sepoct2015

SEPTEMBER/OCTOBER 2015 VOLUME 57, NUMBER 4

COMMUNICATION ARTS 54

62

38 FEATURES

DESIGN ANNUAL

38 Pitch Interactive

79 90 95 107 108 111 112 127 130 136 143 148 156 163 167 167 169 184

by Rebecca Huval In Oakland, California, this nimble data visualization firm creates art out of statistics.

46 Scott Bakal

by Susan Hodara A Boston illustrator elevates his work to new heights with warm, bold brushstrokes.

COVER Source images: Charles S.

Anderson Design Co.’s infographic for French Paper Company, p. 168; design student Hieu Tran’s book for Maryland Institute College of Art, p. 188.

46

54 Anomaly

by Joe Shepter With offices from New York to Shanghai, this ad agency lives up to its name by selling its own products.

62 Claire Rosen

by Monica Kass Rogers Using parrots, hedgehogs and turtles as props, a New Jersey photographer combines a love of fairy tales with a keen eye for color.

70 Exhibit

by Jean A. Coyne The latest and best in visual communication from here and abroad.

Posters Annual Reports Packaging Letterheads Trademarks Identity Programs Integrated Branding Programs Product/Service Brochures Catalogs Miscellaneous Company Literature Books Editorial Public Service Environmental Graphics Motion Graphics Miscellaneous Self-Promotion Student Work

FRESH Editor/Designer Patrick Coyne Executive Editor Jean A. Coyne Managing Editors Robin Alyse Doyle Rebecca Huval

196

Amanda Leigh Smith A photographer in Oregon creates adventurous art on road trips through rural America.

198

Orlin Culture Shop An illustrator in Erie, Colorado, captures the splendor of his local mountains and trees by drawing audacious shapes.

200

Leta Sobierajski A New York designer infuses her graphics with punchy colors.

Design Culture Wendy Richmond finds an unexpected source of inspiration for a new body of work.

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Design Details Designers are tapping into the profitable pattern-making market, as shown by Jude Stewart.

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Advertising Ernie Schenck extolls the creative benefits of overthinking.

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Creativity Sci-fi movies are predicting the future of user interfaces with eerie accuracy, reported

by Yolanda Zappaterra.

Art Director/Designer Matthew Korbel-Bowers Production Manager/Competition Coordinator Lauren Coyne

COLUMNS 14

Editor At Large Anne Telford

Senior Print Producer Ron Niewald

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Typography Thomas Phinney reveals the healing potential of scripts and letterforms among fragmented cultures.

32

Insights In a Q&A, Ed Kashi gets to the heart of his photography.

Design/Production Associate Jessica Reichard Administrative/Production Associate Stacey Meisner Production Assistant/Customer Service Representative Khader Yanni Software Engineers Jiping Hu Srividhya Gopalakrishnan

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Technology Administrator Michael Hoyt

Business Ellen Shapiro divulges the most effective marketing secrets of successful designers.

Advertising Director Valerie Pippin Circulation Director Perry Fotos

DEPARTMENTS 8 12 18 202 204 206 210 212

Accounting David Kasunick

Editor’s Column Contributors Web Watch Favorites Book Reviews Index to Design Annual 56 Directory Overheard

Volume 57, Number 4 commarts.com COMMUNICATION arts (ISSN 0010-3519) is published six times a year (January/February, March/April, May/June, July/August, September/October, November/ December) by Coyne & Blanchard, Inc., 110 Constitution Drive, Menlo Park, CA 94025-1107.

Periodicals Postage Paid at Menlo Park, CA, and at additional mailing offices.

Copyright 2015 by Coyne & Blanchard, Inc. All pieces reproduced in this issue are under prior copyright by the creators or by the contractual arrangements with their clients.

Nothing shown may be reproduced in any form without obtaining the permission of the creators and any other person or company who may have copyright ownership.

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Contributing Editors Sam McMillan Wendy Richmond Ernie Schenck Founder Richard Coyne (1926–1990)

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EDITOR’S COLUMN

Patrick Coyne

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his year, design entries were up 12 percent over last year’s competition—there were 4,083. Although the addition of a student category accounted for three-fourths of the increase, we were surprised by the uptick in submissions to the brochure and company literature categories, which had been in steady decline for several years. We also saw more entries in business papers (another surprise), posters, packaging and public service work.

“I appreciated having the opportunity to review a great amount of work across a wide variety of categories,” juror Kelly Bjork says. “It was fascinating to see design trends surface. I enjoyed the privileged perspective.”

Speaking of trends: “It’s exciting to see designers push toward the extremes of any given look,” juror Jay Fletcher says. “Minimal design is becoming even more simplistic, and ornate design is becoming even more intricate.”

“In the poster category, I was particularly pleased to see a general move away from the crunchy, grainy, muted-color, gig-poster aesthetic toward a more stylistically varied spectrum of work,” juror Steven Watson says.

Not every category showed such variety. “I know there is a nostalgic, ornate typography movement currently happening, but the sheer volume that was entered was unbelievable,” juror Dora Drimalas says. “It made the competition that much trickier because entries really had to be the best of this particular style to get in.”

“Certainly there was a strong showing of retrograde American design, but overall, I was pleased by the stylistic diversity of the work,” juror Jeffrey Keyton says.

“At the end of the day, the entries that stood out solved communications objectives in smart and compelling ways, were dialed in on the details, and were aesthetically delightful,” Watson says.

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Design Annual 2015

I asked the judges about their biggest disappointments with the submissions. Their responses focused primarily on style and execution.

“I was disappointed with the number of entries that appeared to use style over strong conceptual ideas to solve the fundamental communication challenge,” Bjork says.

“Many projects were beautifully designed, but paper selection and printing techniques were lacking,” Drimalas says. “It is unfortunate that these details are often overlooked because they can elevate a printed object from a good to an impeccable work of craftsmanship.”

I also asked the jurors how the perceived role of design is changing.

“I think design is transitioning from being seen as a commodity to being seen as a crucial part of a business’s success,” Fletcher says. “People are less interested in being bluntly told what to do or buy and more interested in having an experience they can identify with. The look and feel of that experience is an important— and sometimes extremely subtle—part of our emotional connection to it.”

“The best brands in the world have design within their C-suites,”

KELLY BJORK is associate partner and executive creative director at VSA Partners, Chicago, Illinois. Bjork joined VSA Partners in 2008 as creative director, leading teams of designers in the development of brand systems, corporate communications and environmental experiences for companies such as IBM, Motorola and First Data. Prior to joining VSA, she worked as a design director for StudioLab, and she has served as programming chair of AIGA Chicago and as director of membership for AIGA Minnesota. Her work has been recognized by AIGA 365, Communication Arts, Print, Graphis, the One Show and REBRAND 100. She earned a BFA at the University of Wisconsin–Stout.

DORA DRIMALAS is a principal and creative director, along with her husband, Brian Flynn, of Hybrid Design, based in San Francisco. Clients include Apple, Nike, Mohawk Fine Paper, Samsung and Starwood, among many others. Prior to launching Hybrid Design in 2001, Drimalas worked at Nike’s Brand Design Group in Portland, Oregon, and Tolleson Design in San Francisco. She has taught communication design and branding at the California College of Arts and at the Academy of Art University in San Francisco. Her work has been recognized nationally by such design publications as Communication Arts, HOW and Print and featured in several design books.

Photographs by Steve Castillo

Drimalas says. “I don’t just mean marketing, but product and brand creatives who are involved in business decisions and help steer companies.”

a tactile, well-

“With companies currently acquiring design firms or growing them from within, I am very interested to see if this trend will raise the bar on their overall communications,” Bjork says.

“As for independent design firms, I expect they will need to reevaluate how to differentiate themselves when the design services they have historically offered are handled in-house by their clients. Additionally, will we notice a change in the type of work internal design groups request of outside design firms? Will it be more exploratory or more production oriented?”

books will

done piece of print design— always hold a dear spot for me. But as far as innovation goes, the digital world is flush with opportunities.”

“Technology will continue to change how we consume media, images and messages,” Watson says. “But the underlying principles of design will always be relevant in communicating effectively, regardless of how the future evolves.”

A description of our judging process can be found at: commarts.com

Lastly, I asked jurors about how the role of designers will change in the future.

/annuals/judging. A minimum of four out of five votes was required

“Coding is an essential skill moving forward and needs to be required in all design schools,” Keyton says. “I still love and enjoy

extend our grateful appreciation to our jurors for their conscientious

JAY FLETCHER, originally from Connecticut, has spent the past fourteen years living and working in Charleston, South Carolina, as a graphic designer and illustrator.

After graduating from the Columbus College of Art & Design in 2000, he began his career in the newspaper world, honing his eye and learning what the phrase “tight deadlines” really means. In 2008, an after-hours freelance career became a full-time design job, and now J Fletcher Design has a stable of clients ranging from the NFL to Greenlitscripts. His work has been featured in Communication Arts, Print, and other international design publications and websites.

for a project to be awarded in this year’s competition. I would like to efforts in selecting our 56th Design Annual. ca

JEFFREY KEYTON is head of design at MTV in New York. He is always on the prowl for new approaches and is committed to the reinvention of the MTV brand. Keyton’s also proud and humbled to work with some of the world’s finest talents, who make MTV visually potent. His work has been recognized by AIGA, the Art Directors Club, Communication Arts and the One Show. A Pratt Institute graduate and a recipient of the Herschel Levit Lifetime Achievement Award, Keyton studied with legendary graphic design and illustration instructor Charles Goslin. He has also taught at the School of Visual Arts.

STEVEN WATSON was born on a missile range in New Mexico and grew up in Boston. After stints in Arizona and Utah, he now lives in Seattle. Watson is a founder and co-creative director at Turnstyle, a Seattlebased design and branding firm whose clients include Air Seychelles, the Bill & Melinda Gates Foundation, Microsoft, Nordstrom, Nike, Teague, the Seattle Times and many others. His work has been recognized by AIGA, Communication Arts, D&AD, the Dieline Awards, Graphis, Novum, Print, Red Dot and the Type Directors Club.

Watson previously served on the board of AIGA Seattle. He earned a BFA in graphic design at Brigham Young University.

Communication Arts | commarts.com

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CONTRIBUTORS Features Joe Shepter (shepter@gmail.com) is a freelance copywriter and ghostwriter who has written for global CEOs as well as for brands such as AT&T, Microsoft and Coca-Cola, among others. In this issue, Shepter reveals how the New York ad agency Anomaly is breaking the mold by selling its own products.

Monica Kass Rogers (mkrogers.com) writes and photographs from her home base in Evanston, Illinois. She prints letterpress ephemera at Little Blue Press and hosts an arts incubator and house concert series called the Pig & Weasel with her husband, Todd. In this issue, Rogers writes about Claire Rosen, a New Jersey photographer with a penchant for staging fairy tales and elaborate feasts for live critters.

Susan Hodara (susanhodara.com) is a journalist, memoirist and teacher. She covers the arts for the New York Times, Harvard Magazine and other publications.

Her short memoirs, including one nominated for a Pushcart Prize, appear in anthologies and literary journals, and she is co-author of the collaborative memoir Still Here Thinking of You: A Second Chance with Our Mothers.

In this issue, Hodara explores the inner world of Boston illustrator Scott Bakal, who channels the blues and other music to embolden his brushstrokes.

Columns Thomas Phinney (thomasphinney.com) is a typographer, consultant, font detective and type designer. Since 2014, he has been vice president of FontLab, the font creation tools company. Previously, he was senior technical product manager at Extensis, and

he worked for more than a decade on the type team at Adobe. In this issue’s Typography column, Phinney shows how scripts hold the power to unite cultures and keep dying languages alive.

Wendy Richmond (wendyrichmond.com) is a visual artist, a writer and an educator whose work explores public privacy, personal technology and creativity. Richmond has taught at Harvard University, the International Center of Photography and the Rhode Island School of Design, and she serves on the BRIC Artists Advisory Council and the MacDowell Fellows Executive Committee.

Her installations are widely exhibited, and her latest book is Art Without Compromise*.

In this issue’s Design Culture column, Richmond finds a surprising aid in developing a new body of work.

Ernie Schenck (ernieschenckcreative.prosite .com) is a freelance writer, a creative director and a regular contributor to CA’s Advertising column. Schenck is an Emmy finalist, a threetime Kelley nominee, and a perennial award winner at the One Show, the CLIOs, D&AD, the Emmys and Cannes. He has worked on campaigns at Hill Holliday/ Boston, Leonard Monahan Saabye, and Pagano Schenck & Kay. In this issue’s Advertising column, Schenck explores the creative potential of overthinking.

Ellen Shapiro (visualanguage.net) is a graphic designer and writer based in Irvington, New York. The author of The Graphic Designer’s Guide to Clients (Allworth Press) and more than 200 magazine articles and posts about visual culture around the world. Shapiro shares the marketing secrets of thriving designers in this issue’s Business column.

Jude Stewart (judestewart.com) has written about design and culture for Slate, Fast Company and the Believer, among other publications. She has authored two books, both published by Bloomsbury, most recently Patternalia: An Unconventional History of Polka Dots, Stripes, Plaid, Camouflage and Other Graphic Patterns (2015). For this issue’s Design Details column, Stewart connects the dots between graphic design and the profitable pattern-making market.

Yolanda Zappaterra (yolandazappaterra .wordpress.com) is a London-based writer and blogger. She writes about architecture, design, fine art, photography, food and travel for a range of European publications, including Time Out and Blueprint. She has authored five books and is currently writing Skyline, an architecture book about the world’s 50 greatest city skylines. Zappaterra reports on the influence of sci-fi movies on the future of user interface designs in the Creativity column.

Book Reviews Ruth Hagopian (ruth.hagopian@gmail.com) is a freelance writer and editor whose profiles of designers, photographers and artists have appeared in Print, Create and Digital Graphics magazines. She was also a publisher of Online Design magazine and a partner of Visual Strategies, a San Francisco–based design firm.

Correction In the May/June 2015 Design Details column, “The Big Picture,” we misspelled graphic facilitator Nora Herting’s name. We apologize for the error.

Pictured contributors wrote features and columns: Joe Shepter, Monica Kass Rogers, Susan Hodara, Thomas Phinney, Wendy Richmond, Ernie Schenck, Ellen Shapiro, Jude Stewart and Yolanda Zappaterra.

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Design Annual 2015

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DESIGN CULTURE

Wendy Richmond

Hashtag Is the New Muse

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Anyone could join in. Participants were instructed to decide on an action and post it daily on Instagram with the hashtag #the100DayProject, along with a related hashtag of their own, #100Daysof .

In the earliest stages, what does your work need in order to develop? Once you have planted the seeds, how do you encourage their growth?

I opened the door of the closet. Noticing an outline of my friend’s left hand, I immediately decided on my hashtag: #100DaysofLeftHands.

I started right away, thinking it would be good to take a break from my heavy introspection around research and caretaking, to come back to the closet later. I made a commitment to a creative study of nothing more than left hands. The only task I was obliged to complete was 100 days of Instagram posts.

ome artists and writers are afraid of the empty canvas or the blank page. It’s not the emptiness that scares me; it’s the page that has a promising first sentence or the canvas with the graceful first mark. Yes, my initial spark was good. But what is my next mark? What is my next sentence? Will it live up to my expectations? If I’m simply sketching or free writing, I can move ahead. But as soon as I give these explorations the responsibility of becoming a finished piece, I start to hold back.

In my previous column, I wrote about a family member’s rare form of cancer and my struggle to absorb my dual role as researcher and caregiver. I described my decision to empty out a large closet in my

Sometimes I gave a lot of attention to images, like my sketches of the left hand of the model in my Friday open drawing class. Other times I used my phone to capture whatever caught my eye during the day (or at 11:30 at night, just before deadline!).

I made a commitment to a creative study of nothing more than left hands. The only task I was obliged to complete was 100 days of Instagram posts. apartment, creating a place that could hold the medical information I had collected and printed—and that could also hold my emotions: “a space that was pristine and white, ready for whatever it needed to contain.” That closet soon became my designated space for transforming data and emotion into a new body of creative work.

I had no idea what that would be.

A friend came over to brainstorm with me. We treated the space like a visual playground: we traced delicate outlines of each other’s bodies on the walls and drew vague diagrams and calendars.

These drawings, along with the charts and notebooks full of data, showed potential. Then my friend left, and these nebulous images and piles of paper waited for me to take the next step.

I froze. The marks that we made with lightness suddenly held too much meaning. They became too precious to touch or alter, adding to the burden I was already carrying around. The original impulse, which was to make a fluid, creative space, was instead being weighed down by the obligation to become something.

Luckily, I stumbled upon an antidote to this heaviness. #The100DayProject, the brainchild of artist Elle Luna, is based on Michael Bierut’s now-classic workshop at Yale in which he instructed his design students to choose one action and repeat it every day for 100 days. The 2015 incarnation is a partnership between Luna and the Great Discontent magazine.

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Design Annual 2015

Within a few weeks, I realized that my posts had become a journal and that many of the drawings or photographs had a connection to my family member’s illness. Some were overt: blue surgical gloves in the drugstore, my hand holding a thick caregiver’s manual, a snapshot of the TV screen showing a surgeon’s hand in the documentary Cancer: The Emperor of All Maladies. Others were more subtle: a friend’s fingers cradling mine, a ragged hole in a worn leather glove, my hand gripping a canoe paddle during one glorious day on the lake.

I received comments on my posts that heightened my awareness.

One follower initiated a repartee of hand shadows; another picked up on the medical images and wrote, “Are you OK?” Many participants used #the100DayProject to build a predetermined, cohesive body of work. Each post was a single fully realized piece that was part of a visually consistent collection. Following the progression of various artists was like encountering beautiful seashells—each one perfectly formed and, taken as a whole, an impressive set of finalized work, ready for public appreciation.

My posts of drawings, photographs and notes were nowhere near finished art, but #100DaysofLeftHands became a committed exploration: a stable and comfortable way to nourish the early seeds of a vulnerable new body of work. By removing the severe prescription for completion, I knew that I had, at least, taken the next step. ca © 2015 W. Richmond

Legendary type design before digital.

And after.

Bringing Eric Gill’s hand-sketched drawings to life online required an equally meticulous obsession with detail, and Monotype’s Edge™ Tuning technology.

How will you build your next masterpiece as tools move from pencil to pixel?

Type Reinvented

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Ernie Schenck

Rabbit Holes, Perspective Junkies and the Overthinker’s Dilemma “I can’t help but think,” Park would say during taekwondo. “I can’t turn off my brain.” —Rainbow Rowell, Eleanor & Park

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e’ve all heard the stories. The novel that was turned down by 31 publishers before Little, Brown and Company bought it and its author, James Patterson, went on to become fabulously successful. The screenplay about an archaeologist looking for a lost religious relic in World War II that nobody in Hollywood wanted anything to do with until Paramount took a chance and Raiders of the Lost Ark went on to kill it at the box office.

The thing is, you never know how many times it’s going to take to hit on The One, whether it’s the big novel, the big song, the big videogame or the big advertising idea. If you’re lucky, you might get started, and bam! There it is. All shiny and polished and dripping

that color? Does it have to look like that? What does the name mean? What if we tried this? Is this song better? Why is it better?

Is there a better story? Where does it begin? How does it end?

Thinkers want to know things. Overthinkers want to know everything. And they can’t. And they know that. But curiosity is to creativity what a sharpening stone is to a ninja sword. No stone, no edge. No questions, no brilliance. Creativity is about connecting dots that have never been connected before. The more dots in your possession, the more connections you can make and the greater the chances of giving birth to some truly remarkable work. Dots don’t just happen. Questions make them happen. But questions can only get you so far.

Overthinkers like to dress up in other people’s clothes. They like to see what the world looks like through someone else’s eyes, feel what they feel. Overthinkers are perspective junkies. Their fresh perspectives could be a boon to creatives if they would only search for these new angles.

This is the problem with so many creatives. Not long after Interstellar came out, I stumbled onto a weird little book written by Edwin Abbott, an 18th-century schoolmaster, titled Flatland: A Romance of Many Dimensions. In the book, a square lives in a two-dimensional world. He discovers a three-dimensional world called Spaceland. No one back in his two-dimensional world believes him. The squares and circles and triangles only know what they’ve always known.

A cube? A sphere? A pyramid? Don’t be ridiculous. Sometimes we creatives are like that. We don’t know, and we don’t want to know. Overthinkers want to know.

Creativity is about connecting dots that have never been connected before. The more dots in your possession, the more connections you can make. with brilliance. And if you’re not, well, that first idea might not live to see the light of day. And so you keep going. Pushing this button and that. Pulling this thread and that.

The question is, when do you stop?

Even when you know you’ve landed on something seriously big, is that it? Is that the end of the rainbow? What if you went an hour longer? A day? What if you turned over one more stone? Who’s to say something even bigger and shinier might not be waiting to be discovered?

All our lives, we’ve had it tattooed on our brains. You’re overthinking the problem. Don’t do that. Just solve it and walk away.

Move on. You have a great idea, so enough. Stop. You’re overthinking it, and everyone knows that can pull you into a conceptual rabbit hole.

Tim Geoghegan is a freelance writer, and he has no idea what those people are talking about. “To anyone deep in the creative process, there is nothing more frustrating than to be accused of overthinking. Scattering the pieces and examining them is often the first step to seeing what else they can become.”

Overthinkers are question askers: How does that work? Why is it 16

Design Annual 2015

Not that overthinking is always a good thing. Far from it. As creative people today, we’re juggling more tools than at any other time in advertising. Digital. Experiential. Transmedia. Design. Television.

Mobile. All of which is compounded by all the other choices in our lives. It can be massively overwhelming.

Overthinking can cause you to spend too much time and energy dissecting a problem, pulling it every which way. It can cause you to see opportunities and pitfalls that aren’t there. It can drive you so far down the rabbit hole, you might as well set up housekeeping because you’re never coming back. But do it right, know how to control it, and overthinking can take you to places in your creativity that you might never have thought possible. ca

Google Design When Google unveiled its Material Design guidelines in 2014, the technology company once defined by playgroundlike primary colors reestablished itself as a sophisticated design leader. Its guidelines upended interactive design conventions. For instance, web pages aren’t flat, but contain the materiality and shadows of real paper.

These satisfying and intuitive principles form the backbone of digital agency Instrument’s 2015 redesign of google.com/design.

The agency’s biggest challenge was to marry Material Design principles—made to flex and fit numerous brands—to Google’s unique brand identity. Instrument also needed to retrofit the framework, mainly intended for mobile design, so it could be applied to a web browser. The resulting website sets a best-in-class example of Material Design, with a simplicity that sings. Instrument helped Google rethink the site structure to create a hub of educational resources. Videos and articles highlight the department’s findings on Material Design so that the framework can live beyond Google and spark a discussion in the broader industry. It also features a new addition to the Roboto type family: Roboto Mono,

expressive of the Google design brand with its graphic, yet technical personality. Also impressive, the site is fully accessible to those who have disabilities, meeting Web Content Accessibility Guidelines for an AA rating. With this redesign, Google has cemented its reputation as a pioneer not just in search and maps, but also in the materiality of interactive design. —Rebecca Huval Andrio Abero/Dave Mikush, art directors; Zech Bard, writer; Marc Lehman, motion graphic designer; Jason Stewart, senior designer; Dan Schechter, creative director; Jason King, strategy; Allyson Dutko/David Kluvers, developers; Brian Hefter, senior developer; Thomas Reynolds, technology director; Casey Castro, senior producer; Amie Pascal, executive producer; Instrument, design firm; Google, client.

Swinging sixties

Sign of the times In the 1950s and 1960s, the promise of the American future was written in neon. Today that neon future has fallen on hard times, as the signs collected in Recapturist (recapturist.com) attest. Preserved by photographer Bill Rose in a database categorized by state, vintage neon signs around the country advertise everything from sugar and cold beer to stogies and bowling alleys—in gorgeously crafted typography and graphics.

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Design Annual 2015

Perhaps no one defined the art of the poster in the 1960s like Seymour Chwast.

Yes, Milton Glaser made the iconic poster of Bob Dylan, but Chwast was so cool that Dylan had himself photographed standing in front of one of Chwast’s posters: “Protest Against the Rising Tide of Conformity.”

Now that’s putting your finger on the zeitgeist. An archive of his groundbreaking and still-fresh graphic design is collected at seymourchwastarchive.com.

Most modern American 1950s modernism meets the European avant-garde in the graphic design of Elaine Lustig Cohen. Noted for her book jacket designs for New Directions and Meridian Books and her exhibition catalogs for the Whitney Museum, Lustig Cohen was one of the first women in graphic design to run her own studio. Her signage program for the iconic Seagram Building was one of the first of its kind.

Explore her extensive portfolio at elainelustigcohen.com. —Sam McMillan

TYPOGRAPHY

Thomas Phinney

Finding a Common Language

Reconciliation and revival through letterforms

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hen someone mentions “invented writing systems,” you might first think of J.R.R. Tolkien’s Elvish and Dwarven, Star Trek’s Klingon, or—if you have more of a literary bent—George Bernard Shaw’s Shavian phonetic alphabet. Even established writing systems for real-world languages (or “scripts,” to use the technical term) were once an invention and evolved afterward. But we often don’t know the story of these ancient systems the way we know about Klingon.

It’s all in the family. The Sinhala and Tamil letterforms share similarities because they both descended from the Brahmi script of ancient India. The newborn Amma forms a hybrid between the two letterforms.

This is the tale of two such recently constructed scripts—Amma of Sri Lanka, invented just two years ago, and West Africa’s Adlam, on the verge of becoming mainstream after 26 years. Both scripts have served as cultural ambassadors, by creating mutual understanding among ethnic groups or inspiring linguistic pride.

Sri Lanka, the birthplace of Amma, needed a common language.

The country was riven by civil war for more than 25 years, ending in 2009 with the defeat of the rebel Tamil Tigers by Sinhalesemajority government forces. Some have labeled both the civil war and previous government policies as genocidal against the Tamil minority, but allegations of massive war crimes have been made against both sides.

Against this backdrop, Pathum Egodawatta unveiled Amma—not just a new font, but actually an entirely new writing system.

It ambitiously attempts to be midway betPATHUM EGODAWATTA ween the DESIGNER OF AMMA Sinhala and Tamil writing systems, mutually intelligible to the readers from these two formerly feuding families while not being the same as either. To the people of Sri Lanka it is a surprising idea, about as likely as a genetically engineered crossbreed between a cat and a dog—yet it seems to be gaining traction. Not for general use, perhaps, but it’s under consideration for select Sri Lankan signage.

As you can see in the chart above, the Sinhala and Tamil letterforms always have some slight, distant relationship, which enabled Egodawatta to create Amma. This is because, like all the major languages of India except English, they are both descendants of the same ancestral writing system: the Brahmi script of ancient India (as are Thai, Tibetan and Old Javanese, among others). However, they reached their divergent present forms many centuries ago.

Egodawatta created Amma under the name “Other Letter,” for his final-year professional collaboration module in Northumbria University’s bachelor’s of graphic design at the Academy of Design, Colombo, Sri Lanka. He first presented it in the United Kingdom in July 2013 and then in March 2014 at India’s Typography Day conference. His was the only Typo Day talk that received a standing ovation from the audience.

They adored his message, that a script has the power to unite former enemies. “After 30 years of bitter war, hearts are broken and distrust is everywhere,” Egodawatta said. “This project is a simple message about harmony.” Too often, Sinhala alone is used even in Tamil-majority areas. Amma could be used instead, in places where language creates a feeling of “otherness.” To that end, he has made mockups of signage and labeling in Amma instead of Sinhala or bilingual signs. He hopes to give speakers of both languages a sense of belonging.

Despite the enthusiastic reception of the idea from some in the region, it’s unlikely that Sinhala and Tamil would merge into a single Amma writing system that would completely replace its forebears. Yet it may have a future as a symbol of unity, reconciliation and progress.

Communication Arts | commarts.com

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TYPOGRAPHY

An averaging of other letterforms, Amma is a more universal script for Sri Lankans. Here, Amma replaces a label for food aid to reach a broader population (left).

Ibrahima Barry’s recent drawing of Adlam (right) reveals the influence of his United States calligraphy classes with a Western-style pen angle, at 30- to 45-degrees, rather than the varying Arabic angle.

While Amma is only two years old, another new writing system, Adlam, has been around for 26 years and continues to gain traction— despite initial government opposition. Created as a more accurate written representation of the dialects variously known as Fulfulde, Fulani, Fula and Pulaar, its intended readers and writers include some 40 million people in West and Central Africa, about a third of whom are nomadic.

Guinea is the only country where the Fulfulde-speaking Fulani people are the largest single group (albeit still not a majority). However, even in Guinea, the Fulani are a politically marginalized group, primarily aligned with an opposition party, and President Condé is from the second-largest ethnic group, the Malinké.

Enter Adlam, which was invented in 1989 by two brothers, Ibrahima and Abdoulaye Barry, in the town of N’Zérékoré, Guinea, West Africa. Before that, Fulfulde had been written primarily in Arabic and IBRAHIMA AND sometimes in ABDOULAYE BARRY Latin (the writing DESIGNERS OF ADLAM system you’re reading now, used for English, French, Turkish, etc.). But the language requires some obscure hooked letters not found in many Latin fonts.

When the Fula people converted to Islam centuries ago, they adopted Arabic writing. However, many sounds in Fulfulde have no direct representation in Arabic. Worse, each country or region tended to have its own approach to writing the Fula language in Arabic, as they also did with Latin.

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Design Annual 2015

Thus no standard approach for representing Fulfulde in Arabic has ever been developed, and spelling varies as well. The Barry brothers were so talented at reading Fulfulde-Arabic that their father asked them to read incoming letters aloud—when before, he had been the go-to reader for everyone in their town. Yet they describe reading Fulfulde in Arabic as “a guessing game,” and from this frustration, Abdoulaye realized they should develop their own alphabet. The brothers promised their father that they would create such an alphabet for the Fulani people, to make reading and communication easier. Two weeks later, they had a working first draft of what would become Adlam.

The formal name “Adlam” not only is based on the first four letters of its alphabet (ADLM), but also is an acronym for the Fula phrase Alkule Dandaydhe Leñol am Mulugol—“The Alphabet that Protects My People from Vanishing.” The system devised by the Barry brothers has 28 letters and combines elements of Latin and Arabic.

“We chose to write from right to left because of how important this is in the Fulbhe culture, which is heavily influenced by the Islamic and Arabic culture,” write the Barrys on windenjangen.org. However, instead of consonants plus diacritical marks as in Arabic, the system includes consonants and vowels as in French or English. Like Arabic, letters can take positional forms at the beginning, middle or end of a word or by themselves—though unlike Arabic, the positional forms are optional. Like Latin, letters have uppercase and lowercase forms—although these are also optional.

The brothers and their father started translating books into Adlam, and they created a nonprofit organization to teach people how to read and write the new script: Winden Jangen Adlam

(Write and Read Adlam). “I started working with people, teaching them how to read and write in Fulani,” Ibrahima said at a speech at the International Lettering Arts Conference, “and as this written aspect of familiar sounds dawned on them, they often started crying. … And they were so happy I decided I would continue to do this because I was making a change in their lives.”

Abdoulaye moved to the United States in 2003 to pursue a master’s degree and to make money to promote their new writing system. With Adlam-based schools in five African countries and support from the New York Fulani community, Adlam began to gain momentum. Fonts were created, and a keyboard driver to work with them.

But Adlam adoption has been by no means smooth or without controversy. Even within the Fula community, some people opposed the idea. In the Barrys’ native Guinea, the official language is French, with Arabic as a secondary language. But in a country torn apart by ethnic and linguistic tribal tensions—subject to coups and lacking in political freedoms—publishing newspapers and books that government officials couldn’t read has caused legal problems.

Ibrahima was jailed for three months in Guinea allegedly for organizing a student protest, though he suspects he was arrested for distributing Fulani literature. He left the country after he was released.

But that hasn’t stopped the brothers or the Adlam story.

They continue to finance Adlam development and education, albeit now in the United States, where they are working and attending college. A calligraphy class helped Ibrahima further refine the design of Adlam, followed by a type design workshop. The classes inspired him to ask me if I would be willing to create new Adlam fonts (yes, in principle: I hope to do a tiered proposal and budget with my colleagues at Tiro Typeworks). The writing system is even slated to get its own codepoints in Unicode 9.0 next year, which will allow Adlam fonts to flourish without having to “pretend” the text is Arabic. With hundreds of teachers and learning centers, Adlam is helping reverse a previously increasing trend of the people not knowing their own ethnic language, let alone how to write it.

It’s not all that simple, of course. Adlam support needs to be built into computer operating systems. All this will take time. But from Amma and Adlam, it’s readily apparent that even in our shrinking world, there are still worthwhile reasons to invent new writing systems, whether it’s to encourage peace and reconciliation or to keep a dying language alive. ca

ON THE MULTIPLICITY OF WRITING SYSTEMS

Recently somebody asked me, “Why are there are so many writing systems, anyway?” Actually, I said, the surprise is more that there are so few! Many languages have adopted preexisting writing systems, but these are not always adequate to represent the sounds of the language—which is why we see so many diacritical marks, or accents, in non-English languages written with the Latin alphabet.

Adopting a writing system usually has political implications as well as the more obvious social and cultural ones. For example, numerous former Soviet satellite countries switched (or reverted) to Latin from Cyrillic after the fall of the Soviet Union. Kazakh was written in Arabic until 1929, then Latin until 1940 and Cyrillic ever since.

But Kazakhstan is now debating a switch back to Latin.

FIRST WRITING SYSTEM VS. REPLACEMENT

If a language has no written form, the writing system that is first promoted, whether newly constructed or preexisting, is likely to take hold.

It beats not writing at all. We’ve seen this in the West with Cherokee and Canadian Aboriginal Syllabics, for example. But when some kind of writing is already in place, most newly constructed scripts never achieve wide adoption without a strong central law—or it may happen remarkably slowly.

For example, Korean Hangul was invented at the behest of Sejong the Great in early 1444. But the literate elite resisted switching away from the Chinese characters previously used to write Korean. After many ups and downs, it wasn’t until the late 20th century that Hangul became dominant in Korea, along with general literacy.

You can support Adlam with donations via PayPal to windenjangen@windenjangen.org.

Communication Arts | commarts.com

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DESIGN DETAILS

Jude Stewart

Sensing a Pattern

The pattern-design world welcomes increasing numbers of crossover graphic designers, yet still operates as a parallel universe. Let’s pierce the veil.

Lotta Nieminen created HOUSE (left) for a Sokos Helsinki’s housewares holiday line. “They initially pushed for a red background color, but for me, December is more light blue—crisp and cold,” she says. Danny Ivan’s Shapes pattern (center) appears on a variety of products, from aprons to watch straps. “I live in Lisbon, so I see patterns everywhere—from Portuguese sidewalks to the tiled walls,” he says. In the classic poem The Nature of Things (right), Lucretius presents the principles of atomism. Coralie Bickford-Smith referenced these principles in her book cover design. “After being very strict with my grid, I broke it to play with the idea of shifting atoms and movement,” she says.

A

re you pattern-curious? Admit it: you’ve dreamed of untethering your designs to conquer vast acreages. Blank grids make you swoon; generous bolts of cloth, ditto. Your collection of wrapping paper well exceeds the humdrum pace of your actual gift giving. Bold wallpaper floods you with unhinged joy.

You’re in fine company. The once-siloed world of pattern design has opened up in recent years, welcoming graphic designers and illustrators as well as pattern specialists. Despite this openness, pattern design—like its cousin typography—still operates as a walled garden, replete with its own design rules, production issues and unique modes of marketing. One cannot simply rush in pell-mell; the plunge demands thoughtfulness, apprenticeship and preparation.

Some of the most exciting pattern designers today—both specialists and crossover talent—shared with me their hard-earned wisdom on what it takes to succeed in this parallel universe.

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Design Annual 2015

Differences start with the work itself. Take Lotta Nieminen, a Finnishborn illustrator now based in New York whose whimsical, yet detailed illustrations made her an excellent candidate for crossing over into pattern design. Self-taught, Nieminen plunged into patterns with remarkable success, designing gift wrap for the Japanese brand Tryn and patterned housewares for department store Sokos Helsinki and, most recently, collaborating in fabric design with the department store Liberty of London. “In pattern design, it’s very important to keep the big picture in mind—how it works as a whole, not just looking at the single repetition you’re working on,” she advised. “Also, keeping the final scale in mind is important. What will it be applied to? A pillow, a sheet of wrapping paper or fabric by the yard?” Kustaa Saksi, another Finnish designer, concurs: “It’s important to be able to handle the whole ensemble,” he explained. “Understanding of rhythm, space and mass is necessary. A good pattern designer always keeps in mind what he or she is designing for.” Saksi works as an illustrator,

TOUCH IS THE FINE LINE BETWEEN

read & remembered

There’s a reason the smartest brands choose paper for important messages. Because holding something in our hands can shape how we feel. What we know. And, critically for marketers, what we buy.

See how brilliant brands use haptics—the science of how things we touch shape the way we feel— to create deeper connections with their customers.

Visit sappi.com/haptics to learn more and request your own copy of “A Communicators Guide to the Neuroscience of Touch.”

DESIGN DETAILS

Catarina Guerreiro describes her favorite print, Diesel (left). “It was created using an open screen-printing technique, with hand-drawn oil pastels and colored pencil. It has a raw and energetic beauty.” Melvin Galapon created a geometric pattern (center) for the interior and menus at London’s Barbican Martini Bar. “If I hadn’t suggested the [patterned] coasters, the bar wouldn’t feel finished,” Galapon says. Artist Kustaa Saksi drew inspiration from his sea-diving trips for the Merivuokko (Sea Anemone) print (right) in Marimekko’s 2015 collection. “It depicts the free, swaying vegetation of the sea floor and its organized chaos,” he says.

textile artist and installation-maker, but is perhaps best known for his profuse pattern designs for housewares brand Marimekko.

Regarding the challenge of hitting the mark at every possible scale of your design, Catarina Guerreiro says, “You need to make sure your repeat is balanced and doesn’t have spacing issues or unintentional directionality,” she remarks. “Pattern design is not about a single motif, but the whole, the balance of the composition.” The Portuguese-born designer lives and works in Belfast, focusing on pattern design informed by printmaking and painting.

United Kingdom–based designer Coralie Bickford-Smith came to pattern design by accident, perhaps wrapped in fate. After training in typography and graphic communications, she joined publisher Penguin as an in-house designer for several daunting projects, including the Clothbound Classics and the Pocket Penguin Classics.

Bickford-Smith recalls how production limitations for Clothbound Classics helped awaken her now-signature style: “The blocky designs and simple use of color were restraints imposed by the materials I was using, namely, foil blocking on cloth.”

Michelle Fifis’s advice echoes that of her fellow designers: successful patterns are those that demonstrate a balanced use of color, evenly placed motifs, and a sense of movement and flow. She finds fluidity for her own designs by sketching or painting motifs by hand. Newbies must also ensure their patterns translate successfully from screen to fabric, she says. “Many [fabric] manufacturers are forced to use a limited color palette to keep production costs low,” she explains, “so a pattern designed using 150 colors must be reduced to 12 or 18 colors”—ideally, without degrading the original pattern’s appeal. Fifis knows whereof she speaks: patternobserver.com, which she founded, 26

Design Annual 2015

offers popular workshops, interviews and tutorials, plus the Textile Design Lab. More than 4,000 people have enrolled in her free starter course, Turn Your Artwork into Textile Designs that Sell. She’s also blogged about how agents and print studios market patterns, as well as about blockbuster trade shows, like Indigo and Surtex.

Of course, every career follows an idiosyncratic arc. Lisbon-based graphic artist Danny Ivan observes: “Normally, a pattern designer makes collections or a series to promote the patterns. I love the idea of creating a series inspired by a subject and then waiting for the market [to come to me]”—a reverse from the ordinary process of following trends that has served Ivan well. Many of his patterns— especially Pass This On—got popularized on iPhone cases via printon-demand sites like Society6.

As a field closely intertwined with fashion, trend is king in the pattern design world—which made it that much juicier to ask our designers which emerging pattern trends excite them most.

“Imperfection is one of the strongest trends I’m seeing now and into spring/summer 2017,” writes Fifis. Guerreiro seconds this trend, admiring textural prints with an organic, decay-like feel as well as what she calls the “sketchbook look,” and Nieminen loves big color blocks. Quite a few designers, perhaps exhausted by keeping up, claim to eschew trends entirely.

One way to sidestep the constraints of trends is to change your perspective. London-based PATTERNITY prefers a wide-angle take on patterns, as reflected in its tagline: “Seeing pattern everywhere, from the mundane to the magnificent.” Co-founded by Anna Murray and Grace Winteringham, PATTERNITY’s boundary-stretching activities include a creative studio, a pattern research consultancy, pioneering

Patterns 101: Course Materials

A Field Guide to Fabric Design, by Kim Kight, serves as an excellent introduction for pattern designers new to the industry.

Basic Textile Design 01: Sourcing Ideas, by Josephine Steed and Frances Stevenson, proves helpful with patterns research and idea-gathering.

PATTERNITY drew inspiration from the Imperial War Museums’ extensive naval archives to create the Fleet of Dazzle housewares and fashion collection, featuring a pattern inspired by the dazzle camouflage used on World War I naval vessels.

Patternalia: An Unconventional History of Polka Dots, Stripes, Plaid, Camouflage & Other Graphic Patterns, by Jude Stewart, is a fun extracurricular read that plumbs the backstories of individual patterns and the curious personalities they accrue over time.

live events and workshops, and a madly popular visual blog featuring patterns seen in fashion, cityscapes and nature. Its approach blends relentless curiosity with a knack for clever remixes. Take its recent collaboration with the Imperial War Museums to celebrate the centenary of World War I. Dazzle—a broken zebra stripe used to camouflage warships in the war—became PATTERNITY’s starting point for its Fleet of Dazzle housewares and fashion collection.

Patternbank.com, a pattern-sharing community, can help you license your work or find a pattern to use in your own project.

A pattern can only intrigue our eyes because of its layered meanings: its associations over time and cultural context, the stories of its many uses, even—paradoxically—the sense of personality a pattern accrues over time. “Perhaps the most exciting pattern trend happening right now is an increasing desire to understand our individual and collective patterns of thinking and behavior—whether it’s reconsidering our eating patterns or taking up mindfulness meditation,” notes Murray.

I’m a sucker for this wide-angle take on pattern, too. I’m firmly convinced that patterns run deeper than mere surface decoration. If you long to make the leap into pattern design, Murray offers some

WGSN (wgsn.com), fashion industry’s premiere source for trend analysis, is exclusive and pricey, but indisputable in big-league pattern circles.

encouraging words. In her view, anyone with an observant eye who’s mindful of interconnections can apply those skills to successful pattern design. “It’s about how you see the world, in a more systematic and connected way,” Murray continues. “It’s important to ask fundamental questions when approaching a new project: What story can this pattern tell about the world around us? Can this pattern make those who engage with it somehow happier or healthier? In a world of abundance, each pattern needs to be worthwhile and have meaning beyond the aesthetic.” Thinking in pattern means working a much broader—even infinite—canvas of ideas, which is deeply satisfying work for those designers who embrace

PATTERNITY (patternity.org), a popular daily blog, shares patterns spied on the catwalks and in everyday life and hosts intriguing live events and workshops in London.

the grid as well as for those who go beyond it. ca Communication Arts | commarts.com

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CREATIVITY

Yolanda Zappaterra

Designing the Future Sci-fi movies are more popular than ever, and future fantasies are rendered on movie screens with ever more dazzling realism. Meanwhile, in the real world, rapidly developing user interfaces, media surfaces and wearables blur the line between science fiction and life in the present day. How do graphics and visual effects teams go about designing an on-screen future that has an impact on audiences living in an era of wondrous technology? Yolanda Zappaterra went to some of the best in the business to find out.

A

t an East London movie theater on a spring evening, trailers are featuring the usual mix of summer blockbusters, romcoms, kids’ movies and arthouse films that people halfwatch while chatting and playing with their phones. Then a trailer comes on screen that demands everyone’s attention: it’s for the 1982 noir sci-fi film Blade Runner, and its impact is even stronger today than it was when it was first released. Now, 34 years later, we can see just how prescient it was in designing the future. Its dystopian depiction of the year 2019 shattered our visions of a techfilled utopia and revealed how technology can backfire.

“Blade Runner is a perfect film, with amazing vision,” says Danny Yount, the man behind lauded credit sequences and interfaces for Oblivion, Tron: Legacy, Tyrant and all three Iron Man films. “The moment at the end when the replicant realizes his mortality is pure poetry,” he says. Many of today’s science fiction visionaries share Yount’s reverence. David Sheldon-Hicks, creative director and co-founder of London-based multidisciplinary group Territory Studio, which made screen graphics and interfaces for Prometheus, Jupiter Ascending, Ex Machina and Guardians of the Galaxy, says, “Even though it wasn’t necessarily a beautiful or utopian view of the world, there was a seductive beauty to the work that pulled me in emotionally, with an authenticity that immersed me in the film’s vision.” Shawn Walsh, executive producer of visual effects at Image Engine in Vancouver, which devised the look of Neill Blomkamp’s hugely influential District 9 and Elysium, says, “It’s not so much the accuracy of Ridley Scott’s predictions of the future landscape as the plausibility of all of the visual imagery in the film and the sociocultural assumptions the film makes.

Overpopulation, superstructures, VTOL [vertical take-off and landing] craft, sophisticated interface design, amalgamation in language… all of these things combine into a setting that feels completely believable as a future reality.”

For Iron Man 2, designer Danny Yount channeled the futuristic vision of Blade Runner. He led the Prologue Films graphic VFX design teams that created the holographic and computer screen interfaces and interactions that were seen in the protagonist Tony Stark’s lab. © 2010 Paramount Pictures.

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Design Annual 2015

Yount, Walsh and Sheldon-Hicks have played substantial roles in predicting the

Design Your Own Future Earn a Degree or Take Classes in San Francisco or Online School of Graphic Design Student Artwork by Dong Ni, School of Graphic Design

Academy of Art University | Founded in San Francisco 1929 | 888.680.8691 | academyart.edu | Yellow Ribbon Participa

Visit www.academyart.edu to learn more about total costs, median student loan debt, potential occupations and other information. Accredited member WSCUC, NASAD, CIDA (BFA-IAD, M IAD), CTC (California Teacher Credential).

CREATIVITY

The sci-fi future looks uncannily familiar. Territory Studio created a “near future” operating system (top) for Ex Machina. Drawing on current trends in OS design and programming, the team referenced modernist, functional and minimalist aesthetics. © 2015 Universal Pictures International. Territory also created computer screens depicting aerial surveillance (bottom left) for the film Zero Dark Thirty. Its CGI and design teams created the scenes from scratch to be played on set and added into shots in post-production. © 2012 Zero Dark Thirty, LLC. In addition, the studio designed and animated hundreds of computer graphics and projections (bottom right) both on set and in post for Prometheus. © 2012 Twentieth Century Fox Film Corporation.

future from a twenty-first-century stance, albeit with occasional nods to their twentieth-century forebears. Image Engine’s work on the torus space station environment in Elysium draws inspiration from futurist designer Syd Mead’s work on Blade Runner as well as Mead’s early space station illustrations for National Geographic in the 1970s. In this year’s Ex Machina, Territory Studio’s work references many of Blade Runner’s human/replicant themes, but the two films couldn’t be more different, largely because we are quickly moving toward the possibility of real artificial intelligence. Sheldon-Hicks explains that Territory had to create a more believable artificial intelligence in order to appease sci-fi fans who would scrutinize every aspect of the movie’s depiction of the future. “There are fans who are passionate about everything from code to terminology, so we do try to work with that,” he says. “While our approach always assumes some artistic license, there are times when the discipline that realism brings can really enhance the process, as it did when we were asked to design a credible new operating system that evolved current user experience and user interface conventions for Ex Machina.”

A key impetus for Territory’s work is what Sheldon-Hicks calls humanness and describes as “a love of the human element—glitchy technology that needs a very physical jolt to set it right, information interrupted by transmission errors, UI [user interface] anomalies 30

Design Annual 2015

generated by various hacks, screens aged by time and use, organic forms and shapes that tap into our collective unconscious, and screen content that allows for an actor’s emotional response,” he says. “Authenticity and credibility are rooted in emotional experiences or rational convention.” In Zero Dark Thirty, for example, Territory drew on real-world drone camera shots to convey the extraordinary tension of operations rooms. In Prometheus, the graphics subtly contribute to the movie’s narrative and mood. The screens on the ship’s bridge “convey a scientific vessel with its own super intelligence far beyond the audience’s scope of experience,” Sheldon-Hicks says, “while in the informal meeting spaces, the graphics were all based on organic forms and colors that evoked warmth, comfort, familiarity and reassurance.”

UI designer Jorge Almeida acknowledges that humanness drives his work as well. Almeida has designed screen interfaces for The Dark Knight Rises, Mission Impossible: Ghost Protocol, Star Trek: Into Darkness and Tomorrowland. He also worked on Minority Report, arguably one of the most influential uses of UI in modern times, which has been widely praised for its vision of the future, especially its elegant and engaging glass precog interface.

“Several things in that film were pretty accurate in terms of where media surfaces are headed, from touchless interaction to augmented reality,” says Yount. Such spot-on visualization

Some interfaces are so advanced, they're legible to humans and aliens alike. From the movie District 9, a young alien looks at a hologram of his home planet (top left) and Wikus van de Merwe (played by Sharlto Copley) reads the display inside a spaceship (top right). Vancouver-based studio Gold Tooth Creative produced these UI elements, and Image Engine composited them with visual effects. © 2009 TriStar Pictures Inc. Jorge Almeida’s interfaces for Minority Report gave audiences a taste of the touchscreens soon to pervade their lives. In 2002, the interfaces for Eye-dent tracking (bottom left) and the Department of Containment’s prisoner records (bottom right) appeared far ahead of their time. © 2002 DreamWorks LLC.

was no accident—it came directly from Almeida’s desire to humanize the interface and tether it to the physical world. “I try to find one idea that I can lock onto for motivation, even if it ultimately never translates to the screen,” he says. “For Minority Report, I thought of the data as some type of organism floating in fluid. That led me to play with different layer modes and transparencies in order to try to make the data look almost cellular. I thought of all of the precrime division interfaces as windows into a giant aquarium.”

Likewise, the gritty realism that Image Engine brought to District 9 is a testament to what Walsh says is the studio’s constant search for ways to bring a rooted, visceral aesthetic to its work.

“We’re constantly investigating the real world and scouring the Internet for captivating and relevant references for the digital work we do. Once we have this element, we become obsessed with being able to replicate it within the specific context of our digital work, no matter what project we are working on,” he says.

And for Yount, the experience of being self-taught, developing his career in an earlier era of sci-fi movies and television shows, has given him an aesthetic sensibility that goes beyond the more recent concerns brought on by video games: complexity, hyperfrenetic layering and processing speed. “I love layering and complexity,” he says, “but I came from a generation where story

was more important, and UI was just used to supplement it—very utilitarian and not flashy.”

The key, for all of them, is to ground the science-fiction fantasy in the real facts of human nature. “I always want to know what is next in technology and the development of humanity,” Yount says. Almeida, meanwhile, has traded sci-fi movie work for present-day UI design.

He’s helping create UI for Microsoft’s upcoming HoloLens, “working with technology that feels straight out of the movies,” he says.

And like his cinematic work, his design for HoloLens is rooted in personal expression and humanity. “One of the features that I think is so cool is the ability to place holograms in your physical space, like on a countertop, and leave them there. I think this will open the door to UI eventually becoming a form of personal expression, like interior design. More and more people will look at interfaces and data visualization the same way film UI designers do, as part of the bigger picture,” he says.

As Sheldon-Hicks puts it, “All images of the future are a reflection of our current views on technology and culture.” Let’s hope that today’s UI predictions, centered around ideas of fallibility and personal expression, augur a future filled with the best user experiences and interfaces possible—not so much Blade Runner and its terrifying impersonal scale, but Ex Machina at its most intimate and human. ca Communication Arts | commarts.com

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INSIGHTS

INSIGHTS

Ed Kashi

Shooting with soul Photographer and filmmaker Ed Kashi wields a generous heart, which travels with him on far-flung photo journeys to Nicaragua, Nigeria, France and Iraq. He makes his subjects feel at ease so they might offer up the intimate details of their lives. His vignettes show how community and family ties double down in the face of death and struggle. Kashi’s empathetic approach to photography and filmmaking produced Iraqi Kurdistan, a flipbook-style multimedia story that reveals the daily lives of Iraqi Kurds in the wake of genocide. His book Aging in America: The Years Ahead is one of the most extensive visual archives on aging in the United States.

As a contributing photographer to National Geographic magazine, Kashi has produced seventeen features since 1991. Recently, he extended his vulnerability to his own story; he published Photojournalisms, 20 years of correspondence with his wife during his frequent work-related travels. To Kashi, the personal is political.

—Rebecca Huval How did you get started in photography?

I discovered photography as a freshman in college at Syracuse University. My actual dream was to become a novelist. I was disabused of that notion at the tender age of eighteen by a harsh poetry teacher. I turned my sights on photography and within a few months of learning the craft, I was hooked. When I learned about Imogene Cunningham, who was still making pictures into her 90s, and then saw the photo series Ward 81 by Mary Ellen Mark, I knew this was how I wanted to spend my life. When I graduated from the university, I moved to San Francisco to begin my journey. Once there, I began freelancing and gradually moved from local magazine assignments to national and international work. My goal was always to become a storyteller.

Why did you found a documentary storytelling nonprofit?

My wife, Julie Winokur, and I formed Talking Eyes Media in 2002. We had just completed our seven-year-long project, Aging in America, which received a large amount of grant support. It became clear to us that doing this kind of in-depth, serious visual storytelling was not going to be supported by mainstream media. Having a nonprofit would allow us to seek funding directly for our projects. Julie is the executive director. She has grown it into both a wonderful 32

Design Annual 2015

storytelling organization that meets our humanitarian goals through client work and a production company that is taking us in new directions. We have a very exciting three-year collaboration with Rutgers Newark University, VII Photo and Talking Eyes to work on multiplatform stories related to immigration.

These kinds of collaborations allow us to create work that is not dependent on the media industry, yet enable us to work with that world to disseminate our projects and reach a broader audience.

How do you find inspiration for your series?

I drew inspiration for the Aging in America project after I had worked abroad for years and finally felt I should turn my camera on my own society. In the spirit of the Farm Security Administration photographers and advocacy journalists, I cast about to find what would be one of the great themes of my lifetime. I realized I could explore aging as a theme to create a timeless body of images that would last for decades in its relevance and usefulness. After completing that work with Julie—who also became a filmmaker during that time— we transformed from print journalists to multimedia practitioners, and we realized we had to take care of her aging father. So we moved our family from San Francisco to New Jersey, where he had been living alone. He lived out his last two years in our home, with our kids and caregivers, and died surrounded by us. It was

a beautiful experience, and I can attribute this to our work on aging.

As I like to say, being a journalist made me a better human being.

Why did you publish your deeply personal journal entries and letters to your wife?

This project was born out of a personal desire to stay connected to my wife and family. I had started to keep a journal prior to the digital revolution, and it was a way to capture my feelings, thoughts and impressions from working on the road for more than half the year as I witnessed history. I also recorded intimate moments to share with Julie. I never intended to make a book or film from these journals, but in 2008, I was asked to take part in an International Center of Photography faculty exhibition where they wanted not just captions, but personal musings around the images. I realized my journal entries were a treasure trove of material. With the support of the fantastic photographers Kristin Reimer, Marjorie Steffe and Michael Curry, who were working in my studio at the time, we organized and filtered through nearly 20 years of journal entries and then matched the best with images from related trips.

your mate. Never take them for granted, and be sure this is the life you want. It’s gut-wrenching at times. You’ll miss so much while seeing too much. You’ll need to be strong and tough, yet soft and sensitive. You’ll need to compromise on your work and your family.

How do you balance personal work with assignments and commissions?

I’ve always had personal projects, either in the background or foreground of my working life. The personal projects are the sustenance of my creative soul. Over time, I have found ways to combine the two. In most of the work I’ve produced with National Geographic, the ideas were mine, so that is a perfect example of finding commissions that support my personal work. I even did a crowd-funding campaign last year for my project on sugar cane workers with kidney disease.

At this stage of my life, with two kids in college and a studio to support, I can’t be as carefree as I once was. Earlier in my career, I would routinely invest large amounts of time and personal money into getting a project off the ground. In the future, I hope I can pursue an idea without having to connect it to money.

Do you have any advice to photographers about balancing work and life?

Do you have any advice for people just entering the profession?

For photographers who want a family, but are dedicated international documentarians and visual storytellers, make smart choices in the mate you choose and the projects you develop. Always listen to

Find what you want to say and how you want to say it. Be openminded to all the new possibilities, but find solid platforms to explore.

Develop your voice. Be clear on what you care about and dive in. ca

Communication Arts | commarts.com

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BUSINESS

Ellen Shapiro

Six Secrets of Highly Effective Graphic Design Marketers Getting your work seen in the right places (like this magazine) takes a lot of effort, and as these designers prove, it won’t happen by accident.

T

o succeed as a designer, you no longer have to be in New York or London or San Francisco—or anyplace in particular.

But, in addition to doing great work, you do have to invest in a well-thought-out marketing strategy and spend significant time making things happen. A design firm or agency with a big budget can easily make an impression, but there are plenty of innovative ways for small firms to get their work noticed. There’s no one secret recipe, but the following strategies have proved highly effective in helping graphic designers secure the kind of work they want.

Use good old advertising I first “met” Jane Tilka in 2010 on a transatlantic flight. No, not sitting next to me, but on page 49 of an airline magazine, right between Karrass Negotiating Seminars and Las Vegas hotels, in a full-page, long-copy ad.

A full-page ad for a graphic designer? “Designers can really learn from the advertising industry,” Tilka explains. “Ads are not directly tied to getting work, but they build awareness and get you noticed. The design community shouldn’t shy away from advertising.”

The Minneapolis-based Tilka Design mixes traditional ads with a targeted e-communications campaign. “You have to have a multifaceted strategy that covers all the bases,” Tilka says. Her firm sends out a bimonthly e-mail to more than 800 influencers via MailChimp.

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The e-mail introduces new work and links directly to tilka.com, where recipients can learn about each project in detail and peruse other work. Each e-blast results in 75 to 100 replies, Tilka reports.

“This is a long-term, disciplined process. On the website, we demonstrate our capabilities and provide a video peek into our office and how we work. Thus, potential clients are engaged in a whole arc of communications, not a single event. And it works,” she says.

“Our average open rate for an e-blast is 50 percent. According to MailChimp, the industry average open rate is only 20 percent.”

Surprise them into feeling something When Adam Zolis and David Adams went into business together in 2014, they kept it mum for a year. Their new firm, Art & Mechanical (A&M), is located in Toronto, a highly competitive market.

Zolis acknowledges that even with considerable experience at ad agencies and design studios, it’s difficult to establish yourself with key decision-makers— CEOs, business founders and owners—and get considered for the kind of projects that can put a new entity on the map. So he and Adams spent an entire year developing their brand, brainstorming and hatching their plan.

The partners launched A&M with a surprisingly dark, expletivefilled, seven-minute video titled “Souls of Sin,” which tells the story of a gang-style execution that’s called off when the killers receive a well-designed promotional package in support of the

victim. Produced with a full team of writers, actors, director and cinematographer, it required an investment of many thousands of dollars as well as bartered services. A&M distributed the video via social media as well as through a traditional PR campaign that included press releases sent to trade, business and creative publications, all timed to coincide with the launch of its new website.

“The film created a buzz and gave us credibility,” Zolis says. “It shows that we can create experiences that are emotionally relevant and that can inspire change, motivate people to feel something, to do something. The film gave us more traction than launching with the site alone, but both were critical. And now we’re busy with projects for beverages, restaurants and financial service firms.”

The partners’ plan includes doing something just as ambitious and surprising every year. “Stay tuned,” Zolis warns.

Give promotional gifts that people actually want New York City–based Adventure House creates websites and digital marketing for such powerhouses as Citibank and Scholastic—big operations with many decision-makers, all in different office locations and on separate teams.

Agency president Alexander Acker’s strategy is to create and send out functional, meaningful promotions that, in his words, “are designed to keep us ‘sticky’ with clients who have the means to refer us to others within their large organizations.” The most successful by far has been the iTowel, a beach towel designed to look like an iPhone with summer-themed parody app icons. Last June, Adventure House mailed the towels in specially designed cartons with personal notes to 150 current clients. “We ran the numbers on sales-byclient per month and had near-triple billings from six of our largest clients 30 days after we sent out the iTowel,” Acker reports.

“The buzz factor was huge, too,” he adds. The iTowel popped up on hundreds of tech blogs and a CNET video. “Clients were calling us up and sending us e-mails, asking for more towels to give to family and friends,” Acker says. And, perhaps more to the point, requests for app designs spiked.

Leverage online resources Slovakia is a small Eastern European country of about 5.5 million people—not exactly a design hotspot. From there, Victor Novak runs

a fifteen-person design firm, Higher Brand Experience Agency, with a global clientele, built mainly through online content marketing.

Novak says he gets big returns by leveraging free web channels, particularly Behance.

The firm’s projects have been viewed more than 1.1 million times on the Behance Network. Higher Brand Experience has 123,000 followers and nearly 80,000 appreciations, and the exposure has led to projects large and small from more than 20 countries, primarily in Europe, but also in Africa, the Middle East and China.

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BUSINESS The secret to getting that kind of attention on Behance, according to Novak, is creating a case study that tells the project story in an eye-catching way that best suits the Behance format. “This is a time-consuming process,” he stresses. “Creating visuals for a good story can take two designers up to four weeks.” But these highquality case studies get the attention of Behance’s editorial team, which often features Higher Brand Experience’s projects on the homepage. From there, the case studies get picked up by design blogs worldwide. This online attention increases the loyalty of current clients and attracts new ones. “By the time potential clients call us, they have seen our projects in many different places, which gives us huge additional validity,” Novak says.

Follow your passion Swiss designer Felix Pfaeffli’s attitude toward marketing seems, at first, almost lackadaisical. “I am never the guy searching for clients,” he says. “I am always searching for something I would like to do. When I was in Peru, for example, it was finding a good spot to surf. Maybe I will work with somebody from there, but it will not be because I asked him. It will be because we had a good time together. If you find people who think like you, they understand and respect you, and that’s a good starting point for collaboration.”

By choosing what he likes, Pfaeffli proactively creates the kind of jobs he wants. When a local radio station asked him to design a lowbudget newspaper ad—which didn’t interest him—Pfaeffli came up with a poster campaign featuring an illustration of a complex urban roofscape full of different scenes that promote individual programs on the station; for example, a scene of a naked man waking up surrounded by bottles promotes a Sunday-morning show dedicated to people recovering from hangovers. Since the client had a budget of “maybe a hundred bucks,” Pfaeffli funded the design, printing and distribution by selling ad space to Swiss corporations, offering to put their logos on billboards on the rooftops depicted in the posters. Both he and the radio station made money, and the campaign got national media coverage. And he did the newspaper ad after all, by excerpting details from the poster.

“A job is never just a job,” he says. “Change it, make it bigger, create unexpected stuff. If something seems boring, start thinking about how to make it interesting. Then, if it turns out really interesting, the interviews and magazine articles will start happening. They will have a reason to write about you, and the reason is, of course, your work.”

It’s still all about relationships—but awards help, too “I’m always the designer without new business cards,” admits Sallie Reynolds Allen, owner and creative director of Studio 32 North in San Diego. She says that her best marketing tool is her network of relationships, with her clients as well as the many designers, art directors, writers, illustrators and photographers she’s worked with over the years. “It’s those relationships that allow me to do my best work,” Allen says, “and that’s what gets you noticed.”

When relationships aren’t enough, something tangible can seal the deal: awards. “When it comes to promoting my work, I’ve found that a number of potential clients look at the work featured in award shows,” she says. “They know they need to stand out, and that’s not easy in fast-growing, competitive categories like food and beverage packaging. So to me, accolades from Communication Arts, Graphis and the Type Directors Club—as well as sites like lovelypackage.com—are key business tools. And, of course, they validate good design.” ca How do you market your work? Tweet us @CommArts to share your tips and insights.

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Design Annual 2015

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by REBECCA HUVAL

T

he bombs fall like raindrops. They plummet from unpredictable points above in eerie wisps and land with a precise explosion on a timeline. As drones attack more and more frequently, the tally of civilian and child victims reaches distressing heights…

This haunting animation tells the story of every drone strike victim in Pakistan, and it impacted more than a million unique visitors in its first week. The Oakland-based data visualization design firm Pitch Interactive coded and designed it for free.

“We started with nothing,” says Pitch Interactive founder Wesley Grubbs. In 2013, the Pitch team—then just three driven, passionate employees out to prove themselves—read the academic study “Living Under Drones.” They contacted the Bureau of Investigative Journalism to collect raw data sets. “We didn’t know what the data would look like,” Grubbs says. “It surprised us. We knew drones were impacting civilians, but not how much. … We wanted to dramatize the story to captivate people and get their attention.” The team told the story through metaphors. They flipped bar charts upside down to pile the deceased bodies into the ground, a symbolic graveyard, and numbered their deaths in blood red. Their chilling message was heard. In addition to receiving millions of visits, the animation-and-interactive combo was featured in the Guardian, Mother Jones and the Economist. As a result, eBay and Facebook asked to become clients.

“We do these passion projects under the philosophy that the more we do, the more people will hire us for the kind of work we want to do,” Grubbs says. But the true reason lies somewhere deeper. “I moved to Croatia as NATO was bombing Serbia. While I lived there, my friends and everyone I knew was impacted by war. The impact of war on civilians has always touched me and influenced my thinking.”

Now in its eighth year, Pitch Interactive still has no typical project. The firm thrives on passion projects and missiondriven client work, and it’s driven by the volatile, yet fruitful marriage of statistics and art. Five Oakland-based employees and one full-time remote designer in Croatia tackle ambitious assignments. Even with such a lean operation, the firm has charted the rise of Ebola for Scientific American and the effects of climate change on bird popula-

tions for the National Audubon Society. Its work has been displayed in the Museum of Modern Art in New York City (MoMA) and at an exhibit celebrating the 30th anniversary of the McKnight Foundation’s Artist Fellowship program.

Each of its graphics displays a scientific rigor and a reverence for statistics, balanced with sharp aesthetics. Neon lines pop against black backgrounds, beckoning even the most reluctant readers to learn about complex, dour subjects such as influenza trends and water conflicts, as well as provocative stories such as tech executive compensation and the drunkest states in the country. Pitch’s work ranges from complex interactives to generative art and static graphics for print magazines.

For a water-conflict infographic in Popular Science’s print magazine, Pitch came up with a sophisticated, two-layered visual language that shows countries collaborating and fighting over water, enabling readers to understand the full spectrum of water relations. The map’s impactful design of oranges and reds—tensions and hostilities—sears into readers’ minds. “I love that I can pass off my mental picture to Pitch, and when the roughs come back, it’s so fun to see what they did to make it look so shiny and awesome,” says Popular Science information graphics editor Katie Peek. “Their style is elegant—the design elements are never just there for their own sake.”

Though its subjects are deadly serious, Pitch Interactive as a team is anything but. Perched above Oakland’s Chinatown, its office features exposed brick walls and corniced windows that look out onto graffiti-covered storefronts and bakeries filled with the sweet batter of mooncakes. They snicker over GIFs shared on the communication software Slack, but their minds are always hovering around data and design, even for jokes. Before leaving for lunch, senior technologist Adam Florin wonders whether he should bring a jacket, but concludes he has “insufficient research for that data point.”

This levity also keeps the team grounded. They balance climate change research for heavy-hitting clients with justfor-fun Friday critiques known internally as “the challenge,” in which a different staffer presents ever-more-illuminating and ridiculous data visualizations each week. Memorable

Wesley Grubbs was creative director on all projects shown and supplied the captions.

Right: “In celebration of the McKnight Foundation’s 30 years of support for independent artists, we built a series of web-based and printed art pieces showing what some of the former fellows have been up to. Driven by data on the current résumés of 120 artists, these star diagrams offer a visual representation of their distinct careers. Some of the final results were printed out and annotated by the artists by hand.” Mladen Balog, interactive designer; Nick Yahnke, interactive developer; The McKnight Foundation, client.

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PITCH INTERACTIVE

The team’s warmth and joyous geekiness have charmed its clients. When working with Mozilla on its recent logo redesign, Grubbs was ecstatic when Mozilla approved Pitch’s latest mockups—so ecstatic that he began to dance. Little did he know, his webcam was still on. While the Mozilla team quietly chuckled to themselves, Grubbs pretended to swing a bat as if he had hit a data-visualization home run.

“That’s how much energy he brought to the project,” says Sean Martell, art director at Mozilla. “He turned beet red as soon as he realized we could see him dancing, and that moment we all got a little closer and more comfortable with each other. It made us a bit more relaxed, thinking, ‘You know, I would do something like that.’”

The product of a geologist father and professional cakedecorating mother, Grubbs was surrounded by data and art from an early age. Though he initially credited his creativity to his mother’s ornate confections, he later realized another source of inspiration came from his father’s office: seismic graphs. He played with his father’s tools and would devise “experiments” to conduct. “I would drop acid on rocks and watch them bubble.”

Grubbs, who is originally from Arkansas, studied international economics at the University of Arkansas. “I was really fascinated with the idea of all things in the world being connected,” he says. “On the first day of class, my professor asked us, ‘What is one of the primary indicators that the CIA uses to determine the amount of heroin in New York the following year?’ The answer was the price of bread in Afghanistan.” Statistics ignited his imagination.

Gradually, Grubbs taught himself how to code, and he spent three years building websites in Croatia. When he moved back to the United States, he got a master’s in information systems from his alma mater and immersed himself in data.

On the side, he designed websites for big-name clients like the New York Public Library and worked on a contract basis for the Annenberg Foundation. Then he landed a job as interactive director at the design and ad agency Planet Propaganda in Madison, Wisconsin. “It was a terrible experience, working

© Julian Edward-Tongol

presentations include a heat map tracing where Grubbs’s children were in the office over the weekend, based on vanished chocolates and toys on desks, and a scatterplot showing the correlation between the number of letters in Seinfeld episode titles and their IMDB ratings.

in an environment where you absolutely don’t fit. I wanted to put more emphasis on technology, and I realized quickly that wasn’t going to happen.”

In 2007, Grubbs decided to strike out on his own—with the help of his Croatian friend and designer Mladen “Tipo” Balog—and Pitch Interactive was born. Grubbs also joined a programming Meetup group and discovered Nicholas Yahnke, who was then nineteen and stocking grocery shelves.

Yahnke, dressed in a necktie for an interview, asked to become Pitch’s intern. “It was kinda cute,” Grubbs says. At that point, Yahnke had only built a Chuck Norris joke website, but he started developing websites with Grubbs and Balog.

At first, Pitch designed and developed digital interfaces for Leo Burnett and built interactive Shrek games for McDonald’s.

But after the team published a data visualization showing the romances between Oscar-winning versus non-Oscarwinning actors, Wired called. Then Esquire. “We had this knack for something fascinating and new,” Grubbs says. By 2009, Pitch was exclusively focused on data visualization.

Today, the six-person team consists of designers, coders and a designer-coder, whom Grubbs refers to as the bridge.

Senior technologist Adam Florin has worked as a freelance software developer for MoMA and others, and he worked on the Google Chrome Web Lab, among other interactive installations. He also has an MFA in music technology. “You need to have someone on your team who understands both code and creativity,” Grubbs says.

When a client brief arrives, the studio is careful not to start designing before completely digesting the data. Yahnke, Florin or Grubbs uses data-crunching software such as Tableau or D3 to quickly generate traditional graphics, like bar graphs, to notice patterns and stories. Grubbs likes to tell his team that statistics are human stories that have been digitized. “It’s our job to rehumanize it,” he says.

This page: Pitch Interactive’s Oakland-based team, from left to right: senior technologist Nick Yahnke, data visualization designer Anna Hodgson, founder Wesley Grubbs, coordinator Katarina Madrid and senior technologist Adam Florin.

Right: “Working with researchers at the University of California at Davis (most notably Holly Bik), we created Phinch, an open-source framework for visualizing biological data on the web. Whether it’s genes, proteins or microbial species, Phinch provides an interactive visualization tool that allows users to explore and manipulate large biological datasets. Computer algorithms face significant difficulty in identifying simple data patterns; writing algorithms to tease out complex, subtle relationships (such as those that exist in biological systems) is almost impossible. However, the human eye is adept at spotting visual patterns, able to quickly notice trends and outliers, especially when presented with intuitive, well-designed software tools and user interfaces.

This innovative method tackles the current bottleneck in bioinformatics; in addition to giving researchers a unique approach for exploring large datasets, it empowers biologists to conduct powerful analyses without requiring a deep level of computational knowledge.” Stefanie Posavec, interactive designer; Shujian Bu/Nick Yahnke, interactive developers; UC Davis, client.

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Communication Arts | commarts.com

41

PITCH INTERACTIVE For example, in working to visualize the impact of eBay’s fundraising response to the 2013 typhoon in the Philippines, the team noticed several very human stories: donations came from far and wide, and even an $8 donation contributed to the bottom line of $23 million. To demonstrate the geographic breadth, as well as how small contributions add up to a staggering amount, the resulting interactive on eBay’s Social Innovation page shows donations sailing from seemingly random pinpoints across the globe and adding up in the Philippines.

When enough graphics showing the outline of a story are collected, the engineers put them in a presentation and share it with the entire staff. Then—one of the key benefits of a small office—they agree collectively on the patterns they’d like to design. Next, Anna Hodgson or another designer draws a rough sketch and essentially storyboards the interactive in Illustrator. Along the way, designers check in with the engineers to ensure that their lovely designs are programmable.

“It’s like a marriage,” Hodgson says. “We still have fundamental disagreements about how things should function or look.” For example, in a recent interactive for the organization Between the Bars, Hodgson and Katarina Madrid wanted

This page: “We designed this interactive poster for the 2014 Eyeo Festival, a three-day conference merging creative coders, data designers and artists in talks and workshops. Prior to the conference, each Eyeo participant responded to a series of questions, including: Where were you born? When and where was your first kiss? Where were you during 9/11? We mapped the connections between attendees responses on an 18-square-inch poster print designed with no ‘right side up.’ Each way you turn it, a new story emerges from the dataset. We also created an interactive visualization that animates the connections of the locations of each attendee’s response.” Mladen Balog, interactive designer; Nick Yahnke, interactive developer; Eyeo 2014, client.

Right: “Set up to field complaints and provide other information important to New York City citizens, such as school closings and recycling rules, 311 receives more than 50,000 calls a day. We took data from 34,522 calls answered between September 8 and September 15, 2010, and plotted the most common complaints by time of day in the form of a stream graph.

What resulted was a colorful portrait of what irks New Yorkers all hours of the day and night. The piece was originally printed in WIRED, then reprinted in WIRED Korea, and later exhibited at both the Museum of Modern Art in New York City and the Contemporary Cultural Center La Panacée in Montpellier, France.” Mladen Balog, designer; Nick Yahnke, programmer; WIRED, client.

“Our web-based narrative visualization Out of Sight, Out of Mind documents every drone strike carried out in Pakistan. This self-initiated project was inspired by the inadequacies of other attempts to report the effects of an invisible technological war. Using data from the Bureau of Investigative Journalism, we visualized every known military drone attack since 2004 by date, location and number of fatalities. The visualization builds itself as each attack generates the timeline across the screen. The viewer can dig deeper by hovering or clicking to reveal specific details about each attack on the horizontal timeline. The Victims tab provides an alternate view, showing the aggregated number of victims by month. In both views, the data produces patterns that urge viewers to reflect on the realities hidden by the numbers.” Mladen Balog, interactive designer; Nick Yahnke, interactive developer.

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Design Annual 2015

PITCH INTERACTIVE to show the racial demographics of America’s jails, whereas Grubbs and Yahnke preferred to compare the sheer number of prisoners in the United States with the number of prisoners in China. “We talk it out and find a way to do both,” she says.

Armed with tact, taste and technical knowhow, Pitch balances projects as varied as exposing data on government decision making and projecting brain data visualizations on canvas for a dance performance. The team also built a private installation for Facebook’s expanded headquarters in Menlo Park, California. A massive multitouch wall, with 20 highdefinition televisions chained together, displays immersive data visualizations for Facebook’s guests.

For its future, Grubbs still envisions Pitch as a small, agile team that stretches itself by doing projects in as many fields as possible. “I’d like to do more art-related projects, like generative art,” Grubbs says. “It fits into our mission of helping define the current for the future so that when people in 50 years look back at us, they don’t just see LOL cats and animated GIFs of gerbils doing crazy things. They can look back at this time and actually see contributions to culture and art … because doing art with numbers and statistics is really exciting.” ca

Left: “Scientific American asked us to look for trends in outbreaks of infectious diseases over the last 40 years. We analyzed the data set by mapping the location of an outbreak’s initial case and the overall impact of the infection and then plotting each outbreak on a timeline. We didn’t find a clear trend by location or date of occurrences over time, but we could draw small conclusions from looking at each outbreak by virus strain, mortality rate, total individuals affected, unique locations (transmission clusters) and the duration in days.” Anna Hodgson, designer; Samuel Lo, strategist; Nick Yahnke, programmer; Scientific American, client.

“We created this visualization of specific sports-related search terms in 2011 for a full-spread feature in ESPN The Magazine.” Mladen Balog, designer; Nick Yahnke, programmer; ESPN The Magazine, client.

This page: “Flu trends don’t follow a distinct pattern from year to year, making it difficult for the Centers for Disease Control and Prevention to forecast the need for medicinal supplies and staff. This piece for Popular Science highlights this challenge, providing insights on the similarities and differences between the two datasets.” Mladen Balog, designer; Nick Yahnke, programmer; Kemper Smith, production designer; Popular Science, client.

Communication Arts | commarts.com

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SCOTT BAKAL BOLD STROKES

BY SUSAN HODARA

S

hortly before his thesis was due, Scott Bakal decided he had to remake every one of his illustrations. “I looked at them,” he says, “and thought, ‘This is the same crap I’ve been doing for years.’”

That was in 2007. Bakal was 36 years old and three months away from an MFA in illustration from the University of Hartford. With his nervous professors standing by, he began revamping the images he’d been developing for close to a year. Colors became bolder, textures richer, every element more complex. His brushstrokes were defiant; he filled the compositions with deliberate and expressive detail. Finally, after more than a decade, he was permitting himself to get personal in his art.

Not only did the resulting paintings and drawings earn Bakal his degree, they went on to garner 21 recognitions, including a Gold Medal from Creative Quarterly and a Silver Medal from the Society of Illustrators. Bakal published the thesis, a graphic narrative based on the life of blues musician Robert Johnson, as a limited-edition book titled Me + the Devil. In 2013, the complete series of 33 finished pieces, along with related studies and sketches, was acquired for the permanent collection of the Norman Rockwell Museum.

Reflecting on that nail-biting, yet liberating decision in graduate school, Bakal says, “It changed my entire career.”

Since then, Bakal has produced award-winning illustrations for an impressive roster of publishers, among them the New York Times, the Wall Street Journal, Smithsonian, Playboy, Reader’s Digest and HarperOne. His distinctive imagery is highly graphic and rife with metaphor. Using acrylic paints and inks, sometimes watercolors and occasionally monotype, he places his subjects against backdrops layered with swaths of color and intricate motifs of vines and leaves, flame-like wisps, fierce-looking skulls, concentric circles, and strings of turnip-shaped forms.

Fellow illustrator Rob Dunlavey says, “[Bakal] has created his own vocabulary—he has lots of personal imagery that keeps busting out.” Consider, for example, an illustration he did last year for a New York Times article titled “Hurt Before the Birth,” about medical complications in infants who experience oxygen deprivation in utero. A baby’s face is set against a dark background patterned with those hanging turnips, this time in black, but colorful leafy vines embrace the child’s scalp. “I wanted to convey some kind of hope,” Bakal says. “The greenery around the head symbolizes growth and healing.”

So what shifted during those critical months eight years ago? “I decided I would start doing what I love and not care about what people might think,” he says.

In a sense, Bakal was rebalancing his values, trusting the strength of his creative skills in the face of attitudes he had absorbed growing up in a blue-collar household where money was tight. His mother was a data processor, his father a bus driver. When Bakal was seven, his parents separated, and a few years later, his mother moved Bakal and his younger twin siblings from Connecticut to Long Island. Watching her struggle as a single parent, helping however he could, Bakal learned the importance of hard work.

When he was in high school, his mother urged him to take plumbing and heating classes, which he did. But when it came time to apply for college, he was determined to attend the School of Visual Arts (SVA) in Manhattan. He assembled a portfolio of life drawings, three-dimensional renderings, and album and book cover designs. He applied as an advertising major; when the SVA reviewer examined his portfolio, she asked him why he wasn’t considering illustration. “I didn’t understand the difference,” he says. “She described advertising as working in an office with people. Then she described illustration as staying at home and painting. I liked the sound of that.”

Right: “The first of my many projects commissioned by Irene Gallo, this illustration accompanied the short story ‘At the Foot of the Lighthouse,’ written

by Erin Hoffman. The story had so much to offer an illustrator, and given that Irene is a very hands-off art director, I was able to create exactly the painting I wanted. It’s easily one of my all-time favorite paintings of my career.” Irene Gallo, art director; Tor Books/tor.com, client.

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SCOTT BAKAL he was hired by Massachusetts College of Art and Design in 2009. Carroll, who’s also an illustrator, joined him soon after. Her studio is adjacent to his. On a recent afternoon, Bakal stood between his two desks, one for making art, the other for his computers. He had a mustache, goatee and chin-length brown hair; he wore jeans and a black buttondown, no shoes on his socked feet. He grabbed one of the sketchbooks and flipped through it. Inside were explosions of free-form imagery—patterns, textures, characters, many on pages daubed with broad strokes of color. “I’ll fill an empty sketchbook with whatever paint is left on my palette,” he says. “It makes it less precious and encourages me to play.”

Bakal was accepted into the SVA, and with loans and part-time employment, he was able to stay in school, graduating with a BFA in illustration in 1993. He took whatever design work he could find, along with a job in a supermarket. “I taught myself Photoshop and QuarkXPress and created identities for a few local businesses,” he says. “I sold paintings in local galleries. It was a time to survive and to figure out where I fit into all of it.”

During that time, he got some advertising and book cover assignments, but soon found a niche in editorial illustration.

By 2000, he’d paid off his debts.

But he wasn’t satisfied. “I was tailoring my imagery to what I thought the market wanted,” he says. “I knew it wasn’t very good.” In the wake of 9/11, his clientele dried up, and he began to think about his career path.

Then, in 2003, he had a significant encounter in a mall. “I was walking around, trying to figure things out, when I bumped into an old friend,” Bakal says. She asked if he would be interested in teaching art classes at a local college. At first he was hesitant, but he accepted, and the four years he spent at the institution reawakened his passion. “Interacting with students and other teachers was great,” he says. “It made me start working harder as an artist. It made me love art again.”

It also made him set his sights on graduate school, which would not only give Bakal the credentials to become a professor, but also enable him to immerse himself in his artwork to an extent that hadn’t been possible during college. He proceeded to earn two degrees: an MA in illustration from Syracuse University, followed by his pivotal University of Hartford MFA. In the process, he adopted creative practices that he continues to use today.

For example, his sketchbooks. Years’ worth of Moleskines and Hand·Books line the shelves of his studio, in the twostory house he shares with his girlfriend, Kristina Carroll, in the Boston suburb of Roslindale. Bakal moved there when

As he plays, concepts emerge; some find their way into paintings. “If we’re going to talk about where my art comes from,” Bakal says, “it begins right in here.”

Concurrent with his illustration work, Bakal has been teaching again, first at the Fashion Institute of Technology in Manhattan before his move to the Boston area and now as a full-time associate professor in the illustration department of MassArt, where he is embarking on his seventh year.

He’s known for engaging students with his professional savvy, and he regularly shares in-progress projects with his seniors. “I say, ‘Here’s the problem I’m trying to solve.’

I show them my contract. I tell them, ‘They’re offering me this much—should I take the assignment?’ They get to see the process, so it’s not so foreign when they get the call themselves.”

When Bakal finds time, he develops personal projects, but his focus is on assignments. He regularly receives commissions from the New York Times, the Wall Street Journal and fantasy fiction publisher Tor Books. Nevertheless, he continues to diligently promote himself through regular postcard mailings.

“I still think they’re effective,” he says. “If I get one new client, it’s worth it. Even if I don’t, I’ll still do the next mailing because everything is cyclical. The point is that people are seeing the work.”

Seeing Bakal’s work was what first led Tor Books associate publisher Irene Gallo to hire him; his fertile ideas are what repeatedly bring her back. As of press time, Bakal has created eleven illustrations for seven stories. “He’s a great problem solver, and I have come to trust his vision,” Gallo says of Bakal. “He finds a unique solution for each job.”

Often Bakal seeks inspiration by imagining himself in the place of the subjects of the article. “I don’t always work on stories I agree with, but I try to have empathy for their viewpoints,” he says. “There is usually some emotion I can relate to.”

Right: “I love music, especially the blues, and if I weren’t an illustrator, I’d be a musician. This series, titled Me + the Devil, was created for my Hartford MFA thesis and later published as a limited-edition book. My first artwork to be truly personal in style and content, the series marked a creative and professional turning point in my career. People saw that I was finally being myself, and there was such an amazing response to that honesty. The awards and work that came from this series—the pinnacle of which was its acquisition into the permanent collection of the Norman Rockwell Museum—validated my trust in myself. Although my work has evolved since then, I look back on that time as my own crossroads, where, instead of selling my soul, I found it.”

Scott Bakal/Bill Thomson/Murray Tinkelman, art directors; Crisford Press, publisher.

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SCOTT BAKAL He presents an art director with at least three approaches.

“I make sure to send sketches I want to execute,” he says.

“In an e-mail, I’ll defend the ones I think work best.” Once a concept is approved, production begins. Generally, Bakal completes a job in several days, though some deadlines demand all-nighters. On occasion, he’ll turn to Photoshop to add texture, but most of his work is done with brushes and pens.

“I adore technology,” he says, “but when I create a piece of art, I like touching it, holding it. There’s a tactile quality that I can’t seem to shake.”

While painting, Bakal follows a preferred routine. “I like to start in the afternoon, stop to eat dinner, then continue until I fall asleep,” he says. When he’s conceptualizing, he requires silence, but the execution stage is accompanied by music— anything from Ella Fitzgerald to Brian Eno to Black Sabbath.

Mornings are reserved for clerical tasks, after which, when the weather is good, Bakal and Carroll go for a run. He also enjoys socializing, despite (or perhaps because of) long stretches alone in his studio. He frequently hosts parties, and he and several illustrator colleagues meet regularly in a restaurant.

“We talk about business, but we also just catch up,” Bakal says.

One of the participants is Alan Witschonke, owner of Alan Witschonke Illustration in nearby Natick. Before Bakal

Left: “This was a commissioned editorial illustration that, unfortunately, fell through during the sketch stage. It was the first time in my 20-plus-year career that I just couldn’t bend on my vision for the art—to the point of stopping the job. The rise of suicides in the armed forces is a serious problem, and I wanted an image that hit hard and put this issue front and center. The editors were frightened, thinking it was too harsh, and pushed me to paint something unrelated to the issue. The art director and I parted ways amicably, and I completed the project on my own. The piece led to more work, and I was later contacted by appreciative families with loved ones suffering from PTSD, and I got to hear some of their stories.”

“This painting, titled Proposition 8, is a conceptual favorite of mine. I spent a week doodling ideas, and when this finally came from my pencil, it was the obvious choice to accompany an article in Liberty magazine. At the time, a heated debate about Prop 8—which banned same-sex marriages in California— was in full swing and the story presented the views on gay marriage from all sides. Prop 8 was later ruled unconstitutional, and rightfully so.” Bryan Gray, art director; Genesis Design, Inc., design firm; Liberty, client.

“This illustration was for a story about medical complications in infants who experience oxygen deprivation in utero. I received a touching note from a woman in Argentina who has a son with many of the complications written about in the story. She thanked me for creating an image that shows the beauty in all people. A note like that underlines how honored I am to do the work I do.” Peter Morance, art director; The New York Times, client.

This page: “I enjoy using ink and charcoal together, and create a lot of personal work combining the two, as in this portrait of Kim Jong-Il. I rarely get to work with these mediums in commissions because clients almost always want color.”

“This poster for Tosca is from a series of posters promoting all four operas of the 2013–2014 season. The scope of the project was incredible, as the images were used not only in posters, but also on displays, tickets, murals, bus wraps and mass transit kiosks as well as in two TV spots in which the artwork I created was animated. It was a bit grueling because I had just one month during the winter holidays from start to finish, but it was a thrill and an honor to do the project, and I couldn’t be happier with the results.” Annie Mack, art director; Vancouver Opera, client.

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SCOTT BAKAL relocated to Boston, the two had met through the website Drawger. Witschonke posted a comment saying that he would try to catch Bakal’s exhibition at the Society of Illustrators. To Witschonke’s surprise, Bakal responded, suggesting that when Witschonke was in town, they meet for a beer. “That was so Scott,” Witschonke says. “He’s a oneon-one, down-to-earth guy. We ended up having a few drinks and sketching people at the bar.”

Lately, Bakal has been experimenting with photography and filmmaking; some of his videos, recording the progress of specific illustrations, can be found on Vimeo. Although he intends to build portfolios in these media, for now the activities provide new opportunities to play and create. “They are explorations, sort of like my sketchbooks,” he says. “The romantic way of putting it is: I’m an artist.” ca This page: “Moving from New York to Boston a few years ago, it felt nice to do some work for my new local paper. This was part of a large project for the Boston Globe’s Magazine section, which included a cover and four full-page interiors. Each piece of art corresponded to a section of the story detailing the various ways to prevent over-gentrification in Boston and an obvious division of rich and poor, as other cities are experiencing.

Efforts to bring racial and economic diversity into the city to keep life rich and varied in culture are in action. And planned expansions of the mass transit system into neighborhoods cut off from Boston’s downtown area could help bring more economic growth and opportunities to those communities.” Greg Klee, art director; The Boston Globe, client.

Right: “Used as a magazine cover, this was the first painting of a series that shares a color palette and particular tone. The most recent of all of the art shown here, the series marks another shift in my work. I’ve been experimenting with looser brushstrokes and a dirtier way of working.

Although there is a structure to my work—here, for example, the hands, which anchor the image—I always make up the rest as I go along. I often just wing it. Of course, this has consequences. I’ve had to redo plenty of paintings because I didn’t think they worked. But the art director doesn’t see the failures. Now that I am very comfortable with what I do, I want to see how far I can take the abstractions and how they transform my work.”

Bryan Gray, art director; Genesis Design, Inc., design firm; Liberty, client.

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ANOMALY THE AGENCY MODEL, REBOOTED

By Joe Shepter

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f you’re ever in need of an over-the-top cliché, head straight to an advertising industry event. You’ll hear that the old models are broken. Audiences are fragmented.

Silos must be ground into dust. And just about everything is dead. Then comes the irony. After describing this postapocalyptic wasteland, the participants adjourn to $200 tasting menus and posh rooms at the W. But while all are trying to adapt to the new realities of the business, few have gone to quite the same lengths as Anomaly, a twelve-year-old upstart—and now a 400-person global agency. You probably know the agency from its tearjerking “Puppy Love” and “Lost Dog” Super Bowl spots for Budweiser. You may not know that the agency took an early ownership stake in EOS, which today makes a popular lip balm. And you almost certainly don’t know that EOS and Anomaly hired a different agency to promote the product after its initial (and highly successful) launch. When that campaign won an Effie, Anomaly became the only agency ever to win an effectiveness award as a client.

Did we mention the agency also produces a TV show? Its Emmy-winning series Avec Eric features famed chef Eric Ripert. If your head is spinning, rest easy. It all makes sense, once you get the basics.

A new beginning

Anomaly traces its roots to 2002, when founding partner Carl Johnson was relaxing on the beach in Australia. A former COO of TBWA\Worldwide, he had also helped lead the revival of TBWA\Chiat\Day’s New York office in the late 1990s. But the events of 9/11 wore on him. He felt he had done pretty much everything he could in traditional advertising, and he

decided to retire. “If I was going to come back,” he says, “it had to be for something f**king interesting.”

It turned out that former employee Jason DeLand had ideas in that direction. DeLand had been working as the senior vice president of marketing at Hong Kong Telecom, but 9/11 had a strong effect on him as well—it made him want to return to New York. After interviewing for a few months, DeLand realized he didn’t want to work for just any agency. He wanted to start a new one, based on a new, entrepreneurial approach.

Over the course of two years, DeLand and Johnson had a series of conversations, looping in like-minded people.

The pair eventually came up with a set of three principles that have guided Anomaly ever since. The first was that they would not create a marketing or advertising agency.

They would solve business problems. If communications achieved that, terrific. But if the client needed a new product instead, that’s exactly what they would provide.

“If you’re set up like us, you don’t care what the answer is,” says Johnson. “If a client says, ‘We want to have an ad campaign,’ we can say to them, ‘We thought it through, and an ad campaign will not really solve the core business issue.’

For example, we might say, ‘You should create a pop-up store, use it as an activation center and distribute it socially.’”

Their second principle was that, unlike other agencies, they would not bill for time. Their logic here was simple. If you’re charging by the hour, you always have an incentive to take longer. You may care about your clients, but you are never completely aligned with them. Instead, Anomaly charges a fee to work on a problem and takes a bonus if it solves it.

Captions supplied by Anomaly.

Right: “Some friendships just defy reason. Our heart-warming Budweiser spot ‘Puppy Love’ led the Super Bowl for the second year in a row, garnering more than 58 million views on YouTube alone. The puppy also made an appearance on Twitter, famously pawing the keyboard (puppy tweets) alongside celebrities and fans.” Anheuser-Busch InBev, Budweiser, client.

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ANOMALY That gives the agency a reason to both work quickly and produce an effective solution.

“We want to be the most premium-priced agency you ever hire,” says Johnson, “and the best value you’ve ever had.”

The founders’ final principle was their most risky and ambitious. If they were going to solve clients’ business problems, they also had to understand what it was like to walk in their shoes. In other words, they must create their own intellectual property. Anomaly would invest a substantial portion of its profits in new ideas it would then sell.

Solving problems To understand how it comes together, we can start with a problem the company addressed for Budweiser Canada.

A few years ago, its rival, Molson Canadian, won the right to sponsor the National Hockey League, which in Canada is a lot like sponsoring Canada.

That suited Anomaly just fine. Mike Byrne, a founding partner with a role akin to that of a chief creative officer, says, “When we heard about it, we said, ‘This is great. Now we don’t need approval from the NHL. We can go after hockey in a completely authentic way.’”

One of Anomaly’s quirkiest ideas leveraged its experience as both a product developer and a brand communicator. The agency created a retail product sure to please hockey fans—a Wi-Fi-enabled replica of the red lights that light up on a hockey net whenever a team scores. Owners of the device could select their favorite team, and whenever it scored a goal, the light would glow right in

their living room (or bar). The lights debuted in a pop-up store in Toronto, were quickly picked up by social media and became a craze throughout Canada.

A more touching project for Budweiser came with a beer league promotion in 2012. In Canada, it costs so much to rent ice rink time that recreational hockey games typically take place very late at night, without any friends or family present. You have to really love hockey to play in them.

Anomaly and Budweiser decided to celebrate this love with two lucky teams, who were told they were being featured in a documentary about beer league hockey. Instead, at one of their games, the agency brought in mascots, commentators and busloads of fans, who cheered every play just as though it were Toronto against Montréal. A powerful commercial highlighting the event ends after showing one of the players sitting on the ice, overcome by emotion, with a commentator intoning, “This is hockey. This is hockey.” Problem solved.

Celebrating the ordinary Converse, the agency’s longest-running client, presented a different kind of problem. Its Chuck Taylor sneakers needed little introduction—and certainly no celebrity sponsorship.

“It’s a brand that is cool in and of itself,” says Byrne.

“Marketing won’t make it cool, so you have to be careful not to get in the way of the brand.”

Converse wanted to support its fans’ subcultures in an authentic way. So Anomaly started with the insight that Chucks are made out of canvas and people always modify them in their own way. Painters paint on them, graffiti artists decorate them, and just about anyone can scribble a name or number on them.

Based on this, Anomaly created a campaign called Made by You. It invited thousands of people—from celebrities and urban explorers to zombie-movie extras and just plain folks— to send in their shoes. The agency expertly styled and photographed 200 pairs against a white background, displaying them as works of art. The images were printed out and have since surfaced everywhere from subway stations to a pop-up “gallery” of light boxes in New York’s Flatiron District. Social media, of course, has taken them around the world.

Making things What really sets Anomaly apart, however, is its approach to intellectual property. The agency forms partnerships and launches entrepreneurial ventures that run the gamut from

Right: “To celebrate its centennial, Converse wanted to pay homage to its last 100 years by inspiring creativity around the world. Connectivity underpinned the global campaign, serving as a powerful visual metaphor that unites positive disrupters past, present and future into a unified symbol.”

Converse, client.

“Chucks are uniquely defined by the self-expression of the people who wear them. What starts as a blank canvas gets ripped, stained, customized, loved and worn until perfect. Made By You started as a global exhibition celebrating creative Chuck-wearers in 41 markets across five regions. The effort collected more than 250 pairs from people on streets around the world, and every pair featured in the campaign was sourced by hand. We also created a virtual reality experience that let visitors walk in the featured shoes of a street artist, a zombie actress, an urban explorer and a musician.” Converse, client.

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ANOMALY entertainment to consumer packaged goods. This may not sound unusual. After all, many agencies have created products. But few have been willing to take millions off their bottom line over the years to invest in risky ventures that fail more often than not.

“Nearly all [innovation] fails,” says DeLand. “We know it’s a rough road, but we decided to do it because it would make us a better company. It creates a more commercial culture.”

Anomaly’s failures have included a mobile payment system—“We got crushed,” admits DeLand—and a partnership with one of the earliest YouTube celebrities. But it has had stunning successes too, the most striking of which is EOS. That venture began when a group came to the agency with a new brand of women’s shaving cream.

When Anomaly decided to invest, they looked to extend the brand elsewhere in the cosmetics market and identified a product ripe for innovation: lip balm.

Starting with the insight that most people like fruit, they created a berry-shaped package filled with new flavors like blueberry acai and strawberry sorbet. EOS soon turned into a sensation and eventually passed ChapStick to become the best-selling lip balm in the United States.

A different example comes with the show Avec Eric. Its star, Eric Ripert, is the chef of the famed Le Bernardin restaurant in New York City. He came to Anomaly with a simple request: he wanted to build his personal brand.

The obvious answer was TV, but that brought a bigger problem. Although few cooking show hosts, or human beings for that matter, are in Ripert’s league as a chef, he was far from a natural on camera. Under the direction of founding partner Justin Barocas, Anomaly created a traveland-cook show that plays to Ripert’s strengths, chief of which are his curiosity and utter lack of pretension. His travels focus primarily on things he doesn’t know, such as how to make gin or kimchee. His genuine interest in learning is compelling (if you’re into food, anyway), as is

This page: “From inspired and authentic films to digital campaigns and investment in youth sports programs in the United States, DICK’S Sporting Goods is earning a meaningful reputation in the minds of the mature athlete.” DICK’S Sporting Goods, client.

Right: “Designed and partially owned by Anomaly, the spherical EOS lip balm has been an unparalleled success, overtaking ChapStick in 2014 as the best-selling lip balm in the United States.” EOS, client.

“Now in its third season, cooking show Avec Eric—a joint venture between Anomaly and Le Bernardin chef Eric Ripert—has earned two Emmys and a James Beard Foundation award for excellence. Anomaly handled everything: the original business strategy and plan, the brand creation, naming, visual identity and positioning, the script writing, the partnership strategy and management, sponsorship deals, and a cookbook. The challenge was to create an original culinary lifestyle brand and business from the ground up that stayed true to Eric’s philosophies around discovery, food and travel.” Eric Ripert, client.

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ANOMALY watching how he takes that as inspiration for making something new. The critics agree. Two seasons of Avec Eric have won Daytime Emmys.

An anomalous future With successes like these, Anomaly has expanded into offices in London, Toronto, Amsterdam and Shanghai—and it continues to grow. But rather than basing their decisions on what will bring in the most money, Anomaly’s partners take on only those projects they want and open offices only in cities they find interesting, so it’s not clear where they’ll go next. What is clear, however, is that they won’t change the way they do things. They’ve upended the model, and they’re not going back.

“We’re driven by curiosity and a desire to create something special,” says Johnson. “The world is just too damn interesting not to be a part of it.” ca

Left: “This short film for Johnnie Walker Blue Label tells the story of a wager between two men over an Italian luxury yacht. Directed by Jake Scott and starring Jude Law and Giancarlo Giannini, the film is gorgeous.

The YouTube version prompts viewers to purchase the clothes Law and Giannini wear in the film at the MR PORTER website, serving two clients within a single ad. An immediate success, the film received more than 45 million views globally and resulted in more than 1 million engagements on the MR PORTER site.” Johnnie Walker/MR PORTER, clients.

“The world would be a much better place if we listened to our hearts instead of our heads. With the tagline ‘Be Stupid,’ Diesel put out a call to action about how life should be lived. If we were bolder. If we followed our desire to make more of our lives. It’s not an advertising campaign, it’s a fundamental view on life. The platform asserts a strong point of view for Diesel, driving company success and taking home top honors, including the Grand Prix at Cannes.” Diesel, client.

This page: “We worked with the Manchester City Football Club to redefine its business model from a traditional football organization to a media company focused on the team’s most valuable entertainment assets—its players and its fans. The rivalry between Manchester United and Manchester City is intense and passionate. When star forward Carlos Tevez defected from Manchester United to Man City, we capitalized on the timing and context. We placed a Welcome to Manchester billboard at the geographic divide between Manchester United and Man City territory. It was a simple but powerful statement that Man City is the real Manchester—and Manchester United is not.” Manchester City Football Club, client.

“In 2012, we started working with Renaissance Hotels on a global repositioning to signal the brand’s evolution over the previous five years. This work led to our Live Life to Discover marketing platform, rolled out worldwide through communications and innovative digital experiences.

Our work continues for Renaissance on the theme of discovery, including strategizing smart partnerships with influencers who can help the brand deliver value with minimal hard costs. Recent projects include The Art of Discovery: Hollywood Stars Reveal Their Inspirations, a book published in collaboration with the Creative Coalition, a music and content series in partnership with sport and entertainment venue conglomerate AEG; and The Navigator, a magazine created in partnership with the former creative team at Monocle.” Renaissance Hotels, client.

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BY MONICA KASS ROGERS

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our tiny mice, tails thinner than licorice laces, nibble seeds in the corner of the acrylic pet tote Claire Rosen holds in her slender hands. “I named them after my sisters,” Rosen confides, scooping the smallest, Lillie, from the box to nestle on the front of the petticoat-bolstered dress she’s wearing to match the Marie-Antoinette-meetsThe-Borrowers-meets-The-Tailor-of-Gloucester photo shoot we are about to start. I say “we” because 31-year-old Rosen’s enthusiasm about her photo projects is so infectious, it’s nearly impossible to stand at the edge without jumping in.

“Do you want to hold a mouse?” she asks. Of course I do.

It is late morning. Sunshine streams in. Throughout Rosen’s Montclair, New Jersey, carriage house, antique curio cabinets overflow with odd bits of taxidermy, faucet knobs and parasols, bird nests and buttons, devil masks and doll heads. Hovering at this shelf and then that, Claire magpies about, gathering bits and pieces to add to the mouse-sized banquet table she’s made from a gold-swagged Ladurée macaron box. Around it, pincushion tuffets, doll-furniture settees and teensy platters of cheese await the mice, the newest group of animals to be treated to a Claire Rosen Fantastical Feast.

The feasts—banqueting beasts photographed around elaborate tables filled with the foods each species loves— are Rosen’s most encompassing photo fixation yet. Thus far,

shoots have included tapirs and sloths in the Amazon, goats in Sarajevo, and elephants in New Jersey. And if a new proposal pans out, Rosen will take the show on the road in a traveling exhibit to include “participatory installation” benefit banquets in collaboration with famous chefs at each international locale.

“It’s very inspiring to watch her brainstorming as she translates her vision into photographs,” says Ron Haviv, New York photojournalist and owner of the VII photo agency.

Haviv is filming Rosen at work and has animal-wrangled and assisted on many of her feast shoots. “Her approach to photography is the opposite of what I do,” he says.

“I’ve never looked at a camera as a documentary tool,” Rosen explains, fingering silk ribbons she hopes to tie on the mouse tails. “Even in the beginning, when I would drape my little sisters in sheets and have them pose as Greek goddesses in the backyard, I always wanted to set things up to create my own world,” she says. “I want people to be swept away by the story in the image, deeply engaged so that even after they walk away, the image lingers.”

A fairy-tale world

Rosen’s world does that. It’s a fairy-tale place at once dreamily whimsical and darkly alluring, oddly familiar and freshly exciting. You glimpse it in all of her richly luminous

Right: “Nostalgia is defined as a sentimental longing for the past, typically for a period or place with happy personal associations. This still life, titled Black & White, is from my Nostalgia series, a study of my personal belongings arranged by color and visually inspired by the childhood game I Spy. A web of memories is displayed through my scavenger hunt treasures, travel trinkets and gifts from family, friends and lovers collected over the years. The objects that fill the images are of little monetary value to the outside world, but each serves as a priceless sentimental landmark in the emotional landscape of my memories.”

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CLAIRE ROSEN images, be they commissioned photographs of Alex Randall chandeliers shot at night in Cornwall, England’s haunted Bodmin Jail, Ryan Wilde Millinery modeled to an Edward Gorey theme, opulent marketing photographs of PreRaphaelite-looking models taken at a hotel in Dubai, or any of the feast and fairy-tale artwork series she creates using found objects and taxidermy.

© Dolly Rosen

“Claire definitely has an old soul and a very deep and visceral connection to things past,” says Jeff Campagna, associate photo editor for Smithsonian magazine. “She really digs in and researches the subject matter, creating a whole little world from scratch for the object she will be bringing to life.”

Talking about Martha, the last passenger pigeon, a recent National Treasure feature that Rosen shot, Campagna says, “Claire’s enthusiasm was palpable. There she was, up on a table constructing a beautiful miniature set to replicate John James Audubon’s illustration, all the while discussing the finer points of taxidermy with the museum curators.”

There is an uncanny continuity both to Rosen’s work and to the things that clients, mentors and associates say about her. All of them talk about feeling a near-immediate connection with the photographer and about her unassuming accessibility, intensity of vision, work ethic and impeccable workmanship.

“We instantly artistically fell in love and have worked together ever since,” says Ryan Wilde, millinery director at the JJ Hat Center in New York City, for whom Rosen has created many lookbooks. She also created an alphabetical series of hat photos playfully reminiscent of Edward Gorey illustrations for Wilde. “Claire is incredibly skilled, leaving no stone unturned in the pursuit of perfection,” says Wilde. “And don’t be fooled by the fairy-tale essence—I’ve seen Claire wrangle an enormous amount of assistants. She’s definitely the ruler of her domain. People take her very seriously.”

“We immediately clicked,” agrees Becci Manson, expert New York City retoucher, who has worked with Rosen on the feast series. “Claire has this intoxicating creative energy about her that is very addictive. It’s not forced or

manufactured. It’s just Claire. I think that’s why her stuff is so magical—she just lets herself come through.”

Creating connections

Ditto, says Heidi Aishman, an Atlanta-based curator who brought Rosen’s Birds of a Feather series to the Hagedorn Foundation Gallery there. Aishman is now working on a new proposal around Rosen’s Fantastical Feast series. “With Claire, it’s immediate. You meet her, you see her work and it’s very clear that it’s her voice coming out of these photographs. And she’s just so beautifully professional. The quality of what she creates is not something you often see from a young, emerging artist.”

Discussing the Birds of a Feather series, Aishman says it was the thought behind the work that was so interesting. “She saw these birds and then had the vision to photograph them in relationship to this vintage wallpaper, resulting in animal portraits that feel like they capture a disappearing culture.”

Rosen’s gift for fast connection with people has helped her produce a lot of work, quickly. One example? In a matter of minutes, New York restaurateur Ed Schoenfeld met Rosen and commissioned her to do a Fantastical Feast of ducks for his made-to-order cocktail bar and restaurant Decoy.

“I looked at her feast imagery and said, ‘It would be fantastic if I could get a photo of a bunch of ducks feasting in a similar mode,’” Schoenfeld remembers. “In less than a week she met me, saw the space, arranged the shoot at a duck farm, wrangled assistants and shaped the piece like a seventeenthcentury painting of a Flemish last supper that is perfect for the space.”

Perhaps not surprisingly, the path that led Rosen to find her vision started with story. Lots and lots of it. “My mom read tons of fairy tales to me growing up,” she recalls. “The original Alice in Wonderland, the Arthur Rackham illustrated Grimm’s Fairy Tales, the Wizard of Oz books, Beatrix Potter.”

A culinary historian, with a special flair for Victorian-era cake baking, Dolly Rosen “always went out of her way to make everything special. Birthdays were magical, with geisha, clown, wonderland and Oz themes,” Claire remembers. Her father, Edward, a banking and intellectual property lawyer, interested her in philosophy and the Socratic method. Trips to the circus and museums were frequent, shaping Rosen’s abiding love for art history and taxidermy. “I would cry after leaving the museum when I was little because I wanted to live in the dioramas with the animals,” Rosen recalls with a laugh.

But Rosen hit a rough patch as a teen. “I was in such turmoil inside. I had a perfectionistic streak and was really

Right: “Aves No. 7475, from a promotional series for a fashion designer featuring an anthropomorphic bird-headed model inspired by a bizarre dream.”

Portia Leigh, model; Arlinda McIntosh, stylist/client.

“From my self-portrait series Fairy Tales and Other Stories. I created this image after reading Joseph Campbell’s The Power of Myth, in which he describes the universal nature of stories across the histories and cultures of all mankind. My intention, with the use of folklore and classic literature, is to suggest the continuity of the human condition: outside, the physical world changes with dizzying speed; inside, our cerebral world remains timeless.”

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CLAIRE ROSEN hard on myself,” she says. She dropped out of three high schools before heading to Bard College at Simon’s Rock in the Berkshires. There, she picked up a camera for the first time.

“It quite literally gave me a voice when I had none,” she says.

“I will never forget the first time I saw an image coming up in the darkroom. I thought, ‘This really is magic.’”

At the Savannah College of Art and Design (SCAD), Rosen built her technical skills and met Steve Aishman, a Harvard physicist turned photography instructor—now also dean of academic services at SCAD—who was to become one of her longtime mentors.

Other seminal moments in the photographer’s development include her time in the Joyce Tenneson Studio, at the Maine Media Workshops, in Rockport, where she started reading the works of Carl Jung, Freud, Joseph Campbell and Bruno Bettelheim, which have deeply impacted her work. She met photographer Cig Harvey and other strong female role models there and created her fairy-tale self-portrait series and doll series. “The women I met there charted a path for me on how to reveal my own psychology and emotion in a visually symbolic way that is personal, yet also universal,” says Rosen.

Depth of vision

But none of these connections would jell were it not for Rosen’s groundedness and depth of vision. “It helps so much to understand where you come from, why you choose the specific things you photograph, and how to set up your life to be as conducive to inspiration and creativity as possible so that you focus on what feels authentic and exciting,” says Rosen.

To get there herself, Rosen spent time with creative consultant Beth Taubner of Mercurylab, who guided her to research her ancestry. “At the time, I had been doing a lot of fashion photography,” Rosen recalls. “I didn’t know anything about

Left: “An image of Sultan’s Lounge restaurant inside the Jumeirah Zabeel Saray hotel on one of the Palm Islands in the United Arab Emirates. The interior design and artwork in this exquisite hotel inspired my concept for the photo series, which aimed to weave a fairy tale within its walls and emulate the opulence of the property.” Katie Cousins/Chrystel Plischke-Livolsi, stylists; Bronx Whitehorn, Bareface Agency, model; Belinda Muller, producer; Mary McLaughlin, Jumeirah Group, client.

“I spent a year as an artist-in-residence at the Millbrook School, photographing the found objects that make up the Millbrook Collection. Dating back to the 1910s, it contains taxidermic mammals, birds and reptiles, various skulls, hundreds of bird nests, and 10,000 eggs from the Walcott Egg Collection.

In addition to the specimens, there are letters, journal entries, newspaper clippings and other remnants from the era that enable us to look back at another time. I’m currently working on a large book of this work.” Georgio Baravalle, de.MO Design, graphic designer; The Millbrook School, client.

This page: “I unexpectedly came into possession of several bullfrogs, which then became the subjects of one of my Fantastical Feasts images. I was so enchanted that I later made this portrait of one of the frogs—but was much too nervous to kiss him!”

“A photograph taken in Tuscany at the Abbey of San Galgano for my self-portrait series, Fairy Tales and Other Stories. Though the scene appears quite isolated, there were many perplexed tourists on the other side of the camera.”

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my mom’s father, who died when my mom was only sixteen. But in the research process, I discovered that he was a fashion photographer in Hollywood. My uncle sent me photographs my grandfather had taken, and I was amazed. Here were all these photos of women with animals—a woman in a zebra-patterned coat surrounded by zebras, starlets with baby lions eating banana splits—and just months before I had been shooting models with big cats and other animals in a similar way. It felt so validating that I was meant to be a photographer—as if my grandfather had been whispering in my ear the whole time.”

Merging what she learned from her mentors and from her own journey, Rosen teaches workshops that underscore the importance of finding one’s voice and creating a community to help share that voice. “It all stems from the same place of being able to have the kind of life you want and create the work you want,” she concludes. “It’s such a gift. I feel so lucky that this is what I get to do. I mean, playing with elephants and mice, traveling the world, and getting to meet and work with interesting people from all walks of life! Right?!” ca

This page: “Red Bellied Parrot No. 7799 and Meyers Parrot No. 7367, from Birds of a Feather, a portrait series of live birds ranging from the common parakeet to the exotic hyacinth macaw. I really enjoy the unpredictable nature of working with animals. The birds are photographed against complementary vintage and historical reproduction wallpaper to encourage optical illusion and visual blending.”

Right: “From Fantastical Feasts, my series of whimsical panoramas depicting animals reveling at elaborate banquet tables. The images are compositionally inspired by Leonardo da Vinci’s masterpiece The Last Supper and

by Pierre Subleyras’s classic painting The Feast in the House of Simon. The series features a range of anthropomorphic creatures great and small; this particular group of moulards was specifically commissioned for Decoy, a restaurant in New York City that features Peking duck.” Rebecca Manson, retoucher; Ed Schoenfeld, Decoy, client.

“This image of lighting designer Alex Randall and her custom taxidermic pigeon chandelier was photographed on location at the historic Bodmin Jail in Cornwall, England. Across the entire photographic series of her collection, I aimed to create narrative and conceptual imagery around her unusual pieces, rather than traditional product shots.” Alex Randall, Alex Randall Bespoke Lighting, client.

“Another from my self-portrait series Fairy Tales and Other Stories, this image was based on the myth of Narcissus. The concept emerged after some reflection and discussion around the self-indulgent versus selfreflective nature of self-portraiture and the art-making process in general.”

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AMITA Health identity “The joint venture of Alexian Brothers Health System and Adventist Midwest Health needed a new name, identity and unified brand messaging. Working with insights from our research partner Brandtrust, we developed a comprehensive identity and communications plan to express the missiondriven ideals of the organization. The new name, AMITA, means ‘friendship’ in Italian, ‘honesty’ and ‘truth’ in Hebrew, and ‘spiritual light’ and ‘boundlessness’ in Hindi. It follows the promise for AMITA Health to deliver efficient, high-quality, faith-based care to the more than 3.8 million residents of suburban Chicago.”

Michal Janicki, art director; Jessi Adrignola/Michal Janicki/Katelyn Reynolds, designers; Greg Samata, creative director; Samata (Barrington, IL), design firm; Adventist Midwest Health/Alexian Brothers Health System, clients.

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National Geographic World Atlas iPhone app “The National Geographic Society wanted us to completely refresh its very first iOS app, the World Atlas, rebuilding it from the ground up. Our design process involved examining the existing features, then updating them with a focus on elegant typography and usability. An interesting side effect of rebuilding the app was its influence on National Geographic cartographers. Seeing their cartography on a responsive, interactive globe inspired them to start thinking differently about digital maps. Following its release, the National Geographic World Atlas was featured in Apple’s weekly Best New Apps section several times and in 2015’s Best of April.

Also, thanks to the new daily content, the app has the most returning users of any National Geographic iOS product.”

Eric Atwell/Matt Carney/Geof Crowl/Ben Mingo, Rally Interactive, designers; Ben Cline, creative director; Adam Luptak/Wes Pearce, Rally Interactive/Anson Schall, programmers; Thomas Cooke, project manager; Rally Interactive (Salt Lake City, UT), design firm; National Geographic Society, client.

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Finish TV commercial “Dishes” :40 “W+K London’s brand repositioning campaign for Finish shook up the household detergent category by focusing on the central role of dishes in people’s lives. The ‘Dishes’ spot opens viewers’ eyes to the dishes they’re surrounded by every day, especially the dishes people don’t notice.

Beginning with simple, obvious scenarios, viewers are taken on an unexpected journey, all the way from an egg breakfast to existence itself. In each scene, dishes appear to float magically in formation, positioned just as they would be when stacked inside a dishwasher. There’s almost no activity in life that doesn’t generate a dirty dish, but Finish has them covered.”

Caleb Al-Jorani, art director; Erin Swanson, writer; Carlos Alija/ Laura Sampedro, creative directors; Tony Davidson/Iain Tait, executive creative directors; Megaforce, Riff Raff, director; Genevieve Sheppard, agency producer; Danielle Stewart, head of production; Wieden+Kennedy London (London, United Kingdom), ad agency; Helen Powell, RB, Finish, client.

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John Deere print ad “John Deere is the first construction equipment producer to invite operators to help design its machines. It’s a costly, often intense process, but the results are undeniable. Every machine is a reflection of customer input, and John Deere machines are widely considered to be the most operatorfriendly in the business. The Building Together campaign showcases John Deere’s unique collaborative approach and the powerful relationships it enjoys with its customers.”

Scott Emond, art director; Bob Raczka, writer; Brian Peters, creative director; Andy Goodwin, photographer; gyro Chicago, (Chicago, IL), ad agency; John Deere Construction, client.

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Fish Place identity “This restaurant has been open for three years, and it needed a fresh identity with wide appeal. Our solution was to make the design very legible, with a hint of classic form; that’s why we have illustrations with symbols of the sea and, of course, blue. Fish Place was happy with the design, and sales have grown 8 percent. Old customers are grateful because they have a more beautiful place to enjoy their meals.”

Jorge Les/Arutza Rico Onzaga, designers/creative directors; Lucho Mariño, photographer; Angélica Delvalle, illustrator; Alto Arquitecture, architect; p576 (Bogotá, Colombia), design firm; Juan Fernando Velez/Laura Prieto, Fish Place, clients.

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Grander Panama Rum packaging “Named after a prized catch, the elusive 1,000-pound marlin, Grander is a surprising rarity: a premium rum made without artificial flavors, colors or additives. Grander’s team came to us with a singular vision—to create an expertly crafted spirit that stands apart. Our role was to channel this vision and collaborate with Grander on naming, brand positioning, identity, packaging, web presence and activation materials. The packaging puts the rum forward, rather than hiding it behind a label, and web and activation elements build touch points that entice consumers to learn more about an elusive spirit of adventure.”

Christian Helms/Al Nelson, designers; Abi Daniel, illustrator; Helms Workshop (Austin, TX), design firm; Grander Panama Rum, client.

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London Crisp Co. packaging “Our identity and package designs for this brand of chips, served in pubs, is inspired by London’s thriving craft beer scene. The London Crisp Co. is a contemporary urban brand that challenges the rural nostalgia of the hand-cooked crisp by celebrating life in the city. Our designs use creative collage to capture the ambience of different neighborhoods, from Camden to Shoreditch and Soho to the South Bank. Each collage features in-the-know landmarks, rather than tourist clichés, for a true Londoner’s take on the capital. An unbranded feel is key to the overall aesthetic, and the at-a-glance color coding is essential for easy service behind a busy bar. A straighttalking tone of voice complements the down-to-earth design for a brand that embodies the attitude of the modern British boozer.”

Zoe Ballantine-Woods, designer; Shaun Bowen, creative director; B&B studio (London, United Kingdom), design firm; London Crisp Co., client.

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Mariners TV commercial “Bat Control” :30 “The Seattle Mariners, who often lead the league in marketing creativity, launched new commercials in the spring of 2015 with an emphasis on humor and viewer surprise. This spot, from a series of four, includes humorously accurate ball hitting. The commercials were created by longtime Mariners ad agency Copacino+Fujikado— the relationship goes back two decades—in partnership with video production company Blue Goose Productions.”

Andy Westbrock, art director; Andrew Gall, associate creative director; Mike Hayward, creative director; Jim Copacino, executive creative director; Troy Murison, Dubs Inc., editor; Ron Gross, director; Bill Hoare, producer; Kris Dangla, executive agency producer; Blue Goose Productions, production company; Kevin Adams, Workbench, visual effects company; Copacino+Fujikado (Seattle, WA), ad agency; Seattle Mariners, client.

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Blue Dragon Sweet Chilli Sauce print ad “The new press and digital OOH ads promoting Blue Dragon Sweet Chilli Sauce play on the sensations of sweet and sour flavors coming together. The ad shows how Sweet Chilli Sauce makes things more interesting.”

Andy Smith, art director; Ryan Lawson, writer; Casa Hamid, designer; Jason Berry, creative director; Russell Ramsey, executive creative director; Andy Rudak, photographer; Darren Beard, illustrator; Neil Godber, planner; Rachel Clutterbuck, project manager; J. Walter Thompson (London, United Kingdom), ad agency; AB World Foods Ltd., client.

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Canadian Fair Trade Network print ad “To help the Canadian Fair Trade Network draw attention to the garment workers around the world who work tirelessly in unsafe conditions, we added their stories of struggle to the clothing label.

The Label Doesn’t Tell the Whole Story campaign brings awareness to the horrific working conditions in the clothing industry. The label reads: 100% cotton. Made in Sierra Leone by Tejan. The first few times he coughed up blood, he hid it from his family. They couldn’t afford medical treatment, and he couldn’t risk losing his longtime job at the cotton plantation. When he fell into a seizure one day, it could no longer be ignored. The diagnosis was pesticide poisoning. The lack of proper protective clothing has left him with leukemia at the age of 34. He has two daughters. One of them starts work at the factory next year. The label doesn’t tell the whole story.”

Danielle Haythorne/Arrabelle Stavroff, art directors; Leia Rogers, writer; Ian Grais/Chris Staples, creative directors; Clinton Hussey, photographer; Jonathon Cesar/Tom Pettapiece, studio artists; Cary Emley/Sue Wilkinson, producers; Rethink (Toronto, Canada), ad agency; The Canadian Fair Trade Network, client.

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More and more designers are crafting truly beautiful work, but the work that stood out in any given category was different or smart or—in the best cases—both.”

—Jay Fletcher

“

DESIGN 2015 ANNUAL

I am excited to see companies increasingly using design as a way to differentiate themselves from their competition.” —Kelly Bjork

SPONSORED BY:

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POSTERS 1 Michael Houtz, designer Jason Kernevich, art director Jason Kernevich/Dustin Summers, creative directors The Heads of State (Philadelphia, PA), design firm Lehigh University, client Promotional poster for Bill Moyers’s lecture “The State of Democracy in the USA,” at Lehigh University. 18 × 24, 2-color, offset lithography.

2 Qing Zhao, art director Hanqingtang Design Co., Ltd. (Nanjing, China), design firm The Publishers Association of China, client “Designed for the eighth National Exhibition of Book Design in Nanjing, this visual system is derived from traditional Chinese characters to indicate that the exhibition respects and celebrates classic book design and upholds its responsibility to spread and celebrate book aesthetics.” 27½ × 39¼, 3-color, silkscreen.

3 Pawel Krol (London, United Kingdom), designer Transatlantyk Film and Music Festival, client

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“The poster was designed for the Transatlantyk Film and Music Festival in Poznań, Poland. The aim of this festival is to create stronger relationships between society, art and environment and to raise awareness of current social issues. This poster was selected from more than 100 submissions to become the festival’s official poster in 2015. Representing the versatility of the festival, it promotes a variety of artistic disciplines and was created by people from diverse backgrounds.” 39½ × 27¾, RGB plus black, inkjet.

4 Luke Oeth, designer Rob Franks, art director Usable Materials (Minneapolis, MN), design firm Trylon Microcinema, client “The Trylon Microcinema, a revival theater in Minneapolis, shows a mix of classic, independent and cult films. The owners prefer to use original poster designs to emphasize their unique programming—in this case, a weekend run of the original 1968 version of Planet of the Apes. We concentrated on coming up with a simple graphic that would read quickly and communicate the familiar title in a new way.” 11 × 17, 4-color, printed on poster weight paper, offset.

5 Patrick Chiu, designer Bob Lei, creative director Todot Design (Macau, China), design firm Associação Audio-Visual CUT, client Poster design for the three-part movie Macau Story 3—City Maze. “The poster promotes an intriguing film about Macau, China, a combination of suspense and thriller.” 27½ × 39⁄, 4-color, offset.

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POSTERS 1 Rod Hunting, designer Joe Sciarrotta/Gabe Usadel, creative directors Geoff McFetridge, illustrator Ogilvy Chicago (Chicago, IL), ad agency Steppenwolf Theatre Company, client “Every year, Ogilvy Chicago develops a poster series for the Steppenwolf Theatre Company. Individual posters must use topics, themes, symbols and metaphors to convey the narrative of each story in a simple and powerful way. Steppenwolf represents acting at its highest form. These posters honor and celebrate that tradition.” 24 × 36, 4-color, offset.

2 (series) Jack Curtis, designer/illustrator Daryl Gardiner, art director/associate creative director Josh Fehr, creative director Cosmo Campbell/Dean Lee, executive creative directors Geoff Vreeken, writer Matthew Sy, producer DDB Canada (Vancouver, Canada), ad agency Netflix, client “To get Canadians talking about Netflix, we created minimalist movie posters for Netflix titles—Life of Pi, House of Cards, Fargo, Orange Is the New Black, Ghostbusters— and signed them all off with our campaign line, ‘You gotta get it to get it.’ These were designed to fuel a feeling of missing out in those not yet subscribed to the service.” 12 × 16, 4-color, digital printing.

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POSTERS 1 Jaclyn Hudson/Olivia Shin, designers Louis Duarte, senior designer Terry Drummond/Alan Madill/Barry Quinn, executive creative directors Neil Walker-Wells, writer Terry Wykurz, producer Juniper Park (Toronto, Canada), ad agency Toronto Bridge Club, client “A double-sided poster for the Toronto Bridge Club is kiss cut so that it can be turned into a deck of cards. The leading bridge club in the city, it serves competitive and casual players and is loved for its emphasis on the fun of the game. The playful nature of the poster underlines the enjoyment-first character of the club and its players.” 22½ × 31¾, 4-color 1 PMS, die cut, lithography.

2 (series) Gustavo Dorietto/Gabriel Schmitt, creative directors Dan Fietsam/Jon Flannery, executive creative directors Todd Tilford, chief creative officer Karyn Bieneman, retoucher Julie Regimand, production manager Jennifer Rowland, project manager John Bleeden, executive producer FCB Chicago (Chicago, IL), ad agency John Darland, Copic Markers, client “Copic markers are loved by professionals and enthusiasts because they are versatile for all styles of art, design, illustration and crafts. Copic wanted to showcase its unique dual-tip feature: one broad and thick side, the other delicate and fine. Using handdrawn ‘thick’ characters holding very ‘fine’ objects, we showcased Copic’s creative potential by demonstrating how much you can do with just one pen and two kinds of lines.” 21 × 32, 1-color, digital.

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POSTERS 1 Jessica Svendsen, designer Michael Bierut, art director Pentagram (New York, ny), design firm Yale University, client “Since 1998, Michael Bierut’s ongoing poster series for the Yale School of Architecture has followed simple design parameters: one standard size, black and white, and all type, using hundreds of different fonts. The poster announcing the school’s fall 2014 lectures and exhibitions features the reversed-stress typeface Maelstrom, which makes the typically thick strokes of a letter thin and the thin strokes, thick. The font’s architectural quality is brought out in the poster, which stacks the letterforms and their heavy horizontals into a typographic structure.” 22 × 34, 1-color, offset.

2 Jerry Takigawa, art director/creative director/writer/ photographer Takigawa Design (Monterey, CA), design firm Natural Recall, client “Natural Recall, an Italian design initiative, opened its inaugural exhibition at Serri dei Giardini in Venice, Italy. Natural Recall is a nonprofit cultural project born from the synergy of people with different skills and experiences and united in the common aim of raising the creative community. My poster, with a photograph from a family album, is an international initiative to celebrate humans’ connection to plants.” 19¾ × 27½, 7-color, printed on rag paper.

3 Chikako Oguma (Shibuya-ku, Japan), designer/art director Ryumon Kagioka, photographer tupera tupera, illustrator Hamada Children’s Museum of Art, client Exhibition poster featuring the work of children’s book writer tupera tupera at Hamada Children’s Museum of Art. 28 × 40, 4-color plus silver, offset.

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‘‘Payoff will come when we make better use of computers to bring communities of people together and to augment the very human skills that people bring to bear on difficult problems.’’

Man with Machine. 3 of 30 in the THINK series. ibmmanwithmachine.com

Man with Machine. 14 of 30 in the THINK series. Photography: Jake Chessum ibmmanwithmachine.com

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‘‘Decades of technological innovation have created a world system so complex and fast-moving that it is quickly becoming beyond human capacity to comprehend, much less manage. If we are to avoid civilizational catastrophe, we need more than clever new tools—we need allies and agents.’’

Paul Saffo – Technology Forecaster; Consulting Associate Professor, Stanford University

‘‘I believe we are migrating toward a networked environment in which thinking is no longer an individual activity, nor bound by time and space.’’

Douglas Rushkoff – Media Theorist; Author, Present Shock

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Man with Machine. 11 of 30 in the THINK series. ibmmanwithmachine.com

Man with Machine. 1 of 30 in the THINK series. Illustration: Kai & Sunny ibmmanwithmachine.com

Douglas Engelbart – 2002 – American Engineer and Inventor; Author, Human-Computer Interaction

‘‘This idea of cognitive computing is, simply put, going to fundamentally change the relationship between humans and machines.’’

Mike Rhodin – Senior Vice President, IBM Watson Group

POSTERS 1 (series)

Man with Machine. 27 of 30 in the THINK series. Illustration: Su Rui ibmmanwithmachine.com

Sid Tomkins, design director Christin Andreassen/Mike Lomanto/Okan Usta, art directors James Chana/Juliane Hadem/Eddie Pak/Denise Zurilgen, associate creative directors Bastien Baumann/Jeff Curry/Sam Mazur/Mervyn Rey/ Chris Rowson/Doug Schiff, creative directors Keith Anderson/Ryan Blank/Mike Hahn/Susan Westre, executive creative directors Steve Simpson, chief creative officer Leslie D’Acri/Gloria Hall/Elizabeth Lucas, content coordinators Jake Chessum/Craig Cutler/Su Rui, photographers Ilise Harris/Adam Hayes/ilovedust/Kai & Sunny/Emil Karlsson/ Michael Lester/Louis Mallart/Mindflyer/Michael Brandon Myers/Elise Richardson/Dan Stiles/Gwen Vanhee/Wim Vanhenden/Yulia Vysotskaya, illustrators Ogilvy New York (New York, NY), ad agency IBM, client

‘‘True knowledge and independent opinion must come from science.’’

Sun Yat-sen – First President of People’s Republic of China

“IBM wanted to start a positive conversation about artificial intelligence and how man and machine can work together to help people live better. Leading technologists, computer scientists, philosophers and futurists collaborated with illustrators, photographers, typographers and graphic designers from all over the world to create a series of posters and GIFs featuring IBM’s longtime slogan Think. The artwork is now on permanent display at IBM Watson’s new home, headquarters of the future of cognitive technology.” 31½ × 47½.

2 Eric Karnes (Philadelphia, PA), designer 2

Meg J. Roberts, client “Meg J. Roberts is an artist and jewelry designer in Richmond, Virginia. She often uses line as a structural element in her work, from the wire armatures of her fabric installations to the die cut linework of her animal-inspired jewelry pieces.

This poster is an interpretation of the evolution from sketch to physical piece. It was designed as a small, inexpensive inkjet run so that she would have something to send to a few select galleries to announce new artwork and craftwork available on her website.” 24 × 36, inkjet.

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POSTERS 1 (series) Rob Alexander/Nate Luetkehans, designers/illustrators Rob Alexander/Jill Robertson, creative directors Ben McNutt/Jill Robertson, writers Dominique Mao, production artist Office (San Francisco, CA), design firm Wee Society, client “We illustrated Wee Society’s kids’ jokes to promote creativity, intelligence and uncontrollable giggles.” Various sizes, 4-color, offset.

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POSTERS 1 Jessica Svendsen, designer Michael Bierut, art director Pentagram (New York, NY), design firm Yale University, client “Since 1998, Michael Bierut’s ongoing poster series for the Yale School of Architecture has followed simple design parameters: one standard size, black and white, and all type, using hundreds of different fonts. Designed with Jessica Svendsen, this poster announcing the school’s spring 2015 lectures and exhibitions takes inspiration from Yale Architecture’s logo, a letter Y in a circle. In this case, each letter on the poster has been built out of circles, over 5,900 in all.” 22 × 34, 1-color, offset.

2 Nicole Jordan/Craig Snelgrove, designers Bruce Duckworth/Sarah Moffat/David Turner, creative directors Turner Duckworth: London & San Francisco (San Francisco, ca), design firm Zoe Elton/Mark Fishkin/Shelley Spicer, Mill Valley Film Festival, clients “Previous posters for the Mill Valley Film Festival featured abstract design.

We felt it was important to develop a design that tied to the festival experience and was relatable for moviegoers. By creating a vibrant color palette and screen-printing directly onto a substrate that resembled ticket paper, we created a poster reminiscent of an old-fashioned ticket that communicates relevant festival information.” 9¼ × 17, 3-color, screen-printed on colored stock, die cut.

ANNUAL REPORTS 3 Morgan Stephens, designer Ingred Sidie/Michelle Sonderegger, creative directors Claire Gude, writer Kenny Johnson, photographer Design Ranch (Kansas City, mo), design firm Hall Family Foundation, client “Education is fundamental to the development and growth of society. For the Hall Family Foundation’s annual report, we took the most basic elements of education and designed an elevated report. With ‘fundamentals’ as the concept, we used simple shapes as a navigation, and student portraits and beautiful still life shots helped define the importance of education.” 52 pages, 8½ × 11, 4-color, plus an extra hit of black, perfect bound, short sheets.

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WHY I GIVE — 9

Champion for Better Lives Aimee Maldonado ’04 Aimee Maldonado’s job is focused on helping people, especially families and children. She is supervising attorney of the

Unaccompanied Minors Program at the St. Francis Cabrini Center for Immigrant Legal Assistance at Catholic Charities of the Archdiocese of Galveston-Houston. Before working at Catholic Charities, Maldonado had her own practice for five years and worked for immigration firms in Houston and Dallas. She is fluent in Spanish and English.

Why did you go to law school?

It was something I always wanted to do. Ever since I was a young girl, I have wanted to be an attorney.

Why did you choose South Texas College of Law? I chose South Texas because it is a really good school.

Also, it is in downtown Houston, which offers great access to the courts and other legal entities that allowed me to have incredible exposure to different areas of the law.

Also, I was born and raised in Houston. South Texas was the right choice for me.

What is your best South Texas moment or memory?

I don’t really have one particular memory that I can pinpoint.

But something that was very important to me was being a member of the Hispanic Law Students Association. I was honored to be involved with that organization, and I really valued the mentoring and networking opportunities it provided to me and others — and I enjoyed the chance to be a mentor.

What do you most enjoy about being a lawyer?

In the position I am in now at Catholic Charities, I am

able to help people, particularly children, on a daily basis.

It is so rewarding to be able to improve the lives of others.

Who was your favorite professor?

My favorite professor was Professor Fran Ortiz. She was

always welcoming to you if you had any questions about her class. And even when I wasn’t a student of hers anymore, I still felt welcome to go and talk to her, get her counsel and guidance.

Why do you give to South Texas?

There are people who helped me greatly in getting through law school. Now, it is my turn to help other law students and the law school.

What would you like to say to encourage others to give to South Texas?

I would ask my fellow alumni to remember how South Texas helped them and how it needs our help to continue to improve its reputation and provide an excellent education to its students. Remember, as South Texas continues to build its reputation, those of us with law degrees from the school will benefit as well.

Five Prof iles 2013-2014 Annual Report to Donors S O U T H T E X A S C O L L E G E O F L AW / H O U S T O N

W H Y I G I V E — 21

Life Enthusiast Nicholas J. “Nick” Lanza ’89 A minor traffic infraction as a teenager triggered Nick Lanza’s interest in the law. Helping his sister with a major move got him to Houston. Now, Lanza is a civil trial lawyer and partner in the Houston law firm of McCormick, Lanza & McNeel LLP. He has received many legal honors and

Who was your favorite professor?

Dean Gerald Treece. He was my professor in Torts and Constitutional Law, my Advocacy coach, and my mentor during law school. More importantly, Dean Treece remains a valued personal and professional friend to this day. Other than God, and my Dad, Dean Treece has provided the most positive influence in my life as a person and as a lawyer.

I am so blessed to have been taught, trained, coached, mentored, and befriended by a true legal legend.

Why did you go to law school?

All because of a speeding ticket that I most certainly did not deserve. I fought it, insisted on a jury trial, cross-examined the police officer, and won my case — at age 17. At that moment, I knew I wanted to be a trial lawyer. While I do not practice in traffic court, I remain undefeated at 1-0!

Why do you give to South Texas?

Simple — South Texas provided me with a tremendous educational and legal toolbox that allows me to help others in need, think outside the box, and earn a decent living.

I will be forever indebted to the law school, so in my mind, giving back my time to judge advocacy competitions, serve on the Alumni Board, and make financial donations to South Texas is the very least I can do for all the doors the school opened for me in my legal career. If not for South Texas, I might still be hand delivering phone books door-to-door!

awards, owns an enviable sports memorabilia collection, runs marathons, and enjoys family life with his wife and teenage son. His passion for work and life in general is reflected in his continued dedication to South Texas.

What is your best South Texas moment or memory?

Winning first place in the Garland Walker Mock Trial Competition and first place in the F. Lee Bailey National Moot Court Competition in San Diego were definitely great memories. However, remaining a part of the South Texas family after all these years has been the most rewarding experience.

What three things did you learn from South Texas that you apply daily in your law practice?

South Texas taught me about the 3 “Hs”— Hard work, Humility, and Honesty — and more hard work! Dean Gerald Treece told me, “You will not always be the most experienced or best lawyer in every case, but you need to be the most prepared. Be ready, ahead of trial, for the unexpected: adverse court rulings, surprise testimony, uncooperative witnesses. Above all, always out-prepare your opponent. Preparation is the key to success.” I never forgot those pearls of wisdom, and he was so right, not only in the practice of law, but in the day-to-day trials of life.

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What would you like to say to encourage others

to give to South Texas?

I would ask each alum a question: What would you be doing today without your South Texas education and experience? If all alums really think about it hard and are brutally honest, I submit that almost all of them would agree they are far more successful for having attended South Texas than if they had not. Why should we give back? I would say to whom much is given, much is expected.

South Texas has given us a lot, and we, in turn, should give back our time, talents, energy, and gifts to the institution that helped shape our lives and careers.

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ANNUAL REPORTS 1 David Powell, designer/art director South Texas College of Law Communications (Houston, TX), design Laura Tolley, writer Terry Vine, photographer South Texas College of Law, client “This booklet thanks the alumni of South Texas College of Law for their ongoing support while encouraging them to continue to give back to the college. ‘Why I Give’ is answered by five alumni recounting their experiences as students that led them to their professional specialties and successes within the legal community. The remainder of the booklet includes financial highlights, donor lists and descriptive dividers educating readers about giving programs.” 78 pages, 9 × 11½, 4-color, plus 3 PMS, perfect bound, embossed cover.

2 Kevin Belanger/John Ricciardella, art directors Ian MacKellar, chief creative officer Brian Quittenton, writer Chris Rozak, production manager Clockwork Productions Inc., production Ogilvy Toronto (Toronto, Canada), ad agency Dr. Scott Petrie, Long Point Waterfowl, client “This is the world’s first water-soluble annual report; it dissolves completely when it comes in contact with water. We created it for Long Point Waterfowl, an organization committed to reducing human impact on wetlands. After all, why would an organization dedicated to keeping garbage out of wetlands create something that could end up as garbage in wetlands?” 48 pages, 8½ × 11, 4-color, water-soluble ink, saddle stitched; report included a paper duck die cut on Disolvo stock. Corktown Printing Company, printer.

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PACKAGING 1 Jose Canales, designer Claire Jordan, writer Canales & Co. (Sunset Valley, TX), design firm Independence Brewing Co., client “A can design for a local brewery, Independence Brewing Co.’s Power & Light Pale Ale was inspired by the iconic Austin Energy power and light utility plant. We wanted the package to feel like it came from the same art deco era when the plant was built.

Custom typography and patterns, along with plenty of silver and gold, convey the spirit of this symbolic building.”

2 Jeff Hester, designer/creative director/illustrator Cult Partners (Oakland, ca), design firm Williams-Sonoma, client “Inspired by carnival posters, the Williams-Sonoma corn dog mix package is designed to capture the nostalgia of summertime fairs.”

3 Oriol Piferrer, designer La Fonda Gràfica (Girona, Spain), design firm Confraria de la Ratafia/Santa Coloma de Farners City Council, clients “Using a balance of 19th- and 21st-century styles, a new identity of 1842 Ratafia is born. This traditional liqueur is made from the first ratafia recipes, written in the town of Santa Coloma de Farners by F. Rosquellas in 1842 and found in Catalonia by Confraria de la Ratafia. One of each of the numbers—1, 8, 4 and 2—is printed on the sides of the bottle.”

4 (series) Frances MacLeod/Eavan Wallner, designers Allie Armstrong/Daniel Forbes, senior designers Natalia Kowaleczko, design director Brian Loehr, senior design director Alisa Wolfson, creative director Susan Credle, chief creative officer Kyle Poff, illustrator Gina Rossi, production designer Stuart Ashner, producer Leo Burnett Chicago (Chicago, il), ad agency McDonald’s, client “McDonald’s reignited the ‘I’m lovin’ it’ theme by introducing a new platform that puts more focus on lovin’. We asked ourselves, how can something as simple as the packaging put just a little more love into the world? The new designs use playful icons to reflect some of the famous and loved menu items, like the Big Mac, the Quarter Pounder and the fries.”

5 (series) Yurko Gutsulyak, designer/art director Oleksij Chekal, calligrapher Oleksij Volkov, illustrator Graphic design studio by Yurko Gutsulyak (Kyiv, Ukraine), design firm First Private Brewery Group/OASIS, client “Ridna Marka is a new Ukrainian juice line consisting of four basic flavors—clear apple, orange, tomato and cloudy apple— inspired by the Soviet style of the 1960s and 1970s. Retro products are perceived as particularly tasty. The idea was not just to recreate the feel of a grocery market in the Soviet Union to evoke childhood nostalgia among the older generations, but also to avoid any ideological reference to that time. The design should attract young people who know of that era from stories told by their parents.”

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PACKAGING 1 Brad Kayal (San Francisco, CA), designer/photographer Cables & Arms, client “With a song about drowning and a song about storms at sea, this Cables & Arms record became the perfect lonely icon for a vintage life jacket floating in space. Inside, the custom 4-panel jacket holds the clear vinyl so that the ship on the record is either floating or sinking, depending on how it’s positioned.” 2-color, custom 4-panel die cut.

2 (series) Paula Bunny, designer/creative director Brett King, illustrator Brother Design (Auckland, New Zealand), design firm Foodstuffs Own Brands, client “The Pams Confectionery Range packaging presented a particular challenge in the most colorful aisle in the New Zealand supermarket. The concept was a gang of fun and crazy candy characters, both animals and people. Each has a distinctive tall hat while allowing space for product names and revealing the candy in the package. It was executed simply, with no overlapping colors that would cause trapping issues in the flexo print process. A neutral, cream background unites the range.”

3 (series) Sally Morrow, designer/creative director Austin Howe, writer Andrew Holder, illustrator Sally Morrow Creative (Portland, OR), design firm Daniel Benoudiz, Small Tea, client “An entrepreneur came to us with the goal of creating a new tea culture in the United States. Together, we envisioned transforming our coffee-drenched, jittery society into a place where people can sip slower, get to know bliss and be gloriously alive.

We created the brand from the ground up: the naming, identity, packaging, collateral and voice. The design language was inspired by woven textures involved in drying, packing and storing loose tea. Sustainable materials, kraft paper and copper metal became the materials palette for the cups, bags and canisters.”

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1 Tonia Avgoustaki, art director Spiros Drakatos, creative director Spir.to Branding + Design (Heraklio, Greece), design firm Grovestone, client “Olive oil is as important and nutritional today as it was thousands of years ago. We wanted to show this journey in time by combining traditional materials with modern elements.”

2 Nancy Andre/Cynthia Sterling, designers Cynthia Sterling, creative director Sterling Creativeworks (Napa, CA), design firm Constellation Brands, client “The name Jail Break is linked to an Italian legend of inmates who constructed wine barrels as part of their labor. When the prison became overcrowded, officials offered freedom to any inmate who survived a 500-foot waterfall beyond the prison gates by descending in the wooden wine barrels they had created. This wine honors their intrepid spirit, which inspired the prisonstripe pattern and ‘stitched’ lettering detail on the label.”

3 Chad Michael, designer Chad Michael Studio (Dallas, TX), design firm Old Town Distilling Co., client “Old Town Distilling Co. has been a client of the studio since its birth. From the product naming to the label finishing, we aimed to showcase the organic vodka’s purity and quality through the design, while injecting a handcrafted, unexpected look. I didn’t want it to scream luxury but to whisper it softly in your ear.”

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4 (series) Jon Campbell/Max Spector, designers/art directors Joshua C. Chen, creative director Chen Design Associates (San Francisco, CA), design firm Venus Spirits, client “El Ladrón is shrouded in mystery. Born and raised in the states, with roots in Mexico, its name means ‘the thief’ in Spanish. What we see raises more questions than answers. Who is this notorious thief, and what is he trying to steal? Is he actually a she? Who is the villain in this story, and who is the heroine? Themes of deception, intrigue and betrayal play out in the bottle design.”

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Frances Faulder, designer Matt Gandy, art director Alastair Whiteley, creative director Hornall Anderson (London, United Kingdom), design firm Colman’s, client “With Colman’s celebrating 200 years, all eyes were on the iconic British mustard brand. Faced with aggressive innovators piling into the category, Colman’s recognized the need to modernize in a more relevant way for its consumers, while retaining its beloved and trusted heritage. We created three limited-edition mustard jars. Vintage poster designs inspired the packaging labels, leveraging a more retro look with a touch of whimsy.”

6 (series) Hao-Chiang Chen, designer Hsiang-Yi Chu, art director Chun-Chieh Wang, creative director Ideoso Design Inc. (Taipei, Taiwan), design firm Jascaffe China Co., Ltd., client “The tea can design for Ming, Jing, Cui uses a drop of tea as a shared icon for three sub-series. The three cans feature complementary logo colors for each tea flavor. The rich and refined packaging echoes the spirit of the family business behind this tea brand.”

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1 Wang Guan-yu, designer Wen Jin-heng, art director/creative director/illustrator Zheng Tuan-wei, writer Shenzhen Lajiao Design (Shenzhen, China), design firm Yunshuchun TEA, client “Yunshuchun’s Phoenix Dancong Tea originates on Chaozhou Phoenix Mountain, in China, which is more than 4,200 feet high. The white porcelain pot is designed like a mountain to represent Yunshuchun’s origin while revealing the Eastern aesthetic.”

2 Chris Yoon (Silver Spring, MD), designer Jason Brumbalow, Murphy’s Magic Supplies, Inc., art director Murphy’s Magic Supplies, Inc., client “Run Playing Cards embody the gambler’s attitude and nerves of steel. The deck features a fully custom design, packaged in a protective case.”

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“We developed packaging for Farnham’s latest product, a Scotch ale. This extra-strong beer targets connoisseurs, with 8.4 percent alcohol content and a bitterness level of 37 IBU [International Bitterness Units]. The brewery’s existing products and the traditional Scottish tartan served as creative inspiration for this new beer that makes its mark with a regional taste and look.”

4 (series) Stranger & Stranger (New York, NY), design firm John Dewar & Sons, client “Aultmore is an entirely new offering of Speyside single malt Scotch whisky from this little-known distillery and part of the Last Great Malts of Scotland whisky collection from John Dewar & Sons. This rare Speyside malt, known locally as ‘a nip of the Buckie Road,’ includes water filtered down through the local misty, mysterious Foggie Moss. What more did we need as inspiration to tell this unique story on the package?

Our design included a custom bottle structure, brand identity, labeling and gifting packages across the range of aged malts.”

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© Wen Jin-heng

Anthony Verge, art director Jacques de Varennes, creative director lg2boutique (Québec, Canada), ad agency Alexandre Jacob, Farnham Ale & Lager, client

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1 (series) Caroline Reumont, designer Claude Auchu, creative director Marie-Ève Leclerc-Dion/Pierre Lussier, writers lg2fabrique, production Antoine Levasseur, project manager Catherine Lanctôt, project director Marc-André Fafard, strategy lg2boutique (Montréal, Canada), design Groupe 29 Février, client “A change is currently underway in the Québec maple syrup industry to restore the product to its former glory. The 29 Février products democratize maple syrup and its labels hint at culinary possibilities. The tagline—Sirop d’érable d’occasion, 366 jours par année (Maple syrup for all occasions, 366 days per year)—and the elegance of the packaging make it a product to be displayed with pride on the kitchen counter.”

2 (series) Bill Ferdinand/Jane Gittings-Robert, designers Bill Ferdinand, creative director zünpartners (Chicago, IL), design firm Edward Billys/Giorgios Karayannis, Kolossos Incorporated, clients

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“Kolossos—100-percent Greek extra virgin olive oil, positioned exclusively by regional olive flavor—is an industry first. Our approach was to elevate the product via the picture window, eliminate all superficial embellishments that distracted from that concept and allow the olive oil’s quality to sell itself with transparency, confidence and the strength inherent in the Kolossos name.”

3 PepsiCo Design & Innovation (New York, ny), design PepsiCo, client Like the product, Caleb’s Kola features a label that is well-crafted, yet clean and uncluttered.

4 (series) Catherine Gravel, art director Quatre par Quatre (Montréal, Canada), design firm La Station Organique, client

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“La Station Organique’s mission is to inspire people to take their health to heart. In the creation of its identity, we wanted to give full rein to the product’s quality by displaying the beauty of its organic ingredients. This pride is on display through glass bottles and transparent labels. The graphic design is at once present, clean and discreet.”

5 (series) Hayley Barrett/Ashleigh Lambert/Chloe Templeman, designers Antonia Elliott/Holly Kielty, creative directors Rebecca Yorke, principal Caroline Slade, writer DesignBridge (London, United Kingdom), design firm Zia Zareem-Slade, Fortnum & Mason, client “Fortnum & Mason’s truffles are all about decadence, and they deserved decadent packaging to match. The drum-shaped packages, reminiscent of vintage hatboxes, lend themselves perfectly to the 1920s cocktail era. Using individually painted, metallic brush strokes, we created an art deco pattern echoing the indulgence of the Roaring Twenties.”

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1 Marlene Frølund, designer/illustrator Suzanne Lajboschitz, creative director Zebra A/S (Copenhagen, Denmark), design Tiger, client “Tiger is a successful and rapidly expanding chain of Danish design stores owned by Zebra A/S. The Tiger stores offer a quirky, ever-changing selection of items designed in-house at surprisingly affordable prices. This tin holds butter cookies, a playful take on a Danish classic, with a fresh fairy tale and a fun custom font.”

2 Roy Burns III/Drew Hughes/Andrew Thomson, designers Roy Burns III, creative director/writer Andrew Thomson/David Webb, illustrators Lewis Communications (Birmingham, al), ad agency Good People Brewing Company, client “Good People’s Bearded Lady American Wheat Ale is lightbodied but flavorful with bright citrus notes—and radiantly golden in color. It tastes like summer. We aimed for a design that would be simple and bold with a wink of humor. One key embellishment—wispy, hair-thin breaks in the background color—activates the can’s surface while calling to mind flowing locks of hair, rolling fields of wheat and the swirl of the pour.”

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3 Thuy Pham, designer/creative director Taylor Ziebarth, writer Sixto-Juan Zavala, illustrator tweephamdesign (San Antonio, tx), design firm Oddwood Ales, client Full-brand design for Oddwood Ales, a beer brand that focuses on American-style wild ales.

4 Malin Reedijk/Michael Vanderbyl, designers Michael Vanderbyl, art director/creative director Vanderbyl Design (San Francisco, ca), design firm Blankiet Estate, client Label for Blankiet Estate’s Mythicus wine.

5 (series) Mary Lewis/Christopher Lynn, designers Mary Lewis, design director Christopher Lynn, typographer Lewis Moberly (London, United Kingdom), design firm Luigi Lavazza S.p.A., client “The brief was to design a range of limited edition coffee tins to celebrate Lavazza’s 120th anniversary and underscore its heritage. Bold, graphic designs featuring artworks from the Lavazza archives reflect a vibrant visual history. On slim, tactile keepsake tins, an abstract crop reveals a silhouette of the distinctive Lavazza cup. A set of iconic cups also carries the design, completing the collection.”

6 (series) Ben Crick/Johnny Por Taing, designers Brian Collins/Leland Maschmeyer, creative directors COLLINS (New York, NY), design firm David Hartman, Target, client “Room Essentials is Target’s line of modernist home furnishings.

Our brand platform, Easily Modern, emerged from millennials’ decorating journey. They begin on Pinterest. Upon falling in love with a look online, they venture to several stores in an attempt to recreate it. ‘Difficult,’ ‘time consuming’ and ‘expensive’ is how they described their shopping experiences. Inspired by California modernism, the full line of items is easily mixed and matched to attain a clean look, an aesthetic that also fills Pinterest’s boards.”

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LETTERHEADS 1 (series) Jeff Barfoot, designer/creative director RBMM (Dallas, tx), design firm/client “RBMM’s new identity mirrors our philosophy of being flexible and chameleon-like for our clients. We designed all the pieces for our new stationery and identity in different colors, with our logo only appearing reversed out.

Our employees can choose any color they like for their business cards as well. Each of the six sketchbooks we use has a coloredthread binding and an interior page pattern that matches the covers.”

2 Hans Thiessen, designer Ian Grais/Chris Staples, creative directors Rethink (Toronto, Canada), design King Koin Launderette, client “King Koin Launderette goes the extra mile— offering home drop-off, folding and unmatched customer service. They needed an identity that reflected this. The solution was to transform the washing icon found on clothing tags into a king’s crown. It’s clean, fun and fit for the king of laundry.”

3 (series) Kevin Boothe/Vanessa Eckstein/Emily Tu, designers Marta Cutler/Vanessa Eckstein, creative directors Blok Design (Toronto, Canada), design firm Lucky 21, client “A film production company in Dallas was ready to take on the highly competitive Los Angeles market. They wanted to herald the move with a new identity. A strategic mining session revealed a wonderfully spirited brand character, full of humor and fierce passion.

The identity balances this off-kilter intensity with a contemporary boldness while allowing the brand’s playful voice to shine.”

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TRADEMARKS 1 Bryan Farevaag, designer/art director I Am Farevaag (Brooklyn, ny), design firm Kayley Stenger, Wrinkle & Crease, client “Wrinkle & Crease is a small independent Canadian stationery company focused on letterpress and foil paper products. The company wanted a logo that resonated with the simple act of folding a handwritten note.”

2 Ben Johnson, designer/creative director Eric Rob & Isaac (Little Rock, ar), design firm Brandon Moving & Storage, client “Brandon Moving & Storage is the Arkansas agent for Bekins, the national moving company. The agent wanted to develop a stronger local identity to reinforce its personal service and its longtime—since 1965—community presence while complementing its corporate relationship.

The solution: a hand truck carefully loaded with boxes to form the initial B in the signature Bekins green.”

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3 Marc Ferrino/Ben Harman/Greg Thomas/ Steve Wolf, designers GSD&M (Austin, tx), ad agency City of Austin, client “If any city is deep in the heart of Texas, it’s Austin. Geographically. Politically. Emotionally.

We developed a word mark that intertwines the letters in Austin with the shape of the great state itself, merging the two. Even when the logo is just an inch wide, it conveys all that Austin is—and all that Austin can become.”

4 Kapono Chung, designer Rob Baird, creative director Preacher (Austin, tx), design firm Seventh Flag Coffee Co., client “A new independent Texas coffee company approached us to help create its brand from scratch, including the name and identity. Its friendly, welcoming spirit and ambition is as big as the state they call home.”

5 Butler Looney (Berkeley, ca), designer Boundless, client “We wanted to recognize Boundless’s overthe-top commitment to its clients. A mascot seemed like a fun way to capture the marketing company’s ‘boundless energy,’ and a kangaroo was the perfect fit. The symbol not only conveys positive emotion, but also forms a lowercase b.”

6 Oscar Bjarnason, designer/art director Oscar Bjarna (Reykjavik, Iceland), design firm Innnes, client “We wanted the logo to imply food without showing an actual product. Hinting at wholesale, an over-simplified barcode that expands into a spoon, knife and fork became an elegant solution for this versatile company.”

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7 Lauren Griffin/Tim McGrath, designers Sam Maclay, creative director 3 Advertising (Albuquerque, nm), design firm Humble Coffee Company, client “Humble Coffee Company is dedicated to making great coffee in an inviting, yet simple environment. Our branding work celebrates this down-to-earth approach to Albuquerque’s local coffee scene.”

8 Hans Thiessen, designer Ian Grais/Chris Staples, creative directors Rethink (Toronto, Canada), design Here There, client “Here There is a multisensory event design studio. It encourages people to experience ordinary places and things in a new way. Think pie eating in a botanical garden, food paired to moments in a film and a Tom Selleck–themed tiki bar in an Airstream. To captured this approach, an iconic logo entices you to change your perspective.”

9 Win Mixter (San Francisco, ca), designer Zan Mixter, ZanMixInc, client “Part of an identity suite for artist Zan Mixter, the logo is brought to you by the letter Z and the artist’s signature round glasses.”

10 Art Lofgreen, designer Catapult Strategic Design (Phoenix, az), design firm Cactus 42 Apartments, client “Located at 4242 E. Cactus Road in Phoenix, Arizona, these new, contemporary apartments needed an identity that complemented the modern feel of the community and the name, Cactus 42.”

11 (series) Silvia Erives/Brandon Murphy, designers Brandon Murphy/Bret Sano, creative directors Caliber Creative (Dallas, tx), design firm Bull Durham Beer Co., client “Bull Durham Beer Co. is a microbrewery located within the Durham Bulls Athletic Park in North Carolina. This historic minor league baseball team is the first to own and operate a brewery from within its stadium. Caliber took a swing at designing a mark for the brand, which resulted in a visual blend of team spirit, classic baseball iconography and quality craft beer.”

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IDENTITY PROGRAM 1 Claire Anderson/JJ Miller, designers Jonathan Harris/Austin Taylor, art directors Chris Ashworth, creative director Brian Hamilton/Craig Hoit, writers Microsoft (Redmond, WA), design/client “The Windows Brand Book is a high-level look into the Windows brand. It features the brand’s foundations and summaries of identity elements.

Flipping the book over reveals a second cover, which leads into a section of brand heritage, a brief visual journey through 30 years of Windows history.”

124 pages, 6½ × 9½, 4-color, plus 1 PMS, perfect bound, die cut cover, dual covers, foldout pages, foil stamp, debossing, multiple paper types.

2 (series) Chany Lagueux/Maxime Rheault, art directors Criterium (Québec, Canada), design firm Si les objets pouvaient parler, client “Stationery program for Si les objets pouvaient parler (If the objects could talk), a vintage store. We focused on the reutilization of vintage material like old postcards, rulers and other objects, with hot stamping for the collateral.”

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INTEGRATED BRANDING PROGRAM 1 (series) Ryan Crouchman, designer Ryan Crouchman/Lisa Greenberg, art directors Ryan Crouchman/Lisa Greenberg/ Judy John, creative directors Judy John, chief creative officer Steve Persico, writer Rob Fiocca/Arash Moallemi, Fuze Reps, photographers Leo Burnett Toronto (Toronto, Canada), ad agency House-Maison, client “Two Cultures, One Restaurant. HouseMaison is inspired by the two cultures that shape Canada: the English and the French. Two eateries, side by side, offer similar menus and atmosphere, but with unique English or French flair.

Equally part of Canada’s identity, these cultures, depending on which day it is, unite or divide the country. It’s this love/hate and same/different theme that inspired us to bring the two influences together in House-Maison.” Somerset Printing, printer.

FISH & CHIPS

MOULES ET FRITES

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INTEGRATED BRANDING PROGRAM 1 (series) David Nguyen, designer Samyabrata Deb, creative director Airbnb (San Francisco, CA), client “Identity program for an event created by Airbnb inviting artists to collaborate and explore the concepts of hospitality and belonging anywhere at Art Basel Hong Kong.”

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INTEGRATED BRANDING PROGRAM 1 (series) Ross Gendels/Estelle Kim/Soobin Park, designers Heui Jin Jo, art director Steven Bennett-Day/Manuel Dilone/ Joe McHeffey, creative directors Michael Bucchino, writer Havas Worldwide, New York (New York, NY), ad agency helia, client “How do we unify data and creative to establish one universal language?

Like the sun of our solar system, people are at the core of both data and creativity. Helia, meaning ‘of the sun,’ represents the sunlight and the variation of data. Inspired by the data analytics capabilities of helia, we developed an algorithm that creates unique data-informed expressions of the brand identity. The visual language uses precise data informed by the sunrise and sunset time cycles, as well as real-time weather and geographic information.”

2 (series) Cindy Goulet, designer Claude Auchu, creative director Gilles Chouinard/Geneviève Jannelle, writers Luc Robitaille, photographer lg2fabrique, production Marion Haimon, project manager Catherine Lanctôt, project director lg2boutique (Montréal, Canada), design firm Communications Johanne Demers, client “The event Tous debout pour nos p’tits loups (We all stand for the little wolves), a benefit dinner for the Fondation Maison-Théâtre, paired creative directors with chefs who created an updated version of their favorite childhood dishes for guests.

Maison Théâtre’s geometric identity inspired the mask, the foundational element of the dinner. Given to guests, the mask transported attendees into the evening’s theatrical theme. The event design was adapted for a souvenir book, an invitation, the decor of the venue and tables, as well as a projected animation.”

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INTEGRATED BRANDING PROGRAM 1 (series) Daniel Robitaille/François-Xavier Saint-Georges, designers Daniel Robitaille, art director Louis Gagnon, creative director Paprika (Montreal, Canada), design firm Montréal en Histoires, client “Montréal en Histoires is an innovative, creative, technology-driven project that will enable people to relive Montréal’s history and celebrate its 375th anniversary. The project’s platforms are Memory City, a media work created by internationally acclaimed artists Michel Lemieux, Victor Pilon and Michel-Marc Bouchard that will consist of multisurface projections in Montréal’s historic district; a techno-historical pedestrian circuit for discovering the district through a mobile app that incorporates cutting-edge technology including geolocation; and Jouez avec l’histoire, a series of educational activities.

Montréal en Histoires will also carry out various international promotional activities.”

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INTEGRATED BRANDING PROGRAM 1 (series) Oli Bussell/Rob Day, designers Stuart Radford, creative director Suzanne Neal, project director The Partners (London, United Kingdom), design firm Tusk Conservation Awards, client “Tusk Trust is a nonprofit organization that funds 50 conservation programs across eighteen African countries. In 2013, it launched the Tusk Conservation Awards to celebrate outstanding achievements in the field of conservation. For the identity, we developed an African-style pattern made out of the letters T, U, S and K. We also commissioned 50 traditional beaded wristbands in the brand’s signature patterns. Handcrafted by the Kenyan village of Enkiito, they were given to Tusk’s highprofile contacts to help raise awareness for the event. The bracelets gained more than 17.5 million impressions, a 400 percent increase from last year.”

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INTEGRATED BRANDING PROGRAM 1 (series) Richard Gordon-Smith/Andy Kiekhafer/Connor Murphy/ Danielle Zenk-Tills, designers Brandon Van Liere, lead designer John Berends, art director Jim Jackson/Matt Miller/Rob Peichel, creative directors Mark Haumersen, executive creative director Kristi Battarbee/Lee Kimball, writers Kelly Amato/Karen Knauer/Dave Markley, photographers Bill Gunter/Nicole Meyer, interactive designers Bridget Jewell, strategy Periscope (Minneapolis, MN), ad agency DreamWorks, client “For 75 years, Lassie has saved the day and captured our hearts with her unconditional loyalty and love. To celebrate this anniversary, DreamWorks tasked us with bringing Lassie into the present. But before Lassie could embark on her next great adventure, she needed to connect with a whole new breed of dog owners. To do this, we refreshed her style and invigorated her spirit with a distinct voice that combined friendly wit, wisdom and optimism. We let the world know Lassie was back to celebrate the hero in every dog, big or small, purebred or mutt.”

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INTEGRATED BRANDING PROGRAM 1 (series) Sébastien Bisson/Olivier Ricard, designers Sébastien Bisson, art director/ creative director Annie Ouellet/Ellen Teitelbaum, writers Polygraphe (Montréal, Canada), design firm Kombi, client “Kombi is a family-owned winter accessories company founded in Montréal in 1961. To get closer to its clients and open new doors, Kombi undertook a major project to revamp its brand. The project included a logo, a signature, packaging, a website, communication tools, a booth, in-store visuals and a social media presence. Kombi’s new image is inviting and warm.”

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PRODUCT/ SERVICE BROCHURES 1 Anthony Verge, designer Jacques de Varennes, creative director lg2boutique (Québec, Canada), ad agency Frédéric Dubois, Théâtre Périscope, client “Mini brochure promoting the 2015–2016 season of Québec City’s Théâtre Périscope, which is celebrating its 30th anniversary. The season opened with a wide array of perspectives from playwrights including Robert Lepage, Nina Raine and Craig Wright. A combination of typography and illustration ties the works together while hinting at the content of each one. And the number 30 is woven discreetly into the visual signature, so as not to overshadow the program.”

48 pages, 4 × 6, 2-color, black and PMS 877 metallic.

2 Steve Sandstrom, creative director Austin Howe, writer Friedrich Böhringer/Steve Bonini/Dylan Borck/ Helga Birna Jónasdóttir, photographers Starlee Matz, production designer Kay Zerr, project manager/producer Sandstrom Partners (Portland, OR), design firm University of Oregon School of Architecture and Allied Arts, client “Founded a century ago, the School of Architecture and Allied Arts at the University of Oregon was the first architecture program in the country to radically break from traditional Beaux-Arts methods. The school embraced experimentation and applied a collaborative crafts-based approach to art and design education. This brochure celebrates the school’s unique perspective and its approaches to complex problems as it faces the next 100 years.” 2O pages, 11 × 16½, perfect bound, 4-color process plus two spot colors, spot application of tactile UV clear coating, blind embossed cover.

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The ‘Min’ Fanglei AUCTION

Asian Art Week March 18–21, 2014 VIEWING

March 14–20, 2014 20 Rockefeller Plaza New York, NY 10020 CONTACTS

Tina Zonars Michael Bass Chinese Ceramics and Works of Art asianartnewyork@christies.com +1 212 636 2180

AUCTION

Asian Art Week March 18–21, 2014 VIEWING

March 14–20, 2014 20 Rockefeller Plaza New York, NY 10020 CONTACTS

Tina Zonars Michael Bass Chinese Ceramics and Works of Art asianartnewyork@christies.com +1 212 636 2180

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Design Annual 2015

オークション

⊎枃 lj㊳嬿弼泆 2014 ᮖ 3⤼ 18➊哵 21➊

アジア美術ウィーク

礤ូ

プレビュー

2014 ᮖ ⤼ 14➊哵 20➊

2014年3月18日～21日

2014年3月14日～20日

20 Rockefeller Plaza

20 Rockefeller Plaza

New York, NY 10020

New York, NY 10020

⩰挭 Tina Zonars

お問い合わせ

Michael Bass

Michael Bass

Tina Zonars

Ĺຐ㻹අপ嬿弼૿ asianartnewyork@christies.com

asianartnewyork@christies.com

+1 212 636 2180

+1 212 636 2180

中国美術部門

オークション

⊎枃 lj㊳嬿弼泆 2014 ᮖ 3⤼ 18➊哵 21➊

アジア美術ウィーク

礤ូ

プレビュー

2014 ᮖ ⤼ 14➊哵 20➊ 20 Rockefeller Plaza

2014年3月18日～21日

2014年3月14日～20日 20 Rockefeller Plaza

New York, NY 10020

New York, NY 10020

⩰挭 Tina Zonars Michael Bass Ĺຐ㻹අপ嬿弼૿ asianartnewyork@christies.com +1 212 636 2180

お問い合わせ Tina Zonars Michael Bass 中国美術部門 asianartnewyork@christies.com +1 212 636 2180

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PRODUCT/SERVICE BROCHURES 1 Sophy Wu (Staten Island, NY), graphic design/art director Marissa Wilcox, creative direction Cody Light, writer Whitney Cunningham, content coordinator Christie’s, design/client “A multilingual brochure designed to promote an extremely rare and high-value Chinese bronze auction lot, targeting the Asian art market.” 8-page accordionfold brochure with covers duplexed to the first and last pages, folded 7¼ × 10; flat 29 × 10, 4-color plus overall satin aqueous coating and matte gold foil.

CATALOGS 2 Clea Forkert, designer Claire Dawson/Fidel Peña, creative directors Jenny Pierce, editorial manager Fab Dolan, executive editor Michael Graydon/Nikole Herriott, photographers Greg Higgison, production designer Underline Studio (Toronto, Canada), design firm Google Canada, client “Google Canada was hosting an event in Toronto called YouTube Pulse aimed at media buyers and creative directors to highlight the advantages of advertising in YouTube over traditional mediums. Underline, in collaboration with Google Canada, visually portrayed the personality of some of YouTube’s top creators. The catalog communicated the premium quality of this medium, while challenging the conventional notions of YouTube programming and content.” 100 pages, 11 × 15, 4-color plus 2 PMS, including metallic ink, perfect bound.

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CATALOGS 1 Stuart Flake, designer Medora Danz, art director Dan Monick, photographer What Agency (Minneapolis, MN), design firm Blu Dot, client “After fifteen years of producing modern furniture lookbooks, Blu Dot needed a true catalog with detailed product descriptions and prices. The goal was to do it while remaining unique. This meant sometimes ignoring the sound advice of our seasoned catalog advisors.

The risk paid off, surpassing all of our goals.” 86 pages, 8½ × 10¼, 4-color, saddle stitched.

2 Brad Bartlett/Elaine Suh Bartlett, designers Brad Bartlett, creative director Lita Albuquerque/William Fox/ Ann Wolfe, writers Jean de Pomereu, photographer Brad Bartlett Design (Pasadena, CA), design firm Nevada Museum of Art/Skira Rizzoli, clients “Envisioned as a sculptural object, Lita Albuquerque: Stellar Axis was designed to embody concepts from Albuquerque’s artwork and to reflect the artist’s use of color and material. Enclosed in a slipcase, the book features a custom ultramarine-blue finish, debossed with a gold-foil-stamped star map and edged with gold gilding. The narrative focuses on Stellar Axis, a large artwork created in Antarctica featuring 99 ultramarineblue spheres aligned to the 99 brightest stars. The horizon line in each image bisects the page.” 224 pages, 12 × 11¾, 5-color.

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CATALOGS 1 Kim Le Liboux, art director Katy Grannan, writer/ photographer J Walton, producer John McNeil Studio (Berkeley, CA), design firm Fraenkel Gallery/Salon 94, clients “The titles of the two volumes of this monograph of photographer Katy Grannan, The Ninety Nine and The Nine, came from the highways that run through Modesto, California, where most of the photographs were taken. Though they feature different photographic approaches, the anonymous color portraits and narrative black-and-white photographs are two sides of one story. The books are presented back to back, held in a single stenciled slipcase that invites the reader to decide which book to read first.” 160 pages, 12 × 15, perfect bound, die cut slipcase.

Sprinkle Media, printer.

2 Jordan Anderson/Tim Cronin/ Scott Thares, designers Melanie Haroldson, art director Scott Thares, creative director Lauren Krysti, photographer Helen Quinn, stylist Ann Merrill, production/ project manager Wink (Minneapolis, MN), design firm Thymes, client “A broadsheet catalog promoting the summer launch of two new Thymes fragrances, Tupelo Lemongrass and Mirabelle Plum.”

12 pages, flat 22 × 17, folded 11 × 17, 4-color, nested pages, glued-in sample envelope, middle spread is a poster.

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CATALOGS 1 Miki Arai/Vanessa Eckstein, designers Marta Cutler/Vanessa Eckstein, creative directors Arash Moallemi/Derek Shapton, photographers Blok Design (Toronto, Canada), design firm Design Exchange, client “The editorial companion to the first major exhibit of international designer toys, held at Design Exchange, Canada’s Design Museum, and guest curated by Pharrell Williams. The catalog takes a deeper look at the intersection of contemporary art and designer toys, featuring Takashi Murakami, KAWS and Yoshitomo Nara, with an essay by Douglas Coupland.” 448 pages, 5½ × 77 ⁄ 8, 4-color plus 2 PMS, perfect bound, fold-out cover with double-hit copper ink on the inside.

2 Laura Ferreira/Lionel Ferreira, designers Ferreira Design Company (Johns Creek, GA), design firm Chandra Rugs, client “The 2015 Chandra product catalog combined previous pattern and texture catalogs into one cohesive unit. This publication includes new categories for furniture and accessories and makes the authentic, handcrafted, modern lifestyle brand more accessible.”

928 pages, 8 × 10½, white foilstamped and debossed raw chipboard covers, exposed sewn bindery, silkscreened spine.

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CATALOGS 1 Renata Graw, designer Plural (Chicago, IL), design firm Luftwerk, client “We created a catalog to celebrate Luftwerk’s INsite, an exhibition that transformed Ludwig Mies van de Rohe’s historic Farnsworth House into a canvas of light. The publication’s design pulls inspiration from Luftwerk’s light projections, as well as the iconic structure of the house.” 24 pages, 8¾ × 11½, 4-color, saddle stitched, dust jacket.

MISCELLANEOUS COMPANY LITERATURE 2 Gerrit Hinkelbein, senior designer Bernd Vollmöller, creative director Peter Schmidt Group (Frankfurt, Germany), design firm Sal. Oppenheim jr. & Cie., client “Sal. Oppenheim is one of Germany’s longeststanding private banks. To mark its 225th anniversary, the company presented a special publication to customers and employees.

Rather than looking back at its own history, Sal. Oppenheim chose instead to send a strong signal for the future by portraying individuals with the courage to break new ground, reflecting the bank’s values.

Different artists illustrated each article.

The publication also demonstrated that exclusivity could still be maintained through a classic black-and-white newsprint format.”

32 pages, 13¼ × 19¼, nested pages.

3 (series) Soyeon Yoo, designer/art director/illustrator Aaron Padin, design director/creative director Chris Dealy, executive creative director J. Walter Thompson New York (New York, NY), ad agency Royal Caribbean International, client “We designed a set of twelve minimalistic postcards to celebrate the launch of Quantum of the Seas, the new cruise ship of Royal Caribbean International. We wanted to create communications that were as simple, elegant and breakthrough as the new ship itself. Using only its four brand colors, each postcard illustrates the ship’s innovative features.”

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MISCELLANEOUS COMPANY LITERATURE 1 Crystal Chou/Dora Drimalas/Nicole Flores, designers Nicole Flores, art director Dora Drimalas, creative director Hybrid Design (San Francisco, CA), design firm Mike Femia/Bruno Giussani/Emily McManus, TED, clients “The TEDGlobal team asked us to design a program guide that would communicate the 2014 event theme: the global south. TED wanted to underscore that the global south is not just emerging—it’s a reality. In our design, we focused on the radiating energy and ideas from the global south that are igniting transformation and innovation worldwide. With a vibrant color palette, radiating gradient, full-bleed imagery and clean biographical pages, the design mirrors the dynamism and excitement of the first-ever TED conference held in South America.” 141 pages, 7¼ × 9½, 4-color, perfect bound. Printed in Brazil.

2 (series) Goh Chin Huei, designer Chua Keng Leong/Lawrence Tan, creative directors Blue Beetle Design (Singapore), design firm The Providore, client “The Providore press release kit is disguised as a gift box. Inside, it contains stacks of postcards. Each card design includes an abstract graphic of the product and its description, making the press kit informative, fun and memorable.”

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MISCELLANEOUS COMPANY LITERATURE 1 Chris Marino, designer Brock Conrad, art director Jamie Koval, creative director VSA Partners (Chicago, IL), design firm Gene Siskel Film Center, client “Each year, the Gene Siskel Film Center of the School of the Art Institute of Chicago presents a Renaissance Award to an actor. This year, it honored Morgan Freeman, paying tribute to his prolific career. The event serves as a fundraiser and promotes the film center. We created this piece to capture the sophistication of this great actor, as well as the elegance of the event itself. The invitation was designed in the spirit of an oversized film poster.”

2 (series) IDEO (San Francisco, CA), design firm MassMutual/Society of Grownups, clients “When you’re under 40, buying a life insurance policy may seem about as practical as buying a Humvee, and financial planning often means making sure next month’s rent is covered. As a result, a vast number of young adults are facing an uncertain financial future. We teamed up with MassMutual to design a service that could impart the wisdom of long-term thinking to a demographic that lives in the present. Together, we created a master’s program for adulthood that covers everything from investing in a 401(k) to choosing good, cheap wine. We called it Society of Grownups.”

A C A N D I D CO N V E R S AT I O N W I T H

INVICTUS MILLION DOLLAR BABY THE SHAWSHANK REDEMPTION

FREEMAN

DRIVING MISS DAISY STREET SMART

AS W E C E L E B R AT E C I NE MA AND HO NO R AC AD E MY AWA R D ® W I NNI NG AC TO R MO R GAN FREEMAN WITH THE GENE SISKEL FI L M C E N T E R RE N A I SS A N C E AWA RD

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MISCELLANEOUS COMPANY LITERATURE 1 Sheldon Melvin, art director Kevin Buth, creative director Miles Abbott, writer Chris Stanford, photographer Zambezi (Venice, CA), design firm Ashworth Golf, client “Ashworth, an apparel brand steeped in authentic golf history, needed to reinvigorate its presence. We created Golf/Man, a mixed-media catalog and interactive digital experience, reflecting a shift in golf toward more natural courses with rugged links. From travel to food to the courses themselves, Ashworth explores the world of the adventurous golfer with this quarterly magazine.” 100 pages, 10¼ × 14, 4-color, saddle stitch, tip-in postcard.

BOOKS 2 Lizi Boyd/Sara Gillingham, designers Taylor Norman/Victoria Rock, editors Lizi Boyd, illustrator Binh Au, production Chronicle Books (San Francisco, CA), design/client “Flashlight, by Lizi Boyd, is told solely through images and a spare yet dramatic palette. She has crafted a masterful exploration of night, nature and art. Both lyrical and humorous, this visual poem—like the flashlight beam itself—reveals magic in the darkness. We just have to look for it.” 40 pages, 9 × 9, 4-color, jacket with spot UV varnish, die cuts throughout.

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BOOKS 1 Thomas Wilder, designer Leland Maschmeyer, creative director COLLINS (New York, NY), design firm The Type Directors Club, client Typography 35, the annual of the Type Director’s Club. “We designed this book to highlight the winners of the 60th International Typography Competition.”

268 pages, 8½ × 11¼, 4-color, perfect bound.

2 Eric Skillman, designer/writer Sarah Habibi/Eric Skillman, art directors The Criterion Collection (New York, NY), design/client “The art book Criterion Designs gathers a selection of the Criterion Collection’s commissioned designs, featuring covers, supplemental art, and never-before-seen sketches and concept art, plus a gallery of every Criterion cover since the collection’s first LaserDisc in 1984.” 306 pages, 10 × 13, 4-color plus 2 PMS, Smythe sewn, die cut cover and metallic silver endpapers by artist Jason Polan.

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BOOKS 1 Frank Viva, designer/writer/ illustrator Patti Ann Harris, art director Susan Rich, editor Viva & Co. (Toronto, Canada), design firm Little, Brown and Company, client “A picture book for children aged three through six, Outstanding in the Rain, by Frank Viva, uses oronyms (phrases that sound the same but mean different things) and die cuts to encourage children to focus on the construction of words and sentences. Viva’s tale of a boy spending his birthday at the amusement park will amaze readers big and small with astounding designs that transform both words and pictures in delightful ways.” 32 pages, 9¾ × 11¼, 6 PMS, case bound, die cuts.

2 Adam Vella, designer Vince Frost, creative director Camilla Belton/Denis Seguin, writers Frost*collective (Surry Hills, Australia), design firm Penguin Books Australia, client “Design Your Life is the most recent publication by renowned designer Vince Frost, who helps readers realize they can design a better life for themselves. The approach was to create a visually appealing and engaging publication, a hybrid between a self-help book and a design publication. The resulting book is easy to read and visually arresting, with playful affirmations that engage the reader.” 241 pages, 77 ⁄ 8 × 10, 4-color, section sewn and case bound, French-folded jacket, poster on reverse, debossing on jacket.

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BOOKS 1 Rodrigo Corral, Rodrigo Corral Studio, designer Paolo Pepe, art director David Ebershoff, editor Sandra Sjursen, production manager Steve Messina, production Random House Publishing Group (New York, NY), publisher “Book cover of Little Failure, by Gary Shteyngart, which is a candid, witty, deeply poignant account of his life so far.

Shteyngart shares his American immigrant experience, traveling back and forth through time and memory with selfdeprecating humor, moving insights and literary bravado. The result is a ‘raw, comic and deeply affecting’ (New York Times) story of family and belonging that feels epic, intimate and distinctly his own.”

2 Danilo Helvadjian/Samia Jacintho/Gustavo Piqueira, designers Gustavo Piqueira, art director Casa Rex (São Paulo, Brazil), design firm Editora Veneta, client Cover of Do Inferno (From Hell), by Alan Moore & Eddie Campbell, a graphic novel about Jack the Ripper. “The cover is shredded by the slashes that were the signature of the infamous serial killer.”

EDITORIAL 3 Julie Molloy/Tim Staszak, designers Brandon Davis, creative director Ben Siegel, editor Block Club (Buffalo, NY), design firm/client “Block Club magazine is about progress and identity in Buffalo, New York, and the Rust Belt. Issue 36, titled ‘Shhh,’ explored the nature of secrets, lies, confessions and taboos. We asked readers to submit their own secretive stories anonymously on a single-page website, which we then sorted and edited for print. Our designers illustrated five of them for inclusion in the issue and on the cover.”

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EDITORIAL 1 Ioana Balasa, designer Lindsay Mannix/Jason Mannix, art directors Gavin Wade, creative director Louisa McCune, editor Polygraph (Washington, DC), design firm Kirkpatrick Foundation, client “As art directors of ArtDesk magazine—a twice-yearly print magazine focusing on contemporary art, performance and cultural affairs published by the Kirkpatrick Foundation—we wanted to create a publication that is both elegant and adaptable. Our goal was to design a clean format and flexible grid system that allows the art to be the hero. Versatile type choices elevate the diverse content in a way that is as engaging and playful as it is sophisticated.” 80 pages, 7½ × 10, perfect bound, 4-color plus spot varnish; Mosaic Printers, printer.

2 Emmet Smith, art director David Griffin, creative director Greg Manifold (Bethesda, MD), creative director Malika Favre, illustrator The Washington Post, design/client “This was the cover to The Washington Post’s annual summer TV issue. The illustration showcases Favre’s deft use of negative space to evoke the mood of HBO’s Raptureinspired drama The Leftovers.”

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EDITORIAL 1 Paul Choi/Aaron Martin/Garrison Smet, designers Jonathan Lo, creative director Mark April, photographer J3 Productions, Inc (Irvine, CA), design/client “Octopian Analog 01 is a limited-edition zine that visually explores art, design, technology, architecture, fashion, culture, science fact and fiction. It is a printed companion to theoctopian.com. This issue centers around the theme of sand and stone, and it features interviews with makers and artists.” 130 pages, 6 × 9, 4-color, perfect bound; limited edition of 500 hand-numbered pieces.

2 Benjamin Bours, designer Fred Woodward, design director Peggy Sirota, photographer Dora Somosi, director of photography Sam Taylor, illustrator GQ (New York, NY), design/client “The May 2014 issue of GQ featured a portrait of Louis Székely, a.k.a. Louis C.K., as one of ‘The 15 Funniest People Alive Right Now.’”

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2 THE

02

Welcome

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Backstory

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Object Lesson

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In the Mix

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Up Close

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Profile

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Series

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Portfolio

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Surfacing

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Five Minutes With

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Exhibition Funders

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Credits

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Coming Soon

Making a Splash The Museum of Fine Arts, Houston, is presenting fifty of Claude Monet’s most glorious paintings of the Seine River, from the early works focusing on Le Havre, Paris, and Argenteuil to the works on Vétheuil and Lavacourt; and culminating in the stunningly beautiful works that make up the acclaimed series titled Mornings on the Seine, which depicts an intimate stretch of the Seine near Giverny.

MUSEUM OF F I N E A R T S, HOUSTON MAGAZINE

Issue 1 / 2014

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EDITORIAL 1 Megan Lynch, art director Eric Boam/Daniel Chen/Michael DelGaudio/ Lindsey Ducroz/Carlos Elena-Lenz/Chuck Goldman/Allison Green Schoop/Diny Huang/ Lisa Jackson/Patrick Kalaher/Mark Kobayashi/ Siddharta Lizcano/Timothy Morey/Zarmina Penner/Clint Rule/Jason Severs/Venetia Tay/ Roberto Veronese/Carsten Wierwille, writers Amy MacMillan, editorial manager James Cortese, executive editor Ailadi Cortelletti/Mark Weedon, illustrators Alejandro De La Cruz, producer Emily Chong, publisher frog (San Francisco, CA), design firm/client “Technology is reshaping the world of work.

The online publication Future of Work inspires new solutions to challenges in the workplace and empowers executives to implement change in their organizations. These stories investigate how new tools can help us become happier, more creative and more productive.”

88 pages, 6¾ × 9½, 4-color plus 1 PMS, perfect bound, cover emboss.

Circa 1869

PORTFOLIO

The asymmetrical form of this sterling silver water jug is derived from the Greek askos, a globular vessel that probably originally derived from containers made from animal skins or organs. Tiffany & Co. manufactured the jug for Milton Slocum Latham, an American politician who became the sixth governor of California. Latham’s elaborate monogram appears on the front of the jug.

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2 Carla Delgado, designer

12 15/16 x 12 1/2 x 6”

DJ Stout, art director Pentagram (Austin, TX), design firm Museum of Fine Arts, Houston, client

9 9/16 x 7 1/4”

“The Museum of Fine Arts, Houston approached us to revive its member publication, which we had designed in 2005. Our concept was to center each issue around a theme, relying heavily on the museum’s collection and upcoming exhibitions. This issue focused on the theme of water, and it featured work from Claude Monet, Vincent Chevalier, and Bernd and Hilla Becher. The cover features a die cut lowercase letter h, for Houston, which teases a sliver of artwork on the following page.” 52 pages, 9 × 11½, 4-color, perfect bound, die cut.

1934

Tower Typology

In the 1930s, the Russian artist Alexander Rodchenko (1891–1956) photographed preliminary competitions for the 1936 Olympic Games. To achieve this photograph of a diving competition, which captures not only the diver arcing backward through the air but also the spectators and the water below, he shot from a scaffold raised above the diving platform. He used unconventional angles to challenge the viewer’s perception of everyday life.

SERIES

B E R N D

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A N D

H I L L A

B E C H E R

Established and emerging artists from around the world, as well as public-school students, transformed rooftop water tanks across New York City this past summer for one of the largest public art projects ever undertaken. Their work was part of a major initiative, The Water Tank Project, inaugurated by Word above the Street, a nonprofit ded-

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icating to fostering environmental awareness and social advocacy through art. Millions of people living in and visiting Manhattan witnessed firsthand the profound impact that art has on shaping the environment for a positive cause. Expanding aesthetic boundaries skyward was the rallying cry as artists ingeniously brought attention to the global water crisis.

Looking back several decades ago, the husband-and-wife team of

Bernd (1931–2007) and Hilla Becher (born 1934) were drawn similarly, if not obsessively, to examining water towers as art forms. The Bechers had begun traveling in the late 1950s throughout Europe and North America, taking black-and-white photographs of industrial edifices, including water towers. They organized their photographs into series based on functional typologies and arranged them into precise rows or grids. The artists called the subjects of their photographs “anonymous sculptures,” because the function of each industrial structure determines its form.

The serial photographs of these now-demolished structures refer-

ence the late-19th-century shift to industrial production. The water towers in the repetitive sequences illustrated here, though all constructed of metal, differ in form. Yet the Bechers usually took each photograph from the same angle, using evenly distributed light, and made each print identical in size. The works featured in these pages are among the more than 29,000 photographs housed in the permanent collections of the Museum of Fine Arts, Houston.

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PUBLIC SERVICE 1 (series) Tom Davie, designer/creative director/photographer Sandusky Library Archives Research Center/Sandusky Recreation Department/ The Sandusky Clarion, writers studiotwentysix2 (Norman, OK), design firm Oakland Cemetery, client “Oakland Cemetery in Sandusky, Ohio, is a beautifully manicured, 134-acre tract that is home to scores of finely crafted nineteenth-century gravestones. This informational print project highlights the 165-year history of the cemetery and showcases detailed plot locations, dimensions and dates for several examples of exceptional stone craftsmanship. As a companion piece, the cemetery walking tour was mapped and organized to improve clarity and mark notable burial sites.”

2 Brandon Stephenson, designer Chris Allen/Dylan Staniul, creative directors Michael Slobodian, photographer Josh Dunford, strategy Burnkit (Vancouver, Canada), design firm Ballet BC, client

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“Ballet BC was looking to renew its graphic identity to accurately reflect the adventurous and contemporary nature of its programming. This large-format season brochure boldly introduces the new brand identity system and celebrates the 30th anniversary of the company. The raw energy of the dancers is juxtaposed with a rigorous grid and typography system forming the basis of the new brand look.” 12 pages, 11 × 15, folded to 11 × 7¾, 4-color, plus varnish.

2 Subscription Series

Program

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World Premiere

Ballet BC Dancer Tara Williamson. Photo by Michael Slobodian.

2.1

Rising French choreographer Medhi Walerski’s work (Petite Cérémonie, Prelude) has wowed dance lovers throughout Europe and North America. So, in this 30th anniversary season, it seemed fitting to commission a new work—his first full-length—from a choreographer who has had tremendous impact on both our artists and our audiences.

New Work Choreography

Medhi Walerski “Dance as a natural expression of the human being is liberating,” says Walerski.

“It is with a sense of happiness and excitement that I embrace this new chapter of my career and this commission for Ballet BC that celebrates the creative and collaborative spirit of art and our humanity.“ This world premiere builds on the themes Walerski established with Prelude, seen on our stage in 2014, and celebrated for its poetic, complex, imaginative, and unpredictable choreographic language. It begins with the question of how to balance order and chaos; the individual and the collective. In explosive and dynamic contrast, the work will also look at the human need for celebration—be it a birth, a death, a change in history, or a reunion. Celebrations, and the energy they create through dance, life, and art, will permeate the theatre with sublime poetry, blurring the lines between the audience and the stage.

Work

2015/16 Season 30th Anniversary

For this special commission, Ballet BC is joined by artists of the Arts Umbrella Graduate Dance Program to expand the cast of dancers to more than 25. Awardwinning Canadian designers, including Nancy Bryant (costumes) and James Proudfoot (lighting), will help Walerski realize his vision. “Each time I visit Vancouver I marvel at the beauty of the city and its wonderful artists,” says Walerski. “With this new work I want to create an experience beyond a traditional dance show, one where the audience enters a new world, all senses stimulated, to celebrate together.”

Ballet BC Dancer Gilbert Small. Photo by Michael Slobodian.

Our 30th anniversary goes out with a spectacular bang, with work by two audience favourites and a newcomer who is making waves around the world. Celebrate the spring, the season, and the spirit of dance with these three amazing works.

May 12 13 14

World Premiere—Ballet BC 2013

16+ a room

Dirk P. Haubrich

Work

Music

Emily Molnar

Enter 16+ a room. Emily Molnar, Ballet BC’s Artistic Director, has created a dynamic world for 16 dancers set to a driving musical landscape by German composer Dirk Haubrich. Inspired by the writings of Jeannette Winterson and Emily Dickinson, this compelling work displays Molnar’s unique choreographic language through a complex study of time, transition, and stillness, where the space between is as important as the space occupied, where one is left with the feeling of both liberty and disappearance. The Dance Current says, “16+ a room is incredibly seductive… a powerful concentration of artistic vision.”

3.2

Choreography

Canadian Premiere

Bill

Choreography

Music

Sharon Eyal

Ori Lichtik

Work

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8:00pm

Ballet BC is thrilled to work with Tel Aviv-based Sharon Eyal, one of the hottest choreographers today. Former Resident Choreographer of the Batsheva Dance Company and now Artistic Director of her own company, L-E-V, Eyal’s signature style and daring, sensual language requires of dancers an intricate and precise expression of the body. Working with frequent collaborators Gai Behar and Ori Lichtik, in Bill, Eyal combines dance, music, and design into an instantly recognizable whole of raw, unexpected beauty created with equal parts ebb and flow. Premiered by Batsheva Dance Company, Bill showcases Eyal’s trademark shifts from large group to smaller ensemble; which in turn morph into breathtaking solos.

3.3

Subscription Series

Program

3.1

Mar 17 18 19

World Premiere—Ballet BC 2013

I and I am You Choreography

Work

Jorma Elo

Music

J. S. Bach Robert Schumann

Finnish-born choreographer Jorma Elo’s 2011 debut with Ballet BC was met with thunderous applause. So naturally, we invited him back to create this work, first seen in 2013. Featuring Elo’s signature virtuosic vocabulary and lightning-fast musicality interspersed with moments of enormous intimacy and tenderness, I and I am You demonstrates why Elo is one of the most sought-after choreographers today, with commissions by companies the world over. The Georgia Straight described I and I am You as possessing “the warmth and force of some strangely beautiful chinook.”

8:00pm

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PUBLIC SERVICE 1 Kristin Steenstra, designer Gary Beelik, creative director Erin Brand/Julie Mitchell, strategists Parcel Design (Toronto, Canada), design firm Canadian Civil Liberties Association, client “In its annual Act for Freedom booklet, the Canadian Civil Liberties Association honors individuals promoting democracy and fundamental rights for all Canadians. For the design of this year’s 50th anniversary edition, we gave the seventeen honorees’ essays prominence to make the piece a keepsake to read and share in the future.”

74 pages, 6¼ × 9, 4-color blindembossed cover, 2-color interior, perfect bound.

2 (series) Jeremiah Chiu/Renata Graw/ Alexa Viscius, designers Plural (Chicago, IL), design firm The Art Institute of Chicago, client “We designed a series of interactive cards as collateral for the Modern Ball at the Modern Wing, a biennial fundraising event held by the Architecture & Design Society of the Art Institute of Chicago. As the cards are pulled from their sleeves, the abstract patterns become animated.”

3 (series) Paige Homan, designer Alice Ann Wilson, creative director Natalie Tran, content coordinator Lawrence Rubin, producer Creative Artists Agency (Los Angeles, CA), agency Rachel Kropa, Creative Artists Agency Foundation, client “For the 2014 holidays, the Creative Artists Agency Foundation helped students afford higher education and stay in school through the organizations Communities in Schools and the School Fund. The print choices complement the energy and excitement of the first day of school while the lettering conveys heartfelt emotions.

Just as first days are filled with indelible details, the posters mirror the importance of this universal experience.”

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PUBLIC SERVICE 1 Dante Zamboni, art director Ramiro Raposo/Fernando Sosa, creative directors Joaquin Molla/Jose Molla, chief creative officers Nicolas Larroquet/Adrian Rey/Aaron Zimroth, writers Guillermo Muñoz, illustrator Ramiro Capisto, production manager the community/la comunidad (Coconut Grove, FL), ad agency City of Buenos Aires, client “To improve the quality of life, it’s necessary to begin by improving the way people travel. So we decided to implement the campaign Mejor en Bici (Better by Bike) to inform the public that this mode of transportation is healthy, fast, green, safe, inexpensive and accessible. New bike stations with automatic technology reach more neighborhoods and respond to user demand by installing infrastructure, adding more bikes and speeding up the process of withdrawal and return. The service is free and operates 24 hours a day, seven days a week. It is very easy: you register, seek a bike at the nearest station and start to enjoy a means of rapid, environmentally friendly and healthy transportation. Thanks to the campaign, 114,000 riders are using the service.”

2 (series) Sam Johnstone/Jason Munn, Stout/strawberryluna/Matt Taylor/ Max Young, designers Denise Cole/Fred Roberts, art directors David Taylor, associate creative director Ryan Spelliscy, executive creative director Brent Choi, chief creative officer Saro Ghazarian/Joy Panday, writers Andrew Rygiel, project manager Caroline Clarke, producer J. Walter Thompson Canada (Toronto, Canada), agency Alzheimer Society of Toronto, client “Music has the power to stimulate and move us. And fortunately for those living with dementia, it has the power to reignite old memories. To promote the Music for Memory Project and to collect iPods for the Alzheimer Society of Toronto, we commissioned several artists to create posters. Our goal was to raise awareness of music’s healing powers and to bring the gift of song to as many dementia patients as possible.”

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ENVIRONMENTAL GRAPHICS 1 (series) Apple (Cupertino, CA), design/client “The Colette Apple Watch Preview was a one-of-a-kind experience for fashion insiders and customers to see our new product offering. The windows were designed for two main objectives: to highlight the unique design elements of the watch and to provide customers with an opportunity to see this new product. We used a custom system of balloons inflating and deflating in a programmed pattern inspired by the unique springboard user interface. In different scales and colors, we celebrated this moment in a playful and whimsical way for the customers.”

2 (series) Eliza Fitzhugh/Claire Niederberger/Yoana Wiman, graphic designers Daniel Fouad/Elle White, 3-D designers Jonathan Alger, principal Daniel Rodriguez, interactive designer Zak Greene, developer Keith Madden, interactive developer Leah Kasell, project manager C&G Partners (New York, NY), design firm The Advisory Board Company, client “The Advisory Board Company (ABC) is a leading global consulting group in healthcare and education. ABC commissioned C&G Partners along with architects SmithGroup JJR to design and program a new 7,400-square-foot member space in Washington, DC. The Curtain of Names welcomes guests to the space. Thousands of translucent rods form a shimmering curtain; each rod shows a single client’s name. A nearby touch directory matches institutions to numbered wires, corresponding to an underlying database. The curtain, touch interface and database are all built to enable expansion as more members join.”

3 (series) Devin Cornwall, designer Brad Aldridge, art director Renny Pritikin, curator Johnna Arnold/Gary Sexton, photographers Ian Treasure, fabricator Joshua Pieper, exhibit design Contemporary Jewish Museum (San Francisco, CA), design/client “Celebrating the 20th anniversary of J. Otto Seibold and Vivian Walsh’s Mr. Lunch books, the Contemporary Jewish Museum created an immersive exhibition exploring Mr. Lunch’s history and Seibold’s artistic practice. Visitors could take stylized passports, walk through customs, board a plane and boat, and even spend time in jail. A custom-made desk also served as a spot for Seibold to demonstrate his creative process of digital illustration. The exhibit was accompanied by artifacts and reproductions of the artist’s work.”

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ENVIRONMENTAL GRAPHICS 1 (series) Brice McGowen/Daniel Surgeon, designers Bryan Bindloss, senior designer Adam Brodsley/Eric Heiman, creative directors Brian McMullen/Michael Rigsby, writers Natasha Fraley, content coordinator Erin Kemp, production manager Ragina Johnson, production artist Hanna Thomson, project manager BNIM/Mithun, architects Pacific Studio, fabricator Adam Brodsley/Eric Heiman/Brett Terpeluk, Studio Terpeluk, exhibit design Volume Inc. (San Francisco, CA), design firm Boy Scouts of America/Trinity Works, clients “The main challenge with this program was to create an experience that would engage Boy Scouts eager to find the next adventure activity at the Summit site—zip lines, climbing areas, a skate park—and leave them with a new perspective on sustainability. The design delivers information in surprising ways, down to the humorous and irreverent tone of the exhibit text.”

2 (series) Domenic Nastasi, lead designer Ida Molander/Heath Pedrola, graphic designers Erin Stromgren/Keith Sullivan/Juri Yamamura, design team Dotdash (Brisbane, Australia), design firm Conrad Gargett/Lyons, clients “The design of the Lady Cilento Children’s Hospital is based on the concept of a living tree—a network of trunks, branches and leaves—that provides internal spaces in an ordered hierarchy. Incorporating the architect’s intent, Dotdash designed a wayfinding strategy that includes a collection of signage and environmental graphics—a cohesive system of navigation. The family of wayfinding components works in unity to distract from the nature of the hospital environment by expressing a bold, vibrant aesthetic. Each component lightens the hospital experience for its young visitors.”

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MOTION GRAPHICS 1 Chris Carboni/Elliot Lim/Camm Rowland, creative directors Colin Davis/Blake Nickle, producers Broadway Video FX Productions, production company DK Studios (Chicago, IL), digital agency FXX, client “Man Seeking Woman Main Titles” :30 “DK Studios teamed up with FXX to create the main title sequence for the network’s new original comedy Man Seeking Woman, starring Jay Baruchel and created by former Saturday Night Live writer Simon Rich. Based on Rich’s book of short stories, The Last Girlfriend on Earth, the series is a sweet and absurdist look at the surreal life-and-death stakes of dating and the quest for love. DK Studios crafted an iconic graphic approach for the titles, meant to contrast with the show’s live action. In the sequence, symbols of ordinary dating life mix with over-the-top imagery, reflecting a unique narrative device used in the series. Packed into 30 seconds, the titles are filled with action and fun moments to stay fresh and engaging every time viewers watch the show.”

MISCELLANEOUS 2 Liz Abbate, designer/creative director Someone Creative (Waltham, MA), design firm Code Organa, client “Brushstroke from Code Organa is an app with filters to turn photos into paintings of various styles; you can even purchase a canvas of your finished piece. The concept of the app is creative use of color, so we brainstormed about colorful objects, places and ideas. Once we landed on animals, we played with the illustration of a parrot. The wing lent itself well to a wet paintbrush, and the rest is history!”

3 David Soames/Dustin Taylor, art directors/creative directors

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Kevin Sutton, executive creative director Fancy Montoya, production manager Moroch (Dallas, TX), agency McDonald’s, client “For McDonald’s sponsorship of the Green Bay Packers, we created a clever giveaway for fans. Since Green Bay is one of the coldest cities in the league, with several games a year played in snow, we created Fry Gloves.

They keep your hands warm while looking like McDonald’s famous fries.

Seven-thousand pairs were handed out at Packers’ home games, and since then, they’ve been featured on more than 3,000 blogs and have earned upwards of 34 million Twitter impressions.”

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SELF-PROMOTION 1 (series) Claudia Neri, designer/art director/ creative director Elisa Stagnoli, associate designer Tiburtini Srl, production Teikna Design (Milan, Italy), design firm Arjowiggins Creative Papers, client “When Arjowiggins asked us to design a promo for its Inuit paper, the first idea was to do something visually connected to all things arctic white. The piece is aimed at the creative industry—known for its color-related mottos—so we decided to play with quotes by creating metaphors or wordplay. The result is a loosely connected arctic white narrative that showcases the paper performance. Ongoing dialogue and collaboration with both the client and printer were crucial to the piece’s success.” 42 pages, 9 × 13, 4-color plus metallic and fluorescent ink, spot varnish, French fold, embossing, silkscreen and thermography.

2 Sheraton Green, designer Charles S. Anderson, creative director Erik Johnson, writer Charles S. Anderson Design Co. (Minneapolis, MN), design firm French Paper Company, client “This piece condenses 145 years of papermaking experience into a two-sided, accordion-folded infographic, and it highlights French’s custom paper manufacturing capabilities, which are practically unlimited. French has the lowest minimums for custom papermaking in the industry and can match any color, weight or texture needed, with nearly any additives (shredded dollars, wood specks, grass and grapes, to name a few). French works with some of the highest-end retail companies to provide their own custom papers for specific applications, like light boxes, packaging, tags and labels.”

3 Thomas Wilder, designer Leland Maschmeyer, creative director COLLINS (New York, NY), design firm The Type Directors Club, client The Type Directors Club’s 60th Annual Competition poster.

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Guide de sélection d’une agence

À l’intention des annonceurs et des agences

AAPQ —

Association des agences de publicité du Québec

Guide de sélection d’une agence

— Conclusion du processus de sélection et transition vers une nouvelle agence

À l’intention des annonceurs

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Guide de sélection d’une agence

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À l’intention des annonceurs

Vous avez sélectionné votre nouveau partenaire d’affaires. Il est recommandé d’informer rapidement l’agence gagnante et de l’aviser que la décision finale dépend d’un accord sur les dispositions contractuelles.

— Vous avez choisi votre agence —

↗

Informez les agences non retenues

Une fois l’agence sélectionnée, voici le cheminement recommandé pour les dernières étapes :

↗

Confirmez l’ampleur du mandat

↗

Négociez un contrat écrit avec votre nouvelle agence

↗

Mettez en place les critères de base d’une évaluation mutuelle agence-client

↗

Entreprenez une relation harmonieuse sur des bases solides

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Remerciements

Ce guide est le fruit d’une collaboration entre plusieurs professionnels de l’industrie. L’AAPQ tient à remercier les nombreux représentants d’agences membres de l’AAPQ et d’annonceurs membres de l’Association canadienne des annonceurs (ACA) ainsi que l’American Association of Advertising Agencies (4A’s) pour leur contribution à ce projet.

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— Table des matières

Sommaire À propos de l’AAPQ

Au sujet des présentations spéculatives

Introduction

Contrat et conditions

Le guide

Entente relative à un processus de gestion des relations

Principes généraux Lignes directrices à l’intention des annonceurs Prémisses d’une sélection d’agence efficace Préparation d’un processus de sélection d’une agence Diffusion d’un appel de propositions et sélection d’une agence Conclusion du processus de sélection et transition vers une nouvelle agence Lignes directrices à l’intention des agences Vous avez reçu un appel d’intérêt ou un appel de propositions : que faire ?

Votre agence compte parmi les finalistes : comment optimiser votre présentation en fonction des besoins d’un client potentiel ?

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Annexes Annexe I : Liste des besoins potentiels Annexe II : Exemple de grille d’évaluation Annexe III : Un appel de propositions sur invitation ou ouvert à tous ?

Annexe IV : Exemple de lettre de sollicitation pour un appel de propositions Annexe V : Présentations spéculatives Annexe VI : Compatibilité culturelle Annexe VII : Gérer le processus à l’interne ou se faire accompagner ?

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SELF-PROMOTION 1 Emmanuelle Arpin, graphic designer Léo Breton-Allaire, art director Barbara Jacques, creative director Antoine Bécotte, chief creative officer Cossette (Montréal, Canada), ad agency Association of Québec Advertising Agencies, client “The Association of Québec Advertising Agencies wanted to create a new Agency Selection Guide for Advertisers and Agencies.

Our concept centered on a universal symbol: the target. It inspired numerous graphic elements, including spherical numbering for the various steps. Three PMS colors over four paper types established the distinct sections. The visual treatment of this practical reference tool played a critical role in generating interest among advertisers and agencies.” 64 pages, 7 × 10½.

2 Elise Eskanazi, art director Valérie Paquette, photographer Elise Eskanazi (durban-corbières, France)/ Valérie Paquette, clients “This publication is an association game and a platform for our work. It starts off with 365 photographs taken by Valérie Paquette during her year in London, regrouped by Elise Eskanazi into twelve themed albums. Each album includes the same number of images as the days in the month it represents: 31 pictures capturing the theme of wonderland for January, 28 related to movement for February, and so on. All 365 photographs found a place in the collection. None could be left out.”

NexeImpressions, printing, La Bourgeoise Sérigraphe, silkscreen, Cécile Côté, hand binding.

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SELF-PROMOTION 1 Agnieszka Gast, art director Andreas Laeufer/Julia Rottmann, creative directors Justine Laeufer, photographer Leo Burnett Germany (Frankfurt, Germany), ad agency/client “In the vibrant city of Berlin, overflowing with boutique agencies, we needed an outstanding new business tool within the lifestyle and design segment. We created a portfolio that reveals our design and lifestyle skills through an unconventional medium. The idea was to create a fanzine.

Thanks to the flexible system of three different portfolios in one, we have the opportunity to personalize it for potential clients and update it on a weekly basis.” 56 pages, 14¼ × 20⅛, 4-color, saddle stitched.

2 Agnes Wong, designer Stéphane Monnet, creative director/writer Monnet Design (Toronto, Canada), design firm/ client “Every year we come up with a creative way of telling our clients that the money we would have spent on holiday gifts has instead been donated to charity. In 2014, we sent everyone empty envelopes with a hidden message inside: the money we would have spent on holiday cards has been donated to the Daily Bread Food Bank.

The outside of each envelope featured a photo of a food staple.”

3 Kyle Gabouer, designer Ben Graham/Steven Watson, creative directors Turnstyle (Seattle, WA), design firm/client “A limited edition, self-promotional gift box given to guests at Turnstyle’s tenth anniversary party.

The event identity, including a 10 made of one bold, vertical stroke plus nine concentric circles, adorns the screened-printed box and other custom materials. The gift box included a white cotton T-shirt with a black 1 or a 0, a matteblack mug, mini sketchbooks, black-and-white carpenter pencils, a black-and-gold lapel pin and three custom stickers. Four-hundred sets were produced.”

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SELF-PROMOTION 1 Xiaonan Wang, designer/illustrator

© StudioSchulz

EJ Armstrong, art director EJ Armstrong/Scott Pitts, photographers Armstrong Pitts Studios (Seattle, WA), design/client

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“Promotions at Armstrong Pitts Studios took a new direction this year with a back-to-basics total visual program. This piece creates an ongoing visual context for our work, which literally submerges the viewer into the photos.

Photography, design and the back cover illustration were all done in-house. Carl Bronkema of DCG ONE Printing oversaw the special digital print run on semimatte paper, chosen for its ink absorption, low-luster reflection and durability.” 34 pages, 12 × 17½, 4-color, threadsewn binding.

2 Michael Hester, designer/creative director Pavement (Oakland, CA), design firm “Pavimento Tequila was created to welcome the New Year and promote our studio. A limited run of 100 bottles pleasantly surprised our existing and prospective clients. As a brand created from top to bottom, we wanted to be sure that it stood apart. Every detail is considered, including the name, bronzeengraved labels, custom typography, seals, logos, bottle structure and cork/jute twine closures. All of the elements in combination create an intricate, yet authentic experience.”

3 (series) Fidel Peña, designer Claire Dawson/Fidel Peña, creative directors Underline Studio (Toronto, Canada), design firm Advertising & Design Club of Canada, client “Organized by the Advertising & Design Club of Canada, the Design Barcelona event in Toronto showcased the work of seven of Barcelona’s best graphic design studios and featured guest speaker and curator Pablo Juncadella from Mucho. We asked each of the participating studios to submit their favorite quotes about design. These quotes were used to design a series of posters that represented each of the studios and promoted the event.”

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SELF-PROMOTION 1 Laura Berglund/Mariela Hsu/Bryan Minnich, designers Mariela Hsu, art director Jake Lefebure/Pum Lefebure, creative directors Design Army (Washington, DC), design firm The One Club, client “For the relaunch of the One Club’s ONE. A MAGAZINE, the publication was revived to its original printed glory. The issue’s focus was the summer 2014 One Show winners, celebrating the best in the advertising, design and creative industry. To do these achievements justice, the oversized, tabloidstyle format features a strategic and thoughtful layout and eye-catching typography, peppered with neon-orange pops for a modern touch.” 28 pages, 11 × 16, 4-color and 1 PMS, saddle stitched.

2 (series) Rob Alexander/Nate Luetkehans, designers Rob Alexander/Jill Robertson/Jason Schulte, creative directors Alexis Kay, writer Dominique Mao, production artist Office (San Francisco, CA), design firm The One Club, client “The One Show’s iconic pencil turns into 25 sources of inspiration for its call-for-entries and event posters.” Variable sizes, 5-color, lithography.

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SELF-PROMOTION 1 (series) Yosub Jack Choi/Claire Dawson/Clea Forkert/Cameron McKague/ Fidel Peña, designers Claire Dawson/Fidel Peña, creative directors Greg Higgison, production designer Underline Studio (Toronto, Canada), design firm/client “Underline created the Jogo Bonito (Beautiful Game) poster series to celebrate the 2014 World Cup in Brazil. The posters are based on the teams’ nicknames, best plays and players. They celebrate our favorite teams, making a beautiful game even more beautiful.

The posters were exhibited and sold in an event at Bar Neon in Toronto, for which we also created promotional materials.”

2 Jovaney Hollingsworth, designer Charles S. Anderson, art director Erik Johnson, writer Charles S. Anderson Design Co. (Minneapolis, MN), design firm French Paper Company, client “Illustrated with travel tags from every American state, this poster is part of the Krafted in America campaign to announce French’s new Kraft-Tone paper line. Made from natural kraft fiber and 100 percent post-consumer waste, Kraft-Tone is a return to the French family’s roots in utility paper. In fact, French invented the first printable recycled kraft papers in the 1950s. Strong, durable and available in twelve distinctive colors, Kraft-Tone can be used for pocket flashers, boxes, hang tags, cards and folders.”

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3 Francesco Paternoster (Matera, Italy), designer Graficom srl, client Cognomi di Matera (Surnames of Matera) is an infographic poster that typographically ranks the surnames of Matera’s residents from most common to least.

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SELF-PROMOTION 1 (series) Tana Cieciora, senior designer Philip Arias, design director Roman Luba, creative director Rob Feakins, chief creative officer Publicis Kaplan Thaler (New York, NY), ad agency/client “Produced for a Halloween mixer, these posters focus on the most expressive parts of iconic monsters.”

2 (series) Lindsey Wright, designer Joe Monnens, design director Mike Fetrow, executive creative director Dennis Ryan, chief creative officer Nick Hart, writer Irene Gray/Kirsten O’Callaghan, producers Olson (Minneapolis, MN), ad agency/client “Olson’s North by Midwest VIP Marketer Summit brings together bold thinkers and innovative makers. For its second annual summit, Olson took the inaugural year’s bright aesthetic and made it even more daring.

Each piece featured clever iconography and wood-grain textures inspired by the Midwestern summer landscape, set against a vibrant neon backdrop. More than 200 influencers attended—from clients and partners to world-renowned guests, including Soledad O’Brien, Jason Dorsey, Jay Baer and Ben Silverman.”

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SOOJIN JUNG

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HYUN AH CHOI

SAEYOON KIM

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JANET KIM

442

DA SEUL AN

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SELF-PROMOTION 1 Peter Ahlberg, designer Richard Wilde, creative director School of Visual Arts (New York, NY), design/client “The work of the 2013/2014 graduating seniors from the School of Visual Arts’ departments of design and advertising was displayed in the Senior Library.

Featured work included advertising, design, motion graphics, interaction design and 3-D design.” 511 pages, 7½ × 10½, perfect bound, yellow plastic slip cover, Pimlico Book Company, printer.

2 Douglas Bowden/Nils Kloth, design directors Mill+ (London, United Kingdom), design/ animation Daniel Budin/Hugo Vaughan Hughes, editors Oliver Harris/Matt Whitewood, 3-D artists Oana Anghel, producer Luke Colson, executive producer D&AD, client “D&AD 2014 Title Sequence” 1:07 “This year’s D&AD title sequence idea was based on the concept of a design carousel.

The Mill+ designers and animators set out to develop machines that represent design’s creative vastness, inspiration and process. Every beautiful machine in the sequence unveils a piece of information to the user. The piece is simple, yet hypnotic with images enhanced by intrinsic sound effects from Angell Sound Studios.”

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STUDENT WORK 1 (series) Kaeli Wood, designer Adrian Pulfer, instructor Brigham Young University (Provo, UT), school “This is a proposed update of Wild magazine, which focuses on art, fashion, music and world issues. I wanted to push it further by adopting contemporary design influences from Scandinavia and Japan. The fluctuating masthead and large page numbers in the center give freedom to the simplified structure. This was a conceptual redesign for the magazine, so I did two covers and spreads, a table of contents, department and two features.” 7¾ × 10½, 4-color. © Kaeli Wood

2 (series) Wenjie Lu, designer Ellen Lupton/Jennifer Cole Phillips, instructors Maryland Institute College of Art (Baltimore, MD), school “Out of Print uses images, sound and motion to create interactive environments. To push the boundaries of graphic design, as methods of visual communication are changing, I considered the many ways people can interact with visual information. My project invites the audience into a multidimensional space. I used a Leap Motion sensor to allow people to see, listen and play with graphic design.

This project contains three parts: an interactive installation, posters from the process and an instructional video. These three parts tell a similar story across different media, connecting traditional graphic design practice with interactive design.” © Wenjie Lu

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STUDENT WORK 1 (series) Sam Wood, designer Adrian Pulfer, instructor Brigham Young University (Provo, UT), school “This is a proposed rebranding for the Museum of the Moving Image in Astoria, New York. The museum hosts an incredible collection of props, prototypes and equipment related to film, television and video games. For the identity, I was inspired by the distortion found on old VHS tapes.” © Sam Wood

2 Luke Scott, designer Megan Au/Elliot Ferguson/Alistair McCready, contributing artists Jonty Valentine, instructor Auckland University of Technology (Auckland, New Zealand), school “Stemme is a publication for the art and design faculty of Auckland University of Technology (AUT), one of New Zealand’s premier design schools. We aim to create a space for dialogue and discussion, inspiring collaboration within AUT and the wider design industries on both global and local scales. Stemme probes beyond established design disciplines, challenging the current discourse and ultimately enriching it.” 96 pages, 7¾ × 10½, 4-color plus 2 PMS, perfect bound, UV on cover text. © Luke Scott

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STUDENT WORK 1 Hieu Tran, designer Kristen Spilman, instructor Maryland Institute College of Art (Baltimore, MD), school “This book is a collection of documents that I accumulated when I was an undergrad at Johns Hopkins University. For this project, I wanted to reminisce about the topics I had studied before I became a designer. I scanned materials from nine different classes across five different fields of study. Then, I studied the visual language of each subject and designed a set of icons for the nine classes.” © Hieu Tran

2 (series) Shaily Shah, designer Rahul Sawant, art director David Hake, instructor Academy of Art University (San Francisco, CA), school “The Safe Catch campaign addresses the evergrowing problem of overfishing through design that piques seafood buyers’ interest in this environmental issue, without adding undue social pressure. Through below-the-line media like brochures, posters, calendar cards and pointof-sales materials, the Safe Catch label was introduced in the market to help consumers and businesses make the right choices for healthy oceans and create local supply and demand for environmentally sustainable seafood products.” © Shaily Shah

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STUDENT WORK 1 (series) Renana Irsai, designer/illustrator Afik Naim/Guy Saggee, instructors Bezalel Academy of Art and Design (Jerusalem, Israel), school “A graphic Identity for Chapachuka, a fictional threeday children’s festival that hosts theater and dance acts from around the world. The figures represent the festival’s muses, a concept deeply connected to classical theater and Chapachuka’s culture.

Illustrations were inspired by late 19th-century and early 20th-century art, avant-garde theater and mime. The logo and titles were hand lettered.” © Renana Irsai

2 Pin-Ju Chen, designer David Phillips, instructor Kingston University (Kingston, United Kingdom), school “Font Book is an experimental project demonstrating three forms of type—regular, italic and bold—by using different binding methods. I selected three signs to symbolize the forms: the sun and the moon show up regularly, the fluidity of italic is similar to water, and the bold fonts are as stable as mountains.” 28 pages (regular); 56 pages (italic); 90 pages (bold); 7¼ × 9¼, 4-color, saddle stitch with thread (regular); coptic stitch (italic and bold). © Pin-Ju Chen

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STUDENT WORK 1 Ramla Ali, designer Jeffrey Davis, instructor Texas State University (San Marcos, TX), school “Brand identity created for an artisan cheese shop as a touchpoint, from a brand systems course project.” © Ramla Ali

2 (series) Hannah Hart, designer Michael Whitney, instructor Savannah College of Art and Design (Savannah, GA), school “These tequila bottles were inspired

by Mexican culture, arts and religion.

For each bottle, I incorporated an important element in Mexican history and religion: Mayan gods.

I wanted to bring these gods to life in sophisticated, yet lively illustration. They were transferred onto the bottle with acetone and finished carefully by hand. The outer packaging has been altered to resemble Mexican stucco housing. The handmade and fired tiles detach from the box to become coasters for your tequila drink.” © Hannah Hart

3 (series) Josh Schott, designer Paul Kepple, instructor Temple University, Tyler School of Art (Philadelphia, PA), school “The design challenge was to create and brand an educational exhibition on the history and timeline of the anti-apartheid movement in South Africa for a United States audience.

The invitation to the opening of this exhibition would be one of 27 different matchboxes whose visuals are inspired by specific turning points on the timeline. Nelson Mandela used matchboxes as a covert communication tool during his imprisonment on Robben Island.

He and his fellow prisoners would fashion false bottoms in the matchboxes to secretly exchange information.” © Josh Schott

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STUDENT WORK 1 (series) Lauren Igo, designer David Jones, instructor West Chester University of Pennsylvania (West Chester, PA), school “This self-directed project involved designing a brand identity and packaging system to embody the simple sophistication of acai berries and the understated beauty of their Brazilian roots. The brand was inspired by the legend of acai—a story of sacrifice and an Amazonian Indian girl named Iaca. The berry was allegedly discovered

by Iaca in a heartbreaking quest for her child and was named after Iaca, spelled backwards.” © Lauren Igo

2 (series) Josée Provost-Tremblay, designer Louis Gagnon, instructor Université du Québec à Montréal (Montréal, Canada), school “A branding and packaging project of Flora, a fictional brand of high-end cosmetics that sells fresh, handmade products.” © Josée Provost-Tremblay

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COMMUNICATION ARTS

2016 INTERACTIVE COMPETITION CALL FOR ENTRIES DEADLINE OCT 2, 2015 Judged by the who’s who in interactive media, the competition winners will be published in the 2016 Interactive Annual, both in print and on the iPad, and on the Communication Arts website, assuring a prominent place on the industry’s premier stage.

ENTER ONLINE NOW

COMMARTS.COM/COMPETITIONS/INTERACTIVE Each winning entrant will receive a personalized Award of Excellence, milled from solid aluminum.

Winning projects shown from Communication Arts Interactive Annual 21 (March/April 2015)

SPONSORED BY:

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FRESH AMANDA LEIGH SMITH

Her images evoke a rebellious 1970s Easy Rider road trip through rural America, but 28-year-old photographer Amanda Leigh Smith is unmistakably millennial, a member of “Generation Nice.” “Clients say my shoots are the least stressful they’ve done,” says Smith, who keeps it simple on the job, shooting film with a standard 35mm SLR. Not one for digital pre-shoots or post-process work, Smith says, “I trust my eye and my gut, and focus more on the experience than the technical.” Originally from Cypress, Texas, Smith now splits her time between Portland, Oregon, and her husband’s hometown of Whistler, British Columbia, shooting nostalgic magazine editorials and campaigns for fashion, outdoors and lifestyle brands. Last year, the couple journeyed 10,000 miles on a custombuilt motorcycle across South America, and they’re currently constructing a “rolling home” atop a 1953 flatbed truck, to continue their adventures. Smith’s motto comes from Thoreau: “Go confidently in the direction of your dreams. Live the life you’ve imagined.” aleighsmith.com

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1. Portrait of Olivia Bee for teen magazine Rookie. Claire Everson, art director; Tashina Hill, stylist; Olivia Bee, client. 2. Portrait of blues-rock drummer Chance Anthony Welton. Jesus Sons, client. 3. James Crowe in Bolivia. Personal work. 4. Kristy Jacobsen modeling for a T-shirt company, published online in Nylon. Elliot C. Way, art director; Jill Ashley, producer; Born A Bad Seed, client. 5. Kelsey McNiece modeling for a Portland, Oregon–based jewelry designer. Claire Everson, art director; Tashina Hill, stylist; Jessica Ilalaole, producer; CobraCult, client. 6. The Chicago-based band Whitney for the DFY spring/summer 2015 campaign. Jacob McNeill, creative director; Jason Ehrlich, agency producer; Yonder, ad agency; DFY, client. 7. Genesy Rogers and Clarke Flowers modeling for Ladygunn magazine. Claire Everson, art director; Genesy Rogers/Amanda Leigh Smith, creative directors; Claire Everson/Tashina Hill, stylists; DeAngelo Raines/Charity Stratos, producers; SERVICE, production company; Ladygunn, client.

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1

FRESH ORLIN CULTURE SHOP

Since he was old enough to hold a crayon, Brian Edward Miller had dreamed of a career drawing worlds of fantasy in comic books.

Discouraged by a high school teacher who warned against this lowpaying vocation, Smith instead studied graphic design and spent ten working years pining for projects that incorporated illustration into their design. In 2011, Miller finally took charge of his destiny, launching Orlin Culture Shop, his own studio in his young family’s home in Erie, Colorado. Within two years, Miller was able to focus fully on illustration work for a wide range of editorial and advertising clients, pursuing “beauty and story” in the imagined landscapes of his youth, with his own children by his side. Forever in pursuit of creative satisfaction, Miller’s next goal is to write and illustrate his own picture books. “Reading to my kids helped me see ways I could contribute to culture by creating visuals and stories of my own.” orlincultureshop.com

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3

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5

1. Custom illustration used for a theme for Opera. Opera Software, client. 2. An homage to the vintage American farms of Miller’s family. Personal work.

3. Illustrations commissioned for in-store displays and website backgrounds for Every Mountain. Andrew Wood, art director; Every Mountain, client.

4. Editorial illustration for Field and Stream magazine. Russ Smith, art director; Field & Stream, client. 5. Custom poster drawn for Raleigh Bicycles. Evan Moss, creative director; Jen Lemmer, Raleigh USA, client.

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FRESH LETA SOBIERAJSKI

Brazen colors define the designs of Leta Sobierajski. The multidisciplinary designer and art director picked up a love of solid swatches when she painted with gouache, like Matisse, at SUNY Purchase College. “I continued to explore new mediums—in the woodshop, the print shop and the plaster studio—and took any opportunity to stay physical with my projects. Design became a way for me to combine all of those things.” Today, Sobierajski’s variegated work includes illustrations, installations, editorials, moving pictures, branding, typography and more. Even in her graphic design, she conveys her love of physicality through shapes and images so tactile and spacious, you could almost enter their world. She also gets physical in the sexy sense, with a “bold and colorful kinkiness” that doesn’t shy away from the human body. “I like to push boundaries. Graphic design isn’t just a job—it’s also an outlet for me, and my clients understand my desire to create work with a different visual vernacular.” letasobierajski.net

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3

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5

1. Photography and custom-illustrated garment patterns. Tom Neal, photographer; Amy Chin/Courtney Cho, stylists; Print All Over Me, client. 2. Four portraits that complement each other for an Australian-based sock company. Odd Pears, client. 3. Imagery in a four-color primary palette for IBM’s Chef Watson recipe app. Ogilvy & Mather, ad agency; Sue Murphy, client. 4. Inspired by Paul Rand’s 1978 riff on the AIGA logo, this blinking eye for AIGA’s Eye on Design blog is both forward-focused and a nod to its past. Perrin Drumm, editor; Michael Dijkstra, programmer; AIGA, client. 5. Portrait photography book Complements explores Sobierajski’s relationship with her partner, Wade Jeffree, and pokes fun at cheesy couple photos. Wade Jeffree/Leta Sobierajski, art directors.

Personal project.

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Five Designers Share Their Treasured Finds ARUTZA RICO ONZAGA p576 Bogotá, Colombia

Pixelsonrails Lystrup, Denmark

Must-read design pub: Every designer has to read Emigre magazine issue 69, “The End,” because its essays describe the importance of design beyond the commercial level. I was amazed by the mixed type and deconstruction legibility models proposed by Emigre, which took inspiration from the linguistic theories of Derrida, Barthes, Chomsky and so on. I think designers should return to such a deep level of exploration.

Cherished gadget: The Adobe Illustrator blend tool. There has been a lot of interest in the way I’ve used the tool for my digital art project I speak fluid colors. Adobe invited me to host two webinars about my method. Inspired by my webinars, designer Iryna Korshak created Tenar, a floral makeover of Times New Roman, transforming one of the most well-known fonts into something fashionable, in vogue.

Creative fuel: I often buy a book that matches my client’s values or personality. For example, I just finished a project for a weddinggift store with a brand based on simplicity and long-lasting stories.

So I read a book about architect Ludwig Mies van der Rohe to absorb his style of minimalism and durability.

Universal color theory: I’m fascinated by physics, cosmology and colors! Not only from a design perspective, but also in terms of the science behind colors. I find it important to use design elements in a way that’s meaningful. By studying what colors communicate in nature and the cosmos, you gain a broader understanding of what colors really are. I find that very inspiring.

Guilty pleasure: I love silence.

Mind-blowing design: Isidro Ferrer’s posters for Spain’s Centro Dramático Nacional exquisitely combine poetry, type and humor.

I love his typographical solutions: letters that form animals, letters that give us a clue about the play or its plot. Each poster features an enigmatic combination of irony and play.

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Design Annual 2015

Game-changing design: The 3-D printed shoes for United Nude—designed by Zaha Hadid, Ross Lovegrove, Ben van Berkel, Michael Young and Fernando Romero—were mind-blowing!

Cutting-edge technology meets cutting-edge design. Also, Nina Geometrieva’s Colorgasm scroll art is simple, sensual and surprising. I haven’t seen anything else like it.

NICOLE MARTINEZ

ROB PRATT

SHARON WERNER

Facebook Creative Group Brooklyn, NY

Brand & Deliver London, United Kingdom

Werner Design Werks St. Paul, MN

Timeless tool: Drawing pens. I can’t walk into an art supply store without buying a Micron, Copic or Faber-Castell pen set.

But people steal them from me all the time, so it’s not like I’m swimming in pens at home. (That’s me justifying my behavior.)

Buzzword to take seriously: Omnichannel user experience. A good designer doesn’t have boundaries—I’m a big believer in that. It’s something that I’ve always thought should be promoted, especially to clients. Now it’s finally getting out in the open. Our work isn’t just decoration; design should influence all aspects of business. Successful companies such as Apple and Google understand this and put design first.

I just wish this approach would trickle down faster.

Analog aid: My must-have tool is a Schaedler Precision Rule. It’s completely flexible, enabling you to bend it around a bottle and get accurate measurements in both metric and standard inches and even points and picas. The ruler is expensive, but if you don’t accidentally cut through it with my other favorite tool, an X-Acto knife, you’ll have it for years. I still use my first Schaedler ruler from 25 years ago. It has an old coworker’s name marked on it (sorry, Lynn, I stole your ruler).

Fresh take on the industry: George Whitesides’s TED Talk “Toward a Science of Simplicity” really breaks down simplicity: what it means, how to define it and why it’s so important. But in design, even though we aim for it, achieving simplicity is not as easy as it sounds. It can be a complex process to get there. We’re not always asking the right questions or looking at the right problems. And in interactive design, the Internet is so innately complex, but the most successful ways we use the Internet boil down to one simple use: searching with Google, connecting with people on Facebook, and so on. As designers, it’s up to us to distill ideas into simple forms that people can use.

Smile-inducing design: Emily McDowell is so clever. Not only are her greeting cards beautiful, but they also acknowledge a lot of human truths that aren’t usually addressed in greeting cards. She has taken a trite medium and turned it into something irreverent and personal.

Go-to planner: Clear is a to-do list app that’s simple and intuitive. The interface works just as beautifully on mobile as it does on desktop—the ultimate in simple user experience. It’s always open on my computer.

Old-fashioned hobby: Collecting stamps.

I love the format, the small amount of space to play with and the purity of it all.

Nothing is wasted because it can’t afford to be. I have stamps from all over the world.

Design to envy: I love simple design with a strong idea at its core. The logo for the Guild of Food Writers is a great example of design that’s very simple, yet clever. It is very much an “I wish I did that” piece of design.

Staying current: I try to keep an open mind and not just focus on the creative industry press, as you never know where an idea or new piece of technology might be lurking. I follow everything from the Mighty Gadget blog to the BBC News to Creativepool’s The Week in Tech to the video game magazine Edge.

Splurge-worthy investment: Color, as much as our design team can get our hands on. Of course, we have the normal sets of Pantone books, but we absolutely love the Pantone Color Specifier for Fashion, Home + Interiors. If we select a non-Pantone color, we’ll have an ink company mix a custom pigment to match the chip. Then we’ll have a CMYK formula developed as well.

Research standby: The library—I know, how old-fashioned—the Wilson Library at the University of Minnesota, to be precise.

There is nothing better than searching the library catalog, walking directly to a specific title and exploring all the books around it. It can expand your conceptual and visual thinking in a way that a Google search can’t. You’ll likely see a book from 2014 next to one from 1814, and that alone can inspire an idea. Recently, I was researching Tahiti with a writer for a rum project, and we immersed ourselves in everything from Tahitian tattoos to a seafaring missionary’s diary from the 1700s.

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Unbrandable

#HowToSucceedIn TheNewBrandSpace

By Adam N. Stone

Print Matters The Cutting Edge of Print

By Viction Workshop 256 pages, softcover, $39.95 Published by viction:ary victionary.com

Print Matters explores the world beyond mere digital printing. A new group of creative practitioners is exploring the bells and whistles of print, often to stunning effect. More than 110 recent projects are shown in the categories of “Branding & Identities,” “Books & Pages,” “Posters & Invitations,” and “Products & Packages,” featuring the use of foil stamping, die cut, thermal prints, technical folds and many other treatments once relegated to the back burner by environmental concern. Although the visuals offer an array of fun and often surprisingly creative approaches, the reproduction quality— perhaps because of the soft paper stock—renders some of the illustrations a bit fuzzy.

More troubling is the writing quality. The foreword exhorts readers to use and even abuse the book, to draw from it every measure of creativity. This possibility would be enhanced if the captions were less esoteric—the writing is uneven and not edited for consistency, probably because of the international nature of the work. This does not take away from the inventive and clever use of such devices as a pop-up crepe paper dome on a poster invite or a 3-D topographic calendar for Land Rover. Fifteen printing and production techniques are deftly demonstrated by an international roster of contemporary designers. —Anne Telford Print matters » Branding & Identities

World Cup Stamps 2014 — by MAAN Design Studio

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Photo: Photographer Client: Client Name Effects: xxxx, xxxx

Print matters » Product & Package

Project Name — by Designer

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UV

In Unbrandable, Adam N. Stone has identified a subculture that refuses to grow up, settle or sell out. But will they buy in?

To answer that question, Stone defines the space where brands must operate if they are to reach the unbrandables. Informal case studies of this tribe, ranging from the Beastie Boys to In-N-Out Burger, are interspersed with conversations with brand shamans and brief essays on selling, buying and doing good. Brands are dead, long live brands. 184 pages, softcover, $24.95, Thames & Hudson. —Sam McMillan

Munari’s Books

The Definitive Collection of Book Designs

by Bruno Munari

By Giorgio Maffei

Picasso labeled him “the Leonardo of our time,” but I had never heard of Bruno Munari (1907– 1998) until this book landed on my desk. He touched the worlds of painting, sculpture, design, photography and education. This first English-language monograph focuses on Munari’s book designs over a lengthy career. And the simple elegance of the book’s design underscores Munari’s bold use of color and shape, demonstrating that no matter the decade, his work was fresh, bold and modern—and still worthy of our attention today. 285 pages, softcover, $40, Princeton Architectural Press. —A.T.

Inside the Machine

Art and Invention in the Electronic Age

Photo: Photographer Client: Client Name Effects: xxxx, xxxx

By Megan Prelinger

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033

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The future’s not what it used to be. Inside the Machine celebrates the commercial art, posters, graphics, illustrations and advertising from companies that defined the electronic age, from the 1940s to the 1960s. Illustrated with more than 150 images, Inside the Machine is a fantastic examination of the graphic techniques that portrayed our mid-century dreams of the future. 272 pages, hardcover, $35, W.W. Norton & Company. —S.M.

How Posters Work

By Ellen Lupton 208 pages, softcover, $29.95 Published by Cooper Hewitt, Smithsonian Design Museum cooperhewitt.org

In this diverse poster collection, writer and educator Ellen Lupton presents an entertaining analysis of how designers see.

The selection of both wellknown and unfamiliar prints includes more than 125 posters from Cooper Hewitt, Smithsonian Design Museum, where she is senior curator of contemporary design. Lupton groups the work into fourteen visual principles, such as “Overwhelm the Eye” and “Manipulate Scale,” to illustrate how technical experimentation amplifies visual messages. With fascinating imagery and rich explanations, this collection will inspire designers to expand their visual vocabulary and find new ways to connect with viewers.

A simultaneous exhibit at the museum runs through January 2016.

—Ruth Hagopian

Graphic Design Visionaries

By Caroline Roberts 312 pages, softcover, $40 Published by Laurence King Publishing laurenceking.com

“Visionary” is a lofty title to bestow on anyone, yet it suits the design greats in this collection by journalist and author Caroline Roberts, editor of Grafik magazine.

Beginning with the architectural typography of Swiss designer Piet Zwart and closing with inventive letterforms from M/M Paris, Roberts includes influential prints, posters, logos, and book and album covers from 75 designers and design firms from around the globe. The designers’ portraits and a timeline of the years they were employed—and occasionally fired—vitalize the major achievements of their notable careers.

Kudos to TwoSheds Design for the book’s elegant layout, which helps readers navigate a century of remarkable work. —R.H. Communication Arts | commarts.com

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INDEX TO DESIGN ANNUAL 56 a

Abbate, Liz 167 Abbott, Miles 143 Academy of Art University 188 Advertising & Design Club of Canada 175 The Advisory Board Company 163 Ahlberg, Peter 183 Airbnb 114 Albuquerque, Lita 130 Aldridge, Brad 163 Alexander, Rob 89, 176 Alger, Jonathan 163 Ali, Ramla 192 Allen, Chris 156 Alzheimer Society of Toronto 160 Amato, Kelly 123 Anderson, Charles S. 168, 179 Charles S. Anderson Design Co. 168, 179 Anderson, Claire 111 Anderson, Jordan 132 Anderson, Keith 87 Andre, Nancy 99 Andreassen, Christin 87 Anghel, Oana 183 Apple 163 April, Mark 152 Arai, Miki 135 Arias, Philip 180 Arjowiggins Creative Papers 168 Armstrong, Allie 95 Armstrong, EJ 175 Armstrong Pitts Studios 175 Arnold, Johnna 163 Arpin, Emmanuelle 171 Ashner, Stuart 95 Ashworth, Chris 111 Ashworth Golf 143 Associação Audio-Visual CUT 79 Au, Binh 143 Au, Megan 187 Auchu, Claude 103, 116 Art and Design Faculty of Auckland University of Technology 187 City of Austin 108 Avgoustaki, Tonia 99

b

Baird, Rob 108 Balasa, Ioana 151 Ballet BC 156 Barfoot, Jeff 107 Barrett, Hayley 103 Bartlett, Brad 130 Brad Bartlett Design 130 Battarbee, Kristi 123 Baumann, Bastien 87

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Design Annual 2015

Bécotte, Antoine 171 Beelik, Gary 159 Belanger, Kevin 93 Belton, Camilla 147 Bennett-Day, Steven 116 Benoudiz, Daniel 96 Berends, John 123 Berglund, Laura 176 Bezalel Academy of Art and Design 191 Bieneman, Karyn 83 Bierut, Michael 84, 90 Billys, Edward 103 Bindloss, Bryan 164 Bisson, Sébastien 124 Bjarnason, Oscar 108 Blank, Ryan 87 Blankiet Estate 104 Bleeden, John 83 Block Club 148 Blok Design 107, 135 Blu Dot 130 Blue Beetle Design 139 BNIM 164 Boam, Eric 155 Böhringer, Friedrich 127 Bonini, Steve 127 Boothe, Kevin 107 Borck, Dylan 127 Boundless 108 Bours, Benjamin 152 Bowden, Douglas 183 Boy Scouts of America 164 Boyd, Lizi 143 Brand, Erin 159 Brandon Moving & Storage 108 Breton-Allaire, Léo 171 Broadway Video 167 Brodsley, Adam 164 Brother Design 96 Brumbalow, Jason 100 Bucchino, Michael 116 Budin, Daniel 183 City of Buenos Aires 160 Bull Durham Beer Co. 109 Bunny, Paula 96 Leo Burnett Chicago 95 Leo Burnett Germany 172 Leo Burnett Toronto 113 Burnkit 156 Burns III, Roy 104 Bussell, Oli 120 Buth, Kevin 143

c

C&G Partners 163 Cables & Arms 96 Cactus 42 Apartments 109 Caliber Creative 109 Campbell, Cosmo 80 Campbell, Jon 99

Canadian Civil Liberties Association 159 Canales & Co. 95 Canales, Jose 95 Capisto, Ramiro 160 Carboni, Chris 167 Casa Rex 148 Catapult Strategic Design 109 Chana, James 87 Chandra Rugs 135 Chekal, Oleksij 95 Chen, Daniel 155 Chen Design Associates 99 Chen, Hao-Chiang 99 Chen, Joshua C. 99 Chen, Pin-Ju 191 Chessum, Jake 87 The Art Institute of Chicago 159 Chin Huei, Goh 139 Chiu, Jeremiah 159 Chiu, Patrick 79 Choi, Brent 160 Choi, Paul 152 Choi, Yosub Jack 179 Chong, Emily 155 Chou, Crystal 139 Chouinard, Gilles 116 Christie’s 129 Chronicle Books 143 Chu, Hsiang-Yi 99 Chung, Kapono 108 Cieciora, Tana 180 Clarke, Caroline 160 Clockwork Productions Inc. 93 Code Organa 167 Cole, Denise 160 COLLINS 104, 144, 168 Collins, Brian 104 Colman’s 99 Colson, Luke 183 Communications Johanne Demers 116 the community/la comunidad 160 Confraria de la Ratafia 95 Conrad, Brock 140 Conrad Gargett 164 Constellation Brands 99 Contemporary Jewish Museum 163 Copic Markers 83 Cornwall, Devin 163 Corral, Rodrigo 148 Rodrigo Corral Studio 148 Cortelletti, Ailadi 155 Cortese, James 155 Cossette 171 Creative Artists Agency 159 Creative Artists Agency Foundation 159

Credle, Susan 95 Crick, Ben 104 The Criterion Collection 144 Criterium 111 Cronin, Tim 132 Crouchman, Ryan 113 Cult Partners 95 Cunningham, Whitney 129 Curry, Jeff 87 Curtis, Jack 80 Cutler, Craig 87 Cutler, Marta 107, 135

d

D&AD 183 D’Acri, Leslie 87 Danz, Medora 130 Darland, John 83 Davie, Tom 156 Davis, Brandon 148 Davis, Colin 167 Davis, Jeffrey 192 Dawson, Claire 129, 175, 179 Day, Rob 120 DDB Canada 80 De La Cruz, Alejandro 155 de Pomereu, Jean 130 de Varennes, Jacques 100, 127 Dealy, Chris 136 Deb, Samyabrata 114 Delgado, Carla 155 DelGaudio, Michael 155 Design Army 176 Design Exchange 135 Design Ranch 90 DesignBridge 103 John Dewar & Sons 100 Dilone, Manuel 116 DK Studios 167 Dolan, Fab 129 Dorietto, Gustavo 83 Dotdash 164 Drakatos, Spiros 99 DreamWorks 123 Drimalas, Dora 139 Drummond, Terry 83 Duarte, Louis 83 Dubois, Frédéric 127 Duckworth, Bruce 90 Ducroz, Lindsey 155 Dunford, Josh 156

f

Fafard, Marc-André 103 Farevaag, Bryan 108 Farnham Ale & Lager 100 Faulder, Frances 99 Favre, Malika 151 FCB Chicago 83 Feakins, Rob 180 Fehr, Josh 80 Femia, Mike 139 Ferdinand, Bill 103 Ferguson, Elliot 187 Ferreira Design Company 135 Ferreira, Laura 135 Ferreira, Lionel 135 Ferrino, Marc 108 Fetrow, Mike 180 Fietsam, Dan 83 Fiocca, Rob 113 First Private Brewery Group/ OASIS 95 Fishkin, Mark 90 Fitzhugh, Eliza 163 Flake, Stuart 130 Flannery, Jon 83 Flores, Nicole 139 Foodstuffs Own Brands 96 Forbes, Daniel 95 Forkert, Clea 129, 179 Fortnum & Mason 103 Fouad, Daniel 163 Fox, William 130 Fraenkel Gallery 132 Fraley, Natasha 164 Franks, Rob 79 French Paper Company 168, 179 frog 155 Frølund, Marlene 104 Frost, Vince 147 Frost*collective 147 Fuze Reps 113 FX Productions 167 FXX 167

g

e

Ebershoff, David 148 Eckstein, Vanessa 107, 135 Editora Veneta 148 Elena-Lenz, Carlos 155 Elliott, Antonia 103 Elton, Zoe 90 Eric Rob & Isaac 108 Erives, Silvia 109 Eskanazi, Elise 171

Gabouer, Kyle 172 Gagnon, Louis 119, 194 Gandy, Matt 99 Gardiner, Daryl 80 Gast, Agnieszka 172 Gendels, Ross 116 Ghazarian, Saro 160 Gillingham, Sara 143 Gittings-Robert, Jane 103 Giussani, Bruno 139 Goldman, Chuck 155 Good People Brewing Company 104 Google Canada 129 Gordon-Smith, Richard 123 Goulet, Cindy 116 GQ 152 Graficom srl 179

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NOVEMBER/DECEMBER 2014 ADVERTISING ANNUAL 55

JANUARY/FEBRUARY 2015 TYPOGRAPHY ANNUAL 5

MARCH/APRIL 2015 INTERACTIVE ANNUAL 21

MAY/JUNE 2015 ILLUSTRATION ANNUAL 56

JULY/AUGUST 2015 PHOTOGRAPHY ANNUAL 56

You can order back issues of Communication Arts at commarts.com, or by phone at (800) 258-9111 from the United States and Canada and (650) 326-6040 from all other countries.

Communication Arts

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INDEX TO DESIGN ANNUAL 56 Museum of Fine Arts, Houston 155 Houtz, Michael 79 Howe, Austin 96, 127 Hsu, Mariela 176 Huang, Diny 155 Hudson, Jaclyn 83 Hughes, Drew 104 Humble Coffee Company 108 Hunting, Rod 80 Hybrid Design 139

Graham, Ben 172 Grais, Ian 107, 109 Grannan, Katy 132 Graphic design studio by Yurko Gutsulyak 95 Gravel, Catherine 103 Graw, Renata 136, 159 Gray, Irene 180 Graydon, Michael 129 Green Schoop, Allison 155 Green, Sheraton 168 Greenberg, Lisa 113 Greene, Zak 163 Griffin, David 151 Griffin, Lauren 108 Groupe 29 Février 103 Grovestone 99 GSD&M 108 Guan-yu, Wang 100 Gude, Claire 90 Gunter, Bill 123 Gutsulyak, Yurko 95

h

i

I Am Farevaag 108 IBM 87 IDEO 140 Ideoso Design Inc. 99 Igo, Lauren 194 ilovedust 87 Independence Brewing Co. 95 Innnes 108 Irsai, Renana 191

Habibi, Sarah 144 Hadem, Juliane 87 Hahn, Mike 87 Haimon, Marion 116 Hake, David 188 Hall Family Foundation 90 Hall, Gloria 87 Hamada Children’s Museum of Art 84 Hamilton, Brian 111 Hanqingtang Design Co., Ltd. 79 Harman, Ben 108 Haroldson, Melanie 132 Harris, Ilise 87 Harris, Jonathan 111 Harris, Oliver 183 Harris, Patti Ann 147 Hart, Hannah 192 Hart, Nick 180 Hartman, David 104 Haumersen, Mark 123 Havas Worldwide, New York 116 Hayes, Adam 87 The Heads of State 79 Heiman, Eric 164 helia 116 Helvadjian, Danilo 148 Here There 109 Herriott, Nikole 129 Hester, Jeff 95 Hester, Michael 175 Higgison, Greg 129, 179 Hinkelbein, Gerrit 136 Hoit, Craig 111 Holder, Andrew 96 Hollingsworth, Jovaney 179 Homan, Paige 159 Hornall Anderson 99 House-Maison 113

j

J3 Productions, Inc 152 Jacintho, Samia 148 Jackson, Jim 123 Jackson, Lisa 155 Jacob, Alexandre 100 Jacques, Barbara 171 Jannelle, Geneviève 116 Jascaffe China Co., Ltd. 99 Jewell, Bridget 123 Jin Jo, Heui 116 Jin-heng, Wen 100 John, Judy 113 Johnson, Ben 108 Johnson, Erik 168, 179 Johnson, Kenny 90 Johnson, Ragina 164 Johnstone, Sam 160 Jónasdóttir, Helga Birna 127 Jones, David 194 Jordan, Claire 95 Jordan, Nicole 90 Juniper Park 83

k

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Design Annual 2015

Kagioka, Ryumon 84 Kai & Sunny 87 Kalaher, Patrick 155 Karayannis, Giorgios 103 Karlsson, Emil 87 Karnes, Eric 87 Kasell, Leah 163 Kay, Alexis 176 Kayal, Brad 96 Kemp, Erin 164 Keng Leong, Chua 139 Kepple, Paul 192 Kernevich, Jason 79 Kiekhafer, Andy 123 Kielty, Holly 103 Kim, Estelle 116 Kimball, Lee 123

King, Brett 96 King Koin Launderette 107 Kingston University 191 Kirkpatrick Foundation 151 Kloth, Nils 183 Knauer, Karen 123 Kobayashi, Mark 155 Kolossos Incorporated 103 Kombi 124 Koval, Jamie 140 Kowaleczko, Natalia 95 Krol, Pawel 79 Kropa, Rachel 159 Krysti, Lauren 132

l

La Fonda Gràfica 95 La Station Organique 103 Laeufer, Andreas 172 Laeufer, Justine 172 Lagueux, Chany 111 Lajboschitz, Suzanne 104 Lambert, Ashleigh 103 Lanctôt, Catherine 103, 116 Larroquet, Nicolas 160 Le Liboux, Kim 132 Leclerc-Dion, Marie-Ève 103 Lee, Dean 80 Lefebure, Jake 176 Lefebure, Pum 176 Lehigh University 79 Lei, Bob 79 Lester, Michael 87 Levasseur, Antoine 103 Lewis Communications 104 Lewis, Mary 104 Lewis Moberly 104 lg2boutique 100, 103, 116, 127 lg2fabrique 103, 116 Light, Cody 129 Lim, Elliot 167 Little, Brown and Company 147 Lizcano, Siddharta 155 Lo, Jonathan 152 Loehr, Brian 95 Lofgreen, Art 109 Lomanto, Mike 87 Long Point Waterfowl 93 Looney, Butler 108 Lu, Wenjie 184 Luba, Roman 180 Lucas, Elizabeth 87 Lucky 21 107 Luetkehans, Nate 89, 176 Luftwerk 136 Luigi Lavazza S.p.A. 104 Lupton, Ellen 184 Lussier, Pierre 103 Lynch, Megan 155 Lynn, Christopher 104 Lyons 164

m

MacKellar, Ian 93 Maclay, Sam 108

MacLeod, Frances 95 MacMillan, Amy 155 Madden, Keith 163 Madill, Alan 83 Mallart, Louis 87 Manifold, Greg 151 Mannix, Jason 151 Mannix, Lindsay 151 Mao, Dominique 89, 176 Marino, Chris 140 Markley, Dave 123 Martin, Aaron 152 Maryland Institute College of Art 184, 188 Maschmeyer, Leland 104, 144, 168 MassMutual 140 Matz, Starlee 127 Mazur, Sam 87 McCready, Alistair 187 McCune, Louisa 151 McDonald’s 95, 167 McFetridge, Geoff 80 McGowen, Brice 164 McGrath, Tim 108 McHeffey, Joe 116 McKague, Cameron 179 McManus, Emily 139 McMullen, Brian 164 John McNeil Studio 132 McNutt, Ben 89 Melvin, Sheldon 143 Merrill, Ann 132 Messina, Steve 148 Meyer, Nicole 123 Michael, Chad 99 Chad Michael Studio 99 Microsoft 111 Mill Valley Film Festival 90 Mill+ 183 Miller, JJ 111 Miller, Matt 123 Mindflyer 87 Minnich, Bryan 176 Mitchell, Julie 159 Mithun 164 Mixter, Win 109 Mixter, Zan 109 Moallemi, Arash 113, 135 Moffat, Sarah 90 Molander, Ida 164 Molla, Joaquin 160 Molla, Jose 160 Molloy, Julie 148 Monick, Dan 130 Monnens, Joe 180 Monnet Design 172 Monnet, Stéphane 172 Montoya, Fancy 167 Montréal en Histoires 119 Morey, Timothy 155 Moroch 167 Morrow, Sally 96 Sally Morrow Creative 96 Munn, Jason 160 Muñoz, Guillermo 160

Murphy, Brandon 109 Murphy, Connor 123 Murphy’s Magic Supplies, Inc. 100 Myers, Michael Brandon 87

n

Naim, Afik 191 Nastasi, Domenic 164 Natural Recall 84 Neal, Suzanne 120 Neri, Claudia 168 Netflix 80 Nevada Museum of Art 130 Nguyen, David 114 Nickle, Blake 167 Niederberger, Claire 163 Norman, Taylor 143

o

O’Callaghan, Kirsten 180 Oakland Cemetery 156 Oddwood Ales 104 Oeth, Luke 79 Office 89, 176 Ogilvy Chicago 80 Ogilvy New York 87 Ogilvy Toronto 93 Oguma, Chikako 84 Old Town Distilling Co. 99 Olson 180 The One Club 176 University of Oregon School of Architecture and Allied Arts 127 Oscar Bjarna 108 Ouellet, Annie 124

p

Pacific Studio 164 Padin, Aaron 136 Pak, Eddie 87 Panday, Joy 160 Paprika 119 Paquette, Valérie 171 Parcel Design 159 Park, Soobin 116 The Partners 120 Paternoster, Francesco 179 Pavement 175 Pedrola, Heath 164 Peichel, Rob 123 Peña, Fidel 129, 175, 179 Penguin Books Australia 147 Penner, Zarmina 155 West Chester University of Pennsylvania 194 Pentagram 84, 90, 155 Pepe, Paolo 148 PepsiCo 103 PepsiCo Design & Innovation 103 Periscope 123 Persico, Steve 113 Petrie, Dr. Scott 93 Pham, Thuy 104

Phillips, David 191 Phillips, Jennifer Cole 184 Pieper, Joshua 163 Pierce, Jenny 129 Piferrer, Oriol 95 Piqueira, Gustavo 148 Pitts, Scott 175 Plural 136, 159 Poff, Kyle 95 Polygraph 151 Polygraphe 124 Por Taing, Johnny 104 Powell, David 93 Preacher 108 Pritikin, Renny 163 The Providore 139 Provost-Tremblay, Josée 194 Publicis Kaplan Thaler 180 The Publishers Association of China 79 Pulfer, Adrian 184, 187

Ryan, Dennis 180 Rygiel, Andrew 160

s

q

Quatre par Quatre 103 Association of Québec Advertising Agencies 171 Quinn, Barry 83 Quinn, Helen 132 Quittenton, Brian 93

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Radford, Stuart 120 Random House Publishing Group 148 Raposo, Ramiro 160 RBMM 107 Reedijk, Malin 104 Regimand, Julie 83 Rethink 107, 109 Reumont, Caroline 103 Rey, Adrian 160 Rey, Mervyn 87 Rheault, Maxime 111 Ricard, Olivier 124 Ricciardella, John 93 Rich, Susan 147 Richardson, Elise 87 Rigsby, Michael 164 Roberts, Fred 160 Roberts, Meg J. 87 Robertson, Jill 89, 176 Robitaille, Daniel 119 Robitaille, Luc 116 Rock, Victoria 143 Rodriguez, Daniel 163 Rossi, Gina 95 Rottmann, Julia 172 Rowland, Camm 167 Rowland, Jennifer 83 Rowson, Chris 87 Royal Caribbean International 136 Rozak, Chris 93 Rubin, Lawrence 159 Rui, Su 87 Rule, Clint 155

Saggee, Guy 191 Saint-Georges, FrançoisXavier 119 Sal. Oppenheim jr. & Cie. 136 Salon 94 132 Sandstrom Partners 127 Sandstrom, Steve 127 The Sandusky Clarion 156 Sandusky Library Archives Research Center 156 Sandusky Recreation Department 156 Sano, Bret 109 Santa Coloma de Farners City Council 95 Savannah College of Art and Design 192 Sawant, Rahul 188 Schiff, Doug 87 Peter Schmidt Group 136 Schmitt, Gabriel 83 School of Visual Arts 183 Schott, Josh 192 Schulte, Jason 176 Sciarrotta, Joe 80 Scott, Luke 187 Seguin, Denis 147 Seventh Flag Coffee Company 108 Severs, Jason 155 Sexton, Gary 163 Shah, Shaily 188 Shapton, Derek 135 Shenzhen Lajiao Design 100 Shin, Olivia 83 Si les objets pouvaient parler 111 Sidie, Ingred 90 Siegel, Ben 148 Simpson, Steve 87 Sirota, Peggy 152 Gene Siskel Film Center 140 Sjursen, Sandra 148 Skillman, Eric 144 Skira Rizzoli 130 Slade, Caroline 103 Slobodian, Michael 156 Small Tea 96 Smet, Garrison 152 Smith, Emmet 151 Snelgrove, Craig 90 Soames, David 167 Society of Grownups 140 Someone Creative 167 Somosi, Dora 152 Sonderegger, Michelle 90 Sosa, Fernando 160 South Texas College of Law 93 South Texas College of Law Communications 93 Spector, Max 99

Spelliscy, Ryan 160 Spicer, Shelley 90 Spilman, Kristen 188 Spir.to Branding + Design 99 Stagnoli, Elisa 168 Stanford, Chris 143 Staniul, Dylan 156 Staples, Chris 107, 109 Staszak, Tim 148 Steenstra, Kristin 159 Stenger, Kayley 108 Stephens, Morgan 90 Stephenson, Brandon 156 Steppenwolf Theatre Company 80 Sterling Creativeworks 99 Sterling, Cynthia 99 Stiles, Dan 87 Stout 160 Stout, DJ 155 Stranger & Stranger 100 strawberryluna 160 Stromgren, Erin 164 Studio Terpeluk 164 studiotwentysix2 156 Suh Bartlett, Elaine 130 Sullivan, Keith 164 Summers, Dustin 79 Surgeon, Daniel 164 Sutton, Kevin 167 Svendsen, Jessica 84, 90 Sy, Matthew 80

Tilford, Todd 83 Weedon, Mark 155 Todot Design 79 Westre, Susan 87 Tolley, Laura 93 What Agency 130 Tomkins, Sid 87 White, Elle 163 Toronto Bridge Club 83 Whiteley, Alastair 99 Tran, Hieu 188 Whitewood, Matt 183 Tran, Natalie 159 Whitney, Michael 192 Transatlantyk Film and Music Wierwille, Carsten 155 Festival 79 Wilcox, Marissa 129 Treasure, Ian 163 Wilde, Richard 183 Trinity Works 164 Wilder, Thomas 144, 168 Trylon Microcinema 79 Williams-Sonoma 95 Tu, Emily 107 Wilson, Alice Ann 159 Tuan-wei, Zheng 100 Wiman, Yoana 163 tupera tupera 84 Wink 132 Turner, David 90 Wolf, Steve 108 Turner Duckworth: London Wolfe, Ann 130 & San Francisco 90 Wolfson, Alisa 95 Turnstyle 172 Wong, Agnes 172 Tusk Conservation Awards 120 Wood, Kaeli 184 tweephamdesign 104 Wood, Sam 187 The Type Directors Club Woodward, Fred 152 144, 168 Wright, Lindsey 180 Wrinkle & Crease 108 Wu, Sophy 129 Underline Studio 129, 175, 179 Wykurz, Terry 83 Université du Québec à Montréal 194 Usable Materials 79 Yale University 84, 90 Usadel, Gabe 80 Yamamura, Juri 164 Usta, Okan 87 Yoo, Soyeon 136 Yoon, Chris 100 Yorke, Rebecca 103 Brigham Young University Valentine, Jonty 187 184, 187 Van Liere, Brandon 123 Young, Max 160 Vanderbyl Design 104 Yunshuchun TEA 100 Vanderbyl, Michael 104 Vanhee, Gwen 87 Vanhenden, Wim 87 Vaughan Hughes, Hugo 183 Zambezi 143 Vella, Adam 147 Zamboni, Dante 160 Venus Spirits 99 ZanMixInc 109 Verge, Anthony 100, 127 Zareem-Slade, Zia 103 Veronese, Roberto 155 Zavala, Sixto-Juan 104 Vine, Terry 93 Zebra A/S 104 Viscius, Alexa 159 Zenk-Tills, Danielle 123 Viva & Co. 147 Zerr, Kay 127 Viva, Frank 147 Zhao, Qing 79 Volkov, Oleksij 95 Ziebarth, Taylor 104 Vollmöller, Bernd 136 Zimroth, Aaron 160 Volume Inc. 164 zünpartners 103 Vreeken, Geoff 80 Zurilgen, Denise 87 VSA Partners 140 Vysotskaya, Yulia 87

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Takigawa Design 84 Takigawa, Jerry 84 Tan, Lawrence 139 Target 104 Tay, Venetia 155 Taylor, Austin 111 Taylor, David 160 Taylor, Dustin 167 Taylor, Matt 160 Taylor, Sam 152 TED 139 Teikna Design 168 Teitelbaum, Ellen 124 Temple University, Tyler School of Art 192 Templeman, Chloe 103 Terpeluk, Brett 164 Texas State University 192 Thares, Scott 132 Théâtre Périscope 127 Thiessen, Hans 107, 109 Thomas, Greg 108 J. Walter Thompson Canada 160 J. Walter Thompson New York 136 Thomson, Andrew 104 Thomson, Hanna 164 3 Advertising 108 Thymes 132 Tiburtini Srl 168 Tiger 104

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Wade, Gavin 151 Walker-Wells, Neil 83 Wallner, Eavan 95 Walton, J 132 Wang, Chun-Chieh 99 Wang, Xiaonan 175 The Washington Post 151 Watson, Steven 172 Webb, David 104 Wee Society 89

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