And this time a chimp charity will benefit.

FORM Brands Studio has given London’s Air Ambulance Charity a new look. Rather than transporting patients to hospital, the charity’s doctors and paramedics treat seriously injured people at the scene from its two helicopters and eight cars. It is the only organisation performing this role in London. Established in 1989, it is called to a rising number of patients across the capital every year, helping more than 2,000 people in 2024. London’s Air Ambulance Charity (LAAC) needs £17m a year to operate, 96% which comes from donations. “But 60% of Londoners don’t know we’re a charity,” says LAAC’s director of fundraising and marketing, Jayne Clarke. FORM Brands Studio identity for London’s Air Ambulance Charity in OOH posters Its new organisational strategy is about raising awareness, enhancing fundraising efforts and strengthening its connection with London’s communities. “We’re trying to make sure the strategy is about hope and looking forward to the future,” Clarke says. To accompany this new strategy, the charity also decided to change up its visual identity. “Our previous branding was very corporate,” Clarke admits.FORM Brands Studio won the job after a pitch. Strategy director Beth Andlaw set up the east London agency in 2022 with creative director Alex Andlaw. Before that she had been in comms and PR, and had worked with LAAC on and off for about 20 years. FORM Brands Studio identity for London’s Air Ambulance Charity on stage FORM introduced a new wordmark, colour palette, typeface, icons, motion, creative copy, messaging, fundraising memorabilia and photography. However, the existing helicopter icon was retained. “It has a lot of love and legacy,” says Clarke. The agency’s brand idea, Propelling Promise, was inspired by the urgent, intense nature of the work carried out by LAAC’s clinical and operational crews. That was used to give structure to creative copy lines and the new tone of voice. Each lead line includes an element of “propelling” to imply urgency and momentum, and “promise” to imply warmth and hope. That resulted in lines including “Trauma doesn’t stop. Neither do we” and “Here for London. Today, tomorrow, always.” FORM brought in Peggy Nyamekye to work on the copywriting. Meanwhile, the visual identity, developed with designer Mayan Mistry, comprises a gradient design system, drawing on the rotational motion of helicopter blades. Borough names are repeated in radiating patterns and overlaid with the gradient. Red is still central to the charity’s identity, but FORM introduced the vivid orange worn by medics on-scene. “These colours blend in the gradient, creating a visual signature that speaks to urgency, action, optimism and hope,” says Alex Andlaw. https://d3faj0w6aqatyx.cloudfront.net/uploads/2025/06/LAA_OOH_TUBE_1920x1080.mp4 With the help of motion graphics designer Matt Fowler, the agency introduced movement to the branding, to reflect the aircraft’s blades in flight. The logo’s new wordmark is in Barlow, inspired by the existing big white lettering on the helicopter tail booms. Before, the charity’s name was written lower case in a thinner font. “Now it’s bigger, bolder and more impactful,” says Alex Andlaw. FORM also redesigned the icons to have more personality but still be functional. “The icons help the team talk about quite hard subjects,” he says, such as casualties, and the designs had to balance warmth and realism. “We did quite a few hearts, some look too detailed and some too basic,” he explains. The agency also created a series of collectible badges, inspired by the embroidered badges worn by the charity’s doctors and pilots.FORM Brands Studio identity for London’s Air Ambulance Charity in Instagram posts Meanwhile, photographer James Pearson-Howes was briefed to capture real people, places and moments from across London. The new branding had to resonate with very different types of donors, from the charity’s collection buckets to seven-figure corporate donations, says Clarke. “And the doctors wearing the brand have very strong opinions, as do the pilots. FORM took in all these views and managed to make all those people happy.” https://d3faj0w6aqatyx.cloudfront.net/uploads/2025/06/LAA_OOH_BILLBOARD_1920x1080.mp4 FORM Brands Studio identity for London’s Air Ambulance Charity FORM Brands Studio identity for London’s Air Ambulance Charity in OOH posters

Events Letterheads Per L'Horta: An Intimate International Meet The masses amass in Almàssera for an inspiring four days painting in the Valencian sun. Better Letters Jun 5, 2025 • 8 min read Letterheads Per L'Horta in Almàssera, Valencia, 1–4 May 2025. This time last month, over 45 guests from 11 countries were feeling the post-Letterheads blues after four days in the small town of Almàssera, just outside Valencia, Spain. Letterheads Per L'Horta was organised by Nico Barrios, and it was a wonderfully intimate experience, with a host of activities to enjoy and learn from.Something that made the event feel extra special was the involvement of people from the local community, who were just as much a part of it as those that had travelled from as far afield as Australia and Mexico to attend. This included bidding in the auction for a souvenir of the long weekend in May spent with friends, new and old.Almàssera and L'HortaAlmàssera is a small town set within a vast expanse of small-scale agricultural production. While each plot of land is known as a huerto (allotment), they are collectively referred to as horta, which doesn't really have a direct translation. The Horta Nord (North Horta) that surrounds Almàssera is the largest and best surviving example of this type of terrain.We were based in the town's Museu de l'Horta (Horta Museum), which consists of an old and a modern building with a yard between them that housed the panel jam area.A traditional alquería (farmhouse) in l'horta, a view down on the meet, and the tents protecting the panel jam area.Inside the modern building there was a selection of pieces from Juan Nava's 2022 Gráfica Urbana de Valencia (Urban Graphics of Valencia) exhibition. There was also a trip down memory lane for Valencian locals in the form of another exhibition, L'ombra de les lletres (the shadow of the letters), with photos of signs spanning the period 1880–2000.L'ombra de les lletres was originally curated by Tomàs Gorria in 2024. Pedal PowerAlmàssera, and the city of Valencia, are easily navigated by bicycle, which Nico used to facilitate a cycling tour of the old signs of l'horta. In addition to the stories of the individual companies advertised, he was also able to identify the painters responsible for some of the signs.The tour took guests into the heart of l'horta, which, as a largely agricultural area, boasts a surprising number of old and hand-painted signs.Panel JammingAfter a windy first day or so, the event was bathed in beautiful Mediterranean sunshine. The protective tents were essential, although those in the middle had to carefully manage their colour schemes in light of the red hue they cast across the easels.Getting painty in l'horta: Nathan Collis, Xis Gomes, Maria Cano, Mike Meyer, and Loughlin Brady Smith.Panels set to dry in the early evening sun.WorkshopsAcross the first three days, Thursday to Saturday, there was a series of lettering and calligraphy workshops that were also open to those outside of the Letterheads event proper.Pictured are workshops being led by Ester Gradolí, Juanjo López, and Joan Quiros.TV TimeThe meet was profiled in the local newspaper on the day before it opened, and then a TV crew turned up to cover proceedings.Local press coverage and Letterheads Per L'Horta host Nico Barrios being interviewed for the TV report. 0:00 /1:34 Letterheads Per L'Horta makes the news! If you look closely at the top of the paper that Daniel Esteve Carbonell is working on it says "Collons de rètol" (it's only a fucking sign) which clearly escaped the attention of the censors. Talks & DemosIn addition to workshops, the museum building also hosted a busy programme of talks. These were delivered by the Asociación de Diseñadores de la Comunidad Valenciana (Valencian Graphic Design Association), the errorerror.studio creative typography studio, graphic designer Juan Nava, and type designer Juanjo López.Juan Nava talking about the evolution of his Letras Recuperadas (Recovered Letters) project, previously featured here at bl.ag online.One of the highlights was hearing from veteran local sign painters Ricardo Moreno and Paco Vivó, both of whom appear in the Tipos Que Importan film that was screened. They were interviewed by Nico and brought a host of goods with them, including their sign kits, photographic portfolios, work samples, books, and other reference materials.Ricardo (in glasses) and Paco (with beard) were mobbed after talking about their lives on the brush in Valencia.Following the session, everyone moved outside to watch Paco Vivó paint one of the motifs that he produced many times in his career: the Pepsi-Cola bottle top.Paco Vivó painted his demonstration piece on a canvas which was subsequently sold in the auction.Meanwhile, over in the town square, David Vanderh had set up his screenprinting station to apply Nico's event design in a single colour to any material that the public brought to him.The live screenprinting was in just blue, while the official event t-shirt combined this with a striking orange.Panels on Show and on SaleOn the Sunday, a small exhibition was mounted with the panels that folks could bid on in the auction. This was an open invitation, with those from the neighbourhood stopping by to inspect and snag some goods.Panels getting ready for new owners in the charity auction.Panels by Veronika Skilte (Vermut), Joe Coleman (Mental on the Rental), Rachel E Millar (Rotulos, Gracias), and Victor Calligraphy.This panel (right) by Joe Coleman was inspired by the truck lettering that was a lucky incidental on the earlier cycling tour.The auction raised over 2,000€ in support of those affected by the devastating DANA floods in 2024.The assembled crowd were ready with open wallets as the auction got underway.The auction was expertly hosted by Mike Meyer and Nico Barrios, with Nil Muge logging all the winning bids and accounting for the cash payments.Thank YouAs with any event, the photos never show the challenges that must be overcome behind the scenes. Some of these were substantial but Nico took each one in his stride, maintaining a smile throughout. Thank you, Nico, for facilitating these special days that will live long in the collective memory.Letterheads Per L'Horta host Nico Barrios.Letterheads Per L'Horta was hosted by Nico Barrios with the support of the following organisations: AVV Carraixet d'Almàssera; Ajuntament d'Almàssera; BLAG; A.S. Handover; 1 Shot; ADCV; gráffica. Also check out the event's dedicated Instagram account, @letterheadsperlhorta, for even more photos and videos. More LetterheadsFuture Meets

5 June, 2025 In this series, Clare Dowdy speaks with design studios that are 30+ years old, to find out some of the secrets behind their longevity. Michael Johnson set up his London-based brand consultancy Johnson Banks in 1992. From Duolingo to Pink Floyd, Cancer Research UK to the Royal Astronomical Society, the studio works with “people who want to do big things.” He sat down with Clare Dowdy to discuss what he’s learned over the past 33 years. Michael Johnson How did Johnson Banks come about? My 20s were very turbulent: eight jobs in eight years, a lot of different countries, different cities, learning on the job. My last job – at Smith & Milton – was relatively settled, I was kind of running a corporate design department. I had a client there, Tom Banks. After I left, he also left his role at Legal & General with the projects I had been working on, and we used that as a basis for the company. That was 1992, the back end of a recession. For a couple of years, everything was fine. Then we started having “creative differences.” And the pressures of running a tiny design company are substantial. So we parted ways in 1995, but I kept the name. Johnson Banks’ symbol for the V&A’s William Morris show At that time, we weren’t really in the branding world. For a decade, we were very distracted by getting on the graphic design map, trying to win D&AD awards, doing lovely stamp projects. And then we started to get some cultural projects: the V&A and the British Council. I started to think, OK, now we’re beginning to show what we can do. When and why did you start thinking seriously about your strategy offering? When we started to get into the branding arena, I knew we were underpowered in terms of the strategic thinking. I may have thought that I could do it, but it takes a bit to persuade clients when you’re 35, with hair almost down to your knees. If you’re up against important-looking people who can field a few grey hairs, you’re going to lose that pitch. So we partnered with strategic companies like management consultancy Circus, and followed that model for much of the 2000s. That led to the Shelter rebrand, and a few other quite big branding projects followed. Johnson Banks’ visual identity for Shelter Eventually we realised that we could do the strategy ourselves. I had sometimes been a little frustrated by the work that my strategic partners – naming no names – were doing. It sounds a bit mean, but sometimes I would get this 90-page PowerPoint document from them, and I’d put it on my designers’ desks, and their faces would go blank. I think that 20 years ago, there was still a bit of the idea that you’ve paid £100,000, so here’s your huge document. We slowly realised that if we were in control of the process, and were involved all the way through, then that jump out of the verbal brand to the visual brand could be much better managed. How did you rethink your strategy offer? The penny dropped in the mid-2000s when we worked with Save The Children. At the time, and I don’t think they’d mind me saying this, Save The Children were a bit of a basket case. They were associated with WI fairs and cake baking, and they had a royal as their patron – they were nothing like what they are now. I realised we needed to work out what they stood for before we did any design. I did this huge chart, and stuck it on a wall at the client’s office. And I said, it strikes me that there are strategic choices that you have got to make as a comms team about where you want to take the Save the Children brand. Johnson Banks’ poster for Save the Children That was an incredibly productive meeting, and also it helped us realise that before we got anywhere near the design, we needed to sort this out. I know that sounds like really basic stuff now. I didn’t trust my instinct for a decade or so, but in that Save the Children meeting, a light bulb went on for me. Once you’d worked out how to do strategy in-house why didn’t you scale up? A lot of companies would have done that. That’s how companies grow, and can end up quite quickly at 60 people. We have nearly always been around six to eight people. Because I could bridge that gap between the verbal and the visual, it meant we didn’t need to add people. And I’ve discovered over the last 25 years, that with a really good account director, Katherine Heaton, and me, and a design team, there is a heck of a lot that we can do. So we stayed small and partnered with filmmakers, animators, cultural specialists. Post-pandemic, a lot of people have adopted that hub and spoke model – we did it 20 years ago. Probably twice a year we’ll lose a pitch because of our scale. But conversely, with some clients you can sell in the fact that they’ll always deal with Michael Johnson. They’re not going to be handed down the chain, because there is no chain. Johnson Banks’ logos for Jodrell Bank Alongside this direct contact with you, what’s your main selling point? It seems to be that we think pretty hard about stuff. We almost never jump into design. A lot of thought goes into what we do, sometimes way too much. Sometimes our projects are incredibly difficult, gargantuan, intertwined and really hard to unpick. That’s a slightly poisoned chalice, because then people go, gosh, well, if they could unpick that, then they could unpick our Gordian knot. For example, we’re working on a major London university brand at the moment that has over 60,000 staff and students, 11 faculties, and hundreds of centres and institutes and departments, and we’re trying to navigate a way through. How did you work out what you wanted to specialise in? Sometimes you can get sucked into something that you just don’t want to be doing. By the end of the 1990s, Johnson Banks had got a reputation for doing annual reports. Part of me quite liked doing them because there was an interplay between words and pictures. And we were getting senior level access to clients, which makes you feel a bit better, because you’re having an interface with chief executives. But then I was thinking, hang on, we’re in danger of getting stuck here, because of course, they’re cyclical. And the death of the annual report – and the death of print – was coming over the horizon, with the internet. Johnson Banks’ Annual Report for Polygram (1995) Since then, my interests have changed. I do not have any interest any more in doing awful blue chips or terrible fintechs. I want to apply all the comms and the branding that I’ve learned to people who could really use it – not-for-profit, culture, education, philanthropy. You know, doing good. How did you build up this not-for-profit work? You lean into the referrals you’ll inevitably get within silos where you want to be referred. I learned this from Mary Lewis of Lewis Moberly. We were pretty close in the 1990s and she always said that referral business is the best business. Over 85% of our clients are not-for-profit – most design companies have a 20-80 split between non-profits and commercial clients. I never liked that ratio, what you might cruelly call ‘the Robin Hood principle’ – we are going to steal from our luxury car account and give to the charity. We did do a bit of that for a while. We did an airline in 2009/10 at the same time we were doing charities. I would justify that with the Robin Hood principle, but I just felt more and more uncomfortable with that. Johnson Banks’ campaign visuals for Cancer Research UK As our percentages went up and up in not-for-profit, eventually I said, look, we should just tell people this is who we are, and this is what we do. It was obvious anyway, so let’s be explicit about it. A few people said we were crazy, that we’d never get any work. But the reverse has been the case. We’re on our sixth environmental project. If you say this is what we want to do, and this is what we will do for you, then I think, funnily enough, clients find that very helpful. How did you build up to bigger projects? Let’s take education. We’ve done three or four really interesting campaigns for universities and now we’re in the position where we can do university rebrands, and have won a top 10 global university. But it has taken 15 years of education work to get to that point. I may not have thought that it would take quite so long to persuade people that we could do their identity. But education is a very conservative sector, and moves slowly, like museums and galleries. If you’re small, you can afford for a sector to move slowly, whereas bigger agencies need a pipeline. I’ve watched dozens of companies get to this critical point where they’ve grown and grown and then they’ve just fallen off the cliff because they’ve been feeding the monster. To help with that, agencies often add a new business person. No-one ever talks about this, but a new business person costs around £50,000. The rule of thumb, in my world at least, is that you have to take that salary and triple it with turnover to pay that salary. So you need £150,000 worth of projects to pay for the new business person before you’ve made a penny. So to make a profit, the new business person has to bring in over £200,000 of work. And if this person can do it, which is not guaranteed, then the company has to scale. It’s so easy to get caught on a treadmill. What else has helped you stay in business so long? We’ve always led with the thought behind the idea, not the way it looked. Because I was always much more interested in the idea behind something, I think that has helped us not get sucked into the visual, to use the type face du jour, the colour that everyone else is using. And it’s understandable, because graphic designers want to do stuff that their peers really like. But paradoxically the trick, in my opinion, is to try and zag away from the trends. Create a new trend yourself. Johnson Banks’ globe symbol for the COP 26 climate conference Design disciplines in this article Industries in this article Brands in this article What to read next Neville Brody on clients, education, and his unexpected OBE Graphic Design 30 Jan, 2025

At Humble, we believe in the power of community to create meaningful change. This June, we’re proud to celebrate Pride Month by partnering with The Trevor Project—an organization dedicated to supporting LGBTQ+ youth in crisis and working to build a more inclusive, accepting world. Why The Trevor Project? The Trevor Project is more than just a charity—it’s a lifeline. As the leading suicide prevention and … The post Celebrating Pride Month: Making a Difference With The Trevor Project appeared first on Humble Bundle Blog.

Mordak served just two years as chief executive of industry charity that campaigns on sustainability issuesSmith Mordak is no longer chief executive at the UK Green Building Council (UKGBC), the organisation has said without giving a reason for their departure. Mordak, who was appointed chief executive by the charity’s board of trustees in June 2023, was replaced by former deputy chief executive Simon McWhirter at the end of May. In a post on LinkedIn, Mordak said: “After two years working as CEO of UKGBC, my tenure has come to an end.   Smith Mordak’s role as chief executive ended at the end of last month “Collaborating with such dedicated colleagues to foster a safe, fair, and sustainable built environment has been an immense privilege, and I am deeply proud of what we’ve accomplished together.” Mordak, who changed their current role on LinkedIn to freelance at the beginning of this month, said they “look forward to sharing more about my own new ventures in due course”. The UKGBC said Mordak had been chief executive until last month and there had since been a “change of leadership”, but declined to clarify why Mordak’s role had ended at the charity, which does not set fixed terms for its chief executives. “Smith brought a wealth of industry knowledge, deep technical expertise, first-hand insights of creating sustainable places, and as a passionate campaigner for action on the environmental crises and to engender an equitable society,” the organisation said. “During the last two years, we have valued the expertise and energy that they have brought to the UKGBC as the organisation continues to evolve. We would like to take this opportunity to wish them all the very best for their future endeavours.” McWhirter was appointed UKGBC director of communications, policy and places in August 2021, becoming deputy chief executive in April 2023.  He has a background spanning sustainability advocacy, communications, finance, political engagement and property development in organisations including the WWF and the Department for Energy Security and Net Zero. He said: “Having been involved with UKGBC since its formation - as a consultant, member company, and most recently deputy CEO - I know the awesome collaborative power we can bring to the challenge of positioning our buildings as a real lever for change, to tackle the climate and nature crises we’re facing”. He added: “I want to express my thanks to Smith, who was CEO until last month, for their sterling work over the past couple of years, and the support for me over that time.” UKGBC chair Judith Everett said: “Simon brings strong relationships across the built environment sector, government and our partners, attuned to the nature and climate crises we face. His sector experience across domestic and international networks, and – supported by UKGBC’s passionate and capable team – makes him well-placed to lead this next phase.” The appointment comes as the UKGBC launches a new team providing market and development advice, composed of sustainability experts from firms including Arup, Cundall, WSP and Mott MacDonald.

Silicon Valley nerds have been lonelier since Fry’s Electronics shut down in February 2021 in the midst of the pandemic. The electronics store chain was an embodiment of the valley’s tech roots. But Micro Center, an electronics retailer from Ohio, has opened its 29th store in Santa Clara, California. And so the nerd kingdom has returned. I see this as a big deal, following up on the opening of the Nintendo store — the second in the country after New York — in San Francisco earlier this month. After years of bad economic news, it’s nice to see signs that the Bay Area is coming back. No. To answer your question, nerds cannot live at the Micro Center store. But this isn’t just any store. It’s a symbol — a sign that shows tech still has a physical presence in Silicon Valley, in addition to places like the Buck’s Restaurant, the Denny’s where Nvidia started, the Intel Museum, the Computer History Museum, the California Academy of Sciences and the Tech Museum of Innovation. Other historic hangouts for techies like Walker’s Wagon Wheel, Atari’s headquarters, Lion & Compass — even Circuit City — have long since closed. But hey, we’ve got the Micro Center store, and the Apple spaceship is not that far away. The grand opening week has been going well and I got a tour of the superstore from Dan Ackerman, a veteran tech journalist who is editor-in-chief at Micro Center News. As I walked into the place, Ackerman was finishing a chat with iFixit, a tech repair publication which has its own space for podcasts inside the store. That was unexpected, as I’ve never seen a store embrace social media in such a way. Can you stump the geniuses at the Knowledge Bar at Micro Center? Nearby was the Knowledge Bar, where you can get all your tech questions answered — much like the Genius Bars in Apple Stores. And there were repair tables out in the open. There are a lot of things for tech enthusiasts can like about Micro Center. First, it’s not as sprawling as Fry’s, which had zany themes like ancient Egypt and a weird mix of electronics goods as well as household appliances, cosmetics, magazines and tons of snack foods. (The Egyptian-themed Campbell, California Fry’s store that I drove by often was 156,000 square feet, and now it’s home to a pickleball court complex). Fry’s was a store that stereotyped nerds and Silicon Valley, which also had its own HBO television show that carried on the stereotypes. Nvidia’s latest RTX 50 Series GPUs were in stock at Micro Center. The Micro Center store, by contrast, is smaller at 40,000 square feet and stocked with many more practical nerd items. For the grand opening, this store had the very practical product of more than 4,000 graphics processing units (GPUs) in stock from Nvidia (which just launched its 50 Series GPUs) and AMD, Ackerman told me. Some of those graphics cards cost as much as $4,000. Not to be outdone. AMD has a row of GPUs at Micro Center too. “There were people waiting to get to the GPUs,” Ackerman said. On display was a gold-plated graphics card that was being auctioned off for charity. It was signed by Jensen Huang, Nvidia CEO. Nvidia CEO Jensen Huang signed this GPU being auctioned for charity at Micro Center. “I joke that whoever wins the bid should get a Jensen leather jacket as well,” said Ackerman. And this Micro Center store has a good location (5201 Stevens Creek Boulevard in Santa Clara) that is just a six-minute drive from Apple’s worldwide headquarters and (perhaps better yet) a one-minute walk from the Korean Hair Salon. Micro Center had a previous store in Silicon Valley, near Intel’s headquarters in Santa Clara. But that store close in 2012 because the company couldn’t negotiate better terms with the landlord. For its return to the Bay Area, Micro Center bided its time and came back at a time when many other retail chains were failing. It proves that the once proud region — the birthplace of electronics — still merits its own electronics store. You can buy dyes for liquid-cooled tubes at Micro Center. Sure, we have Target, Best Buy and Walmart selling lots of electronics gear. But there’s nothing like the Akihabara electronics district in Japan, which is full of multi-story electronics stores and gaming arcades. But this store is loaded with today’s modern top gear, like AI PCs, Ubiquity home networking gear, and dyes for multi-colored water-cooling systems. Vendors like Razer and Logitech had their own sections. Ackerman was pleased to show me the USB-C to USB-A adapter in stock, among many obscure items. And he showed me the inventory machine that could rotate its stock of 3D-printing filaments and give you the exact SKU that you scanned with a bar code. Tech hobbyists can find their love at Micro Center. “That’s super fun. I call it Mr. Filaments,” Ackerman said of the inventory robot. There’s a section for hobbyists who like single-board computing and DIY projects. There’s a set of video, audio and digital content creation tools for content creators. All told, there are more than 20,000 products and over 100 tech experts who can help. It even has the numbered cashier locations where you can check out — the same kind of checkout stands that Fry’s had. The Mr. Filaments robot inventory system at Micro Center. Customers can receive authorized computer service for brands like Apple, Dell, and HP, benefiting from same-day diagnostics and repairs, thanks to over 3,000 parts on hand through partnerships with leading OEMs. I only wish it had a help desk for Comcast. Micro Center has gear to entertain geeks. Micro Center started in 1979 in Columbus, Ohio. It’s a surprise there aren’t more nerd stores, given how ubiquitous tech is around the world these days. But Ackerman said, “These guys are really doing it right, picking and choosing, finding the right cities, finding the right locations. That’s why Charlotte is great. Miami is a big tech hub, especially for health tech. And we’re literally five minutes away from Apple headquarters and plenty of other places. People from HP and Nvidia and other companies are coming in today to hang out.” “Even though this store is big, the CEO (Richard Mershad) is really into curation, making sure it’s the right mix of stuff. He’s making sure it doesn’t go too far afield. So you’re not going to come in here and find, you know, hair dryers or lawncare equipment,” Ackerman said. “You’re going to find computer and home entertainment stuff, and DIY gear. There are components, just like in a Radio Shack, that hobbyists care about.” Dan Ackerman knows how to install a TV on your wall. As for the Micro Center News, Ackerman told me he has around 10 regular contributors and 20 more freelancers writing gadget reviews and other stories about tech gear. It is a kind of refuge for that vanishing breed of professional tech journalists. No wonder I was so nostalgic visiting Micro Center.

close A majority of small businesses are using artificial intelligence A majority of small businesses are using artificial intelligence and finding out it can save time and money. So, you want to start making money using AI but you’re not trying to build Skynet or learn 15 coding languages first? Good, because neither am I. You don’t need to become the next Sam Altman or have a Ph.D. in machine learning to turn artificial intelligence into real income. What you do need is curiosity, a dash of creativity, and the right prompts.💸 Enter to win $500 for you and $500 for your favorite person or charity in our Pay It Forward Sweepstakes. Hurry, ends soon!I’ve pulled together five powerful, practical prompts you can throw into ChatGPT (or your AI tool of choice) to help you start earning extra cash this week. These aren’t pie-in-the-sky dreams or $10K-a-month YouTube ad schemes. They’re doable, even if your calendar is already packed.5-MINUTE CLEANUP FOR YOUR PHONE AND COMPUTERLet’s get to it.1. Fast-Track Your Freelance LifePrompt to use:"Act as a freelance business coach. Suggest 3 services I can offer on Fiverr or Upwork using AI tools like ChatGPT, Midjourney or Canva. I have [insert skill: writing/design/admin/accounting/managerial] experience."Why this works:Freelance work is exploding right now. Platforms like Upwork and Fiverr are filled with small businesses and entrepreneurs who need help—but don’t have the budget to hire full-time staff. If you’ve got any kind of professional background, you can use AI tools to turbocharge your services. Writing blog posts? ChatGPT can give you a draft. Creating logos or social media templates? Midjourney and Canva are your new best friends.You don’t need a team. You don’t need fancy software. You just need a good prompt and the confidence to say, "Yes, I can do that." AI helps you scale what you already know how to do. A man is pictured with a smartphone and laptop computer on January 31, 2019.  (Neil Godwin/Future via Getty Images)2. Make Product Descriptions Sexy AgainPrompt to use:"Rewrite this Etsy or Shopify product description to make it more compelling and SEO-friendly. Target audience: [insert group]. Here’s the original: [paste description]."Why this works:Let’s face it—most product descriptions online are a snooze. But good copy sells. Whether you’re running your own shop or helping someone else with theirs, compelling product descriptions convert clicks into customers. Use ChatGPT to punch up the language, fine-tune for SEO, and speak directly to your ideal buyer.DON’T SCAM YOURSELF WITH THE TRICKS HACKERS DON’T WANT ME TO SHARERemember: people don’t just want to buy a weird mug. They want to buy what it says about them. That’s where a smart rewrite can turn browsers into buyers.3. Social Posts That SellPrompt to use:"Create 5 attention-grabbing Instagram captions to promote this [product/service]. Keep the tone [fun, confident, expert] and include a strong call to action."Why this works:We live in a scroll-happy world. Your social captions need to grab attention in less than three seconds. But not everyone’s a copywriter—and not everyone has time to be. AI can help you crank out engaging content in the tone and style that fits your brand. Add a great photo, post consistently, and you’re suddenly a one-person content agency without the overhead (or endless Zoom meetings). A photo taken on October 4, 2023 in Manta, near Turin, shows a smartphone and a laptop displaying the logos of the artificial intelligence OpenAI research company and ChatGPT chatbot. (MARCO BERTORELLO/AFP via Getty Images)If you’re managing social for clients or your own biz, this prompt is gold. Use it to build content calendars, write reels scripts, or even draft ad copy.4. Polite Emails That Save You MoneyPrompt to use:"Write a short, polite email to ask for a lower rate or discount on [tool/service/platform]. Mention that I’m a loyal customer comparing alternatives."Why this works:Negotiating discounts doesn’t always feel comfortable but it absolutely works. Companies often have unpublished deals, especially for longtime users or small businesses. And customer service reps? They're human beings. A kind, well-written email might be all it takes to get a discount on that software you’re using every month.20 TECH TRICKS TO MAKE LIFE BETTER, SAFER OR EASIERI’ve personally saved hundreds of dollars just by sending quick, respectful emails like this. AI can help you strike the perfect tone confident but kind, assertive but not pushy.5. Your Passive Income KitPrompt to use:"Give me 3 high-demand, low-competition ideas for a short e-book or low-content book I can sell on Amazon. I have experience in [insert topic]."Why this works:You have knowledge people want. Package it. Sell it. Repeat. Whether it’s a short guide on starting a backyard garden or a workbook for productivity hacks, e-books and low-content books (like journals or planners) sell surprisingly well. And AI can help you brainstorm ideas, outline chapters, even draft content to polish up. In this photo illustration the logo of Apple Mail Programme Mail can be seen on a smartphone next to a finger on March 27, 2024 in Berlin, Germany. (Photo Illustration by Thomas Trutschel/Photothek via Getty Images)Upload it to Amazon KDP or Gumroad, and now you’ve got a digital product that can earn money in your sleep. People pay for convenience, and you have life experience worth sharing.Final ThoughtYou don’t need to master AI to start earning with it. You just need to start using it. These five prompts are a low-risk, high-potential way to get your feet wet. And if you need a hand turning these sparks into something bigger, I’m here.I built my multimillion-dollar business with no investors and no debt. I’ve done this without a big team or expensive consultants. And I’d love to help you do the same.Drop me a note. I read every one.Get tech-smarter on your scheduleAward-winning host Kim Komando is your secret weapon for navigating tech.National radio: Airing on 500+ stations across the US - Find yours or get the free podcast.Daily newsletter: Join 650,000 people who read the Current (free!)Watch: On Kim’s YouTube channelCopyright 2025, WestStar Multimedia Entertainment. All rights reserved. 

I spent years living in major East Coast cities, and now I'm back in my hometown of Rochester, New York. Emma Guillen 2025-05-30T13:49:39Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? After living in Miami, Boston, and NYC, my husband and I chose to buy a home in Rochester, New York. For a midsize city, we think the access to nature and fabulous food is unparalleled. We also love the variety of art and culture available through museums and festivals. Within 24 hours of graduating from college, I hit the road and drove 1,500 miles away from my hometown to begin my first full-time job. I was officially in the "real world."For the next eight years, I moved from apartment to apartment and city to city, spending my 20s exploring Miami's vibrant art scene, Boston's rich history, and New York City's — well, everything.Still, when it came time to sign another yearlong lease on the Upper East Side of Manhattan, my husband and I reconsidered.With dreams to start a family and possibly a business someday, we decided to move back to my hometown of Rochester, New York, in June 2024.Upstate New York has so much to offer I love the festivals, restaurants, museums, and nature in Rochester. Emma Guillen For a midsize city, I think Rochester has earned some major bragging rights. It's the birthplace of Wegmans, has more than 140 annual festivals, and is home to the largest variety of lilacs on earth (a fun fact that requires its own festival, of course).The area's greatness is catching on, too. This year, Redfin named Fairport, a suburb of Rochester, one of the hottest neighborhoods in the country.The food and beverage scene is incredible We enjoy the burgers, fries, and drinks at Good Luck. Emma Guillen I may have been spoiled by New York City's global cuisine, but it's safe to say that Rochester has impressed me, too.If I'm in the mood to go out, I like to make reservations at the upscale steakhouse Patron Saint, the buzzy farm-to-table space Good Luck, or the seven-time Michelin-starred restaurant Redd.Or if the day calls for casual eats, you'll find my husband and me at the beloved hot dog joint Dogtown, the family-owned Mexican eatery Peach Blossom, or a local favorite, Pizza Wizard, for a Detroit-style slice.Award-winning wineries, breweries, and distilleries are also rising in popularity everywhere from Rochester's downtown to suburbs such as Fairport.The beautiful nature is next-level My husband and I visited Seneca Lake, one of the 11 Finger Lakes. Emma Guillen We traded taxis and turnstiles for scenic trails, and we couldn't be happier. With more than 12,000 acres of parkland, this part of New York has plenty of wide open spaces to explore, all a relatively short drive from Rochester's city limits.Our favorite place to hike is Highland Park, which was designed by the same landscape architect who created Central Park.Though we enjoyed our days biking alongside the Hudson River and relaxing on the esplanade in Boston's Back Bay, our proximity to the Finger Lakes is yet another reason we chose to grow roots in Rochester. We love spending weekends in the summer visiting the numerous vineyards in New York's wine country.Living in Rochester also means we can plan a mountain escape to the Adirondacks, a day trip to Niagara Falls, or a last-minute attempt to see the northern lights over Lake Ontario. There's always a museum to visit or an event to attend I loved visiting George Eastman House. Emma Guillen We may not be catching Broadway shows on Tuesday nights anymore, but the variety of art and culture here in Rochester is off the charts.I recommend visiting the Strong National Museum of Play, George Eastman House, and the world-class performances at the Rochester International Jazz Festival.My favorite event of the year is Fairport Canal Days, a weekend-long celebration featuring local artisans, trendy food trucks, and a whimsical rubber duck charity race held on the Erie Canal.I'm so glad I found my way back to my hometownIt's officially been a year since I reclaimed my 585 area code, and I haven't regretted it for a second. Although I gave up the hustle and bustle of New York City, the access to nature and family friendly activities have made this move more than worthwhile. Rochester is no longer just my hometown — it's now my forever home.