I want to share an early brand identity design project from our archives, this one’s from 2010.
A brand identity design project that began like this. A query came in by email. From Seattle. We had already moved to the East Coast, but barely, and this blog was optimized at the time for search for Seattle branding. This was swell before everyone in the universe had a blog or microblog, and way, wayyyy before instagram. I think MySpace was going on, back then. So if you were in Seattle or nearabouts, and seeking designers who specialized in branding, then, yeah. We popped up.
Taking the call in Durham NC, we got to talking about it. The identity, the feeling, the vibe. The concept. I park for a while on Concept, when I’m leading a project, and this one was me on the creative lead, for sure. Because of stylistics: the image, the emotion, all of that, pointed to the aesthetic of a past version of DK. One that liked to play with… paint.
I did this. I played around with paint. Brushstrokes, lettering. It was good.
Design and identity design
So what happened was that I got to the studio, of ours, in Durham, and we set thing sup a little differently. Instead of using the computers so much, we started cutting papers, collaging, I even tried a quilling technique, to see what might emerge. Play. Again, play. I see that now in all our past works.
In the end, I lettered the name of the cafe with a thick brush, going out of my usual style of using a pen, or line art, or vectors. The feeling that the cafe was going for, and this was well before it was starting, I think it was under construction when we were calling at that time, well yeah.
Anyway, it was not the usual style of DK’s (our usual style is often described as ‘clean, modern.’) It was something else. A different mood. Still, the idea of a design brief is to outline that so well that you can make it work out, even if that means researching and learning more and studying and trying things. We love trying things. So this was a chance.
I heard that the Row House Cafe has since closed, but it was an interesting challenge, for sure.
It reminds me a little bit of the time we did the brand identity for a new restaurant in Ireland, will have to fish out those files now, too, from the archives…
One of the first gigs we had at Design Kompany was for the rebrand of the Capitol Hill Chamber of Commerce, back in 2006. CHCC, according to this neighborhood website, has since closed.
Akira Morita took the lead for DK on this design, working with me on it, and through that process, discovering as we went, with our clients, what the goal would be for the image-making. In other words, its concept.
Concepting well means a lot of talking. About why.
And that’s not always easy, especially when a group is just forming.
Being based in Seattle, the ‘how we go about this’ was heavily influenced, naturally, by agile methods. You try, you test, you see, you rework. We started sketching a lot, presenting in pencil, not overworking or over designing, and continuing to develop ideas until something was feeling right—and not just for one or two people, we all know what I’m talking about here, but the collective group. The whole.
Timing is everything, sometimes. We were there, in Seattle, after Ireland, at that exact time when the Capitol Hill Chamber of Commerce was just getting started. Just. Like. Us. DK had a new office, a storefront one, and right up the street from us, a few blocks over, in the same neighborhood, was the CHCC.
Our office on E. Olive Way was base for DK for about a year, which was very visible on its streetfront, and, as such, quite easy for people to discover us.
Then we moved to our apartment, and later, up the hill, past 15th, a few blocks down from WET and Fuel. Many en evening would I spend at the Washington Ensemble Theater. Perhaps another indication that one day, I’d be writing mini plays and springing them on people in unexpected cafe, restaurants, eaters, and other people’s literary events. Anyway, after Olive Way and the other place and some other stuff that took place in between, DK shifted to a house by a park with a tennis court and playground.
We called it Kornerhaus.
There, we kept our PLAY going.
The spaces where we most got a kick out of gathering with our clients also worked well for making parties.
Sugar, Pop, Dazzle, Flourish, and Gather, to name a few. (Some people who are reading this blog may recall it…)
Yes, we’re still DK.
Yes we’re still at it.
Making things, not always design the way we used to design, because that was then, and this is now. It’s experiences that we are specifying bounds and briefs for now, experiences for people to gather and share. Meaningfully, not trivially. At least, that’s what it was from 2013-2019. Next is next.
Content matters, to us. Much more than ‘logos’ or ‘looks.’ It’s getting people together, still, mixing it up if we can. Importantly, as always, in ways that invite the new and curious, which precipitates that magic thing of self-discovery, too, along the way.
Designs, and even life decisions, from these openings, somehow make themselves.
Six years in Capitol Hill… intriguing to see how much the place changed, in our journey there, with it.
Looking around on the web, it’s cool to see that the CHCC had used our design right up until the end of their days, more than a decade after we created it.
I like that.
Progression and playfulness with the ideas… looking back, I see it’s a common thread, with our design works. We want to always leave room for interpretation, so the in-house designers can play with an idea, too, make it a little bit their own, and breathe new life into it, when the time calls for that.
Shifting, poetically but also purposefully.
Like any relationship, things change.
But how you allow for growth–that’s the key to sticking-with-it-ness.
All of that…
The beginning was a fun thing. I remember it.
This design came into being. A concept…
A brand identity scheme, with colors, and this logo…
The year after Akira and I finalized it, handing off the CD with final files (yes, I said ‘CD’), I went by to see how things were going. Smalltalk and the like. They were happy with it. Like many other designs that came after, people were responding. Clients smiled. People enjoyed the connexion. And the image–the connexion-making start point–made it begin to begin. Relationships, after all, have to start from something.
We soon started getting known a little bit around Seattle, I think. Mostly for our ‘clean, modern’ design style (winning new gigs, mostly for architects, after that).
Here are the business cards (photo by Victor Ng):
Was… one ending, for a chapter, for us.
On this blog, back in the late 2000s and for some time after, I used to go through and write down all of everything that we did for everyone. A whole bunch of text, yeah, you thought this was long. And pictures.
A bunch of, say, process pictures, or the mood boards we made, even in-progress pictures. I blogged it all.
Reason is, I think, because I value transparency. Showing the process. And encouraging conversation, throughout. Even with people on the sidelines, or just watching, or walking by our office to peek through the window, to say, ‘What’s that?’
Maybe the chance encounter will invite a fascinating insight.
You just never know.
I continue to invite and connect people, to our programs, projects, and real life salons, to this very day, wherever I am. Reflecting. Hm.
Now, I wanted to push the envelope.
So that’s why, in February 2020, DK is opening again for graphic design and communication design commissions.
Remote. In person ( I can tell you where we’ll be)…
Meantime, since then, we’ve been changing and growing quite a lot. But, while iterating, DK’s core team of Akira and me, along with a handful of coming-and-going teammates and a small circle of collaborators, continue to make headway by discovering, together. Usually by making up projects, and testing them out. In the field. In real life. It’s so great.
Doing this is our work.
Both of ours, separately, as well as here at DK, together.
Spacemaking for discovery.
In different fields, with different people, and amongst different palettes, backgrounds, storytelling styles, and with new people, too. It’s always evolving, around here.
To keep in touch to find out more, join our mailing list. The mailing list for 2020 is called, ‘New chapters.’
The Seattle community paper, Northwest Asian Weekly, is still using our rebrand all this time later. I’m updating our portfolio here to reflect the highlights of our past work in design, and communications, and so, wanted to post about it here.
How we rebranded a 25-year old paper
Everyone. editors, copyeditors, publisher, designers, other staff, occasionally those passing by, and DK worked together to come up with a fresh update, a new template set, typeface selections… the works.
Concepting took a good effort, but it was important, for us, to get the story first. So we sat. And talked. For several sessions, just setting things up so the real talking could begin. In this way, we could do what all designers love to do when they are writing their own creative brief: be present, listen, and make sure you hear everyone. Goal, for DK, then, was to gather inputs from the full team at NWAW.
But it started with the whole big metaphysical question, 25 years after you got started, ‘Who are you now?’
A box over the i, which you can see accented in the design for the masthead, was inspired by the answer we found, together, through dialogues at a round table. Which was, ‘A window to the world.’
Will need to find the better resolution files from our redesign process, but I’m terribly disorganized with old old files, as most people are, and it’s fine, but why I bring this up is because I do recall the file I placed onto the CD of files I had delivered when this project ended, which was, ‘Brand Story: A living document.’ A word file, meant to be something that future editors and designers could visit, and reshape, as time moved on and needs changed. These things happen. It’s inevitable. But a good design leaves space for that… leaves room to grow, and change. To me.
Writing & Publishing
Since I personally love community journalism, I was hawpy to be part of this project, and lead the effort to shift over to a modern, clean design from the original style.
In 2013, When DK got set up in Cambodia, I began to write for the paper, too. I sent in this column, ‘The Village Report,’ to the NWAW. It was easy to think of the idea, given what DK had gathered about what the aim, vision, story, and idea was for the redesign. ‘Window to the world.’ Made sense. It fit. It worked.
Before we moved to Southeast Asia, we were in the United States. Our studio began as ‘Design Kompany,’ or ‘DK.’ We started it officially in Seattle in 2004, at a time when we began to work with small business owners to design brand identity concepts.
Architects and software developers hired DK, enjoying our process-oriented approach.
Baltic Room, Seattle 2009
Blue Gecko, Seattle 2008 Capitol Hill Chamber of Commerce, Seattle 2016
CARE International Cambodia, Phnom Penh 2017
Celtic Ross Hotel, West Cork 2001
Center for Sustainable Water, Phnom Penh 2019
Development Innovations, Phnom Penh 2014-16
Eagle Office, West Cork 2001
Green Plus, Durham NC 2010
Group 3 Architects LLC, Seattle 2006
Gupta Insurance & Family Services, Los Angeles 2007
Hindsight Veterinary Care, Portland, Ore. 2010
InSTEDD iLab Southeast Asia, Phnom Penh, 2016-17
Little Green Software, Durham NC 2011
Loom, a foundation, Seattle 2010 Matchbox Mobile, Brighton 2008
Minatogawa Architects, Seattle 2006
Modern Business Training Services, Castlebar Ireland 2001 Northwest Asian Weekly, Seattle 2007
North Carolina Japan Center, Raleigh 1996 NUK Cafe, Phnom Penh 2004
Seattle Central University, Seattle 2006
Thundershirt, Durham NC 2012
United Nations Development Program, Phnom Penh 2017 You Maga, Seattle 2007 West Cork Advertiser, West Cork 2002-04
Naming, brand identity design, and showing up to make space—quality space—for the process of people who want to discover somethign new, together, is what we did for NUK Cafe. This was 2014. DK had just opened up our doors in Phnom Penh for business, and this was our first gig.
Since then, five years’ experience of living and learning here in Phnom Penh has given us a chance to flex our creative and intellectual muscles. We’ve gotten into very different kinds of projects, since moving away from typical brand identity deign. Still, I think it’s important to share the jo gurney, and how we got to where we are from where we stated. This post is part of a series of updates to our portfolio.
Discovery, networking, change, and reinvention has led us through a wide set of experiences.
Journeys that, for better or worse, taught us some important lessons. I’ll just leave it at that. It’s a long story.
A new DK portfolio
Really enjoyed the NUK project.
Sharing as I go, now, since DK’s going to open again for design commissions from February 2020. That’s a lot of stuff to anticipate, for DK, but the short story is this. We’ve done things, we’ve been places. We’ve learned. We have more to do.
The work is the work, not the pretty pixels you see at the end of hte design process. If learning by doing and seeing how we get from a blank page and zero idea of what to do towards the finished things, which almost always are a 100% co-created set of designs (yes, we hand you pencils sometimes, and get to work together!), then yeah. Get in touch. This is the place to do that.
We’re really only interested in working with business owners who have 5+ years’ experience. For those interested in solopreneurship or personal branding, perhaps try our 8-week workshop, The Mirror, instead of our heavy-hitting journey of brand identity design for DK (which is also waaaayyy more expensive.) It’s not for everyone. (Still, there are 1 out of every 100 people who ‘get’ us, our approach, and see that there’s value in doing it right the first time, even if that means going through the hard question-asking series of things that we will ask of our clients. Apply to be a part of DK’s brand identity design programs from February. Apply here.)
The original post about the story of how we came to make this design for a cafe in Phnom Penh back in 2014, is below.
Phnom Penh. DK had just arrived to Cambodia.
‘Never imagined we’d stay five years:’ DK.
Emergence, innovation, change: Inventing as we go
Design. Making meaning out of vague and abstract collections of thought. Streamling and clarifying…
Things have evolved for them quite a bit at NUK, I think they’ve moved on from our original design, but the ‘N’ is still there on the cups that DK’s Dipika Kohli drew.
Which is this:
I really like this story. Of how you start with ‘…’ and get to this design. It’s not a straight line. The creative process moves around and changes a lot, in the middle. It’s how it goes. It’s how we learn, and how we grow, too. Since DK had been doing branding work for more than a decade, it wasn’t hard. (These days we’re not doing branding work, by the way. More consulting. More experiential programs. Like these.)
Of DK’s founders hitting the road in 2013, going in search of ‘I don’t know what it even is yet’, and discovering the first team in Phnom Penh to give DK an open hand to design the way we know how to design. By asking questions. Listening. Learning. Gathering. Percolating. Generally: trusting the process. Why not? It’s worked for us for so many clients in the past.
In the 2000s DK got to go to a lot of gigs, since we were based at that time in Capitol Hill, amongst all the buzz and arts and nightlife of this bustling neighborhood in Seattle.
One of my favorite venues was the Baltic Room. In the 2010s thanks to TH, an architect, DK got to rebrand that nightclub.
‘Design is making meaning’
Cool to see that they are still using our design….
T., after all, had referred us. She had been one of our first clients. A combination of: a shared aesthetic appreciation of the beauty of chance encounters, plus a common love of jazz (which is after all improvisation in space on the spot), was what led to us meeting T in the first place. ‘I’ve been looking for you,’ T had said. ‘To do the design for my new company. When I break out to do my own company, you’re my designers: I just know.’
‘And that’s how a thing starts, sometimes.’
The Baltic Room rebrand was cool. Was fun to be a part of the process of seeing things update, and guiding the identity redesign by the usual process of ours. We just ask a lot of questions, at the start. It’s like 90% of the whole design project is happening at he start. You have to have that thrashing period so everyone can get the point where they can be honest and say what they really want to say instead of trying to please someone else at the table.
Somewhere along the way there’s a harmony that you can find… I guess design is like music in that regard, too… it just comes into shape on the spot when the mood is right and the people are in the spirit of being ‘on,’ intellectually and creatively, to do the jam, together.
I want to give people a chance to think clearly and long-term, so they don’t have to redo everything later.
Thought of it for two reasons this week.
One: I’m working on a few more issues of S P A C E to round out our Autumn 2019 collection, which includes stuff from the Baltic States visit , and
Two: I always liked electronica but I kind of can’t get over this:
Tuesday in S P A C E we publish the zine, S P A C E | Đà Lạt, ‘In the flowers’. This was a co-creation between Dipika Kohli and BOSS in January 2019. (So yes! Quite recently… just a few short weeks ago.) Something about making them up as we go, publishing while still in the vicinities that have inspired them, is a lot of fun. The energy is good. Momentum, too. We’re jazzed to open a new chapter in S P A C E, Spring 2019, ‘The Book of New Things.’ The title came from a very intriguing and cool, unexpected series of events that led to an unusual place, which is how all beautiful beginnings begin. Surprising new departures. More about S P A C E | Đà Lạt, ‘In the flowers‘.
TODAY WE ARE SHARING the last of the 12-week set of zines in the S P A C E | Winter 2018-19 collection, ‘A Philosophy of the Moment.’ This was created with new and different others in our digital zine project, S P A C E. The last zine in this set is S P A C E | Malmö, ‘Vakt.’
A new series, S P A C E | Spring 2019, ‘The Book of New things,’ is set to begin on 5 March. This is thanks to crowdfunding support. No ads. 100% member-supported. No endorsements, no BS. Learn more about S P A C E and how to subscribe, as well as see our schedule of upcoming issues to be co-created in S P A C E through June, at our crowdfunding page, here.
S P A C E | Malmö, ‘Vakt’
‘Trust the process’
Special thanks to Joji Minatogawa, a very creative person and an architect. I just added him to our contact page under ‘mentors,’ after clearing it first with him over the phone. I really am glad we can still call around the world and see what people are up to, and let them know that we are still here, still curious, still interested, and very much appreciative of the old conversations that went places. Because now, together, here we are. Some of us are still at it: asking the big questions. Questing one another, and the ideas that might come out for a very special, very quiet, very intimate sort of dance. Now, learning to quietly add the right bits and take out the wrong ones, until further getting that good stuff, the good stuff that’s left. Refinement. I am noticing, reading, listening, and still curious. Thanks for the conversations so far. It’s getting really good, now.
‘Design is making meaning. Art is making connexion:’ A. Spaice
Feature photo: ‘Internet I Hate You’ popup installation by Dipika Kohli, at Noir Kaffekultur in Malmoe, November 2015
You’re not to imagine yourself better than we are.
You’re not to think you know more than we do.
You’re not to think you are more important than we are.
You’re not to think you are good at anything.
You’re not to laugh at us.
You’re not to think anyone cares about you.
You’re not to think you can teach us anything
This is the law of Jante.
Featuring the frank essay ‘Fear and Happiness’ by Aske Pedersen, a member of DK’s S P A C E community who grew up in Aarhus. This and other writings are paired in the 29 January issue of S P A. E with photos taken in Aarhus by Dipika Kohli.
Get S P A C E | Aarhus, ‘Janteloven’ on 29 January, when you subscribe to S P A C E. Subscribe here.
DK’s roving, popup zinemaking atelier S P A C E will be sharing ‘Slow Moment,’ a new photozine, on that day, in real life.
FINNISH SUMMER. What we are doing zining in Finland is a different story, but what’s ahead for July is this. DK is in sketching phase with possible co-creators to make: a set of three mini-workshops to bring the zine experience to the public spaces in this small town. ‘This is a zine,’ DK are saying to people we are meeting. ‘Let’s try making one?’ DK’s Dipika Kohli–a former journalist, a graphic designer, and all around improviser–is hosting. After arriving and getting a sense of this place and what we want to do here, DK are in good conversation streams with: Kärsämäki retailers, its local library, and an artist co-operative where we are being hosted this summer. (Zinemaking: like we were doing in Singapore, but way, way lower key. You learn from the past things, right?)
Top: Ahead is the Atelier S P A C E | Kärsämäki project. Bottom sequence: In the past, DK have hosted zine popups and shows in Singapore, Durham NC USA, and Chiang Mai. Photos by DK and OMNI Studiophotos.
CONTENT. How to make a zine, how to rediscover real life, how to enjoy new conversations with people you haven’t met before (or have, but haven’t seen in a while, or have seen but have never spoken to–adjusting this for small-town life), how to enjoy the process of being offline and cutting, pasting, folding, drawing, and how to experience a new media form are all part of the unfolding series. We are jazzed about this jam. A zine. Is new. To a lot of people, where we go. But a zine. Is simple. To make.
‘HELLO SUMMER.’ The summer series, ‘Hei Kesä,’ will gather, we hope, both younger people and young-at-heart people and interconnect the community in a new way. It’s going to be different, for sure, from our past ateliers, and that’s exactly why we’re excited. A full month to prepare. Zines to make, every day, in the meantime. Articles to post to the people who have already pre-ordered the photozine we will create from this town, S P A C E | Kärsämäki. (Read more and support this project, when you pre-order S P A C E | Kärsämäki here.)
Or be a part of it from a distance, when you pre-order a copy of the photozine. You’ll have access to the online forum S P A C E | ‘Slow Moment’ between now and the end of July, when you do.
EXPRESSIONS. Developing new voices has been our work until this point in time at DK. Now we are exploring our own. Designing space for new and different others to find remarkable connexion. But how? Practicing our way towards the answers. Or… the questions. What are yours? Comments are open, for now.
And I’m going to send it to just the five of us, and that’s it.
It’s called A Song for Jean Rhys.
Jean Rhys inspired the work, in a big way, of hosting The Mirror.
Writing needn’t be about mass producing, or selling, or convincing, or debunking. Sometimes, writing can just be about sharing. Making a quiet space, and letting that be enough. Enough. Letting things slow and experiencing this here, this now, is enough… What if that could be a philosophy?
Asia for five years now. You let go a little bit of the old programmes. I know I’ve written that somewhere before, but it isn’t a bad thing to underscore it. Letting go of the programmes. To see, finally, when we can make space, to be together for a time, to listen and to share, that’s neat. That’s being here, being here now. Some people who have mentored me have shown me the ways to try to include the quiet spaces in my everyday, and indeed, to let them take the center stage. Stillness. Quieting. I’m living next to temples. I’m learning to stay the journeys now, without abruptly quitting a person, time, or place. But… Selectively. The small poem is ‘A Song for Jean Rhys.’ It isn’t for sharing here, but there, in our closed circle, where things have gone from small and simple maybe things to wow, this is good, this is right things. Is this intimacy?… is this beauty? Is this the whole thing of Art?
SOME DISTANT DAY. Big questions, but we don’t have to resolve anything. Rilke said, to the young poet, don’t ask so many questions, but let yourself live your way toward the answers… Of course he said it better, but it’s past midnight and the scrap of paper I had written it on is, oh, no, wait! I typed it! In Cameron Highlands! Here… Indexed, searched… found:
Be patient toward all that is unresolved in your heart and try to love the questions themselves… Do not… seek the answers, which cannot be given to you because you would not be able to live them. And the point is to live everything. Live the questions now. Perhaps you will gradually, without noticing it, live along some distant day into the answer.’ —Rilke’s letters to a young poet
Then you might be interested in volunteering to lead tours or youth programs for Seattle Architecture Foundation.
Allied Arts of Seattle, one of our 2008 clients, sent us this announcement about Seattle Architecture Foundation’s February 26 open house.
Architecture Foundation Annual Volunteer Open House & Celebration
Thursday, February 26 :: 5:30 to 8:30pm
Rainier Square Atrium
1333 Fifth Avenue
More info: SeattleArchitecture.org
Here’s the official blurb…
Each year SAF hosts an open house for all returning SAF volunteers and everyone who is interested in volunteering for the first time. Refreshments will be served when the doors open at 5:30. About 6:15 a program will inform you about plans for this year and about the achievements of the recipients of the 2008 Bill Strong Awards for Volunteer Excellence. Learn about:
No architecture or design knowledge or experience is necessary. Your desire to get involved and your commitment to follow through are our only requirements. —SeattleArchitecture.org
‘OUR NEW NAME AND BRAND reflects how we’ve grown over the past three years from a research focused company to what we’re all about today: creating truly unique custom mobile solutions for our clients. You guys really helped us out with finding our niche.’ —Richard Stott, Matchbox Mobile, Brighton & Seattle 2008
HERE’S THE NEW logo and color scheme for Japanese restaurant Miyabi.
Most of the people who hire Design Kompany work in professional services. So it’s always a treat when someone comes along who just likes our process, and wants to try it out. Miyabi came to us because they really wanted to establish themselves as a family-friendly Japanese restaurant. (Most of their customers were people visiting the just-next-door Toys R Us.) It was important to nail the brand message first: “Fun, delicious, and quirky.”
Handy, too, that AM is a native speaker of Japanese. (I’m medium. I’ve passed for Japanese once or twice in telephone calls. Always a hoot.)
Here’s the original post.
A Japanese restaurant asks DK for a logo, menu, and business card design.
Creating a Japanese restaurant’s brand identity
A JAPANESE RESTAURANT IN the TUKWILA, WA area asked us to design a new brand identity when they realized they wanted a change. They’d been in business for a while, but wanted a new image.
Still, Miyabi wasn’t 100% sure what story it wanted to tell through the rebrand and design for the new look.
In addition to a menu, we also created a series of ads to run in local hotel directories, and Japanese-language telephone directories, too. We made a winter holiday postcard with this design, too, which was a lot of fun!
Here’s the new brand Design Kompany made for the Japanese restaurant Miyabi.
Design Kompany came up with the total brand image: a custom typeface for ‘Miyabi,’ custom illustrations, the color palette, and the typefaces to pair with the new logo.
At first the owners of this Tukwila restaurant thought they might like a sleek, Japanese bistro look that would be upscale and posh.
But after talking with Design Kompany, it became clear that “young people looking for a fancy date spot” just isn’t Miyabi’s target audience.
Families come here. Local regulars. And business folks who happen to be in the area, which is near Sea-Tac airport.
“After going through [the questionnaire] with you guys,” Miyabi co-owner Hisako Shirakura said, “we realized we want a look that says ‘we’re fun.’
“We want people to know they can come here and have a nice time. And… we want to surprise them.”
“Quirky, in other words? A little… off-center?”
So we brought to the team Design Kompany illustrator Aaron Barker. “I was really enthusiastic about working with Design Kompany on a sushi restaurant’s logo,” he says. Aaron drew the fish and created the font for “Miyabi”.
I tried many ‘style’ concepts, from sketchy pencil to crisp vector graphics, abstracted letterforms to kawaii, or ‘Japanese cute.’ I’ve spent a lot of time around fish my whole life, visiting aquariums, commercial fishing… And in high school I even took a workshop with the famous fish illustrator Ray Troll. –DK illustrator Aaron Barker.
Keep an eye out for more from this up and coming artist, who sometimes signs his drawings “Aaron Bee.”
New business cards for Miyabi came out at the end of 2006.