Black Madre’s Handcarved Campaign for Corona Elevates Folklore in ‘Fishermen Storytellers’

Slick digital campaigns and AI-generated imagery dominate our screens these days, but Brazil-based visual arts studio Black Madre has carved — quite literally — a compelling case for the power of craft. Their latest work, a collaboration with Africa Creative for Corona’s “Fisherman Storytellers” campaign, proves that branding rooted in authenticity, tactility, and human touch still reigns supreme.

Unfolding through a stunning blend of hand-carved woodwork, stop-motion animation, and book design, the campaign captures a rarely seen intersection of branding, folklore, and social responsibility. It tells the story of Brazil’s coastal fishing communities, where seasonal fishing prohibitions leave families without income and where Corona is stepping in to offer an alternative: storytelling.

Rather than relying on tropes or digital spectacle, Africa Creative and Black Madre chose a narrative-driven path by translating the region’s rich oral traditions into physical storytelling experiences. At the heart of the campaign lies a series of wooden key visuals and a 60-second animation crafted entirely by hand. Each visual piece reimagines traditional fisherman’s tales: “The Cracked Island,” “The Smallest Fish,” and “The Fisherman of Fishermen”, through dimensional carved layers that evoke both wonder and weight.

The boat is the symbol that ties everything together. It’s the vehicle between the fisherman and the sea, and in this campaign, it also becomes the metaphor for bridging past and present.

André Maciel, creative director for Black Madre

From the swirling tentacles of an octopus to a giant hand reaching through the sea, every detail was sculpted from raw wood. The textures are sunworn and weather-beaten, a deliberate nod to Caiçara aesthetics and the coastal realities that frame these stories.

What elevates this campaign beyond beautiful visuals is the painstaking method behind it. Every object — fish, boats, hands, islands — was hand-carved using traditional gouges. Each layer was lit individually to create depth and dimension, then composited into richly cinematic scenes that feel at once intimate and epic.

The stop-motion animation for “The Cracked Island” is particularly compelling, turning a parable about greed and respect for nature into a gorgeously fluid narrative. It’s also a nod to Corona’s evolving brand ethos, which increasingly centers on environmental stewardship and local impact.

For a brand like Corona, which has long used idyllic beachscapes to sell serenity, this campaign marks a meaningful pivot that pairs aesthetic polish with purpose. Not simply showing a picturesque snapshot of a beach, it invites us to hear its stories, understand its people, and consider how our consumption affects real communities.

For Corona, it’s a chance to expand storytelling across touchpoints while grounding it in genuine cultural exchange.

As if the carved visuals weren’t enough, the campaign will soon launch a handmade pop-up book to further immerse audiences. Designed to resemble a boat and built using nautical materials such as sailcloth, fishing nets, and bamboo, the book transforms five traditional stories into three-dimensional experiences.

In a media landscape where digital scrolls have replaced page turns, the pop-up book is a tactile rebellion and a branding masterstroke. For Corona, it’s a chance to expand storytelling across touchpoints while grounding it in genuine cultural exchange.

From a branding and design perspective, the “Fisherman Storytellers” campaign is an exemplar of how creative direction, craft, and cultural insight can elevate a brand far beyond product placement. It’s a reminder that when visual identity stems from place, tradition, and material truth, it doesn’t need to shout to be heard.

Black Madre, known for its analog-first approach to visual storytelling, has once again shown why its work resonates across industries. Their ethos is simple: build beautiful things, by hand, that make people feel something.

In this case, what they’ve built is more than a campaign. It’s a bridge between worlds — digital and analog, myth and reality, community and consumer. And like all good stories, it sticks with you long after the last page (or frame) is turned.

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FIFA Unveils Host City Posters for the 2026 World Cup, Designed by Local Artists

Between the WNBA draft last week, the MLB season now in full swing, and my beloved Liverpool FC on the cusp of winning the English Premier League title across the pond, our sports fandom is being pulled in dozens of directions across a slew of sports around the world. Of course it’s easy to get caught up in what sporting events and narratives are unspooling right here and right now, but we’d be remiss to not look down the field at what’s to come— especially when the United States is set to co-host the men’s FIFA World Cup in the summer of 2026 with Mexico and Canada.

In an attempt to drum up some excitement for a tournament that’s over a year away, FIFA smartly turned to the power of eye-catching artwork. Last week, they released a collection of 16 posters, one from each of the host cities across the United States, Mexico, and Canada, in which World Cup games will be played. This marks the first time FIFA has created official city-specific posters for a World Cup, with the intention of the designs reflecting the unique cultural and artistic spirit of each host city, while showcasing a shared love of the beautiful game.

So what do I make of the designs? I’m not going to be coy or contrarian: these posters slap. Of course, I’m personally drawn to some more than others—Miami, Seattle, and Toronto rise to the top of my list, with Kansas City, Los Angeles, and Philadelphia bringing up the rear—but as a collection, they are incredibly strong. A different local artist designed each poster, save for the three representing the host cities in Mexico, which were all created by Mexican illustrator Cuemanche.

Let’s take a look, shall we?

Atlanta – Jose Hadathy

Boston – John Rego

Dallas – Matt Cliff

Guadalajara – Cuemanche

Houston – Stephanie Leal

Kansas City – Jadie Arnett

Los Angeles – Thieb Delaporte-Richard

Miami – Rubem Robierb

Mexico City – Cuemanche

Monterrey – Cuemanche

New York/New Jersey – Rich Tu

Philadelphia – Nick McClintock

San Francisco Bay Area – Leroid David

Seattle – Shogo Ota

Toronto – David Murray

Vancouver – Jamin Zuroski

Which of the 16 tops your list? I’m a total sucker for Miami aesthetics, pink-and-aqua color palettes, and literally anything with a flamingo on it, so Rubem Robierb’s Miami poster is pure catnip to me. David Murray’s design for Toronto stands out from the pack because of his distinct retro geometric style. I have to add that I would like to have seen more women designers represented in the collection, seeing as 14 of the 16 posters were created by men. FIFA is far from a moral authority on anything, though, so this comes as no surprise. Obviously, everyone checking out these designs will have their own opinions, too, and that’s entirely the point! With this in mind, I couldn’t help but reach out to my go-to sports design specialist, Todd Radom, for his gut check on the collection.

When asked what makes a successful World Cup host city poster, Radom said, “The host cities are so varied, so I’d say that capturing a piece of that city’s essence and conveying a sense of place would be really important.” A few of his favorites align with mine, including Miami and Toronto. “The Miami poster is fun and unmistakably Miami,” he said. “It has a strong and effective focal point and a beautiful palette.” He added, “I’m a huge fan of Dave Murray’s work—he created the Toronto poster, which harkens back to something that Cassandre might have done a century ago.”

Radom also called out a few more standouts: “I love the posters for all three Mexican host cities, rich and colorful and full of local symbolism. The San Francisco Bay Area version gives us Oakland and San Francisco and soccer, all delivered with impact. And I love Boston’s, which is just fun and silly, attributes that Boston hasn’t always been known for.” He mentioned Vancouver’s poster as the design that lacked the same level of panache as the others. “It’s a little flat,” he said. “A pop of northwest green or aqua or vivid blue might have helped things pop a little more.”

In summation, we’re all very proud of FIFA for doing something fun and cool in the design space, instead of their usual flair for doing something corrupt and anti-human rights.

See, FIFA, doesn’t that feel better?

Featured image credit: EPA Images via Free Malaysia Today.

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Forest Carbon’s Purposeful Rebrand Visualizes the Sounds of Eco-Integrity

Every Earth Day, many of us find ourselves slowing down — even just a little — to take stock of the world around us. Maybe it’s while tending to a windowsill herb garden, out on a morning walk in the park, or in those small, hopeful conversations that seem to surface more easily this time of year. There’s a collective awareness in the air, a reminder that this planet is something we all share responsibility for and shouldn’t take for granted.

Within the design community, there’s increasing discussion about our role in that shared responsibility. What does it truly mean to create work that contributes to environmental healing, not just visually, but meaningfully?

Take something as simple as choosing to support a company that gives back to the planet. Some of us have started doing that by buying furniture from businesses that plant trees with every order, or choosing brands that utilize plastic-free, biodegradable packaging. They’re not revolutionary acts, but these small moments add up. They’re moments of intention. And that kind of thoughtful alignment is exactly what makes the Forest Carbon rebrand by Design Bridge and Partners feel so resonant right now.

Forest Carbon isn’t your typical carbon offset operation. They restore degraded wetland forests across Southeast Asia, which house some of the most carbon-rich and biologically diverse ecosystems on Earth. But in a society where carbon credit schemes often face scrutiny for being performative or opaque, Forest Carbon is doing something rare: they’re backing their impact with science, transparency, and now, a beautifully resonant brand.

Design Bridge and Partners approached the rebrand with an idea both poetic and precise: “In Tune with Nature.” That’s not just a metaphor — it’s literal. Forest Carbon uses bioacoustics to monitor forest restoration. This means recordings of returning birds, frogs, and even the calls of endangered species like the Sumatran tiger. Those soundscapes are translated into Chladni patterns, which are visual representations of sound waves, and become the core of the visual identity.

The identity doesn’t just look like nature, it is nature, rendered in waveform.

It’s one of the most refreshing uses of generative design and sonic branding I’ve seen in a while, not just because it’s gorgeous, but because it’s grounded in purpose. The identity becomes a living portrait of environmental recovery. It doesn’t just look like nature, it is nature, rendered in waveform.

What I find especially meaningful is the brand’s rejection of commodification. Rather than relying on the tired tropes of greenwashing, Forest Carbon leans into credibility. Design Bridge and Partners layered in a visual language inspired by scientific journals, evoking trust, data, and grounded fieldwork. The result is elegant, quiet, and confident, like the work itself.

“We wanted to focus on the core value of nature,” said Forest Carbon co-founders Jeffrey Chatellier and Devan Wardwell, “not just the commodification often seen in carbon and environmental markets.” That sentiment feels especially poignant on Earth Day, when sincerity can sometimes get lost behind marketing campaigns and hashtags.

Jonathan Brodie, creative director at Design Bridge and Partners, summed up the process beautifully: “Their willingness to break from convention and challenge expectations was liberating.” That kind of freedom, paired with integrity, is what allows truly impactful work to emerge.

As designers, we know how much branding can shape perception. But it’s when design starts shaping behavior — urging people to listen more carefully to the planet and trust the people working to protect it — that the real magic happens.

This Earth Day, I’m celebrating work that not only honors the natural world but collaborates with it. And I’m reminded again that when we give nature a voice, through sound, image, and story, people will listen. I encourage you to take a moment today to reflect on the brands you support and consider making one intentional choice for the planet moving forward. Even the smallest action can create meaningful impact.

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Super Okay Dreams up ‘The Great American Cannabis Company’ With THC Design Rebrand

Brand studio Super Okay has announced the completion of a comprehensive rebranding initiative for THC Design, a California-born cannabis company poised for national expansion.

Brands like THC Design prove that great design is more than just aesthetics; it’s how you earn trust, navigate complexity, and build bridges across a fractured landscape. THC Design is helping shape a new visual and narrative language for cannabis, one rooted in education, transparency, and respect for the plant’s history and future.

THC Design sought to reinvigorate its brand identity as it transitioned from a regional California player to a multi-state operator. The employee-owned company tasked Super Okay with developing a cohesive brand system to navigate diverse state regulations, educate consumers, and position them as a leader in the cannabis industry. “Our goal was to transform THC Design from a well-established California brand to a national icon,” said Rob Hubbert, Super Okay’s partner and managing director.

Using THCD’s hard-won trust and unique position in the market, we sought to define what “good” looks like for cannabis without any gimmicks.

Rob Hubbert, parter and managing director, Super Okay

Super Okay began the rebranding effort with a refinement of THC Design’s molecule logo, accompanied by the introduction of a bold red logo system and a distinctive color palette anchored in the brand’s signature purple. The team selected Dia Type Extended Bold for its approachable feel, giving the typography a confident voice when it visually shows up in the world. Purple frosted glass jars and mylar bags give the packaging system a cohesive, premium look. User-friendly jar tops and a universal box with an adaptive labeling system were introduced to accommodate varying state regulations. “We completely overhauled the brand identity using its core equities, turning it into a fully fledged brand system that boldly stands out on the shelf,” said Hubbert.

A bento box system communicates flavor profiles and terpene information, addressing both regulatory requirements and consumer education needs. Super Okay also incorporated motion design and animation to spur engagement and understanding. Human-centered lifestyle photography softens the brand’s scientific image and connects with a broad range of consumers by emphasizing the brand’s SoCal roots.

“We needed to create a brand that not only stood out on dispensary shelves but also resonated with consumers on a deeper level,” said Anthony Cappetta, partner and creative director at Super Okay.

The bento box system, in particular, allows for flexible storytelling and educational content, deepening the brand story and enriching the consumer experience. Ultimately, it leads to richer storytelling within the brand.

Anthony Cappetta, partner and creative director, Super Okay

“Working with Super Okay on our brand refresh was an essential process of self-discovery for THC Design. Through our sessions, we refined our visual identity and our core narrative—honoring our legacy while defining the next chapter of who we are as a company,” said THC Design CEO Marlon Coburn. “The rebrand wasn’t just about aesthetics; it was about capturing the essence of our evolution. Super Okay helped us translate our values, vision, and history into a look and feel that resonates with longtime fans and new consumers, ensuring that THC Design continues to grow with authenticity and purpose.”

The refreshed and updated packaging system has already significantly impacted THC Design’s expansion. Retailers are eager to stock the updated look, resulting in an increase in reorder rates. The refreshed look has also been crucial in supporting the brand’s initial expansion into Nevada, where it helped establish a strong launch presence, making its products stand out on shelves and driving growth. 

The overhauled brand identity solidifies THC Design’s position as a leading cannabis company built for the long term. By focusing on consistency and consumer education, THC Design is now poised to rightfully claim its spot as one of the major cannabis players on the market that’s built to last.

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The Folio Society Celebrates 78 Years of Visual Storytelling Through the Art of Book Illustration

This spring, bibliophiles and art lovers alike have reason to celebrate. The Folio Society, the London-based independent publisher revered for its exquisite hardcovers, will unveil its first major exhibition in the United States: “The Art of Folio.” Hosted at the Society of Illustrators on New York’s Upper East Side from April 16 through July 12, 2025, the show marks a landmark moment in the intersection of illustration, design, and publishing.

Across nearly eight decades, The Folio Society has elevated the experience of reading through a steadfast commitment to visual storytelling. Since 1947, their books have been as much about what you see as what you read; thoughtfully designed editions that celebrate the tactile, emotional, and imaginative power of book design.

The two-floor, immersive exhibition features 91 illustrators from around the globe, with over 100 artworks curated by genre to transport viewers from the magical realism of A Wizard of Earthsea to the haunting landscapes of The Underground Railroad — a vibrant living archive of illustration’s role in literature that showcases how artists, through medium and imagination, make a good story unforgettable.

Left: Lela Harris; Right: Anagh Banerjee

Design enthusiasts will be drawn to the ground floor’s dedicated installation for The Great Gatsby, commemorating the novel’s 100th anniversary. Featuring new illustrations by acclaimed artist Yuko Shimizu, this darkly sumptuous edition channels the decadent dissonance of Fitzgerald’s Jazz Age classic. Shimizu’s linework crackles with longing, disillusionment, and dangerous beauty—qualities that mirror the fragile glitter of Gatsby’s world. The display includes original artwork as well as a behind-the-scenes look at the craft behind every Folio book, offering a rare peek into the publisher’s meticulous design process.

Illustrations © Yuko Shimizu ​2025, from The Great Gatsby

“The Art of Folio” is a vibrant living archive of illustration’s role in literature that showcases how artists, through medium and imagination, make a good story unforgettable.

The lower floor dives deep into Folio’s storied past, presenting a timeline of artistic evolution through printed and original works from 1957 to 2024. Names like Quentin Blake and Beryl Cook are honored here, alongside contemporary voices who are reshaping what illustrated literature can look like in the 21st century. The exhibition also features documentary footage of illustrators discussing their collaborative work with Folio—underscoring how design, authorship, and interpretation intersect to form the holistic identity of a book.

Celebrating New Voices Through the Folio Book Illustration Award

In tandem with the exhibition, the Folio Society has opened submissions for its 2025 Folio Book Illustration Award—an international competition that invites new talent into this storied legacy. With a top prize of £2,500 and £500 in Folio vouchers, the award offers the winning illustrator a chance to be featured in a future Folio edition. Five runners-up will receive £500 vouchers each.

“The illustration is at the heart of everything we do at Folio,” says Rose. “We are passionate about discovering and fostering new talent, whether they paint in oils, carve wood engravings, or create digital masterpieces.”

The deadline for entries is Friday, May 23, 2025. You can find details and submission guidelines here.

Illustrations left to right: Nate Sweitzer, Evangeline Gallagher, Daniel Lievano.

In an industry often dominated by speed and scale, The Folio Society remains defiantly devoted to quality. As an employee-owned publisher, decisions are guided by passion rather than profit. Each book is a thoughtful synthesis of story, illustration, typography, and materials, designed to be read, held, and treasured.

More than a tribute to illustration, “The Art of Folio” offers a compelling look at the cultural and emotional value of the physical book. As publishing continues to evolve in a digital age, this exhibition acts as a love letter to publishing that underscores how design isn’t an afterthought; it’s essential to how we experience and interpret stories by deepening the reader’s emotional connection to a story.

This is not just an exhibition; it’s a testament to a publishing philosophy that values beauty, intention, and craft. For anyone who has paused over a perfectly illustrated page, it’s a reminder that design enhances not just the visuals but the emotional depth of a narrative.

Don’t miss the opportunity to experience this love letter to the art of book design and illustration.

“The Art of Folio” runs from April 16 through July 12, 2025, at the Society of Illustrators, Museum of Illustration in NYC.

And for emerging illustrators with a story to tell, now might be the time to put pen to paper and join the conversation.

Imagery courtesy of The Folio Society. Header illustration by © Yuko Shimizu ​2025, from The Great Gatsby.

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Windows, WordArt, & What’s Next: A 90s Kid Reflects on Microsoft’s 50-Year Brand Evolution

As a kid, I would spend hours in Microsoft Paint sketching what I thought were pixel-perfect purple dolphins and my own sticker designs. A few years later, I was introduced to Clippy and WordArt, and suddenly, Microsoft Word wasn’t just for book reports; it became a creative playground for binder designs and birthday invites. Being a 90s kid, Microsoft was my constant companion, threaded through early creativity, awkward adolescent presentations, and the thrill of getting your first Hotmail address — you know the one — that your 13-year-old mind thought was cool; discochick00@hotmail.com anyone? So when brand and digital studio Koto released Microsoft’s 50th Anniversary identity, I excitedly braced for nostalgia and got something much richer.

Rather than lean into sentimental retrospection, Koto’s work reframes Microsoft’s legacy through the lens of makers: those who shaped, built, and dreamed across five decades. The strategy, anchored in the phrase “Change needs makers,” doesn’t just look backward; it invites the next generation to join in the making. And in doing so, it reclaims Microsoft’s brand not just as a tech platform, but as a creative force rooted in empowerment.

The campaign is built on a dynamic, modular identity system that feels alive. Visual compositions move between three main structures: “Worlds,” “Iconic Moments,” and “Then & Now.” These are less design gimmicks and more storytelling tools. “Worlds” places people at the center of richly imagined environments, surrounded by products and ideas that shaped their creativity. “Iconic Moments” looks back on milestones, such as the launch of Xbox or the first versions of Windows, not as static achievements but as cultural shifts. And “Then & Now” plays with time, pairing historic innovations with today’s breakthroughs to show a brand that never stopped evolving.

This identity system is distinctly Microsoft in tone but unmistakably Koto in execution; expressive, intentional, and full of movement. Typography plays a big role in keeping it grounded: Segoe Sans Display, Microsoft’s familiar typeface, lends continuity and clarity while subtly signaling evolution. And the six heritage-inspired gradient backgrounds used across the campaign are pure energy — warm, modern, and unified without feeling uniform.

What makes this work resonate isn’t the polish. It’s the pulse.

But what makes this work resonate isn’t the polish. It’s the pulse. Koto smartly avoids the trap of building a retrospective shrine. Instead, the design lives in the present and points toward the future. From a reimagined 50th-anniversary logo that riffs on the original Windows mark to playful digital artifacts used in motion and 3D, every detail feels purposeful and people-centered. The campaign spans digital platforms, physical signage, internal comms, and real-world activations, proving that even the most tech-centric brands still live and die by how human they feel.

This campaign had to honor Microsoft’s legacy without feeling nostalgic for nostalgia’s sake.

Cassidy Moriarty, strategy director at Koto

As someone whose earliest interface with technology was through a Windows desktop, this campaign hit differently. It reminds me how much design, particularly brand identity, can shape the way we understand legacy. Microsoft isn’t waxing poetic about its past; it’s inviting us to help write what’s next. Cassidy Moriarty, Koto’s strategy director, put it best: “This campaign had to honor Microsoft’s legacy without feeling nostalgic for nostalgia’s sake.” That’s exactly what they pulled off.

What’s most impressive here is the clarity of voice. Whether you’re a Millennial who remembers Encarta or a Gen Z creator using Copilot, the identity bridges time without pandering. It balances reverence with relevance. And it serves as a blueprint for how major brands can celebrate a milestone without turning it into a museum exhibit.

In a sea of anniversary campaigns that often feel like corporate scrapbook pages, Microsoft’s 50th stands out for its vitality. A reminder that the tools of change are in our hands, and always have been.

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