Philip Cronerud — Executive Creative Director. Executive Creative Director, Los Angeles
Former Apple

Overview
Kendrick Lamar and pgLang came to the Super Bowl with a world of their own. Apple Music had to be present without sanding down its edges. I led the wider campaign, carrying the language of the performance into film, the Apple Music product, retail, outdoor, and the broadcast itself. Kendrick still looked like Kendrick; Apple Music had a clear role in presenting him.

Overview
Usher’s career crosses several eras, each with its own image. The job was to make that history feel current without turning it into a retrospective. Working with his team, I led a campaign that connected the performance to Apple Music, film, retail, digital, and outdoor. The pieces felt part of the same event, even as the references moved through different periods of his career.

Overview
Rihanna’s performance marked both a major return and Apple Music’s first year presenting the Halftime Show. The artist was the event; the sponsor could not distract from the reason people were watching.
Working directly with Rihanna’s team, I led Apple Music’s creative direction across broadcast, film, product, retail, digital, and outdoor. The campaign established Apple Music’s role as presenter while protecting the singularity of the performance.

Overview
Spatial Audio changed how music sounded, but there was nothing obvious to photograph. I led the positioning, naming, and launch direction. Repetition, rhythm, and layers made the sensation of immersion visible in Apple Music, film, retail, digital, and outdoor. The language is still used to explain immersive sound in the service.

Overview
For the 20th anniversary of Apple Podcasts, we made the number 20 from two microphones. It was simple enough to read in a second and specific enough to belong to podcasts. I led the idea and its development through the product, social, digital, and retail.

Overview
Classical music does not fit neatly into a streaming service. Listeners look for a composer, a work, a conductor, an orchestra, or one particular recording. I led the launch direction for Apple Music Classical. We left the marble busts behind and photographed living musicians, giving the new product an identity that felt current without losing its connection to Apple Music.

Overview
From 2020 to 2025, I led creative direction for Apple Music across brand, product, campaigns, and cultural partnerships.
I managed and creatively led a multidisciplinary team, evolving the service’s identity across artists, genres, markets, daily programming, major product launches, and three Apple Music Super Bowl Halftime Shows.

Overview
The Apple Music Voice Plan was a lower-priced subscription controlled through Siri. Rather than explain voice control, the campaign used it. Outdoor and digital placements suggested songs connected to the city around them, turning each headline into something a person could ask Siri to play.

Overview
iPhone 11 was the first lineup that had to explain a real split between the standard phone and Pro. We made iPhone 11 bright and led with color. Pro became darker and more cinematic. Its three cameras supplied both the product story and the rule for the compositions, making the difference between the two phones legible throughout the launch.

Overview
HomePod was a new kind of Apple product: part speaker, part intelligent assistant, and an object that had to live in the home. I led the art direction for its global launch, establishing a visual language built around deep gradients and exact product photography. The direction carried from keynote and film to Apple.com, retail, outdoor, and packaging, giving a minimal device a recognizable image of sound.

Overview
Most iPhone launches had led with the screen. For iPhone 7, we turned the product around and made its back the hero, drawing attention to the camera, material, and new black finish. Close photography and restrained composition made the surface itself the story across keynote, Apple.com, film, outdoor, retail, and packaging.

Overview
AirTag is tiny and, at first glance, gives away very little about what it does. I led the art direction across Apple.com, packaging, retail, and channel. Large product images and plain demonstrations did the explaining, making a new object and its single purpose easy to grasp.

Overview
The launch of iPhone (PRODUCT)RED centered on the depth and intensity of its red glass finish. A custom wallpaper carried that material idea onto the screen, expanding the color into a spectrum of tones that complemented the device while giving the product a distinct digital expression.

Overview
The Apple Anniversary Award recognizes long-term employee service and is made from reclaimed Apple product materials. Developed with the hardware team, the object and its packaging were treated with the same care as a customer-facing product. I led packaging art direction, shaping an experience that felt precise, personal, and distinctly Apple.

Overview
SwiftShot was created for WWDC as a playable demonstration of Apple’s next generation of augmented-reality capabilities. The multiplayer game made ARKit tangible while also serving as a reference project developers could examine and build upon.
I shaped the product experience, visual language, and launch presentation, connecting the game itself with the way Apple introduced the technology to developers.

Overview
In 2020, WWDC became fully digital for the first time. Without a physical gathering, the identity needed to create a sense of individual presence and shared community. Memoji became the central visual device, allowing developers to recognize themselves across the streamed experience and turning customization into a symbol of participation.

Overview
Apple TV 4K promised better resolution, color, and detail, all qualities that are easy to claim and harder to show. We built the launch around the image itself: sharper contrast, deeper color, and exact product photography from the keynote to Apple.com, stores, and packaging. The communication demonstrated the upgrade instead of merely naming it.

Overview
For the Olympic Winter Games, VISA told Mikaela Shiffrin’s story from childhood ambition to the world stage. The hero film positioned VISA as a consistent presence throughout the journey rather than a sponsor appearing only at the finish. I led creative direction across the global campaign and its expression through film, digital, social, and partnership channels.

Overview
VISA appeared in thousands of places, made by different teams, agencies, partners, and markets. The problem was not a shortage of work; it was a shortage of connection between it. I led the direction and rollout of the new identity through products, campaigns, partnerships, and regional applications. The result was a clearer standard that local teams could actually use.

Overview
VISA’s FIFA World Cup platform focused on the fans and local communities that give the game its identity. The campaign commissioned artists and small businesses to express the character of football culture in their countries, connecting a global partnership with local creative voices. I led creative direction across the international campaign system and its market adaptations.

Overview
Formula One produces a relentless amount of material: social posts, merchandise, digital content, partner work, and a new race environment almost every week. My role was to set the standard and keep it intact as internal teams, agencies, and markets worked at speed. The identity stayed recognizable without forcing every execution into the same template.

Overview
Part of the executive leadership team for VISA’s global Brand Creative organization of approximately 45, leading creative direction across brand, campaigns, product, partnerships, sport, music, and entertainment.

Overview
An ongoing collaboration with photographer Chad Moore, from Coca-Cola Music at Wieden+Kennedy Amsterdam (2013) through the 2015 book June, which Cronerud designed and sequenced by color, to current photographs including Olivia Rodrigo.

Overview
A publication bringing two cinematic bodies of work by Alex Prager into a single volume. Developed closely with Alex, the design allows each project to retain its own scale, rhythm, and atmosphere while creating a deliberate tension between still and moving image.

Overview
The launch issue of Printed Pages. An 84-page, saddle-stitched first edition built around long features — Sagmeister & Walsh just as Jessica Walsh became partner, Chris Ware, Apartamento founder Omar Sosa, Why Not Associates’ archive, and a survey of graphic design in Barcelona.

Overview
Summer 2013. Interviews with Nadav Kander and Geoff McFetridge sit alongside the engineer behind Doris Salcedo’s crack in Tate Modern, Kickstarter’s effect on creative work, the British Museum’s braille guides, and a commissioned still-life series on synaesthesia by Ryan Hopkinson.

Overview
Autumn 2013. Push Pin co-founder Seymour Chwast, Belgian illustrator Jan Van Der Veken, painter Katharina Grosse, a dispatch from Brazil’s creative scene, TASCHEN editor Dian Hanson, and original comics by Brecht Vandenbroucke.

Overview
Winter 2013, with a cover illustration by Jonathan Zawada. Hayward Gallery director Ralph Rugoff, design historian Emily King, Joe Sacco, Jaimie Warren, and Douglas Coupland, plus Scandinavian product design and a look inside London’s Renoir cinema.

Overview
Spring 2014 redesign: 128 pages, a spine, heavier stocks, and the first photographic cover — a still life by Maurizio Di Iorio. Features include Lotta Nieminen, Aitor Throup, Stanley Donwood, Modern Toss, Tavi Gevinson with Minna Gilligan, Richard Turley, and an exclusive commission by Gemma Tickle and Bruno Drummond.

Overview
Summer 2014. Eike König, Duke Riley, David Pearson, Marian Bantjes, theatrical catwalk shows, the studios of children’s illustrators, Don Hunstein’s rock photography archive, and a 16-page original comic by Rami Niemi.

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Autumn 2014, wrapped in a cover by Ben Sandler and Bonsoir Paris on “The Fall.” Mike Perry, Teal Triggs’ Riot Grrrl zine archive, Peggy Guggenheim, Simon Hanselmann and Grant Gronewold, Lucas Foglia, Olafur Eliasson, and Tove Jansson through photographer C-G Hagström.

Overview
Winter 2014, with a cover by John Short. Jeremy Deller, Kenzo’s culture of collaboration, filmmaker Tomas Leach, Raymond Briggs, Studio Swine, The Whole Earth Catalog, ten years of Kemistry Gallery posters, ill Studio, and Carl Kleiner’s analog archive.

Overview
Spring/Summer 2015 — the first biannual issue. 156 pages and two covers by Lithuanian photographer Tadao Cern, shot on a beach in eastern Europe, as Printed Pages moved from a quarterly to twice a year with more room for features and commissioned work.

Overview
Exclusive commission for Printed Pages Issue 5 (Spring 2014). Photographer Bruno Drummond and set designer Gemma Tickle were given free rein to make Repeat — a typology of movement built from flexible, slide-like forms, translating velocity, slump, and curl into still images.

Overview
Exclusive photographic commission for Printed Pages Issue 6, by Lightning & Kinglyface with Kate Jackling. Loosely based on Babinet’s theory of diffraction, the series studies how light hits structure, material, and form — presence, absence, and everything in between.

Overview
A Nike HyperFuse ad made at Wieden+Kennedy Amsterdam. HyperFuse bonded three layers — stability, breathability, durability — with heat and pressure instead of stitching, and the work turned that fused construction into a graphic, athletic image.

Overview
After Wieden+Kennedy won Coca-Cola’s global music pitch, we created a responsive identity system designed to change with artists, platforms, and cultural moments. At a time when most brand identities remained fixed, the system treated movement and adaptation as core behavior and became the foundation for film, digital, experiences, and global market toolkits. Philip Cronerud designed; Chad Moore photographed.

Overview
We created a visual system around a moiré technique that allowed Diet Coke to make silver feel ownable and active. The optical pattern introduced movement and depth across packaging and communications while preserving the clarity of the brand. Although the system was not fully implemented globally, the central design idea remains direct and distinctive.

Overview
Created with Bas Koopmans, Meet the Icons repositioned the Stedelijk Museum’s collection as an active part of contemporary culture rather than a static archive. The campaign brought recognizable works and artists into a direct public-facing system across outdoor, print, digital, and museum channels.

Overview
The launch placed the red Audi TT against Iceland’s ice, rock, and volcanic landscape. The contrast turned the car into a precise object in motion while the terrain amplified the ideas of control, performance, and quattro capability. The art direction carried across print, outdoor, and digital.

Overview
For Desperados, typography became the central brand behavior: loud, kinetic, and flexible enough to move from packaging into campaign and nightlife environments. The system gave the tequila-flavored beer a visual voice that reflected the energy and spontaneity of the product.

Overview
Created with Bas Koopmans, the identity used repeated artist imagery to form visual paths through Amsterdam. Posters, flyposting, and city placements connected one appearance to the next, turning the campaign into a directional rhythm that led audiences toward the festival.

Overview
Vibe Check is a lightweight decision-making tool for creative teams. Participants respond independently to images, references, or ideas, revealing where taste converges before a project begins. I designed and built it to replace long subjective discussions with a quick, visible measure of alignment.

Overview
I founded trulytype to design and release original typefaces and create custom typographic systems for brands, products, and cultural institutions. The independent foundry has released 15 font families used by designers and organizations including Pentagram, IDEO, MoMA, The Metropolitan Museum of Art, Landor, Wolff Olins, and Jean Nouvel.

Overview
2manybooks turns a physical bookshelf into a searchable digital library. People can photograph their books, organize a collection, discover related titles, and buy or sell directly with other collectors. I founded, designed, and built the product end to end, spanning positioning, identity, interface, book data, marketplace mechanics, development, and launch. The platform has grown to more than 3,000 users, with nearly 200,000 books cataloged and a growing network of collectors and verified booksellers.

Overview
Defined.space is a private gallery and collecting practice focused on collectible furniture, contemporary art, and artists’ books. Its program brings together conceptual art, photography, pop, and performance practices from the 1960s onward, presented through 1stDibs, Artsy, and direct acquisition.

Overview
A significant share of auction inventory goes unsold and often disappears into private follow-up between auction houses, consignors, and potential buyers. Unsold Lots brings that inventory into one searchable marketplace, helping the parties reconnect after a sale while improving visibility and price discovery.