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keilhauer

C 0 M M U N I C A T I 0 N

A R T S

35

Kermit the Prog.

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Unigraphic MASSACHUSETTS COLLEGE OF ART

Color St·j ~llitlions lliitl l.i•apfrng lfH•Co111pdilion.

Pottery is one of many day and evening courses in our program of Continuing Education. Call (617) 232-1555 for details.

COMMUN I CAT I O

A R TS

45

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M A R C H I A P R I L

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72

MARCH/APRIL

1992

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C 0 M M U N I C A T I 0 N

A R T S

77

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Left: Sp reads from direct mail piece fo r KPS Group. "When a local arch itectu re firm changed its nam e, we wondered what c li ents ' initi al react ions would be . Since the name change incorporated the in itials of the firm 's prev ious name , we played upon the recogn ition factor of other famous initials .

The book was bound with actual wing nuts ." Marion Eng li sh , art director/designe r; Laura Holmes , writer.

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Th is page : "The agency produces a quarterly newsletter for existing and prospective clients . Since many of these go to areas outs ide of the South , th is newsletter always focuses on traditions indigenous to the South . There is very little reference to the agency-only a detailed study of one particu lar Southern trad ition in each issue . Oftent imes , there are actual objects adhered to the pages ." Marion English/Paul Marince , art directors ; Laura Holmes , writer .

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COMMUNICATIO

ARTS

87

PHoE

IX

Loao CoMPETITIO

was getting the idea that there actually was a way to earn money by designing logos. Linda Forsberg, an assistant in the Public Information Office at the time, remembered "We had one guy who wrote the FBI, the speaker of the house and the president because he felt we processed his entry unfairly."

The ten semifinalists included: Eileen Avery+ Ted Wu Design Consultants, a joint venture; Dambrowski Design; Doug Hardenburgh; Dunn & Hill; Hubbard & Hubbard; The Kottler Caldera Group; Bruce Masai; K. Charles Oelfke; Rowley Associates and Smit Ghormley Sanft.

Amazingly, each was a profes ional graphic designer or firm. Only three of these submitted proposed phoenix bird designs along with their capabilities and previous work.

ACT

V

The Big Show On June 4, 1987, the Phoenix Bird Design Selection Panel moved from the cramped quarters of their previous meetings to the Phoenix Civic Plaza. In front of an audience of several hundred, they heard presentations from the ten semifinalists.

THE CllYOF

CITY OFX

PHOENIX

PHOENI

The highlight came from Ann Hubbard who, in the middle of her presentation, motioned to a curtained window along one side of the meeting room and, in perfect choreographic timing, the curtains opened to reveal a small-size Chevrolet, with actual decals on its door, parked on the adjoining patio. Immediately the door opened and out popped a man wearing a city uniform who handed each panelist a set of personalized business cards sporting the firm's proposed design.

ACT

VI

The Ballot Box

CllY OF PHOENIX

City of PHOENIX

Above : The ten semifinalists . The selection panel recommended the top four symbols to the City Council for a final choice .

] 06

M A R C H I A P R I L

I 9 9 2

The selection panel recommended four of the presentations to the City Council for a final choice. The city, after all, was the client and it had been planned in advance that this process would ultimately be decided by the full City Council in a legislative process.

Before the final decision, however, there was the matter of asking the public for input. The public, after all, was the real client. Ballots were printed showing the four finalist symbols and distributed throughout the city to libraries, convenience markets, public buildings and banks. More than 20,000 of these ballots were collected. The results were made available to the media and the City Council.

During Act VI, local television station did indeed enlist 900 numbers during their evening newscasts. At the conclusion of this unprecedented public scrutiny of a graphic design effort, the winner had out-distanced the other finalists by a two-to-one margin making the council's decision quite clear.