Discover how TRÜF’s “Weird Fishes” splash screen for Adobe Illustrator 2025 celebrates creativity with vibrant, minimalist illustration.

The Adobe Illustrator 2025 splash screen opens with a statement: creativity meets minimalism. Designed by TRÜF Studio, the “Weird Fishes” artwork that greets users embodies Adobe’s tools while making an instant visual impact. This splash screen not only excites users about the app but also showcases Illustrator’s dynamic possibilities, creating a memorable start to the creative process. Here’s a look at the creative vision, tools, and collaboration behind this unique splash screen update.

“Weird Fishes”: A Showcase of Creative Tools

TRÜF’s “Weird Fishes” centers on playfully stylized fish, created using Adobe Illustrator’s updated typography and 3D tools, which highlight the 2025 release’s expanded capabilities. This splash screen is a celebration of how Illustrator can bring out unique textures, gradients, and typographic designs, making it feel like a blend of traditional and digital artistry. The design follows Adam G’s distinctive style—minimal yet quirky, with each element purposefully crafted to show off Adobe’s creative potential.

The splash screen, as Adobe intended, isn’t just a loading screen. It’s a reminder of what Illustrator users can “Dream Up.” As Alex Fernald and Gleren Meneghin, Adobe’s staff designers, emphasized, the splash screens are not only entry points into the app but connections to Adobe’s creative community. They bring in commissioned art, linking Illustrator users to other creators while inviting exploration of the software’s capabilities.

Balancing Art and Function in the Design

This splash screen’s journey began the old-fashioned way—on paper. This initial sketching phase gave TRÜF the freedom to experiment with the composition, exploring the balance of shapes and lines. Once refined, the concept moved into Illustrator, where TRÜF fully explored the software’s features to enhance the digital version. In a brief, 90-second process video, TRÜF showcased their workflow from sketch to the finished splash screen, a rare peek into how minimalist, impactful design comes together.

A User-Centric Approach to Illustration

Adobe’s splash screens, including “Weird Fishes,” are a result of ongoing feedback from users. Through surveys sent to product teams, Adobe designers Alex and Gleren learned the nuances that users valued in the loading screen—like minimal launch delays and artist recognition. This feedback shaped the design, ensuring the new splash screens would spotlight the artist while maintaining the program’s efficiency.

To make the splash screen visually immersive, Adobe made adjustments based on past feedback. The artwork was enlarged, and the artist’s name appears in a larger, bold typeface, creating a clearer hierarchy that celebrates both the art and artist. As the Adobe Spectrum design system evolved, so did the splash screens, aligning with modern standards while preserving Adobe’s commitment to showcasing diverse creative voices.

Reflecting Adobe’s Evolution with Modern Minimalism

Historically, Illustrator splash screens have evolved alongside the Adobe brand. From early versions in the 1980s, featuring iconic art references, to today’s community-focused pieces, these screens highlight a shift from static visuals to dynamic creative introductions. Adobe’s recent redesign, led by Fernald and Meneghin, reimagined this format to center both the artist and the Adobe brand, using clean type and colors while expanding the visual space for the artwork. This shift reaffirms Adobe’s mission to foster connections within its creative ecosystem.

The splash screens across Adobe products are meant to offer a consistent brand experience, but each one also tells a unique story, showcasing the latest in illustration and design through collaboration with Studio team artists. Adobe’s team expanded the artwork’s size, adjusting its specs back to 2019 dimensions to create a more immersive user experience. The Adobe wordmark in red stands beside the product name in black, emphasizing the connection between Adobe and its creative community.

The Legacy and Future of Adobe Splash Screens

“What’s next?” is a question Adobe’s designers are always answering. With the 2025 Illustrator splash screen’s debut at Adobe MAX 2024, Adobe introduced the latest evolution in Creative Cloud. These splash screens remain essential touchpoints, showcasing new work, enhancing user experience, and connecting each user to Adobe’s creative network.

TRÜF’s “Weird Fishes” invites Illustrator users to think beyond the ordinary. It’s a nod to the creative possibilities the software enables, a tribute to digital and analog techniques, and a reminder that every creative journey begins with opening Adobe Illustrator.

This splash screen illustration is a subtle invitation for creatives to make the most of Illustrator’s tools and capabilities, setting the stage for inspired design from the moment they open the app.

Illustration artifacts

Pillow manufactured by Adobe. Photo courtesy of Adobe

Discover how amStudio’s branding and visual identity of Chooch captures authentic, handmade aesthetics for fashion accessories.

Chooch, formerly known as Flat Fifteen, has redefined its brand to better reflect its founder Francesca Kappo’s evolving vision. With the guidance of amStudio, this rebrand has transformed the brand’s identity from a broad handmade focus to one that is solely centered around fashion accessories. Chooch stands out with its playful name, unique backstory, and brand elements that weave together storytelling, imperfection, and tactile aesthetics.

The Meaning Behind “Chooch”

The rebranding from Flat Fifteen to Chooch came as Francesca Kappo shifted her focus. The name “Chooch” is personal, rooted in a nickname given to Francesca by her uncle. He also played a foundational role in the brand’s beginnings, supplying her first batch of deadstock fabrics from his 1990s fashion label. These fabrics continue to be a vital part of Chooch’s accessory designs today, emphasizing the brand’s commitment to sustainability and storytelling.

The name itself is more than just a rebranding—it’s a celebration of heritage and identity. Short, memorable, and fun to say, “Chooch” captures the playful spirit of the brand. As Alam Mohammed, founder of amStudio, notes, the name’s flexibility in pronunciation makes it a warm, approachable identity that consumers can connect with personally. This idea carried over to the logo design, where the doubled O’s have a playful, imperfect alignment, mirroring the brand’s handmade ethos.

Playful Imperfection: The Brand Identity

Alam Mohammed and his team at amStudio developed a brand identity for Chooch that prioritizes authenticity. Hand-painted illustrations are central to this, appearing across the brand’s packaging, website, and social media. This choice keeps the look grounded, tactile, and relatable, evoking the feel of handmade fashion. By maintaining this aesthetic, the brand sets itself apart in a market often dominated by hyper-polished digital imagery.

The branding extends beyond static visuals. Chooch’s social media and marketing leverage stop-motion animations, adding a dynamic yet still homemade feel. This use of motion emphasizes the brand’s accessible nature, where every element ties back to the concept of imperfection being perfectly beautiful. The stop-motion clips give life to the fashion accessories, highlighting the fun and creativity behind each product.

Chooch’s narrative goes deeper than playful design. By continuing to use deadstock fabrics, Francesca Kappo honors her roots and commits to a more sustainable future. The tactile branding elements mirror this philosophy, creating a seamless experience from the physical product to the digital space. The history of the materials and the personal touch behind the brand make each accessory more than just a fashion statement—they become a story in themselves.

The rebranding also came with strategic moves to elevate Chooch’s market presence. The bags are now featured at the Victoria and Albert Museum’s shop as part of the first-ever Naomi Campbell exhibition. This collaboration has not only introduced the brand to a wider audience but also solidified its standing as a contemporary, fashion-forward label. The exhibition has boosted Chooch’s brand awareness and increased its social media following, translating to more sales and a growing fan base.

The Chooch rebrand exemplifies a growing trend: the embrace of imperfection in design. By favoring hand-drawn illustrations, irregular alignments, and a conversational tone, amStudio has given the brand an inviting, human feel. This approach rejects the overly polished and instead celebrates the beauty of the handmade. It’s a move that resonates well in today’s world, where consumers value authenticity and transparency.

Chooch’s rebranding is a masterclass in how thoughtful design can reflect a brand’s core values. From its name rooted in personal history to its playful logo and tactile illustrations, Chooch stays true to its story. Alam Mohammed and the amStudio team have created a brand identity that isn’t just about looking good—it’s about feeling real, celebrating imperfections, and staying connected to tradition. As Chooch grows, its story continues to inspire, reminding us that the imperfect is often the most perfect of all.

Branding and visual identity artifacts

Discover Anthony Lam’s captivating illustration work for the HART Curatorship Incubation Programme 2024, blending art with purpose.

HART Collective Limited’s 2024 Curatorship Incubation Programme comes alive through a series of vibrant visuals and social media collaterals designed by Anthony Lam. This illustration project, aimed at amplifying the HART initiative’s reach, seamlessly combines creativity and purpose. Let’s dive into the thought process, design elements, and impact of these compelling illustrations.

Bringing Artful Storytelling to HART

The HART Curatorship Incubation Programme is more than just an event; it’s a platform that nurtures emerging curators and fosters artistic engagement in Hong Kong. For this initiative, HART Haus collaborated with Anthony Lam to create visuals that encapsulate the spirit of innovation and community central to the programme. With a focus on vibrant, eye-catching design, Lam’s illustrations breathe life into the promotional material, making the programme’s message resonate visually.

One of the striking features of this project is the careful choice of typography. The primary typeface used is Degular Display by James Edmondson from OH no Type Co. This choice lends a contemporary and approachable vibe to the design, complementing the modern and energetic illustrations. The type’s bold and clean lines create a sense of structure amidst the dynamic visuals.

Lam’s illustrations use a playful yet sophisticated color palette, striking a balance between the avant-garde and the accessible. The design approach draws heavily from art movements that emphasize form and rhythm, mirroring the essence of a programme that curates art as an experience. Each piece incorporates abstract shapes and flowing patterns that evoke a sense of motion, representing the evolving journey of curatorship and the fluid nature of artistic collaboration.

Illustration isn’t just about static visuals; it’s about telling a story that connects with an audience. For this project, Lam crafted designs meant to adapt seamlessly across multiple platforms, from print to digital media. The social media assets, in particular, utilize animations and interactive elements to capture the attention of a fast-scrolling audience. These designs ensure that the HART Curatorship Incubation Programme stands out in the crowded digital space.

The use of illustration as a core element of the visual identity allows for more flexibility and engagement. It provides a canvas where abstract concepts about art and curatorship can be expressed in a way that feels both authentic and exciting. Whether seen on a poster, a website, or a social post, each visual invites viewers to explore and learn more about the programme.

Illustration plays a crucial role in making art initiatives accessible to a broader audience. By employing a visually striking yet relatable design language, Anthony Lam’s work for HART bridges the gap between curators and the community. The visuals don’t just inform; they inspire curiosity and engagement, which is essential for an incubation programme that seeks to elevate emerging curators.

This collaboration also highlights the impact of thoughtful design in the arts sector. By leveraging illustration, HART Collective can convey complex ideas in a way that is immediately understandable and appealing. The choice of colors, the movement within the compositions, and the bold typography all work together to create a cohesive narrative that draws people in.

The HART Curatorship Incubation Programme’s visual identity showcases how illustration can elevate an arts initiative, making it more engaging and impactful. Anthony Lam’s designs prove that illustration, when done thoughtfully, can serve as a bridge between art and the public, turning viewers into participants and supporters.

This project is a reminder that effective visual identity goes beyond aesthetics; it tells a story that connects and captivates. As HART continues to grow its curatorship programme, the illustrations created for this year’s campaign will undoubtedly leave a lasting impression, drawing more people into the world of art and collaboration.

Graphic design and illustration artifacts

Credits

• Client: HART Haus, HART Collective Limited
• Typeface in use: Degular Display designed by James Edmondson. From OH no Type Co.
• Author: Anthony Lam