Introduction
Welcome to another edition of Behind the Shop, where we take a deep dive into the creative minds behind the brands that thrive on Creative Market. This time, we’re excited to introduce you to Emir Ayouni, founder of G.A.R.M. Co. (Graphic Artist Resource Merchant Company).
Emir’s journey into graphic design started in the most unexpected of places: a middle school logo contest. From there, he never looked back. Combining Scandinavian roots with a love for American boldness, G.A.R.M. Co. has become a go-to resource for artists looking for authentic, analog-inspired brushes and tools. Emir’s passion for storytelling, Norse mythology, and retro design has created a brand that stands out by blending history, culture, and design innovation. Let’s dive into how Emir brings traditional techniques into the digital world, and what makes his approach to design truly unique.
What does G.A.R.M. mean and how did the name come about?
G.A.R.M. Co. stands for Graphic Artist Resource Merchant Company. I wanted a name that felt broad and timeless, reminiscent of the institutions and businesses of a bygone era, without feeling too niche or cliché.
Additionally, there’s a hidden layer to the name—being based in Scandinavia, we liked the idea of a subtle nod to Norse mythology. In the myths, Garm is a wolf or dog associated with both Hel and Ragnarök, guarding the gates of Hel. Though we haven’t explicitly referenced this in our branding yet, we do have some assets in development that play with this motif.
What inspired you to pursue graphic design in the first place? What were you working on before?
I’ve been drawing for as long as I can remember, and my first real experience with branding came when I was 10 years old. Back in 1989, for a middle school project, all the students were tasked with designing a logo for the school, and then everyone voted on their favorite. I created a logo featuring a skater doing an ollie, and it ended up being chosen as the official brand of our school. (Please note: This is the first and last time I ever participated in “spec work” haha.)
It remained the school’s logo for many years, though I’m not sure when it was eventually changed, and although I wish I could find it now, it might be lost forever.
Fast forward to 1997, when I turned 18 and moved to Stockholm to study at a Folkhögskola (similar to a community college). I studied “Media,” which covered a broad range of subjects, from photography and video production to journalism and graphic design. Living on campus, we had access to a computer lab with internet—a rarity in the mid-90s.
One day, we had a full-day crash course in Adobe software, and I was instantly hooked. I spent my evenings teaching myself Photoshop and Illustrator, experimenting late into the night. Soon, I started designing logos, websites, and mixtape covers for friends in the music scene, some of whom later landed record deals. That was when I began to turn my sort of “newfound passion” for graphic design into a career.
When creating a new brush or graphic pack, where does your creative process usually start? What inspires you?
My creative process typically begins with designing something I’d love to use myself or exploring a concept that feels fresh. Before founding G.A.R.M. Co., I was teaching illustration and branding courses, and one of the most frequently asked questions was about color palettes. That inspired the creation of our Colorama Color Kit series.
I also keep an eye on popular products from competitors, finding ways to reinterpret them with our own unique twist, ensuring our offerings feel distinct without crossing into imitation.
Are there specific eras you draw inspiration from? How do you reconnect with those retro aesthetics?
That’s a tricky one—I’m constantly inspired by different historical design periods. I’m drawn to everything from the elegance of the Victorian era to the bold lines of mid-century modern, and the nostalgia of the 80s and 90s. These influences shape the overall aesthetic of G.A.R.M. Co., which launched on October 15, 2020, just before Halloween, adding a slightly eerie vibe to our brand. I’m also a huge horror fan, and that love of the genre definitely seeps into our products, giving them a distinct and consistent theme.
You describe your tools as analog. What does this mean in terms of how they are created? What is the process like?
When we say our tools are analog, we mean that we strive to replicate the authentic feel of traditional, hands-on materials as closely as possible. We don’t just want our brushes to make digital art look like it was created with analog tools; we want the experience of using them to feel as real as possible. For example, our Gritters Chalk Brush Set is designed to capture the tactile sensation of drawing with chalk. While digital can never fully replace the feel of the real thing, we aim to get as close as possible.
Where are you currently based and how has this location inspired your work?
I’m based in Scandinavia, splitting my time between Sweden and Norway. Though I was born and raised in Sweden, I’ve spent over 15 years in Norway, where my fiancée is from.
Interestingly, my design style has always resonated more with American audiences. Most of my clients are based in the U.S., and I’ve worked with a small, U.S.-based studio called The Forefathers Group since 2012, with team members located in New Jersey and Tulsa. For the past two years, I’ve also been working as Brand Lead Designer for Willowtree (previously Maark in Boston before the merger).
In Scandinavia, clients often prefer to blend in, whereas American clients usually want to stand out and be unique—an approach that aligns with my creative ethos. This contrast, and the influence of “the Law of Jante” in Scandinavian culture, might explain why my work finds more success abroad.
Out of all the brush packs and kits you’ve designed, which one is your favorite and why?
Of all the brush packs we’ve developed, the latest, Gritters, stands out because it truly captures that true analog feel we were aiming for. I’m also a big fan of the Haunt Brush Set, which is a liner brush set that I use daily in my own projects.
And of course, our Colorama Color Kits have become our signature product line. The Heretic Turing Pattern Machine is another favorite—it’s one of our most niche and unique offerings, and I’ve been using it a lot lately.
Links to Learn More and Follow Along
Here’s where you can learn more about Emir and his work:
Download these worksheets and start practicing with simple instructions and tracing exercises.
Download now!
Brand strategist. Creating design tools to empower creative entrepreneurs. Author of the Lean Branding book. MA in Design Management from the Savannah College of Art and Design (SCAD).
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