We've all done it, or at least thought about doing it: slipping out of a party quietly, dodging the long-winded goodbyes, maybe leaving a coat behind in the process. It's what's affectionately known as the 'Irish Exit'. Now, thanks to a new campaign by Uncommon Creative Studio for Aer Lingus, it's also the perfect metaphor for a spontaneous getaway from downtown Nashville straight to Dublin. In celebration of the airline's new direct route between the two cities, Uncommon has launched a cheeky and culturally astute campaign that plants the phrase 'Irish Exit' firmly on the streets (and highways) of Nashville. It's a concept that blends strategic clarity with deadpan humour, reimagining the beloved party trick as a literal route out of town. "Nashville is known for its thriving nightlife and live music scene," said Lucy Jameson, co-founder of Uncommon. "But there comes a time on every great night out when all you want to do is call it a day. And everyone knows that there's no better way to save yourself from those painfully long goodbyes than by making a swift, sneaky Irish Exit." The campaign's creative hook lies in its simplicity. Rather than leaning on familiar Irish tropes (Guinness pints, traditional music, or shamrocks), Uncommon tapped into something more subtly universal: a phrase that's deeply rooted in Irish culture but broadly understood, particularly across the US. Not only this but instead of advertising in the conventional sense, they built a narrative journey, plotting visual breadcrumbs from the city's honky-tonk bars to the departure gate. From bar signs and highway billboards to influencer placements and luggage tags, the 'Irish Exit' campaign meets people where they are before ushering them (with a wink) to where they could be. One of the most striking elements is the use of exit-style road signage. Literal and a little absurd, these directional markers appear throughout Nashville, with tailored distances guiding would-be travellers toward the airport. "We really wanted to own Nashville," Lucy said. "So we targeted high footfall locations, like bars, roadside OOH placements and airport spots, all strategically placed along the route to the airport. The placements take you on a journey… from making an Irish Exit out of a bar all the way to the check-in desk." In true Uncommon style, the execution straddles scale and subtlety. Yes, there's a 100-foot mural and a takeover of the city's famous Nashville sign, but there are also quiet moments of discovery. Think discreet bar stickers, vinyl floor signs pointing to exits, and even branded luggage tags handed out at check-in. Each detail adds to the narrative, leaving a breadcrumb trail of charm, wit and direction. Lucy explained that the team wanted the campaign to feel immersive, playful and instantly gettable. "You don't need to teach anyone anything; they already get it," she said. "So creatively, you just get to play with everything around the hero message – creative builds, like mapping the different distances to the airport, and exploring which interesting places we can show up in." This careful balance of fun and functionality also speaks to the evolving tone of the Aer Lingus brand. Though a heritage airline with deep Irish roots, this campaign signals a shift toward more modern, culturally aware storytelling. "The tone, wit and charm of this work is very much in keeping with our wider plans for Aer Lingus," Lucy added. "This is just the start of more to come." In that sense, Irish Exit isn't just a witty route campaign; it's a creative reset. One that turns a tactical launch into a cultural moment while hinting at a bold new direction for the brand. It's hard to imagine a more fitting departure. So, if you're in Nashville and feeling the urge to ghost your next big night out, just follow the signs. Dublin's only a few exits away.

"What's great about murals is they're large-scale and often outdoors," says Oskar Walin – AKA Oskar With a K. "People stumble upon them, which creates a unique opportunity to communicate with the public that most artists don't get. I'm also drawn to collaborative making – creating collective work with a cohesive outcome." You'll find Oskar's work for both commercial clients and community bodies in the North of England and at a growing number of locations further afield. Originally from Brighton, he's now based in Manchester and has built up a portfolio of work that oozes with positive vibes and a passion for huge, hand-painted lettering over the last four years. When Manchester City Council recently wanted to brighten up a dingy space called Withington Walls, Oskar With a K was called upon for his skills. Five days of manically painting two gable-end walls on a scissor lift followed, and the outcome really changed the area. "I loved this job because it let me create something bold and graphic in a really unusual spot. It took several iterations to get right, but the final piece is immersive – especially when you walk through it in person," says Oskar. Logistics is key to painting a beautiful mural on time and on budget. To prepare, Oskar photographs the wall, then mocks up his vision for it in his sketchbook and/or Photoshop. An array of materials is required – spray paint, masonry paint, brushes, rollers and telescopic ladders. Nowadays, with jobs getting bigger and bigger, he often uses a scissor lift. Plus, he's hired a lockup as his work has outgrown his living space. For more on how he scales up an artwork, Oskar has posted a doodle grid explainer on his Instagram account. Growing up obsessed with graffiti, Oskar spent his youth writing on things but later progressed to a degree in graphic design. Field for the British Isles, Anthony Gormley's artwork made up of 40,000 terracotta figures, is a piece that has always inspired him. Another of Oskar's favourite projects was for the Electoral Commission, painting two identical shop shutters in the market hall in Stockport – one in English and one in Welsh. The artwork was photographed and used on posters, which appeared around the country, encouraging people to register to vote. "I mention this project because I think my mum was particularly proud to see my work on official bus shelter ads, as opposed to on the streets when I was a teenager. Encouraging people to vote is a noble cause, and it felt good to stand behind it," says Oskar. Oskar's projects often have a social or community dimension, and one of the services he offers is mural workshops for youth groups, schools, and other community bodies. Attendees contribute to large-scale artworks in their locality, learning painting skills and teamwork and hopefully growing in confidence at the same time. One of 36 augmented reality letters painted for the Alphabet Trail. Created with Will Albin-Clark for 36 Days of Type. A great example of this is Oskar's project with Stockport County Football Club, Grit Studios and The Writing Squad. "We ran a series of workshops with ten local teens, myself and poet Ruth Awolola, and they helped paint the bottom two words of the mural. I then painted the rest through all kinds of weather on a rickety old scissor lift. The mural reads A Scarf My Father Wore, which is a Stockport County football chant. After it was finished, the team went up a division, so the mural has become tied to a really positive memory in the community," says Oskar. With four years under his belt as a freelance muralist, Oskar is comfortable in his style and, like the young people he works with, is growing in confidence. "I'm tentatively exploring more left-field ideas, which is really freeing, though I don't quite feel ready to share them! In terms of paid work, I'm always looking for multi-faceted projects that involve community participation, scale and collaboration with other creatives. I'd also love to do more lecturing and talks," he concludes.

Changing the name of an institution as storied as the Royal Opera House is a statement of intent if I ever saw one. It's a declaration that the Royal Ballet and Opera are stepping into a new era together, solidified by their partnership with DesignStudio, which has resulted in a refreshed identity. The aim was to reposition this cultural powerhouse for the future. It's also very clear that the rebrand celebrates both art forms equally, elevating their collective spirit while reaching out to broader, more diverse audiences. For Julien Queyrane, creative director at DesignStudio, the opportunity to work on such a revered name was both a privilege and a challenge. "As a true cultural icon, it was a tremendous privilege to collaborate with the Royal Ballet and Opera on this new vision," he says. "Our rebrand captures the breadth of this new offering by elevating and celebrating all art forms in a way that feels highly inclusive." Initially prompted by the organisation's shift from "Royal Opera House" to "Royal Ballet and Opera," the project quickly became much more ambitious. "From the outset, we saw this as a bigger opportunity: not just to design a logo, but to help redefine how the Royal Ballet and Opera present themselves to the world," says Julien. The name change signalled a refreshed energy and unity across the organisation, reflecting not only the stars of the stage but the unsung heroes behind the scenes – from the costume designers and musicians to the set builders and crew who bring each performance to life. DesignStudio set out to create a brand that honours that collective spirit while balancing reverence for tradition with an appetite for change. While the new brand is rooted in the institution's illustrious past, it also bursts with a contemporary vitality and feels ready to inspire loyal followers and newcomers alike. At the heart of the new identity is the concept of a "Living Timeline", chosen to celebrate continuity, reinvention, and evolution. "The Royal Ballet and Opera are not fixed in the past or defined by the present – they are constantly evolving," says Julien. This mindset formed the foundation for the three strategic principles guiding the rebrand: Reveal, Reconnect, and Reimagine. Drawing inspiration from the archives, the team uncovered a treasure trove of historic typefaces, posters, and colourways and reinterpreted these elements through a contemporary lens. The design language is dynamic, weaving the richness of the past into a fresh, modern aesthetic that feels anything but nostalgic. On the verbal side, senior copywriter Dominique Lecci developed a tone of voice that captures the same spirit. Built around three principles—sharp, evocative, unexpected—the new tone is expressive and flexible, allowing communications to be dialled up or down depending on the audience. "It celebrates the artistry on and off the stage in a way that feels resonant for every audience—from long-time supporters to first-time visitors," Dominique explains. The Living Timeline isn't just a conceptual flourish—it's the connective thread running through every aspect of the brand, from the revived marque to the modernised colour palette. One of the most striking elements of the rebrand is the new marque, a reimagined symbol drawn from the organisation's archives. "We spent a lot of time in the archives with the RBO's creative team, exploring past marques," says Julien. "What stood out to us were the designs that had more gravitas and those that felt bolder and tighter together." Rather than reinventing the wheel, the team evolved a historic design, enhancing its elegance and fluidity for today's diverse applications. The flowing curves of the new marque evoke the lyrical beauty of opera and the structured precision of ballet, seamlessly bridging past and future. Importantly, the updated marque has been crafted to shine across print, digital, and environmental platforms, which is vital for an institution that now spans everything from live performances to global streaming. DesignStudio approached the project with a clear understanding that modernising a heritage brand requires delicacy. The goal wasn't to discard the past but to create an identity that feels expressive, inclusive, and at home across multiple channels. "We refreshed the entire brand ecosystem, from colour palettes and textures to art direction," Julien explains. The team paired a modern serif with a strong grotesque typeface, capturing both the grandeur and emotional depth of the art forms they represent. A vibrant extended colour palette rooted in Royal Ballet and Opera's signature red ensures the brand can flex across different moods, productions, and platforms. The result is a brand that feels alive, whether emblazoned on venue signage, animated on streaming services, or inviting exploration on a social post. Perhaps one of the most unexpected and exciting aspects of the rebrand is the new tone of voice. Heritage brands are often boxed in by tradition, but the Royal Ballet and Opera's reinvention breaks the mould. "People don't always think of heritage institutions as bold or challenging, but it's that mindset that keeps a cultural icon like the Royal Ballet and Opera relevant," says Dominique. Using their "Volume Control" system, the Royal Ballet and Opera's writers can now adjust their voice across different touchpoints, from precise and informative to bold and emotionally charged. This refreshingly agile approach ensures the brand resonates with both die-hard fans and curious newcomers. With the brand now live, there's a palpable sense of optimism around what the Royal Ballet and Opera can achieve with their revitalised identity. "We hope that it sparks curiosity," says Julien. "That someone who might not have previously considered stepping through RBO's doors feels inspired to explore, to book a ticket, to experience something new." Ultimately, the new brand isn't just a visual overhaul; it's a strategic leap forward, crafted to ensure that the magic of ballet, opera, and all the artistry in between continues to captivate audiences – old and new – for generations to come.

Northern Design Festival (NDF) has revealed the full line-up for its 2025 edition, returning to Lancaster from 15–17 May with a programme that puts transparency in process, practice, and personal experience, firmly in the spotlight. Now in its second year, the three-day festival is fast becoming a standout moment in the northern design calendar. With a focus on dialogue over dogma, this year’s event promises a candid exploration of the creative industry's less polished corners and the conversations that too often go unspoken in studios, agencies, and portfolios. Co-founder and director Antonia Arbova explains the motivation behind this year’s theme: “This year’s festival is centred around uncovering the raw, honest stories that often go untold – stories that may not have come to light without the dedication and encouragement of our team. "Each speaker invited to take part has been thoughtfully selected for their alignment with our core values: fostering an inclusive and equitable creative community, not just in the North, but across the wider industry." In keeping with that ethos, the line-up strikes a balance between practical support and soul-searching reflection. Alongside keynote talks and panels, the programme includes hands-on workshops, portfolio reviews, live podcast recordings and informal chats, all designed to spark connection, challenge assumptions, and demystify industry norms. Highlights include Work in Process with Hondo Studio, a behind-the-scenes keynote lifting the lid on the collaborative, sometimes chaotic reality of running a creative studio. Louise Sloper’s Typographic Truthiness tackles how type can clarify or confuse depending on how it’s wielded – a timely reminder for anyone working with words and visuals. Meanwhile, The Transparent Brand panel brings together voices from Studio Up North, M1 Studios, BAGGI and more to discuss how brands can build trust through pricing clarity and values-led collaboration. Ya’Qub Mir, lead designer at Studio Up North and one of this year’s speakers, says: “Transparency really resonates with me – it’s a celebration of identity, resilience, and the power of design to shape culture and community. To me, transparency is not only a necessity, but also a responsibility that all designers should want to commit to, and I’m looking forward to the panel discussion around this topic. “The festival is such an important event, giving northern creatives an opportunity to connect, be inspired and showcase the strength of talent in our region. It’s an honour to be part of it.” The line-up also features a live recording of the My Life in Design podcast with Claire Blyth (Red Setter) and Claire Parker (The Chase), who’ll be sharing personal reflections on careers built through branding. Meanwhile, storytelling takes centre stage in Honest Storytelling: Being Authentic, a panel hosted by BBC Creative, Wash, The Chase and The Engine Room, diving into what it really means to “show your working” as a creative. There’s a lighter side too. Friday night’s Over a Pint session sees Dave Sedgwick and Creative Boom's very own Abbey Bamford sink a few and swap stories on the grind of independent practice – expect war stories, wisdom, and probably at least one pint-related mishap. For those early in their careers, the festival offers practical sessions on routes into the industry, plus portfolio reviews led by Craft and agencies including Robot Food, Studio North and Ultralight. Hands-on workshops include a tile ceramics session – a tactile counterpoint to the theory-heavy talks. Aaliyah Rice from BBC Creative, who joins the panel on honest storytelling, points to the festival’s value for emerging creatives: “Northern Design Festival is such a great space for beginner designers to really understand their industry, especially with a theme like transparency where they can be involved in honest conversations surrounding design to better understand the career path they might be facing. “Design can often have a certain glamour and sheen to it as a career and I’m really looking forward to having these conversations. I can’t wait to hear and answer all their insightful questions on the day.” The festival also includes social moments like the Opening Night at The Storey Gallery and a closing celebration at Mint Cafe Bar. For something more intimate, Demystifying the Agency: The Good, the Bad, and the Ugly offers small-group storytelling sessions where no question is off-limits. Niamh Cartwright, NDF’s co-founder and director, says the spirit of openness runs through every aspect of the event: “The NDF team is so excited to bring together such an incredible lineup of speakers for the second Northern Design Festival. It has been such an honour getting to know all of these amazing creatives and agencies that are involved this year. Their 'transparent' approach to innovation and creativity truly represents what we are trying to champion. “We hope that our talks and workshops inspire you and that you are able to leave Lancaster with the confidence to be open and honest as a creative, knowing that you have a supportive community around you!"

As executive creative director at Red Antler, Erin Collis leads high-impact creative across some of today's most recognisable brands, often in fast-paced, high-pressure environments. But beyond the work, she's just as focused on how creativity fits into a well-rounded life. From strategic calendar boundaries to quiet breakthroughs while walking her Cavalier King Charles Spaniel, Charlie. Erin is a firm believer that the best ideas come when you step away from the desk. In this thoughtful Q&A, she reflects on balancing leadership and life, resisting the pressure to "always be on", and making space for creativity to breathe. Have you ever struggled with setting boundaries in your career, and how did you handle it? Definitely. When you're in a role where people constantly need your input, and your calendar fills itself before you even open it, it's easy to put yourself last. But I've learned that setting boundaries isn't about doing less – it's about not giving more than you reasonably can. That might mean saying no to travel, blocking time for a doctor's appointment, or just protecting a sliver of your day that's yours. Ironically, when you start enforcing those limits, it opens up opportunities for others. Saying no gives people around you the space to step up, problem-solve, and grow. So, instead of feeling guilty, I see those moments as acts of trust in my team and a way to show up as my best self both at work and outside of it. How do you protect your creative energy while managing deadlines and demands? For me, it's about using time wisely and recognising when I'm most creatively productive. I've learned to lean into the "in-between" moments, like walking my dog, doing dishes, even grabbing a glass of water. Those breaks are often when the best ideas click into place. The busier I am, the more focused I become because I know how to use those quiet moments to let my brain work things out. I could spend an hour stuck at my desk forcing it, or I could let go and let the idea come to me while I'm moving through my day. Have you ever felt pressure to constantly 'hustle,' and how do you push back against that? Early in my career, I saw people staying late just to be seen staying late. That kind of hustle culture was baked into the industry, but it never felt right to me. I believe in working hard and staying late when it's necessary, but if your only source of inspiration is your screen, that's not enough. Great creative work comes from being out in the world, paying attention, and living life. We can't make work that connects with people if we're disconnected from the world ourselves. What does a balanced life look like for you, and how do you work towards it? Balance is a constant work in progress for me. My brain has a hard time turning off, and mentally, stepping away from work is something I still struggle with. But I've learned how important it is to protect my peace. When I'm with my fiancé and our dog, I want to be there—not spinning on something I can't solve by obsessing. Creating boundaries around my attention (even imperfectly) is how I stay grounded and present in the moments that matter most.

What does fulfilment look like? It's not the LinkedIn version (yes, we mean the handshake photos and high-fives in open-plan offices), but it's the real thing. You can imagine how hard it is to pin down that deep sense of joy that you get from doing work that truly fits. Studio Morfar set out to convey that through the brand identity for Purpose Talent, a New York-based consultancy founded by Andrew Blancato, a talent leader with stints at Etsy, Casper, and Kickstarter. Purpose Talent helps high-performing individuals find meaningful roles, and Studio Morfar's job was to turn that deeply human mission into a visual and verbal identity that felt just as personal. The result is a brand that dances to its own beat, quite literally. "We landed on the idea of showing this vague, nuanced feeling [of fulfilment] through dance," says Torsten Power, Creative Director at Studio Morfar. "It just instantly felt right." For Torsten, it's a universal metaphor: "It's so funny to watch my cousin's almost two-year-old daughter start dancing immediately when she hears a beat… it's a reminder that dance is maybe the most universal, instinctual form of expression and joy ever." This idea became the foundation for a visual identity that eschews the usual corporate tropes. There are no sterile desks or grinning office workers here. Instead, Studio Morfar teamed up with illustrator Con McHugh, who's known to film himself dancing to inform the movement in his work. His illustrations for Purpose Talent are packed with life and character, with croissants mid-air, laptops in motion, and limbs joyfully lifted. These aren't literal scenes of work but expressive vignettes of what work can feel like when it's purposeful. The jazz influence runs deeper than the dance metaphors. As it turns out, it was a creative synchronicity. "When Victor [Janhagan, strategist and copywriter] and I were each doing some solo brainstorming… we'd somehow both separately landed on jazz as a theme," says Torsten. "Jazz is highly expressive, and it celebrates both individualism and collaboration." It's an idea that riffs across every element of the brand. The wordmark is made up of quirky, offbeat letterforms, where no two are quite the same, yet they work together in visual harmony. "We designed the logo to be a bit awkward," Torsten explains. "Each letterform is different and a little offbeat, yet together they work beautifully." It's a nod to the individuality of people and the beauty of a team where everyone belongs. This spirit of spontaneity and rhythm also shapes the type and layout. Studio Morfar combined the playful, editorial-style serif Bea with Raleway, a cleaner sans-serif counterpart. Type behaves more like an instrument than a block of copy, flipping, rotating, and arranging itself like a melody on the page. Meanwhile, the visual world is peppered with so-called "Doo-da's", which are abstract shapes and squiggles that add texture and emphasis. Inspired by Matisse, 1970s and '80s jazz record covers, and city pop album art, these cut-outs feel as spontaneous as a saxophone solo, offering movement, energy, and a little wink to New York's creative legacy. The tone of voice follows suit. With lines like "Work to your own beat", "Find your rhythm" and "People make businesses", the brand language hums with clarity and confidence, steering well clear of corporate waffle. The copy—written in collaboration with Victor Janhagan—is deceptively simple but packs an emotional punch. It's a rallying cry for individuality, empathy, and doing things your own way. "We love eccentrics and people who aren't afraid to show a bit of weirdness," Torsten says. "Which is why we connected so much with Andrew and Purpose Talent's ethos of celebrating people who do things their way." There is depth behind the dazzle, though. Torsten is quick to point out that this identity wasn't about pushing a jazzy style for its own sake. It was a true reflection of Andrew's personality and philosophy. "We honestly got lucky with Purpose Talent… Andrew takes his work incredibly seriously but is also very encouraging of taking some creative risks and having some fun." That freedom and mutual trust allowed Studio Morfar to go beyond a cookie-cutter recruitment rebrand and build something expressive, emotional and human. It's a rare thing in the talent space: a brand that doesn't just say it puts people first but shows it through every squiggle, serif and swing of a dancing character. Perhaps that's the point. Great branding (much like great jazz) is more than the sum of its parts. You don't always know where it's going, but if you're in sync, it just feels right.

Diana's is no newcomer to the culinary world. For over 45 years, the family-run seafood supplier has been a trusted name in the kitchens of Canada's top chefs and Michelin-starred restaurants. Now, with its sights set on a wider audience of home cooks, weekday diners, and families craving quality without fuss, the brand needed more than a packaging tweak. It needed a reintroduction. Enter Wedge: the Montreal-based studio known for crafting emotionally resonant brand identities that balance beauty, strategy, and soul. Their latest collaboration sees Diana's make a confident leap into the consumer market with a brand evolution that's as nurturing as it is energetic. "Looking at the category, which was rather traditional and stereotypical, there was a world of opportunity to inspire," says Sarah Di Domenico, co-founder and creative director at Wedge. "We dived deep into the heart of the company to discover what made Diana's so special." Before & After At the heart of the brand story is its real-life matriarch, Diana herself. Rather than a generic heritage narrative or fictional mascot, the new identity centres on a powerful truth: this isn't a brand with a founding father; it's one built on the values, recipes, and personality of a founding mother. It's a rare, resonant foundation that Wedge distilled into a guiding idea: The Mother of Seafood. This central concept helped shape every aspect of the visual world. Sarah says: "We learned during our discovery workshop that it's not just a name but a real person whose bright attitude and commitment to the best shaped the company. "This energy drove the tone and visual identity – one that's warm and nurturing, like the intense care only a mother can give." Rather than fall into the usual seafood tropes, like deep navy blues, stern serif typography, and anchors galore, Wedge sought to break the mould while retaining an authentic link to the category. Diana's now has a bold, contemporary logo set in a vivid blue inspired by the hues of fishing harbour boats seen at a distance. It's a nod to maritime vernacular without veering into cliché. Look closely, and you'll spot subtle "fins" worked into the terminals of the 'S' – a wink to the brand's origins that keeps the mark playful and distinctive. Typography, too, plays an integral role in maintaining this balance between tradition and freshness. The studio adopted Milano, a variable typeface designed by Alex Lescieux, spanning five widths from Compressed to Extended. The idea stemmed from a curious visual insight unearthed during what Sarah calls 'Cultural Foraging', defining it as an approach to design research that looks beyond the obvious. "We stumbled upon typography on wooden crates and boats from the Mediterranean, which was a nice reminiscent detail to bring into the world of Diana's," she explains. "If you know, you know." This discovery informed a flexible typographic system where changing widths mirror the adaptability of old fisherman hand-lettering, injecting motion and charm into headlines and packaging. Another key ingredient in the brand's new visual identity is illustration, which adds a personality and craft to the identity in ways photography alone cannot. Wedge tapped California-based illustrator Bill Beholz to bring this to life. His playful, hands-on aesthetic, known for capturing food staples like tinned fish and San Marzano tomatoes, felt like a natural fit. "Bill's illustration complements and communicates the care and attention that goes into Diana's products," says Sarah. "It's a nice addition to a company creating modern products that bring a touch that warms up the world." The packaging system is peppered with these expressive illustrations, including a friendly seabass on the back of one pouch. It'sThese subtle touches make the brand feel personal, real, and lovingly considered. Photography was another crucial element in the rebrand, used not just to showcase products but to celebrate food's emotional resonance. Wedge worked with fashion photographer Garrett Naccarato to give the meals a more elevated, editorial feel, far from the cold, sterile look that often plagues frozen or packaged seafood. "In creating something new, the goal was to create something that also had a soul and sense of time," says Sarah. "It's one thing to 'break the category codes', but you still want people to feel a sense of relatability." That relatability comes through not just visually but also in the tone of voice. Wedge's brand copy balances a sense of heritage with the everyday. It's confident but not try-hard; warm but not overly familiar. It's the kind of tone that invites you to trust what's inside the packet while also sparking curiosity about how it got there. Ultimately, Diana's move from B2B to B2C wasn't about abandoning its legacy; it was about opening it up. "It was natural for them to evolve in the B2C space with a vision to make great quality seafood accessible to the masses," Sarah explains. The new identity helps bridge that gap: translating culinary credibility into mass appeal without losing what makes it special. It's a balancing act that Wedge has pulled off with care. Sarah describes it as being "like a meal", adding, "It’s always in the contrast of the ingredients and how they are used." The identity is full of duality, like photography and illustration, bold type and gentle tone, tradition and lightness. It all coexists to tell a new story rooted in a rich past but with plenty of room to grow. With the new identity now live, the response has been enthusiastic, both within the seafood category and beyond. "We were more excited by the ambition our client Matthew Corbeth held than the category as it was," says Sarah. "There was an opportunity to bring something different and elevate the tempo." She adds that Wedge’s mission is to "see the unseen" in every brand they touch, which is clearly evident in Diana's. The team has surfaced something quietly revolutionary, creating a seafood brand that feels as personal as it does premium, where the legacy of a real woman shines through every detail.

In a world of AI slop, creating tools that feel authentic has become increasingly valuable. Paul Metsers has built a business around this very principle: developing mockups that don't just showcase design work, but elevate it through thoughtful realism. Akoya Mockups began as a passion project and has since evolved into a trusted resource for creative professionals seeking to present their work in an authentic manner. We chatted with Paul to find out what inspired him to launch Akoya Mockups, what's different about it, and how it can help designers in their day-to-day jobs. Origin Story The project came about because, after years of freelancing for brands such as WeTransfer and Loop Earplugs, Paul recognised a significant gap in the design marketplace. "I wanted to make mockups that felt real," he explains. "Not just polished templates, but tools that could actually help other creatives show up confidently." So, drawing from his background in fashion photography and design, he set out to create resources that capture the subtle interplay of light, texture, and environment, helping to make designs feel alive in their presentation. "The name Akoya comes from the Japanese pearl," Paul explains. "It represents simplicity, elegance and quiet strength. That's the vibe I've always chased in my own work: clean, intentional design that lets the idea speak for itself. Akoya pearls, in particular, have this subtle elegance that really resonated with the kind of work I was aiming to make. " Gap in the Market For Paul, the transition from freelancing to creating mockups was less a pivot and more a progression. "There wasn't really a single 'aha' moment—it was more of a slow realisation," he reflects. "I've always had an interest in bringing together my background in fashion photography with design, and mockups seemed like a natural way to explore that overlap." What began as experimentation, though, eventually revealed a significant gap in the market. "I noticed there weren't many options out there that felt photographic or truly realistic, and I just started experimenting from that place," he explains. "At the time, most mockups I came across were either very clean 3D renders or overly stylised scenes. They served a purpose, but I felt something was missing, mainly that photographic layer of realism. I wanted to create something that felt closer to how design actually exists in the world—light, shadow, surface texture, all those subtle things." When developing new mockups, Paul follows a thoughtful methodology. "Each set usually starts with a mood board—something that helps establish tone, lighting, and materiality. From there, it's a mix of location scouting, prop curation, and experimenting with light." Rather than technical perfection, he prioritises emotional resonance. "I think about what kind of design would live naturally in that space," he says. "I'm less interested in creating a technically perfect scene and more in building something that feels emotionally grounded." He adds: "Having worked on the design side for a while, I know how frustrating it can be when the right mockup just doesn't exist—or when the ones available feel too stiff or generic. I try to design with that in mind. I think about what would've helped me in past projects and use that as a guide. It's really just about making the process smoother." Community Feedback With 35,000 Instagram followers, Akoya Mockups has already cultivated a substantial community. And this audience provides valuable feedback. "I pay close attention to how people use the mockups in real projects—what they gravitate toward, what they modify, what they struggle with," explains Paul. "Seeing that gives me direction for what to improve or simplify in the next release. It also reminds me who I'm building for." It's a lot of work, but there's a big payoff. "Honestly, every time I see someone use an Akoya mockup for their own work, it's rewarding," Paul enthuses. "Seeing how a mockup becomes part of a design's final presentation... it feels collaborative in a way. Like the work continues beyond me." Looking ahead, Paul believes mockups will continue to play an important role in design workflows. "They help bridge that gap between concept and reality," he points out. "As digital experiences become more refined, there's a growing need for presentation tools that meet that same standard. I also hope the focus shifts more toward authenticity and tools that support the narrative behind the design and prioritise realism over artificiality."

When you think of Amazon, what springs to mind? Probably the smile, maybe a box, or even an Alexa chirping in the background. However, behind that familiar grin lies one of the most complex brand ecosystems you could imagine, with a sprawling web of services that spans groceries, entertainment, cloud computing, healthcare, smart tech, and more. Now that ecosystem has been brought under one coherent roof through a project spearheaded by Koto in a sweeping refresh of Amazon's master brand and over 50 sub-brands, covering 15 global markets and touching billions of daily interactions. From packaging to Prime, Alexa to One Medical, this transformation was far more than a visual tidy-up. It's a complete strategic rethink. Koto's team describes the project as "a flexible, modernised architecture that accommodates the diversity of Amazon's products and services across industries ranging from entertainment to healthcare, groceries, and beyond." In short, one brand system to rule them all (or at least make sense of them). It's no secret that Amazon's growth has been turbocharged over the past two decades, but scale and speed have their costs, and for Amazon, that's meant a patchwork brand experience. Different teams, different markets, and different sub-brands spoke slightly different visual languages. While the smile was always there, everything around it had started to drift. Koto's remit was to create a unified system that could keep pace with Amazon's ever-expanding offering while restoring clarity and consistency across the board. The result is a brand that's instantly recognisable yet more versatile than ever. At the heart of the new system are refined versions of Amazon's most iconic brand elements. That signature smile is now a touch warmer, and the logo system has been simplified and structured to ensure coherence. The typeface – Ember Modern – has been custom-designed for legibility and personality, with the colour palette becoming broader and brighter and built to flex across platforms, languages, and regions. In the words of the Koto team, "This new identity isn't just a facelift – it's a flexible, modernised architecture… that moves at Amazon's speed." One of the most impressive things about this rebrand is its sheer breadth. It's already been rolled out across delivery vans, uniforms, digital interfaces, packaging, and even Formula 1 race cars, making Amazon's updated identity visible (and consistent) in both the everyday and the unexpected. Importantly, this wasn't about reinventing the wheel, so Koto's approach is what you might call 'radical coherence'. This meant updating Amazon's most recognisable cues with care, not shock value. That familiar feeling remains, but everything's just that bit more refined, more human, and more future-fit. For a company with Amazon's footprint – digital and physical, local and global – that balance is critical. As Koto puts it, "The result is a brand system that works at scale, across cultures, languages, and industries, and maintains Amazon's distinct personality wherever it shows up." Interestingly, Amazon hasn't shouted too loudly about the rebrand (yet). It's been a quiet rollout, embedded into real-world touchpoints rather than broadcast with fanfare. Think of subtle changes to your Prime app or delivery packaging, which are changes you might not consciously notice but that make the experience feel smoother, more consistent, more... Amazon. Still, the scale and strategic impact of this work are hard to ignore. With a client like Amazon, the stakes are sky-high, and the margins for error are razor-thin. Landing a global system that looks good, works everywhere, and actually simplifies things is no small feat. So, what does this rebrand really tell us? First, even the world's most dominant brands need the occasional pit stop. Second, cohesion doesn't have to come at the cost of character. Third, when design is done right, with restraint, clarity, and intent, it can quietly transform how billions of people experience a brand every day. For Koto, the Amazon rebrand marks not only a major milestone in its own trajectory but also a case study in global design leadership. It's big work, done thoughtfully and proof that even tech's biggest players still need a strong creative partner to help them speak with one voice. After all, even the world's most ubiquitous smile needs a refresh every now and then.

Some career shifts happen gradually, but for Ryan Crown, founder and creative director of Crown Creative, it happened in an instant while sitting at a conference table in New York. "I was working on a branding project for Harry's NYC, sitting across from the design agency, thinking I could do this myself, and that's when everything changed," Ryan says. Pitching the idea to his then-employer was a no-brainer: they'd gain a dedicated studio, and Ryan would finally be doing what he truly loved – creating brands that tell stories. From its early days branding cocktail bars, cafés, and steakhouses, Crown Creative quickly carved a niche, fuelled by Ryan's deep-rooted belief that hospitality is more than an industry. "It's a place to tell stories, and that's exactly what I wanted to do: create bold, immersive brand experiences," he says. Five years in, the Belfast-born, New York-forged studio has evolved into a multidisciplinary powerhouse, offering branding, strategy, and interiors all under one roof. "We're finally delivering exactly what we set out to do, creating these design-led experiences in hospitality from start to finish." Ryan Crown, founder of Crown Creative Growing pains and turning points Like many businesses, Crown Creative's journey hasn't been smooth sailing. The pandemic hit like a reset button, forcing a rethink across every aspect of the business. It was during this time that the studio's core team came together—David Carofano steering strategy, Kate Tracey leading design, and Simon Worthington managing accounts—setting the stage for a new era of global work. Today, the studio's fingerprints can be found everywhere, from New York and Canada to Europe, Ireland, and Australia. No matter how far their reach, Crown's core mission remains rooted in storytelling, not trend-chasing. "For us, everything starts with strategy," Ryan explains. "We're not chasing fleeting trends; we're crafting something that's built to last." Kate Tracey, lead designer at Crown Creative Defining projects and impact Ask anyone at Crown Creative about their proudest moments, and you'll quickly realise it's not just about big names or fancy addresses. It's more about deep collaborations and the evolution of ideas over time. The Dead Rabbit project marked a major shift. "It was the project that allowed us to really step up our game and become true creative partners," Ryan reflects. Four years of interiors, creative direction, and digital and print work transformed the bar into one of America's most respected hospitality brands. Neighbourhood, Crown's own café concept, was another milestone. Ryan calls it "a playground" where the team could experiment with full creative control. Another key project is their work for Waldorf Astoria's Peacock Alley, where their bespoke illustrations and brand strategy were rolled out worldwide, from Amsterdam to Minsk. Birch Cabins is a highlight for lead designer Kate. "It's been a perfect example of strategy, design, and interiors working together, all in sync," she says, describing a project where even the tiniest details—from the artist collaborations to the nature-inspired colour palette—were carefully considered. Meanwhile, projects like St. Regis Cap Cana have seen the team apply their thinking across multiple F&B outlets, tying everything together through a unified visual language while letting each space retain its own character. Strategy first, design second It's a philosophy that everyone at Crown is evangelical about: great design can't happen without a great story. "As a designer, it's like being handed a map – it helps us navigate and ensures that everything we do is aligned with the story and the brand's purpose," says senior designer Matty Butler. "It's not just about making something look good. It's about making sure it reflects the values, the mission, and the story behind the brand." Kate agrees: "When you're walking into a space we've designed, it should feel like the brand has come to life." The holistic, strategy-first approach also means they don't just drop in a logo and disappear. They're part of the journey from the first scribble to the final table setting, even down to the playlist or the soap in the bathrooms. "Every little detail matters," Ryan says. "That's what excites us." Challenging briefs, memorable results Of course, with ambition comes complexity. Their two-year rebrand of Le Méridien – spanning over 200 hotels globally – tested the studio's strategic and cultural agility like never before. "We had to consider dual-language execution, cultural sensitivities, and align with storytelling partners like Air France," Ryan recalls. "The real challenge was repositioning the brand without losing its essence." Closer to home, projects like Neighbourhood allowed the team to flex their creative muscles with limited resources, proving that a small budget doesn't have to mean small ideas. When tasked with branding Palladino's inside Grand Central Station, the team approached the historic surroundings with the reverence they deserved. "It was about doing justice to an iconic location," Ryan says. "It was a delicate balancing act." Riding the wave of change The design world Crown Creative started out in looks very different today. AI and tools like Canva have made design more accessible but not necessarily more strategic. "While tech is evolving, the need for strong creative thinking and brand strategy is still at the core of what we do," Ryan says. Kate adds: "AI is here to lighten the load, not something to fear." Rather than resist, Crown is embracing new technologies to push their work further. "We're constantly curious about how AI and new technologies can help us," says Matty. "It's about moving quickly, visualising ideas, and keeping the heart of the brand intact." Building a team that loves hospitality Behind the scenes, Crown Creative has stayed fiercely committed to building a team that not only designs for hospitality but lives and breathes it. "When we're hiring, we're really looking for people who are obsessed with hospitality," Ryan says. "It's about finding talent who are curious, collaborative, and purpose-driven." With studios in Belfast, London and New York, maintaining a unified culture takes intentional effort, whether through collaborative projects, team trips, or simply ensuring that everyone feels part of the bigger picture. No egos, just energy and excitement. "There's no typical day here," Ryan laughs. "One minute you're on a site visit, the next you're brainstorming a new city guide. It keeps things fresh, and it keeps us on our toes." What's next? For Crown Creative, the future looks bright and busy. The studio's interiors arm, only a year old, is already delivering fully integrated projects like Birch Cabins, where branding, storytelling, and spatial design collide. There's more work brewing across Europe, Dubai, and Ireland, with expansion into cities like Paris and projects in the Dominican Republic. Perhaps most excitingly, there's a growing appetite for authentic, experience-driven design – something Crown Creative was built for. Looking ahead, Ryan dreams of tackling heritage projects with deep historical roots. "Imagine rethinking the guest experience at somewhere like MoMA," he muses. "That's the kind of project we'd love to take on, bringing new life to something iconic." As for the studio's legacy, he says: "We're still in the thick of it, so ask us again in ten years. For now, we're just focused on doing meaningful work, pushing boundaries, and creating experiences people will remember." If their track record is anything to go by, Crown Creative is just getting started.

In the heart of Soho, squeezed between jazz clubs, theatres and noodle bars, sits a school that’s quietly been shaping the area’s future for over 150 years. Despite falling pupil numbers and rising pressures, Soho Parish CofE Primary School is remarkably the last remaining primary school in the neighbourhood, but it has been facing an uncertain future. Wonderhood Design stepped in to help with a powerful message: There’s Only One Soho School. The playful yet poignant campaign is the second project to launch under the agency’s Neighbourly Fund, an annual pro-bono initiative supporting local organisations through strategic branding and design. It’s a masterclass in how creative identity work can bring visibility, energy and emotional resonance to a cause that truly matters. “Soho Parish School has been at the heart of the community for over 150 years,” says Simon Elvins, co-founder at Wonderhood Design. “But with pupil numbers falling, the only school in Soho is at a real threat of closure. It was key that the new identity transformed the school from being overlooked and unnoticed to an unmissable part of Soho’s community.” The result is a rebrand that’s as rooted in place as it is in play. The logo, which is a silhouette of the school building filled with icons, was co-created with the pupils themselves, who shared their favourite things about the school and its vibrant surroundings. These aren’t just cute doodles: they reflect a one-of-a-kind education, where pupils might take art lessons at the National Gallery, play sports in Regent’s Park, or learn music at Ronnie Scott’s. The new identity celebrates this richness of experience. “The new identity puts the pupils at its heart with a bold and playful logo and icon set informed by what they love most about their school and its unique location,” Simon explains. That logo also powers an interactive tool where pupils can input their interests and favourite local institutions to generate a custom version of the logo, which is exportable as an animation, sticker badge or bookmark. It’s personal, tangible, and joyfully kid-first. Alongside the main icon, the identity includes a new wordmark inspired by historical signage found throughout the school, marrying past and future in one typographic gesture. The colour palette follows the same principle: a deep blue that nods to the school’s heritage and a sunny yellow designed to pop in Soho’s street-level chaos. Wonderhood also developed the campaign line There’s Only One Soho School, a call to arms equal parts fact, charm, and subtle urgency. Thanks to a media partnership with Ocean Outdoor, the phrase appears across banners, flyers, signage, and even large-format digital ads, bringing the campaign to Carnaby Street and Leicester Square. For Headteacher Alix Ascough, the visibility boost couldn’t have come at a better time. “You might assume that a school as old as Soho Parish will be around forever,” she says, “but numerous factors have led to falling numbers of pupils and put our future in danger. We’ve loved collaborating with the team at Wonderhood Design and are hopeful that their work marks the start of an exciting new period in our history.” This isn’t the first time Wonderhood has brought its creative firepower to a neighbour in need. Last year’s debut Neighbourly Fund project saw the launch of Sacred Grounds, a coffee shop on Dean Street run by St Anne’s Parish Church. Both projects show a clear commitment to localism, not as a nostalgic branding trend, but as a principle rooted in connection, mutual support and imaginative reinvention. While it’s still early days for hard data, the results so far are promising for the school. Compared to the previous year, the school has seen a 57% increase in applications, a 55% rise in open day visits, and has already confirmed 14 new pupils for the 2024–25 school year. That’s more than just a design win; it’s a community win, proving that when creativity is channelled with care and context, it can turn the tide. As Wonderhood’s campaign so succinctly puts it – there really is only one Soho school. And thanks to a well-timed dose of thoughtful design, it’s not going down without a fight.

What happens when a jazz musician and an illustrator walk into a live venue? In Con McHugh's case, you get a snake that swallows a cowboy and morphs into a gramophone. It's this kind of unexpected surrealism that defines his latest project, which features a series of looping, hand-drawn animations created to accompany a live performance by jazz clarinettist Adrian Cox in Bristol. "It was the first time I'd done anything like this," Con admits. "And the thought of it made me pretty nervous." Still, he jumped at the chance. The pair had worked together before on album art and tour posters, but this was a different beast. Adrian didn't come armed with a mood board or strict brief. Instead, he offered complete creative freedom, giving Con the space to experiment, respond to the music instinctively, and revive the looser, messier drawing style he'd drifted away from over time. "This project came at a pivotal time for me; as I've taken on bigger clients, my style has become more refined," Con reflects. "But I found myself nostalgic for the looser work I did when I was just starting out. And with it being jazz – spontaneous and expressive – it felt right to embrace that again." The initial plan was ambitious: a long-form animation running for nearly a minute and a half to one of Cox's tracks, Rehearsing for a Nervous Breakdown. It became a visual narrative about an impatient man trying to get a coffee in Bristol, a tale laced with McHugh's own struggles to quit caffeine at the time. However, as the deadline loomed, practicality kicked in. "I soon realised there simply wasn't time to create long-form animations for every song," he says. So he pivoted to short, looping sequences – a kind of flowing visual stream of consciousness, with transitions as strange as they were satisfying. In true jazz spirit, Con allowed the music to guide the ink. There was no overthinking and no erasing. Just a raw response. "The goal wasn't to make something polished and beautiful but to have fun and hope that joy showed through," says Con. The resulting animations are charmingly chaotic: spaghetti strands double as musical staves, meatballs dance and are devoured, and a snake fizzes with music after swallowing a cowboy. Each transition leads to the next with wild, improvised logic. At one point, Con had to double-check whether spaghetti had any ties to New Orleans jazz. "A quick Google showed that spaghetti was actually big in 1920s New Orleans due to the large population of Italian immigrants. Phew." If the creation process was unpredictable, so was the payoff. On the night of the show, the animations were revealed to both the audience and the band simultaneously. "This was the first time Adrian and the trio had seen most of the animations, so watching them react in real-time, wrapping their heads around a snake turning into a gramophone, was amusing, to say the least," says Con. Verbal cues like "when you start playing, the snake will eat the cowboy" became part of the backstage chaos. "Performing with projections brought a different energy to the room," Cox later reflected. "Jazz fans who didn't know what to expect, people who followed your illustration work but had never been to a jazz concert – everyone was equally wrapped up in the experience." It was a career-high for Con, who's more accustomed to social media metrics than standing ovations. "Sitting backstage with a glass of wine, watching it all unfold… that was such a career highlight," he says. "Most of the time, the only audience interaction I get is through social media, so having a live crowd reacting—laughing, clapping—was something else entirely." It's a poetic full circle for someone whose artistic journey began with doodling Beano characters in quiet corners while his dad worked as a painter and decorator. After a decade working in London's design scene, Con moved to Bristol for a slower pace. It was here, in 2023, that an animated poster for the Bristol Jazz Festival unexpectedly went viral, racking up millions of views online. Since then, he's worked with clients, including Bloomberg Businessweek and turned that viral spark into a thriving freelance career. Much like jazz itself, Con's path has been a mix of improvisation, happy accidents, and daring to say "yes" even when unsure. "Looking back, this project reminded me why I love illustration—the joy of making something without overthinking it," he says. "It also confirmed what I've started to realise: people are drawn to the ideas in my work more than the polish." That ethos of embracing the unpredictable feels baked into both the project and Con's outlook at large. "Sometimes, saying yes to something terrifying leads to the best kind of chaos," he reflects. "Adrian and I hadn't met in person before the show, but the whole thing felt incredibly organic—like we'd been working together for years. And now, we're already thinking about the next one…" If there's a lesson in Con's latest venture, it might be this: let the line wobble, trust the rhythm, and don't be afraid to follow the music, even if it leads to a snake eating a cowboy.

Last week, I attended Adobe Max 2025 in London. Amid the usual fanfare of product launches and celebrity speakers, there was something genuinely exciting—something that could genuinely improve people's lives. For decades, I've watched talented graduates struggle with the same frustrating paradox: you need experience to get a job, but you need a job to get experience. Our creative industries have relied on an increasingly broken system that favours those with connections or the financial means to work for free while shutting out the diverse talent and fresh perspectives you tend to get from those who didn't attend private school. Adobe's new Creative Apprenticeship programme, launched with considerable fanfare at Max, aims to address this fundamental problem. The comprehensive initiative combines learning resources, mentorship opportunities, paid commissions, and, most significantly, Adobe-funded apprenticeship placements with creative employers. What's the idea? The idea is that agencies need to develop talent but don't always have the budget to do so, which means Adobe is stepping in to make up the shortfall. That's good for the apprentices, of course, but it's also good for the agency. As Adobe's SVP of design, Eric Snowden told the audience during his keynote: "Even when apprentices are learning, they're contributing value. Creative work has value, and people should be compensated. We want to set that expectation from the beginning." It's a refreshing stance in a business that has quietly normalised unpaid internships and exploitative "opportunities for exposure". Going against the grain, Adobe is putting money where its mouth is, offering design studios grants of approximately £15,000 to hire apprentices for placements lasting between three and six months. It's not just about cash, though. The programme also addresses things like the soft skills that make or break creative careers, with a new Career Resource Center on Behance offering guidance on networking, self-promotion, pitching and client management. This practical knowledge is rarely covered in university courses but is essential in the professional world.  Building a pipeline The programme's structure is cleverly designed to create a talent pipeline. Creatives can start with free resources and mentorship, progress to paid Adobe-commissioned projects, and ultimately be put forward for funded apprenticeships with partner studios. Each step builds portfolio, confidence, and professional connections. While the Career Resource Center is available globally, the commissioned projects and apprenticeship opportunities are currently limited to the US, Canada, and the UK. Adobe has also partnered with LinkedIn to offer Creative Cloud members three months of LinkedIn Premium Career, which provides additional networking and learning resources. Of course, one programme—even from a company with Adobe's influence—can't fix all the structural issues within creative industries overnight. But it's a meaningful step toward a more equitable system that values emerging talent properly. Reflecting reality What's particularly encouraging is seeing a major tech company acknowledge that the gap between education and industry is real and requires intervention. Too often, we've expected young creatives to figure it out themselves or blamed universities for not adequately preparing students. As someone who's seen many early-career designers struggle with this transition, I'm cautiously optimistic about this initiative. If successful, it could establish a new standard for how we welcome talent into our industry, one based on merit and potential rather than privilege and connections. The creative industries thrive on fresh perspectives and diverse voices. By removing some of the financial barriers to entry and providing structured support, Adobe's apprenticeship programme could help ensure those voices are heard. If you're at the start of your creative career, it's well worth investigating, and if you're a studio looking for raw talent, you won't want to miss out either.

In a cavernous Budapest train station, after 36 failed attempts and with time running out, take 37 finally captured what many thought impossible: a perfect single-take music video featuring 25 robotic arms moving in precise synchronisation with OK Go's latest track, Love. The band, which rocketed to fame in 2006 with their song Here It Goes Again, is known for its quirky music videos. They are often elaborately choreographed to be filmed in a single long take and make extensive use of practical effects and optical illusions. But they've truly outdone themselves here in a technical tour de force that merges cutting-edge robotics with creative vision to create a kaleidoscopic journey through infinite reflections. Everything is captured on camera, with no green screen required, and it's no exaggeration to say that the effect is truly astonishing. We couldn't believe our eyes the first time we saw it, so we were keen to chat with Miguel Espada, who co-directed the project along with Damian Kulash and Aaron Duffy, and discover how it all came together. Mirrors as metaphor "The main idea behind the video was to use mirrors to create different visual effects," begins Miguel. "The concept revolved around multiplying reflections as a metaphor for love, with the infinite reflections illustrating the love one feels for family and children." However, achieving those infinite reflections presented challenges that traditional filmmaking techniques couldn't solve. "To achieve an infinite reflection—a reflection of a reflection of a reflection—it's enough to place one mirror in front of another," Espada explains. "But if those two mirrors aren't perfectly parallel, the reflections curve and ruin the illusion." This need for absolute precision, combined with the desire for dynamic, moving mirrors, made collaborative robots the only viable solution. Universal Robots' cobots were selected for their versatility, safety features, and ease of programming, which are crucial factors in an environment where rapid adjustments are necessary. From mathematics to music The four-minute video represents a complex choreography between humans and machines. The team developed a two-layer control system revolving around a Python controller launching about 30 threads (one per robot) and an OpenFrameworks layer orchestrating all animations. "Normally, animations run at 30, 50, or 100 frames per second," notes Espada, whose background includes a PhD in mathematics and years of experience blending technical expertise with creative vision through his studio Espadaysantacruz. "In this case, we synced everything to 78bpm." What makes the achievement even more remarkable is that the entire production had to be coordinated as a single take with no cuts. "We had two days for shooting," Espada recalls. "After a day and a half, we still hadn't managed to complete a single full take from start to finish." Constant challenges While the robots provided the precision necessary for the mirrors' movements, the video's success hinged on collaboration between human creativity and mechanical execution. "Programming was often a collaborative process across departments," says Espada. "Many key positions were defined by hand, then transferred to the overall timeline." The team discovered that the robots' distinctive movements added an unexpected dimension to proceedings. "There's one scene that was choreographed by a human choreographer, and it took us some time to understand that robotic arms don't move the same way humans do," Espada recalls. "It wasn't a limitation; it just required an iterative process to explore the expressive potential of the robots." This iterative approach extended beyond the planning stage. Despite creating a complete digital animatic beforehand, the team found themselves continually solving challenges as the shoot progressed. Visual tricks, perfectly timed "There was a lot of trial and error throughout the process," remembers Espada. "Imagining how mirrors and reflections behave is very complicated. Sometimes, the physics of reflections feel like magic or become disorienting. Every new effect had to be tested, and we had to solve the technical challenges that came with it. "We asked questions like: How do we create this shape? What size should the mirrors be? How do we move them? What will they reflect? Where does the camera go?" The biggest challenge, however, was syncing the entire video. "It's over four minutes long and shot in a single take with no cuts," Espada explains. "Think of it as a huge piece of choreography between people and robots, all synced to the music. Each individual part may seem simple, but putting it all together was incredibly complex. Every visual trick had to be perfectly timed to match the exact moment of music." The team hoped to have everything pre-programmed with only minor tweaks on set. "However, that idea didn't survive the first few days. There were too many unexpected elements. We had to keep adjusting things right up to the last minute. I remember after more than 20 failed attempts on one scene, we had to go back, recalculate angles, and reprogram the robots." They had two days in total. "But after a day and a half, we still hadn't completed a single full take. It was very stressful. We had tested individual scenes but never the full sequence. "The hardest part was the transitions between scenes, not just for the band, but also the camera crew and art team. Everyone had to coordinate perfectly. We hoped to get good takes on day one. That was impossible. Fortunately, everything came together on take 37." A glimpse into the future The project, involving over 60 people from 10 countries, represents a significant milestone in showing how robots can be used to create great art. And Espada believes that when we watch this video, we're looking into the future. "Collaborative robotics—technology that enhances collaboration between humans and machines—is going to become more and more present in daily life," predicts Espada. "We usually associate robots with industrial use, but the possibilities go far beyond that." For the director, the next big frontier lies at the intersection of AI and robotics. "I'd love to work with robots that can move in real-time, powered by autonomous AI agents," he enthuses. "That's where things get really exciting." Mesmerising mechanics As for the video itself, the final result showcases the unique beauty that emerges when cutting-edge technology and human creativity work in harmony. The mirrors create mesmerising infinite reflections while the robots move with mechanical precision, all flowing seamlessly with the music and the band's performance. It's a remarkable achievement. As Espada reflects: "We had two weeks to set up 29 robots, of different sizes and shapes, inside a train station. A lot was planned in advance, but we still had to reprogram everything from scratch on-site. At the same time, every other department—art, camera, wardrobe—had to do their part. And the band had to rehearse. Looking back, it was total madness. But we pulled it off." After all the technical challenges, programming hurdles, and failed takes, Espada offers one final observation: "The only ones who never mess up a take are the robots."