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Beth Johnson

@elizabethfjohnson

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🇬🇧Design Director @uncommon.creative.studio NYC
Mostly pictures, sometimes words.
Prev. @thisiscollins @gretelnyc @johnson_banks_design
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We’ve been very excited to share this one. The wonderful Beth Johnson ( @elizabethfjohnson ) joins us on Talking Thursdays this week 💛 Beth is a British designer based in New York, currently Design Director at Uncommon, with Collins, Gretel, Johnson Banks, Pentagram and Apple along the way. We get into quite a lot! An Apple internship that she nearly didn’t apply for. A first logo for an entire UN conversation. A sun that thousands of people helped to draw. And an OFFF identity made from the creative community’s actual bacteria - including James’ as he discovers during the conversation 🦠 But we also talk about the people and minds behind the work. Having that necessary space to play, the importance of holding onto what you believe in and ALWAYS remaining curious enough to try something before you talk yourself out of it. So much to take away from this conversation and we can’t wait for you to hear it. Episode 60 with Beth lands on our Youtube channel this Thursday, 15 October ✌️ by @elizabethfjohnson
16
4 days ago
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🎛️ SOUND ON There was a glorious time when I channelled all my teenage angst into some deeply questionable indie covers on my acoustic guitar. All thanks to Ultimate Guitar's free tabs. Years later, I had the opportunity to work on its rebrand at @thisiscollins. Life is fun. Brief: Muse Group is home to some of the world's most-loved music tools, including Ultimate Guitar, Audacity and MuseScore. Born from a rebellious belief that making music should be accessible to everyone, these platforms have empowered millions to learn, play and create. But despite reaching over 400 million users, the products lacked a shared identity. The challenge was to bring them into harmony without losing what made each one unique. Solution: Inspired by sonic vibrations and the geometry of Suprematism, the identity looks, sounds and moves like music. Symbols, custom typography and motion form a shared visual language, creating a new kind of musical notation. The system now unifies products and digital experiences across Muse Group's global portfolio, creating a distinctive brand presence while preserving each platform's experimental spirit. Like musical instruments, each product plays from the same notes, just in different genres. And yes. Of course the brand itself responds to music. CREDITS: COLLINS Rebeka Arce @rebekaarce Indgila Samad Ali @indgila Beth Johnson @elizabethfjohnson Nicole Cousins @niii.cola Mariah Bush @thegreatmariah Cas Malo @caaas Madeleine Carrucan @okheymaddy Tomas Markevicius @tomasmarkevicius John Choi @jchoiii_ Taylor Zahrt @taylorzahrt Nick Ace @nickace_ Taamrat Amaize @t.amaizing Michael Di Leo @dileomic Gianluca Alla @gianlucaalla Alex Athanasiou @alex.athana — Muse Group Yury Vetrov Vitaly Rynsky Valentin Ladyagin Lena Kireeva Jack Sutton Sophie Browness Muse Group Product & Creative Teams — Contrast Foundry @contrastfoundry — Photography + Videography Jared Ryder @jaredryder — Styling Liz Borger lizborger — Music & Sound Design Rohan Rege by @elizabethfjohnson
6
a day ago
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At a moment when trust in news is under pressure, @uncommon.creative.studio we created a limited-edition newspaper for @washingtonpost that shifts the focus back to what has always defined great journalism: the work. For the first time in its history, the entire paper is dedicated to a single investigation: how corrupt police officers used Flock’s nationwide network of licence plate cameras for stalking.
 The front page carries just one headline. Inside, across 24 spreads, the paper reveals everything it took to break the story. The anonymous tip that started it. The text messages. The evidence. The police interrogations. And the determination of the journalists who kept digging.
 The story is the part you see. This is the journalism behind it.
 The paper brings to life the attitude that has always defined one of America’s most storied newsrooms, and introduces a new brand platform:
 RELENTLESS.
 On 29 September 2026, 65,000 copies of this limited-edition paper were delivered to subscribers and decision-makers across the country, including members of the Senate, city councils, mayors and the White House. Because when you give up on the news, 
you give up on people.

The focus story was written by Washington Post reporters: Drew Harwelll, Douglas MacMillan, Aaron Schaffer and edited by Alexis Fitts.

Custom RELENTLESS typography made with @ryanbugden. -----
CREDITS

UNCOMMON Design Dept: 
Beth Johnson @elizabethfjohnson Rafael Rosa @rafaelrosa Ellen Voorheis @evoorhey

Full UNCOMMON Team:
 Sam Shepherd @samshepy Steve Zaroff Andrew Hunter Aron Ramstedt @aronramstedt Frans Ahlberg @fransahlberg Lisa Smith @lisadesignnyc Evie Robson @evscarlettrobson Natasha Wellesley Adrienne Darnell @adriennedarnell Rob Evans @robevans____ Carlos Prats @prattypantz Giselle Maldonado @gizzygeex3 Albert Opraseuth @albertopraseuth Payal Pereira @payalpereira Ana Sabarots @anasabarots Asheden Hill @ashedenhill

WASHINGTON POST: Suzi Watford Nathan Stewart Tova Diamond @tovadiamond Trevor Hains taken in Washington Post by @elizabethfjohnson
24
15 days ago
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NEW WORK: Yesterday, at @uncommon.creative.studio we launched a special-edition newspaper for the @WashingtonPost.
 For the first time in its history, the entire paper is dedicated to a single investigation: how corrupt police officers used Flock’s nationwide network of licence plate cameras for stalking.
 The front page carries just one headline. Inside, across 24 spreads, the paper reveals everything it took to break the story. The anonymous tip that started it. The text messages. The evidence. The police interrogations. And the determination of the journalists who kept digging.
 The story is the part you see. This is the journalism behind it.
 The paper brings to life the attitude that has always defined one of America’s most storied newsrooms, and introduces a new brand platform:
 RELENTLESS.
 On 29 September 2026, 65,000 copies of this limited-edition paper were delivered to subscribers and decision-makers across the country, including members of the Senate, city councils, mayors and the White House. To support the launch, we also created: - A film. - A long-form print ad spanning the back cover. - An indestructible press badge, made from resilient metal, honoring the courage of the reporters who show up every day to bring us the news.
 Because when you give up on the news, 
you give up on people.

The focus story was written by Washington Post reporters: Drew Harwelll, Douglas MacMillan, Aaron Schaffer and edited by Alexis Fitts.

 -----

CREDITS

UNCOMMON Design Dept:
Beth Johnson @elizabethfjohnson Rafael Rosa @rafaelrosa Ellen Voorheis @evoorhey

Full UNCOMMON Team:
Sam Shepherd @samshepy Steve Zaroff Andrew Hunter Aron Ramstedt @aronramstedt Frans Ahlberg @fransahlberg Lisa Smith @lisadesignnyc Evie Robson @evscarlettrobson Natasha Wellesley Adrienne Darnell @adriennedarnell Rob Evans @robevans____ Carlos Prats @prattypantz Giselle Maldonado @gizzygeex3 Albert Opraseuth @albertopraseuth Payal Pereira @payalpereira Ana Sabarots @anasabarots Asheden Hill @ashedenhill

LETTERING:
Ryan Bugden @ryanbugden
 WASHINGTON POST Suzi Watford
Nathan Stewart
Tova Diamond @tovadiamond
Trevor Hains Washington Post Relentless Special Edition Paper taken in Washington Post by @elizabethfjohnson
23
16 days ago
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Some design bits we did at @uncommon.creative.studio for @washingtonpost special print edition by @elizabethfjohnson
16
7 days ago
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A library of lumen prints I created for @sundayofaction toolkit on my friend @flickeriksson ‘s rooftop. A cameraless process where objects rest on light-sensitive paper, exposed to sunlight until silhouettes bloom in vibrant color. What better way to celebrate a climate day about solar energy than with photographs literally powered by the sun? taken in Brooklyn, New York by @elizabethfjohnson
12
a year ago
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So proud to have been part of this one. Introducing Sun Day—a project close to my heart, created at COLLINS. Opportunity On April 22, 1970, Earth Day rallied 20 million Americans and helped propel landmark environmental laws. Now, at another environmental tipping point, Bill McKibben approached us to create a new day of action rooted in hope. Design Challenge Designing a climate symbol for the world to rally behind was a delightfully difficult task. It needed to be simple enough that anyone could draw, universal enough to cross cultures, and iconic enough to fly on a flag. Process We studied enduring grassroots symbols—the peace sign, Pride flag, BLM fist, Extinction Rebellion hourglass. Each used pure geometry, stripped of excess. Our goal was to create a mark with the same timeless simplicity. Answer
Five bold rays forming half a sun. The other half is left open, for people to complete themselves. Because movements thrive when people see themselves in them. As Bill McKibben said: “We are halfway there, halfway to go.” The tools exist to solve the crisis; now we need people to build the future together. That’s what this symbol represents. Invitational Design System The toolkit is participatory: symbol, colors, typeface, art direction—even a drawing tool for anyone to create their own sun. Create your own at Sunday.earth. Credits COLLINS: Brian Collins @brianthomascollins
Beth Johnson
Eron Lutterman @eronl 
Mason Lin @Mason.yyl John Choi @jchoii_ ORGANIZERS: (Just to name a few) Bill McKibben @billmckibbenvt Jamie Henn @jamiehenn at Fossil Free Media Duncan Meisel from @clean_creatives Simone Salvo @simonesalvo from @thirdactorg COMMERCIAL TYPE: Christian Schwartz @mr_schwartz 
Tim Ripper @tim.ripper
Berton Hasebe @bertonhasebe

Huge thanks to Christian and Tim at @commercialtype for crafting a custom, participatory typeface that offers true authorship. And to Berton, who designed Review and generously donated it as the voice of the solar movement, free for all to use. GARDEN 3D: Thanks to Hugh Frances @_hhff at @garden3D_net, the mastermind behind building the drawing tool app and website. taken in Planet Earth by @elizabethfjohnson
13
a year ago
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Sun Day: unfinished by design—a climate movement only complete with your helping hand. Visual identity created for the first global day of action—Sept 21, 2025. A poster and T-shirt where type and symbol invite you to pick up a brush and finish the message. A dream project I loved designing while at @COLLINS with a small but mighty team ❤️ Credits: COLLINS Brian Collins @brianthomascollins Beth Johnson @elizabethfjohnson Eron Lutterman @eronl Mason Lin @mason.yyl John Choi @jchoii_ COMMERCIAL TYPE Christian Schwartz @mr_schwartz Tim Ripper @tim.ripper Berton Hasebe @bertonhasebe GARDEN 3D Hugh Frances @_hhff at @garden3D_net taken in Planet Earth by @elizabethfjohnson
2
a year ago
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Visual identity for the Jodrell Bank Centre for Astrophysics, home to the gigantic Lovell Telescope and a UNESCO World Heritage Site. Designed during my time at @johnson_banks_design Design system:
A rotating logo mirrors the precise geometry and motion of the Lovell Telescope, becoming the nucleus of a system built around perspective and discovery. A constellation of elliptical forms creates patterns, collages, and image portals. The copywriting followed the same spirit, balancing scientific curiosity with a light touch of humor. The identity extended across everything from signage and marketing to children’s activities and gift-shop merch. -——— Credits:

Johnson Banks Design Studio:
Creative Director: Michael Johnson @curious_captured_mj Design Lead: Beth Johnson
Designer: Jonathan Lennon @jonolennon 
Account Director: Katherine Heaton @katheaton 
Additional Strategy: 
Jo Marsh @winstermarsh 

Type:
Söhne by Klim @klim_type_foundry 
 Animation: 
Joe Johnson
Emma Nathan
 Copywriting: 
Nick Asbury @nickasbury & Johnson Banks
Web agency: 
CTI @cti_digital First Light Pavilion architects: 
Hassell Studio @hassell_studio Client:
Jodrell Bank Centre for Astrophysics @jodrellbank taken in Jodrell Bank by @elizabethfjohnson
5
6 months ago
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When I was at @johnson_banks_design, we received one of the coolest briefs I’ve ever worked on: to rebrand the Jodrell Bank Centre for Astrophysics—home to the Lovell Telescope, a colossal 250-foot (76 m) radio dish built in 1945. From its base in Manchester, this giant ear listens to the cosmos, capturing radio waves from quasars, pulsars, gravitational lenses, and even echoes of the Big Bang. Now a UNESCO World Heritage Site, Jodrell Bank welcomes hundreds of thousands of visitors each year. Challenge: Capture the immense sense of curiosity and wonder that Jodrell Bank evokes in everyone who visits, and translate that feeling into a new visual identity. Logo: Based on the architectural plans of the dish this symbol echoes the precise geometry of the telescope itself. Rotating in sync with the movement of the dish, this logo scans the skies in a perpetual search for the unknown. -——— Credits:

Johnson Banks Design Studio:
Creative Director: Michael Johnson @curious_captured_mj Design Lead: Beth Johnson
Designer: Jonathan Lennon @jonolennon
Account Director: Katherine Heaton @katheaton
Additional Strategy: 
Jo Marsh @winstermarsh

Type:
Söhne by Klim @klim_type_foundry
 Animation: 
Joe Johnson
Emma Nathan
 Copywriting: 
Nick Asbury @nickasbury & Johnson Banks
Web agency: 
CTI @cti_digital First Light Pavilion architects: 
Hassell Studio @hassell_studio Client:
Jodrell Bank Centre for Astrophysics @jodrellbank
 -——— Thank you @arminvit for crowning this the best logo of 2022 on @brandnewbyucllc ❤️ taken in Jodrell Bank by @elizabethfjohnson
6
a year ago
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Mozambique 2026 taken in Ilha De Mozambique by @elizabethfjohnson
7
a month ago
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Campaign for @brightonfestival, an annual programme of arts and culture in the UK. A sun-drenched celebration, where the festival’s iconic ‘F’ logo playfully appeared throughout the city. Working with photographer @olivercurson we captured quiet moments of reflection along Brighton beach. Created alongside @curious_captured_mj @katheaton at @johnson_banks_design. 3D - @robbie_animator taken in Brighton, England, UK by @elizabethfjohnson
2
a year ago
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