<?xml version="1.0" encoding="utf-8"?> <rss version="2.0"> <channel> <title>Design Remote Jobs | Find Remote Graphic Designer Job Positions</title> <link>https://www.designremotejobs.com</link> <description>Find remote graphic design jobs worldwide. Browse hundreds of remote positions for graphic designers, UI/UX designers, and creative professionals. Work from anywhere.</description> <lastBuildDate>Tue, 20 Jan 2026 01:32:57 GMT</lastBuildDate> <docs>https://validator.w3.org/feed/docs/rss2.html</docs> <generator>https://github.com/jpmonette/feed</generator> <language>en</language> <image> <title>Design Remote Jobs | Find Remote Graphic Designer Job Positions</title> <url>https://www.designremotejobs.com/images/logo-512.png</url> <link>https://www.designremotejobs.com</link> </image> <copyright>All rights reserved 2024, DesignRemoteJobs.com</copyright> <category>Bitcoin News</category> <item> <title><![CDATA[The Hidden Pioneer: How Dorothy Waugh's National Parks Posters Revolutionized American Design]]></title> <link>https://www.designremotejobs.com/article/the-hidden-pioneer-how-dorothy-waughs-national-parks-posters-revolutionized-american-design</link> <guid>the-hidden-pioneer-how-dorothy-waughs-national-parks-posters-revolutionized-american-design</guid> <pubDate>Mon, 19 Jan 2026 19:00:25 GMT</pubDate> <description>< *Dorothy Waugh, ca. 1930. Courtesy of the Jones Library, Inc., Amherst, Massachusetts, via Poster House.* ## The 30-Year Quest to Uncover Her Story Resnick first spotted Waugh's work in the 1990s and was struck by its strong Modernist design that bucked conventions. Shocked to find almost no information about the artist, he embarked on a three-decade journey to uncover her story. Through extensive research across the National Archives, Library of Congress, Art Institute of Chicago, National Park Service, and the Jones Library in Amherst, Resnick pieced together Waugh's remarkable career.  *"The lure of the national parks" by Dorothy Waugh, 1937. Photo: Pierce Archive LLC/ Buyenlarge via Getty Images.* ## Redefining Government Design During the Great Depression President Franklin Delano Roosevelt believed National Parks were national treasures that could bolster Americans' shattered morale during the Great Depression. As Roosevelt declared 1934 National Parks Year, Waugh pushed to mount a poster campaign for the occasion—and the poster subsequently became a crucial tool of the Works Progress Administration (WPA) and the U.S. government. Waugh's lithographs represented a new strategy for the NPS, which had previously let railroads handle all advertising. Instead of straightforward depictions of scenic landscapes, Waugh chose images that spoke broadly to what National Parks offered—wildlife, winter sports, and outdoor activities.  *Dorothy Waugh, National Parks/Winter Sports (1935). Private collection. Courtesy of Poster House.* ## A Distinctly Modernist Approach Waugh's work was distinctly optimistic, using **bold color palettes**, **graphic shapes bordering on abstraction**, and **hand-drawn lettering with unique letterforms**. Her approach was informed by European Modernism but incorporated American iconography in the realm of commercial illustration. ## The Challenge of Preserving Ephemeral Art Though the NPS printed thousands of each poster, Waugh's designs were essentially ephemera, and many haven't survived. Tracking down all 17 posters—mostly from a single anonymous collector—was a major challenge. One design almost eluded Resnick until a friend recognized it from her Upstate New York country house. According to the Artnet Price Database, 35 of Waugh's posters have come to auction in the last 25 years, with her "Winter Sports" design selling for a record $2,922 at Christie's in 2008.  *Dorothy Waugh, National and State Parks (1936). Collection of Cathy M. Kaplan. Courtesy of Poster House.* ## A Renaissance Woman of Many Talents Waugh was "quite the Renaissance woman," Resnick said. After studying at the Art Institute for 10 years, she worked for the NPS as a landscape architect, following her father Frank Waugh into the field. She was hired as part of the New Deal's Civilian Conservation Corps, helping design new visitor facilities for parks. After leaving the NPS, Waugh founded and led Knopf's Books for Young Adults Division, worked for 25 years as head of public relations at the Montclair Public Library, and offered the first-ever typography course at what's now Parsons School of Design. She also moonlighted as a journalist, poet, radio personality, children's book author and illustrator, and published two scholarly books on Emily Dickinson—the last when she was 94 years old.  *Dorothy Waugh, National Parks/Where the Deer and the Antelope Play (1934). Private collection. Courtesy of Poster House.* ## Why Her Legacy Was Nearly Lost Resnick believes Waugh's longevity and versatility worked against her. She was largely forgotten by her death in 1996, single with no children or surviving family to safeguard her legacy. "She did her most public work early in her career. She was a commercial artist as much as anything else," Resnick explained. "Had she elected to just pursue a fine art or graphic design practice deeply for a whole career, she might well be a household name. But she wouldn't have been her." Instead, Waugh returned again and again to a seemingly bottomless well of creativity throughout her 99-year lifespan, working across mediums and fields. She never returned to poster design after leaving the NPS—but that body of work now provides the perfect entry point for revisiting her impressive career. *"Blazing a Trail: Dorothy Waugh's National Parks Posters" is on view at Poster House, 119 West 23rd Street, New York, New York, September 27, 2025–February 22, 2026.*]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>dorothywaugh</category> <category>nationalparks</category> <category>posterdesign</category> <category>designhistory</category> <category>modernism</category> <enclosure url="https://p-news-upload.storage.googleapis.com/2026/01/WAUGH_03.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[How a Sustainable Home in India Reimagines Ancient Tamil Architecture with Modern Flair]]></title> <link>https://www.designremotejobs.com/article/how-a-sustainable-home-in-india-reimagines-ancient-tamil-architecture-with-modern-flair</link> <guid>how-a-sustainable-home-in-india-reimagines-ancient-tamil-architecture-with-modern-flair</guid> <pubDate>Sun, 18 Jan 2026 19:00:32 GMT</pubDate> <description>< *Materiality is what defines this Coimbatore home, which harkens back to the Tamil architecture of centuries past.* **Reimagining Tradition Through Sustainability** This home, created for IT professional Vijayanadh and his wife Mahalakshmi, taps into the simplicity of Tamil architectural heritage. By employing **traditional building practices**, the design not only honors the past but also addresses modern environmental concerns. The use of **terraced roofs** and natural materials enhances energy efficiency and reduces the carbon footprint, making it a model for **eco-friendly living**. **Key Design Elements** The architecture firm focused on **materiality** as a defining feature, using locally sourced, sustainable resources to construct the home. This approach not only supports the local economy but also ensures that the building harmonizes with its surroundings. The **terraced roof design** is a standout element, providing both aesthetic appeal and practical benefits like improved ventilation and rainwater harvesting. **A Contemporary Lens on Heritage** By viewing Tamil architecture through a **contemporary lens**, Bhutha Earthen Architecture has created a space that feels both historic and forward-thinking. The home's layout and finishes are designed to maximize natural light and airflow, reducing reliance on artificial systems and promoting a **healthier indoor environment**. **Sustainability Without Sacrifice** One of the core principles of this project is that **sustainability does not mean sacrificing comfort**. The home features modern amenities and thoughtful details that ensure it meets the needs of its inhabitants while adhering to green building standards. This balance makes it an inspiring example for architects and homeowners alike, showing how **traditional techniques** can be adapted for today's world. **Lessons for Modern Design** This Coimbatore home offers valuable insights into how **architectural heritage** can inform sustainable design. It demonstrates that by looking to the past, we can find innovative solutions for the future, creating spaces that are both beautiful and responsible.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>sustainablearchitecture</category> <category>tamilarchitecture</category> <category>ecofriendlydesign</category> <category>traditionaltechniques</category> <category>modernhomes</category> <enclosure url="https://media.architecturaldigest.com/photos/6967b95a599d44ddc8d83b11/16:9/w_1280,c_limit/Untitled%20design%20-%202025-12-09T173610.283.png" length="0" type="image/png"/> </item> <item> <title><![CDATA[Why Nostalgia Is Killing Bold Design: The Risky Truth Behind Safe Branding]]></title> <link>https://www.designremotejobs.com/article/why-nostalgia-is-killing-bold-design-the-risky-truth-behind-safe-branding</link> <guid>why-nostalgia-is-killing-bold-design-the-risky-truth-behind-safe-branding</guid> <pubDate>Sat, 17 Jan 2026 19:00:26 GMT</pubDate> <description>< *(Image credit: Cracker Barrel)* ## Vera Bradley's Pattern Problem A similar story unfolded at midmarket fashion label Vera Bradley. Known for its quilted bags in florals and paisley, Vera Bradley launched a brand "refresh" in 2024 aimed at attracting younger buyers. This makeover downplayed the company's signature prints in favor of solid colors and sleeker lines. But loyal customers rebelled. By early 2026, the company announced a course correction with its "Project Sunshine" pivot, which doubled down on the vintage florals that made the brand famous. Executives admitted they had "lost track of what made Vera Bradley special."  *(Image credit: Vera Bradley)* ## The Psychology of Nostalgia in Uncertain Times These high-profile U-turns indicate a broader motive. We exist in an age of **political upheaval and economic uncertainty**, and many companies are betting on familiarity. Designers and marketers note that nostalgia isn't just sentimentality—it's a strategic comfort zone. Brand Genetics, a human-centered insight and innovation consultancy, argues that research shows nostalgic branding provides comfort during uncertain times, helping consumers feel familiar and trustworthy with a brand. Nostalgia creates continuity between past and present, acting as a **psychological anchor** for weary customers. Familiar cues—such as old logos and classic patterns—serve as these anchors. When the world feels unpredictable, a good old logo and pattern on your breakfast cereal might, on some level, make you feel a little bit safer. ## The Social Media Amplification Effect Brands also face a much more immediate cautionary environment. **Social media and 24/7 news cycles** mean that even small design changes can spark big reactions. A new logo can be framed as a political statement, and any misstep is magnified online. In Cracker Barrel's case, just removing an old cartoon figure became ammunition for a culture war. That kind of instant, vocal feedback encourages companies to play it safe.  *(Image credit: Jaguar)* ## The Jaguar Example: When Bold Goes Wrong Consider one of the most radical examples of not playing it safe: **Jaguar's EV pink explosion**. Last month, The Telegraph reported: "The designer behind Jaguar's controversial 'woke' rebrand has reportedly been dismissed from the carmaker just days after a new chief executive took over..." ## What This Means for Designers Where does all this leave designers? **Innovation still matters**, but it should be tempered with authenticity. Ensure change stays close to the client's DNA. Strip away elements at your own risk, and be mindful of signature elements that customers love—the very things that can alienate the audience a rebrand seeks to excite. Think of colors, patterns, characters, or typography as echoes to remind people what they already loved. For many brands, nostalgia has become a safe space to hide from the judgment of a volatile world. For designers, it's a reminder that rupture without purpose can be a big bang of hot air. So tread carefully—there are landmines in the market.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>design</category> <category>branding</category> <category>nostalgia</category> <category>trends</category> <category>innovation</category> <enclosure url="https://cdn.mos.cms.futurecdn.net/Gjw7Hp99mGagHubPyhvuGZ-1920-80.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[How Kith Collaborated with K-Pop Star Lisa for a Groundbreaking Women's Collection]]></title> <link>https://www.designremotejobs.com/article/how-kith-collaborated-with-k-pop-star-lisa-for-a-groundbreaking-womens-collection</link> <guid>how-kith-collaborated-with-k-pop-star-lisa-for-a-groundbreaking-womens-collection</guid> <pubDate>Fri, 16 Jan 2026 19:00:25 GMT</pubDate> <description>< *Photo: Pablo Costanzo c/o Kith* **Kith**, the renowned fashion brand, has teamed up with **Lisa**, the global K-pop sensation and actress, to create its latest women's collection. This collaboration marks a significant moment in the fashion industry, blending celebrity influence with high-end design. Lisa, known for her role in *The White Lotus*, is now stepping into the world of fashion design, working closely with **CEO and creative director Ronnie Fieg**. The collection, set to launch on February 20, 2026, is expected to feature innovative styles that reflect Lisa's personal aesthetic and Kith's signature streetwear elements. This partnership highlights the growing trend of **celebrity collaborations** in fashion, where stars bring their unique perspectives to design processes. It also underscores Kith's strategy to expand its women's line and tap into new audiences through high-profile partnerships. For designers and fashion enthusiasts, this story offers insights into how brands can leverage **cross-industry collaborations** to create buzz and drive innovation. It's a testament to the power of merging entertainment and fashion to produce compelling collections that resonate with consumers worldwide.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>fashion</category> <category>collaboration</category> <category>celebrity</category> <category>design</category> <category>trends</category> <enclosure url="https://assets.vogue.com/photos/696a355e0d7618c623360470/16:9/w_1280,c_limit/IMG_8710%20(1).jpeg" length="0" type="image/jpeg"/> </item> <item> <title><![CDATA[Foster + Partners Transforms Rijksmuseum Gardens with Sculpture Pavilion Renovation]]></title> <link>https://www.designremotejobs.com/article/foster-partners-transforms-rijksmuseum-gardens-with-sculpture-pavilion-renovation</link> <guid>foster-partners-transforms-rijksmuseum-gardens-with-sculpture-pavilion-renovation</guid> <pubDate>Thu, 15 Jan 2026 19:00:27 GMT</pubDate> <description>< The garden, named the **Don Quixote Pavilion and Garden at the Rijksmuseum**, will merge two existing gardens into a single riverside plot facing the museum's eastern wing. Three brick pavilions built in the **Amsterdam School style** currently occupy the site and will be updated and transformed into exhibition spaces by Foster + Partners. Alongside this, the garden will be designed by Belgian landscape architect **Piet Blanckaert** and will include sculptures by renowned artists **Alberto Giacometti, Louise Bourgeois, Alexander Calder, and Henry Moore**.  "The sculpture garden will be situated just a stone's throw from the Rijksmuseum," the museum said. "Three existing pavilions and their adjoining gardens will be merged to form a single sculpture garden." "The pavilions, built in the Amsterdam School style, will be open to the public for the first time," it added. Renders of the Don Quixote Pavilion and Garden at the Rijksmuseum depict a lush garden carved with winding walkways and populated with sculptures. According to the museum, **22 trees will be added to the site**. The pavilions will be situated at the garden's southern end and each retain their pitched volumes of varying scales. Glazed openings at their fronts will overlook the surrounding garden. The project is being funded by a **€60 million donation** by the Don Quixote Foundation and is expected to open in **Autumn 2026**. Once complete, the garden will provide a publicly-accessible space and be used to host temporary sculpture exhibitions. Elsewhere, Snøhetta is set to transform a former railway site into a riverside park in Norway and BIG has designed an interfaith complex to weave through an Albanian hillside near Tirana. *The renders are by Foster + Partners.*]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>architecture</category> <category>sculpture</category> <category>renovation</category> <category>gardens</category> <category>museums</category> <enclosure url="https://static.dezeen.com/uploads/2026/01/foster-partners-rijksmuseum-sculpture-garden-amsterdam-hero_dezeen_2364_col_0.jpg" length="0" type="image/jpg"/> </item> </channel> </rss>