Meeting Kit Hinrichs
If you want to see Kit Hinrichs’ portfolio, just walk down any street in San Francisco. On one side, you might spot the University of San Francisco logo on a light post banner. Across the street, there could be a bus stop ad featuring the California Academy of Sciences logo. And standing at that bus stop? Someone wearing a San Francisco Botanical Garden Society shirt. Those are just a few places where Kit Hinrichs’ work shows up.
His work isn’t just seen throughout San Francisco—it’s recognized around the world, and he’s been doing it for over five decades. A graduate of the ArtCenter College of Design, he spent much of his career as a partner at Pentagram’s San Francisco office before founding Studio Hinrichs in 2009. His award-winning design experience includes identity design, promotion, publication design, packaging design, environmental graphics, product design, editorial design, and exhibition design. His identity work, in my opinion, stands out for its distinctiveness and timelessness. Below are some of my favorite marks of his.
I recently had the chance to meet this legendary designer during a member event at the Letterform Archive, a space where design lovers gather to explore rare books and connect over a shared love of typography and letterforms. He wasn't hard to spot among the members with his signature round glasses, black coat, and flat cap. I introduced myself and told him I was a big fan of his work and that I had recently picked up his book (which I reviewed here). He smiled warmly and we started talking about his career.
Meeting the legendary Kit Hinrichs in San Francisco—such a nice guy.
We chatted about his time at Pentagram and what it was like working alongside the late Alan Fletcher, one of my all-time favorite designers. He mentioned that his wife, Linda Hinrichs—who was at the event with him—is a designer too. She was really nice and offered to take a picture of me and Kit. I later found out she was the first female partner at Pentagram, joining a few years before Paula Scher. It was inspiring to see a couple who not only share the same profession but also the same creative passion. Before we parted ways, he handed me his business card and invited me to visit his studio so he could sign my book. I gladly accepted.
Kit Hinrichs’ business card.
The next day, I grabbed my book, called an Uber, and made my way to his studio. It was about a half-hour from where I was staying. As we pulled up, I knew right away which building was his—the windows covered in playful collage of oversized, layered letters in various typefaces and shades of gray. I walked in, and he greeted me right away. He seemed genuinely glad I actually came by. His studio was just as I imagined—a bookcase full of books, Macs on the desks, and clean, modern furniture that made the space feel both creative and organized. After signing my book, I thanked him and before I left, he gifted me a few small booklets he had designed. One of these was titled The Flag on Paper. He shared with me that he has been collecting flag memorabilia for many years, amassing a 5,000-item collection that has been featured in museum exhibitions, books, and TV appearances.
The exterior of Studio Hinrichs in San Francisco, playful collage of oversized, layered letters in various typefaces and shades of gray.
Kit Hinrichs signed my copy of Narrative Design during my visit to his studio.