eastern roots. NDK needed to strip away those origins to reveal an authentic Nigerian soul. The solution lies in the tactile details found in the studio’s documentation. We see inspiration drawn from weathered metal and utilitarian typography. This is not the polished, corporate minimalism we see in Western fast food. It is a celebration of the rough edges found in old-school industrial signage. The work feels heavy, grounded, and intensely local. At the heart of this visual system sits the mascot. TMN Studios calls him the Host. In a market where stock vector art is the norm, this character stands out as a bespoke creation. He is not a cartoonish gimmick. He is a bridge between the heat of the kitchen and the premium dining experience. The mascot personifies Nigerian hospitality: bold, welcoming, and full of attitude. By using hand-drawn lines instead of perfect digital curves, the studio gives the brand a human pulse. This choice prevents the industrial theme from feeling cold or distant. The typography reinforces this utilitarian spirit. Bold, sans-serif weights dominate the packaging and signage. These are paired with a color palette that evokes the sensory experience of Nigerian street food. We see deep blacks and vibrant pops of color that mimic the charred edges of meat and the intensity of local spices. The layout of the brand assets, from the menus to the wrapping paper, uses a high-contrast grid. This structure provides the necessary polish for a global-standard brand while respecting the energy of the street. NDK proves that "premium" does not have to mean "precious." By embracing a rough, industrial edge, TMN Studios has created a brand that feels lived-in. It reflects the modern Nigerian aesthetic—one that is proud, resourceful, and visually striking. The project successfully moves the kebab from a foreign import to a local icon. It shows how a thoughtful visual identity design can transform a simple meal into a cultural statement. The soul of NDK is not in its logo, but in the heat of its execution. Project Credits * Studio: TMN Studios (@tmn.studios) * Creative Direction: Muhammad Nasir * Senior Designer: Jibril Sani * Project Manager: Amina Dodo * Location: Kano/Abuja, Nigeria Visual Identity Design

New blog post: NDK: A Gritty Visual Identity Design for Nigerian Street Food

Contemporary Lettering: Inside Slanted Publishers' Newest Yearbook Contemporary Lettering: Inside Slanted Publishers' Newest Yearbook abduzeedo January 29, 2026 Discover the global energy of contemporary lettering in Yearbook #2 from Slanted Publishers. A 272-page guide to the best in calligraphy, graffiti, and 3D. Slanted Publishers has returned with the Yearbook of Lettering #2. This volume acts as a vital pulse check for the global lettering community. It moves beyond simple alphabets to explore the "soul" of letterforms across 31 different countries. The project captures a specific moment in design where the line between traditional craftsmanship and digital experimentation has almost entirely vanished. The core challenge for any design yearbook is curation. How do you represent a field that evolves daily on social media? Slanted Publishers solves this through a structured four-part hierarchy: Ambassadors, Artists, Findings, and a comprehensive Index. This organization transforms a chaotic digital landscape into a tangible, 272-page resource. It provides a permanent home for work that often exists only as fleeting pixels on a screen. The "Ambassadors" section offers a deep look into the minds of industry leaders. It features interviews and portfolios from influential figures like “Tyrsa” Alexis Taïeb, Ying Chang, and Ken Barber. These segments provide the necessary context to understand the techniques behind the aesthetics. For instance, the work of Dave Towers and Tina Touli highlights how different tools—from broad-nib pens to complex software—shape the final visual narrative. Visual diversity is the hallmark of this second edition. The book showcases everything from elegant calligraphy to expressive street art and bold 3D lettering. The "Findings" section is particularly clever. It distills 216 selected works from Instagram into a compact format, highlighting the sheer volume of creativity found in the modern community. The cover artwork by Hugo Moura sets the tone with its tactile and energetic approach. The physical production of the book mirrors the quality of the art inside. Printed in full-color offset by NINO Druck, the volume uses a thread-stitched stiff brochure format. This choice ensures durability for a book meant to be used as a frequent reference in design studios. Managing editor Linus Haug and creative director Lars Harmsen have crafted an object that feels as modern as the content it contains. Ultimately, this yearbook is more than just an inspiration gallery. It is a practical bridge between artists and agencies. By including a detailed A-to-Z index with bios, material descriptions, and contact info, Slanted Publishers has created a directory for the next generation of typographic talent. It reminds us that even in a digital world, the physical page remains the best way to preserve the energy of contemporary lettering. Credits * Publisher: Slanted Publishers * Publishing Direction: Lars Harmsen, Julia Kahl * Design: Lars Harmsen (CD), Linus Haug (AD) * Managing Editor: Linus Haug * Graphic Design & Editing: Juliane Lipp, Samira Niedermayer * Cover Artwork & Chapter Pages: “Xesta” Hugo Moura * Release: November 2025 * Format: 16 × 24 cm * Volume: 272 pages * Language: English * Printing: full-colour offset-printing by NINO Druck * Workmanship: Stiff brochure with thread-stitching by Buchbinderei Spinner * Paper: Munken Print White 1.5, 100 g/sm (inside), SURBALIN seda 115 g/sm (endpaper), PEYDUR neuleinen 135 g/sm (cover) * ISBN: 978-3-948440-92-3 * Price: € 38.– (DE) Contemporary Lettering

New blog post: Contemporary Lettering: Inside Slanted Publishers' Newest Yearbook

Soccer Brand Identity: S.C. GJØA Modernizes Brooklyn Roots Soccer Brand Identity: S.C. GJØA Modernizes Brooklyn Roots abduzeedo January 28, 2026 Explore the new S.C. GJØA soccer brand identity by Athletics. See how geometric ship crests and bold systems redefine New York’s oldest youth soccer club. History is a heavy lift in sports branding. S.C. GJØA has carried that weight in Brooklyn since 1911. Founded by Norwegian immigrants, it remains one of the oldest youth soccer clubs in the United States. Athletics NYC took on the task of refreshing this legacy. They focused on art direction and a comprehensive design system. The goal was to create a visual language that speaks to both heritage and modern youth development. The project centers on the concept of collective play. Soccer in New York is about more than just a ball. It is about culture and community identity. Athletics needed a symbol that young athletes could wear with pride across Brooklyn’s diverse neighborhoods. They looked to the club's maritime roots for the answer. The "Gjøa" ship is the heart of the new identity. Athletics distilled the ship into bold, geometric forms. This move replaces complex historical imagery with clarity. The new crest is designed for the modern era. It works on a digital screen and scales perfectly for a physical jersey. The ship represents forward movement and shared direction. It acts as a rallying symbol for players and families alike. The visual system extends far beyond a single logo. It includes a wordmark and a cohesive color palette. The typography feels strong and local. It avoids the hyperbole often found in corporate sports marketing. Instead, it offers a voice that is approachable and confident. This system now lives across uniforms, training gear, and digital touchpoints. It turns every training field into a shared, branded space. Great design solves for both the past and the future. Athletics managed to honor the club’s storied history while energizing its next generation. The result is a soccer brand identity that feels rooted in the soil of Brooklyn. It is a foundation for strengthening the community around the game. The GJØA Way is no longer just a slogan. It is now a visual reality that players can see and feel every match day. This work proves that tradition does not have to be stagnant. It can be a tool for growth. Credits * Design by Athletics NYC in collaboration with North Sea Air. Soccer Brand Identity

New blog post: Soccer Brand Identity: S.C. GJØA Modernizes Brooklyn Roots

Humanizing Brand Identity Design for Gry Consultancy Humanizing Brand Identity Design for Gry Consultancy abduzeedo January 27, 2026 Discover how Michele Verze uses character-led brand identity design to transform Gry, a Swedish leadership consultancy, through warmth and illustration. Leadership development often feels stiff. The industry relies on cold colors. It uses safe fonts. Michele Verze decided to break this cycle for Gry. Gry is a Swedish consultancy. They focus on organizational health. They needed to look different from their peers. Most competitors use blue and gray. These colors feel distant. They feel corporate. Verze chose a different path. He focused on the soul of the work. Leadership is about people. It is about growth. It is about finding a voice. The new brand identity design starts with a metaphor. Verze calls it "standing on your toes". This idea represents visibility. It shows confidence. It hints at the moment of transformation. The logo symbol captures this feeling. It is bold. It is geometric. Yet, it feels light. This shape acts as the DNA for the whole project. It is the foundation for every other visual element. The standout feature is the illustration system. Verze created over 20 bespoke characters. Each character comes from the logo shape. They are not just decorations. They tell stories. They show interaction. They show conflict. They show collaboration. These are abstract concepts in leadership. Usually, they are hard to visualize. Verze makes them human. He makes them accessible. The characters add a layer of warmth. They make the brand feel like a partner, not a vendor. Color choice was vital for this shift. Verze avoided the usual corporate palette. He picked orange as the lead color. Orange means action. It means creativity. It brings energy to the screen. He balanced this with soft neutrals. He used subtle pastels. These colors create a sense of calm. They provide a safe space for dialogue. The palette is fresh. It stands out in the Swedish market. It looks like a brand that understands emotions. Typography provides the final balance. The chosen typeface is refined. It adds a layer of trust. It ensures the brand remains professional. It keeps the playful illustrations grounded. The system works everywhere. It looks good on a website. It works on social media. It scales for course materials. This flexibility is key. It allows Gry to grow without losing its heart. Michele Verze shows us that leadership can be visual. It can be playful. It does not have to be boring. By using character-led design, he created a brand that speaks to the human experience. It is a lesson in how to build a visual language with personality. The result is a system that feels alive. It is a bold step away from tradition. Credits:Michele Verze Brand Identity Design

New blog post: Humanizing Brand Identity Design for Gry Consultancy

vial: A Modular Multivitamin Packaging System Built on Repetition and Structure vial: A Modular Multivitamin Packaging System Built on Repetition and Structure ibby January 21, 2026 vial is a conceptual modular multivitamin packaging system by Presentable that explores repetition, structure, and trust through design. The supplement aisle is rarely a calm place. Bright colors, bold claims, and an endless parade of “must-have” formulas compete for attention, often leaving design as an afterthought. vial is a conceptual multivitamin packaging system by Presentable that takes a very different approach. Instead of urgency or exaggerated health promises, the project treats daily supplementation as what it actually is: a repetitive habit. Rather than designing individual packs, Presentable built a system. Structure, consistency, and repetition form the backbone of vial. The idea is simple but effective. Trust comes from predictability, not persuasion. Every element follows a strict set of rules, creating a framework that feels stable and easy to navigate over time. Nothing shouts. Nothing tries too hard. The system just works. Concept and Inspiration The conceptual reference point comes from Piet Mondrian, not in terms of visual mimicry, but through shared logic. Mondrian’s work is all about relationships between form, spacing, and proportion. That same mindset is applied here. Each pack uses the same underlying structure, with variation introduced only when it improves clarity. Color, layout, and information shift within a fixed grid, creating rhythm without chaos. Seen together, the packs feel like parts of a larger organism. Individually they are functional and clear, but their real strength lies in their collective behavior. The system feels dependable because it behaves the same way every time. No surprises, no visual detours, no last-minute design flourishes trying to steal the spotlight. Design Visually, vial is intentionally restrained. A modular grid keeps everything aligned and balanced across formats, making the system scalable without losing coherence. Color is used sparingly and without emotional symbolism. Its role is purely practical: differentiation and navigation. Typography plays a supporting role rather than a starring one. It is treated as an information tool, not a branding gimmick. Hierarchy is clear, spacing is generous, and legibility is prioritized over personality. The result feels more like a well-designed manual than a marketing campaign. Materials and finishes follow the same philosophy. Nothing feels overly premium or decorative. There is no attempt to glamorize the product. The design stays grounded, focusing on long-term usability rather than first-impression theatrics. Outcome vial is a conceptual study in design discipline. By leaning into repetition and structure, Presentable proposes a different way of thinking about wellness packaging. One where consistency builds trust, and design steps back instead of stepping on the user’s toes. In a category obsessed with transformation and urgency, vial suggests that reliability might be the real luxury. Less “this will change your life,” more “this will fit into it.” And honestly, that feels like a healthy shift.

In case you missed it: New blog post: vial: A Modular Multivitamin Packaging System Built on Repetition and Structure

Pencil.dev the Missing Link Between Design and Vibe Coding? Pencil.dev the Missing Link Between Design and Vibe Coding? abduzeedo January 21, 2026 Explore Pencil.dev: The ultimate AI design tool for Cursor users. Bridge the gap between Figma and code with Git versioning and agentic "vibe coding" workflows. We are witnessing a tectonic shift in how digital products are built. The era of manual syntax is giving way to the era of AI orchestration—where "vibe coding" and agentic workflows are becoming the new standard. Yet, as our development environments become smarter and more fluid, our design tools have largely remained static islands, disconnected from this new intelligence. But recently, I got a glimpse of a new tool that feels different. It’s called Pencil, and it might just be the bridge we’ve been waiting for. Pencil isn't just another prototyping tool; it bills itself as "Design Mode for Cursor" (the AI-powered code editor). It effectively brings a pixel-perfect vector canvas directly into the development environment, blurring the line between drawing an interface and building it. Here is why Pencil is catching our attention and why it might be the ultimate tool for the new era of "vibe coding." 1. Bridging Traditional Design with "Vibe Code" We are entering a new phase of creation often called "vibe coding"—where the creator directs the high-level intent (the "vibe") and AI handles the syntax. Until now, this was mostly a text-based experience. You prompt a chat window, and code appears. Pencil adds the visual dimension to this workflow. It bridges the gap between traditional vector design tools and AI-generated engineering. You aren't just prompting for code; you are manipulating a canvas that is the code. It allows designers to stay in a visual creative flow while leveraging the raw power of LLMs to generate the underlying structure. It’s the first tool that acknowledges that in an AI world, the distinction between a "mockup" and a "build" is rapidly evaporating. 2. Finally, Real Versioning for Design If you have ever had different Figma pages or even for other design tools with multiple file names, you know the pain. Design version control has historically been a mess compared to software engineering. Pencil changes the paradigm by integrating deeply with GitHub. Because the design files live in your repo, you can version, branch, and merge designs exactly the way engineers handle code. This is a massive shift in mindset. It means design is no longer a separate artifact floating in the cloud; it is a commit in the repository. It forces a level of synchronization between design and engineering that was previously impossible to enforce. If the code rolls back, the design rolls back. One source of truth, one repo. 3. The Figma Connection: Copy, Paste, Done The cool thing is that this tool doesn't mean we aren't abandoning Figma overnight. Figma is where the exploration happens. Any new tool needs to play nice with the current standard of UI design. Pencil this with a seamless Copy and Paste workflow. You can grab frames, vectors, text, and styles directly from Figma and drop them into Pencil. The assets come over intact—no broken SVGs or missing fonts. This feature is critical because it lowers the barrier to entry. You can keep your messy brainstorming in Figma, but when it’s time to "get real" and move toward production, you simply paste your polished vectors into Pencil and start connecting them to the codebase. For the multidisciplinary creator—the designer who codes, or the "vibe coder" who designs—this is a tool worth watching. Pencil.dev represents a shift in how we think about "Design Tools." It is less about drawing rectangles and more about orchestrating a product. By moving the design canvas into the IDE and backing it with Git, it treats design with the same structural respect as code. For the multidisciplinary creator—the designer who codes, or the "vibe coder" who designs—this is a tool worth watching. Check out Pencil.dev to see the future of the design-to-code workflow. Video demo

In case you missed it: New blog post: Pencil.dev the Missing Link Between Design and Vibe Coding?

Archivo Canarias: A Living Index of Creative Talent from the Canary Islands Archivo Canarias: A Living Index of Creative Talent from the Canary Islands ibby January 26, 2026 Archivo Canarias is a digital archive that treats creativity as present tense, spotlighting designers, artists, and studios shaping culture in the Canary Islands. Archives usually feel like places you visit once you are done making things. Archivo Canarias does the opposite. It’s a digital platform that captures creative work in motion, building a living index of designers, artists, architects, photographers, filmmakers, and cultural producers across the Canary Islands. Instead of freezing culture in time, the project treats creativity as something active, evolving, and very much present tense. Think of it less as a museum and more as a well-curated map of who is doing interesting work right now. Less filing cabinet, more creative ecosystem What makes Archivo Canarias especially compelling is how it frames individual practices as part of a broader cultural network. You can browse by discipline, island, or theme, but the real value is in seeing how different fields intersect. Architecture sits next to photography. Graphic design brushes up against fine art. Independent studios share space with multidisciplinary collectives. It feels closer to how creative scenes actually function. Messy, interconnected, and full of unexpected overlaps. From an interface standpoint, the platform stays refreshingly understated. Clean typography, generous white space, and a structure that puts the work and the people first. No visual noise, no algorithmic chaos. Just a clear system designed to encourage exploration. Design shaped by geography There’s also a strong sense of place running through the archive. Many of the featured projects respond directly to the islands themselves, from architectural studios working with volcanic landscapes to photographers documenting everyday life far from the usual cultural capitals. It is a reminder that regional identity is not a limitation. It is a creative advantage. For designers especially, Archivo Canarias is one of those rare resources that feels both specific and expansive at the same time. You go in looking at one profile and suddenly you are three tabs deep discovering new studios, new perspectives, and new ways of thinking about practice. Why this kind of archive actually matters At a moment when so much creative discovery is dictated by feeds and platforms built for speed, Archivo Canarias feels intentionally slower. It rewards curiosity. It values context. It gives emerging and established voices a place to exist outside of trends and timelines. And honestly, it is just nice to see an archive that does not feel like a graveyard of past projects, but more like a well-lit studio where things are still being made. Consider this one a bookmark worth keeping. Daniel González ​​Belén Santiago Gabriel Ramos Pérez Óscar Hernández Xstudio Moneiba Lemes Jairo Díaz  

New blog post: Archivo Canarias: A Living Index of Creative Talent from the Canary Islands

A Masterclass in Brazilian Anthropophagy Design A Masterclass in Brazilian Anthropophagy Design abduzeedo January 20, 2026 Explore how Davartos uses Brazilian Anthropophagy design method to create "Third-World Art." A deep dive into branding, worldbuilding, and the unique ONCA art method. Brazil's creative scene is hitting a new peak with Davartos, a São Paulo-based studio that is redefining what it means to create "Third-World Art." Led by ROCHA Branding, the studio acts as a multidisciplinary hub for everything from classical painting and music composition to complex worldbuilding for an upcoming cRPG. Their work is not just about aesthetics; it is a deep dive into Latin American identity, heavily influenced by the "Manifesto Antropófago" (Cannibalist Manifesto) by Oswald de Andrade. This philosophy of Anthropophagy suggests that Brazilian culture should "devour" foreign influences, digesting them to create something entirely new and authentically local. The visual identity of Davartos is a masterclass in this "devouring" process. Their branding materials lean into the provocative slogan "Where Ideas Grow Teeth," signaling a move away from passive consumption toward active, critical creation. You can see this tension in their Protagonist Concept for "Forty Years Later," where gritty realism meets a unique "Tupi or not Tupi?" spirit. By citing 20th-century thinkers like Darcy Ribeiro and Sergio Buarque de Holanda, Davartos grounds its modern digital art in a legacy of sociological critique. What makes this project stand out is the "ONCA" art method, which focuses on the digestion of global culture into a "Third-World" perspective. The studio's branding artifacts utilize high-contrast layouts and bold typography to echo the revolutionary spirit of the Brazilian modernists. It is a reminder that design can be a tool for decolonization, especially when it embraces its own "underdeveloped" roots to outshine the bright future. Davartos proves that the most exciting work happens when we stop imitating and start "eating." If you are looking for inspiration that bites back, this studio is the one to watch. The images detailed in the project analysis are located after this text. Credits: ROCHA Branding Branding and visual identity artifacts

In case you missed it: New blog post: A Masterclass in Brazilian Anthropophagy Design

Bauhaus Design: Breuer Marcell Walkway by BIVAK Studio Bauhaus Design: Breuer Marcell Walkway by BIVAK Studio abduzeedo January 25, 2026 Discover how BIVAK Studio uses Bauhaus design principles and minimalist illustrations to create a compelling memorial walkway for architect Marcel Breuer. The legacy of Marcel Breuer finds a new rhythm in the memorial concept developed by BIVAK Studio. This project, titled Breuer Marcell — Walkway, serves as a quiet tribute to one of the most influential figures of the Bauhaus era. The design does not rely on grand gestures. Instead, it uses a minimalist visual language to guide visitors through a physical and historical narrative. The core challenge of such a project is to honor a giant of industrial design without cluttering the space. BIVAK Studio solves this by integrating art directly into the path. They created a series of illustrations that depict Breuer’s most iconic furniture and architectural works. These visuals are not merely decorations. They act as signposts. Each illustration captures the essential geometry of his chairs and buildings. This approach mirrors the "form follows function" ethos that Breuer himself championed. Visual consistency is maintained through a strict Bauhaus-inspired composition. The illustrations are paired with monospaced typography. This choice of font adds a technical, industrial feel to the environment. It evokes the blueprints and cataloging systems of the early 20th century. The layout along the walkway is abstract. It creates a specific visual pace. This rhythm draws people forward. It moves them toward the final destination of the path: a simple bench. The bench is the centerpiece of the experience. It offers a moment of rest. In this quiet spot, visitors can reflect on Breuer’s work. The design uses the surrounding industrial textures to frame the view. Photography by YANEP LUST Collective and close-up shots by Bernáth Milán highlight these material details. You see the contrast between the sharp lines of the illustrations and the tactile nature of the memorial path. This project succeeds because it focuses on the "soul" of Breuer's work. It does not try to reinvent his style. It simply translates his principles into a modern walk-through experience. The use of simple shapes and bold lines ensures the message is clear. It is a lesson in how to use graphic design to enhance a physical space. The walkway feels like a living archive. It is functional, educational, and visually light. By stripping away the unnecessary, BIVAK Studio has created a space where the architecture can speak for itself. It is a fitting nod to a man who changed how we sit and how we live. Full project gallery follows below. Credits: BIVAK Studio Bauhaus Design

New blog post: Bauhaus Design: Breuer Marcell Walkway by BIVAK Studio

MIT Uni: Redefining Branding and Visual Identity for Industry MIT Uni: Redefining Branding and Visual Identity for Industry abduzeedo January 19, 2026 Explore how xolve branding transformed MIT Uni into a national tech hub. Discover the bold new branding and visual identity designed for Industry 4.0. Mien Dong University of Technology (MIT Uni.) is making a major move. Located in Dong Nai, Vietnam’s industrial heart, the school is shifting its focus. It is moving from traditional manufacturing toward high-tech logistics and Industry 4.0. To match this ambition, they partnered with xolve branding to rethink their visual identity. The goal was to shed a quiet regional persona and become a national technology hub. The design team at xolve started by tackling a classic tension. Technology often feels cold, while education must feel human. MIT Uni. sits at the center of that overlap. The branding needed to show that the university fuels the next industrial revolution with human talent. This resulted in a brand expression that carries real weight and confidence. A key part of the transformation is the new mark. It moves away from passive heraldry toward active duality. The symbol resolves the conflict between the machine and the mind. It features a radial gear for the engineer and a blooming sunflower for the artist. This signals that precision and growth happen together at MIT Uni. Working closely with leadership, xolve amplified the shorthand "MIT Uni.", turning a polite acronym into a confident, modern declaration. To keep the brand consistent, xolve engineered a proprietary voice. They created a bespoke slab-serif typeface called MIT Uni Serif. This custom font ensures that everything from diplomas to billboards looks unified. It provides a level of academic credibility and clarity that standard fonts lack. The font features engineered clarity and delivers crisp readability across print, digital, and signage. This new identity has already opened doors for the university. It has paved the way for high-level collaborations with global partners like Siemens and QTS Australia. It proves the school is ready to "Master Future Technology," which is their bold promise to students. This project signals MIT Uni.'s graduation from a provincial school to a national technology hub. For designers, this project is a great lesson in brand evolution. It shows how to take local authenticity and scale it for a national audience. By balancing the mechanical with the organic, xolve created a visual language that feels both high-tech and deeply human. Images for this project follow the text below. * Credits: xolve branding. Branding and visual identity artifacts

In case you missed it: New blog post: MIT Uni: Redefining Branding and Visual Identity for Industry

The Slow Lane The Slow Lane abduzeedo January 19, 2026 How a camper van journey across California helped Abduzeedo’s founder overcome burnout and find a sustainable pace for growth in the age of AI. Recently, I’ve found myself reflecting more than usual on my path as a designer and my professional career. Perhaps it’s because Abduzeedo turns 20 this year (a milestone that serves as a sobering frame of reference) but mostly, it’s because I’ve been thinking about the nature of the journey itself. Last year was heavy. I felt a constant, underlying stress, fueled by the rapid shifts in our industry and the relentless discourse around AI and its disruptive power. Watching everyone else share their latest breakthroughs created a persistent "fear of missing out." I felt this urgent pressure to speed up, to move faster, to be the first to arrive, or risk being left behind entirely. That pace eventually led to an inevitable breakdown. I had an anxiety attack. It was a jarring experience, but it served as a necessary wake-up call. Much like when my office was robbed years ago, the catalyst that allowed me to start Abduzeedo, this moment forced a shift in focus. I needed to disconnect, to dial back the noise of social media and digital consumption. I’ve always loved road trips. For years, I’d contemplated getting a camper van. Every time I drove past a campground, I felt a twinge of envy seeing people sitting by a fire, enjoying life’s simpler rhythms. But every time I did the math, the pragmatic side of my brain took over. I’d tell myself that the cost of hotels for a decade wouldn’t even break even on the investment. In a leap of faith, I finally ignored the math and followed my heart. I got a van with a singular intent: to hit the road. I wanted to disconnect, so that I could finally reconnect. Now that I’m driving it across California with my family, visiting different campgrounds, one fundamental thing has changed. I’ve been forced to take the slow lane. In the past, driving was always about the "get." Getting from point A to point B. In smaller, faster cars, the instinct is to stay in the fast lane, pushing to arrive as quickly as possible, fearing that every lost minute was a missed opportunity. It was always about the destination, never the drive. In the slow lane, the rules are different. I cannot go fast. I cannot easily pass. My only option is to exist within the journey. This constraint has opened my eyes to the surroundings I used to blur past. I see the views now. I notice the small towns and the shifting landscapes. Driving has become fun again, provided I’m not holding up a line of cars eager to reach the speeds I once did. My stress has dissipated because I’ve accepted that this is simply the way to travel. There is no reason to push: I know that if I take a corner too fast in a heavy van, the result isn’t efficiency, it’s fear. "Taking the slow lane" has become my new philosophy for both my personal and professional life.  "Taking the slow lane" has become my new philosophy for both my personal and professional life. There is so much to learn, especially with the evolution of AI. I am motivated to master it, and I want to reach those new frontiers, but I no longer feel the need to race there. I’m choosing the slow lane. I’m going to appreciate the surroundings, pay closer attention to the world as it changes, and trust that I will get exactly where I need to be, right on time. Some photography from the last trip to Arnold and Bear Valley in California Photography

In case you missed it: New blog post: The Slow Lane

vial: A Modular Multivitamin Packaging System Built on Repetition and Structure vial: A Modular Multivitamin Packaging System Built on Repetition and Structure ibby January 21, 2026 vial is a conceptual modular multivitamin packaging system by Presentable that explores repetition, structure, and trust through design. The supplement aisle is rarely a calm place. Bright colors, bold claims, and an endless parade of “must-have” formulas compete for attention, often leaving design as an afterthought. vial is a conceptual multivitamin packaging system by Presentable that takes a very different approach. Instead of urgency or exaggerated health promises, the project treats daily supplementation as what it actually is: a repetitive habit. Rather than designing individual packs, Presentable built a system. Structure, consistency, and repetition form the backbone of vial. The idea is simple but effective. Trust comes from predictability, not persuasion. Every element follows a strict set of rules, creating a framework that feels stable and easy to navigate over time. Nothing shouts. Nothing tries too hard. The system just works. Concept and Inspiration The conceptual reference point comes from Piet Mondrian, not in terms of visual mimicry, but through shared logic. Mondrian’s work is all about relationships between form, spacing, and proportion. That same mindset is applied here. Each pack uses the same underlying structure, with variation introduced only when it improves clarity. Color, layout, and information shift within a fixed grid, creating rhythm without chaos. Seen together, the packs feel like parts of a larger organism. Individually they are functional and clear, but their real strength lies in their collective behavior. The system feels dependable because it behaves the same way every time. No surprises, no visual detours, no last-minute design flourishes trying to steal the spotlight. Design Visually, vial is intentionally restrained. A modular grid keeps everything aligned and balanced across formats, making the system scalable without losing coherence. Color is used sparingly and without emotional symbolism. Its role is purely practical: differentiation and navigation. Typography plays a supporting role rather than a starring one. It is treated as an information tool, not a branding gimmick. Hierarchy is clear, spacing is generous, and legibility is prioritized over personality. The result feels more like a well-designed manual than a marketing campaign. Materials and finishes follow the same philosophy. Nothing feels overly premium or decorative. There is no attempt to glamorize the product. The design stays grounded, focusing on long-term usability rather than first-impression theatrics. Outcome vial is a conceptual study in design discipline. By leaning into repetition and structure, Presentable proposes a different way of thinking about wellness packaging. One where consistency builds trust, and design steps back instead of stepping on the user’s toes. In a category obsessed with transformation and urgency, vial suggests that reliability might be the real luxury. Less “this will change your life,” more “this will fit into it.” And honestly, that feels like a healthy shift.

New blog post: vial: A Modular Multivitamin Packaging System Built on Repetition and Structure

Earthseed Dome at ICA SF: Printing a Future, One Brick at a Time Earthseed Dome at ICA SF: Printing a Future, One Brick at a Time ibby January 16, 2026 Earthseed Dome opens January 17 in San Francisco, blending ecology, architecture, and 3D-printed soil bricks into a living, regenerative public installation. Launching January 17th, Earthseed Dome opens to the public in Transamerica Redwood Park, bringing ecology, architecture, and advanced fabrication into one quietly ambitious installation in the heart of downtown San Francisco. Presented by ICA San Francisco as part of its nomadic, city-wide exhibition model, Earthseed Dome continues the institution’s commitment to meeting audiences where they are. Its launch coincides with San Francisco Art Week, when the city briefly pauses to remember how much it enjoys creative risk. Created by Bay Area artist Lily Kwong, Earthseed Dome isn’t something that simply appears fully formed. It’s built slowly, in public, using 3D-printed soil bricks embedded with seeds. Yes, soil. Yes, seeds. And yes, robots. The fabrication process is where things get especially interesting for design-minded readers. The dome is produced using robotic arm technology developed in close collaboration with Atelio, a fabrication studio known for pushing digital making into new material territory, and WASP, the Italian pioneers behind large-scale 3D printing systems engineered specifically for earth-based construction. This is not technology as spectacle. It’s precision engineering applied to one of the oldest building materials humans have ever used. Watching the dome come together feels part construction site, part performance. The bricks are printed on site, layer by layer, turning process into the point and making the act of building just as compelling as the finished structure. If Brutalism went to a regenerative design retreat, this might be the outcome. Once completed, the structure doesn’t stop working. Embedded seeds will sprout over time, allowing the dome to evolve with the seasons. Visitors are encouraged to engage with the work and act as seed carriers, extending the project beyond the park itself. Less “look but don’t touch,” more “participate and return.” At its core, Earthseed Dome is a reminder that innovation and responsibility don’t have to sit on opposite sides of the table. With Atelio and WASP at the helm of fabrication, the project shows how advanced tools can support regenerative thinking rather than overpower it. High tech, low ego, and refreshingly grounded. Literally. Earthseed Dome opens January 17 and will be on view at Transamerica Redwood Park through summer 2026. If you happen to be in San Francisco and nearby, look for the structure that’s quietly growing beneath the iconic Transamerica Pyramid while the rest of the city rushes past.

In case you missed it: New blog post: Earthseed Dome at ICA SF: Printing a Future, One Brick at a Time

Pencil.dev the Missing Link Between Design and Vibe Coding? Pencil.dev the Missing Link Between Design and Vibe Coding? abduzeedo January 21, 2026 Explore Pencil.dev: The ultimate AI design tool for Cursor users. Bridge the gap between Figma and code with Git versioning and agentic "vibe coding" workflows. We are witnessing a tectonic shift in how digital products are built. The era of manual syntax is giving way to the era of AI orchestration—where "vibe coding" and agentic workflows are becoming the new standard. Yet, as our development environments become smarter and more fluid, our design tools have largely remained static islands, disconnected from this new intelligence. But recently, I got a glimpse of a new tool that feels different. It’s called Pencil, and it might just be the bridge we’ve been waiting for. Pencil isn't just another prototyping tool; it bills itself as "Design Mode for Cursor" (the AI-powered code editor). It effectively brings a pixel-perfect vector canvas directly into the development environment, blurring the line between drawing an interface and building it. Here is why Pencil is catching our attention and why it might be the ultimate tool for the new era of "vibe coding." 1. Bridging Traditional Design with "Vibe Code" We are entering a new phase of creation often called "vibe coding"—where the creator directs the high-level intent (the "vibe") and AI handles the syntax. Until now, this was mostly a text-based experience. You prompt a chat window, and code appears. Pencil adds the visual dimension to this workflow. It bridges the gap between traditional vector design tools and AI-generated engineering. You aren't just prompting for code; you are manipulating a canvas that is the code. It allows designers to stay in a visual creative flow while leveraging the raw power of LLMs to generate the underlying structure. It’s the first tool that acknowledges that in an AI world, the distinction between a "mockup" and a "build" is rapidly evaporating. 2. Finally, Real Versioning for Design If you have ever had different Figma pages or even for other design tools with multiple file names, you know the pain. Design version control has historically been a mess compared to software engineering. Pencil changes the paradigm by integrating deeply with GitHub. Because the design files live in your repo, you can version, branch, and merge designs exactly the way engineers handle code. This is a massive shift in mindset. It means design is no longer a separate artifact floating in the cloud; it is a commit in the repository. It forces a level of synchronization between design and engineering that was previously impossible to enforce. If the code rolls back, the design rolls back. One source of truth, one repo. 3. The Figma Connection: Copy, Paste, Done The cool thing is that this tool doesn't mean we aren't abandoning Figma overnight. Figma is where the exploration happens. Any new tool needs to play nice with the current standard of UI design. Pencil this with a seamless Copy and Paste workflow. You can grab frames, vectors, text, and styles directly from Figma and drop them into Pencil. The assets come over intact—no broken SVGs or missing fonts. This feature is critical because it lowers the barrier to entry. You can keep your messy brainstorming in Figma, but when it’s time to "get real" and move toward production, you simply paste your polished vectors into Pencil and start connecting them to the codebase. For the multidisciplinary creator—the designer who codes, or the "vibe coder" who designs—this is a tool worth watching. Pencil.dev represents a shift in how we think about "Design Tools." It is less about drawing rectangles and more about orchestrating a product. By moving the design canvas into the IDE and backing it with Git, it treats design with the same structural respect as code. For the multidisciplinary creator—the designer who codes, or the "vibe coder" who designs—this is a tool worth watching. Check out Pencil.dev to see the future of the design-to-code workflow. Video demo

New blog post: Pencil.dev the Missing Link Between Design and Vibe Coding?

A Masterclass in Brazilian Anthropophagy Design A Masterclass in Brazilian Anthropophagy Design abduzeedo January 20, 2026 Explore how Davartos uses Brazilian Anthropophagy design method to create "Third-World Art." A deep dive into branding, worldbuilding, and the unique ONCA art method. Brazil's creative scene is hitting a new peak with Davartos, a São Paulo-based studio that is redefining what it means to create "Third-World Art." Led by ROCHA Branding, the studio acts as a multidisciplinary hub for everything from classical painting and music composition to complex worldbuilding for an upcoming cRPG. Their work is not just about aesthetics; it is a deep dive into Latin American identity, heavily influenced by the "Manifesto Antropófago" (Cannibalist Manifesto) by Oswald de Andrade. This philosophy of Anthropophagy suggests that Brazilian culture should "devour" foreign influences, digesting them to create something entirely new and authentically local. The visual identity of Davartos is a masterclass in this "devouring" process. Their branding materials lean into the provocative slogan "Where Ideas Grow Teeth," signaling a move away from passive consumption toward active, critical creation. You can see this tension in their Protagonist Concept for "Forty Years Later," where gritty realism meets a unique "Tupi or not Tupi?" spirit. By citing 20th-century thinkers like Darcy Ribeiro and Sergio Buarque de Holanda, Davartos grounds its modern digital art in a legacy of sociological critique. What makes this project stand out is the "ONCA" art method, which focuses on the digestion of global culture into a "Third-World" perspective. The studio's branding artifacts utilize high-contrast layouts and bold typography to echo the revolutionary spirit of the Brazilian modernists. It is a reminder that design can be a tool for decolonization, especially when it embraces its own "underdeveloped" roots to outshine the bright future. Davartos proves that the most exciting work happens when we stop imitating and start "eating." If you are looking for inspiration that bites back, this studio is the one to watch. The images detailed in the project analysis are located after this text. Credits: ROCHA Branding Branding and visual identity artifacts

New blog post: A Masterclass in Brazilian Anthropophagy Design

Keanis: New Branding and Visual Identity for Fine Jewelry Keanis: New Branding and Visual Identity for Fine Jewelry abduzeedo January 15, 2026 Series Eight crafts a luxury branding and visual identity for Keanis. See how they redefined lab-grown diamonds. We love seeing design that shifts a whole market. Series Eight recently did just that for Keanis. Keanis is a brand that sells fine jewelry made from lab-grown diamonds. They had a big goal. They wanted to bring luxury jewelry to Europe at a fair price. Their pieces cost much less than old brands. But they still needed to feel high-end. This is where the new branding and visual identity come into play. The studio built a look that is both modern and timeless. It feels warm but also very refined. The brand uses clean lines and soft curves. These shapes represent real bonds between people. The custom wordmark is a great touch. It has small merges in the letters. This shows how jewelry connects us to our loved ones. Instead of just using gold colors, the team used fine details. They focused on white space and nice textures. This lets the jewelry be the star of the show. It proves that luxury is about craft and not just a price tag. The whole look is very elegant. Photography is a huge part of this project. The team chose an editorial style. It looks like a high fashion shoot. The lighting is soft. The shots are close and personal. This helps people feel a bond with the items. Buying a ring online can be hard. You cannot touch the piece. High-quality photos help bridge that gap. They show the fine details of every stone. This builds trust with the buyer. It makes the digital shop feel like a real boutique. The digital side is just as good. Series Eight made the shop on Shopify. They solved many hard tech problems. Usually, Shopify only shows one image for each style. The team used smart code to show full galleries for every metal type. They also made a ring builder. It is very easy to use. You can pick the gem, the metal, and the size. You even see how big the stone looks. There are also clear delivery dates. All these small things make the user feel safe. It turns a complex task into a fun journey. The tagline "Finding your forever" ties it all together. It shows that jewelry is for big life moments. The words used on the site are kind and soft. It feels like talking to a friend who knows a lot about gems. Every interaction on the site is smooth. When you hover over a button, it moves just a little. These tiny bits show that the brand cares about quality. The final result is a brand that makes lab-grown diamonds feel very special. It is a win for good design and smart tech. Credits:Series Eight. Branding and visual identity artifacts  

In case you missed it: New blog post: Keanis: New Branding and Visual Identity for Fine Jewelry

MIT Uni: Redefining Branding and Visual Identity for Industry MIT Uni: Redefining Branding and Visual Identity for Industry abduzeedo January 19, 2026 Explore how xolve branding transformed MIT Uni into a national tech hub. Discover the bold new branding and visual identity designed for Industry 4.0. Mien Dong University of Technology (MIT Uni.) is making a major move. Located in Dong Nai, Vietnam’s industrial heart, the school is shifting its focus. It is moving from traditional manufacturing toward high-tech logistics and Industry 4.0. To match this ambition, they partnered with xolve branding to rethink their visual identity. The goal was to shed a quiet regional persona and become a national technology hub. The design team at xolve started by tackling a classic tension. Technology often feels cold, while education must feel human. MIT Uni. sits at the center of that overlap. The branding needed to show that the university fuels the next industrial revolution with human talent. This resulted in a brand expression that carries real weight and confidence. A key part of the transformation is the new mark. It moves away from passive heraldry toward active duality. The symbol resolves the conflict between the machine and the mind. It features a radial gear for the engineer and a blooming sunflower for the artist. This signals that precision and growth happen together at MIT Uni. Working closely with leadership, xolve amplified the shorthand "MIT Uni.", turning a polite acronym into a confident, modern declaration. To keep the brand consistent, xolve engineered a proprietary voice. They created a bespoke slab-serif typeface called MIT Uni Serif. This custom font ensures that everything from diplomas to billboards looks unified. It provides a level of academic credibility and clarity that standard fonts lack. The font features engineered clarity and delivers crisp readability across print, digital, and signage. This new identity has already opened doors for the university. It has paved the way for high-level collaborations with global partners like Siemens and QTS Australia. It proves the school is ready to "Master Future Technology," which is their bold promise to students. This project signals MIT Uni.'s graduation from a provincial school to a national technology hub. For designers, this project is a great lesson in brand evolution. It shows how to take local authenticity and scale it for a national audience. By balancing the mechanical with the organic, xolve created a visual language that feels both high-tech and deeply human. Images for this project follow the text below. * Credits: xolve branding. Branding and visual identity artifacts

New blog post: MIT Uni: Redefining Branding and Visual Identity for Industry

The Slow Lane The Slow Lane abduzeedo January 19, 2026 How a camper van journey across California helped Abduzeedo’s founder overcome burnout and find a sustainable pace for growth in the age of AI. Recently, I’ve found myself reflecting more than usual on my path as a designer and my professional career. Perhaps it’s because Abduzeedo turns 20 this year (a milestone that serves as a sobering frame of reference) but mostly, it’s because I’ve been thinking about the nature of the journey itself. Last year was heavy. I felt a constant, underlying stress, fueled by the rapid shifts in our industry and the relentless discourse around AI and its disruptive power. Watching everyone else share their latest breakthroughs created a persistent "fear of missing out." I felt this urgent pressure to speed up, to move faster, to be the first to arrive, or risk being left behind entirely. That pace eventually led to an inevitable breakdown. I had an anxiety attack. It was a jarring experience, but it served as a necessary wake-up call. Much like when my office was robbed years ago, the catalyst that allowed me to start Abduzeedo, this moment forced a shift in focus. I needed to disconnect, to dial back the noise of social media and digital consumption. I’ve always loved road trips. For years, I’d contemplated getting a camper van. Every time I drove past a campground, I felt a twinge of envy seeing people sitting by a fire, enjoying life’s simpler rhythms. But every time I did the math, the pragmatic side of my brain took over. I’d tell myself that the cost of hotels for a decade wouldn’t even break even on the investment. In a leap of faith, I finally ignored the math and followed my heart. I got a van with a singular intent: to hit the road. I wanted to disconnect, so that I could finally reconnect. Now that I’m driving it across California with my family, visiting different campgrounds, one fundamental thing has changed. I’ve been forced to take the slow lane. In the past, driving was always about the "get." Getting from point A to point B. In smaller, faster cars, the instinct is to stay in the fast lane, pushing to arrive as quickly as possible, fearing that every lost minute was a missed opportunity. It was always about the destination, never the drive. In the slow lane, the rules are different. I cannot go fast. I cannot easily pass. My only option is to exist within the journey. This constraint has opened my eyes to the surroundings I used to blur past. I see the views now. I notice the small towns and the shifting landscapes. Driving has become fun again, provided I’m not holding up a line of cars eager to reach the speeds I once did. My stress has dissipated because I’ve accepted that this is simply the way to travel. There is no reason to push: I know that if I take a corner too fast in a heavy van, the result isn’t efficiency, it’s fear. "Taking the slow lane" has become my new philosophy for both my personal and professional life.  "Taking the slow lane" has become my new philosophy for both my personal and professional life. There is so much to learn, especially with the evolution of AI. I am motivated to master it, and I want to reach those new frontiers, but I no longer feel the need to race there. I’m choosing the slow lane. I’m going to appreciate the surroundings, pay closer attention to the world as it changes, and trust that I will get exactly where I need to be, right on time. Some photography from the last trip to Arnold and Bear Valley in California Photography

New blog post: The Slow Lane

Maxon One: Redefining Branding Through Motion Design Maxon One: Redefining Branding Through Motion Design abduzeedo January 13, 2026 Explore Maxon's unified brand identity film, where a modular honeycomb vision is brought to life through motion design. Watch as Cinema 4D and ZBrush unite. Maxon is a name that every digital artist knows. They make tools that help us build worlds. From 3D modeling to motion graphics, their software is the backbone of the industry. Recently, the company decided it was time for a change. They rolled out a brand-new look for their growing family of tools. To celebrate this, they released the Maxon One Brand Expression film. It is a stunning look at how a brand can move. The project was led by Creative Director Leo Hageman. His goal was clear. He wanted a visual style that felt like Maxon. At the same time, he wanted to show what makes each tool special. This is not an easy task. You have Cinema 4D, Red Giant, ZBrush, and Redshift. Each one has its own personality. The film brings them together into one story. It shows that while they are different, they work best as a team. The biggest challenge was the "honeycomb" look. This modular system is the core of the new identity. The team had to figure out how to make it move. In motion design, you have to balance two things. You need abstract shapes. You also need clarity. The film does this by weaving real features of the software into the scenes. You see bits of the tools you love, but they are part of a larger, beautiful flow. A consistent geometric style keeps everything tied together. The rhythm of the motion is the key. It shows how one tool feeds into the next. It feels like a seamless loop. This represents the real-world workflow of artists. We jump from modeling to rendering every day. The film captures that feeling. It makes the software feel like a living thing. It is not just code. It is a partner in the creative process. The film was brought to life by Xinyue (Casey) Gu. She handled the design, animation, and editing. The work is crisp and full of energy. It also features artwork by Pablo Munoz Gomez. His ZBrush work adds a layer of high-end detail to the film. It proves that Maxon is not just about tools. It is about the art that people make with them. The colors are bold, and the lines are sharp. It looks like the future of tech. In the end, this project is a lesson in unity. You can have many different products and still have one voice. Maxon has found a way to honor its past while looking forward. This film sets a high bar for motion design in branding. It is simple, smart, and very effective. It reminds us why we love these tools in the first place. They are built for us, the creators. The images for this project are located after this text. Credits: Project by Xinyue (Casey) Gu Motion Design Stills

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Boucan - Neo-Brasserie Branding That Speaks Pop, Play, and France Boucan - Neo-Brasserie Branding That Speaks Pop, Play, and France ibby January 12, 2026 A vibrant brand identity for Boucan restaurant and bistro-bar, blending French brasserie heritage with playful, expressive graphic design. When design meets convivial energy, spaces become more than just places to eat, they become cultural experiences. That’s exactly the visual alchemy behind Boucan, a neighbourhood restaurant and bistro-bar brought to life through a playful, expressive brand identity by Ogaf Studio. Located in Nantes, Boucan is all about lively gatherings: where friends stop by for a midday feast, raise a glass in the evening, or turn the bar into a weekend dancefloor. Ogaf’s challenge was to visually translate this spirited identity into a brand system that feels as dynamic as the venue itself. Heritage Meets Modern Festivity Instead of leaning on classic brasserie tropes, the team reimagined them, fusing visual heritage with contemporary design. The result is a brand identity that’s rich, colorful, and expressive: * A logo system with multiple variations reflecting Boucan’s multifaceted personality.   * Bold graphic elements and lively typography that sometimes feels almost in motion.   * A visual universe that’s pop, energetic, and unpretentious, much like the venue’s philosophy.   Design That Lives Everywhere What makes this project particularly compelling is how the identity extends beyond just a logo: * Custom printed steel panels, bespoke patterns and wallpapers, and wood bar details anchor the branding in the physical space.   * A fully integrated website and digital presence carry the same festive voice online.   * A suite of photo, film, and social templates was developed to empower Boucan’s own team to tell their story across channels.   The Boucan project illustrates a key lesson in modern hospitality branding: great identities don’t just look good, they perform across environments, from a bustling lunch crowd to late-night celebrations

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Earthseed Dome at ICA SF: Printing a Future, One Brick at a Time Earthseed Dome at ICA SF: Printing a Future, One Brick at a Time ibby January 16, 2026 Earthseed Dome opens January 17 in San Francisco, blending ecology, architecture, and 3D-printed soil bricks into a living, regenerative public installation. Launching January 17th, Earthseed Dome opens to the public in Transamerica Redwood Park, bringing ecology, architecture, and advanced fabrication into one quietly ambitious installation in the heart of downtown San Francisco. Presented by ICA San Francisco as part of its nomadic, city-wide exhibition model, Earthseed Dome continues the institution’s commitment to meeting audiences where they are. Its launch coincides with San Francisco Art Week, when the city briefly pauses to remember how much it enjoys creative risk. Created by Bay Area artist Lily Kwong, Earthseed Dome isn’t something that simply appears fully formed. It’s built slowly, in public, using 3D-printed soil bricks embedded with seeds. Yes, soil. Yes, seeds. And yes, robots. The fabrication process is where things get especially interesting for design-minded readers. The dome is produced using robotic arm technology developed in close collaboration with Atelio, a fabrication studio known for pushing digital making into new material territory, and WASP, the Italian pioneers behind large-scale 3D printing systems engineered specifically for earth-based construction. This is not technology as spectacle. It’s precision engineering applied to one of the oldest building materials humans have ever used. Watching the dome come together feels part construction site, part performance. The bricks are printed on site, layer by layer, turning process into the point and making the act of building just as compelling as the finished structure. If Brutalism went to a regenerative design retreat, this might be the outcome. Once completed, the structure doesn’t stop working. Embedded seeds will sprout over time, allowing the dome to evolve with the seasons. Visitors are encouraged to engage with the work and act as seed carriers, extending the project beyond the park itself. Less “look but don’t touch,” more “participate and return.” At its core, Earthseed Dome is a reminder that innovation and responsibility don’t have to sit on opposite sides of the table. With Atelio and WASP at the helm of fabrication, the project shows how advanced tools can support regenerative thinking rather than overpower it. High tech, low ego, and refreshingly grounded. Literally. Earthseed Dome opens January 17 and will be on view at Transamerica Redwood Park through summer 2026. If you happen to be in San Francisco and nearby, look for the structure that’s quietly growing beneath the iconic Transamerica Pyramid while the rest of the city rushes past.

New blog post: Earthseed Dome at ICA SF: Printing a Future, One Brick at a Time

HumanLink: Disruption Through Branding and Visual Identity HumanLink: Disruption Through Branding and Visual Identity abduzeedo January 11, 2026 Explore how HumanLink redefines branding and visual identity in Vietnam’s avant-garde fashion scene through bold design, disruption, and community connection.. HumanLink is a new shout of change in the fashion world. The brand breaks old rules to give a voice to those who want to be free. It is a bold hub where young designers can show who they really are. By building this platform, HumanLink helps make Vietnam's fashion scene more diverse. It builds a community where creative souls can grow together. The brand look starts with a unique logo. The letters are linked to show how the brand brings people together. The design uses a mix of soft curves and strong lines. This mix shows both peace and change. It perfectly matches the bold spirit of their clothing. For fonts, HumanLink uses PP Räder. This font is clean and simple. It makes a great backdrop for the bold fashion. While it looks simple, the letters have small, unique shapes. These tiny changes add a sense of surprise that fits the brand well. The store follows this same raw style. It has an industrial look that feels unfinished on purpose. This look honors the values of the community. It is more than just a shop. It is a place where people who love bold fashion can meet and find where they belong. HumanLink started after a lot of research into fashion in Vietnam. The team saw that young people love this new kind of shop. This is very true for new designers who want freedom to create. This project is about solving real problems through art. In the end, HumanLink wants to take Vietnamese fashion to the world. They dream of growing big and sharing their unique voice. It is a place where local and global talent can both win. By working without borders, HumanLink is building a bright future for creativity. Credits: Project by Myundones & Corbin. Art Direction by Corbin Nguyen. Featured typography: PP Räder. Branding and visual identity artifacts Store Advertising

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Keanis: New Branding and Visual Identity for Fine Jewelry Keanis: New Branding and Visual Identity for Fine Jewelry abduzeedo January 15, 2026 Series Eight crafts a luxury branding and visual identity for Keanis. See how they redefined lab-grown diamonds. We love seeing design that shifts a whole market. Series Eight recently did just that for Keanis. Keanis is a brand that sells fine jewelry made from lab-grown diamonds. They had a big goal. They wanted to bring luxury jewelry to Europe at a fair price. Their pieces cost much less than old brands. But they still needed to feel high-end. This is where the new branding and visual identity come into play. The studio built a look that is both modern and timeless. It feels warm but also very refined. The brand uses clean lines and soft curves. These shapes represent real bonds between people. The custom wordmark is a great touch. It has small merges in the letters. This shows how jewelry connects us to our loved ones. Instead of just using gold colors, the team used fine details. They focused on white space and nice textures. This lets the jewelry be the star of the show. It proves that luxury is about craft and not just a price tag. The whole look is very elegant. Photography is a huge part of this project. The team chose an editorial style. It looks like a high fashion shoot. The lighting is soft. The shots are close and personal. This helps people feel a bond with the items. Buying a ring online can be hard. You cannot touch the piece. High-quality photos help bridge that gap. They show the fine details of every stone. This builds trust with the buyer. It makes the digital shop feel like a real boutique. The digital side is just as good. Series Eight made the shop on Shopify. They solved many hard tech problems. Usually, Shopify only shows one image for each style. The team used smart code to show full galleries for every metal type. They also made a ring builder. It is very easy to use. You can pick the gem, the metal, and the size. You even see how big the stone looks. There are also clear delivery dates. All these small things make the user feel safe. It turns a complex task into a fun journey. The tagline "Finding your forever" ties it all together. It shows that jewelry is for big life moments. The words used on the site are kind and soft. It feels like talking to a friend who knows a lot about gems. Every interaction on the site is smooth. When you hover over a button, it moves just a little. These tiny bits show that the brand cares about quality. The final result is a brand that makes lab-grown diamonds feel very special. It is a win for good design and smart tech. Credits:Series Eight. Branding and visual identity artifacts  

New blog post: Keanis: New Branding and Visual Identity for Fine Jewelry