Elizabeth Goodspeed

Expecting each new job to suddenly look different is like commissioning Yayoi Kusama to paint stripes.

The question isn’t simply what Makó can do for a subject, but what the subject might do for Makó.

The best outcomes come when the illustrator pushes the idea somewhere I wouldn’t expect.

Images appear as algorithmically grouped clusters, training viewers to read visual resemblance as evidence of broader affiliation.

In a way, naming has become just another hobby – almost like birdwatching for trends.

For designers who write, their writing and their work circle the same inquiries, even as the format changes.

When more designers write, it starts to change how design itself gets talked about.

She discusses how archives and ephemera shape her creative process, how designers can use history without becoming nostalgic, and why research and writing can lead to more original ideas.

If the goal is to prove something wasn’t made by AI, faking ‘realness’ on a computer doesn’t really get us anywhere new.

A studio name that isn’t self-titled is like a childhood coat bought one size too big – you grow into it.