By Landesberg Design | September 1, 2026

Good design is often the result of good reading. Here’s our latest offering of insight, info, and intrigue. Indulge.

Who Is This All For, Anyway?

by Michael Artman, President

Illustration: Michael Artman

I once believed that marketing didn’t work. A younger me figured I was immune to advertising; really, I just wasn’t interested in what was being sold. The huge corporations whose ads I was seeing never needed me.


The algorithm has rewired my thinking. The ads that pull me in now are the ones that seem to know me. I’m not the type who’d fall for a Maytag sale, but oh, Cotopaxi, you got me good! Did I need another waterproof camp shirt? Need is a strong word. But it’s “Gear for Good?” Sustainable manufacturing? Using corporate profits to fight poverty? That speaks to me. It tells a story. Brands like Cotopaxi get my money not because they’re everywhere, but because they say something specific that aligns with something I believe. Marketing works when done well.


Heck, I almost went to Drexel University out of high school, simply because they mentioned their paintball team in some marketing materials. That’s not a school speaking broadly. It’s a school speaking to a version of me at 17 in a way no other school was.


Most of our clients aren’t marketing to a built-in audience the way a consumer brand like Cotopaxi is. They’re not winning over an already loyal customer for the hundredth time. It’s a larger lift, but it has parallels: they need to convince someone they’re worth a look, and stand out from the hundreds of competitors that appear a heck of a lot alike. And yet what a lot of marketing has looked like for the past decade has left me perplexed.


I’ve watched more and more colleges and universities lean on data-supported decision making. To be clear, data is great at the job it’s actually good at — finding an audience that already thinks the way you do. But it also typically identifies the same “mission critical” messaging every other institution also identifies, tested to appeal to a wide group with a broad message. That doesn’t make it good. It might land on interested eyes, but it doesn’t speak to the fringe where the best-fit audience sits. The esoteric piece with the quirky headline might not make a lot of sense to the masses, but doesn’t need to. It speaks to the student who stops scrolling at “paintball team.” They’re in.


Too many institutions are leaning on the safe and the provable. They end up touting the same accolades, rankings, and academic bona fides as everyone else in their region. I drove past a billboard last week proclaiming “future-ready academics.” Sound familiar? That same line could sit next to any school in the country, and I’d believe it. It says nothing.


Meanwhile, here’s what actually would say something: a campus where bikes lie on the lawn without a lock in sight. A linguistics professor who quietly runs the coolest stargazing club in town. A popcorn festival that takes over downtown every fall. A soapbox derby on freshman weekend that’s been running for 83 years, broken bones be damned. Those quirks aren’t mere trivia… they paint a picture. They’re the case for why the audience should pick you over the place down the road who failed to get more descriptive than “a lifetime of memories.”


This bleeds into alumni marketing too. Alumni already went to the school; they don’t need to hear how good it is. They lived it. They need to be reminded of what they loved about it. Now in their 40s, with that limp from the lingering soapbox derby injury, they want to give you money so the class of 2030 can break their ankles too. Lead with rankings and you might get a check. Lead with a broken ankle earned on the way to a trophy at 18, and you’ll get the check — plus a dozen emails from alumni eager to share their own stories.


The idea of college is facing real headwinds. I don’t think there is safety in playing it safe. Risk-taking and standing out built most of these institutions’ reputations in the first place. Accolades absolutely matter. But looking like every other school out there might be the biggest risk of all.


Your audience knows you’re good. What they need to know is what makes you right for them. Show yourself. Be specific. Surprise people. Aim for the fringes — that’s where the audience is standing, waiting for someone to speak their language. Marketing works, if it’s the kind that knows exactly who it’s for.

Hilltop Empowerment Collective

We recently partnered with the Hilltop Empowerment Collective to create an identity for its work connecting families across Pittsburgh’s Hilltop and South Side communities to the resources, relationships, and opportunities that help them thrive. The new brand reflects the Collective’s community-powered approach, bringing scattered services together into an interconnected, accessible network of care.


That idea of interconnectivity became the foundation for the new brand. Individual lines come together in the logo, while patterns inspired by woven fabric carry that sense of connection throughout the system. Vibrant colors, friendly typography, and candid photography bring it all to life, creating a flexible visual language that feels welcoming, energetic, and rooted in the communities it serves.


See more about this project on our website.

1. A Banner Year...or, Decade

As one can imagine, 19th-century advertising looks a lot different than the billboards and ads we see today. However, one might not venture to imagine the pretzel-covered gowns and horseshoe hats that accessorized the so-called “Banner Women” of the 1870s.


To show off their wares, shops of this era would drape their models in everything from hardware to toy dolls and pose them with signage to promote their businesses. 


So, if you see Landesberg president Michael Artman in a dress adorned with paper samples and Pantone swatches, know that he’s not just experimenting with his wardrobe, but advertising our design services! 

2. The Journal of Enshittification

Illustration: Getty Images

Designer Sam Colavecchio introduced us to the investigation blog Worse on Purpose, and we couldn’t help but share it with you, too! Keyana Sapp takes a deep dive into industries that are being hollowed out, once-trusted brands that no longer hold themselves to the same standards, and who is making money behind it all.


Our favorite feature of this blog is the Brand Ledger, which tracks nearly 400 brands and delivers a verdict on which are “Approved” as an investment, which are “Former Greats,” and which brands are stamped with the “Avoid” label.

3. Re-Discovering Lost Streams

Illustration: Bruce Willen

Designer and artist Bruce Willen is the creator behind a public art installation and walking tour of Baltimore, MD that tracks the now buried and scarcely remembered streams of the Sumwalt Run. To make sure these waterways are never truly forgotten, Ghost Rivers re-surfaces the lost landscape by way of street installations, wayfinding markers, and writings.


As designers in a city that loves its rivers, we commend the research, care, and creativity that was poured into this project!

Yayoi Kusama

Tokyo, Japan

Image: Courtesy Ota Fine Arts, Tokyo/Singapore; Victoria Miro Gallery, London; David Zwirner, New York; og KUSAMA Enterprise © Yayoi Kusama

Yayoi Kusama was not a Pittsburgh resident, but through her art, she has had a presence in the city for the last 30 years. 


Among the many art museums that Pittsburgh is proud to boast is the Mattress Factory Contemporary Art Museum, which is home to two permanent installations by Kusama. Both Infinity Dots Mirrored Room and Repetitive Vision have been on view since 1996 and are considered quintessential installations for the Mattress Factory. Also in 1996, a third installation by Kusama, entitled Dots Obsession, was on display for the better part of that year.

Image: Mattress Factory Contemporary Art Museum

Kusama’s highly influential work spanned many mediums, including sculpture, painting, performance art, fashion, literary works, and much more. She passed away on Friday, August 14, 2026 and will be remembered as an avant-garde icon.