The most important and beautiful thing in the world is this, that people are not always the same, they are not yet finished, they are always changing.
Guimarães Rosa
Welcome to the August edition of our newsletter!
Each month we meet here to share the themes that have crossed our creative journey and are echoing out into the world. In this edition, you'll read about why taste can't be delegated to AI, the point of view no machine can borrow, how the biggest launch of the decade turned the wait into the work, where brand value migrates when meaning is the multiplier, and why nostalgia became a borrowed future.
In the section Tátil around the World, we have the Grupo Tigre rebrand, Rio Carnaval in Taschen's new book, ten years of the Rio 2016 brands, the Sementes de Futuros project, and Ricardo Bezerra's (Global CCO) article in Creative Review.
Our goal is to stay true to our core principle of working WITH, not FOR. Feel free to share your suggestions, comment on our content, or interact with us by replying to this email.
Enjoy your reading!
Communication, Marketing, and Brand Team — Tátil
Top 5 Tátil Curations
The cost of the shortcut
D&AD's second AI report crossed 197 creative leaders across 30 countries with data from 10,118 awards entries, and its verdict is sharp. AI has raised the floor of commercial creativity, average work is now faster, cheaper and harder to tell apart, but the harder skill has not moved: knowing what deserves to exist, what to reject, and what should never be delegated. That judgment is built slowly, through the drafts, dead ends and failures the industry treats as inefficient, which are exactly the moments AI now compresses. The shortcut speeds up the work while quietly erasing the path that produces the people who can direct it.
Judgment is the last craft
AI now reaches past execution into ideation, and this POV argues the real casualty is the iterative struggle where taste is actually formed. Andrew Shea reads it through Erik Brynjolfsson's Turing Trap, the pull to automate what people do instead of extending it, which quietly erases the junior work where instinct grows. The threat named here isn't the tool, it's the vanishing apprenticeship that turns a designer into someone who can judge.
The wait is the work
GTA 6's second trailer drew 475 million views in 24 hours, and the piece argues scale alone doesn't explain the pull. A $1 to 2 billion budget, a Vice City three times larger than Red Dead 2, and Lucia as the series' first female lead turn a release into an event people organize a year around. What it names is anticipation as a built world, where the launch stops being a date and becomes the culture itself.
Meaning is the multiplier
Kantar's BrandZ Global 2026 values the world's top 100 brands at US$13.1 trillion, up 22% in a year, drawn from 4.6 million consumer interviews across 54 markets. The read underneath the ranking is that value concentrates where a brand stays meaningfully different at every touchpoint, not merely present. What the numbers name is distinctiveness as an asset that compounds, the distance between being known and being chosen.
Nostalgia is a borrowed future
In DIELINE's Shelf Life column, Chloe Cordover reads the current wave of throwback rebrands as a creative crutch, the safe move brands reach for when the future feels unwritten. Mark Fisher's "slow cancellation of the future" frames it, and Cracker Barrel stands as the warning, roughly US$100 million in market value gone in a week before the redesign was pulled. What she names is nostalgia doing the work strategy should, comfort standing in for a point of view.
Tátil around the world
Grupo Tigre
Over 85 years, Tigre has grown, crossed borders and come to offer solutions that go beyond pipes and connections. Now it was time for its brand to follow that evolution. To do so, we created Grupo Tigre to speak of its multinational presence, its legacy and the impact of its solutions in the world, and we evolved Tigre to show how all its strength reaches people in everyday life. Water, as essential to the business as it is to life, became the source of inspiration for the entire language. It inspired forms, movements, colours, illustrations and even an exclusive typeface.
The Elements of Brand Design, by Taschen
What does the Sapucaí have to say about brand design? For TASCHEN, enough to feature on the back cover of The Elements of Brand Design, the new book by Katharina Sussek and Jens Müller on the 110 identity systems that shape branding around the world. Rio Carnaval, the brand we created for the most Brazilian celebration there is, takes up four pages alongside Netflix, Nike and Burger King, among interviews with Paula Scher and Michael Bierut. It is Brazilian creativity reaching bookshelves all over the world!
10 years of Rio 2016
Ten years after they were unveiled, the brands of the Rio 2016 Olympic and Paralympic Games gained a permanent body in the city. Two sculptures of the identities were installed outside the Museu do Amanhã, in the presence of mayor Eduardo Cavaliere. The Olympic mark was born three-dimensional, formed by three figures holding hands that draw the Sugarloaf in an embrace, inspired by the curves of the landscape and the encounter between people. The Paralympic mark took the shape of an off-axis heart that turns into the symbol of infinity. It was conceived as a multisensory sculpture, with light, the sound of a heartbeat and vibration, so that people could feel it.
Sementes de Futuros
A seed is a dream of nature for the future. In its smallest part it holds the memory of an entire ecosystem, and waits for the encounter with the right soil. Sementes de Futuros is born from that image and from a conviction. The best answers to this century's challenges are not prescribed formulas. We gathered them in a collective bank of desirable-future ideas. Every initiative already standing somewhere in the world becomes a seed, and so the knowledge becomes tangible, portable and replicable, ready to germinate in other territories. A seed can be a piece of research, a social technology, a public policy or a project born in a community.
[Article] Ricardo Bezerra
What if part of what the world needs were already here? In Creative Review, Ricardo Bezerra, our Global Chief Creative Officer, talks about originality, identity and what Brazil has to offer a world that is growing more and more homogeneous.
