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Daniel Kent shared this"recent" Ikhoor work I have also stepped away from my FT SR CD role at ON/Gap. Inc to reset and explore new opportunities.
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Daniel Kent shared thisA few recent projects out/coming out from the last 6 months or so.
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Daniel Kent liked thisDaniel Kent liked thisThis open letter to students at Georgetown university is extremely good https://lnkd.in/eGtgxrsj
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Daniel Kent liked thisDaniel Kent liked thisNew CONTENT is about how memes destroyed marketing, from the perspective of someone who helped make it happen… LinkedInfluencers, the blood is on your hands too. https://lnkd.in/eh4A2EbY
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Daniel Kent liked thisDaniel Kent liked thisExcited to be among great company in this hefty book by Thomas Castro & Rein Wolfs, with an incredible selection of posters from the archive of the Stedelijk Museum Amsterdam. Lex and I met Sebastiaan in 2009; what started as a loose idea to do something for Pride Amsterdam & The Political Party D66, resulted in this simple colorful poster series that set the visual tone for D66 for years to follow. ‘Stedelijk Museum Posters by Color’ published in 2026 by HANNIBAL BOOKS.
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Daniel Kent liked thisDaniel Kent liked thisWhy does AI suck? It uses up precious resources, it eliminates thousands of jobs, it removes humanity from creative spaces, it only enriches the filthy rich, it encourages CEOs and board members to put the bottom line over people, and it literally couldn't "create" anything without the talent of artists and thinkers that came before it. I understand it's a tool, and there is no going back; it will still infiltrate our lives. But your choices can dictate how this slop shows up in our world. Choose people over AI.
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Daniel Kent liked thisDaniel Kent liked thisIf It Isn’t Physical, It Doesn’t Exist One thing I’ve noticed from working on books for artists, architects, and cultural institutions is that the hardest part is rarely the design. The real challenge is organizing the material. Many projects begin with large bodies of content—archives, lectures, research documents, photographs, and notes. Before anything can be designed, the first task is figuring out the structure that allows the work to be understood. Sometimes that structure is chronological. Sometimes it’s an index, glossary, or category system. Sometimes it comes from the artist’s own process. Once that framework is clear, the form of the publication tends to follow. At Studio Lin, we spend a lot of time working at this stage, helping translate complex bodies of work into books and publication systems that can function as long-term records. I still believe that unless something has a physical form, it doesn’t quite exist. Books remain one of the strongest ways to make work durable.
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Daniel Kent liked thisDaniel Kent liked thisCarl Cheng: Nature Never Loses has been selected for Most Beautiful Swiss Books 2025. Nature Never Loses is the first major publication to survey six decades of work by Carl Cheng, whose prescient and genre-defying practice has long explored the evolving relationship between technology, ecology, and human systems. The book accompanies the exhibition of the same name organized by The Contemporary Austin. The project brought together a publication, a traveling exhibition, and an exhibition booklet developed as a shared editorial framework around Cheng's work. Developed through close collaboration with curator Alex Klein, Studio Lin worked not only as graphic designer but also as a thought partner in shaping the structure and organization of the material across both the book and the exhibition environment. Thank you to the entire team who contributed their time, care, and expertise to the project. It has been a privilege to work together. Features contributions from: Carl Cheng Joel Ferree Alex Klein Gloria Sutton Celien Govaerts Andres Pardey Amanda Sroka Rachel Eboh Edited by: Alex Klein Jennifer Krasinski Rachel Eboh Published with The Contemporary Austin to accompany the exhibition, which opened in Austin and toured to Institute of Contemporary Art, University of Pennsylvania, Bonnefanten, Museum Tinguely, and Institute of Contemporary Art, Los Angeles (2024-2027). Studio Lin works with artists, architects, and cultural institutions to develop books, exhibitions, and editorial systems for complex projects.
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Daniel Kent liked thisDaniel Kent liked thisI finally got around to putting together an archive of some of my book covers designs for various publishers going all the way back to 2008. There are about 140 covers on there at the moment. My best estimates are that I’ve worked on close to 400 book covers over the last 18 years. Just over half of those were while I was a designer at Princeton University Press, the rest were done as freelance projects. There are so many projects I had completely forgotten about until I came across the files on an old external hard drive. Reflecting on this work has left me feeling pretty nostalgic, and also very grateful for the many art directors, creative directors, illustrators, photographers, production folks, printers, and other designers I’ve worked with over the years. If you’re someone who wants to do this kind of work—especially if you’re from an underrepresented community—let’s connect. I’d be happy to share my experience with you and mentor you through your first cover design project. How about this for a little perspective? These are just the final approved covers. Each one represents at least a handful of proposed designs that didn’t make the cut. https://lnkd.in/eQDzhBMBcovers — Jason Alejandro | Graphic Design & Educationcovers — Jason Alejandro | Graphic Design & Education
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Daniel Kent liked thisDaniel Kent liked thisI share glimpses of my hands-on design practice for 4 simple reasons: 1. A slow and methodical visual exploration leads to better results. My hands are better than the computer. 2. Designs that contain my personal DNA are more meaningful. Sweat equity matters. 3. Creating my own visual assets is a great way to establish a unique design aesthetic. Yay, nonconformity! 4. I want you to try it too, and I’m here to help. I spent a Saturday morning back in November creating a variety of hand painted logotypes for the band NØ MAN. Roughly one hour of playful creation unlocked a completely new visual world for the band. I’m including 4 images that detail the process: A visual moodboard and a group of photographs provided by the band, selected logotype explorations created with a brush and India ink, and lastly a selection of final designs. You can do this too, and I’m here to help! Reach out with questions!
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Michael Kern 📷
Calling all designers. As an American and a creative, I am pretty stoked to see great design coming from our government. https://ndstudio.gov/ https://realfood.gov/ https://trumprx.gov/ But Politics aside, let's look at the historical context of great design. Nazi Germany Arguably the most comprehensive and chilling example of design as state power. The Nazis understood branding at a level that wouldn't be matched in corporate America for decades: • Visual totality: Unified design language across everything—uniforms, architecture, rallies, propaganda posters, even typefaces. They banned certain fonts and promoted Fraktur (ironically later abandoning it). Every visual element reinforced the brand. • Albert Speer's architecture: Monumental neoclassical designs meant to communicate permanence and power for a "thousand-year Reich." The Nuremberg rally grounds were essentially branded experiences at massive scale. • Leni Riefenstahl's films: Triumph of the Will wasn't just propaganda—it was cinematically innovative branded content that influenced filmmaking for generations. • Symbolism: The swastika became one of history's most recognizable symbols through relentless, coordinated deployment. The system worked because every touchpoint—from Hitler Youth uniforms to postage stamps—told the same story. It's a horrifying case study in how design creates emotional belonging and normalizes ideology. Soviet Union Constructivism and Socialist Realism created one of the most distinctive government design languages: • Early Soviet constructivism: Revolutionary graphic design (El Lissitzky, Rodchenko) that was genuinely innovative—bold typography, photomontage, diagonal compositions suggesting dynamism and progress. • Socialist Realism: Later shift to heroic, idealized imagery of workers, soldiers, and leaders. Consistent across posters, murals, sculpture, and architecture. • Monumental architecture: Stalin's "Seven Sisters" skyscrapers in Moscow, metro stations as "palaces for the people" with chandeliers and mosaics. • Consistent iconography: Hammer and sickle, red star, wheat sheaves—symbols deployed with absolute consistency. Maoist China China under Mao created perhaps the most saturated propaganda environment in history: • Little Red Book: Product design meets ideology—portable, ubiquitous, visually distinctive. • Propaganda posters: Heroic workers and peasants in bold colors, consistent style that created a visual monoculture. • Cultural Revolution aesthetics: Red Guards, revolutionary opera, model communes—every aspect of culture became branded content. • Personality cult: Mao's image reproduced billions of times, creating omnipresent "brand ambassador." It's probably just a coincidence, right?
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Rajiv Lahens
Most people who aren’t Creative Directors (or who aren’t in creative industries) might think being a CD is glamorous. But if you’ve ever had to CD or direct anything, you know the truth: It’s about humility. It’s about tight communication. And more than anything, it’s about being an air traffic controller.
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