Design history · 2010s contemporary practice

Jessica Walsh

The RISD graduate who made partner at Sagmeister's at twenty-five, founded a studio at thirty-three, and built a global mentoring network along the way.

Jessica Walsh (born 1986) is the American graphic designer who became partner at Sagmeister Inc. at twenty-five (Sagmeister & Walsh, 2012–2019), then founded her own New York studio &Walsh in 2019. Her 40 Days of Dating viral project (2013), her Ladies, Wine & Design mentorship network (active in over 250 cities) and her studio's identity work for Adobe, Snapchat, Levi's and The New York Times place her at the centre of 2010s–2020s contemporary design practice.

Key facts

Born
30 October 1986, New York
Nationality
American
Era
Contemporary practice · Branding systems · Social-first design
Studios
Print magazine (intern) · Pentagram New York (intern) · Sagmeister & Walsh (partner, 2012–2019) · &Walsh (founder, 2019–present)
Education
B.F.A. Graphic Design, Rhode Island School of Design (2008)
Known for
Sagmeister & Walsh partnership (aged 25) · 40 Days of Dating project (2013) · Ladies, Wine & Design network · &Walsh studio · extensive editorial and identity work for Adobe, Snapchat, Levi's, The New York Times

Biography

Jessica Walsh was born on Long Island in 1986. She taught herself HTML at eleven and was building websites for local businesses by fifteen. She studied graphic design at the Rhode Island School of Design, graduating in 2008 — the same recession year that cut entry-level design hiring dramatically.

After internships at Print magazine and Pentagram New York, she joined Sagmeister Inc. as a designer. In 2012, at twenty-five, she became Stefan Sagmeister’s partner and the studio was renamed Sagmeister & Walsh. The partnership produced identity, editorial and exhibition work for Adobe, Snapchat, Levi’s, The New York Times and Aizone, among others.

In 2013 she published 40 Days of Dating — a collaborative online project with her friend Timothy Goodman in which they dated for forty days and published daily reflections with original illustration. The project attracted over 5 million unique visitors in its first year and was optioned by Warner Brothers, though film rights subsequently lapsed. It became a template for designer-led content projects.

In 2016 she founded Ladies, Wine & Design in response to the AIGA gender statistics showing women dramatically underrepresented in creative-director positions. The network is now active in over 250 cities worldwide and is a structural contribution to the profession rather than a design project.

In 2019 Sagmeister & Walsh was dissolved amicably, with Sagmeister returning to solo practice and Walsh founding &Walsh in the same New York office. She teaches in the M.F.A. Designer as Author program at the School of Visual Arts.

Design philosophy

Walsh’s position is that design should be maximalist, colour-first and human, pushing back against the clinical minimalism that dominated 2010s tech and lifestyle branding. Where a decade of brand identity had reduced to Helvetica in grey, Walsh’s practice re-opened colour, lettering and emotional texture.

“If design is about communication, then design should be allowed to be as emotional as the human beings it communicates to.” — Jessica Walsh, 2019

Three commitments define her studio. First, social-first visual language. Projects like 40 Days of Dating, the &Walsh launch campaign and recent Instagram-centric client work are designed assuming social platforms are the primary publishing surface — not an afterthought on top of a print or web deliverable.

Second, design as structural intervention. Ladies, Wine & Design is the clearest statement. Rather than treat the under-representation of women in design as an external problem, Walsh built a network to fix it. The studio’s hiring practices, internship programme and mentorship structure operate on the same principle.

Third, author-designer continuity with Sagmeister. Walsh is explicit about her lineage — Sagmeister as teacher, and Tibor Kalman’s M&Co legacy flowing through him. The author-designer model (taking commercial work to fund self-initiated projects) is carried forward directly at &Walsh.

Key works

Sagmeister & Walsh studio identity (2012) — photographic identity showing both partners in unposed emotional states. The first major public marker of Walsh’s working approach; a deliberate rejection of neutral studio-identity conventions.

40 Days of Dating (2013) — online project with Timothy Goodman combining dating, journaling and illustration. Over 5 million unique visitors in its first year; Warner Brothers film option (rights subsequently lapsed). The first major example of design-led content going platform-native before the term existed.

Ladies, Wine & Design (2016–present) — global mentorship network in 250+ cities. Not a design project in the conventional sense, but widely cited as Walsh’s most structurally important contribution to the profession.

Adobe Max identity (2019) — conference identity for Adobe’s flagship creative event. Maximalist, colour-first, hand-drawn; a declaration of &Walsh’s visual position in its founding year.

&Walsh studio identity (2019) — identity for Walsh’s solo studio. Deliberately exuberant, personality-forward, with hand-drawn typographic elements — the most widely-copied studio identity of the 2019–2022 period.

Iconic works

Sagmeister & Walsh studio identity, 2012

Sagmeister & Walsh studio identity

2012

Self-commissioned identity marking the renaming of Sagmeister Inc. as Sagmeister & Walsh in 2012, the year Walsh joined as partner at twenty-five. Used photographs of both partners' faces in varied emotional states, refusing the neutral corporate studio-identity conventions of the period. The visual system was applied across stationery, print, and digital materials, and was the first major public marker of Walsh's working approach.
Sagmeister & Walsh studio identity (2012). · Announcement photograph from Creative Bloq's coverage of Sagmeister & Walsh partnership; 2012 rebranding announcement. · Museum editorial
40 Days of Dating project, 2013

40 Days of Dating

2013

Self-initiated online project in which Walsh and designer Timothy Goodman dated for 40 days and published daily reflections alongside original illustration, photography, and typographic artwork. The site attracted over 5 million unique visitors within its first year; Warner Brothers optioned film rights in 2013, though rights subsequently lapsed. Walsh and Goodman published an expanded print edition through Abrams Books in 2015.
40 Days of Dating (2013). · Publisher's official book cover image hosted on Abrams Books (Harry N. Abrams, the copyright holder). 304-page book with cover portraits by Henry Leutwyler. · Museum editorial
Ladies, Wine & Design global network, 2016

Ladies, Wine & Design

2016

Global mentorship network for women and non-binary people in the creative fields, started by Walsh after AIGA data showed only around 3 per cent of creative directors were women at the time. The network began with eight women meeting in Walsh's New York apartment and had expanded to over 280 chapters in cities worldwide by 2022. It provides free portfolio reviews, mentorship circles, and professional events, and operates as a structural contribution to the profession rather than a client project.
Ladies, Wine & Design (2016). · Behance portfolio — identity/branding collateral · Museum editorial

Adobe Max identity

2019

Identity for Adobe's flagship creative conference, commissioned by Adobe and produced in &Walsh's founding year. Combined maximalist colour, hand-drawn typography, and live-generated visual elements, a departure from the restrained conference-identity systems that had predominated across the design and technology sectors during the 2010s. The project established &Walsh's visual position in its first year of independent operation.
Adobe Max identity (2019).
Snapchat Spectacles campaign, 2016

Snapchat Spectacles campaign

2016

Launch campaign for Snap Inc.'s first-generation Spectacles camera product, incorporating a network of pop-up vending machines (Snapbots) deployed at surprise locations across the United States from October 2016. The social-first advertising was calibrated for the product's platform-native character, reaching audiences on Snapchat's own channels alongside traditional digital placements. Produced during the Sagmeister & Walsh partnership, the campaign was one of the studio's most prominent consumer-product commissions.
Snapchat Spectacles campaign (2016). · Product shot of first-generation Spectacles with yellow accent elements. Captured Dec 2016, documenting the core product design with the brand's signature yellow highlights. · CC BY-SA

The New York Times Magazine Voyages redesign

2017

Typographic system, format, and cover treatments for The New York Times Magazine's Voyages travel issue, commissioned by The New York Times Company. The work applied Walsh's approach to photographic and illustrative layering within the magazine's established editorial grid, adapting the studio's maximalist visual language to the constraints of a major weekly publication. It was among Sagmeister & Walsh's last significant editorial commissions before the partnership dissolved in 2019.
New York Times Magazine — Voyages (2017).
&Walsh studio identity, 2019

studio identity

2019

Self-commissioned identity for Walsh's solo studio, launched in 2019 from the same New York office previously occupied by Sagmeister & Walsh. Built on hand-drawn letterforms and saturated colour, the system served as the studio's public launch, its positioning statement, and its first major piece of self-authored work. The identity entered the market at a moment when much agency branding had converged on typographic minimalism, and its exuberant visual language became a reference point for studio and conference-identity work in the years following.
&Walsh studio identity (2019).

Influence & legacy

Walsh’s most visible influence is stylistic: the maximalist, colour-first, hand-lettered visual language that dominated late 2010s and early 2020s design across conferences, D2C brand launches and Instagram-native content is substantially a &Walsh influence. Where the 2000s and early 2010s were dominated by Swiss-derived reduction, the late 2010s were dominated by something closer to a Walsh position.

Ladies, Wine & Design is structurally the more significant contribution. The network has shipped thousands of individual mentorship relationships since 2016 and is now cited as a model for cross-border professional networks in adjacent creative fields — writing, architecture, music production.

For students entering the profession today, Walsh models a continuously-public design career. Instagram, Twitter, conference talks, books, podcasts, the 40 Days of Dating film option, the Ladies, Wine & Design network — all are part of a single integrated practice. The boundary between “studio work” and “public-facing personal work” has been dissolved.

Learn at TGDS

Walsh’s approach — maximalist identity, social-first publishing, author-designer practice — connects to several modules of our curriculum:

Courses

  • Certificate IV in Design (CUA40720) — covers the typography, identity and illustration foundations that underpin &Walsh-style identity work.
  • Intensive Foundation Course — 11 modules in typography, layout and identity fundamentals. The same craft underpinning the brand systems Walsh builds at studio scale. Certificate of completion, not the Cert IV.

Further reading

Books

  • Jessica Walsh & Timothy Goodman, 40 Days of Dating: An Experiment (Abrams, 2015).
  • Stefan Sagmeister & Jessica Walsh, Sagmeister & Walsh: Beauty (Phaidon, 2018).

Get Started.

You can enrol any day of the year. We are online and study is self-paced, there is no pressure. Enrol when you are ready to start, from anywhere in the world. If you would like to chat or email, feel free to get in touch.

Brochures, Phone Calls & Questions

You can download a free brochure, book a phone call with one of our course advisors, or simply ask a question.

Other ways to get in touch

Australia 1300 655 485

International +61 1300 655 485

Ask Anything info@thegraphicdesignschool.com

Get a quote accounts@thegraphicdesignschool.com

Acknowledgement of Country
The Graphic Design School acknowledges the Traditional Custodians of Country throughout Australia and their continued spiritual connection to land.
We pay respect to Elders past, present and emerging.
Always was, always will be.
RTO Provider № 91706