THERESA WILLIAMS’ DESIGNS know how to have a good time. For Tiny Little Monster, an independent T-shirt shop in Shrewsbury, she created Tiny, the shop’s namesake, a toothy little guy who’s yellow when he’s happy and green when he’s ridiculously happy. For Clementine’s Naughty & Nice Creamery, she drew cheeky greeting cards that aren’t saccharine or sentimental, just funny and a bit risqué. Her poster designs for the Maker’s Market on Cherokee incorporate a wealth of original typography reminiscent of an old-fashioned circus, with a look that’s nonetheless as fresh as the day. Her designs aren’t just trendy; they’re grounded in the traditions of generations of sign makers, printmakers, and typographers, and they demonstrate her knowledge of sign craft.
“It’s funny,” she says, recalling her years as a visual communications major. “I never took a communications class, only design classes.”
This story is from the January/February 2021 edition of DesignSTL.
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This story is from the January/February 2021 edition of DesignSTL.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Sign In
Cut from the Same Cloth
“Turkey Tracks” is a 19th-century quiltmaking pattern that has the appearance of little wandering feet. Patterns like the tracks, and their traditions and myths, have been passed down through the generations, from their frontier beginnings to today, where a generation of makers has embraced the material as a means of creating something new. Olivia Jondle is one such designer. Here, she’s taken an early turkey track-pattern quilt, cut it into various shapes, and stitched the pieces together, adding calico and other fabric remnants as needed. The result is a trench coat she calls the Pale Calico Coat. Her designs are for sale at The Rusty Bolt, Jondle’s small-batch fashion company based in St. Louis. —SAMANTHA STEVENSON
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