Gail Anderson: Those who can, teach.

This guest post is by Andrea Marvan, who attended the AIGA Y Conference on behalf of UPPERCASE


I spotted Gail Anderson since the beginning of the Y20 conference, she was chatting with colleagues and listening to the talks from the first row. Gail is a previous contributor for UPPERCASE (issue 10, see related post here) so I recognised her immediately, but I waited until the second day to approach her, as I’m a bit of an introvert and she looked rather serious and intimidating. Believe me, she is not.

New York-based designer, writer, and educator Gail Anderson is fun and kind, she is humble and brilliant, down to earth and absolutely fascinating. Gail began her presentation telling us about the time she posed for a photo with President Obama and – accidentally – grabbed his butt (!). And how she modestly muttered “I make posters” when she was asked by Barack (yes, for the purpose of this conversation we are on a first-name basis) what she did for a living.

Through her career Gail has done way more than posters, and has won a few awards, including the 2008 Lifetime Achievement Medal from AIGA. Her credentials go from senior art director at the Rolling Stone magazine to co-author of several typography books, but what I want to focus on is her role as an inspiring teacher. Gail teaches in the School of Visual Arts MFA, undergraduate and high school design programs, and has lectured about design at organizations and conferences around the world, including a recent workshop she did for design students in Saudi Arabia, which landed her an invitation to a further workshop with none other than a princess.

Gail is the kind of teacher everybody should have. She is proud of her students and supportive, yet she challenges them, inspires them and pushes them to be better. As the topic of Y20 was “design moving forward”. Gail emphasised that, for her, design moving forward has been being a teacher. She beamed with pride as she showed us the new media work from some of her grad students; it was a delightful surprise featuring catchy music and flawless editing. She mentioned that, as the students came from many backgrounds, through exercises she made them comfortable with fonts. “I forced them to have fun! They become so rigid when dealing with typefaces.”

When asked why does she teach, Gail simply answered “I have had many great teachers and mentors through my life. Teaching helps me stay fresh.”

So, I say we should eliminate that infamous quote “Those who can, do; those who can’t teach” from our vocabulary, and start showing admiration to all teachers. How else will the new generations become extraordinary professionals, if not under the nurturing mentorship and guidance of remarkable teachers such as Gail?

Brian Gartside: Doing good work & work for good

This guest post is by Andrea Marvan who attended the AIGA Y Conference.


Brian Gartside is a 27-year-old graphic designer and typographer whose credentials include working at Pentagram, DDB New York, and more recently Deutsch Inc.

Brian began his Y20 presentation with advise for emerging graphic designers (and anybody in the creative industry, really) discussing “Things I wish I knew when I was studying to become a Graphic Designer.” Which can be summed up as doing good work, work that visually improves the space that it occupies. Here are the highlights:

  1. Make ads that don’t look like ads (or whatever you make, make it not look like that).

  2. Become a technical expert, be fast at the things you can control so you can spend time on the things you can’t.

  3. Build a diverse library of inspiration. It will help you be more authentic as it will reduce the risk of inadvertently copying someone else.

  4. Take a break. Have a hobby. Do something else for a bit, it will help you think.

This valuable insight from Brian’s very promising career (in October of 2014 he was named as an ADC Young Gun) was complemented by the second part of his presentation, where Brian discussed what he has learned in putting this knowledge into practice and how his skillset has helped him to do work for good.

Many of the projects Brian worked on while at DDB are partially credited for the creative revival of the agency, including The Drinkable Book, where he worked as a senior designer, and which brought the agency its first Cannes Gold Lion in two decades. The Drinkable Book integrates outstanding design and cutting-edge technology put to the service of a remarkable cause developed by Water is Life.

“The Drinkable Book is a life saving tool that filters water and teaches proper sanitation & hygiene to those in the developing world. Each book is printed on technologically advanced filter paper, capable of killing deadly waterborne diseases. And each page is coated with silver nanoparticles, whose ions actively kill diseases like cholera, typhoid and E. coli. Once water is passed through the filter, bacteria count is reduced by over 99.99%, making the filtered water comparable to tap water in the United States of America.”

We all want to use our skillset for the greater good, but at time the possibilities are overwhelming and the size of the task seem impossible to bear. As Brian put it, doing work for good is easier than we may think:

  • You don’t have to save the world. You might never change the world but what you can do is help the people that can change it. If there is something you believe in, find the company who is doing that important thing without the sexy, approach the company and bring the sexy! Make something people can’t ignore.

  • Agencies love pro-bono work because you get more creative freedom. Use that to your advantage but don’t be a scam artist.

  • Dead doesn’t mean dead. Proceed as if it happening. Persistency is key.

  • Beg for favours. If it’s a good project, people will want to help.

  • Don’t be afraid to invest in yourself. Don’t let funding hold you up. Get it done and sort it our later.

  • Be more than just a graphic designer. These projects happen though sheer force of will. Do whatever you have to do (wear all the hats you need to in order to get things done).

As the long round of applause and stimulating questions from the audience proved, we were all really inspired by Brian’s investment and igniting curiosity, and the endless possibilities of using creativity to help build a better world.


*For more information or to support the Drinkable Book project please go to  Photos courtesy of Brian Gartside

On a podcast with The Marketing Mentor, Ilise Benum

I recently had the opportunity to have a chat with "The Marketing Mentor", Ilise Benum. Ilise invited me to be a speaker at the HOW Design Live conference in Chicago next month. I'm also organizing a small event in Chicago for the evening of May 4, details will be announced soon. (Sign up for my newsletter on the sidebar or stay tuned here on on Twitter.)

What I learned from design clients led to my “retirement”... and launched a whole new career. 

Freelancing was an unexpected education in marketing, time management and business development. Having left client work to pursue her own projects, Janine will share how to turn frustrations and obstacles into your advantage and how to keep motivated and inspired. You'll get a personal look at how the magazine is made.

THURSDAY, MAY 7 • 4:15 – 5:00PM

Sharon Werner on The Importance of Creative Collaboration

This guest post is by Andrea Marvan

One of the most revealing Y20 talks was Sharon Werner’s insight on collaboration.

Sharon is the founder of Werner Design Werks, a small design studio of storytellers artists and designers located in Saint Paul, Minnesota. They do both large and small projects, from brand development to packaging, for companies of any size from all over the world. No matter the size of the project, their commitment is to create authentic brand stories that people care about.

During her presentation, Sharon described how her small team works on adapting and navigating to meet the future. They follow three simple steps: listen, talk, design; and work in collaboration with other designers so they are open and flexible to different points of view. “The answer to how do we keep moving forward is collaboration.” Collaborators bring inspiration as well as expertise to their projects they are part of the process from the beginning. Freelancers and junior designers attend meetings with clients, as it is important that they hear from the client directly. There is no hierarchy in her company, she believes that is how research and creativity flows best.

Werner Design Werks’ portfolio includes a series of children’s books, Alphabeasties and other Amazing TypesBugs by the NumbersAlphasaurs and other Prehistoric Types, published by Blue Apple Books. I couldn’t miss the opportunity to get a copy for my 4-year-old alphabet fan & zoologist, and Sharon kindly signed it with a cute note for him (“Tomas, T is for Tiger”).

Alphabeasties books were also a good example of collaboration between Sharon and Sarah Forss, senior designer at Werner Design Werks. The project started as a fluke, it was their own personal project and suddenly someone was interested in publishing it as a book. Sharon recalls thinking, “What can we bring to an alphabet book that hasn’t been done before? Typography, that’s what we know about!” and so the first book was born.  As the younger generations are paying more attention to design nowadays, the project aimed to demonstrate “that typography is fun, that type has a personality and can express more than simply the words being spelled.” It was a creative outlet but it not always easy to find the time to work on side projects. The tactics that worked for Sharon to push that personal project was treating it like a real project with a real client; carving up the time to do it. She emphasized the importance of giving personal projects the attention they deserve, from your website to a project you are passionate about.

Reading more about Sharon’s work I found an interview she recently did for AIGA. I thought I would include here part of it, because her collaboration working model really resonated with me and with the Y20 audience:

(AIGA): Clearly this is a model that has worked for you. I’m sure you’ve had opportunities to expand the size or staff of your studio, but you’ve chosen not to do that. Why did you made that choice?

(SW): Well, I love to work with a lot of different people. Sometimes I think when you’re in an office environment; there can be a lot of petty “officeness.” No matter what the agency, no matter what the environment, there’s just this stuff that happens that’s peripheral to the actual work. Sometimes the morning chitchat you have with colleagues is really nice and fun, but when it happens all day long, it’s crazy. I think having a smaller studio, we can avoid that, and then we can bring in people to work on very specific tasks and specific things. Then we can move on and bring in new people. You don’t get caught up in everyone’s personal issues. Another reason I’ve decided to keep the studio small is that I like to stay involved with the actual work and process. As an owner, it’s difficult to do that with more people. You tend to get caught up in the management of people.

Keeping the studio small allows us to stay more focused. We don’t need to sit down and have staff meetings. We know the status of everything that’s going on all the time. I personally like that, though I don’t know if that’s right for everyone. That’s just my personality. I don’t want to sit in a staff meeting. I just want to do the work and I want to brainstorm.”

For the full interview please see

Sharon was featured in UPPERCASE issue #14 and at the end of her presentation she kindly agreed to pose with the magazine. Janine visited Sharon in her studio a few years ago, take a look in this post to see more.

Y20 AIGA Conference Day 1: Sharing a Universal Value

This guest post is by Andrea Marvan

As the sun starts to set over San Diego’s Mission Bay area, the first day of Y20 AIGA Conference is coming to an end. Participants head over the reception for cocktails and I look at the breathtaking view trying to allow everything to sink in. While I’ve always appreciated good design and I have an arts and communication background, I’m not a graphic designer and at times I worried my knowledge of design wouldn’t be up-to-date for the conference. But the AIGA talented group of designers shares a universal value: the passion for what they do and a strong sense of community. You don’t have to be in the industry to understand that.

Under the theme of Velocity, professionals from the design industry met at the at The Joan B. Kroc Institute for Peace and Justice on the beautiful campus of the University of San Diego, to discuss how to thrive in an accelerating landscape. The mix of presenters and their styles was for sure an eclectic one: from bold and colourful to elegant and sober.

I got there bright and early and at 8:00 am the vibe was already energizing and thrilling. Janine had donated copies of the magazine and I got excited when I overhead people saying “Oh look, there is UPPERCASE” as they opened their goodie bags.

The day began with highly dynamic Mexican designers Jorge Gutierrez and Sandra Equihua, creators of the movie Book of Life, who spoke about the importance of sticking to your guns and learning to say no—which I will elaborate more on a later post.

Following the explosive Gutierrez–Equihua team was Michael Bierut, partner in the New York office of the international design consultancy Pentagram. He began his talk by saying “Are you ready to see some black and white geometric shapes?” I thought he was being funny for following such a colourful act by the Mexican duo. He was being serious, yet his elegant, clean and crisp work was far from boring, it was exquisite. With a very clever sense of humour, a dynamic composition and an incredible creative branding strategy his team was able to say so much with so little: “A 49 square grid can do anything for us”. It certainly did.

Mid morning lead to Julia Zeltser’s talk. She is the founding partner and creative director at Hyperakt, and provided valuable insight on community engagement and working for the non-for profit sector. She closed by saying, “We need to stay flexible, current and relevant to participate in the future. I hope you stay flexible and nimble.”

After lunch I found the unexpected, as I was not expecting to cry at a design conference! Designer and documentary maker Justin Skeesuck brought tears to our eyes and got a standing ovation when he spoke on how, due to a progressive neurological disorder, he had to redesign his life and use his creativity to adapt to literarily everything: from day-to-day situations to crossing the Pyrenees in a wheelchair.

And last but not least, Sharon Werner, founder of Werner Design Werks and a previous UPPERCASE contributor closed the afternoon session with an inspiring talk on collaboration and on how a small team can achieve wonders when they follow three simple steps: “we listen, we talk, we design.”

Each and one of these professionals of the industry have a very unique perspective, style and approach to design. Their client portfolio covers a wide range, from fashion moguls to non-for-profit organizations, but they all do the same for their clients: they provide fun and creative solutions.

As the day ended with a competition (Pixels of Fury, where 3 contestants had to design a poster in 20 minutes in front of a live audience), I left inspired, motivated and ready to come tomorrow for more

The Future of Magazines

It was my pleasure to be invited as a guest on Grace Bonney's (Design*Sponge) radio show / podcast After The Jump today. Along with Paul Lowe and Paul Vitale of Sweet Paul magazine and Michele Outland of Gather Journal, we discussed the future of print media and what it's like to be a small publisher today.

Happiness through typography

I'm working on the 24th issue of UPPERCASE magazine. TWO DOZEN ISSUES! That's over 2700 pages of content that I have designed over the years. This next issue will be released early in the new year and it felt like it was time to do a bit of a design revamp. It's easy to keep doing the exact same thing over and over, but I'm a graphic designer by training and getting to design my own magazine is the fun part of independent publishing. The underlying grid and basic typography is staying pretty much the same, but I'm introducing a new font family to keep myself challenged and to see each layout with fresh eyes.

In previous issues, I was using Bodoni Poster Italic for some of the headlines, but overall I was tiring of how bold it was. The new selection really isn't all that different—it is the Bauer Bodoni family. It's kind of funny that I've selected a typeface design from 1791, but it's a style I've always loved. My design intention with this revamp is to make the spreads feel a little bit lighter overall, a bit more sophisticated but still playful. More places to breathe, little typographic details to delight the eye, some fun typographic touches... all the things that I love about design.

I agonized over which font to purchase (there are so many permutations of Bodoni and of Didone-style typefaces), but now that I've had a few days to get to know it, I am happy with the decision. It works really well with all the existing fonts I use (Sentinel, Tungsten, Neutraface) and with various weights plus roman and italic, there is a lot of possible variation. Certainly room to grow!

Throughout my career as a graphic designer, the typography has always been front and centre to my design process and inspiration. I posted the image above of a page in progress on Instagram and viewer Samantha Epstein commented, "everything about this makes my heart sing". Her comment made me so happy! Yes — beautiful typography does make the heart sing!

And not only is the typography beautiful, the content in this issue is overwhelmingly so! I can't wait to show more as I progress through the design.

It goes to the printer on the 15th of December, so it is going to be one marathon effort over here to get through the design while filling orders and managing customer service. But I'm energized by the new design direction and look forward to each new page.

Design Thinkers, part 2

Christopher Rouleau shares more of his conference notes from Design Thinkers.

Richard Turley

Senior VP of Storytelling, MTV (previously: Bloomberg Businessweek)

"Let's Talk About Me"

  • "Typography can change the world!"
  • on bad clients: "the worse I made it, the more they liked it…"

Steve Vranakis

Executive Creative Director, Creative Lab, Google

"Making Technology Matter, and Using Technology to Drive Creativity"


  • the description "must be brave & kind" was listed in a Google Creative Labs job posting
  • make design matter
  • coding = a creative discipline
  • developers = artists
  • code / poetry = right words in the right order
  • break the conventions / structures

Annette Diefenthaler, Ellen Lupton & Lawrence Zeegen

"The Future of Design Education"

What is the most important trait(s) for students leaving college / entering the workforce?

AD: one core skill is more important than multiple skills. A single skill permeates through a portfolio. Don't pretend you can do everything.

LZ: not skill sets, but mindsets / must be able to embrace new thinking – we're looking for innovators who will push the industry forward

EL: don't copy others / "nobody's going to be everything"

What is more important: critical thinking or technical skills?

EL: there should be no division—skill set and mindset should be integrated

AD: students must be adaptable and be able to teach themselves, or know how to acquire the skills they need

LZ: importance of learning both high tech and low tech (analog techniques), as well as learn from each other

How do you teach less-skilled students (the 90% "non-stars")?

LZ: educators are responsible for teaching the entire gamut of students, from all skill levels and backgrounds. strive for better, not best

AD: must question metrics – not just about graphic design "hard skills"
things to consider:

how is the student inspiring / challenging the discipline / industry?
how the student having an impact on his / her community?
how is the student able to communicate / inspire / teach others?
ultimately, educators must embrace diversity of skills and help break down barriers

Should software / technical skills be the core of design programs?

EL: critical thinking is more important that software knowledge
"teach spelling AND poetry in tandem" — always with an element of FUN

How important is coding fluency in a world where students are expected to be multi-disciplinary?

AD: students must have "digital fluency": able to use but not necessarily produce
ability to tell stories with existing apps, platforms, tools of visual distribution

How do you teach students to be "resourceful"?

EL: make students work within constraints, units, specific parameters, this teaches problem solving / resilience creates systems that can change / design is the most basic form of literacy for both designers and non-designers / empower students to do good: either at industry/agency level, or within their community

AD: time = money; make students execute projects in time constraints
find ways to "get to amazing" within 24 hours

What are your thoughts on design departments who are changing the course descriptions from "Graphic Design" to "Communication Design"?

EL: "I will go to my grave as a graphic designer!"
"graphic design" connotes discipline, long standing traditions
"communication design" connotes business, marketing, PR (yuck)

LZ: "graphic design" doesn't adequately describe the tasks any more

What are the constraints of a 3-year design degree? What would you add/change?

LZ: too insular
gap between real money / real time
need to connect graphic design with everything else

EL: too much focus on self, homework, etc. / add communal spaces to create a studio experience, encourage peer-to-peer learning, which is invaluable / also, make all classes electives…

AD: most classroom spaces are terrible – feel too "school-like"
learning / working environments affect how we think, act, and the quality of our work

Visit Christopher's blog for more, including his notes on Jessica Walsh and Erik Spiekermann. Our thanks to Design Thinkers for the press pass to this annual event.

Inspired by Little Golden Books

UPPERCASE magazines on display at this past weekend's New Craft Coalition.

UPPERCASE magazines on display at this past weekend's New Craft Coalition.

Did you know that UPPERCASE's spines were originally inspired by Little Golden Books? I've always loved their eye-catching golden spines and wanted my magazine to have a similar recognizable shelf presence, even when displayed spine out. Using a silver foil for issue 23's spine brings that idea full circle. It's nice when childhood inspirations still apply to your adult life!

The wisdom of calligraphers.

Calligraphers are wise people. Get to know all of these fine folks in the forthcoming issue of UPPERCASE.

Getting through the unpretty

An issue of UPPERCASE begins as a nebulous entity in my mind.

In this ideation phase, distraction is my friend. Making connections between disparate topics, leaving room for serendipity and chance—that’s what makes UPPERCASE good. Early on, an issue is a rough assembly of ideas, imagery and thoughts. It’s a hazy thing in the distance that requires concentration on my part to make it happen. 

Each decision—from who writes what article, to whom I decide to profile—takes me closer to it, bringing it slightly into focus with each step forward. By the time an issue of UPPERCASE is at the design phase, I have been thinking about its content for six months or more. At this point, I have concrete items to work with—thousands of words, gigabytes of images and 116 blank pages—but I often feel like this is the most unfocused stage of the entire process.

This is the “unpretty” phase of design when all the words and pictures are splattered onto their designated spreads so that I can take inventory of what I have to work with. It can be overwhelming to sort through everything; and there are moments when my ideas for the overarching theme seem lost in visual clutter. This is the stage that I liken to sculpture: the design is in there somewhere, but I have to hack away all the unnecessary material to reveal what it is supposed to be. I start to live inside the design, getting to know how this particular issue is going to work: the structure, the connecting colours and sympathetic visual motifs.

Designing becomes a series of decisions made to resolve different perspectives:

me / you
What am I trying to accomplish as a designer?
What do my readers want to experience? 
What are my intentions?
Will there be an element of surprise?
Do I love it?
Will you love it?

sharp / blurred
Are the themes evident to the reader?
Do the ideas and design leave room for play and discovery?
Does the issue feel cohesive?
Will it inspire new ideas and connections for the reader?

micro / macro
Is the kerning on this word ok?
Should I hyphenate this paragraph?
Should I have one or two columns of text?
Should the article be four pages or six?
Does the headline on this page look good?
Does this article fit well at this point in the magazine?
Does the issue fit with what readers expect of UPPERCASE? 

As I switch between these perspectives, an issue of UPPERCASE begins to emerge. After I’ve answered all of these questions (and many more!), it’s ready to print.


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The spine pattern for fall

The fall issue is heading to print just after Labour Day and I look forward to revealing the cover design, featuring the work of Seb Lester, on Tuesday! (Subscribe to my newsletter to see it first.) In the meantime, here's the pattern design I've developed, inspired by the content within the issue. In addition to the special calligraphy and lettering section in the fall issue, we also explore the influence of heraldry on traditional and contemporary art and design.

Starting from the observation that a calligraphy nib is somewhat shield-like and also thinking about the souvenir spoons that are featured in the Collections spread, I did some studies of the nib shape and shield shapes, ultimately going in this simple repeat so that the overlap of the shield vaguely references the split in a nib. It can't be too detailed or illustrative since it will be reproduced quite small (and in silver foil! I hope!) on the magazine's spine.

I can see foxes and bears in the motif as well, can you?

In Tags

Collector's Edition

Irma Boom photographed by Ivan Jones

Irma Boom photographed by Ivan Jones

As a book-lover and designer/publisher of books, I'm always interested when a new compilation of design work comes out. It is a chance to discover interesting formats, designs and "why didn't I think of that!" ideas all in one place. I'm immersed in the design of The Typewriter book which, at 320 pages currently, is quite the undertaking. I printed out a mini mockup to work on the page flow, which reminded me of Irma Book's tiny book.

Sample spread from Collector’s Edition, Innovative Packaging and Graphics by Stuart Tolley

Sample spread from Collector’s Edition, Innovative Packaging and Graphics by Stuart Tolley

“The future for book designers is becoming more and more interesting. I think we are in the Renaissance period of making books. I have to think about why something should be a book and not a website. This challenge makes me want to continue designing books.” –Irma Boom


Art Director Stuart Tolley wholeheartedly agrees with the importance of creating physical design objects. Through publisher Thames & Hudson, he has produced Collector's Edition: Innovative Packaging and Graphics: "a visual culture book showcasing the new wave of beautifully produced, limited edition, large format, graphic design and packaging for music, book, magazines."

The book is organized into sections categorized by boxed sets, multiples, handmade and 'extras' such as collectible memorabilia and objects.

If you're in London, the book launches with an exhibition running from August 19 to 31. Find out more here. I look forward to adding Collector's Edition to my library.


Greetings from Canada

"A short teaser for Greetings From Canada, a limited edition run of fine letterpress postcards featuring the work of 10 Canadian artists, illustrators and designers. The first project of its kind in the country, it aims to elevate the art of letterpress printing while showcasing a selection of some of the best creative talent Canada has to offer." 

Back in the day, I had my own set of postcards called "Greetings from Canada." I used to sell them when UPPERCASE was a public gallery.

inside the design

Issue 22 of UPPERCASE magazine is inspired by colour. With such a broad topic, I had to find a way to tackle it within one issue.

Like many graphic designers, I thrive on constraints. So I gave myself some rules to follow: 1) The issue would be organized Roy-G-Biv-style, going from red at the front of the book through to violet at the last page. 2) The arrangement of the content and structure of the magazine would stay the same as any other issue of UPPERCASE. For example, the Beginnings column is the first few pages of the magazine and would therefore feature predominantly red imagery. I set out to find an artist whose work uses a lot of red: Canadian painter Janet Hill has been in my inspiration file for years and her paintings are punctuated with ruby accents. At the other end of the spectrum, I described the concept to longtime contributor Andrea Jenkins, who wrote a musing on her love/hate relationship with the colour purple. With these guidelines in place, I assigned and curated content—sharing my art-directed rainbow concept with our contributors and featured artists along the way.

I am so grateful to all the amazing contributors and featured artists who shared my colourful vision for this summer issue and turned in some spectacular work. UPPERCASE issue #22 will be released July 1. 

Subscribe here.

In Tags

printmaker & designer Fanny Shorter

Fanny Shorter is a printmaker and designer who grew up in country town of Winchester, UK. Fanny is inspired by the intricacies of flowers and nature, and you can see her interest flowing through her work.  

“Nature’s never just attractive,” says Fanny. “There’s always something else going on. There’s a reason why a plant looks like it does. I like combing the fact that its aesthetically attractive with the fact that its interesting.” 

Fanny was trained as an illustrator at Brighton University, and she uses ethically sourced materials and water-based inks on all of her creations.  

Her work can be found on furnishings, stationery and accessories in her online shop

Swedish illustrator Lotta Kühlhorn


Lotta Kühlhorn is a Swedish illustrator who, at the age of ten, already knew that she wanted to be an illustrator when she grew up.

Lotta's illustrations and patterns can be found on cookware, books, fabrics, textiles–even wall tiles!

In January, Lotta released her book called Designing Patterns for Decoration, Fashion and Graphics. 

Sass Cocker from Little Gold Studio

Little Gold Studio is a shared creative studio in Brunswick, Australia. Founded by Sass Cocker of the stationery company Ask Alice, Sass and her creative coworking studio are featured in Frankie magazine's forthcoming Spaces book.

Ask Alice's work and that of forty-nine other talented designers are profiled in issue #17's Stationery Guide. Purchase a back issue of #17 while its still in stock (and take a whiff of our special scratch and sniff cover!) or you can read the Stationery Guide excerpt, below.