So Marrow Minded: A Benefit for Kevin Williams


Kevin Williams is a Minnesotan artist and musician currently living in Sweden. As of November 2012, Kevin has been living with acute myeloid leukemia. Currently, his body cannot withstand additional chemotherapy, and he is in desperate need of a bone marrow donor. Bone marrow donation is a delicate process, and finding a suitable match is incredibly difficult, especially for people of African descent, like Kevin.

Join Studio MPLS as we support Kevin, and help raise awareness for those in need of bone marrow transplants. We have donated a number of our posters to the event’s silent auction.


1_Loon 4_Crows 3_Posters

100% of the proceeds from this benefit will go towards the donor archive, and will help bring Kevin’s siblings to Sweden to support him. Everyone who attends will have the opportunity to be swabbed to see if you or someone else might be a bone marrow match!

Come help save a life and many more!

More event info here.

Sneak Peek: Brave New Media Rebranding


Brave New Media is a Minneapolis-based content development & management company founded in 1998. Rooted in design & video, Brave New Media works with local, national, and international brands to create compelling stories through digital media.

We were approached by our friends at Brave New Media with an incredible opportunity: a thorough visual rebranding that celebrated their past fifteen years, and emboldened their team into the next fifteen.



We’ll share a more complete case study showcasing the entirety of the work in the near future. For now, we hope you enjoy this sneak peek.

New Work: Axl Dad Weapon Club


A close friend of ours has an 7-year-old son named Axl. Like many young Midwestern boys, Axl is fascinated by various instruments of defense. This fascination often manifests itself in Axl and his father shooting a toy bow and arrow into hay bails down at the local park.

With a strong desire to keep this activity top-secret from the potentially dangerous hands of his mother, Axl started ADWC (Axl Dad Weapon Club). Studio MPLS designer, Brent Schoepf, designed a handful of identity directions for the club. Future applications include jacket patches, and temporary tattoos. Just don’t tell Axl’s mom. 2





(DISCLAIMER: Axl Dad Weapon Club, at its core, is dedicated to the education and safe use of toy weaponry in all environments and situations.)

New Work: Faribault Woolen Mill Co.

Last week, we showcased new work for Minnesota heritage brand Red Wing Shoes. This week, we are equally excited to present new work for another classic Minnesota brand, Faribault Woolen Mill. Since its founding in 1865, some of the world’s finest wool blankets have come out of the mill, located in a small river town fifty miles south of Minneapolis. We were commissioned to play an exciting role in their incredible history, designing three new blankets for the mill.


The blankets will soon be available for purchase through Faribault’s webstore and through select worldwide retailers. A limited-edition first run of blankets are currently being sold at Minneapolis-based retailer Ampersand.





Stay tuned for more exciting collaborations between Faribault Wool Mill and Studio MPLS in the near future!

Follow Faribault Mill on Twitter

Trylon Signage

We recently got to design new signage for our good friends and next-door neighbors at the Trylon Microcinema. Through a very successful donation campaign and the support of the Trylon’s devoted and generous fans, the cinema was able to raise enough money to pay for the entirety of the production and installation costs for the sign.

Check it out if you’re in the neighborhood or examine it closely before an upcoming film!

Communication Arts Design Annual

We’re excited to announce our packaging design for Crown Maple’s maple sugar will be featured in the Communication Arts 54th Design Annual, set to release this fall. As one of the most prestigious and well-respected publications in the industry, recognition from Communication Arts is especially exciting for us.

Our Crown Maple syrup bottle designs were featured in the 2011 Design Annual, and our Crown Maple boxes were featured in last year’s annual. This recognition is a testament to Crown Maple, and their unceasing commitment to thoughtful, meaningful design. None of this would be possible without them.

New Work: Bond Poster

Every so often, we get the opportunity to design posters for our neighbors and friends at the Trylon Microcinema. This May, the Trylon showcases their “Best of Bond” series, presenting some of the best Bond films every Monday and Tuesday throughout the month.

Here is the poster we designed for the series.


We hope you enjoy it, but more importantly, we hope you go enjoy these films.


New Hire: Brent Schoepf

After a couple weeks of filing through over a hundred portfolios, resumés, and emails, we are excited to announce Brent Schoepf as our Studio MPLS intern! Despite his truly bizarre surname, Brent was a candidate with whom we made an immediate connection. Alongside strong illustrative skills, Brent is a talented photographer, musician, and an extreme sports aficionado. He is also a top-shelf human being with a charming personality and a contagious cheerfulness.

We’re incredibly excited to have Brent join our team. Take a look at some of his work here:

And last, but certainly not least, we want to thank everyone who applied for the internship position. We were blown away, not only by the number of applicants, but by the extremely high level of skill and talent that accompanied the applications. We were able to meet some really special people through this process, and we’re absolutely confident that many of you have very bright futures in the industry.

The “Learning” of Design

A February 15th New York Times op-ed piece by Lance Hosey entitled “Why We Love Beautiful Things” discussed recent scientific studies showcasing an apparently innate human attraction to good design. “Instinctively,” Hosey writes, “we reach out for attractive things; beauty literally moves us.”

Hosey points to three specific subjects in his piece as evidence: color (“merely glancing at shades of green has been shown to boost creativity and motivation”), geometry (the proportions of the golden rectangle are featured in some of the most beloved designs in history, and are “proven to speed up our ability to perceive the world”) and pattern (humans “invariably prefer a certain mathematical density of fractals” that “harken back to the acacia of the African savanna—the place stored in our genetic memory from the cradle of the human race”).

Designers almost always promote articles like Hosey’s because they support a shared, fundamental desire; namely, for the value of design to be better understood and more highly appreciated by the general public. We believe that good design truly makes for a better world. Articles like Hosey’s op-ed piece are invaluable to the dissemination of that cause.

The science behind our physiological preferences is, indeed, an important subject worthy of extensive time and energy. However, the digestion of this information—specifically when applied to the practice of design—must cooperate alongside a certain cultural understanding. Certainly there is more to an attraction to “good design” than merely a rekindling nostalgia for the experiences of our ancestors embedded into our genetic memory. If the attraction to “good” design is one that is, indeed, innately desired by the human race, how does one explain the limitless existence of “bad” design?

Even more important to the validity of these studies is the colossal issue of how we categorize “good” and “bad” design. Certainly we must have a concrete, ubiquitous definition of “good design” if we are to believe that our brains are naturally triggered by it, as Hosey proposes.

Soren Petersen, Ph.D., author, and design researcher proposes that, despite our shrinking world, design preferences are still, to a large extent, “formed by the context and culture in which we live.” To successfully express the unique preferences of their audience, Petersen says, designers need to “internalize culturally implicit values and translate them into visual cues.”

The scientific, physiological studies outlined in Hosey’s piece are incredibly important and valuable, not only for designers trying to champion their skill and trade as one with deep and lasting societal significance, but the work is also beneficial as it gives us a deeper understanding of ourselves: who we are, and what makes us human.

It is hard to argue with research and testing that show our cross-cultural, uniform attraction to things like symmetry and uniformity. However, there are deeper cultural issues that play incredibly important roles in our understanding of something as broad as design.

Our unique individual tastes and preferences are more than instinctual reactions based upon the genetic make-up of the human race; they are unique signifiers of our environments, our homes. And that is exactly what makes working in this industry so much fun.

We’d love to hear your thoughts. Continue the conversation below!