GDUSA October 2017 by Graphic Design USA

octobercoverfinal_Layout 1 10/4/17 12:05 PM Page 1

GD USA

GD USA GRAPHIC DESIGN USA

HEALTH + WELLNESS DESIGN AWARDS SPONSORED BY OCTOBER 2017

ERICKSON STOCK

RESPONSIBLE DESIGNERS TO WATCH SPONSORED BY

ROLLAND

ANNUAL STOCK VISUAL SURVEY www.gdusa.com

OCTOB ER 2017

Project36_Layout 1 9/18/17 2:15 PM Page 1

2017 Top Design School by GDUSA Study onsite in San Francisco or online School of Graphic Design | Student design by Corredor Juan Manuel Academy of Art University | Founded in San Francisco 1929 | 888.680.8691 | academyart.edu/GDUSA | Yellow Ribbon Participant Visit academyart.edu to learn more about total costs, median student loan debt, potential occupations and other information. Accredited member WSCUC, NASAD, CIDA (BFA-IAD, MFA-IAD), NAAB (B.ARCH, M.ARCH), CTC (California Teacher Credential).

Project48_Layout 1 9/28/17 11:49 AM Page 1

What’s your bright idea? Whatever you’re working on, we can help. Discover fresh images, video clips, and music tracks — royalty-free and ready to use. Get star ted with 15% off. Use promo code GDUSA15. shutterstock.com

Tithi Luadthong / Shutterstock Image ID: 316023026

Project45_Layout 1 9/27/17 1:53 PM Page 1

SAVE THE DATE! BOSTON / APRIL 30 - MAY 3 / 2018

REGISTER BY 11/30 AND SAVE UP TO $700 April 30 â&#x20AC;&#x201C; May 3, 2018 at the Hynes Convention Center in Boston Visit howdesignlive.com for more information.

A NEW CONFERENCE PRODUCED BY HOW EVENTS, CREATORS OF HOW DESIGN LIVE

Project45_Layout 1 9/27/17 1:53 PM Page 2

NOVEMBER 13-14, 2017 SCHOOL OF VISUAL ARTS THEATRE / NYC W W W . T H E R E A C H C O N F E R E N C E . C O M

October 2017 Pub Letter-Focus Impo_feb news play 10/4/17 11:14 AM Page 4

LETTER FROM THE PUBLISHER | A NATURAL EVOLUTION As a complement to our perennial and popular special reports — “People To Watch” (newsmakers) and “Students To Watch” (rising graduates) and “Educators To Watch” (influential teachers) — we have now added “Responsible Designers To Watch” to the editorial mix. Growing organically out of our “Green Design” annual feature into something more inclusive, we are responding to the fact that many designers are embracing responsibility writ large in terms of how, when, why and for whom they work. Being green, I think, is necessary but not sufficient to capture the spirit of the moment. The common thread among these “responsible designers” is that they are leading the charge to use design and communications principles and skills to make the world a better place as they see it. We invite your help in identifying our next round of responsible designers. And we thank Rolland for sponsoring this report over the years as it evolves naturally from “green” to “sustainable” to “responsible” design.

GORDON KAYE IS THE PUBLISHER OF GDUSA Comments, suggestions and letters can be sent to gkaye @ gdusa.com.

One other point. In the current polarized political atmosphere, content we include in the magazine and on our website is sometimes misinterpreted as purposefully partisan instead of just plain news. Thus, I am occasionally attacked as a right wing nut and/or left wing nut depending on the day. The “nut” part of the complaint may well be fair. The political charge is unfair: I am an old-fashioned centrist realistic but optimistic about our collective future and GDUSA is a traditional advocate for designers. How does this relate to today’s report? We invited our honored guests to tell us about themselves and their personal journeys, and it turns out most are aligned with progressive causes. I respect that but, for me, it not the main takeaway of the story. GDUSA’s agenda is straightforward: to elevate graphic design to its rightful place in commerce and culture. No more and no less. REFUSING TO GO GENTLY This edition of GDUSA carries our Health + Wellness Design Awards™ showcase of 100 wonderfully timely winning pieces. When we first conceived this competition, I envisioned imagery of doctors, nurses, pills, and sick rooms, a visual exploration of treating disease and infirmity. What we are seeing is considerably broader and more aspirational. “Wellness” is clearly superceding “healthcare” as a way consumers and marketers are approaching this sector, with a related shift to design and marketing that honors the pursuit of complete physical and mental well-being. As a subset, we are seeing more projects that address the intersection of wellness and aging, a growing area of concern as Boomers and their parents refuse to go gently into that good night, and a particular strength of awards sponsor/ photographer Jim Erickson. There is also an aspirational message here for designers: industries like healthcare are always morphing and new opportunities are always emerging. STRANGE BUT TRUE One pleasure of editing GDUSA is the variety of content that flows across my desk for possible coverage. Most is newsy, informational, even inspirational. On the flip side, some fits the “strange but true” category and I submit a few such items for your consideration. Cheetos has opened a pop-up restaurant featuring Mac N’ Cheetos while Kellogg’s plans a pop-up venue dubbed the Pop Tart Café. Hello Kitty, the ubiquitous Japanese brand, is starting a wine collection for adults. Dunkin’ Donuts will likely drop “Donuts” from its name since coffee has higher margins than fried dough. Cans of high-caffeine coffee brand Death Wish have been recalled because of potentially dangerous processing. Spanx has added arm tights to its product line for, yes, arm issues. The NYC hotel industry is running ads linking Airbnb to terrorists. Time Inc. may jettison its name as it transitions to digital products. Lowes is introducing Lowebots, moving and talking robots in kiosk form. ESPN radio host Stephen A. Smith unironically asked his sidekick on what date Cinqo de Mayo falls in 2018. World Emoji Day, in case you are wondering, is set for July 17. Cheerios has tried but failed to block other companies from using its familiar yellow color. SCOTUS finds that The Slants, an Asian-American band, has a First Amendment right to trademark the name, however offensive. Burger King launches Whoppercoins into Russia, a Bitcoinlike crypto-currency tradeable – so far – for burgers and fries. And I have run out of space before running out of strange. More next time.

4 G D U SA

Project41_Layout 1 9/25/17 4:13 PM Page 1

MEET THE

SMALLEST FOOTPRINT IN THE PAPER INDUSTRY.

Printed on Rolland Enviro Satin, 60 lb Text. This paper contains 100% post-consumer Ä ILY HUK THU\MHJ[\YLK \ZPUN YLUL^HISL IPVNHZ LULYN` 0[ PZ JLY[PÄ LK -:*®, Processed *OSVYPUL -YLL (UJPLU[ -VYLZ[ -YPLUKS`TM HUK ,*636.6 -VY TVYL PUMVYTH[PVU WSLHZL ]PZP[ ROLLANDINC.COM

October 2017 TOC Impo_SEPT 07 TOC/Staff 10/4/17 11:13 AM Page 6

CONTENTS | OCTOBER 2017

10 FRESH PepsiCo’s LIFEWTR celebrates women artists; cannabis company adds high end branding from Pentagram; online cosmetics pioneer Birchbox gets Siegel + Gale makeover; telling personal stories with typography is theme of new museum show; and more.

PEOPLE Jason Severs joins Droga5's New York headquarters as Chief Design Officer, a new role at the agency; Sairah Ashman is first female CEO at Wolff Olins; UCLA’s Rebeca Méndez is first Latina in The One Club Creative Hall of Fame; Jane Geraghty will head Landor come the new year; and others.

RESPONSIBLE DESIGN This special report continues our practice of shining the spotlight on designers who exemplify the values of sustainability and social responsibility. We’d like to be modest but, in truth, this is an astonishing grouping of exceptional designers and thought leaders in one place.

STOCK VISUAL SURVEY In decades of stock visual reader surveys, we’ve documented stock imagery’s move from marginal to mainstream to an absolutely essential. This year’s results show that the sourcing, licensing and use of imagery continues to evolve in the face of massive technological and societal change.

HEALTH + WELLNESS AWARDS The annual GDUSA Health + Wellness Design Awards™ competition honors first-rate graphic communication in this fast-growing, hugely important, and high-profile segment of the economy. The 2017 winners showcase features more than 100 projects by design firms, agencies and departments for leading traditional and non-traditional healers.

113

FOCUS Sappi wins PRINT 17 Positively Print award; a new Mohawk

GDUSA - Graphic Design USA Volume 54 / No. 5 September/October 2017 Kaye Publishing Corporation (ISSN0274-7499/USPS227020). Published 6 times a year with combined issues in January/February, March/April, May/June, July/August, September/October, November/December. Executive, editorial and advertising ofﬁces at 89 Fifth Avenue, Suite 901, New York NY 10003. Phone: 212.696.4380, Fax: 212.696.4564, www.gdusa.com. SUBSCRIPTION: Domestic, $72 one year. International, $140 one year. Periodicals postage paid at New York NY and additional mailing ofﬁce. POSTMASTER: Send address changes to GDUSA - Graphic Design USA, PO Box 3072, Langhorne PA 19047. Permit #224.

guide on the powerful role of envelopes; Yupo adds new award for printers; Artisan’s Bejan Doughery on the design skills employers want you to have; and The Creative Group’s Diane Domeyer on how to accelerate your hiring process.

WWW.GDUSA.COM

Project11_Layout 1 5/25/17 3:24 PM Page 1

October 2017 TOC Impo_SEPT 07 TOC/Staff 10/4/17 12:07 PM Page 8

A SPECIAL THANK YOU TO . . . ERICKSON STOCK Our annual Health + Wellness Design Awards™ is sponsored by Jim Erickson and Erickson Stock. Jim Erickson is one of the nation’s preeminent commercial photographers. For over 30 years, he has created timeless imagery for hundreds of blue chip clients, and won over 100 awards from the most respected publications and organizations. His ability to capture the truth of the human spirit is reﬂected in his awardwinning assignment work and in the Erickson Stock collections, which have long been regarded by graphic designers as some of the ﬁnest stock imagery in the world. Erickson’s latest initiative is to shed new light on seniors and aging through still and video content because he “believes the human connection is the strongest currency we have, and seniors hold a key to that role in our lives that is often overlooked.” This includes ready made spots easily customizable to tell your brand story. Contact: Assignment at

GD USA GRAPHIC DESIGN USA

Gordon Kaye Publisher

ART & PRODUCTION Ilana Greenberg Creative Director

www.jimerickson.com and Commercial Videos/RF/RM Imagery at www.ericksonstock.com

Rachel Goldberg Production Director

ROLLAND ENTERPRISES

Sam Peltz Art/Photo/Multimedia Editor

Headquartered in Saint-Jérôme, Quebec, Rolland is a leading producer of specialty uncoated ﬁne papers for offset projects like magazines, books, brochures, and annual reports as well as uncoated papers

WILL BURKE

that maximize digital print quality for short-run customized documents or print-on-demand promotional materials. With an undisputed reputation for environmental stewardship and a longstanding commitment to maintaining the smallest environmental footprint in the paper industry, Rolland creates premium products that help designers meet their clients’ communications goals and sustainability standards. We are honored that Rolland sponsors GDUSA’s responsible/sustainable designer feature each year; the text of this special edition of GDUSA is printed on Rolland Enviro® Satin, 60 lb., an uncoated hybrid paper offers a luxuriously smooth satin ﬁnish. Contact: Learn more at www.rollandinc.com and Order Product Samples at www.rollandinc.com/en/environmental-printingpapers/order-samples

ADMINISTRATION & READER SERVICES Althea Edwards Accounts Manager Rachel Goldberg Competitions Jennifer Hoff Scott Sczcypiorski Internet Services Bridget Bellavia Competitions Assistant

ABOUT THE COVER Lennie Gray Mowris, the founder of lenspeace, is a social impact design strategist, letterpress printer and visual artist. Lennie states: “Sustainability and social responsibility for me have been a lifestyle for 20 years that led me to my career in design.” See all our “Responsible Designers To Watch” starting at PAGE 34. PHOTOGRAPH: NATE DORN IMAGES

Julia Imershein Nolan Roth Circulation

EDITORIAL Gordon Kaye Editor Sasha Kaye-Walsh E-News Editor

FOUNDER Milton L. Kaye (1921-2016)

ADVERTISING Ron Andriani Executive VP 201.485.8720 212.696.4380 randriani@ gdusa.com COVER PAPER CREDIT: The cover of this edition of GDUSA is printed on FSC-certiﬁed Kallima Coated Cover C2S, part of the

Kallima Paper family of FSC-certiﬁed coated cover paperboard, manufactured by the Tembec Paper Group. A leading advocate of sustainability, Kallima Paper has a distinct low-density high-bulk construction resulting in less trees used and signiﬁcant cost savings to the customer. Contact: http://www.kallimapaper.com

Project44_Layout 1 9/27/17 1:40 PM Page 1

october 2017 fresh impo_feb news play 10/4/17 11:33 AM Page 10

FRESH | LIFEWTR CELEBRATES WOMEN ARTISTS

PURCHASE NY LIFEWTR is celebrating women in the arts, using

their packaging as a canvas for “bold and abstract designs from all female artists.” The Pepsi-owned company changes its labels several times a year, with each series built around a culturally relevant theme. The ﬁrst series featured designs from emerging artists in the public art space, and Series 2 features American and UK artists. “We’re proud that the LIFEWTR Series 2 labels will feature designs made by some of today’s most talented emerging female artists,” said Todd Kaplan, vice president of the water portfolio for PepsiCo North America Beverages. “We admire the fact that these women are a diverse group of innovative thinkers — contributing unique and fresh forms to the art world.” Kaplan notes that while more than half of today’s visual artists are women, their work makes up a tiny percent of major permanent collections in western societies.” Among the featured artists: Trudy Benson known for largescale abstract paintings that utilize textures, shapes and bold colors; Lynnie Z, whose distinctive style involves “mysterious characters;” and Adrienne Gaither, whose work “explores identity and imagination through painting and installations” in “attempts to challenge ideologies that perpetuate hierarchical structures.” lifewtr.com

10 G D U SA

Project38_Layout 1 9/18/17 2:33 PM Page 1

Keep it real with McCoy. In a world of fleeting fads, our paper endures. For 20 years, McCoy ÂŽ has never pretended to be anything but what it is: premium paper with superior surface quality and a one-of-a-kind silk finish that continues to set the standard. Learn more at Sappi.com/McCoy.

october 2017 fresh impo_feb news play 10/4/17 11:33 AM Page 12

FRESH | CANNABIS COMPANY GETS HIGH END BRANDING BY PENTAGRAM

AUSTIN TX Harmony Extracts is a new cannabis concentrate company

that uses state-of-the-art extraction technologies to transform marijuana plants into potent concentrates. Based in Denver CO, Harmony commissioned Pentagram to design the brand identity and packaging for the initial line of products. Rejecting the head-shop look of the bygone days, the Pentagram’s DJ Stout and his Austin-based team decided to align the brand with the growing number of modern, clean, high-end dispensaries “that seemed to be on a mission to become the Starbucks of the cannabis retail world.” Early in their brand identity explorations, the designers landed on the idea of using an image of a hummingbird — “nature’s little extractor” – with marijuana-leaf shaped tail feathers as the symbol for Harmony. The resulting “Harmony Hummingbird” symbol is paired with the typeface Verlag to complete the main identity lockup for the brand. For the launch, Pentagram designed a set of three boxes for shatters, waxes, budders and sugars — different forms of cannabis concentrates — that come in small branded glass jars, as well as a separate set of slider boxes for distillates consumed with vape pens. The products were then organized into three main strains of cannabis: “sativa,” “indica,” and “hybrid” and each strain was assigned a color indicator based on its mood generating profile: a warm, energetic magenta/orange bird for the sativa strain; a cooler blue/purple range for indica; and a yellow/green bird for the hybrid strain and the main color for the overall brand. The hummingbirds are positioned against a black packaging scheme printed with matte ink and ﬁnished with a “soft-touch” coating. pentagram.com

12 G D U SA

Project39_Layout 1 9/18/17 2:37 PM Page 1

You’ve got the data — now tell the story. • Learn to apply digital design to effectively and strategically convey information that creates quality user experiences. • Develop the expertise needed to fill multiple roles and lead design, development, and communication teams. • Build a mindset that will enable you to interpret consumer information and articulate data-driven strategies and tactics. • Earn your Northwestern University master’s degree entirely online. Apply today — applications are accepted quarterly. sps.northwestern.edu/design • 312-503-2579

october 2017 fresh impo_feb news play 10/4/17 11:34 AM Page 14

FRESH | TYPE GETS PERSONAL IN MILLMAN’S ‘TEXT ME’ SHOW

ATLANTA GA Museum of Design Atlanta (MODA) is currently host to “Text Me: How We Live in Language” which runs

through February 4, 2018. Curated by Debbie Millman, the exhibition explores the idea that typographic expression is the primary means by which we communicate and connect with one another. “As far back as the cave men,” states MODA, “our ancestors used symbols to document and record experiences. Today, we use typography to visualize our personal stories across a wide variety of media in nearly every moment of our lives, from social networking to tattoos to way-finding signage to fine art, fast moving consumer goods, clothing, household goods and decoration.” Almost needless to say, Debbie Millman is a designer, writer, educator, brand strategist and host of the podcast Design Matters, the first and longest running podcast on topic. She was president of Sterling Brands for 20 years, where she worked with more than 200 of the world’s largest brands, and is president emeritus of AIGA, one of five women to hold the position. www.museumofdesign.org/textme

Pictured: TOP ROW: MODA Back Gallery. Work shown includes: Quilt by Comma Workshop, Memories of a Girl I Never Knew wall installation by Timothy Goodman, I Dismantle Suit by Lesley Dill, Vessels by Rodrigo Corral, Photo by Susan Sanders; MODA Hall Gallery. Work shown includes: What Not to Talk About Napkins by Tucker Nichols, FUCK SEX SHIT plates by James Victore, Dismantle Suit by Lesley Dill, OY/YO by Deborah Kass, Photo by Laura Flusche SECOND ROW: Gemma O’Brien painting You Are Here mural, Photo by Andria Lavine; Adam J. Kurtz, Feelings, Photo by Susan Sanders; Brian Singer, Defend/Defund, Photo by Wendell Withers THIRD ROW: Bag by CuteCircuit. Wall installation titled Memories of a Girl I Never Knew by Timothy Goodman. Photo by Laura Flusche; Santiago Carrasquilla, Book used to make stop-motion music video for U2 titled You’re the Best Thing About Me, Photo by Wendell Withers; Back Gallery. Works shown include: Memories of a Girl I Never Knew wall installation by Timothy Goodman, I Dismantle Suit by Lesley Gill, Bathroom mirror with quote from Betrand Russell, Photo by Susan Sanders FOURTH ROW: MODA Back Gallery. Works shown include: OY/YO by Deborah Kass, Memories of a Girl I Never Knew wall installation by Timothy Goodman, V.P. by Abbott Miller, Photo by Susan Sanders; MODA Back Gallery. Work shown includes: Paper Cut Out Alphabet Rug for Aram by Alan Fletcher, Ode to Rainbow by Lisa Congdon, Strong by Jessica Hische, End Bad Breath by Seymour Chwast

14 G D U SA

Project43_Layout 1 9/27/17 1:25 PM Page 1

Accentuate Every Detail. Accent® Opaque gives you the ability to add special processes and techniques to your designs while keeping your project within budget — so you can dazzle on a dime and impress on press. To learn more about the full line of Accent offerings, and to request printed samples, visit AccentAGame.com. ©2017 International Paper Company. All rights reserved. Accent is a registered trademark of International Paper Company

Accent Opaque ®

october 2017 fresh impo_feb news play 10/4/17 11:35 AM Page 16

FRESH | SIEGEL+GALE GIVES BIRCHBOX A FRESH FACE

NEW YORK NY An e-commerce cosmetics pioneer, Birchbox now finds itself in an increasingly crowded and competitive space. To expand beyond their most loyal customers — the young beauty enthusiast — Siegel+Gale helped the company define a larger, underserved audience which it refers to as “The Beauty Majority”, i.e., the 80% of women who see beauty as a useful part of their lives but not core to their sense of self. From there, the design firm developed a visual identity to create a home for these individuals where perfection isn’t idolized and beauty is fun. The look and feel is inspired by photo outtakes — “not the selects, but playful doodles, not the final blueprints, but the beautiful imperfections.” This resulted in patterns and graphic elements employing gestural brushstrokes and other “marks of the hand” to create an aesthetic that “celebrates what beauty really is.” In the meantime, rumors are that Birchbox may sell itself to Walmart, as the retailing giant continues to upgrade its e-commerce presence. siegelgale.com

16 G D U SA

Project19_Layout 1 7/17/17 2:19 PM Page 1

october 2017 fresh impo_feb news play 10/4/17 11:36 AM Page 18

FRESH | WAYFINDING STRIPES LINK BOSTON NEIGHBORHOODS

BOSTON MA Underground is a new urban park situated beneath

an I-93 expressway overpass, activating what had been a no-man’s land between Boston’s South End and South Boston neighborhoods. A public/private partnership initiated by the Massachusetts Department of Transportation, the park was reimagined by architecture firm Landing Studio as a creative way to link the two neighborhoods which are changing now that Boston’s “Big Dig” project is complete. Visual Dialogue, led by principal/design director Fritz Klaetke, developed the branding, a 170-foot long entrance mural, and 22 miles of “wayfinding” stripes to lead visitors into and through the heart of the park. Klaetke elaborates: “National Development, the developer behind the neighboring Ink Block residential and mixed-use parcel, became stewards of the project. They hired street artists to bring the walls to life and an event planner to program the space, but needed branding and a way to grab people’s attention. So that’s where we came in. In just a few weeks, we created the branding, mural, interwoven stripes, and various other placemaking elements. The overall concept combines parallel lines reflecting the angle of the on-ramp to the elevated expressway with horizontal lines leading into the space. Together the merged lines give a sense of movement and energy, reference construction signs with the black and yellow color scheme, and the path stripes suggest the flow of traffic, people, water (or a highway striper gone crazy).” visualdialogue.com 18 G D U SA

Project15_Layout 1 3/23/17 12:25 PM Page 1

Mouth watering

You know that feeling the moment you see it. With Ancora and Candesce, it’s that eye popping richness they provide. With ingredients that make your mouth water. The ones that intensify and enhance everything they touch. From Ancora’s two-sided excellence to the unmatched packaging versatility of Candesce C1S, Clearwater Paper products give every project the exceptionally rich color, smooth finish, and consistent results to awaken the senses and linger longer after the first impression.

www.fsc.org FSC ® C105215

For samples, email us at pandp@clearwaterpaper.com

The mark of responsible forestry

Both Ancora and Candesce are available with either FSC or SFI CoC certification. ®

october 2017 fresh impo_feb news play 10/4/17 11:37 AM Page 20

FRESH | EXHIBITION UNITES INTERESTS IN LETTERPRESS AND REBUSES

STATE COLLEGE PA Baseman Design Associates and its newly

launched letterpress shop BasePress are currently the subject of an exhibition at Penn State University, where Creative Director and Principal Frank Baseman studied graphic design as an undergraduate. The show, called “Rebus Quotes and Other Typographic Explorations,” runs through October 27. The project brings together two of Baseman’s favorite long-term interests: letterpress printing and rebuses, those words and images coming together to make a visual puzzle. In a playful manner, he has reinterpreted well-known quotes and phrases using rebuses, and all of the quotes have been printed by hand with a vintage letterpress. Also on display are several typographic explorations and additional projects from Baseman’s threedecade-plus professional practice. Baseman has been a recipient of the AIGA Philadelphia Fellows Award, a national board member for the AIGA, and has been named one of the most inﬂuential designers of the era by GDUSA. He also serves as director of the Graphic Design Communication program at Jefferson — that’s the recent combination and rebranding of Philadelphia University + Thomas Jefferson University — and has recently redesigned his design ﬁrm site and introduced a site for his letterpress shop. basepress.co.

20 G D U SA

Project7_Layout 1 5/24/17 11:49 AM Page 1

â&#x201E;¢

Â®

â&#x201E;¢

STER L I N G PR EM IU M

Â®

STER L I N G PR EM IU M D IG ITAL

STER L I N G PR EM IU M D IG ITAL FO R HP I N D IG O

Â®

PR O D U CTO L ITH PTS.

PR O D U CTO L ITH PTS. D IG ITAL Â®

AN THEM PL U S Â®

B L AZER D IG ITAL Â®

Go bigger bolder brighter brilliantly better. CLEANER, BRIGHTER, WHITER WHITES ACROSS THE BOARD.

Itâ&#x20AC;&#x2122;s another brighter idea from Verso: up the brightness of our whites. SterlingÂ® Premium, SterlingÂ® Premium Digitalâ&#x201E;¢ and SterlingÂ® Premium Digitalâ&#x201E;¢ for HP Indigo go from a 94 bright to a sparkling 96. Anthem Plus,Â® Blazer Digital,Â® ProductolithÂ® Pts. and Productolith Pts. DigitalÂ® go from a 90 brightness to an eye-catching 92. And for all, ZH DPSOLÆ&#x201C;HG WKH VKDGH WR D FOHDQHU FULVSHU ZKLWHU ZKLWH Your budget will love it, too, because these better optics come with the same economics. Thatâ&#x20AC;&#x2122;s like getting a free upgradeâ&#x20AC;&#x201D; every time. Thatâ&#x20AC;&#x2122;s more than a brighter idea. Itâ&#x20AC;&#x2122;s brilliantly brighter.

Verso Corporation 8540 Gander Creek Drive Miamisburg, OH 45342 800-258-8852 versoco.com

To learn more please contact your Verso sales professional or visit us at versoco.com and see how the future just got brighter.

Project42_Layout 1 9/25/17 4:19 PM Page 1 == ==

)7.?$=8</:=98?07;;8=?39<:> KE?AB@FGHIJ

! "

Is Unique (B=?5F<BADF=EAC8@E>AF/B>1

?9>BAAF0?>CB:AF<E=C?3F%0E@FAB. ?AF=EAC8@E>F-?4C@EF'E@".

B:@=E>FB6F,?7E>-7E9AF?@=

%=CDB>$C@$ ;CE6FB6F-DB>54B?>=

AD?DEA.F*D;E>E)AF@BD;C@8FD;?DF9?@ A:4ADCD:DEF6B>F7>C@D3+

*&6F5B:)>EF=BC@8FAB<ED;C@8F8>E?D C@F7>C@DF5B:F9?@FAD?@=FB:D.+F'E@" E#72?C@A3F*,>C@DF8C0EAF5B:F<:9; <B>EF9>E=C4C2CD53F&D)AF?FD?9DC2E

E#7E>CE@9EFD;?DF<?1EAFD;C@8A AEE<F<B>EF>E?2F?@=F<B>E C<7B>D?@D3+F

,>C@DFCAF:@C!:E*?@=F?FDB7

9;BC9EFB6F=EAC8@E>AF/;BF1@B/ ;B/FDBF<?1EFD;EF<BADFB6FCDA <?@5F7BAAC4C2CDCEA3

(BF8EDFD;EF6?9DAF?4B:DF

! "

0CACDF07;;8=39<:>1;9/1

';?&=69:?+;9=?6*;5>? 76>?+6 =8?,9<:>?5:<-5= ?846:?>7=?4;#=?;9?!<8<> 7>>,"22><:.144239<:>%8(:<-5=

canon ed_feb news play 10/4/17 12:04 PM Page 2

CANON IS ‘EQUALLY OBSESSED’ WITH THE PERFECT PRINT IMAGE

The Canon imagePROGRAF PRO Series Printers Deliver For Designers Graphic Design USA’s 54th annual print design reader survey, published this spring, reveals that the graphic design community believes deeply in the power of print, is committed to superior production values, and, above all, is obsessed with sharp, brilliant and beautiful print imagery.

Who else is equally obsessed with spectacular print quality? The answer is Canon. A world-leader in digital imaging solutions from input to output, Canon is uniquely situated to share the insatiable drive to create, capture and produce the perfect image. Therein lies the inspiration behind the Canon imagePROGRAF PRO Series. These large format ink jet printer models — the PRO-1000 (17"), PRO-2000 (24"), PRO-4000 (44") printers and PRO-6000 (60") — introduce breakthrough technology that reproduces rich, detailed and brilliant color, and achieves it efficiently, consistently, and affordably.

SHOWN HERE: The Canon imagePROGRAF PRO-1000 (above) and PRO-4000 (below). They are two of a series of four large format ink jet printer models that run from 17 inches wide to 60 inches wide.

AMONG THE NOTABLE FEATURES OF THE CANON IMAGEPROGRAF PRO SERIES FOR GDUSA READERS: • A remarkable 11-color plus Chroma Optimizer ink system produces the truest prints possible: stunning black and whites, detailed graduations, wide color gamuts including the most difficult magentas and blues, improved gloss uniformity, incredibly accurate color reproduction, and enhanced detail even in darker areas. • Advanced anti-clogging technology assures a smooth, even flow of ink to eliminate white lines and banding, resulting in consistently high quality prints and improvement of the overall user experience. • Powerful plug-ins enhance quality and productivity, enabling sharp

Let’s be honest. In 2017, print must be special in

high definition images, soft proofing taking into account specific

order to standout and succeed. To meet the challenge,

paper types, an improved and intuitive UI, seamless integration with

graphic design and production pros eat, sleep and

leading image editing software programs, and 16-bit processing of

breathe image quality. The feature-rich imagePRO-

images to dramatically improve final output.

GRAF PRO Series — “The Printer That’s Equally Obsessed” — demonstrates that Canon is all in.

• A smarter engine enables both high-resolution and high-speed printing at the same time. The engine processes massive volumes of image data, generates printing data quickly, and controls optimal ink layout for striking color, detail and density. • The printers are engineered to prevent pages from skewing which allows precise and accurate color recreation and, extremely important for graphic designers, provides flexibility to use a broad range of media types and thicknesses.

Learn more at usa.canon.com/proprinters

Oct 2017 PEOPLE impo_SEPT 07 People 10/4/17 11:21 AM Page 24

PEOPLE | SEVERS NAMED CHIEF DESIGN OFFICER AT DROGA5

JASON SEVERS CHIEF DESIGN OFFICER, DROGA5, NEW YORK NY

Jason Severs has joined Droga5's New York headquarters as Chief Design Ofﬁcer, a new role at the agency. Severs will lead the agency’s overall design department and help grow existing client relationships with new services, allowing creative and strategic offerings to feed directly into broader product and service development and innovation. “For this new role at the agency, we needed someone with ambition, compassion and talent to oversee three of our most crucial departments: Experience Design, Brand Design and Creative Tech,” said Founder and Creative Chairman David Droga. Severs joins Droga5 with more than 20 years of design and leadership experience. He was most recently Director of Experience Design & Strategic Initiatives at Verizon, where he led end-to-end experience teams for the brand’s digital products and services. Prior to that, Severs had an 11-year tenure at frog design as Executive Creative Director in New York and global experience strategy lead. He has worked on brands such as American Express, United Nations, Google and Under Armour, among others. Founded in 2006, Droga5 has won Agency of the Year, from Adweek, 11 times in the last 13 years.

24 G D USA

Project4:Layout 4

3/11/15

2:31 PM

Page 1

PROFESSIONAL PRO OFESSIO ONAL MA MATCHMAKING ATCHMA AKING IS WHAT W AT WE WHA W DO Allthough we’ve Although we’ve been doin doing ng this since since 1988, we’re we’re just just as excited excited now now as we we w were ere when wh hen we we fir first st sstarted. tarted. Ourr cr creative eative rrecruiters ecruiters ttake ak ke digit digital, al, cr creative eative and mark m marketing eting opportunities pp and mat match tch them with the p perf perfect ecct ttalent. alent. The Theyy also intr introduce o oduc e like-minded lik e-minded clientss and ttalent alent tto o one anoth another—the her—the rrest est is chemis chemistry. t . try Maybe that’s that’s why the the people people we we w work ork with hav h have e cconsistently onsistently rranked anked d us in the nation’ nation’ss ttop op 2% of sstaffing taffing agencies.*

You Y ou have o have to to cho choose oose yyour our partn partners ners ccarefully arefully an and nd if yyou’re o e ready ou’r ready to to meet m the perf ectt opportunity, join jo oin us. perfect

* All Best Best of Staffing® Staffing® award awa ard winners winners went went thr through ough a rigor rigorous ouss surv survey ey pr process ocess with Inavero, Inavero, the world’s world’s lleading eading provider provider of o client and job candidate candidate satisfaction satisfaction surveys surveys for for staffing staffing agencies.

Connect With Artisan No Now: w:

ArtisanTalent.com ArtisanT a ent.com al

800.216.0600 800.21 6.0600

Matching Mat ching T Talent a alent With Success™ Success™

Oct 2017 PEOPLE impo_SEPT 07 People 10/4/17 11:22 AM Page 26

PEOPLE | NEW PENTAGRAM ASSOCIATES

RORY SIMMS

ASSOCIATE | PENTAGRAM | NEW YORK NY

Rory Simms is now an Associate in the New York ofﬁce of Pentagram. Simms is a multidisciplinary designer from Dublin, Ireland, where he studied Visual Communication Design at IADT. In 2014,he relocated to New York and joined Pentagram, where he works under the direction of Paula Scher. Simms has worked on a broad range of projects for clients such as The Atlantic Theater, Quad Cinema, Pasadena Playhouse, Hulu, Planned Parenthood and The Public Theater, among others.

PHOTOGRAPH: MATTHEW THOMPSON

JEFF CLOSE

ASSOCIATE | PENTAGRAM | NEW YORK NY

Jeff Close has been named an Associate in the New York ofﬁce of Pentagram. A New York City transplant, Close was born and raised in Toronto. Prior to graduating with honors from the Graphic Design program at SVA, he studied Economics for four years. As the reality of the corporate world fast approached, he explains, a simple cost-beneﬁt analysis made him realize that Economics wasn’t his thing, and he made the switch to design. Since 2013, Close has been working at Pentagram under the direction of Paula Scher. Leading up to that, he cut his teeth at the Original Champions of Design (OCD). He has also worked with Seymour Chwast at Pushpin and assisted Debbie Millman on the Design Matters podcast. At Pentagram, Close has worked identity and branding systems for The New School, Snap Kitchen, NJPAC and Tender Greens, among others.

26 G D USA

Project35_Layout 1 9/18/17 2:08 PM Page 1

Check Your Bottom Line The Accounting Market is gearing up for their season! Tax Folders - Standards & Custom • One and Two-Piece Covers Capacity Products • MORE!

SAVE

10%* ON ALL TAX THEMED FOLDERS & COVERS! *call for details

Oct 2017 PEOPLE impo_SEPT 07 People 10/4/17 11:23 AM Page 28

PEOPLE | PROMOTIONS + HONORS

JANE GERAGHTY CEO-ELECT, LANDOR, SAN FRANCISCO CA

Landor has named Jane Geraghty CEO effective January 1, 2018. Geraghty has been president of Landor EMEA and a member of the global executive team since 2012. She succeeds Lois Jacobs, who remains CEO until the end of the year. Geraghty has 20 years of client service and global brand experience, and has worked on both sides of the Atlantic in top-tier ﬁrms including Saatchi & Saatchi, McCann-Erickson, and Ogilvy New York. During her six years at Landor, she’s led brand programs for clients such as

SAIRAH ASHMAN CEO, WOLFF OLINS

Adecco, Bayer, BP, Barclays, BMW, and Intu. She opened Landor Istanbul and orchestrated the acquisition of

SAN FRANCISCO CA, NEW YORK NY AND LONDON UK

ManvsMachine, a motion design studio in London that has

Wolff Olins has appointed Sairah Ashman as CEO. The ﬁrst

tenure, Landor enjoyed strong ﬁnancial growth and expanded

female head of the creative consultancy, she has been with

the depth of its offerings with acquisitions and organic

Wolff Olins for 23 years, seven of them as Global COO. Former

development. Founded by Walter Landor in 1941, the ﬁrm

CEO Ije Nwokorie says, “Sairah is one driven leader; privately and professionally committed to making a positive impact in the world. She’s an important voice for equality in our industry and I am excited by our continuing partnership.” Ashman adds, “We are a business that champions diversity and equality, both through our hiring and retention practices, as well as through our creative partnerships with clients. My focus will be to grow our social and creative impact on the world. We intend to be evermore ambitious and radically creative.” Wolff Olins, based in San Francisco, London and New York, has worked with many famous brands including Google, ZocDoc, Virgin Active, and Grubhub, among others; it is part of Diversiﬁed Agency Services which, in turn, is a division of Omnicom Group.

28 G D USA

since expanded with an ofﬁce in Los Angeles. During Jacob’s

today has 26 offices in 19 countries. Designer DAN SOLOMON has relocated to Framestore’s Chicago office. A designer and animator with over nine years of experience working at various VFX studios in NYC, including Blind, Psyop, and Framestore’s New York office, he graduated from SVA with a degree in Computer Art, Animation, and Visual Effects. His skill set includes experience in motion graphics, 3D animation, compositing, photography, web design and web development. Since opening in May, Framestore’s Chicago office has been growing staff across all departments. TO NY WEISMAN has left his role as CEO of DigitasLBi North America to join client Dunkin’ Donuts as U.S. chief marketing officer. In the new role, Weisman will serve on the Dunkin’ Brands Leadership Team and report to the chain’s U.S. president David Hoffmann. Weisman began his agency career at Leo Burnett in the 1980s; he joined DigitasLBi as president in 2007 and was promoted to CEO in 2013. DigitasLBi has counted Dunkin’ Donuts as a client since winning its loyalty marketing review several years ago. Hill Holliday has been the brand’s creative agency for more than a decade.

Project21_Layout 1 7/17/17 2:35 PM Page 1

Oct 2017 PEOPLE impo_SEPT 07 People 10/4/17 11:24 AM Page 30

PEOPLE | PROMOTIONS + HONORS

ALAN ISACSON MANAGING PARTNER ABI, A FINN PARTNERS COMPANY, NEW YORK NY

REBECA MENDEZ HALL OF FAME, ONE CLUB FOR CREATIVITY, NEW YORK NY

Los Angeles-based designer and artist Rebeca Méndez, a professor at UCLA, Design Media Arts, was one of five legends recently inducted into The One Club for Creativity’s Creative Hall of Fame. Méndez, the first Latina inducted into the Creative Hall of Fame, is director of the university’s CounterForce Lab, a research and fieldwork studio dedicated to using art and design to develop creative collaborations, new fields of study, and methods to research, create and execute projects around the social and ecological impacts of climate change. Her diverse works photography, 16mm film, book arts, and architectural scale sound and video installations — have been exhibited widely at significant institutions and biennials worldwide. The other inductees in the 2017 Creative Hall of Fame are Tom Burrell, founder of Burrell Communications; Diane Cook-Tench, founding director of the VCU Brandcenter (inducted into Educators Hall of Fame); Susan Hoffman, coCCO at Wieden+Kennedy; and David Lubars, CCO, BBDO Worldwide, CCO and chairman, BBDO North America. PHOTO: DONNA ALBERICO/MARGARITA CORPORAN PHOTOGRAPHY

30 G D USA

ABI Marketing Public Relations, a global marketing and PR firm focused on industrial and trade markets, serving B2B clients, has been acquired by marketing and communications firm Finn Partners. Alan Isacson, — the founder and CEO of ABI — well-known and well-respected in the graphic arts community among other industries — assumes the title of Managing Partner, ABI, a Finn Partners Company. Shown here, left to right, are Isacson with Peter Finn, Founding Partner, Finn Partners. Comments Finn: “Growing our international operations is a priority for us, and having Alan and his team join Finn Partners is a strategic acquisition which takes us up another step to offer global marketing and PR services to our current and future clients.” Founded in 1980, Isacson grew the ABI business to include offices in New York, London, Frankfurt, Singapore and Shanghai. Design educator and graphic designer JESSICA WEXLER is the new chair of the Undergraduate Communications Design Department within the School of Design at Pratt Institute. Wexler has a breadth of experience as an educator and professional practitioner. She most recently served as an Assistant Professor and the Coordinator of the Graphic Design Department in the School of Art and Design at Purchase College SUNY. She has taught, designed curricula and coordinated faculty within diverse public, private and for-profit institutions for more than a decade. In 2013, Wexler established the collaborative studio, Workshop Project, and before that she headed the design partnership Greenblatt-Wexler. Ken Holsclaw, president and co-founder of PHASE 3 MARKETING AND COMMUNICATION, announces that the firm had made the Inc. magazine list of America’s 5,000 fastest growing private companies for the second time. The recognition, he notes, comes after a year of strategic growth for the company, including the addition of a brand-new C-level leadership. Phase 3 also has been recognized recently as an industry leader by the Atlanta Business Chronicle (ranked number 10 on list of largest Atlanta-area ad and marketing agencies), Charlotte Business Journal (number 10 on list of largest Charlotte-area ad and marketing agencies) and Nashville Business Journal (number 9 on list of largest Nashville-area ad agencies).

Project53_Layout 1 10/4/17 10:36 AM Page 1

Apple Inc. has multiple openings for the following in Cupertino, CA: Human Interface Designer (REQ#A7GP93) Determn future dsgn direction of Appleâ&#x20AC;&#x2122;s prod dsgn, utlzng Apple OS X, Photoshop, & Illustrator. Refer REQ# & mail resume to: Apple Inc., ATTN: D.W., 1 Infinite Loop 104-1GM, Cupertino, CA 95014. Apple is an EOE/AA m/f/disability/vets.

Apple Inc. has multiple positions available in Cupertino, CA: Graphic Designer (Req#9DNPU3) Conceptualize, resrch, design and prototype visual usr interface for wide range of platfrms like iOS, tvOS, watchOS & macOS. Interested applicants must submit a portfolio that demonstrates skills required. Refer to Req# & mail resume & portfolio to Apple Inc., ATTN: D.W., 1 Infinite Loop 104-1GM, Cupertino, CA 95014. Apple is an EOE/AA m/f/disability/vets.

READ OUR POPULAR DESIGN BLOGS ON GRAPHIC DESIGN PACKAGING

Apple Inc. has multiple positions available in Cupertino, CA:

HIRING + CAREER TIPS

Technical Artist (Req# 9WXQX6) Create 3D digital assets for use in real-time apps. Interested applicants must submit a portfolio that demonstrates skills required. Please enclose a self-addressed stamped envelope if you wish your portfolio to be returned. Refer to Req# & mail resume to Apple Inc., ATTN: D.W., 1 Infinite Loop 104-1GM, Cupertino, CA 95014.

NEWS | TRENDS | INSPIRATION

WWW.GDUSA.COM

Apple is an EOE/AA m/f/disability/vets.

Project47_Layout 1 9/27/17 2:31 PM Page 1

,ĂǀĞ ǇŽƵ ĚŝƐĐŽǀĞƌĞĚ ƚŚĞƐĞ specialty suppliers? @=KFQ= @AIFJLKQ Pni[d Maini`lXjas Α BiinX`] =`]h[s qqqΫ@XhbnX@]ebgihnΫ[ig

ǁǁǁ͘ ĂŶŝƚĂ ĞůŝŵŽŶƚ͘ĐŽŵ

ǁǁǁ͘ĚŵůĂƐĞĂƌĐŚ͘ĐŽŵ

ϰϮϱ ϱϲϮ ϭϱϰϯ ĚĂŶŝƚĂΛĚĂŶŝƚĂĚĞůŝŵŽŶƚ͘ĐŽŵ

ϳϭϰ ϴϭϱ ϴϰϮϳ ĐĂƚŚǇΛĚŝŐŝƚĂůŵĞĚŝĂůŝĐĞŶƐŝŶŐ͘ŽƌŐ

Ξ ƌƚ tŽůĨĞ ͬ ĂŶŝƚĂ ĞůŝŵŽŶƚ͘ĐŽŵ

ZŝŐŚƚƐ DĂŶĂŐĞĚ ĂŶĚ ZŽǇĂůƚǇ &ƌĞĞ ^ƚŽĐŬ WŚŽƚŽŐƌĂƉŚǇ ǁŝƚŚ ^ŝŵƉůŝĮĞĚ >ŝĐĞŶƐŝŶŐ ŽƉƟŽŶƐ͘

The largest mega meta-search engine for licensable stock imagery on the planet. With over 162 million images, all searchable simultaneously.

www.estockphoto.com

www.gallerystock.com

646 787 9785 rylan@gallerystock.com

800 284 3399 info@estockphoto.com

Ğ^ƚŽĐŬ WŚŽƚŽ͘ ^ƉĞĐŝĂůŝǌŝŶŐ ŝŶ tŽƌůĚ dƌĂǀĞů͕ /ŶƐƉŝƌĂƟŽŶĂů KƵƚĚŽŽƌ ^ĐĞŶŝĐƐ͕ >ŝĨĞƐƚǇůĞ͕ >ĂŶĚŵĂƌŬƐ͕ KƵƚĚŽŽƌ ĚǀĞŶƚƵƌĞ͕ EĂƚƵƌĞƐĐĂƉĞƐ͕ ĂŶĚ ŵŽƌĞ͘

ǆĐĞƉƟŽŶĂů ŝŵĂŐĞ ůŝĐĞŶƐŝŶŐ ƉĂƌƚŶĞƌ͘ ĞƐƉŽŬĞ ĐƵƐƚŽŵ ƐŚŽŽƚ ŽƉƉŽƌƚƵŶŝƟĞƐ͘ ZŝŐŚƚƐͲDĂŶĂŐĞĚ ĂŶĚ ZŽǇĂůƚǇͲ&ƌĞĞ ŝŵĂŐĞƐ͘

www.granger.com

www.picturesnow.com

212 447 1789 grangerinfo@granger.com

Ξ 'Z E' Z

'ƌĂŶŐĞƌ ƐƉĞĐŝĂůŝǌĞƐ ŝŶ ƚŚĞ ŚŝƐƚŽƌǇ ŽĨ ƚŚĞ ǁŽƌůĚ ĨƌŽŵ ďĞĨŽƌĞ ƚŚĞ ^ƚŽŶĞ ŐĞ ƚŽ ƚŚĞ ĚĂǁŶ ŽĨ ƚŚĞ ^ƉĂĐĞ ŐĞ ĂŶĚ ďĞǇŽŶĚ͘

ϰϭϱ ϰϯϱ ϭϬϳϲ ƌŚŽĚĂΛƉŝĐƚƵƌĞƐŶŽǁ͘ĐŽŵ

WŝĐƚƵƌĞƐEŽǁ͘ĐŽŵ ŝƐ Ă ůĞĂĚŝŶŐ ĚŝŐŝƚĂů ŝŵĂŐĞ ƉƌŽǀŝĚĞƌ ŽĨ ĨƵůůͲĐŽůŽƌ ŝůůƵƐƚƌĂƟŽŶƐ͕ ĮŶĞ Ăƌƚ͕ ĐůĂƐƐŝĐ ĂƌƚǁŽƌŬ ĂŶĚ ŝŶƚĞƌŶĂƟŽŶĂů ǀŝŶƚĂŐĞ ǀŝĞǁƐ͘

Project47_Layout 1 9/27/17 2:31 PM Page 2

^ƉƌĞĂĚ ƚŚĞ ǁ ǇŽƵƌ ŝŵĂŐĞ ŽƌĚ͊ /ŶǀŝƚĞ ͬĨŽŽƚĂŐĞͬĂ ƌƚ buyer colle agues too!

Ă ŝ Ě Ğ ŵ ů Ă Ƶ Ɛ ŝ ǀ

O P E…X … W

rk o y w ne 17 0 2 , 5 2 d > T C O . K ED < Z ,

zKZ t E Ϭ WD Ϭ ͗ ϳ ര d, ͵ ര EKKE

Discover.

Network. Learn.

/ŶĨŽ Θ ƌĞŐŝƐƚƌĂƟŽŶ ĨŽƌ FREE admission: ǀŝƐƵĂůĐŽŶŶĞĐƟŽŶƐ͘ĐŽŵͬŐĚƵƐĂ FREE PRIZE DRAWING!

Top prize worth $2,000

NOON FREE EXPO ŝƐĐŽǀĞƌ ŶĞǁ ƐŽƵƌĐĞƐ ĨŽƌ ĚŝƐƟŶĐƟǀĞ͕ ͵റ7:00 PM ĐƌĞĂƟǀĞ ĂŶĚ ĞĚŝƚŽƌŝĂů ŝŵĂŐĞƐ ͬ ĨŽŽƚĂŐĞ ĨƌŽŵ Ă ǁŝĚĞ ƌĂŶŐĞ ŽĨ ƐƚŽĐŬ ĂŐĞŶĐŝĞƐ͕ ĂƌƟƐƚ ƌĞƉƐ ĂŶĚ ƉƌŽĚƵĐƟŽŶ ĐŽŵƉĂŶŝĞƐ

10:00 AM 2:30 PM

YΘ ^ ^^/KE 4:00 PM

< zEKd YΘ ^ ^^/KEΎ

Get your permissions right. Copy that!

Anatomy of an Ad

YΘ ^ ^^/KE

KƉƟŵŝǌĞ ǇŽƵƌ &ŽŽƚĂŐĞ >ŝĐĞŶƐŝŶŐ͗ ϱ ƐƐĞŶƟĂů ^ƚĞƉƐ

Trivia Night ϱ͗ϯϬര PM

^WKE^KZ

͞tŽƌŬďŽŽŬ ŝƐ ƉƌŽƵĚ ƚŽ ƐƉŽŶƐŽƌ sŝƐƵĂů ŽŶŶĞĐƟŽŶƐ ŝŶ ƚŚĞ ŚŽƉĞ ƚŚĂƚ ǁĞ ĐĂŶ ĨƵƌƚŚĞƌ ĐƵůƟǀĂƚĞ ƚŚĞ ƌĞůĂƟŽŶƐŚŝƉƐ ƚŚĂƚ ƌĞƐƵůƚ ŝŶ ƐƚƵŶŶŝŶŐ ǀŝƐƵĂů ĐĂŵƉĂŝŐŶƐ͘͟ – Bill Daniels, Owner of Workbook

ŶƚƌǇ ŝƐ ƌĞƐƚƌŝĐƚĞĚ ƚŽ ƉƌŽĨĞƐƐŝŽŶĂů ŝŵĂŐĞͬĨŽŽƚĂŐĞͬĂƌƚ ďƵǇĞƌƐ ĂŶĚ ƌĞƐĞĂƌĐŚĞƌƐ͘ Ύ<ĞǇŶŽƚĞ ƐĞƐƐŝŽŶ ƟĐŬĞƚƐ ĂƌĞ Ψϯϱ ŝŶ ĂĚǀĂŶĐĞ Žƌ ΨϱϬ Ăƚ ƚŚĞ ĚŽŽƌ ;ƐƵďũĞĐƚ ƚŽ ĂǀĂŝůĂďŝůŝƚǇͿ͘

D / W ZdE Z

green people impo_Layout 7 10/4/17 11:30 AM Page 34

RESPONSIBLE DESIGNERS TO WATCH SPONSORED BY ROLLAND As a complement to our perennial and popular special reports — “People To Watch” (newsworthy creatives) and “Students To Watch” (rising graduates of note) and “Educators To Watch” (influential teachers) — we have added a “Responsible Designers To Watch” to the editorial mix. Growing organically out of our “Green Design” annual feature, we are responding to the fact that more and more designers are embracing responsibility writ large in terms of how sustainably they create and produce, yes, but more broadly how, when, why and for whom they work. The common thread is that these are creative leaders who are using design principles, talents and skills to make the world a better place as they see it. The selection process in a field this deep tends to be subjective and weighted to those we know, admire and respect. We humbly invite your help in identifying our next round of sustainable and responsible designers to profile in our more-than-half-century effort to praise and elevate graphic design as a valuable tool for shaping commerce and culture.

34 G D U SA

green people impo_Layout 7 10/4/17 10:46 AM Page 35

GAGE MITCHELL

MODERN SPECIES, SEATTLE WA

ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES IN PURSUING THESE GOALS IN 2017? After years of hard work learning to build and operate a responsible

We’re all passionate, hard working, creative problem solvers who,

design studio, we’re pretty proud of what we’ve accomplished.

under the right circumstances, thrive when we’re given a challenge

That said, there’s always room for improvement. Here are some of

that pushes us beyond our current capabilities. However, we’ve

the challenges and opportunities facing our studio now and in the

all also experienced what it’s like to feel unfulfilled after pouring

near future:

our hearts into a project that ultimately supports something that doesn’t align with our values and interests. That feeling led our

OPERATE MORE EFFICIENTLY

founder, Gage Mitchell, to create Modern Species, and drove the

Because we built this company from scratch with a goal of putting

rest of us here to help build a studio that allows us each to align our values, passions, and skills. HOW AND WHY DID YOU BECOME INVOLVED WITH SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES?

purpose and personal growth over profits, we naively failed to build efficient systems and processes. This is a challenge we’re working hard to solve so we can do even more great work for awesome clients, have less deadline and budget stress, and ultimately build a sturdy platform for the future. IMPACT AND MEASUREMENT

The agency began nearly nine years ago, when Gage returned

Designers are inherently good at empathizing and then communi-

after a year of traveling abroad (a long honeymoon in lieu of a big

cating through words and images. However, we need to improve

wedding) and hung up his shingle in Madison WI. It was there

as a profession in envisioning our impact, planning our projects to

that he took a small business course at UW and began searching

influence the change we seek in a sustainable manner, and then

for more meaningful work. Business quickly took off so his wife Jen joined to help build the studio. After years of research, learning, trial and error, they developed a unique expertise in sustainable brand design and chose to focus Modern Species’ core services on brand strategy and sustainable packaging, web, and print design for mission-centric organic and natural product companies – both because of the huge impact that industry has

measure the outcomes. This is why Gage is working with a team of other socially responsible design leaders on the AIGA Design for Good Task Force to develop and launch the Path To Impact, a workbook that will help lead designers through the process of envisioning, planning, measuring, and sharing impact-focused work. BROKEN SYSTEMS Within our specific niche of consumer packaged goods, there are

on the world (our climate change) and because they love tasty

pervasive problems if we ever want to be a truly sustainable society.

product samples.

One example is the disjointed material recovery system in the U.S. that has different processes and abilities for recycling and compost-

Today, we are based in Seattle with a core team consisting of two

ing in each city and state, making it nearly impossible to distribute

(soon to be three) designers, a project coordinator, and Gage.

truly sustainable CPG packaging nationally. There’s definitely a lot

About 80% of work still comes from our primary niche, but we

we can do to make packaging more sustainable, but the system

also take on cause-related projects within the mental and physical health, and social and economic impact realms because it fits our values and we enjoy helping great organizations do amazing things. We believe in a holistic approach to responsibility which means that: we carefully choose which clients and projects we work on; we

needs to be overhauled. DESIGN A BETTER WORLD Long story short, we design responsibly because we care enough to get off the sidelines when we can help make an impact. To do our best work as designers though, we need to recognize the realities of the complex, interwoven, and often broken/unjust systems we’re working within in order to create smarter solutions and a better world

use our expertise to guide that work toward the most impactful and

for future generations. The cards may be stacked against us, but

sustainable outcome possible; we operate our business the way

we choose to believe change is possible and we vow to keep push-

all companies should be run – by making social and environ-

ing ourselves and the industry forward. That is, after all, why we’re

mental impact as important, if not more important, than profit.

called Modern Species.

PICTURED OPPOSITE PAGE (LEFT TO RIGHT): Joshua Yu, Kellie Komorita, Gage Mitchell, Carla Williamson-Britt

G D U SA 35

green people impo_Layout 7 10/4/17 10:50 AM Page 36

MESSAGE FROM ROLLAND

PREMIUM RECYCLED PAPERS FOR DIGITAL PROJECTS Striking A Balance Between Looking Good And Doing The Right Thing Rolland Enviro® Digital, Rolland Enviro® Jet and Rolland Hitech® are uncoated post-consumer content papers that minimize environmental impact and maximize digital print quality. These premium products help designers meet their clients’ communications goals and sustainability standards. MADE TO MEET THE GROWING DEMAND FOR PREMIUM DIGITAL PAPERS Rolland Enviro® Digital, Rolland Enviro® Jet and Rolland Hitech® are engineered speciﬁcally for digital printing equipment. Designers get the superior printability and reliability needed on digital projects like short-run customized documents, or print-on-demand promotional materials. At the same time, these papers offer great creative potential — their high levels of brightness, whiteness and opacity consistently showcase vivid colors. They also help create the black

Rolland is a North American leader for environmentally-friendly paper products, evidenced by its many certifications and designations from leading organizations which have rigorous evaluation criteria and verification standards. For example, all Rolland papers have Forest Stewardship Council® (FSC®) Chain of Custody certification. Rolland also has the Ancient Forest Friendly™ designation from Canopy. The Rolland life cycle assessment (LCA) quantifies the environmental impact of Rolland papers, reflecting a commitment to sustainable manufacturing and to transparency. You can access the complete report at Rollandinc.com.

ROLLAND ALSO MAKES PREMIUM COMMERCIAL AND PUBLISHING PAPERS

density and sharpness needed for high-quality reproduction

Rolland also offers a full range of uncoated fine papers —

of photographs, illustrations

with up to 100% post-consumer content — for offset projects

and graphics.

like magazines, books, brochures and annual reports. Visit rollandinc.com

Rolland’s digital papers have excellent surface smoothness that feels good in your hands, helping to create the strong ﬁrst impression that is so important in print communications. Both products are available in popular text and cover basis weights.

ROLLAND MAKES A POSITIVE IMPACT ON ECO BALANCE SHEETS A longstanding commitment to maintaining the smallest environmental footprint in the paper industry makes Rolland an ideal partner for designers or print customers who value a sustainable supply chain. Rolland products are manufactured at the only paper mill in North America fueled mainly by biogas energy (created by decomposing waste from a local landﬁll). By using this renewable energy source rather than fossil fuels, Rolland keeps its carbon dioxide emissions at low levels. The Rolland paper mill uses nearly six times less water per ton of

ORDER TRIAL PACKS AND TEST OUR PAPERS Simply complete the order form for product samples: http://www.rollandinc.com/en/environmental-printingpapers/order-samples

paper than the typical North American mill, due to the company’s ongoing drive to reduce intake and recirculate water.

36 G D U SA

Check product speciﬁcations: rollandinc.com/products

Project41_Layout 1 9/25/17 4:13 PM Page 1

MEET THE

SMALLEST FOOTPRINT IN THE PAPER INDUSTRY.

green people impo_Layout 7 10/4/17 10:51 AM Page 38

2017 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU BECOME INVOLVED WITH SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? We started in 1997 when only a handful of designers were talking about green design and sustainability, and most were in architecture and industrial design. We saw huge opportunities for innovation and invention, a chance to develop a new way of thinking about and doing graphic design, and we aspired to start a firm that would be a catalyst for social and environmental change. ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES IN PURSUING THESE GOALS IN 2017? Our clients are incredibly diverse, so we constantly have to learn about new industries. This week includes designing a new sustainable ranching brand, launching a website about recyclable K-Cups for Keurig, and concepting for a new social entrepreneurship incubator in France. We also run a retail design shop in Berkeley and do pop-up events every few months to spotlight the local creative community. Jumping between subjects and media can make your head spin, but I find all the diversity exhilarating. It seems like the first wave of big-time “green branding” has subsided, and budgets are a bit more modest than they were a few years ago, but the need for sustainable innovation is very much alive. In many cases, the clients we’re collaborating with are

BRIAN DOUGHERTY CELERY DESIGN COLLABORATIVE BERKELEY CA, PORTLAND OR, PARIS Celery Design Collaborative was founded in 1997 to focus on creating communications that have a positive impact in the world. I manage the California office at Celery. We also have designers based in Portland and Paris. We use design to help folks who are trying to have a positive impact in the world. Those folks are building start-ups, or working within large companies, or founding non-profits. We help them prototype crazy concepts, spread big ideas, and build brands for world-changing products. It’s a huge thrill when beautiful form-making comes together with great content. I co-founded Celery in an effort to scratch both of those itches simultaneously — good design integrated with good content.

38 G D U SA

successfully transforming their industries. It’s exciting to be part of that and help them grow. But it does often require patience to see the impact. We co-founded The Charlie Cart Project and designed a mobile teaching kitchen three years ago to simplify hands-on nutrition education. Rolling it out has been a huge learning curve and has taken a lot longer than we expected, but we’re now in 40 schools nationwide and it’s finally starting to rapidly scale. This sort of ambitious design doesn’t always follow the same timeframe as conventional marketing, but I think the impact can be a lot more lasting.

green people impo_Layout 7 10/4/17 10:52 AM Page 39

HOW AND WHY DID YOU BECOME INVOLVED WITH SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES?

After 15 years of running a traditional graphic design studio, I was searching for something more. After a month-long sabbatical to volunteer in Africa, which included helping set up a school, meeting with HIV patients, talking with education and awareness publications, and learning first-hand the impact clean water can have on a community, I returned home inspired to use the experience as a springboard to doing more to help others. I considered moving to Uganda and working on the ground but realized that using my skills as a graphic designer could be a vital way to enable non-profits to expand their reach and further engage their supporters. With that goal in mind, Design for Good to work was started with individuals and organizations who take socially and environmentally responsible action, spreading the message and helping them achieve their sustainable and humanitarian goals. ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES IN PURSUING THESE GOALS IN 2017? 2017 is an incredible time and opportunity to use

MARK HAAK DESIGN FOR GOOD, TORONTO ONT

design for change. There is so much noise in the marketing world that it takes strong creative to stand out and be heard. Today, there are so many ways to

Design for Good was started by Mark Haak in 2007. It is a different kind of

increase exposure and accessibility to your messages

company working with charities, non-profits and businesses that believe creativity

of awareness and support and to engage and interact

has enormous power for change, and that strong design can move people and get

through social media, mobile, crowd sourcing or

results. More than just socially conscious and environmentally responsible graphic designers, they are a community of passionate thinkers and doers who share beliefs

direct engagement with others to build a community of supporters.

and invest their energies in ethical organizations that are working together to make a positive and significant impact in our world. They help increase the impact of the work they are doing but also consider every opportunity to reduce an organizationâ&#x20AC;&#x2122;s impact on the environment. And they work together to create strong branding, authentic messages and creative strategies that help organizations around the world connect with supporters and use that support to further their cause.

G D U SA 39

green people impo_Layout 7 10/4/17 10:52 AM Page 40

2017 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU BECOME INVOLVED WITH SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? I knew early in life that I wanted to use creativity to solve social challenges. I grew up in rural Mississippi, and my family and I experienced firsthand the depths of poverty, racial inequity, division, and educational injustice, so even in my youth, that was a lens I carried. As a young artist, I won countless awards because the content of my work visualized the world around me and the injustices I saw. As I transitioned to study design in college, this desire to visualize injustice expanded into a mandate to address it. Through efforts like Project M Lab, I was introduced to social impact and community-based design work, and after studying social work and community development (specializing in social entrepreneurship) in grad school, I found my niche. And, with being on the ground as a designer and strategist during the uprising in Ferguson that followed soon after, I found my calling. Because of these experiences, I have remained unflinching and relentless in partnering with communities to help actualize ideas that assure greater equity and justice, and because of the current strifes within our global socio-economic and political environment, there is a lot of work I’ve been welcomed to help create. ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES IN PURSUING THESE GOALS IN 2017?

DE NICHOLS CIVIC CREATIVES, ST. LOUIS MO Through a multidisciplinary design practice, I create works and tools that activate

We are in a time where paradigms are shifting across many industries and ideologies. Because of this, designers will be constantly challenged to be nimble and take on new roles in actualizing ideas that can iterate and grow over time. We are literally creating

changemakers nationwide to address civic, racial, and gender equity challenges

the future, and as we embark upon uncharted paths,

within their communities. As Director & Principal Designer of Civic Creatives, my

we have to embody the humility and grace of not

team and I have helped spark ideas confronting racial inequity, food insecurity,

knowing how things might fully unfold while harness-

youth development, education, civic involvement, and intracultural conflict.

ing the boldness and vision to ensure the greatest

Because of these efforts I travel across the nation as a strategist and coach for

social benefits more equitably. More than ever,

other aspiring social designers and entrepreneurs, and I have served as a judge for

designers will be called to work in tandem with

various opportunities — including the most recent Ideas that Matter Awards by Sappi — to help highlight the promising work of such efforts.

communities — to lean in and listen to the native expertise that communities offer. The relationships will shift from client to comrade. The roles will evolve to include synthesizing and problem-solving in ways yet untapped. We will be called to help design policy and new systems as much as we are called to design apps, platforms, and campaigns. These are grand opportunities for designers and the field, and we must ensure that we are equipped with the knowledge, connections, and humility to uphold such roles justly.

40 G D U SA

green people impo_Layout 7 10/4/17 10:52 AM Page 41

HOW AND WHY DID YOU BECOME INVOLVED WITH SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES?

We merged our passion for the environment and our passion for graphic design by starting the agency in 2010. The idea was sparked by a course at the University of Arizona, titled Critical Issues in Design, taken by Jonny during his graduate education. The surprising rarity of sustainabilityfocused graphic design studios inspired us to not just practice as a sustainable studio, but to focus efforts into educating other designers with initiatives such as giving lectures around the country and informing with products such as our Eco Pocket-Sized Notebook.

ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES IN PURSUING THESE GOALS IN 2017? A big part of sustainable graphic design is efficiency, which ends up saving our clients money (an outcome that they’re usually very happy about). Another part of it is using greener materials, such as 100% PCW paper, which are often more expensive than their conventional counterparts. As one would expect, we do occasionally get some opposition on this front, but usually our client is on the same side as us and simply wants to use a more cost effective, but still greener, alternative. It’s all about achieving a balance. To stay productive and efficient, we try to align our-

RICHARD ROCHE + JONNY BLACK CAST IRON STUDIO, BOULDER CO Cast Iron Design is a multi-disciplinary graphic design studio in Boulder CO

selves with likeminded clients who want to make their business more sustainable, whether it’s because they want to build their brand value (since being an eco company often leads to increased trust and loyalty among consumers), or because they just think it’s the right thing to do.

primarily focusing on branding. The studio is operated by co-owners Richard

The other challenge is the time necessary to research

Roche and Jonny Black. They have been successful at pairing good design with

various materials and processes, a process we often

positive impact by creating memorable brands, implementing environmentally

liken to investigative journalism. We read MSDS

responsible practices, and helping the design community do the same. PICTURED ABOVE: Richard Roche, left, and Jonny Black, right. The Cast Iron Studio office is in the chapel of a former hospital and Al Gore’s portrait hangs cheekily above the pulpit.

sheets, have conference calls with technicians and chemists, and ask vendors extremely specific questions they’re often annoyed by. The benefit of the research investment is that it’s a service we offer that few other agencies offer. This adds to our value, and clients often come to us specifically because they’re looking to partner with green businesses or someone in the same “business as a force for good” movement they align with.

G D U SA 41

green people impo_Layout 7 10/4/17 10:54 AM Page 42

2017 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU BECOME INVOLVED WITH SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? Since the start of my design career, Iâ&#x20AC;&#x2122;ve always been an avid do-gooder and advocate for sustainability and purpose-driven design. I believe design has the power to lead the way for positive change, to shift consumer behavior and lifestyle aspirations toward a healthier and sustainable future. I have an environmental and social conscience and am passionate in these beliefs. I strive to reduce the environmental impact of our work and educate clients about sustainable solutions and alternatives that elevate their strong brand values while also contributing to their own growth and sustainability. Whether developing design strategies with social entrepreneurs or designing sustainable packaging for organic and natural products, my overall philosophy is to have a passion and a purpose for all of the work we do, and to work with good people who do good in the world. ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES IN PURSUING THESE GOALS IN 2017? There is always opportunity. Consumers are paying closer attention to the brands they make purchases from and are willing to invest in products and services from those that use business as a force for good. The most forward-thinking companies of our future are the ones that put design and sustainability first. The challenge is to continually push for design and

RACHEL MARTIN RACHEL MARTIN DESIGN, CHARLOTTE NC

sustainability principles into client's core practices that improve processes, support healthy living systems, ensure social equity and optimize the holistic

Rachel Martin is the design director of Rachel Martin Design, a sustainable and

approach of people, planet, profit and cultural diver-

socially responsible design studio that works with conscious businesses who are

sity. This drives further demand for responsible design

committed to social value and want to create a better world. Rachel is devoted to high quality sustainable design, focusing on branding, packaging, print and web, to innovatively solve problems and create meaningful change. Rachel is the former AIGA National Director of The Living Principles for Design and helped launch AIGAâ&#x20AC;&#x2122;s Design for Good and sustainability initiatives. She serves on the advisory boards for AIGA, Green Drinks, Piedmont Culinary Guild and Queen City Forward, is a member of AIGA Charlotte, U.S. Green Building Council and actively involved in the Charlotte community.

42 G D U SA

and the opportunity as a designer to not just solve problems but create sustainable solutions and systemic change for the global, social, environmental and economic challenges we face.

green people impo_Layout 7 10/4/17 10:54 AM Page 43

HOW AND WHY DID YOU BECOME INVOLVED WITH SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? We live in a culture where social media leads us to believe that a meaningful life has to be glamorous, envious and Instagram ready. When we launched Worldstudio in 1995 â&#x20AC;&#x201D; before the social media revolution â&#x20AC;&#x201D; we did it to give meaning to our lives by integrating our desire to want to give back to our community with the basic need to earn a living. A recent article in The New York Times indicated that people who see their occupations as an opportunity to serve their immediate community find more meaning in their work. I can attest to this, and while I may not have reaped financial rewards, I feel fortunate that I get to work on client projects and socially-minded initiatives on a daily basis which has given me a deep sense of satisfaction. ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES IN PURSUING THESE GOALS IN 2017? Design has traditionally been a service industry. As the creative professions evolve in the 21st century and as the lines between the silos of the profession blur, the range of what design has to offer is becoming more expansive. As the world seems to devolve on a daily basis into one grim situation after another, many creative professionals are looking to incorporate socially-minded activity into the work they do. PHOTOGRAPH: KELLY CAMPBELL

MARK RANDALL WORLDSTUDIO, NEW YORK NY I am the principal and creative director of Worldstudio. We are unique in that we are a for-profit design and communications firm as well as a non-profit arts foundation. This structure allows us to work in two ways; serving clients with a focus on non-profit and civic organizations, as well as entrepreneurially through Worldstudio Foundation. Creativity holds enormous power to impact positive social change. As contributors to the material world, we believe that it is critical for designers to act responsibly. Through a range of initiatives at the foundation we

How we do this can be challenging as there is no set career path. Pro-bono work, while admirable, is not sustainable over the long term. I see this as a wonderful opportunity to re-define how we as designers contribute to social change. We can develop new models of working, bringing our skills as strategic problem solvers to a range of issues. This means that we often have to make it up as we go along, finding new ways to engage with potential clients by demonstrating the value of design or taking an entrepreneurial approach and creating our own

support creative professionals and college students, who want to use their abilities

projects and programs to address the social issues

to improve the lives of individuals and communities.

we are passionate about.

G D U SA 43

green people impo_Layout 7 10/4/17 10:54 AM Page 44

2017 | RESPONSIBLE DESIGNERS TO WATCH

KIM DOW KALICO DESIGN, FREDERICK MD Located in Frederick MD, just a short distance from Baltimore and Washington DC, Kalico Design is a boutique graphic design studio. Specializing in print design, we work closely with our clients to generate fresh and thoughtful solutions for their marketing and design needs. While Kalico works with a large variety of clients, from start-ups to national associations, our passion

HOW AND WHY DID YOU BECOME INVOLVED WITH SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? Pursuing sustainability continues to get easier as businesses embrace communicating through technology. Kalico has even been awarded the Green America’s Business Seal of Approval for their efforts. For instance, we send project estimates, comps and revisions digitally to reduce the amount of paper consumption. When we do need to print, we use scrap paper taken from our in-office recycling bin and/or print double-sided. In addition, paper office supplies, including job

is to work with those in the health/wellness, pet-related and

jackets, envelopes, and paper are all made of 100% postconsumer

women-oriented industries.

waste. Most meetings are conducted via phone or email, and we use

Business owner Kimberly Dow approaches eco-consciousness as an ongoing learning experience, so naturally this translated to her business model as well. “I’m constantly looking for simple, practical ways for my husband and I to live a greener and healthier lifestyle at home, without drastically changing our routine or way of life. I strive for this same balance in my business.” PICTURED ABOVE: Kalico Design team (from l to r): Laura Rennie (admin), Kim Dow (owner), Andrea Neff (designer), Cecelia Lee (designer)

of sustainable, green-certified printers and web hosts. The bottom line is this: our sustainable practices are an inherent part of our business model, not what ultimately defines us. ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES IN PURSUING THESE GOALS IN 2017? We have a special place in our hearts for businesses and initiatives that promote socially responsible and/or sustainable causes. For instance, one of our clients, The Izaak Walton League of America, reached out to us to design a logo for their initiative “Save Our Streams,” which encourages people to check the water quality of their local streams and creeks. Another example is Farm to Fork Frederick, a local initiative pairing farmers with restaurants in our community of Frederick.

44 G D U SA

Project34_Layout 1 9/18/17 2:02 PM Page 1

ADOBE MAX THE CREATIVITY CONFERENCE OCTOBER 18–20, 2017, LAS VEGAS, NV Building a meaningful career in the design industry takes more than talent alone. This year’s lineup of MAX speakers in the Creative Careers track can help you launch a new career or rejuvenate the one you have. Hear from designer Jessica Bellamy, CreativeMornings founder Tina Roth Eisenberg, and more.

Jessica Bellamy

Tina Roth Eisenberg

Learn more at max.adobe.com Graphic Design USA readers save US$400 on a full conference pass.* Use promo code 17PGD when you register.

* See terms at max.adobe.com/terms © 2017 Adobe Systems Incorporated. All rights reserved. Adobe and the Adobe logo are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. All other trademarks are the property of their respective owners.

green people impo_Layout 7 10/4/17 10:56 AM Page 46

2017 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU BECOME INVOLVED WITH SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? I am a fervent lover of life and the interconnected relationships life is constantly negotiating. My work comes from an understanding that we all share this planet, it’s not about what is mine or yours, but what we collectively bring to our shared life experience on our world. Sustainability and social responsibility for me have been a lifestyle for 20 years that led me to my career in design. I realized if I wanted to live in a sustainable world I had to help create it. I founded lenspeace as a commercial communications strategy studio, but over time it evolved into letterpress and a retail brand seeking to utilize vintage print communications to converse about the human condition through art and design. I’ve always been fascinated by our psycho-emotional and physical connections, starting with the relationship we have to ourselves which I express through art books and journals, our connections to loved ones which I express through cards, and our relationship to the world which I express through poster work. I chose letterpress because when someone touches letterpress it creates a moment people feel and connect to and I wanted to exploit that to deliver messages with heartfelt meaning. As a result of my experience and perspective on branding strategy, I also consult on social impact strategy, empathy facilitation, and the creative process to teach sustainable PHOTO: NATE DORN IMAGES

LENNIE GRAY MOWRIS LENSPEACE, ATLANTA GA Lennie Gray Mowris describes herself as “having been many things: an artist, arborist, model, project and business manager, farmer, adventurer, strategist, consultant, and partner. My design career grew out of a desire to create artistic communications that serve people and their environment.” In 2010, Mowris

and responsible methodologies to other creative professionals through lenspeace and AIGA. ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES IN PURSUING THESE GOALS IN 2017? At the start of 2017 all of my clients were social and environmental justice npo’s. I discovered what happens to my client base when you have an administration that denies the importance of this work, many

founded lenspeace, which is both a commercial design studio, a letterpress printer

get caught in their own funding and litigation battles,

and a retail brand. Lennie states: “We also utilize monoprints, blockprints, and

and therefore don’t need branding help, they needed

mixed media techniques. We play with paper, ink, paint, and ideas to craft com-

broader strategy work. This has brought multiple

munications that support the environment and humanity. Our friends play with

opportunities to pivot my perspective and what I offer,

design, words, video, code, and concepts to bring you the ideas generated here.

while also challenging me to reinvent my workflow. I

Together, we manifest a spectrum of creative ideas.”

have bumped up against budget constraints, but also a lack of awareness for what a design strategist actually does. It is my hope that over the next few years the increase in trained social impact design professionals, the increase in perspective in what that means, also offers new ways of seeing what designers can bring to organizational and civic resilience.

46 G D U SA

green people impo_Layout 7 10/4/17 10:56 AM Page 47

HOW AND WHY DID YOU BECOME INVOLVED WITH SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? I have had the opportunity to serve as an advisor to the nonprofits Lifewater, Life In Abundance and EPIC (Engaging Philanthropy, Inspiring Creatives). Our work with LIA and Lifewater has increased awareness and raised funds to aid people living in the urban and rural slums of sub-Saharan Africa and Asia. My most recent project has been to raise awareness and funds for community water projects in Africa through Wheels4Water. Wheels4 Water started when the Rule 29 team decided that we wanted to do something bigger than ourselves. How could we use design thinking, design, social media, web and digital strategy to raise awareness and activate a community? We wanted to use our creative skills and partner with some of our friends and see if we could do things a little differently. We were going to commit to raising money and be responsible for not just the creative part, but the actual fundraising as well. And it truly shifted our perspective and approach as soon as we had “client” shoes on as well. We have designed a brand that is refreshed every year and tells a slightly evolved story on the community we are supporting. The project, led by our firm and video production studio, Wonderkind Studios, provides numerous opportunities for the wider community to meaningfully participate in the alleviation of the global water crisis.

RULE29, GENEVA IL

ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES IN PURSUING THESE GOALS IN 2017?

Justin Ahrens is founder and principal of Rule29, and he lives the firm’s

At the start of 2017, Wheels4Water has raised over

philosophy of Making Creative Matter®. Like any creative professional, Justin

$200,000 to bring safe water and sanitation to

enjoys digging into a business problem and designing a strategic solution. But

over 5,200 people in Uganda and the Democratic

JUSTIN AHRENS

he gets a bigger charge out of seeing the positive impact that solution can make — for the client and for the world. Justin speaks the languages of both business and design, guiding Rule29’s strategic and creative direction on every project. He fosters the collaborative approach that’s at the heart of the firm’s relationships with clients ranging from Fortune 500 brands to nonprofits to small startup companies.

Republic of the Congo. And this year, we’re setting our sights higher by completing one of the biggest challenges in all of cycling: a transcontinental journey. The Wheels4Water team will ride over 3,000 miles in ten days, from San Diego CA to Jacksonville FL, with a goal of raising $200,000 to transform the lives of a community in the Kaliro District of Uganda. In reaching this mark, our efforts since 2014 will have given safe water access to over 10,000 people in Uganda and the Democratic Republic of the Congo.

G D U SA 47

green people impo_Layout 7 10/4/17 10:56 AM Page 48

2017 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU BECOME INVOLVED WITH SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? After Art Center College of Design and a brief stint in the advertising industry, I opened my own commercial design firm. Initially, my client list was drawn from the top ranks of consumer products sold by corporate clients — companies like The Walt Disney Company, Wells Fargo, and AT&T. Outside of the office, I was a committed activist on behalf of peace, civil rights, and LGTBQ rights. Like many progressive entrepreneurs in the 1970s, I drew a line between my professional life and my passion for justice. One day, in my role as an ad maker, I was approached by a nonprofit organization seeking to raise money to supply the Los Angeles Police Department with calming, childfriendly interview rooms for children who had suffered abuse. To help with this fundraising effort, I designed and wrote an advertisement that ran in local and national publications. The ad was a hit, generating enough donations to fund child-friendly spaces in every LAPD precinct. This was my “light bulb moment.” That experience convinced me that my vision of a better and more just world could be the basis for a business — and not something I only worked toward in my personal life. From that point forward, I committed myself to running a firm that uses “Communications for Good,” an approach that is the lifeblood of Hershey Cause to this day.

CHRIS HERSHEY HERSHEY CAUSE COMMUNICATIONS, LOS ANGELES CA I’ve devoted my career to using my creative skills to help nonprofits, issue-oriented and other progressive organizations soar. That’s evident from my personal journey in this industry, as well as from the history of the agency I founded and continue to lead today: Hershey Cause Communications. Initially a design agency, Hershey Cause Communications has focused on using design, design thinking, and broader communications strategies exclusively on purpose-driven projects. In short, we

ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES IN PURSUING THESE GOALS IN 2017? I believe that in these polarized times, creative people will provide the bridges, design the innovations, and reveal our shared humanity that will lead to a healthier, more peaceful world. As our current political climate drowns out marginalized voices, the need for clear and powerful storytelling has never been

focus our efforts on using “Communications for Good.” This philosophy and com-

more urgent than it is right now. In heeding this

mitment is both pioneering and enduring. Hershey Cause was the first for-profit/

call to action, we will be connectors and catalysts.

nonprofit “social enterprise” in the space. And earlier this year, we marked our

Although we may not know exactly what the future

40th anniversary. Since 1977, we’ve helped thousands of nonprofits discover

will demand of us, we can be sure it will lean on the

their voices and visual identities, empowering them to become drivers of posi-

shoulders of creative, fearless, and skilled commu-

tive social change. In addition, I‘m proud to be known as “an evangelist for

nicators. It will require authentic leaders and strate-

communications.” It’s a reputation built through decades of championing the

gists. It will be an opportunity for progress and

transformative power of communications. This includes making the power of good communications more accessible; through our Through our “Cause Clarity” suite of tools and trainings, we put free resources in the hands of organizations big and small — all across the world. PICTURED ABOVE: Chris Hershey (right) with Group Account Director Vanessa Schnaidt (left)

48 G D U SA

purpose. So although this 40th anniversary seems a natural time to reflect on the past, at Hershey Cause our hearts are already directed towards the next 40 years — a future informed by the urgency of today. This is the time for us creatives to lead.

green people impo_Layout 7 10/4/17 10:57 AM Page 51

2017 | RESPONSIBLE DESIGNERS TO WATCH

RUSSELL ESTES SOUTHERN POVERTY LAW CENTER MONTGOMERY AL I’ve been at the Southern Poverty Law Center (SPLC) for 21 years. My start date was the one-year anniversary of the day Timothy McVeigh and Terry Nichols detonated a bomb that destroyed the

to young people. Using litigation, education and other forms of advocacy, the SPLC works toward the day when the ideals of equal justice and equal opportunity will be a reality. As the design director, it has been my personal mission to use the highest quality visuals as a tool to elevate our voice. I came to the role of design director specializing in print production and typography. These skills have served me well in a setting where the urgency

Alfred P. Murrah Federal Building in Oklahoma City. There was

of our mission demands swift and pointed communication. The

no social media then; we kept our audience informed through

stakes are high.

print newsletters and magazines. But when we did publish about the anniversary of the Oklahoma City bombing we had a lot to say — and show. Tracking hate and extremism has always been our specialty, and our intelligence team had, in fact, predicted such an attack. We even sent a letter to Janet Reno identifying the warning signs. PICTURED ABOVE: L to R in front of the Civil Rights Memorial, designed by Maya Lin, at the Southern Poverty Law Center headquarters in Montgomery AL: Angela Greer, Valerie Downes, Shannon Anderson, Kristina Turner, Russell Estes, Michelle Leland, Cierra Brinson, Scott Phillips, Sunny Paulk

HOW AND WHY DID YOU BECOME INVOLVED IN SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? These are dark stories to tell, but I’ve been lucky: Under the leader-

ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES OR DEMANDS IN PURSUING THESE GOALS IN 2017? The SPLC has changed a lot in 22 years and so has our approach to design. But, as incidents like the white nationalist rally in Charlottesville this summer illustrate, the issues at the center of our work remain the same — and they are more relevant than ever. When news breaks and the country is looking to us for answers, we need to be prepared with exactly the right image, the most compelling graphic and a clear understanding of the message. And, because we regularly engage issues of race, class, ability and sexual identity, we need to be fluent in the visual language of social justice so that our respectful treatment of the people at the heart of these cases can stand as a model.

ship of Morris Dees and Richard Cohen, I’ve had the freedom and

I cannot tell the design story of SPLC without mentioning the con-

support to tell these stories in compelling ways through graphic

tributions of our outstanding in-house design team. Their creativity

design. The SPLC’s mission is to fight hate and bigotry, seek justice

is only matched by their commitment to social justice, and they

for the most vulnerable members of our society, and teach tolerance

keep me honest, focused and inspired. G D U SA 51

green people impo_Layout 7 10/4/17 10:57 AM Page 52

2017 | RESPONSIBLE DESIGNERS TO WATCH

ERIC BENSON + YVETTE PERULLO CO-FOUNDERS + PARTNERS AT RENOURISH.ORG Eric Benson was born in Arizona and raised in Mid-Michigan

Yvette Perullo is a Boston-based designer and educator. She

where he later received his BFA in graphic and industrial design

received her MFA in visual communications design from Purdue

from the University of Michigan in 1998. His MFA thesis at the

University and her MA degree in graphic design from the New

University of Texas became Re-nourish. This work translated into

England School of Art & Design at Suffolk University where her

an academic career teaching graphic design at the University

research focused on developing tools and resources to encourage

of Illinois at Urbana-Champaign. At Illinois he runs Fresh Press Agri-Fiber Paper Lab, where he explores sustainable papermaking using corn stover, soy stalks, prairie grasses, and other waste fibers from local farms. Ericâ&#x20AC;&#x2122;s creative work has also garnered numerous design awards and hung in notable venues like The Walker Art Center, the Smithsonian Cooper Hewitt National De-

sustainable design practices the foundation of her work with Re-nourish. She has lectured internationally on sustainable graphic design and as a design educator, Yvette focuses on integrating sustainability methodology into her courses. Yvette is the Lead Designer at Bartlett Interactive in Concord MA, an agency

sign Museum, the Hammer Museum, the Contemporary Arts

with a commitment to sustainability and triple bottom line

Museum Houston, and RISD.

business practices.

52 G D U SA

green people impo_Layout 7 10/4/17 10:57 AM Page 53

HOW AND WHY DID YOU BECOME INVOLVED IN RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? Around 14 years ago, in our own personal sustainable design journeys, we each had a similar epiphany about the negative state of the planet and how that was intertwined with the design profession. Interestingly both “awakenings” involved seeing our print work being thrown away. We spent countless

d e x a l e r e r 100% mo trees 58% more

hours working on making our design work usable and (dare we say) gorgeous. It was frustrating to see it carelessly tossed in the trash, and that made us both start to rethink what and how we make. That line of questioning led us to start Re-nourish.org, to change the path of design away from over-consumption, waste, and ignoring the natural systems around us. We became partners and started Re-nourish.org in 2008 after we met a conference in Baltimore. At the time Eric was an educator at University of Illinois and Yvette was a Design Director at a consulting firm in Boston and teaching design courses at Suffolk University. In 2015, Renourish.org became a registered 501(c)(3) nonprofit organization. It energized our commitment to our mission to provide online tools advocating awareness and action for sustainable systems thinking in the communication design community. We firmly believe that ‘good design’ values people, the environment, and improves lives. We aim to help the practicing communication designer, educator and student make positive sustainable and pragmatic design decisions. ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES IN PURSUING THESE GOALS IN 2017? Yes! First off the federal environmental policies have changed

Did you know that ther erre e are now 58% morre e trrees ees growing o in U.S. forrests ests than † 60 years ago.

for the worse with the new administration in Washington leaving us in a less than favorable political and financial position. Since President Trump pulled the U.S. from the Paris Climate Accords and denies the reality of climate change,

Paper is made from renewable wood… good news if you love spending a leisurely afternoon reading.

it’s an uphill battle to achieve our mission. Relying only on governmental grants is not in our best interest, so we are look-

†

U.S. Depar tment of Agriculture, 2012

ing to fundraise tax-deductible donations to our 501(c)(3). We need to increase our fundraising at our Re-nourish.org to update, enhance, and add to the content, technology, and offerings on our site.

JOIN NOW! TTwo wo Sides Sides iiss a an n iindustry ndustr y iinitiative nitiative tto o promote pr omote tthe he rresponsible esponsible use use o off pri print nt and a nd paper. paper. twosidesna.org/ t wosidesna.org/ how-to-join-two-sides h ow-to-join-t wo-sides

G D U SA 53

green people impo_Layout 7 10/4/17 10:58 AM Page 54

2017 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU BECOME INVOLVED WITH SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? The founding of H+W is rooted in Design for Good. James and Laurel met because of their interest in making an impact. For many years, they have both been active locally and nationally with AIGA to expand efforts to use design to tackle bigger social challenges. After a decade running a traditional firm, James felt like there had to be more to design. When they met in 2011, James was in the middle of transitioning his company and career to focus on designing for social impact. Shortly after, they began working together to build a business model that would allow them to thrive by working with companies and on causes they believe in. Their workday is nothing if not diverse. In addition to taking on community challenges, they still do plenty of branding, communication design and consulting. A typical day could include organizing a farmer’s market, designing a trailside exhibit, creating collaboration systems for community organizations, sketching a logo for a startup, writing a brand story, designing an annual report or figuring out an economically sustainable model for a community-led health initiative. ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES IN PURSUING THESE GOALS IN 2017?

JAMES HERSICK + LAUREL WEBSTER HERSICK + WEBSTER CREATIVE PARTNERS, HEDGESVILLE WV Hersick + Webster is a full service design and brand communications studio with a mission to add little good to the world through design. James Hersick and Laurel Webster built H+W with a collaborative approach that combines their passions, skills and experiences with those of their clients and communities. In these partnerships, they often find themselves designing strategies, conversations,

With state budget shortages and changing federal policies, we’re thinking about ways to replace the potential loss of grant funding for several community projects and NPO clients that we work with. In our work, we are always looking to break down silos and walls between organizations and personalities. Expanding our impact requires us to help folks imagine how they can build partnerships to get more accomplished. Additionally, we're working on finding the right ways to package some of our successful

experiences, and more as people look to them for leadership, guidance and help

regional projects so they can have an expanded

communicating their own efforts to make a difference.

impact at a statewide level — and eventually beyond that too. Sharing is caring!

54 G D U SA

Project54.qxp_Layout 1 10/4/17 10:49 AM Page 1

READ OUR POPULAR DESIGN BLOGS ON GRAPHIC DESIGN PACKAGING HIRING + CAREER TIPS

Palisades Park- Multimedia Coordinator: Create, design & edit visual effects, or other visual images using film, video, computers, or other electronic tools & media for company’s activities & campaigns; Research upcoming projects to help our public communication & campaigns; and Develop storyboards that map out key scenes in our activities.

NEWS | TRENDS | INSPIRATION

WWW.GDUSA.COM

Bachelor’s degree in multimedia engineering/arts related. Send lttr/res to Korean-American Association of New Jersey, 21 Grand Avenue, #216-B, 2Fl, Palisades Park, NJ 07650

Digital Printed Premium Vinyl & Case Binders Perfect for manuals, presentations, handbooks, storage & more. Full color printing with low minimums • Multiple sizes • Made in the USA •

Case versions are 100% recyclable polypropylene

Call for details 877.749.2127

www.packzen.com

green people impo_Layout 7 10/4/17 10:58 AM Page 56

2017 | RESPONSIBLE DESIGNERS TO WATCH At the same time, we choose our corporate for-profit clients based on their willingness to support notfor-profit ventures. Eclipse has a strong portfolio of corporate clients and our selection criteria in accepting business is their willingness to pull alongside others through their corporate responsibility policies. Other aspects of our culture: we are willing to reduce our rates/fees notably as well as to amortize fees over time regarding not-for-profit clients; we volunteer and donate to many not-for-profits in order to â&#x20AC;&#x153;liveâ&#x20AC;? the brand and experience; we take budget consciousness to the extreme on behalf of the client; we connect dots between corporate clients and notfor-profit clients to encourage further impact socially; and, finally, we integrate ourselves beyond design, to hear and help in every aspect of the organizational structure, business model, financial model and other management models. ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES IN PURSUING THESE GOALS IN 2017? There are a great many challenges faced regardless of the year. For example, it is essential to be culturally relevant in our messaging and specifically in the tools to execute their brands. We are truly an omnichannel marketing firm. We believe it is the collective

ECLIPSE MARKETING & ADVERTISING GREENWOOD IN PICTURED ABOVE: Dustin Brenton, Creative Director and Jake Stamper, CEO

Eclipse Marketing & Advertising believes social responsibility starts with developing and maintaining a culture of teamwork with a brand that leads to continuous support of a socially responsible mindset for the team. The Eclipse brand, from inception over 11 years ago, is to be a paraklete (individual) or parakletos (team); a Greek word meaning to be called alongside to help, counsel, advise and advocate. We dive deep into this meaning by denying self and setting guidelines to define with whom who we do business and how we conduct ourselves in that business. HOW AND WHY DID YOU BECOME INVOLVED WITH SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? We choose our clients based on how they are called to pull alongside society and help, counsel, advise and advocate for others. For example, Eclipse currently serves over 35 not-for-profit clients that serve our global community by helping to break the cycle of poverty, by providing shelter and education to expectant mothers, by providing food via food pantries/banks, by providing academic, physical, emotional and spiritual help through community centers, by reaching those incarcerated through prison outreach, by pulling alongside of those suffering from domestic abuse, and by standing with churches who provide spiritual guidance to the community. 56 G D U SA

set of tools (digital, social, web, print, traditional mass media including billboards, newspapers, publications, trade shows, conference and other tools) that holistically deliver the brand. One would think politics would play an important role in determining certain design and messaging. However, we have found that if we have developed a strong client brand, politics will not play a role at all. Our brands are centered in socially responsible work and can speak for themselves; therefore, politics do not play a role. Finally, budgets and technology are always concerns. When you are serving others in your community, you want every single dime/dollar to be allocated to that service; reality calls for some marketing, advertising, design and business overhead so it behooves us to be strive to be financially efficient in all design and production. Similarly, technological advances allow us to realize greater efficiency by using Social media and other digital communications to stretch limited budgets while yielding meaningful results. And we aspire to make our design even more powerful on these media to capture attention, as there is less view time from the audience.

Project49_Layout 1 9/28/17 1:28 PM Page 1

5,800 NFL football fields per day!

DQG PDQ\ LGH ZRRG IRU PDNLQJ SDSHU URY K S KLF Z WV UHV IR 6 W 8 WKD 'LG \RX NQRZ U GD\ EHWZHHQ DQG SH GV HO OO Ã¥ WED IRR )/ 1 RWKHU SURGXFWV JUHZ E\ Love magazines? Youâ&#x20AC;&#x2122;ll love them even more knowing WKH\Ã&#x2013;UH PDGH IURP QDWXUDO DQG UHQHZDEOH ZRRG

Source: USDA Forest Service, 2014

Two Sides is a global initiative promoting the responsible use of print and paper which, when sourced from FHUWLÃ¥ HG RU VXVWDLQDEO\ PDQDJHG IRUHVWV LV D XQLTXHO\ powerful and natural communications medium.

Discover more great #PaperFacts at twosidesna.org

green people impo_Layout 7 10/4/17 10:58 AM Page 58

2017 | RESPONSIBLE DESIGNERS TO WATCH

VALERIE KRAMIS + SUSANA ARELLANO

HOW AND WHY DID YOU BECOME INVOLVED IN SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES?

AGENDA28 NEW YORK CITY NY AND MEXICO CITY

address the high level of poverty in their home country of Mexico. At

Agenda28 is a design studio specializing in social impact. Founded by Valerie Kramis and Susana Arellano at the Harvard Innovation Lab, Agenda28’s mission is to leverage the power of

We met in high school and started to plan a social venture that would the time, the project seemed too ambitious. Ten years of experience and successes later, we became aware of the need to introduce design to social enterprises and non-profits so they could compete with corporations, improve operability, better address the needs of their stakeholders and further their missions. In 2015 we launched

design to create social, environmental and economic change.

Agenda28 and, since then, have worked on projects that range from

Employing a combination of social innovation methodologies,

designing a product to reduce maternal and infant mortality in South

they develop design strategies based on the needs, behaviors,

Asia to a Google Chrome Extension that makes it easy for consumers

and attitudes of the people they serve. Recognizing the impor-

to support mission-driven businesses in the USA.

tance of empowering others to use design as a tool for change, Agenda28 is deeply committed to developing young talent. They

ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES IN PURSUING THESE GOALS IN 2017?

created the Impact Design Cha llenge, a free program for students

Working with non-profits and social enterprises presents numerous

from diverse backgrounds to ideate solutions to problems in

challenges, but we consider them opportunities. Two of the most

their communities and around the world. Agenda28 provides

common ones are the lack of understanding about the added value of

the winning team with product design and guidance to prototype

design and the shortage of resources, but these “limitations” have

and implement the solutions they envsioned.

allowed us to create new methodologies and creative solutions that can work as precedent to make design accessible to social initiatives. Furthermore, during 2017 we have encountered a political climate that has created a lot of unexpected challenges especially for those who are most vulnerable. However, this has also created a sense of solidarity among those working in the social impact sector, which is extremely valuable to achieve systemic change.

58 G D U SA

Project37_Layout 1 9/18/17 2:23 PM Page 1

I am I am In-House Mike Dorval is Senior Manager of Creative for the in-house group at Isagenix International. A good part of his career has been focused on building in-house creative teams and advancing the cause of design professionalism in the corporate setting. Mike has worked in the retail sector as lead Creative for a Fortune 500 company, and since 2005 has been working in the health and wellness/direct sales space. Originally a New England boy, Mike moved to Phoenix in 2003 with his future wife Evelyn to escape the snow. Evelyn and Mike are co-owners of Evelyn Ford Shoes, an innovative luxury startup that Evelyn founded in 2014. They currently reside in Phoenix, along with their 2 furry felines, where they have adapted nicely to the warm winters and really warm summers.

in-source.org

October 2017 Stock IMPO_Mar 07 Top Stock BK2/5 10/4/17 11:01 AM Page 62

October 2017 Stock IMPO_Mar 07 Top Stock BK2/5 10/4/17 11:02 AM Page 63

| 31ST ANNUAL |

STOCK VISUAL READER SURVEY BY GORDON KAYE

AN ESSENTIAL DESIGNER RESOURCE RESPONDS TO SOCIAL AND TECH CHANGE If forced to summarize the ﬁndings of our 31st annual stock visual survey, I could do so in one sentence.

“Creative professionals need stock visuals to feed a visually hungry media landscape from print to web to social media, they appreciate the accessibility and abundance of stock offerings, but they wish providers would hurry up with imagery that better reﬂects how America lives, loves, looks, labors, and links.” I admit it is a long sentence but, in my defense, it does have some nice alliteration.

G D U SA 63

October 2017 Stock IMPO_Mar 07 Top Stock BK2/5 10/4/17 11:02 AM Page 64

STOCK VISUAL SURVEY | TEN OBSERVATIONS

For those of you with a bit more time and patience, here are ten takeaways based on the results of the 2017 survey of GDUSA subscribers who were kind enough to respond to short answer questions and provide comments when applicable.

A RARE CONVERGENCE Stock visuals remain a vital creative resource for graphic designers, transitioning over decades from marginal to mainstream to essential. Why? There are a thousand reasons that boil down to a single core explanation. Society and business has become more visually hungry and more visually sophisticated at the same time that creative businesses are squeezed by

tight budgets, short turnarounds, challenging assignments, multiple media, demanding clients and digital workﬂow. Stock visuals offer a solution because the central value proposition

choice, content, accessibility, affordability, convenience and speed

dovetails perfectly with the intense demand for more imagery. There has rarely been such a convergence of a product and its times.

BETTER, FASTER, SMARTER Implicit in the statement above, creatives say that stock imagery has become just plain better in terms of quality, quantity, selection, subject matter, affordability, search and delivery. This, of course, varies from provider to provider, but the overall result is an abundance of choices at a wide range of price points delivered by an increasingly dynamic and responsive

infrastructure. Indeed, there is near unanimity on this point: the right image is easier to ﬁnd, access, license, use and repurpose.

ATTITUDE ADJUSTMENT Conceptually related, stock has achieved legitimacy and acceptance. This may not be news to a new generation of designers, but it is stunning in the broad historical sweep given the miasma of skepticism that hung over the industry in its early years. Today stock providers are perceived as a necessary — often desireable — professional partners, collaborators, even

trendsetters. This is not to say that concerns about exclusivity, originality or artistic integrity have evaporated but they are tamped down.

IT ALL ADDS UP In light of the above points, it is no surprise that stock visuals are in vogue. What may be a surprise to the uninitiated are the absolutely soaring levels of use recorded in our last several annual surveys. This year, for example, more than nine-inten designers use stock visuals in their work; four-in-ten use more than 100 images a year; and the vast majority use over

50 images a year. Directionally speaking, nearly four times more respondents say they are turning to stock imagery “more often” than those who say “less often.”

CREATIVES IN CONTROL The 2017 survey reafﬁrms that creative professionals control are the decisionmakers with regard to source, imagery and method of license. After all, they are creating the content and trying to stay within budget. Thus, virtually everyone is deeply involved in the decision; a mere two percent disclaim any role. What are the primary reasons for selecting a particular

stock provider? Price, quality, quantity and searchability top of the rankings. By far. And on what devices do designers search and license? Desktops and laptops still largely hold sway with an uptick in smartphone use. More on how this relates to the growing role of mobile phones and mobile photography later.

64 G D U SA

October 2017 Stock IMPO_Mar 07 Top Stock BK2/5 10/4/17 11:03 AM Page 65

MULTIPLE MEDIA AND CHANNELS In the beginning, stock visuals were licensed for print. The 2017 survey demonstrates that times have changed. A lot. Today, it goes without saying that creatives work in and across multiple channels, and more than three-in-four stock images are licensed for use across media. Interestingly, print is still atop the leaderboard in terms of stock use, and

packaging, point-of-sale and signs are also in the mix. Nevertheless, all the buzz and much of the growth is in image licensing for internet and interactive design, social media, and motion graphics.

PEOPLE WHO NEED PEOPLE The perennially popular subjects for licensing remain stolidly consistent. For example, “People” and “Business/Industry” are two top licensed categories for the 31st straight year. At the same time, the general trend continues toward breadth: in all, more than two dozen identiﬁable categories register signiﬁcant activity. There are often interesting shifts to note from

year-to-year which arguably mirror changing tastes and circumstances. For instance, “Health/Wellness” and “Multicultural/Ethnic” imagery have recently risen into the list of top ten most licensed categories, and are such this year as well. Is this because these topics are at the epicenter of our national conversation? Similarly, this year’s survey reveals downtick in stock imagery related to “Retail”. Maybe a sign of a growing “Amazon affect” on brick and mortars stores?

DIVERSITY AND INCLUSIVENESS For years, greater diversity in stock content has topped the wish list of creative professionals. According to survey respondents, that wish is gradually becoming a reality. Generally, the lodestar for judging “diversity” has been racial, ethnic, religious, gender and age inclusiveness within stock collections. More recently, the concept of ﬂuidity has also entered

the lexicon, referring to changes in social mores that are reshaping lifestyles, workplaces, institutions, behaviors and traditions as well as demography. On both accounts, most respondents believe the stock agencies are doing a better job of reﬂecting real life. Even the contrarians acknowledge some progress, albeit slow, superﬁcial, and sometimes contrived rather than natural.

IMPACT OF SOCIAL MEDIA The rise of social media is transforming – or should I say disrupting? – the way we communicate. In this year’s survey, more than half — 53% to be exact — of designers report using stock imagery in social media. However, it is all so need respondents are still grappling with what this means regarding imagery. An early consensus is that social media is placing

a priority on images that are simple, clear, user-friendly, and that “pop”, i.e., can capture attention in ﬂeeting instant. Finding the right formats also matter, especially since so much of social media is consumed on small and often vertical screens. Traditionalists among our readers are worried that these developments are diminishing the quality, craftsmanship and professionalism of photography and design.

IMPACT OF SMARTPHONES Smartphones are revolutionizing photography — and are having an inevitable effect on stock providers and users. For many stock agencies, mobile photography is growing, enhancing and even reshaping their collections with millions of uploaded photos. For the creative community, traditional design principles are evolving in response to the informality

and immediacy of mobile photography, and the demands and constraints of mobile web browsing. How this will ultimately transform visual communication is beyond my pay grade. Two narrower questions relate to today’s survey. One is whether designers are happy to license stock images shot on an iPhone. The answer is yes and no: purists are aghast but most people are willing to judge quality and appropriateness on a project-by-project basis. The other narrow question is whether smartphones will become a popular device for searching and licensing stock imagery. Today’s survey suggests this practice is on the rise but that creatives are still more comfortable searching on the larger screens of their desktop or laptop.

G D U SA 65

October 2017 Stock IMPO_Mar 07 Top Stock BK2/5 10/4/17 11:03 AM Page 66

STOCK VISUAL SURVEY | THE NUMBERS

DO YOU OR OTHERS IN YOUR COMPANY USE STOCK IMAGERY IN YOUR WORK?

MAIN REASONS INFLUENCING YOUR USE OF A STOCK VISUAL SITE/PROVIDER? TOP 10 IN ORDER OF FREQUENCY

92% 72% 41% STOCK PHOTOS

STOCK ILLUSTRATION

| | | | | | |

PRICE

STOCK VIDEO/ FOOTAGE/ANIMATION

4 | 5 | 6 | 7 | 8 | 9 | 10 |

SEARCH CAPABILITY FRESHNESS BRAND/REPUTATION SITE DESIGN EXCLUSIVITY SPECIAL PROMOTIONS ADVICE/TRENDSPOTTING

HOW OFTEN DO YOU USE IMAGES OR FILES DURING THE COURSE OF THE YEAR? 1-5 TIMES

6-10 TIMES

11-20 TIMES

21-50 TIMES

51-99 TIMES

100+ TIMES

10%

23%

17%

40%

QUALITY

QUANTITY

WHAT SUBJECTS/CATEGORIES DO YOU USE MOST FREQUENTLY? TOP 25 IN ORDER OF FREQUENCY

FOR WHICH TYPES OF MEDIA DO YOU LICENSE STOCK IMAGERY?

PEOPLE

89% 72% 28% 41% PRINT

DIGITAL, ONLINE + MOBILE

POP + PACKAGING

| 4 |

TECHNOLOGY/COMPUTERS

| 5 |

LIFESTYLES

| 6 |

HEALTH/WELLNESS

| 7 |

ETHNIC/MULTICULTURAL

| 8 |

FAMILIES

| 9 |

NATURE

| 10 | FOOD/BEVERAGE | 11 | ARTS/CULTURE/ENTERTAINMENT

TV, FILM + VIDEO BUSINESS + INDUSTRY

| 12 | EDUCATION

CONCEPTS + IDEAS

| 13 | HOLIDAYS/CELEBRATIONS | 14 | SPORTS/FITNESS | 15 | ANIMALS/PETS | 16 | TRAVEL/TOURISM

WHICH DEVICE DO YOU USE TO SEARCH FOR STOCK VISUALS?

| 17 | RETAIL | 18 | ARCHITECTURE/BUILDINGS | 19 | BABIES/CHILDREN | 20 | BEAUTY/FASHION

91%

45%

| 21 | CARS/TRAINS/PLANESTRANSPORT

11%

| 22 | RELIGION/SPIRITUALITY | 23 | MILITARY/POLICE/SECURITY

DESKTOP

LAPTOP

TABLET

DO YOU LICENSE?

69% HAVE A STOCK VISUAL SUBSCRIPTION

48% ONLY ROYALTY FREE

5% ONLY RIGHTS MANAGED

49%

| 24 | HOMES/INTERIORS

PHONE

53%

| 25 | HOSPITALITY/HOTELS

DO YOU USE STOCK VISUALS MORE OR LESS IN YOUR WORK THAN IN THE RECENT PAST?

BOTH KINDS

USE STOCK IMAGERY IN SOCIAL MEDIA

39% MORE

66 G D U SA

WHAT IS YOUR ROLE IN THE LICENSING/ PURCHASING PROCESS?

10%

51%

LESS

SAME

75% SOLE/PRIMARY DECISION MAKER

23% SECONDARY DECISION MAKER

2% NO ROLE IN DECISION

Project51_Layout 1 10/2/17 2:24 PM Page 1

endless creativity

P la s tic E Plastic Envelopes n at www. ja m a p e r .c om www.j a mp

October 2017 Stock IMPO_Mar 07 Top Stock BK2/5 10/4/17 11:03 AM Page 68

STOCK VISUAL SURVEY | SELECT COMMENTS

WHY IS THE USE OF STOCK VISUALS SO FREQUENT AND COMMON? Stock imagery, for the most part, has increased in quality and

Customer budgets drive the usage. Lower budget means fewer

availability.

photo shoots and an never-ending quest for more affordable

There are more choices now than before and more availability.

photos. I hate it.

The content is also becoming more relatable to current user

Social media apps like Instagram are giving more people

needs and trends with certain sites dedicating their offerings

conﬁdence in their photography and based on feedback are

to what is considered contemporary.

learning what makes a strong composition. Digital photography

Above all, the issue is time. When I need an image I need it now. I don't usually have the luxury to schedule a photo shoot. The demand is always there. Nine times out of ten client requests lifestyle imagery over graphics. Art departments do not have the budgets they used to in order to commission original photography. We have come to rely on stock, which has gotten better in terms of quality and variety. Images translate a message faster than words. In today’s world, media messages need to be condensed into bite sized chunks. Stock companies have made it very easy to search and to reuse or repurpose images. Stock is distinctly improved in every way. Quality, choice, price, how it is accessed. Stock agencies have become more affordable and there is better choice selection. Stock video and clips have become much more important to me in the past year.

equipment has become more accessible, and more artists are uploading their work for sale. Stock photography has gotten better for the most part, with more options and choices. Choices galore! Especially with the opportunity for anyone to upload their pictures for sale or distribution on stock sites. The choices have improved overall. I liken stock photos to AP stories if you're a journalist. They are an easy solution to empty space as long as they are not sterile or generic. There are now too many providers and too many images. It takes a long time to sort through all the choices and has become more cumbersome to search for what I want. The growing need for imagery on all web and social media platforms, combined with the accessibility and lowered prices of good cameras, means to supply and demand has increased. Electronic devices and social media have created more demand for imagery. You need to capture your audiences attention. Prices are much more affordable now which is good timing since clients seem to have smaller budgets.

DO STOCK COLLECTIONS BETTER REFLECT THE AGING OF OUR SOCIETY? Yes and no. I see more seniors, use more seniors in my print ads,

There are many more images that depict older individuals in

but it's hard to ﬁnd them doing the things I need them to do.

engaging imagery

Boomers are getting older and the society is accommodating

Because of the overall growth of choice, all the collections

them, as it always has. A few stock agencies have really

seem to be getting better at showing both older people and

responded, though I am sure most eventually will.

younger people.

Aging is the single biggest challenge to individuals, families,

There is still huge room for improvement in showing a broader

communities, society. Only a couple of stock agencies are really

range of ages in stock photos. In general, it still looks as if we

stepping up in this area.

are idealizing the younger age ranges by simply excluding

I think they are getting better at portraying older people but

images of older people.

there is a lot of room for improvement here. The majority of

This is getting better, but we need more activities showing

people are usually younger in the photos.

intergenerational groupings

68 G D U SA

October 2017 Stock IMPO_Mar 07 Top Stock BK2/5 10/4/17 11:03 AM Page 69

DO STOCK COLLECTIONS TODAY REFLECT THE DIVERSITY AND FLUIDITY OF AMERICAN LIFE, CULTURE, ETHNICITY, FAMILY, WORKPLACE? Yes. A few years ago when I would do a search for business

For the most part, things have gotten better. It is an industry-

professionals I would get a grid of white guys in suits. Now I

by-industry thing. There are still certain industries where the

ﬁnd an equal number of men and women from a variety of

lack of diversity is very obvious.

ethnic backgrounds.

One of the hardest struggles we have is ﬁnding non-cheesy

We are seeing a very positive transformation especially mirroring

diverse small business images or images of industrial/

how work life and family life are changing.

manufacturing workers.

Yes, better. But still some way to go. For example, images that

Yes, stock collections are getting better with diversity, but are

show ethnic minorities in positions of authority are still relatively

still not good. As a designer, white-washing is a pattern you

scarce in comparison.

notice visually all the time. Even if you Google search images

This is improving but slowly. If I guessed, I'd say 98% of the stock is White/Caucasian. I'm happy there are sites that offer diversity, but overall the stock companies really need to evolve. Yes, I see more Latinos and African Americans in shots, and even mixed race groups.

for business man, you're gonna get mostly white people in your results. You still have to specify if you want someone of color because white is the default. Many have improved, some have not. Often the quest for diversity results in images or situations or compositions that feel forced or contrived.

No. We struggle to ﬁnd a good mix of ages and cultures in photos. We need better, diverse images! Yes, the expansion is really impressive.

Ethnic and racial diversity is increasing, though the offerings sometimes feel a bit self-conscious, as though the agencies are trying hard to meet an arbitrary goal or standard.

DOES THE RISE IN SMARTPHONES AND SOCIAL MEDIA CHANGE HOW YOU THINK ABOUT STOCK VISUALS? Absolutely! Images have to be strong and to the point for social

I analyze a smartphone stock image the same way I do any

media. If you can't grab there attention in 0.3 seconds, you can

photographic image. Is it right for what I need for a particular

kiss that opportunity goodbye!

project or campaign or client. Sometimes the answer is

In order to stay current and relevant in today's world, springboarding off of social media inﬂuences is necessary and crucial. Most times, I need really professional stock imagery for my projects. Once in a while, an iPhone image will meet my need for a casual or spontaneous or even a rough-edged look. Stock image collections are already rich in choice. By adding iPhone images, it has only gotten richer. Smartphones and social media are changing things for the worse. Expectations are lowered by photographers who don't know the basics AND by decisionmakers who don’t respect quality or copyrights.

afﬁrmative, sometimes it is no. Because of how kids get their social media on smartphones, I feel as though there is now an emphasis on visuals that show best in vertical mode I look for images that will pop on social media or adjust them as needed to stand out in RGB. No change. A good image is a good image, and will work powerfully, no matter the platform. I would never order a cell phone image. Even though cell p hones brag higher pixels on their camera, that does not actually transfer through to a print ready image. A lot of work still needs

The quality of the cameras on our phones have gotten more

to be done to ready the image, which is why we will always use

and more advanced, so I think it's made good photos more

regular SLR cameras. Up until last year, we were still photograph-

accessible — at least for digital uses such as social media.

ing and developing in actual ﬁlm.

Since an images will crop differently of different platforms

Because of how widespread social media is, I am more likely to

and devices, I need to ﬁnd images that will work in a number

question my selection from a popular stock photo site because

of formats.

I'm considering how many people may have already seen the

Now I look for images that can be repurposed easily.

image elsewhere online. G D U SA 69

2017 health + wellness awards_feb news play 10/4/17 9:54 AM Page 70

HEALTH + WELLNESS DESIGN AWARDS SPONSORED BY ERICKSON STOCK

70 G D U SA

2017 health + wellness awards_feb news play 10/4/17 9:54 AM Page 71

GDUSA’s American Health + Wellness Design Awards™ honors outstanding graphic communication by this high-profile segment of the economy. The 2017 winners showcase features 100 projects encompassing the big picture of health and wellness: traditional medicine and healthcare; holistic and alternative healing; healthy lifestyles and nutrition; and the aging of our society. DESIGN FIRMS REPRESENTED 21-13 Impact Graphics AARP ABILITY Network Access TCA Alight Solutions Amanda Culver American Academy of Sleep Medicine (AASM) American Association of Occupational Health Nurses (AAOHN) arithmetic Back Forty Creative Barnett Design, Inc. BC The Magazine BerkleyMed BigEyedWish Blue Star Press, LLC BrandQuery CBX CCI Health & Wellness Services Centermost Marketing Cepheid, Inc. Christiansen Creative Contrast DesignWorks Donna Huff Design Eternal Works Evolutions By Design Extra Credit Projects Florida State Association of Occupational Health Nurses (FSAOHN) Garrison Hughes Inc. Gauger + Associates Ginevra Design Haberman Hudson Valley Graphic Design i-Health LAM Design Lisa Cain Design Little Big Brands

m0dm0d Meridian Health Services Miskowski Design LLC Nancy Reed Design Nationwide Children's Hospital NIH Medical Arts Branch NJ Designs Parry Branding Group Paul Werth Associates PRESENT e-Learning Systems Professional Ofﬁce Services QNY Creative Ron Kalstein/RKDK Design S2 Design Group Sage Age Strategies Sarott Design Smith Design sparc, inc. Swimmer Integrated Marketing Taylor Design Ted Stoik / Hartford Design / Woz Design Test Monki TFI Envision, Inc. The Barber Gale Group The Creative Pack LLC The Morgan Leary Vaughn Fund The Vivere Design Team Tortuga Creative Services, LLC UNC Health Care Walgreens Wallace Church & Co. Warkulwiz Design Associates WinshipPhillips [x]cubeLABS Xue Xia Zarbee's Naturals ZDI

G D U SA 71

2017 health + wellness awards_feb news play 10/4/17 9:24 AM Page 72

MESSAGE FROM ERICKSON STOCK

PIONEERING THE ART OF MOTION FOR HEALTHCARE AND AGING Thank you GDUSA, contestant entries and winners for taking a difﬁcult topic like healthcare and creating a platform to focus and illuminate this important subject. We all know someone who is impacted by aging and health issues. By bringing a focus on these subjects with competent work and a sense of responsibility, the highest level of professional achievement is obtained. Healthcare and, particularly, aging are difﬁcult subject to discuss visually, emotionally and strategically. Your contributions to human insight motivates us all to become more enlightened. Erickson Stock believes the human connection is the strongest currency we have, and seniors hold a key to that role in our lives that is often overlooked. It’s a story that needs to be told. The legacy seniors pass on is both compelling and informative. Erickson Stock is pioneering the art of motion as it relates to commerce and healthcare, and we are proud to be a part of this program.

See and learn more at . . . www.jimerickson.com

www.ericksonstock.com

ASSIGNMENT

COMMERCIAL VIDEOS AND RF/RM IMAGERY

72 G D U SA

Project46_Layout 1 9/27/17 2:06 PM Page 1

2017 health + wellness awards_feb news play 10/4/17 9:25 AM Page 74

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: 21-13 Impact Graphics, Tustin CA Client: Straight Chiropractic Title: Straight Chiropractic Brochures Art Director: Jan Miller Designer: Jan Miller

Design Firm: AARP, Washington DC Client: AARP Advocacy Title: AARP ACA Limit on Age Rating Flyer Art Director: Mike Hilker Designer: Mike Hilker

Design Firm: AARP, Washington DC Client: AARP Title: AARP Careversations Direct Mail Campaign Designer: Matt Rosser

Design Firm: AARP, Washington DC Client: AARP Events Title: AARP Block Party Seattle Art Director: Matthew Hlubny Designer: Matthew Hlubny

74 G D U SA

2017 health + wellness awards_feb news play 10/4/17 9:25 AM Page 75

Design Firm: AARP, Washington DC Client: AARP Family Caregiving Title: AARP Caregiver Social Graphics Art Director: Matt Rosser Designer: Matt Rosser

Design Firm: AARP, Washington DC Client: AARP Events Title: AARP Block Party St. Louis Designer: Mary McElveen

Design Firm: AARP, Washington DC Client: AARP Staying Sharp Title: AARP Staying Sharp Recipe Cards Art Director: Michelle Moser Designer: Michelle Moser

Design Firm: ABILITY Network, Minneapolis MN Title: Recruiting Materials Creative Director: Calvin Buchanan Designer: Julia Taborskaya

G D U SA 75

2017 health + wellness awards_feb news play 10/4/17 9:27 AM Page 76

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: ABILITY Network, Minneapolis MN Title: Star Measures Resources Page and Nurture Campaign Creative Director: Calvin Buchanan Designer: Julia Taborskaya

Design Firm: Access TCA, Whitinsville MA Client: Neurocrine Title: Launch of Ingrezza, Treatment for Tardive Dyskinesia Art Director: Stephen Ross Designer: Erick Gustafson Photographer: Jamie Padgett

Design Firm: Alight Solutions, Islip NY Client: PepsiCo Title: 2017 Annual Enrollment Campaign Creative Director/Client Lead: Jill Rafkin Art Directors: Victoria Cook, Cristine Giannotti Designers: Victoria Cook, Michelle McConnell Writers: Ken Mastro, David Stuart Production Editor: Randall Van Vynckt Project Manager: Kristin Peacock

Design Firm: Alight Solutions, Islip NY Client: PepsiCo Title: insight Magazine - Spring 2017 Creative Director/Client Lead: Jill Rafkin Art Directors: Victoria Cook, Cristine Giannotti Designers: Victoria Cook, Michelle McConnell Writer: David Stuart Production Editor: Randall Van Vynckt Project Manager: Kristin Peacock

76 G D U SA

2017 health + wellness awards_feb news play 10/4/17 9:27 AM Page 77

Design Firm: Alight Solutions, Islip NY Client: PepsiCo Title: Global Healthy Living Day Logo Creative Director/Client Lead: Jill Rafkin Art Director: Cristine Giannotti Designer: Coree Chambers

Design Firm: Alight Solutions, Islip NY Client: PepsiCo Title: Global Nutrition Logo Creative Director/Client Lead: Jill Rafkin Art Director: Victoria Cook Designer: Victoria Cook

Design Firm: Amanda Culver, Glendale AZ Client: MedMark, LLC Title: Dental Sleep Practice Patient Education Guide Art Director: Amanda Culver

Design Firm: American Academy of Sleep Medicine, Darien IL Title: American Academy of Sleep Medicine Branding Creative Director: Laura Nesbitt Visual Designers: Kaitlyn Freese, Oscar Salgado

G D U SA 77

2017 health + wellness awards_feb news play 10/4/17 9:28 AM Page 78

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: American Association of Occupational Health Nurses, Washington DC Title: Living Legend Award Logo Designer: David Hazelton Illustrator: David Hazelton

Design Firm: arithmetic, Vancouver BC Client: Living Alchemy Title: Living Alchemy Branding & Packaging Design Art Director: Margherita Porra Designer: Margherita Porra Illustrator: Ellen Tsai Photographer: Makito Inomata Production: Elizabeth Vegh, Ellen Tsai

Design Firm: Back Forty Creative, St. Louis MO Client: GrowTech Industries Title: GrowTech Farms Package Labels Creative Director: Miranda Summers Art Director: Tim Holdmeier Designer: Corey Lee Digital Director: Amanda Potts

Design Firm: Barnett Design, Inc., Ramsey NJ Client: Holy Name Medical Center Title: Cancer Support Invitation Art Director: Debra Barnett Sagurton Designers: Valerie Haymes, Tara Maratea, Jeff Ramos

78 G D U SA

2017 health + wellness awards_feb news play 10/4/17 9:28 AM Page 79

Design Firm: Barnett Design, Inc., Ramsey NJ Client: Holy Name Medical Center Title: NJ Surgical Logo Art Director: Debra Barnett Sagurton Designers: Valerie Haymes, Jeff Ramos, Tara Maratea

Design Firm: BC The Magazine, Oradell NJ Title: For The Love Of The Game Editorial Design Art Director: Jessica LaPlaca-Bruno Designer: Jessica LaPlaca-Bruno

Design Firm: BerkleyMed, Chesterfield MO Title: Pop Up Appreciation Mailer Art Director: Lucy McCormac Designer: Lucy McCormac Illustrator: Lucy McCormac Photographer: Lucy McCormac

Design Firm: BigEyedWish, Brooklyn NY Client: TERRA ORIGIN Title: TERRA ORIGIN Package Design Art Directors: Lauren Romero, Ian Wishingrad Designer: Szu-Chen Lin

G D U SA 79

2017 health + wellness awards_feb news play 10/4/17 9:29 AM Page 80

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Blue Star Press, LLC, Bend OR Client: Maria Shriver, Author Title: Color Your Mind: A Coloring Book for Those With Alzheimer’s And The People Who Love Them Art Director: Peter Licalzi Designer: Chris Ramirez Illustrator: Brita Lynn Thompson

Design Firm: BrandQuery, Mount Vernon WA Client: Skagit Regional Health Title: Cascade Valley Hospital Window Graphics Art Director: Jacque Beamer Designer: Sebastian Schoelss Project Management: Sebastian Schoelss

Design Firm: CBX, New York NY Client: First Take Title: First Take Package Design Design: CBX

Design Firm: CCI Health & Wellness Services, Silver Spring MD Title: Health Center Environmental & Experiential Branding Art Director: José Luis Diaz

80 G D U SA

2017 health + wellness awards_feb news play 10/4/17 9:29 AM Page 81

Design Firm: Centermost Marketing, Syracuse NY Client: Farmers Market Federation of New York Title: 2016 Annual Report Designer: Lindsay Ott Wilcox

Design Firm: Centermost Marketing, Syracuse NY Client: Cornell Cooperative Extension Sullivan County and Sullivan County Department of Planning Title: Spend Ten Campaign Logo Designer: Lindsay Ott Wilcox

Design Firm: Centermost Marketing, Syracuse NY Client: Cornell Cooperative Extension Sullivan County and Sullivan County Department of Planning Title: Sullivan Catskills Farmers Markets Facebook Designer: Lindsay Ott Wilcox Logo Design: Dorene Warner, W Design

Design Firm: Centermost Marketing, Syracuse NY Client: Cornell Cooperative Extension Sullivan County Title: Sullivan Catskills Farmers Markets Website Designer: Lindsay Ott Wilcox Logo Design: Dorene Warner, W Design

G D U SA 81

2017 health + wellness awards_feb news play 10/4/17 9:30 AM Page 82

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Cepheid, Inc., Santa Clara CA Title: XpertÂŽ TV Brochure Art Director: Jared Tipton Designers: Kristin Bialaszewski, Bijal Patel

Design Firm: Cepheid, Inc., Santa Clara CA Title: Diagnostics First Tradeshow Exhibit Art Director: Jared Tipton Designers: Kristin Bialaszewski, Bijal Patel Illustrators: Tessa Faul, Rob McLay Photographer: Kent Clemenco

Design Firm: Cepheid, Inc., Santa Clara CA Title: 2017 Calendar Art Director: Jared Tipton Designers: Kristin Bialaszewski, Bijal Patel Photographers: Kent Clemenco, Dan Peak Communications: Darwa Peterson

Design Firm: Christiansen Creative, Hudson WI Client: CentraCare Health Title: 2016 Report to Community Art Director: Tricia Christiansen Designer: Sara Erlandson

82 G D U SA

2017 health + wellness awards_feb news play 10/4/17 9:30 AM Page 83

Design Firm: Christiansen Creative, Hudson WI Client: CentraCare Health Title: Feeling Good MN Art Director: Tricia Christiansen Designer: Ellie Alexander

Design Firm: Contrast DesignWorks, Los Altos CA Client: Stanford Biodesign Title: Stanford Biodesign Website Executive Creative Director: Andrew Cambouris Associate Creative Director: Courtney Carr Senior Art Director: Allen Aliangan Designer: John Dixon Director of Strategy: Grady L. Baker Director of Client Services: Kelley Casino Director of User Experience: Jamie Zirkle Director of Technology: Martin McGee

Design Firm: Donna Huff Design, Nashville TN Client: Vanderbilt LifeFlight Title: 2017 Vanderbilt LifeFlight iServe Emergency Care Conference Agenda Flyers Art Directors: Donna Huff, Jerry Jones Designer: Donna Huff Illustrator: Donna Huff

Design Firm: Donna Huff Design, Nashville TN Client: Vanderbilt LifeFlight Title: 2017 Vanderbilt LifeFlight iServe Emergency Care Conference Poster Art Directors: Donna Huff, Jerry Jones Designer: Donna Huff Illustrator: Donna Huff

G D U SA 83

2017 health + wellness awards_feb news play 10/4/17 9:30 AM Page 84

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Eternal Works, Virginia Beach VA Client: Support Services of Virginia (SSVA) Title: Website Redesign Art Director: Tim Jones Designer: Gigi Moore Project Manager: Ashlie Jones

Design Firm: Evolutions By Design, San Francisco CA Client: Tenet Florida Physician Services Title: Recruitment Collateral Designer: Ann Schneider Contributors: TFPS Marketing Team

Design Firm: Extra Credit Projects, Grand Rapids MI Client: Mary Free Bed Title: Weâ&#x20AC;&#x2122;ll Put You Back Together Tease/Reveal Creative Director: Rob Jackson Art Directors: Chad Hutchison, Jackie Foss

Design Firm: Florida State Association of Occupational Health Nurses (FSAOHN), Washington DC Title: FOHC 2017 Social Media Campaign Designer: David Hazelton

84 G D U SA

2017 health + wellness awards_feb news play 10/4/17 9:31 AM Page 85

Design Firm: Garrison Hughes Inc., Pittsburgh PA Client: UPMC Title: UPMC Aging Institute Annual Report Designer: Joe Bukovac

Design Firm: Garrison Hughes Inc., Pittsburgh PA Client: UPMC Title: UPMC Health Beat Blog Design Designer: Nicole Santo

Design Firm: Garrison Hughes Inc., Pittsburgh PA Client: UPMC Title: Magee Womenâ&#x20AC;&#x2122;s Research Institute and Foundation Magazine Designer: Tia Kalas

Design Firm: Garrison Hughes Inc., Pittsburgh PA Client: UPMC Title: UPMC Health Beat Blog Running Infographic Designer: Larry Hruska

G D U SA 85

2017 health + wellness awards_feb news play 10/4/17 9:31 AM Page 86

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Garrison Hughes Inc., Pittsburgh PA Client: UPMC Title: UPMC Video Holiday Card Designer: Larry Hruska

Design Firm: Gauger + Associates, San Francisco CA Client: The Peninsula Regent Title: The Peninsula Regent Website Creative Director: David Gauger Art Director: Lori Murphy

Design Firm: Ginevra Design, Valley Village CA Client: Cedars-Sinai Title: Healthy Habits 2nd Grade Workbook Art Director: Rebekkah Schaubach Designer: Jennifer Cogan

Design Firm: Ginevra Design, Valley Village CA Client: Cedars-Sinai Title: Healthy Habits 3rd Grade Workbook Art Director: Rebekkah Schaubach Designer: Jennifer Cogan

86 G D U SA

2017 health + wellness awards_feb news play 10/4/17 9:32 AM Page 87

Design Firm: Ginevra Design, Valley Village CA Client: Cedars-Sinai Title: Healthy Habits 4th Grade Workbook Art Director: Rebekkah Schaubach Designer: Jennifer Cogan

Design Firm: Ginevra Design, Valley Village CA Client: Cedars-Sinai Title: OBGYN Signs Cards Banner Stickers Series Art Director: Rebekkah Schaubach Designer: Jennifer Cogan

Design Firm: Ginevra Design, Valley Village CA Client: Cedars-Sinai Title: Social Media 25,000 Followers Infographic Art Director: Rebekkah Schaubach Designer: Jennifer Cogan

Design Firm: Ginevra Design, Valley Village CA Client: Cedars-Sinai Title: Blood Donor Services Twitter Infographics Series Art Director: Rebekkah Schaubach Designer: Jennifer Cogan

G D U SA 87

2017 health + wellness awards_feb news play 10/4/17 9:33 AM Page 88

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Haberman, Minneapolis MN Client: Maty’s Healthy Products Title: Maty’s Healthy Products Packaging Design: Haberman Team

Design Firm: Hudson Valley Graphic Design, Croton-on-Hudson NY Client: Bear Hill Botanicals Title: Bear Hill Botanicals: Aromatherapy Mist Art Director: Janeen Violante Designer: Janeen Violante

Design Firm: i-Health, Cromwell CT Title: UP4 Probiotics Refresh Packaging Art Director: Lisa DeSeno Senior Designer: John Feidler

Design Firm: LAM Design, Pleasantville NY Client: Chattem Title: Allegra Allergy Package Design

88 G D U SA

2017 health + wellness awards_feb news play 10/4/17 9:35 AM Page 89

Design Firm: LAM Design, Pleasantville NY Client: Reckitt Benckiser Title: Lysol Bathroom Cleaner Health-Centric Positioning

Design Firm: LAM Design, Pleasantville NY Client: Chattem Title: Xyzal Allergy Brand Introduction

Design Firm: Lisa Cain Design, Glenwood IL Client: Organization for Autism Research Title: Guide Series Art Director: Lisa Cain Designer: Lisa Cain

Design Firm: Lisa Cain Design, Glenwood IL Client: Society of Critical Care Medicine Title: Membership Branding Art Director: Lisa Cain Designer: Lisa Cain

G D U SA 89

2017 health + wellness awards_feb news play 10/4/17 9:36 AM Page 90

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Lisa Cain Design, Glenwood IL Client: American Society of Nephrology Title: Kidney Week 2017 Corporate Support Opportunities Brochure Art Director: Lisa Cain Designer: Lisa Cain

Design Firm: Little Big Brands, White Plains NY Client: Akorn Consumer Healthcare Title: Type You Diabetic Care Package Design CCO: John Nunziato Creative Director: Richard Palmer Senior Designer: Stephanie Simpson

Design Firm: Little Big Brands, White Plains NY Client: Lornamead, A Li & Fung Company Title: Yardley Massage Bar Package Design CCO: John Nunziato Designer: Emily Vail

Design Firm: Little Big Brands, White Plains NY Client: Akorn Consumer Healthcare Title: Zostrix Package Design CCO: John Nunziato Design: Little Big Brands Design Team

90 G D U SA

2017 health + wellness awards_feb news play 10/4/17 9:36 AM Page 91

Design Firm: m0dm0d, Bradford UK West Yorkshire Client: ESKO Title: Get Set Max Sports Nutrition Packaging Art Director: Mark O’Donnell

Design Firm: Meridian Health Services, Muncie IN Title: You Have to Weather the Storm Donor Card Art Director: Lynette K. Waters-Whitesell Designer: Lynette K. Waters-Whitesell Director of Fund Development: Scott Smalstig

Design Firm: Miskowski Design LLC, Hoboken NJ Client: Coventry Body Care Title: Coventry Logo Design Designer: Justin Miskowski

Design Firm: Nancy Reed Design, Cibolo TX Client: Brenham Women’s Health Title: Brenham Women’s Health Logo Designer: Nancy Reed

G D U SA 91

2017 health + wellness awards_feb news play 10/4/17 9:37 AM Page 92

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Nationwide Children’s Hospital, Columbus OH Client: Nationwide Children’s Hospital Foundation Title: Be The Reason Campaign Kickoff Ad Art Director: Tanya Burgess Bender Designer: Tanya Burgess Bender Photographer: Dan Smith Project Management: Chris Garbrandt, Donna Teach Writing: Jan Arthur

Design Firm: Nationwide Children’s Hospital, Columbus OH Client: Nationwide Children’s Hospital Foundation Title: Foundation Newsletter Art Director: Tanya Burgess Bender Designer: Tanya Burgess Bender Illustrators: Lindsey Tobin, Joseph Wayand Photographers: Brad Smith, Dan Smith, Greg Heisler Project Management: Chris Garbrandt, Erin Souder Writing: Erin Souder

Design Firm: Nationwide Children’s Hospital, Columbus OH Client: Nationwide Children’s Hospital Foundation Title: Foundation Video Mailer Art Director: Lindsey Tobin Designer: Lindsey Tobin Illustrator: Lindsey Tobin Photographers: Brad Smith, Dan Smith Video: Jane Abel, Andy Banks Writing: Karri Schildmeyer, Niki Shafer Production: Amy Jasperson, Amy Hafen, MediaFast

Design Firm: Nationwide Children’s Hospital, Columbus OH Title: Annual Report 2015-16 Microsite Art Director: John Ordaz Designer: Marcie Richardson Photographers: Brad Smith, Dan Smith Senior Strategist, Clinical & Research Communications: Chris Garbrandt Senior Account Manager: Brian Justus Senior Creative Coordinator: Kiersten Kollins Infographic Icons Designer: Lindsey Tobin Writers: Brian Justus, Tiasha Letostak Digital Account ManagerInteractive Marketing: Alison Pegg Director-Interactive Marketing: Stephanie Cannon Senior Marketing Strategist: Laura Taylor Web Design: Basecra

92 G D U SA

2017 health + wellness awards_feb news play 10/4/17 9:38 AM Page 93

Design Firm: Nationwide Childrenâ&#x20AC;&#x2122;s Hospital, Columbus OH Title: Annual Report 2015-16 Art Director: John Michael Ordaz Designer: Marcie Richardson Photographers: Brad Smith, Dan Smith Senior Strategist, Clinical & Research Communications: Chris Garbrandt Senior Account Manager: Brian Justus Senior Creative Coordinator: Kiersten Kollins Infographic Icons Designer: Lindsey Tobin Writers: Brian Justus, Tiasha Letostak

Design Firm: Nationwide Childrenâ&#x20AC;&#x2122;s Hospital, Columbus OH Title: Behavioral Health Pavilion Groundbreaking Collateral Art Director: John Ordaz Photographers: Brad Smith, Dan Smith Senior Manager Marketing-Creative Services: Chris Garbrandt Director Marketing Services/Corporate Communication: Laurie Starner Marketing Account Manager-Internal Communications: Daryl Barker Senior Account Manager-Web/Interactive Marketing: Diane Lang

Design Firm: NIH Medical Arts Branch, Bethesda MD Client: National Institutes of Health Title: NIH Child & Family Programs Branding Art Director: Bonnie Hamalainen Designer: Bonnie Hamalainen

Design Firm: NIH Medical Arts Branch, Bethesda MD Client: National Institutes of Health Title: Division of Population Health Research (DIPHR) 50th Anniversary Logo Art Director: Martha Blalock Designer: Jeffrey Everett

G D U SA 93

2017 health + wellness awards_feb news play 10/4/17 9:39 AM Page 94

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: NIH Medical Arts Branch, Bethesda MD Client: National Institutes of Health Title: NIH Human Genomes Poster Art Director: Jessica Jackson Designer: Jessica Jackson

Design Firm: NIH Medical Arts Branch, Bethesda MD Client: National Institutes of Health Title: Immunohematology & Blood Transfusion 2017 Symposium Poster Art Director: Jessica Jackson Designer: Jessica Jackson Illustrator: Ethan Tyler

Design Firm: NIH Medical Arts Branch, Bethesda MD Client: National Institutes of Health Title: Mobile Technologies & Weight Control Seminar Poster Art Director: Jessica Jackson Designer: Jessica Jackson

Design Firm: NIH Medical Arts Branch, Bethesda MD Client: National Institutes of Health Title: National Eye Institute 50th Anniversary Logo Art Director: Jessica Jackson Designer: Jessica Jackson

94 G D U SA

2017 health + wellness awards_feb news play 10/4/17 9:39 AM Page 95

Design Firm: NIH Medical Arts Branch, Bethesda MD Client: National Institutes of Health Title: NHLBI Systems Biology Symposium Art Director: Martha Blalock Designer: Jeffrey Everett Illustrator: Jeffrey Everett

Design Firm: NIH Medical Arts Branch, Bethesda MD Client: National Institutes of Health Title: NIH Spring Into Wellness Poster Series Art Director: Martha Blalock Designer: Jeffrey Everett Illustrator: Jeffrey Everett

Design Firm: NIH Medical Arts Branch, Bethesda MD Client: Discovery Channel and National Institutes of Health Title: First In Human Documentary NIH Screening Poster Art Director: Rayne Ann Wood Designer: Rayne Ann Wood Photographer: Bill Branson

Design Firm: NJ Designs, Sparks NV Client: Washoe County Medical Society Title: Communicator Bi-Monthly Publication Art Director: Natalie Ede Designer: Natalie Ede

G D U SA 95

2017 health + wellness awards_feb news play 10/4/17 9:40 AM Page 96

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Parry Branding Group, New York NY Client: Bloomfield Industries Title: Allayent Medical Marijuana Transdermal Patch Packaging Chief Creative Officer: Vince Parry Art Director: Tiphaine Guillemet Designer: Tiphaine Guillemet

Design Firm: Parry Branding Group, New York NY Client: Bloomfield Industries Title: Allayent Medical Marijuana Capsules Packaging Chief Creative Officer: Vince Parry Art Director: Tiphaine Guillemet Designer: Tiphaine Guillemet

Design Firm: Parry Branding Group, New York NY Client: Bloomfield Industries Title: Allayent Medical Marijuana Website Design Chief Creative Officer: Vince Parry Art Director: Tiphaine Guillemet Designer: Tiphaine Guillemet

Design Firm: Parry Branding Group, New York NY Client: Neuronetics Title: NeuroStar Advanced Therapy Website Chief Creative Officer: Vince Parry Art Director: Tiphaine Guillemet Designer: Tiphaine Guillemet

96 G D U SA

2017 health + wellness awards_feb news play 10/4/17 9:40 AM Page 97

Design Firm: Paul Werth Associates, Columbus OH Client: CelebrateOne Title: CelebrateOne Campaign Posters Art Director: John Predmore Designer: John Predmore Photographer: George Anderson

Design Firm: PRESENT e-Learning Systems, Boca raton FL Client: Regenerative Medicine Congress Title: Regenerative Medicine Congress Welcome Banner Designers: Kurt Pravel, Rich Pintur

Design Firm: Professional Office Services, Waterloo IA Client: Professional Office Services Title: Breast Cancer One in Eight Brochure Designer: Tammy Laughlin

Design Firm: Professional Office Services, Waterloo IA Client: Womenâ&#x20AC;&#x2122;s Care Florida Title: 2016-2017 Value Report Designer: Tina M. Coy

G D U SA 97

2017 health + wellness awards_feb news play 10/4/17 9:41 AM Page 98

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Professional Office Services, Waterloo IA Client: South Jersey Fertility Center Title: Corporate Branding Redesign Designer: Darren Haley

Design Firm: Professional Office Services, Waterloo IA Client: Professional Office Services Title: Gender Reveal Card Designer: Tammy Laughlin

Design Firm: Professional Office Services, Waterloo IA Client: Wisconsin Vein Center & Medispa Title: Promotional Folder with Insert Cards Designer: Ben Sigmund

Design Firm: QNY Creative, New York NY Client: Zint Nutrition Title: Zint Nutricosmetics Packaging Art Director: Ezio Burani Designer: Hsiao-Han Chen Project Manager: James Ferranti

98 G D U SA

2017 health + wellness awards_feb news play 10/4/17 9:41 AM Page 99

Design Firm: QNY Creative, New York NY Client: Zint Nutrition Title: Zint Nutrition Social Media Advertising Art Director: Ezio Burani Designer: Hsiao-Han Chen

Design Firm: Ron Kalstein/RKDK Design, Southampton PA Client: Einstein Healthcare Network/MossRehab Title: BlueJean Day Fundraiser Poster Art Director: Ronald Kalstein Designer: Ronald Kalstein Illustrator: Ronald Kalstein

Design Firm: S2 Design Group, New York NY Client: Pfizer, Inc. Title: Emergen-C Hydration+ Package Design Creative Director: Eileen Strauss Senior Design Director: Anne Simon Designer: Wil Rodriguez

Design Firm: Sage Age Strategies, Montoursville PA Title: Drive Website Creative Director: Dean Kistner

G D U SA 99

2017 health + wellness awards_feb news play 10/4/17 9:42 AM Page 100

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Sage Age Strategies, Montoursville PA Title: Drive Logo Creative Director: Dean Kistner

Design Firm: Sage Age Strategies, Montoursville PA Title: The Highlands of Wyomissing Annual Report Designer: Nicholas Biddle

Design Firm: Sage Age Strategies, Montoursville PA Title: Tuscan Gardens Advertising Series Creative Director: Rachel Fox

Design Firm: Sage Age Strategies, Montoursville PA Title: Waterstone at the Circle Invite Designer: Rhianna Speck

100 G D U SA

2017 health + wellness awards_feb news play 10/4/17 9:47 AM Page 101

Design Firm: Sarott Design, Nazareth PA Client: Phoebe Ministries Title: The Messenger, Summer 2017 Art Director: Peter McConnell Designer: Sarah Dams Photographers: John Kish IV, Randy Monceaux

Design Firm: Smith Design, Morristown NJ Client: i-Health, Inc. Title: Culturelle Probiotics Package Design Art Director: Glenn Hagen Designer: Mike Doyle

Design Firm: sparc, inc., Winnetka IL Client: Center on Halsted Title: THE NXT LVL HIV Testing Program Art Director: Richard Cassis Designer: Richard Cassis Illustrators: Ed Paschke, Francoise Neilly, Chiara Tomati, Chad Sell Writer: Mary Ann Rood

Design Firm: Swimmer Integrated Marketing, Prospect Heights IL Client: Pathway Client: Victory Center Art Director: Mark Swimmer Designer: Debra Nemeth

G D U SA 101

2017 health + wellness awards_feb news play 10/6/17 10:48 AM Page 102

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Taylor Design, Stamford CT Client: Brigham and Womenâ&#x20AC;&#x2122;s Hospital Title: Brigham Health Magazine Creative Directors: Dan Taylor, Stacy Resnikoff Art Director: Steve Habersang Designer: Steve Habersang

Design Firm: Ted Stoik / Hartford Design / Woz Design, Chicago IL Client: Abbott Title: Abbott 2016 Annual Report Art Directors: Tim Hartford, David Wozniak, Ted Stoik Designers: Tim Hartford, David Wozniak, Ted Stoik Photographer: Tom Maday

Design Firm: Test Monki, The Woodlands TX Client: Hanigan & Johnson Title: Hanigan & Johnson Brand Identity Art Director: Suzy Simmons Designer: Gabby Nguyen

Design Firm: Test Monki, The Woodlands TX Client: Local Smile Co. Title: Local Smile Co. Brand Identity Art Director: Suzy Simmons Designer: Gabby Nguyen

102 G D U SA

2017 health + wellness awards_feb news play 10/6/17 10:49 AM Page 103

Design Firm: Test Monki, The Woodlands TX Client: The Dental Market Title: The Dental Market Brand Identity Art Director: Suzy Simmons Designers: Sofi Cruz, Gabby Nguyen Photographer: Jimmy Sarant

Design Firm: Test Monki, The Woodlands TX Client: Camp Smiles Title: Camp Smiles Brand Identity Art Director: Suzy Simmons Designers: Gabby Nguyen, Sarah Wright

Design Firm: Test Monki, The Woodlands TX Client: Little White Tooth Title: Little White Tooth Brand Identity Art Director: Suzy Simmons Designers: Gabby Nguyen, Sarah Wright, Sofi Cruz

Design Firm: TFI Envision, Inc., Norwalk CT Client: UNILEVER Title: Brummel & Brown Organic Packaging Art Director: Mary Ellen Butkus Designers: Mary Ellen Butkus, Clare Zisek Production Artists: Cindy Emmert, Richard Wall

G D U SA 103

2017 health + wellness awards_feb news play 10/6/17 10:49 AM Page 104

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: The Barber Gale Group, Exton PA Client: Devereux Title: 2016 Devereux Annual Report - Advancing Whole Person Health Art Director: Cynthia Barber Gale Designer: Cynthia Barber Gale

Design Firm: The Creative Pack LLC, Manhattan Beach CA Client: Fresh Thyme Title: Fresh Thyme Essential Oils Range Art Director: Danielle Beal Designers: Paola Ip, Heather Storie, Corey Czer, Emma Tung Project Manager: Fern Serna

Design Firm: The Creative Pack LLC, Manhattan Beach CA Client: Roli Roti Title: Butcherâ&#x20AC;&#x2122;s Bone Broth Range Art Director: Danielle Beal Designer: Paola Ip Project Manager: Fern Serna

Design Firm: The Morgan Leary Vaughn Fund, Naugatuck CT Title: Speaking of NEC Brochure Designer: Jane Mahoney Copywriter: Nicholas Efstathiou

104 G D U SA

2017 health + wellness awards_feb news play 10/6/17 10:50 AM Page 105

Design Firm: The Vivere Design Team, Conifer CO Client: Penscott Management Title: The APO E Gene Program Art Director: Gayle Vivere Designer: Gayle Vivere Developer: Jon Paul Vivere Writer: Meryn Callender

Design Firm: Tortuga Creative Services, LLC, Lanoka Harbor NJ Client: All In The Family Dental Care Title: Oral Cancer Screening Campaign Art Director: Jess Connors

Design Firm: Tortuga Creative Services, LLC, Lanoka Harbor NJ Client: All In The Family Dental Care Title: Invisalign Treatment Social Media Campaign Art Director: Jess Connors

Design Firm: UNC Health Care, Chapel Hill NC Title: Faces of UNC Health Care Gallery Art Director: Max Englund Photographers: Max Englund, Mark Derewicz, Lane Deacon Photos Printed/Installed: Bevâ&#x20AC;&#x2122;s Fine Art

G D U SA 105

2017 health + wellness awards_feb news play 10/6/17 10:51 AM Page 106

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: UNC Health Care, Chapel Hill NC Title: Tug Robot Wraps Designer: Paul Daniel Illustrator: Paul Daniel

Design Firm: UNC Health Care, Chapel Hill NC Title: Tar Heal Paws Trading Cards Art Director: Max Englund Designers: Max Englund, Christ-Claude Mowandza-Ndinga Photographer: Lane Deacon

Design Firm: Walgreens, Chicago IL Title: Healthy Heart Poster Series Art Director: Mike Pruim Designer: Zach Stemerick Photographer: Kip Swehla Copywriter: Emily Ornberg

Design Firm: Walgreens, Chicago IL Title: Healthy Recipes Poster Series Art Director: Mike Pruim Designer: Mike Pruim Photographers: Mike Pierce, Lindsay Roggenbuck Copywriter: Emily Ornberg

106 G D U SA

2017 health + wellness awards_feb news play 10/6/17 10:51 AM Page 107

Company: Wallace Church & Co., New York NY Client: Eli Nutrition, Inc. Title: Tummy Zen Packaging Executive Creative Director: Stan Church Art Director: Jodi Lubrich Designer: Jodi Lubrich

Design Firm: Wallace Church & Co., New York NY Client: NestlĂŠ HealthCare Nutrition Title: BOOST Package Design Executive Creative Director: Stan Church Art Directors: John Bruno, Jodi Lubrich Designer: Frank Castaldi

Design Firm: Warkulwiz Design Associates, Merion Station PA Client: GoPhillyGo.org/Clean Air Council Title: GoPhillyGo Advertising Campaign 2016 Art Director: Bob Warkulwiz Designer: Emily Zuwiala

Design Firm: WinshipPhillips, Santa Fe NM Client: International Society for Heart & Lung Transplantation Title: ISHLT 36th Annual Meeting and Scientific Sessions Art Director: Ken Phillips Designer: Becky Phillips

G D U SA 107

2017 health + wellness awards_feb news play 10/6/17 10:52 AM Page 108

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: [x]cubeLABS, Dallas TX Client: UnitedHealthcare Title: UnitedHealthcare On My Way Website Art Director: Alicia Lomas Designer: Alicia Lomas

Design Firm: Xue Xia, Bellevue WA Title: WE EAT: Designing For Healthy Eating Habits Project Art Director: Xue Xia Designer: Xue Xia Illustrator: Xue Xia

Design Firm: Zarbeeâ&#x20AC;&#x2122;s Naturals, Greenwich CT Title: Natural Honey Cough Syrup Art Directors: Kirsten Burgess, Les Mooney Illustrator: Kyle Marcella Structure: Motiv Design Team

Design Firm: ZDI, Babylon NY Client: Response Crisis Center of Suffolk County Title: Response Crisis Center Web Design Art Director: Richard Zimmer Designer: Kevin Bulger

108 G D U SA

Project28_Layout 1 7/24/17 2:52 PM Page 1

I am I am In-House Trish Olives is the Creative Studio Manager at YETI, the popular Austinbased manufacturer of premium outdoor lifestyle products (think coolers, tumblers and assorted accessories). As a seasoned creative leader, she spends her days working with the absolute most badass creatives and marketers in the outdoor industry, creating idea-driven, on-brand, award-winning work so nobody has to suffer from melted ice ever again. Her work è k_`j Ô\c[ _Xj Y\\e i\Zfê`q\[ Yp >;LJ8 DX^Xqè\ j\m\iXc k`d\j fm\i# Xe[ j_\Ëj been featured as a speaker at the HOW ;\j`ê C`m\ :fe]\i\eZ\%

Before Trish embarked on her epic adventure at YETI, she worked as a ;\j`ê\i Xe[ 8ik ;ì\Zkfi ]fi è$_flj\ creative departments around the majorly competitive city of Austin. She loves creating effective, beautiful communication that connects with audiences in a big way, fostering original talent in this great community and facilitating solid, unshakable relationships between clients and creatives, resulting in the very coolest and most inventive output.

N_\e Ki`j_ `jeËk jg\e[è^ _\i [Xpj kXZbcè^ those lofty goals, she plays the oboe, works Xj k_\ :i\Xk`m\ ;ì\Zkfi ]fi 8ljkè :`m`Z Orchestra, travels the world and eats lots and lots of noodles. So many noodles.

in-source.org

EVERY TIME WE PLACE TALENT IT’S LIKE PLANTING A SEED. Then we carefully nurture them along the way, providing the resources they need to blossom. We help to plant their roots at leading companies, to begin or continue prolific careers in the fields of digital, print and marketing. That’s how we proudly cultivate long-standing relationships with both the talent we represent and the clients we serve. Join us in growing something extraordinary.

CHICAGO · INDIANAPOLIS · NEW YORK · LOS ANGELES · WASHINGTON, DC · SAN FRANCISCO

artisantalent.com · 800.216.0600

October 2017 Pub Letter-Focus Impo_feb news play 10/4/17 10:15 AM Page 113

SAPPI ‘VERTICALS’ WINS POSITIVELY PRINT AWARD AT PRINT 17

Sappi North America’s publication, Verticals: The Marketing of Higher Education is the 2017 winner of the Positively Print award presented at the PRINT 17 show now taking place in Chicago.

publication creatively demonstrates how print effectively cuts through digital clutter, helping colleges and universities create a lasting impression to stand out with students and their families. A direct mail campaign launching the piece was sent to 2,000 universities, which sparked demand for additional copies and requests for presentations. This is the eighth year for the Positively Print award, which

Pursuing the organization’s mission to educate its stake-

recognizes an organization that promotes the power, sustain-

holders, Sappi launched the Verticals series to examine

ability, and effectiveness of print. “Sappi North America’s

individual vertical markets and the unique challenges, tradi-

engaging and informational publication portrays the impact

tions, and idiosyncrasies each faces when communicating

of print through a real-world example and also integrates

with its target audience. This ﬁrst installment aims to bring

facts about its sustainable production,” said NPES President

colleges and universities across the United States a set of

Thayer Long. Recent past Positively Print winners include:

best practices for attracting new students through indepth

(2016) Rolland Enterprises, Inc. – The Paper Loop magazine;

research and case studies.

(2015) Sappi NA – A Communicator’s Guide to the Neuroscience of Touch; (2014) IKEA – Bookbook Campaign;

The winning piece brings industry statistics to life, busts

(2013) Sappi NA – PRINT & Book; (2012) PrintCity –

myths on marketing to this demographic, and includes a

PRINT! Seen! Lean and Green; and (2011) Domtar –

ﬁve-page pullout full of special effects and cross-channel

Paper Because Campaign.

marketing tips. With competition stronger than ever, the

G D U SA 113

October 2017 Pub Letter-Focus Impo_feb news play 10/4/17 10:16 AM Page 114

YUPO INTRODUCES FIRST ANNUAL #DOITONYUPO AWARDS

Which printer will take the prize for creating the most beautifully printed piece using YUPO Synthetic Paper? For years Yupo has showcased designers for their stellar creations using YUPO (aka The Wally Awards), but now they are extending the glory, fame and cash to printers who spec and use YUPO. Ofﬁcials state: “Are you ready to win $2,500? Next time you print a Print, Package, Label or Design project using YUPO, submit a sample to us. An internal panel of esteemed judges will select the project that exhibits the most impressive display of print processes. So ink it, varnish it or stamp it and show us how you #DoitonYUPO.” In addition to the prize money, the winning project will also be the subject of a full page in Printing Impressions magazine; and will receive front and center placement on YUPO’s “Our Partners” webpage. Understanding that printers and designers are a team, YUPO is also offering a $500 award to the designer of the winning entry. Submissions will be accepted until September 2018 and the winner will be selected in October 2018.

114 G D U SA

Learn more at yupousa.com/doitonyupo-print-awards

October 2017 Pub Letter-Focus Impo_feb news play 10/4/17 10:16 AM Page 115

DESIGN SKILLS EMPLOYERS WANT YOU TO HAVE BY BEJAN DOURAGHY

Whether you’re a designer focusing on graphics, emails, front end, etc., there are common skills all employers want you to have. Yes, you need to have a killer portfolio, but that’s not all recruiters and hiring managers want to see. Don’t forget to highlight your proﬁciency in software and design skills on your resume and job application. Want to make yourself the most desirable candidate for an upcoming project or new job opportunity? This is what employers want to see. TOP SOFTWARE SKILLS EMPLOYERS WANT TO SEE ON YOUR RESUME

Keep in mind potential employers are just as interested in

• Software program proﬁciency in the Adobe Creative

culture skills too. Chicago-based Artisan Talent Account

Cloud (Photoshop, InDesign, etc.) • Content management platforms you can use (i.e., Drupal and WordPress) • Programming languages you know (CSS, HTML, or JavaScript)

Manager Karen Smith explains, “Companies want to know if talent has worked in and done well in similar environments; be it polished corporate, or agency cool, start-up, tech, etc. Can they blend well with the skills of a company’s existing talent? Have they and can they ﬁt in with the rest of the team?”

• Development applications • Video and animation tools you are experienced in

THE BOTTOM LINE:

• PowerPoint presentation experience

KEEP POLISHING AND ADDING SKILLS

N O N -SO FTWAR E SK ILLS EMPLO YER S WAN T TO SEE

It’s important to always be learning when you’re in a digital career. The Brandford Hall Career Institute offers this advice: “In this age of rapidly-improving technology, there are always

While software skills often take the #1 spot for deciding to

new tools to help Graphic Designers stay on the cutting edge

pursue a candidate further, there are a host of other things

of design. Throughout your career, it’s a good idea to keep up

that can move you to the top of the list.

with the newest technologies, be willing to try new things, and to keep learning about your career ﬁeld.”

• Attention to Detail: Typos are your worst enemy • Conceptual Ability: It’s so important to have good conceptual skills to keep ideas fresh

Don’t forget your resume and portfolio are living, breathing documents, so always be updating them. It’s important to

• Time Management: You’re working on a million projects

keep growing, and if you’ve learned a new skill, show it off.

at once and need to be able to manage them efﬁciently

It could make the difference between landing that next role

• Broad Best Practices: A good designer needs to

or having to continue combing through job boards.

understand digital as well as print marketing tactics and best practices • Infographics and Icons: This trend is here to stay and

BEJAN DOURAGHY is the founder of Artisan Talent, an award winning stafﬁng agency that has been inspiring better lives and

clients will want to know if you have experience

matching talent since 1988, with ofﬁces in Chicago, New York City,

creating them

Indianapolis, Washington D.C., Denver, Los Angeles, and San

• Typography: Are new fonts, combinations, and typefaces

Francisco. For more information, visit artisantalent.com

your jam?

G D U SA 115

October 2017 Pub Letter-Focus Impo_feb news play 10/4/17 10:17 AM Page 116

MOHAWK GUIDE EDUCATES ABOUT ENVELOPES

In furtherance of its belief that “the right material can take your work from good to great,” Mohawk has released A Maker’s Field Guide to Envelopes, the latest in a series of comprehensive, printed guides designed to inspire and educate designers, their clients and printers. “The new Maker’s Field Guide to Envelopes is the latest expression of Mohawk’s ongoing commitment to helping demonstrate the pivotal role materials play in the success of every print job,” said Chris Harrold, Vice President, Creative Director, Mohawk. “Envelopes are equal part function and first impression. An envelope is like a handshake that simultaneously says ‘hello’ and ‘open me first!’” Created by Aurora Design to complement Mohawk’s Maker’s Field Guide to Texture and Color and the Mohawk Maker Quarterly, A Maker’s Field Guide to Envelopes is organized around five defining, structural attributes of an envelope: Texture, Color, Style, Flap and Size. Like the Maker’s Field Guide to Texture and Color, the envelope guide opens with a high level introduction stating the case for materials with a blend of behavioral insight and hands-on demonstration. This is intended to prove that careful attention to your envelope selection helps elevate any project from good to great. The 26 page book is organized in to six short, high-impact sections: 1. INTRODUCTION This includes background on the impact of materials as well as a hands-on, interactive introduction to the five defining envelope attributes to consider in design. 2. TEXTURE How to use textured envelopes to capture your audience through touch. 3. COLOR Using color can transform a simple, common form like a business envelope to something extra special.

116 G D U SA

4. STYLE Carefully considering the anatomy of your envelope is crucial to any project that requires an envelope enclosure. 5. FLAP SHAPE Unique to envelopes, flaps offer a clue to what’s inside. From formal invite to business stationery, a flap style can send a message before it’s even opened. 6. SIZE From the smallest, attention-getting envelope to the largest unique forms, the size of an envelope is an obvious, but powerful choice. Throughout the book, including the dust jacket, patterns inspired by envelope security tints are used as a visual, unifying element, and printed on 25 different combinations of Mohawk colored and textured papers and envelopes. Production credits to O’Neil Printing and Roswell Bindery, both in Phoenix AZ. www.mohawkconnects.com/makersfieldguidetoenvelopes

October 2017 Pub Letter-Focus Impo_feb news play 10/4/17 10:17 AM Page 117

HOW TO HIRE TOP CREATIVE TALENT, FAST BY DIANE DOMEYER

After spending weeks reviewing resumes and portfolios, and interviewing candidates for an open design position at your company, the hiring committee ﬁnally decides on a top pick. But when you call to tell the prospective employee the good news, you discover she’s already accepted another job offer — and you’re back to square one or have to go with your second choice. Challenges lurk within every step of the recruitment process, especially in today’s low unemployment climate. And organizations that don’t move quickly once they identify promising candidates risk losing them. In a recent Robert Half survey, 69 percent of workers said they lose interest in a job if they haven’t heard from an employer within two weeks after the initial interview.

3. ESTABLISH A TIMELINE AND STICK TO IT Contact all stakeholders — your boss, human resources and members of the hiring committee — and come up with a timeline that everyone commits to. Decide who is responsible for what, such as contacting short-listed candidates and signing off on the top choice. If there is a delay at any point in the process, figure out how you can expedite next steps. 4. STREAMLINE INTERVIEWS Speed up the first round of interviews by conducting them over Skype, FaceTime or other video software. To keep the playing field level, be consistent and ask all candidates the same interview questions. Have candidates meet with all stakeholders when coming in for in-person interviews, whether it be in short, one-onone meetings or group interviews. 5. K EEP CAN D ID ATES IN TH E LO O P It’s discouraging to apply for a position and never hear from the employer. To keep job seekers interested in your company, as

This is why you need to accelerate your hiring process to land highly

well as to make a positive impression on top talent, keep the

skilled creative professionals. Here are six tips for tightening

lines of communication open throughout the recruitment process.

your timeline.

If you use an applicant tracking system, set up a cordial automatic response to those who submit a resume. Follow up with the most

1. IDENTIFY WHAT YOU REALLY NEED Hiring full-time employees takes time, money and effort. Do you really need a new designer on staff to work 40 hours a week? When evaluating job vacancies and project needs, consider faster alternatives. For example, if you seek an art director, ﬁrst look

promising candidates via a personal phone call or email to set up an initial meeting. After interviews, let short-listed candidates know when you expect to make a decision. 6. MAKE YOUR MOVE

within the organization to see who you could promote. For sea-

While reference and background checks are obviously essential,

sonal initiatives like annual reports and holiday campaigns, bring

they take up valuable time. Once you’ve decided on a top choice,

in interim professionals or assign work to freelancers — two

notify the person immediately and make an offer contingent on

options that maximize talent and ﬂexibility. Specialized stafﬁng

the results of those checks. Be prepared to negotiate salary and

ﬁrms can also connect you with project-based creative pros.

perks on the spot.

2. EXPAND YOUR POOL

Hiring the right people is one of the most important decisions a

Recruiting is more efﬁcient when you have several great applicants to choose from. Besides posting an opening on job boards, spread the word via your company’s social media channels, including millennial-friendly platforms like Snapchat. At design conferences

manager can make, and it shouldn’t be rushed. But a long, drawn-out process comes with the risk that top creative talent will get away. An accelerated schedule optimizes the chances of landing your ﬁrst picks, quickly and efﬁciently.

and networking events, don’t overlook passive job seekers — people who are content in their current jobs but are open to the

DIANE DOMEYER is Executive Director

possibility of switching if the right opportunity comes along.

of The Creative Group, a specialized stafﬁng service placing interactive, design, marketing, advertising and public relations professionals with a variety of ﬁrms. For more information, visit roberthalf.com/creativegroup

G D U SA 117

Oct 2017 reader Page_feb news play 10/4/17 10:42 AM Page 118

FREE INFORMATION To request product information from advertisers featured in this issue visit:

www.gdusa.com/freestuff.php

You can also contact the advertisers directly as provided below or fax this page back to 212.696.4564

COMPANY NAME

1 4over

COMPANY NAME

PAGE

109

www.4over.com m

2 Academy of Art University 3 Admore

IFC

4 Adobe Max

5 Artisan

6 Berthold

7 bridgeman images www.bridgemanimages.com

8 Canon

9 Choose Print

10 Clearwater Paper

11 Corporate Image

12 Erickson Stock

13 How Design Live

14 InSource

15 International Paper

16 Jam Paper www.jampaper.com

118 G D U SA

24 Shutterstock

25 Stocksy

26 The Reach Conference

27 TwoSides

28 Veritiv

29 Verso

www.versopaper.com

www.internationalpaper.com m

23 Sappi

www.veritivcorp.com/endurance

30 Visual Connections 31 Yupo www.yupo.com

www.visualconnections.com/gdusa

www.in-source.org m

www.twosides.na.org

www.howdesignlive.com m

22 Rolland

www.thereachconference.com

www.ericksonstock.com m

www.stocksy.com

www.corp-image.com m

21 PackZen

www.shutterstock.com

pandp@clearwaterpaper.com m

www.sappi.com/mccoy

www.chooseprint.org m

20 Northwestern University

www.rollandinc.com

www.usa.canon.com/proprinters m

www.packzen.com

www.bertholdtypes.com m

19 Mohawk

www.sps.northwestern.edu/design

www.artisantalent.com m

IBC

www.mohawkconnects.com

max.adobe.com m

18 Kallima Paper www.kallima.com

www.admorefolders.com m

www.jimerickson.com

www.academyart.edu m

17 Jim Erickson

PAGE

Project17_Layout 1 5/31/17 12:03 PM Page 1

on a canvas that lets you shine KALLIMA’S UNPARALLELED PRINT PERFORMANCE

WILL ENHANCE YOUR CREATIVE CONCEPTS It also uses 30% to 35% fewer trees and has no toxic chemicals

TIME TO MAKE THE RIGHT PAPER CHOICE Commercial printing

–

Packaging

–

Publishing kallima.com

Project33_Layout 1 9/18/17 1:54 PM Page 1

Stocksy is an artist-owned cooperative raising the bar — and the industry’s expectations — of stock photo and video. S T O C K S Y. C O M

C R E AT E D B Y

BY RESPECT