Hello, and welcome to this week’s Design Diary, a collection of five fab projects from across the world that have impressed us this week. 

For more creative gems along these lines (and so many others) follow along all day, every day on Instagram @AIGAeyeondesign, Facebook, and Twitter @AIGAeyeondesign.

Our AIGA sister from another mister, Design Observer, has just launched the third season of the podcast The Design of Business / The Business of Design, and we are very much ALL ears.

On the first episode we hear from Giorgia Lupi, co-founder and design director of Accurat (which helps companies visualize data) and an artist whose data-driven work is at MoMA in New York.

Lupi popped to the Yale School of Management for the show, talking to hosts Jessica Helfand and Michael Bierut about “making data more human.” Which, as she reveals, isn’t always an easy task: “When clients come to us and say, ‘Oh, you need to make something really easy that my boss will read and understand even without looking at the legend,’ I’m wondering what type of people run this company,” Lupi says.

The guests for the new season include designers, architects, urban planners, and a former U.S. Secretary of the Treasury. You can listen to the episode here and subscribe to the whole season on iTunes here.

Imagine a life without CONTENT, without reach, engagment, leverage, and CONTENT. What post-internet paradise is this?! Imagine no further; graphic designer and artist Mark Price has realized this contentless dearth in new book Content Desert, a collection of work that “presages an almost unfathomably absurd question to pose in 2017, ‘What would a moment without content look like?’”

Price explains, “Content Desert is a post-internet object, a journey through graphic refuse amassed and extruded over several stylized chapters. The book brings together a multitude of hijacked glyphs, damaged vectors, stolen sentiments, and product mockups reimagined and recontextualized at the moment of content’s obsolescence. The resulting volume of deeply compromised images occupies a liminal space in the world of intelligibility.”

And you know what? It looks great: ominous, strange, broken, and intriguing. Just how like our, er, graphics.

If there’s been one project recently that’s made me audibly squeal and clap my hands like an idiot sea lion, this is it. Based in Glasgow, Scotland, design agency O Street has been working on new banknote designs for Scotland recently, and has just unveiled its designs for the new £10 note. And who’s that we see adorning it? Only the best of all the animals, a couple of cute, playful little otters.

Like the new Royal Bank of Scotland £5 before it, also designed by O Street, the designs were the result of consultations alongside engagement agency Nile with people around Scotland, who were asked “what mattered to them.” The designs feature “warmer colors,  land-and-sea faring  wildlife, and a landscape of Burntisland Beach,” says O Street, as well as a dogstooth (otterstooth?) textile pattern, imagery of Dulse seaweed and Scottish midges, and text from Scots poet Norman MacCaig’s Moorings. O Street worked with Timorous Beasties and Stuco on the artwork, and De La Rue on specialty printing on the project.

Nice new work here from our pals over at Animade, in the shape of an animation for Sugru, the “world’s first moldable glue.” The short aims to promote the brand’s “ethical Fixer’s Manifesto,” and to “change people’s thinking around disposable culture through creativity.”

“To help express Sugru’s DIY ethos we aimed to create an approach which was organic and not too digitally manufactured,” says Michael Davies, Animade’s senior creative working on the project. “A hand-drawn approach seemed to fit perfectly with Sugru’s brand, using bright colors and pencil lines. We had a lot of fun experimenting with different expressions, keeping creativity at the core as we balanced playfulness with purpose.”

London-based creative agency S-T has created a new look for Unearthed, the platform from environmental organization Greenpeace that houses work by journalists around “exposing and confronting environmental abuse.” According to S-T, its key aim was to “take specialist environmental journalism from it’s niche roots further into the mainstream.”

It explains: “Working in close collaboration with both the Greenpeace brand and editorial teams, we created a new name and visual identity for use across all digital channels. Part of our work was to deliver an exciting new website, unearthed.greenpeace.org, a new platform for the Unearthed team to present their multimedia journalism across an ever-growing range of subject areas.”