{"id":327314,"date":"2025-12-02T07:30:20","date_gmt":"2025-12-02T07:30:20","guid":{"rendered":"https:\/\/peraltafinancing.com\/entertainment\/art\/sunday-afternoon-communication-arts\/"},"modified":"2025-12-02T07:30:20","modified_gmt":"2025-12-02T07:30:20","slug":"sunday-afternoon-communication-arts","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=327314","title":{"rendered":"Sunday Afternoon | Communication Arts"},"content":{"rendered":"


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F<\/span>or office workers, the final stretch of the weekend is a space for freedom, pleasure and dreaming. For working artists, it can also be a chance to clock out of everything else and reconnect with the work that matters.<\/p>\n

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Executive creative director and partner Rich Tu,
executive producer and partner Audrie Poole,
cofounder and partner Ahmed Klink, and cofounder
and executive creative director Juan Carlos Pagan.
\u00a9 Eva Zar<\/strong><\/sub><\/figcaption><\/figure>\n

In 2016, when photographer Ahmed Klink and typographer Juan Carlos Pagan founded Sunday Afternoon, their New York\u2013based hybrid brand studio and talent agency, they envisioned a place where artists could be untethered from the rigidity of corporate life and make a living doing the kind of work they\u2019d gladly choose to do on a day off\u2014not because they had to, but because it felt meaningful.<\/p>\n

\u201cWe tend to do the things we love the most on Sunday afternoons, and that was a reflection of the ethos we wanted the Sunday Afternoon team to have,\u201d says Klink. \u201cIf we were to work on a Sunday afternoon, it would have to be on things we genuinely care about. It shouldn\u2019t fill us with dread. That\u2019s what we strive for.\u201d<\/p>\n

Sunday Afternoon \u201ccame from a place of building what you kind of want to see in the world,\u201d adds Klink. He and Pagan envisioned a model created for artists, by artists: part talent roster, part branding studio, with both branches often feeding into one another. Repped artists are free to pursue their own creative paths, but they also have the option to collaborate on the studio\u2019s client projects\u2014like campaigns or rebrands\u2014if the fit is right for their interests, goals and skills.<\/p>\n<\/div>\n

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In those early conversations, Pagan imagined a studio that would liberate artists with rare talent and singular vision who had been constrained by the traditional agency model (and the demands of a corporate 9-to-5). \u201cI always thought about that person, that untapped artist who could be pursuing their own artistic career being represented somewhere, but also getting looped into agency work when it was appropriate,\u201d says Pagan. \u201cI like the idea of having access to these people but not making them feel handcuffed to anything, giving them a way to pursue that dream that they have but also tap in if an interesting agency project comes up.\u201d<\/span><\/p>\n

In addition to freeing would-be artists from corporate cubicles, this setup also enables the brand-studio side of Sunday Afternoon to pull from a small but deep bench of world-class talent when clients come calling. When Nike hired Sunday Afternoon to support the Training Plans feature inside its Nike Run Club app, Pagan and Klink managed the design while bringing in Geoff Levy, an award-winning director on their roster, to write treatments and direct the video. \u201cWe get a handful of RFPs or projects that require a lot of creative firepower,\u201d says Pagan, \u201cand having access to some of these brilliant artists on our roster really allows us some leverage.\u201d<\/p>\n

The roster currently includes seventeen artists, a relatively small and highly curated list by Sunday Afternoon managed by partner and executive producer Audrie Poole. Pagan says they handpick each artist to reflect \u201cthe kind of work we want to see in the world.\u201d Right now, that work looks like Marta Cerd\u00e0 Alimbau\u2019s illustrative typography, Valheria Rocha\u2019s dreamy mixed-media photography and Tommy Perez\u2019s stop-motion animations, among others. (When I ask Pagan if he feels like Sunday Afternoon has assembled a dream team, he laughs and compares it to Voltron.)<\/p>\n

Together, Pagan, Klink and Rich Tu, who was one of Sunday Afternoon\u2019s first repped artists and later joined the studio as an executive creative director and partner, steer the studio\u2019s creative along with a small team of designers. The team\u2019s collective output ranges from intriguing to unfamiliar to polarizing, but never formulaic or without intention. \u201cThat is important to us\u2014not because being different or contrarian is always the right thing, but because having a breadth and variety of work is fun,\u201d says Pagan. \u201cThere\u2019s a lot of really great design in the world, but there\u2019s also a sea of sameness within the design community. And I think that\u2019s something we find a bit boring.\u201d<\/p>\n

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We tend to do the things we love the most on Sunday afternoons, and that was a reflection of the ethos we wanted the Sunday Afternoon team to have.\u201d \u2014Ahmed Klink<\/p>\n<\/p><\/div>\n

Whether it\u2019s a visually challenging logo for a Bitcoin brand like Zeus or a shapeshifting logotype for a SaaS client such as Daydream, the studio fearlessly breaks conventions and takes risks that more traditional designers and clients might shy away from. Its creative criteria for walking this fine line is mostly instinctive and typically arises from dialogues among the team as they ask: \u201cIs it appropriate? Is it familiar?\u201d And crucially: \u201cIs it boring?\u201d Pagan enjoys the uncanny moments in art and design when you see something that technically shouldn\u2019t work\u2014or maybe feels a little off-putting\u2014yet resonates in spite of (or because of) that discomfort. \u201cYou\u2019re kind of like, \u2018Oof\u2026 But I kind of like that,\u2019\u201d he says. As designers, he adds, \u201cWe have to create space for [those moments of] \u2018I don\u2019t know why this works, but it does.\u2019\u201d<\/p>\n

Those instincts run wild in the studio\u2019s self-published annual broadsheet CANAL<\/i>, where Klink says the team \u201clets our weirdness go to 100 percent\u201d with a sensory assault of clashing typography, jarring layouts and an uninhibited spirit of playfulness. \u201cWe\u2019re doing a lot of things in that magazine that maybe shouldn\u2019t be done, but purposefully,\u201d says Pagan, \u201cnot just to be kids playing, although that\u2019s a part of it, but also to capture the frenetic energy of Canal Street here in New York City.\u201d<\/p>\n

The magazine also functions as a testing ground for technology. In the first issue, the team wanted to explore bringing AR typography to print, so they employed a filter that lifts the type off the cover when viewed through a smartphone. This experimentation paved the way for the second issue, in which they integrated a film (directed again by Levy) along with an abundance of Easter eggs and dynamic elements inside the magazine. With Levy\u2019s work hovering above the pages and whimsical surprises bringing the design to life, the reader\u2019s experience is unbounded by the page and brought into, quite literally, a new dimension. Like many Sunday projects, it is the result of a many-sided collaboration: with each other, of course, but also with technology, the physical world and culture.<\/p>\n

In building a studio for artists, by artists, Sunday Afternoon has amassed a group of design thinkers who are in constant communion with culture. \u201cWe\u2019re artists at our core, and we\u2019re sponges for culture, so we never sleep on that part of ourselves,\u201d says Tu. The studio\u2019s creatives are encouraged not just to cultivate their own treasure trove of aesthetic influences and passions but to bring them to the drawing board, resulting in a rich, delightfully unorthodox amalgam of references combined in the work. The team\u2019s early-stage Figma boards are, by their own admission, insane\u2014a kaleidoscopic sprawl of cultural references and ephemera that ultimately might shape the trajectory of a project, like the photo of a drunk Japanese \u201csalaryman\u201d that inspired the studio\u2019s new logo for Chef Masahura Morimoto. \u201cThat\u2019s how we sold it to the client: this is inspired by having a great time,\u201d explains Tu. \u201cThat\u2019s an origin point of inspiration that will resonate with a client who is open to that level of play.\u201d<\/p>\n

That cultural fluency brings fresh perspective to more traditional projects, too. Billy Candela, who worked with Sunday Afternoon during his time at NPR and more recently at environmental organization The Nature Conservancy, says the team\u2019s wide lens brought invaluable perspective to
their projects. \u201cBeing able to find that outside voice and that outside thinking is really valuable, especially when it\u2019s coming from a group that spends all of their time in that creative, artistic space versus a more corporate branding space,\u201d Candela says. \u201cSunday Afternoon surrounds itself with artists who are doing really interesting work in really interesting places, so it always feels like it\u2019s in a space of creativity.\u201d<\/p>\n

\u201cThe team definitely seems to have clear inspiration, but then it turns into this voice that seems uniquely theirs. I\u2019ve always been drawn to that because I think that\u2019s what you want from an artist,\u201d adds Adam Larson, creative director at athletic shoe brand Hoka, who says he thinks of Sunday Afternoon more as a group of artists than a traditional agency.<\/p>\n

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We\u2019re artists at our core, and we\u2019re sponges for culture, so we never sleep on that part of ourselves.\u201d \u2014Rich Tu<\/p>\n<\/p><\/div>\n

Larson engaged Sunday Afternoon on recent campaigns for two hotly anticipated Hoka product releases: the Mafate 5, a long-distance trail-running shoe made to endure 100-plus-mile runs over rough terrain, and the RocketX3, its high-tech racing shoe with carbon fiber plates. The projects marked a shift for the studio, which was tasked with ideating and executing the campaigns start to finish, rather than looping in mid-stream for execution.<\/p>\n

For the Mafate 5, the team produced a 30-second film shot in South Africa, combining ASMR-like aural textures (the crunch of gravel, the drumbeat of breath) with striking visuals of runners navigating rugged terrain. Sunday Afternoon created a line for the campaign that anchored the spot: \u201cFor the long run.\u201d For print, the studio typeset the product\u2019s name to resemble the contours of mountainous terrain beneath runners\u2019 feet. \u201cThere\u2019s a narrative to the type itself, and I think that\u2019s valuable because that\u2019s design doing what it does best,\u201d says Larson.<\/p>\n

To showcase the Rocket X3, Sunday Afternoon once again nudged the brand into new territory with a visual approach it had never taken before, shooting the shoe in action on a set against a bold, LED-lit red background. The spot has the eye-catching visuals and energy of a slick hype video, and the line carries the story: \u201cAhead of your time.\u201d<\/p>\n

\u201cI\u2019ve worked with a lot of agencies in my career, and the one thing I have always found is once you call yourself an agency of a certain size, you become overridden with process\u2014with multiple layers of inputs, ideas, complications\u2014and it\u2019s cumbersome,\u201d says Larson. \u201cSunday just seemed nimble. It always comes back to the creative.\u201d<\/p>\n

Keeping it that way takes vigilance and intention. With time and growth, studios like Sunday Afternoon\u2014which is nearing its tenth anniversary\u2014can easily become victims of their own success, ceding that creative independence to commercial viability and losing sight of what brought them all together to begin with. \u201cIt requires us to really make sure we\u2019re always putting creativity at the forefront because that can sometimes get a little lost as projects scale,\u201d says Pagan. \u201cYou can lose a little bit of that fun, that insight, the design\u2014all that good stuff that made us want to work in this industry can get lost if we don\u2019t keep that at the helm.\u201d ca<\/strong><\/p>\n<\/p><\/div>\n\n","protected":false},"excerpt":{"rendered":"

For office workers, the final stretch of the weekend is a space for freedom, pleasure and dreaming. For working artists, it can also be a chance to clock out of everything else and reconnect with the work that matters. Executive creative director and partner Rich Tu,executive producer and partner Audrie Poole,cofounder and partner Ahmed Klink, […]<\/p>\n","protected":false},"author":1,"featured_media":327315,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[100],"tags":[40917,1107,12974,5080],"dealstore":[],"offerexpiration":[],"class_list":["post-327314","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","tag-afternoon","tag-arts","tag-communication","tag-sunday"],"yoast_head":"\nSunday Afternoon | Communication Arts - Som2ny Network<\/title>\n<meta name=\"description\" content=\"Sunday Afternoon a New York&ndash;based brand studio has redefined the role of a creative agency by incorporating a talent-roster system.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=327314\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sunday Afternoon | Communication Arts - 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