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63 Exhibit

by Garrick Webster Ad creatives in need of gritty, dramatic imagery call on the photographer who built a creative sanctuary in an old church in North East England.

by Margaret Andersen This Los Angeles–based creative digital production studio delivers simple experiences born of technical complexity.

46 Tran Nguyen

by Gray Chapman In the quiet of the night in Atlanta, an illustrator conjures up dreamscapes that feel otherworldly yet familiar.

COVER

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by Chris Daniels By teaming up with its fellow Québec powerhouses, this ad agency has proven that its creativity and innovation extend to its business model.

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

69 60 Years of Design

A sampling of work and commentary by some of the graphic designers who have been featured in the pages of Communication Arts.

76 88 95 102 106 106 128 139 143 148 152 164 164 176

Posters Brochures Packaging Miscellaneous Company Literature Trademarks Integrated Branding Programs Environmental Graphics Motion Graphics Public Service Editorial Books Miscellaneous Self-Promotion Student Work

Source images: Left to right, top row: for an agency-led poster campaign initiated during the 2018 midterm elections, p. 171; poster for a creative speaking event, p. 76; poster for a creative speaking event, p. 80. Middle row: collector’s edition poster for the Fillmore Detroit, p. 83; viewbook for the Minneapolis College of Art and Design, p. 164; integrated branding program for the Adobe Design Summit, p. 109. Bottom row: poster for the 2018 Vans Duct Tape Invitational and Festival, p. 87; poster for a creative speaking event, p. 79; poster for the FACTORY retail campus, p. 79.

FRESH Editor/Designer Patrick Coyne Executive Editor Jean A. Coyne Managing Editor Esther Oh

188

twomuch In London, United Kingdom, two designers supply fun in the form of 3-D visuals and experimental projects.

190

Michele Marconi Drawing from his design background, this Rome-based illustrator smoothes tricky concepts into balanced compositions.

192

Sofia Jaramillo A former photojournalist based in Jackson, Wyoming, has taken to the meadows and the mountains.

Associate Editors Michael Coyne Michelle Yee Editor At Large Anne Telford Art Director/Designer Joni Rivas Production Director Lauren Coyne

COLUMNS 10

Design/Production Associate Isabel Bagsik

Design Culture During her open studio, Wendy Richmond asks visitors a thoughtful question.

12

Advertising Ernie Schenck dispels the myth that longer working hours lead to stronger creative ideas.

14

Design Issues Caitlin Dover uncovers what the wave of online directories indicates about the design industry’s hiring practices.

Production Assistant/Customer Service Representative Khader Yanni Competition Coordinator/ Administrative Assistant Laura Ho Archivist Nancy Clark Lewis

21

Design Details Claire Sykes asks five US institutions to unearth hidden design gems from their collections.

26

Emerging Media Anxious about the tech revolution? Sam McMillan reports on the opportunities at the intersection of design and AI.

194

Insights In a Q&A, graphic designer Kawal Oberoi shares how he’s celebrating vernacular design through passion projects.

Advertising/Circulation Director Dirk Moeller

Contributing Editors Sam McMillan Wendy Richmond Ernie Schenck

Editor’s Column Contributors/Directory Favorites Book Reviews Index to Design Annual 60 Overheard

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EDITOR’S COLUMN

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T

his year’s Design Annual chronicles an industry in flux. While the number of selected collateral-based projects has been in decline for several years, for the first time, there were no letterheads or business paper systems chosen. The Environmental Graphics and Motion Graphics categories were particularly strong, but the biggest surprise was the fifteen books chosen for inclusion— the most we’ve seen in many years.

“I was surprised that a traditional form of print—books—was the most innovative,” says juror Lynda Decker. “As an analog form, they were often ironically, brilliantly cinematic.”

“Digital technology hasn’t replaced the book at all; in fact, it’s given book designers more opportunities to experiment with innovative materials and production methods,” juror Brad Bartlett says.

“I was surprised by the number of entries with strong social messages beyond the public service category,” says juror Laura Scott. “This isn’t surprising given the times we’re living in, but it was upliftingly unexpected.”

“I was impressed by the number of smart, well-designed entries from Canada,” juror Mark Fox says. “Bravo Toronto and Montréal!”

“It was clear that the idea-based projects were the ones that stood out over the rest,” says juror Fidel Peña. “Craft was crucial for the final selection of winning pieces, but ideas made the projects really stand out amongst many other well-executed projects.”

I asked the jurors to comment on their biggest disappointments with this year’s entries.

“Many of the entries within certain categories—liquor packaging, for one— were so slavish in their adherence to established design cues that it resulted in a blurring of brands,” Fox says.

“Rather than challenge norms, these entries reinforced preexisting tropes.”

“On the other hand, we saw a multitude of upstart cannabis companies move away from stereotypical psychedelic 6

Design Annual 2019

visual tropes to a more considered and sophisticated sensibility, perhaps reflective of cannabis’s mainstream cultural acceptance,” says Bartlett.

“We saw a preponderance of geometric forms juxtaposed with biomorphic blobs,” says Decker. “I have no idea what this means.

Uncertainty? Indecision?”

“Far too many trademarks, icons and patterns were created with a single stroke weight in Adobe Illustrator,” Fox says. “The result of this default, monoline approach was a sea of visual sameness.”

I also asked the jurors about the economic, cultural and social developments that are impacting the role of design.

“We now live in precarious political and ecological times, and design is adapting to these needs,” says Peña. “I think the need for designers’ voices to be heard will continue to grow.”

“As a whole, ‘making’ has become devalued and overshadowed by the more business aspects of the profession, such as design thinking,” Decker says. “And yet, it is beauty, expressed through craft and form making, that enhance and bring pleasure to experience.”

BRAD BARTLETT is a designer, educator and author. The work of his Los Angeles– based design studio has been recognized by the Art Directors Club, AIGA 50 Books/50 Covers, Communication Arts, Graphis, HOW, I.D., Print and Sappi, among others. He is also a three-time winner of the Frances Smyth-Ravenel Prize for Excellence in Publication Design by the American Alliance of Museums. Bartlett has been on the faculty at ArtCenter College of Design since 1999. He is the director of transmedia in the Graphic Design department.

Bartlett earned his master’s degree in design from the Cranbrook Academy of Art in 1998.

LYNDA DECKER is a multidisciplinary designer whose work encompasses brand strategy and identity, interactive communications, publications, information graphics, and design criticism. A native New Yorker, Decker holds multiple graduate degrees in design. She was fortunate to land her dream job after college—she worked on U&lc for the typographic design legend Herb Lubalin, and was mentored by Lubalin’s partner, Tony DiSpigna. She is currently national cochair of AIGA Women Lead—in partnership with leading agencies fighting for gender equity in the workplace.

Photographs by Steve Castillo

“For some reason, design strategists are seen less as service providers than actual design studios,” says Scott. “It’s as if clients assign a greater value to strategy or thought leadership as an output than design. We need to do a better job of educating clients that design is strategic.”

Lastly, I asked the jurors where they think the field of design is going.

“In the short term, design will become more disembodied, further freed from materiality,” says Fox. “Streamed, projected and impermanent, the visual language of design will be driven by a need for kinetic and mutating forms. Eventually, when the algorithms and AI get good enough, the field of design may be freed from designers as well.”

across branding, print, digital, motion and strategy in order to win projects and meet clients’ needs,” says Scott.

“Design is becoming a hybrid of mediums and expressions,” Peña says. “This is creating a more fluid and far-reaching communication language. In my opinion, this is exactly what design was always meant to be.”

“I’d like to see designers more aggressively take on the challenges of improving everyday life,” Decker says. “So many of the world’s problems have a communication component—people don’t understand issues. This includes everything from the impact of not voting to climate change to how to do CPR properly. I think we as individuals need to do more. And we need to do better.”

“Designers will be increasingly tasked with creating dynamic systems as opposed to producing singular artifacts,” Bartlett says.

A minimum of four out of five votes was required for a project to

“Smaller design studios are going to have to take an integrated design approach, creating nimble, freelance-based networks of experts

grateful appreciation to our jurors for their conscientious efforts in

MARK FOX is a designer, educator and author. He specializes in the design of trademarks, icon systems and custom typography at San Francisco–based Design is Play with collaborator Angie Wang. Fox is a professor of graphic design at California College of the Arts in San Francisco, where he has taught since 1993 and served as department chair on two occasions. Fox and Wang are coauthors of Symbols: A Handbook for Seeing, published by the Monacelli Press in 2016. The following year, Design is Play was nominated for one of the Cooper Hewitt, Smithsonian Design Museum’s National Design Awards.

be awarded in this year’s competition. I would like to extend our selecting our 60th Design Annual. ca

FIDEL PEÑA is a creative director and cofounder of Toronto, Canada–based Underline Studio.

His projects at Underline have included identity, branding, campaigns and publications. Peña’s work has received numerous accolades, including from the ADG Laus Awards, the Art Directors Club, Communication Arts, D&AD, Graphis and the Type Directors Club, and he has lectured on design topics in Spain, Mexico and Canada.

He was born in El Salvador, is a former president of the Advertising and Design Club of Canada and is currently a board member of the Prefix Institute of Contemporary Art.

LAURA SCOTT founded Studio Scott in 2009 to bring awardwinning design and communications experience to a wide range of design disciplines. Prior to opening Studio Scott, she was an associate partner at Pentagram in San Francisco for ten years. Scott received a BA in English and art history from Colby College and an MFA in graphic design from the Academy of Art University. Her work has been recognized by Communication Arts, Graphis, the International Design Awards, Print and Spark, and she is a recipient of the 2018 AIGA SF Fellow Award, which recognizes excellence in design practice, education and leadership.

Communication Arts | commarts.com

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CONTRIBUTORS

DIRECTORY

Features

Featured in this issue

Margaret Andersen (margaretandersen.com) is a Los Angeles–based freelance journalist specializing in design, technology and digital culture. Her writing has appeared in WIRED, Bitch, Gusher and AIGA Eye on Design. In this issue, she profiles Active Theory, a Los Angeles–based creative digital production studio with mastery of both design and development.

Active Theory activetheory.net Bleublancrouge bleublancrouge.ca Tran Nguyen mynameistran.com Alex Telfer alextelfer.com

Gray Chapman (graywrites.com) is an Atlanta-based freelance journalist. Her writing has appeared in the New York Times, Atlas Obscura, Vice and Atlanta magazine. For this issue, she visits Tran Nguyen, an Atlanta-based illustrator dipping her paintbrush in a melancholy-toned palette.

Toronto-based Chris Daniels (chris@chrisdaniels.ca) writes about advertising, marketing and visual communications for publications such as Applied Arts and Marketing.

In this issue, he finds that collaboration is the way forward for Montréal- and Torontobased ad agency Bleublancrouge.

Garrick Webster (imageandtext.co.uk) is a United Kingdom–based journalist, editor and writer who has been working in the creative industry for the last 20 years. In 2011, he curated Memories, a book in support of the UK cancer charity Maggie’s Centres. For this issue, he travels to North East England to interview photographer Alex Telfer and finds a creative sanctuary.

Columns Caitlin Dover (twitter.com/caitlindover) is a writer and editor based in New York City. She has held editorial positions at BMW Guggenheim Lab and Print and has taught at Pratt Institute. Dover holds an MA in design history from Bard Graduate Center. In this issue’s Design Issues column, she reports on the diverse wave of online directories.

Sam McMillan (wordstrong.com) is a San Francisco Bay Area–based writer and brand strategist, and regular contributor to Communication Arts. In this issue’s Emerging Media column, he unpacks the creative potentials of AI. Wendy Richmond (wendyrichmond.com) is a visual artist, a writer and an educator whose work explores public privacy, personal technology and creativity. Her latest book is Art Without Compromise* (Allworth Press). In her Design Culture column, she asks visitors to her new studio a thoughtful question.

Ernie Schenck (ernieschenck.myportfolio.com) is a freelance writer and a creative director. He is an Emmy finalist, a three-time Kelly nominee, and an award winner at Cannes, the Clios, D&AD, the FWAs and the One Show. In his Advertising column, Schenck advises ad creatives on how to avoid creative burnout.

Claire Sykes (sykeswrites.com) is a freelance writer based in Portland, Oregon, covering design, arts and culture, philanthropy, health and wellness, and business.

In this issue’s Design Details column, she uncovers design artifacts around the US.

Book Reviews International speaker, Adobe Creative Residency alumna and infographic designer Jessica Bellamy (jessicabellamy.design) works with nonprofits and community groups to tell visual stories using data and personal narratives.

Maya P. Lim (mayaplim.com) works at the intersection of design and writing to share ideas and spark curiosity. Her writing has appeared in Print, HOW, CreativePro, Design Observer and Adobe Create, among others.

8

Design Annual 2019

Exhibit Butler, Shine, Stern & Partners bssp.com Chen Design Associates chendesign.com Colle McVoy collemcvoy.com DAVID The Agency davidtheagency.com DDB Argentina ddbargentina.com Gallagher & Associates gallagherdesign.com Partners & Spade partnersandspade.com Pearlfisher pearlfisher.com R/GA Buenos Aires rga.com Robot Food robot-food.com

Fresh Sofia Jaramillo sofiajaramillophoto.com Michele Marconi michelemarconi.com twomuch twomuch.studio

Advertiser’s Index Academy of Art Commarts Daily Creative Hotlist theispot Serbin Creative, Inc. Sharp Type YUPO

17 25 195 5, 9, 11, 13, 15, 27 C2, C4 C3 19

Call for Entries Interactive 2020

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DESIGN CULTURE

Wendy Richmond

What is Broken?

I

n my new studio, I am destroying old artwork: small plaster sculptures that don’t measure up. I could just throw them away whole, but instead, I drop them on the floor and watch how they shatter. Then I gather the pieces and lay them out on a big table to survey the cracks and edges.

talked at length about his family history, and his country’s problems of sexual abuse and depression in men. “It’s not dealt with.”

Each time I break a sculpture, I’m hopeful that new ideas and directions will emerge. I might try reassembling the shapes into an imperfectly solved puzzle, or play with their negative spaces to find compelling tension.

Some answers were hopeful: “Broken things regenerate.” Some were enigmatic: “Is there broken?”

But most of all, I use the activity as a way to take a step back and see a broken object not as something to be discarded or in need of repair, but instead considered for how, why or even if it is broken.

All this breakage was occurring just before a weekend of open studios in my building. I decided to use the opportunity to share my working process with strangers. I wanted feedback and conversation. I would pose this question to each of my visitors: What is broken?

A young woman with a flowered blouse and blue-edged hair came in first, and answered without hesitation: “My body.” She described her diagnosis of rheumatoid arthritis, and her experiences with doctors and medications. She sounded like a detective, determined to be an expert in her own care.

A woman from Turkey responded to my question with an accent so strong that I asked her three times to repeat her words. “Broken is energy,” she told me. “Chaos is energy. When there is chaos, there is open.” As the singer/songwriter Leonard Cohen sang in “Anthem,” “There is a crack in everything, that’s how the light gets in.”

As the afternoon progressed, discussions continued. A woman who had fractured her wrist a year ago described the difficulties of rehabilitation. “But,” she added, “while my right hand was healing, I learned to use my left.”

I told her I had injured my shoulder three months ago, and an MRI had revealed infirmities that probably existed before and may never fully mend. When she left, I surveyed my table of fragments.

An old plaster cast of my arm had split at its weak points. I promised myself I would make a new sculpture with the pieces.

A man and woman came in next. When I asked my question, the woman replied, “Our government.” We complained together while her partner stood quietly, glancing at the room’s tables and walls.

Then he said, “My son.”

At the end of the day, I was exhausted and inspired. After everyone had gone, my studio was silent, but nothing was untouched by the stories I’d heard. I will probably destroy more sculpture, if only to acknowledge that inevitably things do break, whether it is a computer, or an arm, or a life. And then, with work, or help, or luck, the light gets in.

People continued to wander through—individuals, groups of twos or threes or fours, parents and kids. Some conversations lasted a few minutes, some half an hour. We talked about the ways things break—from tangible objects, to hearts, to the world.

A few weeks ago, walking to my studio along a busy street, I stopped to look at the side of a building that displayed a beautiful art installation of 24 portraits: large color photographs, with stenciled letters above that read, “All my friends are immigrants and refugees.”

I asked a trio of twentysomethings, who were more than eager to weigh in. “We were just talking about this!” one said. She described her workplace, a nonprofit environmental group, where important issues that were supposed to be addressed were overshadowed by technical problems. She was frustrated by the back-and-forth blamegame. She sighed. “There are layers of broken.”

This week, the wall has changed. The portraits have been torn away, some partially, some completely. There is no graffiti, just ripped paper outlining the absence of faces, like a negation. The artist’s message is broken.

Then her friend, who is from Ghana and living in Brooklyn, pulled over a chair and sat down. “I work in criminal justice,” he said. He 10

Many visitors answered with a single, objective observation.

“Empathy is broken.” “Our health-care system is broken.” “Our planet is broken.”

Design Annual 2019

I thought of one of my last open studio visitors, an older woman who lives in Germany. When I asked her “What is broken?” she replied, “Today is a different answer from tomorrow.” ca © 2019 W. Richmond

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ADVERTISING

Ernie Schenck

Pizza, Pool Tables And The Myth Of The Midnight Oil

J

ay Chiat once famously said, “If you can’t be bothered to work on Saturday, don’t bother to come in on Sunday.” Which pretty much sums up the over-the-top work ethic that has permeated the advertising industry for decades. And might possibly be killing it.

We’ve all been sucked into it at some point, if not every point, in our careers. As if there’s some kind of correlation between creativity and time. As if we’re manufacturing machine parts instead of ideas. As if burning the midnight oil could result in anything but a burned-out imagination.

Until recently, the same could be said about Silicon Valley. You would have been hard-pressed to find a high-tech executive who didn’t believe that the path to success was built on insanely long hours with scarcely a crumb left over for life outside the office.

But that’s changing as more and more companies are realizing the stifling impact this kind of hyperwork ethic has on creativity.

“You have this culture of posturing, and this culture that glorifies the most absurd things and ignores things like self-care, and ignores things like therapy, and ignores things like actually taking care of yourself as a physical being for the sake of work at all costs.

It’s a toxic problem.”

That’s Alexis Ohanian, cofounder of Reddit. Not long ago, a guy like Ohanian would have been seen as a kook at best and a heretic at worst.

To be fair, there are some in advertising who, like their counterparts in Silicon Valley, are beginning to see the corrosive effect that interminably long hours are having on the human mind’s ability to innovate. But that kind of vision remains in short supply.

Unfortunate when you realize that clients have never been more desperate for creative thinking, or so we’re told.

Neurologically speaking, creativity punches out way ahead of you.

The creative self only has so many bullets in a given day. And it doesn’t care that you’re the last one out at night or the first one in on Sunday or the one who cancels your long weekend in the mountains with your family because, you know, that’s how we do things.

Jerry Seinfeld once said you can’t ruin your appetite because there’s always another one coming along right behind it. Appetites, maybe.

Brilliant thinking, not really.

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Design Annual 2019

You can shame someone into working ungodly hours. You can threaten them. You can make them come in on weekends even when there’s no good reason to. What you cannot do is change their brain chemistry. It is what it is. And what it is, is an engine that needs to refuel. That needs to daydream. That needs to be able to wander around the streets aimlessly. Not giving ideas a chance to find you instead of the other way around is antithetical to everything advertising is supposed to be about.

I’ve been on both sides of this.

I know the psychology of pool tables and video game lounges and free snacks 24/7. The way they’re designed to create an impression of fun. The illusion of whimsy. When you’re in the early stages of your career, the message is pretty compelling. Hey, why go home to your cat and your roommate who never takes out the garbage when you can be here, coming up with cool ideas. It’s magnetic. Until you realize you’re burning out faster than a candle in a hurricane.

Maybe you work for one of those enlightened agencies I mentioned earlier. In which case, count your blessings. Sure, there might be other obstacles to realizing your best creative self, but at least needlessly long hours won’t be one of them. The rest of you, well, aside from quitting your job in search of greener pastures, a few survival techniques might make the situation a little more bearable: What would Captain Obvious do? Eat well. I know that burgers, pizza and onion rings are called comfort food. They’re not. They’re a total creativity suck. So is not getting serious sleep. Most agencies that want you to work late don’t mind if you come in late. Take advantage of it. Get some sleep.

Just say no. There’s only one thing worse than having long hours cripple your creative energy, and that’s trying to juggle more than one project at a time. So speak up. Unless they’re complete ogres, most CDs will value your willingness to recognize your limits.

Quit trying to swing for the fences every time. We all want to do amazing, killer work. Just understand that if you’re putting in twelve hours a day, there’s only so much you can do to get those creativity neurons to cooperate. Hey, Palme d’Ors are cool, but bronze Lions are nothing to be ashamed of. ca

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DESIGN ISSUES

Caitlin Dover

Directories for Diversity

Online directories can be used as a tool by clients and employers to be more diverse in their hiring. Above are screenshots of the websites Women Who Draw (left), cofounded by Julia Rothman and Wendy MacNaughton, and Blacks Who Design (right), founded by Wes O’Haire.

T

he graphics industry is constantly seeking fresh talent.

Where does the black designer fit into this search? In a field where talent is the prime prerequisite, are black designers’ abilities being sought and developed?”

You may have read the quote above and thought it to be relevant and timely. It’s certainly relevant, but the woman asking these questions did so 51 years ago. In 1968, designer Dorothy Jackson wrote an article for Print magazine describing the numerous ordeals of being a Black designer, including the sheer difficulty of just being seen—literally and figuratively—by art directors and other managers as a source of talent.

Can anyone say with confidence that the industry’s hiring practices have changed dramatically for the better since Jackson exposed these problems? To use a common phrase, attitudes have changed; but the complexion of design remains largely White. Of the more than thirteen thousand respondents to the 2017 AIGA/Google design census, 60.4 percent were White; only 10.4 percent of respondents were Asian, 8.1 percent Latinx and 3.4 percent African American.

Designers and illustrators who identify as female still face roadblocks, too. Despite making up more than half of the design-world workforce, as of last year, they held only 11 percent of leadership positions, according to AIGA, and the gender wage gap affects design as it does most industries.

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Design Annual 2019

If there has been an appreciable positive shift in recent years, it’s the exponential amplification of the light that Jackson and other people of color and women first started shining on inequity in the design world. Leaders like Revision Path podcast founder Maurice Cherry, OCAD dean Dori Tunstall and Jacinda Walker, ex officio chair of the AIGA Diversity & Inclusion task force, have come to the fore, articulating the way forward to desegregate and decolonize design.

They and others have appeared at conferences and given wellattended talks focusing on equity and how to bring it about.

Individual AIGA chapters are also making efforts to push forward inclusion (full disclosure: along with two designers, Jen Roos and Jen Wang, I’m working on an AIGA NY–sponsored mentorship program for students of color, with four design leaders—Alice Chung, Bobby C. Martin, Husani Oakley and Eddie Opara—sharing their experiences and networks).

One tool for bringing attention to people of color and women has gained considerable ground over the last five years: online directories. Blacks Who Design, People of Craft, Latinxs Who Design, Women Who Design, Women Who Draw and Natives Photograph are just a few of these sites, which function as visual warehouses of creatives. Their homepages are typically an infinite scroll of images, names and links, laid out in an appealing grid. The illustrators featured on Women Who Draw are represented by images created by each member. Other sites use headshots, or an image of the member’s choosing.

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DESIGN ISSUES

The online directory People of Craft (left), cofounded by Amélie Lamont and Timothy Goodman, showcases creative professionals of color, from writers to photographers to hand letterers. Natives Photograph (right), cofounded by Josué Rivas and Daniella Zalcman, aims to increase opportunities for Indigenous photographers.

Such directory sites are a perfect example of designers doing what they do best: creating visually driven products meant to solve a problem. Similar projects in support of equity in design have also embodied this approach. Before she cofounded People of Craft, product designer, writer and creator Amélie Lamont was cofounder of Good for PoC, a directory created “to help people of color find safe and inclusive companies to work for in the tech industry,” says Lamont. Tim Hykes’s project 28 Days of Black Designers and Maurice Cherry’s initiative 28 Days of the Web have both used the occasion of Black History Month to highlight a Black designer a day through February, also using enticingly designed grids of imagery and information.

These projects all act as a powerful visual riposte to the line that so many women, people of color and LGBTQ+ creatives hear: “I want to hire more (insert marginalized group here), but I just don’t know where to look.” With these sites, you know where to look. The breadth of talent is right there in front of you.

“We started Women Who Draw in response to the small number of women illustrators who were getting some of the industry’s most coveted and reputable jobs, including magazine covers. Our thesis was that people would hire more talented female illustrators if they only knew where to find them. So we created a way to easily find them,” explains illustrator Wendy MacNaughton, who, along with Julia Rothman, founded the site in 2016. Wes O’Haire launched Blacks Who Design in 2019 after first founding a Slack group for Black designers. “One of the members of the group had mentioned that they visited a portfolio showcase site, but out of the hundred-plus portfolios that were featured, not one of them was from a Black designer. So I threw out the idea of creating a site that highlighted all of the great Black designers in our industry,” O’Haire says.

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Creatives are included in the directories in various ways. Some sites, including Women Who Draw and People of Craft, founded in 2017

by Lamont and designer and illustrator Timothy Goodman to support creatives of color, add all designers who “self-identify” and submit their information and portfolio. Other sites, like Blacks Who Design and Latinxs Who Design, use a nomination process.

Some of the directories offer links to members’ Twitter or Instagram accounts along with their portfolio sites; others only point to portfolios.

All the directory founders who responded to interview requests reported impressive numbers for their directory rosters: as of the time of writing, People of Craft had around a thousand; Blacks Who Design, five hundred; and Women Who Draw has a remarkable five thousand listed. In all cases, social media accounts support the communities that the sites have created.

Sustaining these growing, community-based projects is no small task. O’Haire built his site with the help of four of his Slack-channel compatriots, Tolu Olubode, Hasque May, Nathalyn Nunoo and Yannick Zanfack. In making Women Who Draw, MacNaughton and Rothman had support from Los Angeles illustrator Fin Lee (who remains on the organization’s advisory team); the site is maintained

by Fairfield, California–based illustrator Kaylani Juanita McCard, Women Who Draw’s community manager and sole paid staffer.

Noting the challenge of keeping People of Craft afloat given that both he and Lamont have full-time jobs, Goodman says they hired three “amazing interns”: Madelyn Hinojosa, Twisha Patni and Andrea Paz, all School of Visual Arts students, have pitched in to gather information about submitters and update the project’s Instagram feed.

All this hard work has seen some gratifying payoffs. Says MacNaughton, “We felt there was a need for Women Who Draw,

DESIGN ISSUES but I don’t think we anticipated the demand. Within 24 hours of launching, we’d heard reports of people discovering artists and hiring them.” Leading companies and organizations, including Pottery Barn, Planned Parenthood and Eileen Fisher, have initiated brand partnerships with the site, providing work opportunities for its members. O’Haire, too, says that Blacks Who Design started getting a positive response “right away.” “We had a great launch, and a ton of companies reached out to look to hire people,” he notes. Goodman also reports success: “We’ve heard from employers and creatives alike all over the globe about new hires, connections and friendships made because of the initiative.”

Individual stories from directory members show the range of effects that participation can have. Illustrator Fin Lee (who prefers the pronouns them/they) received their first editorial assignment from the New York Times within the first week of Women Who Draw’s launch. Another Women Who Draw member, a Philadelphia-based illustrator with the poetic name Loveis Wise, got an assignment from Refinery29 within two weeks of uploading her work to the site. She has since created two New Yorker covers and a Google Doodle. Alex Swanson, a UI/UX designer based in Denver, has found Blacks Who Design most helpful in terms of connections and mentorship. Regarding its impact on his prospects, he says, “I wouldn’t say it’s changed heavily overnight, because it’s going to take time to change. But I think connecting people with similar challenges in a positive way is always a good thing.”

I asked Cherry for his opinion of the directories. He had kind words for the sites’ ability to develop visibility and grow community. For those purposes, he says, “I believe these directories are a great thing. However,” he added, “I don’t think they are bringing ‘diversity to the design industry,’ at least not in a way that gives these members seats at the table so they can make decisions, get speaking opportunities, hire people, get jobs and truly make the design industry a reflection of the real world.”

Many of the creators and members of the directories seem to understand that directories alone can only do so much. Says O’Haire, “More companies need to be transparent with their hiring numbers.

I work in tech, so I know that you need to establish a baseline if you want to start seeing some improvement. For individuals: we all need to diversify our networks so we can refer a wider pool of people. Also, give more people access to you, like with mentoring and coffee chats.” MacNaughton says, “There have been some notable changes in the past two years. We are seeing more women and women of color, queer women and other less visible groups get big-time editorial and commercial opportunities that they otherwise might not have had the visibility or contacts to get. But. Until we have a representational shift in who is doing the hiring, we still have a long way to go.”

O’Haire and Lamont both describe their sites as being part of a process. Says Lamont, “It’s best to think of People of Craft as an MVP [minimal viable product]—we wanted to put it out into the 18

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world quickly. Right now, we’re brainstorming ways to improve it.”

O’Haire puts it this way: “Awareness is always the first step, and I think most companies are aware of the issue and want to do something about it. It’s just that they may not have a robust toolkit to improve their hiring practices. Sites like ours can be one piece of their toolkit. The first goal was to elevate the profiles of amazing designers who normally get overlooked, and we’re doing just that.

The next goal is to help people diversify their feeds and their teams. Those are larger ships to turn, but we’re definitely seeing traction there as well.”

Lee also emphasizes the need for hiring managers to step in and make necessary changes, but their outlook on the role played by the directories is sanguine: “It is no secret that the field of illustration was historically dominated by straight White men. That’s why the very existence of these directories is so vital and important: it is creating waves in the industry. [In] such an uncertain political climate, it is beyond beautiful to see these directories getting attention and visibility. From my point of view, just being a part of a community that supports each other is impactful in itself.

I know that art directors are encouraged now, more than ever, to include inclusivity in their hiring practices. Now it’s up to them to follow through.” ca

SPOTLIGHTS ON TALENT Here is just a handful of the online directories featuring talented designers, illustrators and photographers.

Blacks Who Design blackswho.design Diversify Photo diversify.photo Latinxs Who Design latinxswhodesign.com Natives Photograph nativesphotograph.com People of Craft peopleofcraft.com 28 Days of Black Designers 28blacks.com 28 Days of the Web 28daysoftheweb.com Typequality typequality.com Women Photograph womenphotograph.com Women Talk Design womentalkdesign.com Women Who Design womenwho.design Women Who Draw womenwhodraw.com

DESIGN DETAILS

Claire Sykes

Into the Light

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he Mexico 68 Olympics logo. Posters for the Public Theater.

The icons for the original Macintosh. Through the decades, the best of color, imagery and typography has been showcased as the pearls of graphic design, driving the profession forward. But what about the hidden gems out there? Unearthed from institutions around the United States, here are five lesserknown yet important artifacts that also deserve their time in the spotlight.

Newsprint and wheat paste At the height of the Cold War, with its paranoia of the perceived threat of communism, married American couple Julius and Ethel Rosenberg were convicted in 1951 by the US federal government of conspiracy to steal atomic-bomb secrets for the Soviet Union. Both Julius and Ethel were sentenced to the electric chair two years later.

Believing in their innocence, much of the world cried out for their release.

One of those voices shouted from a newsprint linocut-andletterpress poster designed by Ayude a Impedir Este Crimen; Francisco Mora; Taller de Francisco Mora just Gráfica Popular; linocut, circa 1952; Mexico City, Mexico months before the Rosenbergs’ executions, calling for millions of letters to be sent to the US president. This poster joins the roughly 90,000 other protest and human-rights posters and prints at the Center for the Study of Political Graphics (CSPG) in Los Angeles.

Carol A. Wells, CSPG’s founder and executive director, says, “Mora’s poster uses the shorthand good-guy-versus-bad-guy stereotypical images of the time, with the robust fist of the proletariat stopping

the bony claw of US imperialism,” against the backdrop of two strapped-in figures representing the Rosenbergs.

By then, Mora, a Mexico City artist, was well known for his socialjustice posters printed by the local collective Taller de Gráfica Popular (TGP), or the People’s Graphic Workshop. “At that time, it was too dangerous for any print shop in the US to mass-produce leftist-political posters,” says Wells.

Few copies of Mora’s poster have survived, as they, like many such posters at the time, were printed on thin newsprint, a cheap paper that is best for wheat pasting. Keeping the cause alive, right after the Rosenbergs’ executions, the TGP printed another poster about them, featuring beautifully detailed portraits and the words “We will not forget you.”

“There’s a long tradition of posters demanding freedom for political prisoners,” says Wells. “They play an important role especially in the US, reminding people that the legal system isn’t always as fair as it’s supposed to be.”

Cover content It was the first large-scale archive of a graphic designer that the then-named Cooper Union Museum of Decorative Arts had acquired.

After Edward McKnight Kauffer’s death in 1954, hundreds of his posters, book jackets and other works on paper were donated from his private collection by his wife, textile designer Marion Dorn.

Many were works in progress.

“We’ve always been interested in the process material, not just the finished work,” says Caitlin Condell, associate curator and head of the Drawings, Prints, and Graphic Design department at Cooper Hewitt, Smithsonian Design Museum in New York. Before arriving at his final book jacket design for 5 On Revolutionary Art (Wishart, 1935), Kauffer explored compositional possibilities in five different versions, using graphite, brush and gouache on paper.

In 1937, the Museum of Modern Art featured Kauffer in its first solo show of an American poster designer. He lived in London most of his life, though, becoming known as “the poster king” in England, designing for London Transport, Shell Oil and other commercial clients. His mostly pictorial book covers, many for famous literary figures, gave way to typography and abstraction by 1935, partly influenced by the work of Swiss graphic designer Jan Tschichold.

“Around this time, Kauffer was looking at the avant-garde typography movement,” says Condell of this book jacket. “He’s playing with different geometric forms and sizes, and the cube ends up flattened in the final design. Looking at that, you’d never know he was trying Communication Arts | commarts.com

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DESIGN DETAILS out so many different ways to approach the same information, to achieve the same style. By 1935, Kauffer was at the height of his career, but still being experimental in his personal style. He was one of the best-known graphic designers then, and is now largely forgotten in America.”

© Matt Flynn, Smithsonian Institution

Not for long. A solo exhibition of Kauffer’s work at Cooper Hewitt is set for September 2020.

Drawing, Design for a Book Cover, “5 On Revolutionary Art”, 1935; Designed by E. McKnight Kauffer (American, 1890–1954) for Wishart Limited (London, England); Graphite, brush and red, black, and blue gouache on paper; 7½ × 10½ in. (189 × 265 mm); Gift of Mrs. E. McKnight Kauffer, 1963-39-692; Cooper Hewitt, Smithsonian Design Museum

A question of design Connection, communication, curiosity. These matter to Tanner Woodford, founder and executive director of the Design Museum of Chicago. So does confidence, and “asking people, some you’ve never met, to share a piece of their life with you,” he says. In 2017, he did just that when, using pen and paper, he wrote to 1,000 artists, politicians, inmates, writers, famous people and friends, asking for handwritten answers to the question “What’s worth preserving?”

Among the 100 who responded was Matthew Shlian. While most sent replies ranging from one word to full pages (and one, a jar of strawberry preserves), this Ann Arbor, Michigan–based paper engineer uttered the language of his medium. Shlian’s work is rooted in pop-up books and graphic design, and inspired by solar cell design, Islamic tile patterns and music. With his work, in general, he starts with pieces of paper and no set goal. Informed by mathematics and aided by software, he follows his curiosity from one cut and fold to the next. Glued together, it all adds up to intricate, sculptural geometric forms that ride the repetitive and the fractal.

Black and white flat-paper polygons, with fold marks, fell out of Shlian’s envelope; and, in caps on a torn piece, “Tanner, is evidence worth preservation?”

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“The evidence of what? That’s the question,” says Woodford. “It’s unlike anything he’s done or would do, as a work of art. These scraps of paper read like an unfinished piece, within the context of his art, in general; and a finished one, within the context of this project,” which ultimately culminated in a limited edition book featuring 60 of the replies that Woodford received.

That Shlian answers a broad, philosophical question with one of his own, combined with what could be an idea at midstream made visual, speaks of the exploratory, creative process itself. And not just Shlian’s. Tanner says, “Every person who’s encountered this object has tried to reassemble it. None have been successful.”

The personal meets the traditional Legend has it that a young woman was swept up by the talons of an owl and carried off. She crouches at the center of Susan Point’s Captive Maiden, under a full moon with the owl swirling around her. As with all of Point’s artworks, this 1983 serigraph expresses her own unique designs, inspired by those of her traditional Indigenous heritage.

That legend of the young woman is an ancient one from the Coast Salish peoples, who span from the US Pacific Northwest to southwestern Canada. They include the Musqueam, of which Point, who lives in Vancouver, British Columbia, is a descendant.

Since she started her career in 1981, designing and etching gold and silver jewelry, Point has used everything from precious metals, paper and wood to glass, concrete and polymer. Her colors also tend to stray from the Coast Salish’s traditional black, red, blue and green. Influencing much of her work are the elaborate carvings in the spindle whorl—a circular disk with a center pole that was used for centuries to spin mountain goat wool into yarn. It’s all there in Captive Maiden.

“From a distance, it looks like this beautiful light-and-dark geometric.

But, as you get closer, symbols come out, and you see how clever she was at playing with these patterns and colors,” says Tatiana

INTERACTIVE

COMPETITION 2020 CALL FOR ENTRIES

DEADLINE: OCTOBER 11, 2020 ENTER ONLINE NOW: COMMARTS.COM/COMPETITION/2020-INTERACTIVE Judged by the who’s who in interactive media, the competition winners will be published in the 2020 Interactive Annual, both in print and digital editions, and on the Communication Arts website, assuring a prominent place on the industry’s premier stage.

Each winning entrant will also receive a personalized Award of Excellence, milled from solid aluminum.

Projects shown above from Communication Arts 2019 Interactive Annual

DESIGN DETAILS Doret has long been celebrated for his illustrations, graphics and typography, for the likes of TIME magazine and the New York Knicks.

But his 1976 IDEA magazine cover is one that “most people haven’t seen because it’s for a Japanese magazine that you rarely find elsewhere,” says Stephen Coles, associate curator and editorial director of Letterform Archive in San Francisco.

IDEA was doing an article on Doret, and he asked to design the cover, having just started freelancing after a staff illustrator job at a design studio. At that time, he was inspired by the colors and designs of old tin toys and target games at arcade shooting galleries. The eyeballs, light bulb, lightning bolts and open books say “idea.”

And the magazine name is in both Japanese and English, with Mt. Fuji for good measure.

“Michael is saying what he thinks about when he thinks of Japanese design. And then it goes through a strong filter of his own

Captive Maiden, edition 21-90, serigraph on paper, 23 x 22 in., 1983, SAL-13; Gift of Carol Heppenstall, 2005; Courtesy of the IAIA Museum of Contemporary Native Arts, Santa Fe, NM

Lomahaftewa-Singer, curator of collections at the IAIA Museum of Contemporary Native Arts (MOCNA), Institute of American Indian Arts, in Santa Fe, New Mexico.

Captive Maiden arrived at MOCNA in a large gallery-owner donation around 2003, adding to the museum’s roughly 9,000 works. “There aren’t a lot of well-known Native women artists or printmakers.

The quality of all of Susan’s work highly contributes to the contemporary Native-art field that is not so well known in the art world,” says Lomahaftewa-Singer. Point, who has received numerous publicart commissions and awards, is among the many Indigenous artists in North America helping to bring greater awareness to the field.

Vintage inspiration, innovative visuals Growing up in Brooklyn, New York, in the ’50s and ’60s, Michael Doret rode Coney Island’s Tilt-A-Whirl, cheered on the Dodgers and followed his dad to work in Times Square. It’s not surprising that what hit his optic nerve as a kid would land years later in his magazine and album covers, athletic logos, and original hand lettering and font design.

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innovative design sense,” says Coles. “The colors could be 1970s psychedelia and the vintage influences come from the early twentieth century, but it feels timeless.” The design and production techniques for this piece foreshadowed, by a few months, what would become one of Doret’s most famous works—KISS’s Rock and Roll Over album cover.

The IDEA cover is part of Doret’s donation of half of his archive to Letterform Archive, in 2018. “We were lucky to get this one,” says Coles. ca

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EMERGING MEDIA

Sam McMillan

Artificial Intelligence Designers learn to see eye to AI

Penny is an AI created by San Francisco–based data visualization studio Stamen Design and researchers at Carnegie Mellon University’s Center for the Arts in Society. Built using an analytics platform by satellite imagery provider DigitalGlobe, Penny was trained to predict the average household income level of any area of a city by looking at a satellite image. Stamen designed an interface (above) to enable users to explore how Penny “thinks.” Users drop urban features, such as trees or a high-rise apartment building, wherever they want in high-resolution satellite imagery of New York City or Saint Louis, seeing how this affects Penny’s prediction about the household income of that area. Interestingly, it’s easier to convince Penny that a rich neighborhood is poor than vice versa. The project investigates how we might discover and discuss the hidden and latent biases in AI systems.

T

here’s been a constant media drumbeat over the last several years that some sort of all-powerful, all-seeing, all-knowing conglomeration of algorithms is just over the horizon, poised to sweep everything behind it. Either artificial intelligence (AI) will take over and render designers useless (if not enslaved), or AI will be the greatest thing since sliced silicon wafers.

print, and the rise of magazines like Ray Gun and Emigre.” And yet, he notes, “There’s more printed material out there than ever.”

Today, Rodenbeck is positioning Stamen at the intersection of AI and design. Sources of new data are all around us, he says, and they are only going to increase. A new project for a nonprofit working on preventing wildfires in California provides a case in point. “It’s really expensive to do on-the-ground surveys of canopy conditions at scale.” By training an AI system, Rodenbeck explains, “Stamen can compare satellite imagery. If you take samples from a couple of —Silka Miesnieks different places, match them up, then run [the imagery through] a machine learning program, you can model the entire forest canopy at any moment.” This enables stakeholders to “build better tools, make better predictions, and prepare better emergency medical services systems now, in a way that doesn’t break the bank,” Rodenbeck says.

“We’ll need more people, not fewer, because there’s only more production coming: more messaging, more visuals and more content, which demands more creativity and more problem-solving.”

Here’s a handy way to demystify AI: it is a system of automatic decision-making based on data. Ask Siri a question, and you are using AI. Use Waze to find the shortest route through crosstown traffic, and you are using AI. Ride on a jet plane, and you are flying with AI. So if you are worried about AI coming, relax. It’s already here.

When it comes to disruptive technology, Eric Rodenbeck, founder of San Francisco–based data visualization studio Stamen Design, takes the long view. “Every technology revolution carries with it an attendant anxiety,” he says. “I got my start when the Mac was new.

Everyone freaked out about digital typography, about the death of 26

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What to worry about when you worry about AI Design visionary John Maeda, who cut his teeth on AI at MIT’s AI Lab in the 1980s, and, until recently, led computational design and

EMERGING MEDIA

Characterizer, a feature in Adobe Character Animator that is powered by Adobe Sensei AI technology, enables users to quickly create puppets based on images taken from a web cam. Users stylize the puppet by choosing one of the built-in art styles or creating their own style from any piece of reference art.

inclusion at Automattic, the company behind WordPress.com, WooCommerce and Jetpack, thinks some designers are right to be worried. Maeda uses this example: “If you are making a poster in Adobe Illustrator, there are an infinite amount of posters you can make. But they all typically have a graphic, some copy, dates, times, places and they will typically fall into just a few families of styles.”

text files—that describe what the image should look like, including details like dimension, color and copy. An open-source tool called DrawBot is used to render the image. “The software can generate a wide variation of the kinds of assets needed for marketing, including images for social media, HTML5 banners and content marketing,” Ong says.

How does that play into AI? “Before, when a designer created a poster,” Maeda explains, “all we had was a finished image. But now, we have patterns of usage that can be interpreted by a computer. All that pattern data, churned by a gigantic machine-learning algorithm, is combined in a software system that helps you design a poster that’s ‘knowable’ from looking at styles of patterns.” In other words, “AI reduces design to a recipe book. Designers who are good at original thought have nothing to worry about,” Maeda says. “People who are not as good… well, that’s not going to be a winning formula.”

In other words, Ong explains, “Designers don’t always have to push the pixels around; they can be thinking of what’s next. There are more-interesting creative problems for designers to solve than cutting banner ads.”

One designer clearly capable of original thought is Jeff Ong, a design director at Automattic. Ong, who learned how to use the tools of the web to make art at New York University’s Interactive Telecommunications Program and then went on to apply emerging technology to design problems as lead technologist at frog design, calls himself a “computational designer.”

Ong explains that the work of a computational designer means taking a problem—such as translating a design intention into a user interface—and using software to generate solutions or automate aspects of the creation process. A computational designer, Ong says, “defines the constraints of a system and writes code that can generate design outputs.”

To help implement a refreshed brand language at WordPress.com, Ong wrote a piece of software that generates images in the style of this visual language. The software analyzes a batch of portraits, selects one, places copy, and composes and renders an image in a few seconds. Instead of having to cut many similar images “by hand,” a computational designer creates templates—essentially, raw 28

Design Annual 2019

If you want to predict the future of AI in advertising, host a conference on it That’s exactly what Tom Ollerton, founder of Automated Creative, does with the popular I’ll Be Back meet-ups he runs in London.

Compelled by the provocative headline “Will a Robot Take My Job?” bright minds from agencies, universities and startups pack a room each month to discuss the future of AI. What AI is good at, Ollerton says, “is looking at what’s happened before and predicting what will happen next. The key thing is that it learns. This gets interesting when you can teach the same machine to learn whether an advert is a good advert—or not.” Ollerton believes this type of tech is creating new advertising jobs, not putting people out of them.

Ollerton’s company, Automated Creative, is a tech platform that experiments with AI to make ads. The way it works, Ollerton explains, is “the creative agency comes up with the strategy, the platform and the idea, then shoots the video. We use AI to analyze the content of the ads and break them down into different emotional triggers. We then test those emotional triggers at an incredible speed and scale to work out in real time what matters to the audience. Then we generate hundreds of variants of the images and written words, and explode that out on Facebook and Google.”

“Each advertisement becomes a tiny data point,” Ollerton says. “We collect that, centralize it and the AI tells us what to create next

Meet Lucy, an interactive character created by virtual beings company Fable. Audiences were first introduced to Lucy in the initial chapter of Wolves in the Walls, an animated VR experience based on the book by writer Neil Gaiman and illustrator Dave McKean. By powering Lucy with AI, Fable has enabled her to interact naturally with viewers. In the upcoming experience Whispers in the Night, which builds off the world of Wolves in the Walls, viewers will be able to have a unique conversation with Lucy.

based on what the audience responds to. Advertising doesn’t need to be perfect, it just has to work. And by ‘work,’ I mean it just has to get a click. AI doesn’t care about awards. It just gets the job done.”

Workaday AI Adobe, meanwhile, has positioned its AI as a time-saving initiative it calls Sensei. Behind the scenes, Sensei-powered tools streamline photo editing for Lightroom, implement Face-Aware Liquify in Photoshop and automate color matching in Premiere Pro. According to Silka Miesnieks, head of Emerging Design at Adobe, it’s all part of an effort designed to “eliminate the drudgery associated with those jobs. People in the design community worry that AI is eliminating craft,” she says. “But then when you point out all the time they spend tweaking images, they say, ‘Oh yeah, I don’t want to do that.’”

While drudgery may disappear, Miesnieks thinks design jobs aren’t going away anytime soon. “We’ll need more people, not fewer, because there’s only more production coming: more messaging, more visuals and more content, which demands more creativity and more problem-solving,” she explains.

Instead of worrying about AI, Miesnieks thinks designers should lean in. To start, she suggests taking online courses in AI and machine learning. “You don’t have to write an algorithm,” she says. “But you have to understand what an algorithm is, what a model is, what a data set means, so you can have the right discussion when working with engineers, policy makers and C-suite executives.”

Once upon a time: AI and storytelling For millennia, people have gathered to tell each other stories. The

power and pleasure of story is one of the things that makes us human. Surely there’s no room for AI in that.

Edward Saatchi would like to disagree. “The next great art form is artificial intelligence,” he says. His new company, Fable, which he cofounded with director Pete Billington, is busy combining AI with storytelling. By deploying computer vision, image recognition, and natural language processing and generation, Fable is connecting subfields of AI, which will serve as the eyes, ears, mouth, heart, memory, creativity and will of something very nearly human: a “virtual being.” And Fable’s team of engineers and storytellers has already created one.

Based on The Wolves in the Walls, a book by writer Neil Gaiman and illustrator Dave McKean, Fable’s animated VR/AR production Whispers in the Night introduces us to Lucy, a virtual being who draws you into her world. “She can hand you things, follow your eyes to make eye contact, have a conversation with you, and respond and react to what you are doing in the space,” Saatchi explains. The more you share, the more she shares.

Lucy is only the beginning. Magic Leap recently unveiled a virtual being named Mica, who may one day become an AI-powered assistant. Talespin introduced Barry to human resources departments in soft skills VR training sessions. And Lil Miquela has gathered 1.5 million followers on Instagram, appeared at Coachella and kissed Bella Hadid in an advertisement for Calvin Klein. As AI matures and merges with AR and VR, the future of virtual assistants imagined by Blade Runner 2049 is poised to become real. And we’ll see it long before 2049. ca Communication Arts | commarts.com

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BY GARRICK WEBSTER

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he abandoned resorts by California’s Salton Sea. A derelict asylum in the North of England. The ghost airport in Athens, Greece. It’s the forgotten and neglected places that seem to attract photographer and director Alex Telfer. Steeped in authenticity, his work captures emotion in fine detail, from paint flaking off a wall to wisps of mist rising above a Scottish loch.

It’s a dedication that has been with Telfer since he first picked up a camera in any serious way back in 1987. Originally from the tiny village of Dipton, County Durham, in North East England, he did his foundation year in art at the technical college in nearby Consett, a town known for its massive steel foundry, which was closed by the Thatcher government in 1980. The community around him had the highest unemployment rate in the country, and the young Alex Telfer felt driven to document the landscape and its people.

Now an internationally renowned photographer working for some of the biggest brands, creative agencies and publica-

tions in the world, he still returns to the down-and-out towns of the North East—and elsewhere—to capture the realities of its postindustrial decline.

“I always remember the stories as well,” he says, leaning in, an intense look on his face. “As I was wandering around Consett with a camera, I would get talking with [people], and of course they’d all worked at the steelworks. You’d hear these stories—and these were the days before health and safety and all of that. They’d be working with these massive vats of molten steel, and the amount of accidents that would happen where guys would slip and fall in! I never witnessed this personally, but it’s things like this that live with you.”

Inspired by the legendary photojournalist Don McCullin, who also shot Consett in the 1980s, Telfer went to art school in Newcastle, a midsize city farther north, and continued developing his own trademark filmic style, thriving on emo-

Right: “Outdoor campaign announcing mobile network Three’s sponsorship of the Irish rugby team. Irish legends Paul O’Connell, Johnny Sexton and Robbie Henshaw were featured in this dramatic campaign.” Laurence O’Byrne, art director; Rory Hamilton, creative director; Boys+Girls, ad agency; Three, client.

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ALEX TELFER tional nuance and a sense of heightened realism.

© Michael Walker

“It was very much that notion of photographing local people from Consett. Asking politely if I could take their photograph in a scene that was pretty run-down,” says Telfer.

“That’s actually stayed with me. I think the subject matter has become less austere than an abandoned steelworks, but the essence of it isn’t dissimilar.”

Telfer’s work is a far cry from the glossy, lifestyle approach that tends to dominate in the world of advertising. He has become the photographer that creative directors turn to when they want to generate an authentic mood—something to engage the viewer in more subtle ways. And while a sense of solitude often permeates his personal work, he is equally adept at capturing warm, joyful and life-affirming moments.

For example, when Wieden+Kennedy London was creating butter brand Lurpak’s campaign celebrating home cooking, the agency struggled with ways of bringing a true sense of life to cooks and their dishes. The agency toyed with computer-generated imagery, but the artwork just didn’t hit the right notes. When offered the brief, Telfer knew exactly what to do. “I went away and did a test shot with a very wide-angle lens so I could get in really close to the action.

I shot through a pane of heat-resistant glass, and we were getting debris stuck to the glass, so it looked like it was physically on the lens,” he says.

His models tossed hot mushrooms in the air, flipped sizzling steaks and flung chocolate sauce over cakes while he snapped. The thrill of cooking and every drop of buttery succulence are there in each image. Not only was the client bowled over, but also, Telfer was named the International Photography Awards’ International Photographer of the Year and Advertising Photographer of the Year in 2017, and his images won the 2017 AOP Awards’ Commissioned Advertising Series Best in Category.

Whether he’s photographing an Audi zooming through a moonlit Irish valley for an advertising campaign or a high-

way drifting through snowscapes in Iceland for a personal series, Telfer is all about immersive atmosphere and granular detail. He will light internal scenes from outside through the windows, giving shots greater volume. In the studio, he often floods his sets with light in order to capture every pore, wrinkle and follicle, the weave of a piece of clothing, the depth of his subject’s eyes. It helps when you have a topend 100-megapixel Phase One camera, but without Telfer’s meticulous planning, the beauty and imperfections wouldn’t be there to see—and feel—in every shot.

The visual language he has crafted over the last 30 years is reflected in his workspace. Often, photographic studios are located in industrial parks on the fringes of a city—lots of space, little character. In contrast, Telfer’s studio is in the heart of Newcastle’s Byker Wall district. Originally a Presbyterian church, it had been deconsecrated by the time he bought it in 2003, but still had its stained glass windows, pews, pulpit, mezzanine and amphitheater-like worship area—all in a dilapidated state.

“When I first came inside the building, I said, ‘Wow, this could be amazing,’” recalls Telfer. “You felt this feeling of seclusion, like it was a sanctuary.”

Carefully, he renovated the building. The five-bedroom annex where the minister once lived with his family has been modernized to provide office space for Telfer and his team, which includes his assistants, Peter Turner and Michael Walker; digital retoucher Jon Lloyd; and stylist and casting director Sharon Younger. His wife, Helen, works there too, as a partner in the business and company secretary. “She has been with me from the beginning, encouraging me and pushing me on since we both went to Consett College,” says Telfer.

Most of the pews are gone, but a few were left around the edges as a reminder of the past. The original pitched pine floor has been restored, and the pulpit is now a huge lightbox.

The nave, where the congregation once rose in song, has become an expansive studio space where Telfer positions his lights, flashes and reflective screens, building an entire set if a shoot requires it.

It’s a big building, and Telfer isn’t keeping it to himself.

Almost in response to the economic decline documented in his personal work, he has turned sections of the building into smaller studios where like-minded creatives can work.

“There’s a children’s casting agency, a designer who makes light installations and a film production company who do really cool, credible British dramas,” says Telfer.

Right: “I worked with Wieden+Kennedy London on the latest Lurpak outdoor campaign. The work depicts the visceral nature and enthusiasm of home cooks really going for it in their kitchens.” Sam McCluskey/Phil Rosieur, art directors; Freddie Powell/Hollie Walker, creative directors; Wieden+Kennedy London, ad agency; Lurpak, client.

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ALEX TELFER Three of the units are occupied by the East Wing, a recording studio specializing in music for television and computer games. Founder Rich McCoull often collaborates with Telfer on his motion projects, providing the soundtracks. “I’ve been here nearly seven years,” says McCoull. “What’s amazing is the level everyone’s working at considering we’re in the Byker Wall. The level of work that’s coming out of this building is bizarre for its location.”

Like many British creatives, the studios’ occupants are sensitive to the country’s London bias—something Telfer seems keen to break down. After graduating from art school in Newcastle, he himself went to London to work as a photographic assistant, thinking he had to be in the capital to succeed.

After eighteen months, he returned to start his own business in 1992, knowing that Newcastle was where he wanted to be. His realistic style became a hit with the advertising agencies that existed in the city at the time, and he helped them win a slew of creative awards.

Telfer’s brand of photography spread to agencies across Northern England, to London, Paris, New York and beyond, and within a few years, the internet made it easier for him to reach a global market. In 2009, he won Campaign magazine’s Photographer of the Year award, and he’s been at the top of his game for the last decade.

His unique studio space anchors his success. “Since I bought the church, where I get my work from has massively changed. My work has developed, and I’ve become far more international; however, keeping this place has become an inherent part of my brand. I’m kind of known as the photographer from North East England who has this church as a studio,” he says.

Left: “New work for the Bank of Ireland tells the story of a young boy’s life from being a baby to a teenager. He is accompanied on his journey by his favorite toy.” John Kilkenny, creative director; TBWA\Dublin, ad agency; Bank of Ireland, client.

“This Bank of Ireland seasonal campaign tells the story of a young boy’s Christmas.” Adrian Kilkenny, design director; Lee Douglas, creative director; Oliver Ireland, ad agency; Bank of Ireland, client.

“Latest print campaign for the launch of Audi’s all-new A7 model.

Shot on the magnificent Healy Pass in Ireland.” Siofra Murdock, art director; Robert Boyle, creative director; Chemistry, ad agency; Audi Ireland, client.

This page: “A significant portrait project depicting the world of the film extra. This was a personal project, shot in my studio.”

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ALEX TELFER You simply can’t ask Alex Telfer what he’d like to shoot next or what his favorite shot is. He’s a workaholic, always focused on making his next job a creative masterpiece.

Not many photographers cover the range of subjects that he does, either, with portraits, still life, landscapes and motion work all feeding into his editorial, advertising and personal projects.

The next phase is the fine art side of his business, which he is actively developing. Any spare time he has is devoted to personal work. Similar to the way he photographed Consett back in the 1980s, he’s now shooting in the port of Blyth, another North East town in slow decline. It’s one of several projects he has on the bubble.

“I’ve got another project that I’m just in the very early throes of organizing,” he adds. “It’s this town near Antwerp in Belgium, which is basically abandoned—in its entirety.

So there’s an abandoned school, the main street is abandoned, the houses are abandoned. It’s a recurring theme in my work. There’s the isolation, but there’s always a connection to the human element and interesting stories to tell.” ca

This page: “A project photographing and filming war veterans for the Defence and National Rehabilitation Centre.” Bish, art director; VCCP, ad agency; Defence and National Rehabilitation Centre, client.

Right: “I was commissioned by Saatchi & Saatchi to create this controversial campaign. In the lead-up to the EU referendum, Nigel Farage got very hot under the collar!” Harriet Ronn, art director; Barney Spiro, writer; Saatchi & Saatchi, ad agency; Operation Black Vote, client.

Personal work. “I was on assignment with Havana Club and took some time to document this amazing city and its people. During our week in Havana, the threat of Hurricane Irma was ever present. Our flight was the last one to leave the airport on the Friday night before the hurricane hit early Saturday morning.”

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BY MARGARET ANDERSEN

D

esigners and developers—even within the most collaborative studio environments, there’s often an invisible divide between the two. One’s got the creative vision, the other has the technical know-how to execute those ideas, but when either party doesn’t understand the other’s perspective, workflows slow down, deadlines pile up and nobody wins. This isn’t the case for Los Angeles–based creative digital production studio Active Theory, whose cofounders have managed to bridge that creative gap with their combined knowledge of interactive design and software development.

worked together IRL, and they say that the timing was just right for them to move on from their respective agency jobs and form a studio together.

Known for its ability to marry imagination and whimsy with technical precision and speed, Active Theory has been making a name for itself internationally and at home on Silicon Beach. Its work ranges from interactive games for the Google I/O conference to web-based narrative experiences like Pottermore’s 3-D tour of Hogwarts. Whether it’s working with corporate clients or designing experimental, artful virtual reality (VR) stories, Active Theory is constantly working to stay ahead of the technological curve while producing content that is both engaging and relatable to end users on a deeply human level.

“I think my long-term plan was to move to Sydney and sort of go from there,” Thelander says, “but Michael, who’s from the US and was already living in California, found me online, and we started talking about these wild animated websites he was building just using HTML and JavaScript, which I’d never seen before. I was working at agencies and not really liking having to choose between being a designer or being a developer; I wanted to do both. That doesn’t really exist in the agency world; you have to choose one or the other.

So when Michael suggested that we start working together, I knew it was an opportunity I couldn’t pass up.” Thelander explains that everything happened pretty quickly. He sold his belongings, got married and moved to the United States, all in a period of about a month. Nick Mountford, the managing director and third founding member, joined Active Theory more recently but comes from Australia as well.

“I met Michael and Andy after I’d already moved to the US, and I was just immediately impressed by the quality and the speed of their work,” Mountford says.

Established in the summer of 2012, Active Theory’s origin story begins a world away from California, with two thirds of its founders hailing from Australia. Interactive director Michael Anthony and creative director Andy Thelander were fans of each other’s work online before they ever

The newly formed team sought to fill a gap in the industry when Flash-based interactive content was prominent online but no longer functional across the market’s rapidly expanding range of mobile platforms and Apple devices.

“It was a very transitional time when we opened our doors,”

Captions supplied by Active Theory.

Right: “To celebrate the first day of term at Hogwarts, Pottermore launched Welcome to Hogwarts, a fully interactive WebGL experience that gives users the chance to explore a 3-D version of the school for witchcraft and wizardry. The experience enables millions of Pottermore fans to immerse themselves in a fantastical world, discovering information and exploring the layout of Hogwarts and its surrounding areas. To ensure a seamless user experience across a range of devices, we did a lot of performance optimization and used a stylized aesthetic. We also created project-specific tools, such as a hot spot placement tool and an illustration platform, enabling Pottermore to continue to inject new content over time, encouraging users to come back and keep exploring.” Pottermore, client.

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ACTIVE THEORY their phone’s web browser and launch the animation onto the main conference screen and out into the internet, where other players from around the world could receive the virtual planes, stamped with their location of origin.

Launched publicly on Peace Day 2016, Paper Planes is still available on the web at paperplanes.world. “With users participating from more than 180 countries, the reception has been humbling. Extending an age-old pastime like paper plane throwing to connect people from all over the world through a simple gesture was an amazing feeling,” the team says.

Anthony says. “We said to each other, ‘Let’s do the things people are doing with Flash, but without Flash. Let’s make it work in the places where our would-be competitors wouldn’t be able to go.’” Since larger interactive studios were struggling to adapt to the new tech landscape, this enabled the young team, with its combined skill set of both design and development, to start producing work that generated a lot of interest within the industry.

One of Active Theory’s first big breaks came when Google Creative Lab tasked the agency with creating a multiplayer experience built for mobile browsers where users could race cars seamlessly across screens on up to five devices.

“Getting the timing right was essential,” Mountford says.

“We worked for three days straight building the prototype.

It was a ton of work, but we knew we could do it. And it was a huge success.” The Racer game was later demoed and used as an interactive installation at Google’s I/O conference in 2013. “Our speed for designing and developing has always been our secret weapon, but what we learned from that project is that you can win work with prototypes. Especially when you’re a young studio just starting out,” Thelander says.

Active Theory’s success with Racer has fostered an ongoing relationship with Google, and the agency has created interactive openings to welcome the audience at subsequent I/O conferences. But these aren’t just passive graphics for viewing; they’re gamified experiences that encourage attendees to engage with the technology and with each other through play. In 2016, Active Theory created an interactive game where conference goers could create paper airplanes using

Though its work has evolved over time, Active Theory’s core philosophy has always been about making complex technology seem simple. “We’re always trying with every project to find that little thing that hasn’t really been seen before,” Anthony says. “We’re passionate about solving the technical challenges of fast loading speeds and easy user interfaces in order to create these magical experiences for clients or fans, like flying around Hogwarts castle on your phone.” Active Theory’s office culture also feels collaborative and anything but corporate. Situated just blocks from the Venice Beach Boardwalk, now a thriving tech hub for Southern California, the two-story loft-style studio follows the laid-back vibe of its surroundings. “We all dedicate so much time here we wanted it to be comfortable and cozy,” Thelander says. “We have rooftop barbecues and love just looking out at the beach life all around us.”

Active Theory divides its portfolio into client work and lab work, which allows it to dedicate time to experimental projects that keep it on the cutting edge of technology.

Strategist Eddie Benson (also an Aussie) says, “Having the lab section has been a great way to help educate clients by really breaking down what it is that we do. It gives them a better understanding of our process and what we’re capable of providing for them.”

One of Active Theory’s favorite lab experiments is World Brush, an augmented reality (AR) app that enables users to draw in space; find drawings that others have made, whether locally or somewhere else in the world; and explore a globally accessible map that shows where the greatest concentrations of drawings are located. Thelander says, “We liked the idea of creating digital graffiti out in the real world, with the ability to save the physical location for other people to discover what you’d drawn. It’s like this hidden

This page: From left to right: Cofounders Andy Thelander, Michael Anthony and Nick Mountford.

Right: “To open the Google I/O conference in 2016, Active Theory worked alongside Droga5 and Google to create a connected, global interactive experience that enables users to create, throw and catch digital paper planes. Launched publicly on Peace Day 2016, Paper Planes aimed to bring people together from all over the world, using the power of the web—an instant connection to one another by a simple visit to a website. Modern web technology— specifically, JavaScript and WebGL—powered the experience on every screen. From the 50-foot screen onstage at I/O to the thousands of mobile devices in the crowd and around the world, one codebase was written, which drastically reduced development time, allowed for more iteration, and increased the time available for polish and animation.” Droga5, ad agency; Google Events and Experiences, client.

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ACTIVE THEORY world of digital content.” And the app isn’t just for fun; the Active Theory team says it’s become an unexpected teaching tool for educators who want to get kids interested in AR and coding.

When the team isn’t working with clients or creating experiments for the lab, they’ve been working on an in-house toolset to revolutionize the workflow for designers working in 3-D. Anthony explains, “We’ve been evolving from creating 2-D to 3-D experiences, and for a long time, we were just creating new objects or effects by coding everything from scratch every time. So, last year, we decided to build a toolset interface to allow our entire team to work across building these 3-D experiences very quickly.”

Essentially, it’s like Unity meets Photoshop, where a designer can create a 3-D model as a layer and then

Left: “World Brush is a location-based augmented reality (AR) experience developed in-house that lets users paint, create and leave a piece of art wherever they are standing. Every painting is anonymous and only visible where it was created. Users can like, dislike and report paintings, which helps hide the bad stuff and showcase the good stuff for others. World Brush stemmed from wanting to merge the physical and digital worlds in a way that was simple for any user to jump in. A simple drawing mechanic tied to the real world allows for a huge number of possibilities that transcend language barriers and fits within the context of each person’s unique, everyday experience. Aside from the native code that provides the platform, all code specific to the World Brush application was written in JavaScript. The main AR portion of the experience, including the lines and user interface, is rendered in OpenGL using the three.js library. ARKit and ARCore provide tracking data relative to where the phone is in space when the app is opened.”

This page: “Sketch something, turn it into an object and place into an ever-expanding world. Launched at Google I/O 2018, World Draw is an interactive world builder that has attracted more than 300,000 creators from all over the world. Having worked with Google on the interactive opening to I/O for the past three years, our goal with World Draw was to push web technology as far as possible to create a massively engaging experience.

The idea was simple: have users from across the globe come together to create a world by drawing objects that would be placed into it. The core interaction involves the user drawing a 2-D creation on a canvas, which is recognized and turned into a 3-D object. We called upon the artificial intelligence and machine learning technology behind AutoDraw and Quick, Draw! to recognize what the user is drawing, and this is translated into a model using WebGL. Once created, the model is placed into the world.

To power the experience, we used Google Cloud Platform, utilizing App Engine, Cloud Functions, Firebase Realtime Database, Firestore and Cloud Storage to collect, store and communicate information in the world.” Google Events and Experiences, client.

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ACTIVE THEORY easily export it, rather than coding anything. The team’s philosophy is that the more you can do in less time, the better the project will be because this allows for more time to improve and iterate upon the details.

Anthony says, “I think in our industry, almost every studio that I can think of, the designers design, and then they hand it off to the coders and hope for the best. And the developers have to do the best they can with the notes and direction they’ve been provided. We wanted to empower designers by giving them the tools to do more with less code, making it more about collaborating with developers and less about instruction.”

Currently, Active Theory is in the process of opening a second office, in Amsterdam, to create a more fluid communication flow with clients in Europe. As for future projects, the team is looking forward to creating more engaging experiences, as well as testing the limits of what’s possible with other emerging tech platforms.

“When we first started, no one was really doing true software development in the advertising industry,” Thelander says. “We’re really proud of the niche we’ve created and are constantly immersing ourselves in the latest tech.

AR and VR are very interesting to us. New technologies where you’re able to create these almost tangible yet virtual worlds, like Magic Leap, is what gets us excited.

It’s a totally new outlet for us to test creatively and apply to our future projects and collaborations.” ca

This page: “A core philosophy at Active Theory is to experiment with new technologies. Developed around the launch of ARKit in 2017, these pieces were early experimentations deploying our internal JavaScript framework, Hydra, with ARKit. While we absolutely look forward to WebAR reaching mainstream browsers and believe that the web is the best platform for people to discover and interact with AR content, there is always a period of time before a new standard is designed and implemented. We believe AR will be a huge part of the web and are ready to embrace the future.”

Right: “NASA’s Jet Propulsion Laboratory (JPL) has created a small-scale, fully drivable version of the Mars rover, which can be built at home or in schools using commercially available, off-the-shelf parts. Active Theory created a digital experience to support JPL in launching its Open Source Rover project. In the experience, users can drive virtual rovers around an explorable Mars environment. To leverage existing awareness of the Mars rover program, the headline experience involves driving the rovers around a terrain—using either keyboard controls, a mouse or even a gamepad—highlighting how they maneuver around obstacles. To underpin the experience, the Open Source Rover was modeled from scratch, and we leveraged an existing real-time appropriate Curiosity rover. We also created a single tile that was split into four quadrants that would repeat as users explored, giving the illusion of an infinitely expanding terrain for the rovers to drive around in.”

Jet Propulsion Laboratory, client.

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TRAN NGUYEN

BY GRAY CHAPMAN

T

hey clasp ringed planets between their fingers. They dwarf homes and lighthouses. They walk along paths in the night, giant foxes or cats traipsing by their sides.

The women of Tran Nguyen’s paintings and illustrations are beautiful, and eerily so. They personify the singular aesthetic that the artist and illustrator has cultivated over the course of her career: detailed yet fluid; strikingly realistic yet otherworldly. But the fantastical landscapes that they inhabit are haunted by a lingering feeling—a whispered melancholy echoing from Nguyen’s own past.

Nguyen lives and works in Atlanta, half a world away from her birthplace in Can Tho, Vietnam. She doesn’t remember much from her first three years in her family’s dirt-floored, one-room house, though she does recall a brief flash of their journey to resettle in the United States: her first taste of cantaloupe, which a flight attendant offered to assuage her crying.

Her family landed in tiny Hephzibah, Georgia, where Nguyen’s father strung together an income working minimum-wage jobs as a cook while her mother stayed at home to care for Tran and her siblings. Growing up in a small house with two, and then three, brothers meant that solitude wasn’t

easy to come by for Nguyen, the lone girl. Nguyen and her brothers played Final Fantasy on PlayStation and watched Hayao Miyazaki movies.

Nguyen was especially transfixed by the visuals of anime like Bubblegum Crisis and Neon Genesis Evangelion. When afforded the rare chance to watch them alone, she’d sit in front of the television set with the small painting kit her parents had given her when she was five years old and sketch scenes. By the time Nguyen entered her junior year in high school, studying art seemed like the most natural path—in many ways, the only one. “I didn’t really have a backup plan. I just knew that’s what I wanted to do,” she says. “My parents brought me over here to pursue what I wanted to pursue.

Why give that up?”

Nguyen enrolled in Savannah College of Art and Design, where she decided to major in illustration. The opportunity to invest so much care in one image resonated with her.

“I always liked very singular images that you spend a lot of time on to narrate a specific story, as opposed to animation or sequential art,” she says.

But just as Nguyen was beginning to immerse herself in her craft, tragedy struck: the loss of her younger brother, Dinh, who was killed in a car accident at the age of fourteen, when

Right: “The illustration was created for the Tor.com short story ‘La beauté sans vertu,’ written by Genevieve Valentine. The story revolves around the trends of high-fashion models in the future, such as the surgical removal and replacement of a model’s arms with more-youthful ones from dead teenage girls. In the painting, hints of a seam are found on the model’s shoulders, and her fingertips possess a dark purple color.” Irene Gallo, art director; Genevieve Valentine, writer; Tor.com, client.

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TRAN NGUYEN Tran was a college freshman. A loss like that, Nguyen says, “makes you grow up faster.”

developing Common’s brand from scratch. “I think her illustrations really tell a story,” says Toves, “and that’s what we wanted.” Toves also recognized Nguyen’s technical mastery.

But there was one hesitation: “I said, ‘Can she do happy? Can she connect with joy?’”

Those hesitations subsided after she saw Nguyen’s sketches for Common’s flagship flavor, Blood Orange Tangerine.

In the image, a woman in grayscale, surrounded by vibrant citrus fruits, blows bubbles, her wavy hair wafting in the breeze. “We’ve been keeping Tran on the joyride ever since,” says Toves.

Nguyen suspects it’s these elements that resonate with people. “I want to convey images that capture those obscure emotions that people, who have maybe dealt with something similar, can connect with,” she says. “It’s a work in progress for me as well.”

Impey hired Nguyen for the cover art, and has since worked with her on other fantasy titles, including the book’s sequel, Unravel the Dusk. “I’m always impressed with people who seem to have the sheer talent and vision and creativity, but also can deliver on the commercial level and collaborate with people on the corporate side,” says Impey. “She certainly does.”

© Lanny Nguyen

It also shaped her art.

Nguyen’s work is often described as “melancholy,” a word she herself uses when talking about her style.

Nguyen attributes the somber tones in her pieces to her own firsthand experiences with tragedy, as well as mental illness, with which she says a family member has long grappled.

She credits the work of art therapist Bruce L. Moon, whose collection of case studies sits on Nguyen’s bookshelf, for inspiring her to braid difficult emotions into her art. “He put into words what I wanted to say in my work,” she says.

After graduating in 2009 and subsequently entering one of the worst job markets in modern history, Nguyen returned to her family’s home in Hephzibah and worked as a graphic designer by day, hustling for freelance illustration clients after hours. After a move to Atlanta and a few contract jobs, including a stint working as a background artist on the animated series Archer, Nguyen made the leap to self-employment in 2013. She’s been working full-time as a freelance illustrator ever since.

Now, Nguyen juggles commercial work for clients like World Wildlife Fund, Random House and Netflix, in addition to gallery work for group shows. Nguyen also worked with a publisher to release her retrospective art book, Ambedo, on Kickstarter last spring, and is planning a solo exhibition at Thinkspace Gallery in Los Angeles in 2021.

One of Nguyen’s longtime clients is Common Cider, a line of craft hard ciders brewed in California. Founder Fran Toves encountered Nguyen’s work four years ago when Toves was

Alison Impey, a senior art director at Random House Children’s Books, came across Nguyen’s work on Instagram.

Impey was working on Spin the Dawn, a young-adult fantasy

by Elizabeth Lim, and was struck by how the woman in one of Nguyen’s paintings, Sleepless on the Silk Road, embodied the heroine of the novel. “I saw it and was like, ‘This is the character of our book,’” says Impey. “She was capturing something so beautiful and feminine and delicate, but at the same time, incredibly strong and powerful.”

All of this work happens in Nguyen’s tidy studio, which is set up in the nook jutting off her living room. Nguyen, who describes herself as a night owl, rises around 3:00 pm each day. Around 10:00 pm, after errands and emails, she sits down at her drafting table and cues up an audiobook. “The better the book, the more glued I am to the chair,” she says. She works until bedtime at dawn.

Perhaps the most crucial part of Nguyen’s workflow isn’t the work at all. Late at night, the artist will sit with a cup of coffee to reflect on ideas she wants to explore, sometimes for two or three hours at a time. It’s in these moments that Nguyen has epiphanies that yield the often-poetic titles and ethereal quality of her pieces. While they are realistic at first glance, Nguyen likes to weave surreal elements into the composition in unexpected, often subtle ways. The result, she says, is “something that looks like it could exist, but if

Right: “The illustration was used as a limited edition dust jacket cover for Jacqueline Carey’s Kushiel’s Dart. At the forefront of the image is the main protagonist of the book, Phèdre nó Delaunay, as she is embraced by the angel Kushiel. Obscured in the backdrop is a silhouette of the Terre d’Ange landscape.”

Yanni Kuznia, art director; Jacqueline Carey, writer; Subterranean Press, client.

“Through a Lone, Winding Road is a painting that was created for a group exhibition in Hawai‘i. The painting focuses on my personal theme of ‘larger than life,’ which often features a giantess wandering through empty neighborhoods that are tucked away in forgotten corners of the world. My personal narratives tend to possess a melancholic mood of blues and browns.” Thinkspace Gallery, curator.

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TRAN NGUYEN you look closely, you find little treasures that tell you this is more of a dreamscape.”

To clarify what she means, Nguyen gestures to a large work in progress propped against her bookshelves— a scene of two women gliding across a body of water on a canoe. One of the women carries a birdcage, though a close look reveals that it holds not starlings or sparrows, but planets and stars. Her companion clasps a ringed planet, no larger than a chickpea, between her thumb and forefinger. These are “star collectors,” who are traversing the universe in search of lost stars, and the idea of painting them came to Nguyen in one of her moments of quiet during the night, she says. A closer look at the painting reveals that her brushstrokes have achieved the soft, gradient effect of the softest charcoal or pastels, while delivering the most exacting details, down to a single eyelash or freckle. That is the balance both in her work, and in how she achieves it—the meticulous level of detail that brings her subjects to life, and the sweeping, fluid motions that haunt them.

With such controlled precision, it’s hard to believe that Nguyen’s work has also appeared in larger-thanlife format. In 2017, Nguyen traveled to Hua Quan Village in China to complete her first mural, A StarStudded Demeanor. She laughs when she remembers her initial reaction to the commission: “‘I’ve never

Left: “The Riverbed Nightingale is another personal painting of mine that is part of an ongoing series based on my ‘larger than life’ theme. It depicts a lone female giantess stumbling upon a hidden house buried in the depths of the woods.” Jonathan LeVine Gallery, curator.

“Orange Is Not Your Color is a twist on the classical tale of the damsel in distress. Instead of the hero coming to save the damsel from the monster, the painting portrays the hero as the monster, who has intruded on the maiden and her feline companion.”

Thinkspace Gallery, curator.

“The drawing is my romanticized interpretation of death. It portrays the inevitable as a peaceful moment of rest after a long, arduous life. Death collects the dead and helps carry them to the stars.”

Thinkspace Gallery, curator.

This page: “The Doormaker’s Daughter is a drawing that was created for a personal project. It’s based on a short story I wrote about a doormaker’s daughter and her celestial explorations among the stars.”

“The painting was made for the cover of Kalyn Josephson’s upcoming book, published by Sourcebooks, Inc. It portrays the protagonist, Princess Ana, as she merges with the magical, elemental crows that help her win back her kingdom of Rhodaire.” Nicole Hower, art director; Kalyn Josephson, writer; Sourcebooks, Inc., client.

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TRAN NGUYEN done a mural. Why do they think I know how to do murals?’” But Nguyen ultimately agreed to the assignment—“I find it really hard to say no to free travel”— and jetted overseas in the height of China’s monsoon season. She painted the 20-by-13-foot work in torrential rain and lightning.

Murals, says Nguyen, are “night and day” from her usual work; they present a host of unpredictable factors, from the temperature of the air to the texture of the wall. Scale is an interesting challenge too. “I’m used to working like a mouse,” she says. “But with murals, I have to see more of the big picture and not get lost or get too meticulous with details.” And, as someone who mostly works in solitude, she appreciates the public nature of mural work, and the strangers who stop to watch. “For them, it’s magic,” says Nguyen. “That raw response is really nice to get.”

Nguyen’s murals have also appeared in Kaka’ako, Hawai‘i, and Lancaster, California. If she could choose anywhere on the globe to paint, though? “Probably Vietnam,” says Nguyen. “Even though I’ve been here for so long, and I’ve definitely become more Westernized, all of my [extended] family is [still] over there. It would just feel really nice going back home.” ca

This page: “Sleepless on the Silk Road was commissioned for the cover of Uncanny Magazine’s 20th issue. For this project, the art directors gave me full rein to paint whatever I wanted as long as it possessed an air of fantasy. I saw this as the perfect opportunity to paint my first-ever unicorn, along with his fearless rider.” Lynne Thomas/ Michael Thomas, art directors; Uncanny Magazine, client.

“The illustration was painted for Penguin Random House’s upcoming book by Elizabeth Lim. The story is set in a fantastical world reminiscent of ancient China, where the young heroine, Maia, must compete to become the imperial tailor and finds herself fighting against all odds on the reimagined Silk Road.” Alison Impey, art director; Elizabeth Lim, writer; Penguin Random House, client.

Right: “The Yellow Passerby & I was part of a group exhibition in Seattle, Washington. It’s my visual interpretation of Charlotte Perkins Gilman’s short story ‘The Yellow Wallpaper.’ It portrays the main character becoming one with the yellow hue of the paper.

The gold floral embellishments lie on top of her, and emerging out of her hair is the shadowed figure that is creeping on all fours.”

Krab Jab Studio/Lauren Panepinto, curators.

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BY CHRIS DANIELS

B

leublancrouge has been a fixture of Québec’s ad agency scene since 1983. But its long-time chief executive officer Sébastien Fauré—or “Seb,” as he is affectionally known—says for the agency, which started out primarily as a design studio, to survive, it needed to expand outside the French-speaking province. That would mean not only into the rest of Canada with a Toronto office, but also finding a way to attract North American and global clients.

“To survive in the world today, you need international connections and scale—or at least North American,” says Fauré. “We tried strategic alliances and looked at forming partnerships and making acquisitions. But none of that really worked.”

He also watched the discouraging outcomes of Montréal shops sold into agency holding companies.

“They think they’re going to have access to all these great business cases, potential clients and partnerships, and make international connections. But it doesn’t really play like that,” he says. “In most cases, when an international network swallows up an independent player, it is to make sure that the independent player delivers in Québec. That’s it, that’s all. The problem with that is the Québec market isn’t growing that much.”

The French words for blue, white and red pushed together, Bleublancrouge—or BBR—has found a solution to expanding beyond borders and traditional agency services that eschews most strategies. It is the engine behind a thriving creative collective, which Fauré began pulling together like pieces of a puzzle four years ago. He searched for small,

entrepreneurially driven businesses in Québec with global respect in their highly specialized fields. And then he offered to take off their shoulders tasks like human resources and payroll, a back end BBR already had for decades because of its larger size, freeing them up to focus on what they do best.

In October 2018, the 150-person collective launched under the brand “flag” Humanise. Made up of eight shops so far, it includes alternate reality game creator and gamification design studio Alice & Smith; strategic brand consultancy L’Institut Idée, whose global clients have included Live Nation, Audi and US health insurance giant Humana; and Youville Haussmann Park (YHP), which has been sought out by brands like Mercedes-Benz, Dior and Valentino to stage VIP experiences at events globally, from Montréal and Paris to New York and Los Angeles.

The collective is called Humanise to signal that it isn’t about billable hours and being territorial about clients.

A creative whose counsel is sought by a creative at another Humanise firm isn’t suddenly “on the clock.” Fauré’s grand idea is for everyone to help each other unselfishly and without ego. “Maybe we’re just crazy Frenchmen, but I didn’t wake up one morning and say, ‘I have a vision,’” says Fauré. “It was through trial and error that we landed on the collective.”

“It has helped us gain critical mass, assemble specialized expertise and increase the velocity of our entrepreneurs’ growth in a very difficult market,” he says, noting each small business under Humanise has grown between 15 and 20 percent in the year after joining.

Captions supplied by Bleublancrouge.

Right: “Colourful Since 1937” :30 “The most recent campaign for the established Canadian paint brand Sico aimed to demonstrate that it’s not because you’re 82 years old that you can’t be modern, cool or inspiring.” Audrey Gaucher, art director; Antoine Leclerc, writer; Cadu Rocha, graphic designer; Mark Dawson, designer; Marie-Eve Best, executive creative director; LM Chabot, L’Éloi, photography; Jay Forest, Folio, stylist; Joëlle Rondeau, director; Apollo Studios, music; Caravane, L’Éloi, digital video producer; Lisanne Auger-Bellemare, production manager; PHD, manager of media services; PPG, client.

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BLEUBLANCROUGE BBR is also flourishing since starting the collective. New global remits have come in from Marriott International on several of its hotel brands as well as from Sotheby’s International Realty, a past client of L’Institut Idée. At Sotheby’s annual global networking event, held this year in Vancouver, the luxury real estate company unveiled a new long-term brand platform—Exceptional Defined—and global campaign by the agency. “BBR has become our secret weapon. They’re quietly amazing,” says Isadora Badi, vice president, global marketing of the Madison, New Jersey–headquartered company, in an email.

Those wins have fueled BBR Toronto, opened in November 2016 with four people, to increase its staff to 25 as of June 2019.

The agency also scored the biggest national account based in Québec: Desjardins, a financial services giant that owns State Farm Life Insurance in Canada. Twenty firms pitched for the business. “We work closely with the other entities in the collective. And part of the reason why Desjardins chose BBR was because they really bought into the collective,” says co–creative director Marie-Eve Best. “We can’t introduce ourselves anymore without talking about it.”

Fueled by the power of eight, Humanise pulls in more than $50 million a year in annual billings, with work evenly split between Québec, Canadian and international mandates.

Making a collective connect Creative collectives are not new, but they’re typically made up of freelancers or small agencies pooling their talents together virtually. But Humanise isn’t a collective just in mind-set.

A short distance from downtown Montréal, the firms share a 30,000-square-foot space in an early twentieth-century former industrial building—all on the same floor. That is by design. Given that each firm is autonomous, no one is “above” anyone else even in the most literal sense. While BBR, with 65 staff in Montréal, has the most square footage, each piece of the collective flows seamlessly into the next thanks to a bright, open floor plan. Each is distinguished by a few physical idiosyncrasies. Alice & Smith has a space with beanbag chairs, couches and a flat-screen TV connected to gaming consoles. Two of its smallest residents include hamsters Mr. Noodle and Ms. Noodle, who has her own Instagram account. On the day Communication Arts visited, most of YHP’s staffers were out working events, but a row of spray paint cans in a variety of colors hinted at recent prop work.

The floor is so expansive, employees zip from one end of the collective to another on scooters. In the center of it all is the 2,000-square-foot common space: a bar kitchen stocked with tea, coffee and fruit juices; tiered platform box seating; and a pool table. The creative leadership says the environment has proven conducive to spontaneous, fast-forming and organic collaboration.

“When you’re not on the same floor, let alone the same continent, I think it is really hard to be truly collaborative,” says co–creative director Dominique Bulmer. In fact, he says BBR has done work that otherwise wouldn’t have come to an ad agency because of that collaboration.

Commissioned by NBCUniversal, Alice & Smith developed an alternate reality game for the dystopian TV series Mr. Robot at San Diego Comic-Con. Game cards were handed to attendees for use at almost 20 local businesses to uncover Easter eggs about the show. “Alice & Smith was asked if they could also create the promotion, and they said, ‘We can work with our friends at BBR,’” says Bulmer.

“And so they developed the game, and we developed the promotion.”

The work ended up winning awards for both shops.

Conversely, BBR turned to Alice & Smith for an augmented reality treasure hunt game during Christmas for nineteen shopping malls owned by Cadillac Fairview. “My client never

This page: From left to right: Executive co–creative directors Dominique Bulmer and Marie-Eve Best.

Right: “Bleublancrouge wanted to portray the loss of children’s—and especially girls’—potential as ‘normal,’ and urged Canadians to defy it through an impactful campaign shot in South Africa.” Matthew Sharpe, art director; Andrew Rennie, writer; Plan International Canada, client.

“A campaign that portrays the car’s lack of value from a thief’s point of view once they realize it is protected by Sherlock’s intensive antitheft marking system.” Jérôme Bajulaz/Julien Hérisson, art directors; Jean-Bernard Bastien/Dominique Bulmer, writers; Margot Brejon de Lavergnée, designer; Jonathan Rouxel, executive creative director; Lisanne Auger-Bellemare, producer; Sherlock, client.

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BLEUBLANCROUGE would have known to approach Alice & Smith for that kind of work, and Mr. Robot would never have landed in our yard without that connection,” says Bulmer.

Co–creative ideation

The collaborative culture BBR has cultivated extends to how it partners with its clients, who are invited to treat the Humanise offices, where some “war rooms” are designated to specific accounts, just like their own. BBR’s co–creative sessions have proven to be a hit with clients.

“Some agencies just take the brief, run away and come back with mock-ups of ideas that are almost done and to which agencies have already developed attachment,” says Dominique Pépin, associate marketing director of paint brand Sico for PPG Industries.

“That can be bad for the agency-client relationship because if I don’t like something, it really shows on my face.”

“But BBR has this way of working, called co-creation, that I’ve only experienced there,” continues Pépin.

“We get into this room together, and they present me with routes and options and directions on a brief.

We look at it together, and just purge and build on the ideas that are there together. That means there is never a final creative reveal.”

It was a process that led to Sico’s most recent campaign, which deployed 150 different pieces of OOH creative in Québec, connecting Sico paint colors to real-world surroundings.

As far as the collective, Pépin says it is a reflection of the agency’s we’re-in-this-together mind-set. “BBR has

Left: “The digital experience for the Assassin’s Creed Origins campaign consisted of sending hardcore brand fans on guided tours within the unreleased video game. Fans could travel through ancient Egypt on camelback.” Julien Hérisson, art director; Félix Drouin/ Adrien Héron/Ugo Martinez, writers; Dominique Bulmer, associate creative director; Jonathan Rouxel, executive creative director; Alex Bourdon, technology director; Margot Brejon de Lavergnée/Hayley Lim, illustrators; Alex Lauzon/Amélie Poirier, producers; Audrey Bourdonnais/Joëlle Laferrière/Léah Léger, project managers; Alice & Smith/Apollo Studios/Fire Without Smoke, production companies; Dave Gourde, manager of media services; Ubisoft Canada, client.

This page: “Feel it all” 1:10 “The brand campaign for D-BOX immersive motion seats used motion design and abstract imagery to express the link between physical sensations and enhanced emotion, emphasizing the idea that the brand enables viewers to tap into the storytelling power of the body.” Julien Hérisson, art director; Adrien Héron/ Ugo Martinez, writers; Dominique Bulmer, associate creative director; Jonathan Rouxel, executive creative director; Léah Léger, project manager; Laurence-Étienne Hillman, production manager; Apollo Studios/Gimmick Studio, production companies; D-BOX Technologies Inc., client.

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BLEUBLANCROUGE no ego. When they present an idea, I don’t know who did what. It isn’t about people trying to take credit for an idea,” she says.

Having already won Marriott and Sotheby’s, the agency’s Toronto office has also been on the move—into a new 5,000-square-foot space with staff from three Humanise firms in June. “I expect we’ll have five or six of the Humanise companies eventually represented with a fulltime staff in Toronto,” says Wahn Yoon, president of BBR Toronto. “We envision having 45 to 50 people eventually in the office.”

Though BBR is just in its infancy with the collective, it has already put the Montréal agency on a much bigger map. “We weren’t part of a network, so we created our own, just a little differently,” says Fauré. “With a little more time for the collective to grow—say, another sixteen months—we expect it to make an even bigger difference to our agency.” ca

This page: “To mark the one-year countdown to legalization, Bleublancrouge arranged for smoking accessory retailer Prohibition to crash Canada’s biggest party, the Canada Day celebrations on Parliament Hill, with the World’s First Spliff-Sniffing Billboard. Once it detected cannabis smoke, the billboard automatically generated WeedTweets to famous Canadians, informing them of the one-year countdown to legalization and celebrating our nation’s liberal stance.”

Romain Joveneau, art director; Mourad Bouaziz, writer; Agathe Morin, graphic designer; Richard Yergeau, motion graphic designer; Marie-Eve Best, associate creative director; Jonathan Rouxel, executive creative director; U92, web designer; Alexandre Bourdon, technology director; Pierre-Olivier Bonin/Guillaume Grassiant/Sébastien Hiticas, directors; Ève Mathieu/Charles Ouellet, producers; 1ONE Production, production company; Prohibition, client.

Right: “A chatbot that keeps track of all alcoholic beverages, food and water consumed throughout the day and week to make sure users aren’t overdrinking.” Hayley Lim, art director/illustrator; Adrien Héron/ Ugo Martinez, writers; Mathieu Harrisson, motion graphic designer; Marie-Eve Best, associate creative director; Jonathan Rouxel, executive creative director; Alexandre Bourdon, technology director; Let’s Drink Better, client.

“Two truths about millennials: they skip ads on YouTube all the time, and they really resent having to depend on their parents for lifts. This reality proved to be the jumping-off point for Skip Dad, a humorous web-only campaign that targets a generation with a natural aversion to advertising. How? By introducing the tantalizing idea of getting their own ride and avoid having embarrassing and awkward conversations with their parents. The pre-roll ad, which demonstrated our understanding of millennials, was broadcast on several dedicated sites in addition to YouTube.” Jérôme Bajulaz, art director; Simon Blaquière, writer; Jonathan Rouxel, executive creative director; Claude-Antoine Guibord/Frank Lam, editors; Jean-François Lord, photography director; Pierre Dalpé, director; Benoit Côté, colorist; Pascal Desjardins, sound engineer; Annick d’Auteuil/Guillaume Vallée, producers; Morrison Films, production company; Charles Beaulieu/Alix Boivin, managers of media services; Toyota Québec, client.

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International Spy Museum exhibition “We designed an immersive theatrical experience for the new International Spy Museum in Washington, DC, with rich textural elements and a powerful graphic language that pulls visitors into the hidden world of espionage. Layered installations highlight key intelligence figures along with their intriguing spy gadgets, illuminating a different perspective on history. The work of CIA analysts is brought to life through interactive role-playing, guided by real-life experts. The journey invites the audience to see if they have what it takes to be a spy.”

Paul Rosenthal, writer; Rod Vera, lead designer; Patrick Gallagher, principal; Ariel Efron, creative director; Cybelle Jones, chief creative director; Jordan Albro/Hannah Chiarella/Adrian Constantyn/James Hallock/Cathy Han/Liza Rao/Sanne van Haastert/Bailey Whisler, graphic designers/exhibition developers; Gallagher & Associates/Sam Kittner, International Spy Museum/Nic Lehoux/Rogers Stirk Harbour + Partners, photographers; Available Light, lighting designer; Mike Buday/Shwenn Chang/Joanna Chin/Shir David/Julie Flechoux/Joshua Gallagher/Bryan Ma/Noelle Palumbo/Juan Patino/Kelly Schaffer, interactive developers; Sarah Thompson, project manager; Sarah Brockett/History Associates/ Hilary McGraw/Sydney Rhodes, researchers; Hickok Cole/Rogers Stirk Harbour + Partners, architects; Cortina Productions, production company; Gallagher & Associates (Silver Spring, MD), design firm; International Spy Museum/The Malrite Company, clients.

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Blue Shield of California spot “More Than a Color” :60 “Blue Shield of California’s latest spot underscores its stance on the topical health-related issues people in the United States face today, like access to health care for all. Butler, Shine, Stern & Partners highlights real stories with real Californians, not actors, who have experienced these issues. The campaign showcases Blue Shield of California’s bravery, both in the nonprofit’s continued support of communities as well as its response to adversity in the current political climate.”

Alex Anderson, senior art director; Erin Ridgeway, senior writer; Chris Cavalieri/Ralf De Houwer/Justin Hargraves, associate creative directors; Sinan Dagli, creative director; Matthew Curry, chief creative officer; Jon Darling/Robin Holden/Dan Pritikin, SOUTH Music and Sound Design, composers; SOUTH Music and Sound Design, music; Britton Caillouette, Farm League, director; Ian Boyd/Nico Litonjua, Cleaver Editorial, editors; Vince Genovese, integrated production director; Lauren Chatman, Cleaver Editorial, associate producer; Britt Fredensburg, SOUTH Music and Sound Design/Jeff Tanner, Farm League/Ignacio Zas, SOUTH Music and Sound Design, producers; Grace Lazarus, integrated producer; Tim Lynch, Farm League, executive producer; Caitlin Bricker/Chelsie Earl, project managers; Fearghal O’Dea, Cleaver Editorial, post-production producer; Farm League, production company; Cleaver Editorial, post-production company; Butler, Shine, Stern & Partners (Sausalito, CA), ad agency; Betsy Bellotti/Suzanne Buffington/Silvia Illingworth/Blair McGrain/Jeff Robertson/Kimball Wilkins, Blue Shield of California, clients.

We’re looking for new, outstanding collateral, packaging, print ads, television commercials, direct mail, books and exhibits. For submission details, visit: commarts.com/submissions.

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Nike short film “Before That” :60 “At R/GA, we wanted to do something to inspire young athletes to break down barriers and work hard to chase their dreams, even if it might seem impossible. This short film for Nike narrates the real story of a group of Argentinean female soccer players and how they overcome daily obstacles to play the sport they love. All the girls in the campaign are real soccer players. More than 200 women, including Nike athletes and amateur players, participated in the process.”

Magdalena Arrieta, Primo, art director; Matías Rojas, senior art director; Ramiro Agulla, senior writer; Andrés Juárez, associate creative director; Diego Levi, group creative director; Mariano Jeger, executive creative director; Guadalupe González, designer; Adela Posse, design; Pablo Maffezini, senior designer; Julieta Cabrera, Primo, director; Charly Ritter, Primo, director of photography; Jorge Russo, colorist; Paula Bailardo/Alejo Hojiman, Primo, editors; Papamusic, sound designer; Manual de Andrés, audio mixer; Greta Ure, Primo, stylist; Zacarías Ríos/Matías Valia, Primo, production managers; Florencia Leonetti, strategy; Melisa Cambre, R/GA Buenos Aires/Germán Lentini, Primo, producers; María Paz Fonseca/ Gustavo Lugones, senior producers; Juan Linares, senior brand strategist; Guillermina Ortíz Segui, R/GA Buenos Aires/Nicolás Pérez Veiga/Soledad Pérez Veiga, Primo, executive producers; Bruno Rovagnati, principal; Sol Fraguio/Florencia Pereyra, project managers; Primo, production company; Pickle House, post-production company; R/GA Buenos Aires (Buenos Aires, Argentina), ad agency; Ignacio Isasi/Delfina Marcó/Marcos Sundblad, Nike, clients.

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Intelligentsia Coffee packaging “Although Intelligentsia has established itself as one of the leading brands for the finest single-origin, direct-trade and in-season coffees, its former design did not clearly convey its story across the range. We refreshed its identity and created a new design expression for its coffee bags. The new design expression creates simple visual connections across the portfolio, allowing each variant to stand out through purpose and specialization while continuing to distinguish itself from the oversaturation of today’s craft-heavy coffee space.”

Jaisy Roman, designer; Kitman Leung/Kasi Turpin, senior designers; Mike Branson, principal; Matt Sia, associate creative director; Hamish Campbell, creative director; Stephen Kwartler, production artist; Brandi Parker, production manager; Courtney Tight, project manager; Mariah Wright, researcher; Pearlfisher (New York, NY), design firm; Intelligentsia Coffee, client.

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Welly identity “Welly brings play and preparation to the first aid aisle, creating beautiful products that also deliver on performance. Since Welly is sold primarily on the shelf at Target, we knew that its packaging needed to catch the consumer’s eye. Once the consumer was intrigued, there needed to be a great deal of focus on the packaging. Hence the solution of brightly colored tins with the addition of a ‘belly band,’ which enabled us to drill down into the pertinent information with copy and art.”

Greg Kimball, art director; Michael Bambino, Prime Studio, senior designer; Stuart Harvey Lee, Prime Studio, creative director; Anthony Sperduti, executive creative director; Ezequiel Pini, Six N. Five, director; Mercedes deBellard, Folio Agency, illustrator; Partners & Spade (New York, NY), design firm; Laura Conlon/Eric Ryan/Doug Stukenborg, Welly, clients.

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Fuego Spice Co. packaging “Hot sauce shelves in America are packed with producers jostling for attention. For its own range of flavor-filled firecrackers, Fuego Spice Co. asked us to provide an aesthetic that elevates its brand above the noise. After researching the category and exploring different design outcomes, we provided the client with some concepts that tackle ‘premium’ and ‘flavorful’ from a few different angles. The range focuses on flavor over fire, so the design moves away from the cartoonish, masculine style of the category and draws inspiration from beauty and lifestyle products. The client was drawn to this design because it has a disruptive, impactful style that elevates the product above the competition.”

Robot Food (Leeds, United Kingdom), design firm; Fuego Spice Co., client.

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Coca-Cola print ad “After 126 years of Coca-Cola, we asked ourselves what the company could possibly do today that’s refreshing. Coca-Cola has done everything under the sun. But that challenge ended up becoming an opportunity to do something no other brand could do. We leveraged Coca-Cola’s long history of advertising by immediately connecting our memories of ‘the Coca-Cola experience,’ whether it’s the uncapping of a bottle or the fizzing of a recently poured Coke. This phenomenon that happens in our heads is called synesthesia, when two different senses in our brains cross due to one stimulus triggering the other. In this case, our print ads triggered imaginary sounds by simply showing iconic images of the Coca-Cola experience.”

Andy Tamayo, art director; Alex Allen, writer; Paulo Fogaca/Carmen Rodriguez/Stefane Rosa, principals; Fernando Pellizzaro/Jean Zamprogno, associate creative directors; Ricardo Casal/Juan Javier Peña Plaza, executive creative directors; Veronica Beach, production manager; Cristina Cornejo Ayala, project manager; Matías Candia/Jon Carlaw, strategy; DAVID The Agency (Miami, FL), ad agency; Laura Legrenzi/ Romain Mallard/Dmitry Muzychenko/Sergey Sverzhinskiy/Milica Vulicevic Basorovic/Dimitris Xinotroulias/Camilla Zanaria, The Coca-Cola Company, clients.

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Elemental Beverage Co. identity

© Matt Sartain

“Chen Design Associates created branding and packaging for Elemental Beverage Co. to support its recent company and product-offering launch at the 2019 Specialty Coffee Expo in Boston. Its patented Snapchill technology turns fresh coffee— or any hot beverage—cold in less than a minute without compromising taste. Our multifaceted goal was to launch the Elemental Beverage Co. brand; position its Snapchilled coffee to stand out in the crowded field of ready-to-drink specialty coffee; and generate interest for a reinvented chilled coffee experience. Abstract watercolors draw inspiration from the fruit notes of single-origin, estate-grown coffees. Our approach provides an emotional connection to bright flavors and visually cuts through the typically heavy and dark cold-coffee packaging space.”

Tracy White Taylor/Alexis Tjian, art directors; Bernee Briones/Cedrik Ferrer/Kimberly Low/Hannah Robinson DeMoss/Jackie Wade, designers; Joshua C. Chen, creative director; Cedrik Ferrer, illustrator; Saree Rice, production manager; Alexis Grossman, project manager; Julie Glassman/ Becky Luoh, strategy; Chen Design Associates (San Francisco, CA), design firm; Elemental Beverage Co., client.

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Volkswagen print ad “One of alcohol’s most dangerous effects is a decrease of inhibition and increase in confidence, which causes people to do the dumbest things. Volkswagen Argentina didn’t want them to do the dumbest thing of all: drinking and driving. We managed to get the message across to the public and yet stay true to Volkswagen’s communications tone by using subtle humor, which is not very easy to find in the subject of a public awareness campaign.”

Matias Irigoytia, art director; Nicolás Cortese, writer; Juan Mesz/ Fernando Zagales, creative directors; Adrián Piattoni/Facundo Varela, executive creative directors; Dante Rodriguez, 300 Dpi, retoucher/producer/production company; DDB Argentina (Buenos Aires, Argentina), ad agency; Volkswagen, client.

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Proof Alliance OOH ad “One in 20 children have fetal alcohol spectrum disorder (FASD), the most common cause of preventable brain injury in babies. Those facts are clear. But the information on drinking while pregnant is less clear. A public service campaign for Proof Alliance was launched to start a national movement to prevent FASDs, using truth about drinking during pregnancy to overcome generations of misinformation and bias and end FASDs one fact at a time. But with expectant parents being bombarded with messages telling them what they should and shouldn’t do, it was important that the tone of the work wasn’t opinionated or telling them what to do. We wanted to make sure we were presenting them with facts in compelling ways so they can decide what’s best for their babies.”

Daniel Linnihan, senior art director; Jacob Boie/Erik Herberg/Logan Ogden, designers; 10 Thousand Design, design team; Lee Hanson, associate creative director; Puja Shah, creative director; Laura Fegley, executive creative director; Mike Caguin, chief creative officer; Emma Tofte, project manager; Colle McVoy (Minneapolis, MN), ad agency; Proof Alliance, client.

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“There must be a rapport between the client and the designer. Whether this rapport centers around an intellectual, professional or personal level doesn’t really matter—as long as there is a respect translated between two people.”

—S. Neil Fujita, 1962

Years of Design While technology and new media continue to transform the process and delivery of visual communications, what hasn’t changed is the designer’s need to create compelling messages that connect with their intended audiences.

On the following pages is a sampling of work and commentary from a few of the designers and firms we’ve profiled in the last 60 years.

Much of the work continues to exude a vibrancy that transcends its moment in time.

The Journal of Commercial Art front and back cover, 1960. Ivan Chermayeff, designer; Brownjohn, Chermayeff & Geismar, design firm Litton Industries annual report, 1960.

Robert Miles Runyan & Associates, design firm

“The most important factor in our work is the operation of a unique personality.

The design should never be anonymous.”

—Milton Glaser, Push Pin Studios, 1962

Anatomy of a Murder film poster, 1959. Saul Bass, designer; Saul Bass & Associates, design firm

Avant Garde logotype, 1967. Herb Lubalin, art director/designer; Tom Carnase, lettering; Lubalin, Smith, Carnase, design firm

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The Sea Ranch supergraphics, 1968.

Barbara Stauffacher Solomon, designer; Barbara Stauffacher Solomon, design firm

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60 YEARS OF DESIGN US Film Festival poster, 1973.

Cap Pannell, art director/designer; Ron Sullivan, illustrator; The Richards Group, design firm

“We’re selling concept and production capabilities. All that neatness and showy presentation hasn’t got a damn thing to do with how well you’ve solved the problem.” —David Ashton, Ashton-Worthington, 1973

US Department of Transportation symbol signs, 1974. Cook and Shanosky Associates, design firm

Bauhaus book cover, 1969. Muriel Cooper, designer; MIT Press, publisher

“What you need to understand, if you’re going to understand the annual report business, is that they’re all problem-solving jobs. They’re not done for art’s sake, and they’re not done for our sake. They’re done to solve somebody’s problem.” —Arnold Saks, 1978 Arts Council of Great Britain poster, 1974.

Alan Fletcher, designer; Pentagram Design Partnership, design firm

“Excessive outputting can destroy anyone.

You need inputs like information, solitude, observation, nature. You want to be a good designer, do good work, meet deadlines. But you also want to be a good human being.”

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Yale Symphony Orchestra poster, 1973. Dan Friedman, designer

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—Vance Jonson, 1977

“Books are, as all of us know, labors of love anyway.

No good designer can really afford to do them the way they ought to be done.” —Louise Fili, 1986 “If you have a brilliant idea and it’s well executed, then the whole piece holds together. But a lot of stuff that’s just well produced presents itself as good design, and it’s not.”

—Leslie Smolan, Carbone Smolan Associates, 1987

Progressive Corporation annual report, 1988. Nesnadny & Schwartz, design firm

Laserscan poster, 1988. Thomas Wedell/Nancy Skolos, designers; Thomas Wedell/Kenneth Raynor, photographers; Skolos, Wedell + Raynor, design firm

Olympic graphics program for the Los Angeles Olympic Organizing Committee, 1983. Deborah Sussman/Paul Prejza, partners in charge; Mark Nelson, project manager; Debra Valencia, senior designer; Sussman/Prejza & Co., design firm

1979

Classico pasta sauce brand identity, 1985. Charles S. Anderson, designer; Charles S. Anderson/Lynn Schulte, illustrators; Duffy Design Group, design firm

“I think of my work as conceptual.

The appeal may be to a different aesthetic, where preconceived notions of ‘pretty’ or ‘ugly’ have no real function. All that matters to me is concept combined with ink on paper.” —Art Chantry, 1988

1988

Typographics poster announcing ITC Garamond, 1979.

Jack Summerford, designer

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“Design is seductive propaganda. I don’t think we can forget that we have a responsibility as a communication profession to make the most of that.”

—Jennifer Morla, Morla Design, 1993

David Byrne Feelings cd packaging, 1996. Stefan Sagmeister, art director; Stefan Sagmeister/Hjalti Karlsson, designers; David Byrne, writer; Tom Schierlitz, photographer; Yuji Yoshimoto, model maker; Sagmeister Inc., design firm The Public Theater poster, 1995. Lisa Mazur/Paula Scher, designers; Pentagram Design, design firm

The Earth Technology Corporation annual report, 1994.

Lana Rigsby/Troy S. Ford, designers; JoAnn Stone, writer; Gary Faye, photographer; Rigsby Design, design firm

“We never deliberately make something difficult to read. We try to provoke people into reading things they might otherwise skip.”

Time Warner Inc. annual report, 1990. Aubrey Balkind/ Kent Hunter, art directors; Kent Hunter/Riki Sethiadi, designers; Scott Morgan/Geof Kern/Chris Sanders, photographers; Frankfurt Gips Balkind, design firm

—John Plunkett, Plunkett + Kuhr, 1995

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—Dana Arnett, VSA Partners, 1994

1998

1989

Opening titles for New Line Cinema’s Se7en, 1995. Kyle Cooper, director; Kyle Cooper/ Jenny Shainin, designers; Angus Wall, editor; R/Greenberg Associates, design firm

“There’s no office aesthetic here, really. I guess it’s because of the mix of people, but the result can sometimes be a kind of creative chaos.”

“I loved when you worked on projects in the old days; you sketched and photocopied and Scotchtaped. You arrived there; it didn’t just happen.

You knew you had done the work.”

—Sharon Werner, Werner Design Werks, 2002

El Zanjon branding program, 2002.

Frances Chen/Vanessa Eckstein/ Stephanie Young, designers; blok design, design firm

“If we don’t create images for our client to grow into, then our work is of no lasting value.” —Jack Anderson, Hornall Anderson Design Works, 1996 Sci-Arc Emerging Voices lecture series poster, 1999. Jennifer Sterling, art director/ designer; Margi Reeves, writer; Jennifer Sterling/Amy Hayson, illustrators; Jennifer Sterling Design, design firm

1999

Coca-Cola integrated branding program, 2008. Chris Garvey/Josh Michels/ Radu Ranga/Jonathan Warner/Rebecca Williams, designers; Sarah Moffat, design director; Bruce Duckworth/David Turner, creative directors; Turner Duckworth, design firm

“Most of us got into the field because we enjoy making things. But over the years, we discovered that the process of designing can be applied to more than just artifacts. It can be applied to an entire range of business activities.”

—Robert Stone, Stone Yamashita Partners, 2005

2008

Tazo Tea packaging, 2001. Steve Sandstrom, designer/art director; Steve Sandoz, writer; Sandstrom Design, design firm

Saks Fifth Avenue packaging, 2007.

Michael Bierut/Jennifer Kinon/ Kerrie Powell, designers; Joe Finocchiaro, typography; Pentagram Design, design firm

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60 YEARS OF DESIGN

“If you can’t get a concept down on a piece of paper, don’t bother with the execution. Our designers focus on the concept—not on what font or style of execution to use, but on what we’re trying to say.”

—Pum Lefebure, Design Army, 2009

Exploratorium After Dark identity, 2017. Kris Wong, lead designer; David Nguyen, design director; Karin Soukup, creative director; Matt Luckhurst, chief creative officer; Shea Jackson, producer; collins, design firm

“Having something take root in a much more public, nondesigner forum is really what we aspire to do. Design is for people, not Pinterest.”

—Eric Heiman, Volume Inc., 2014 Wee Society identity program, 2013. Rob Alexander/ Chris Mann, designers; Lisa Pemrick/Jill Robertson/ Alexis Vogelgesang, writers; Rob Alexander/Jill Robertson/Jason Schulte, creative directors; Emily Bolls, producer; Office: Jason Schulte Design, design firm

Canada Post Signs of the Zodiac stamps, 2011. François Leclerc/Daniel Robitaille, art directors; Louis Gagnon, creative director; Paprika, design firm

Spencer Museum of Art gala invitation, 2017. Rachel Roth/ Morgan Stephens, designers; Ingred Sidie, art director; Design Ranch, design firm

“We question assumptions.

Maybe they don’t need a logo.

Maybe they need to sit down and write some letters to their customers. Maybe it’s a really good holiday gift. We figure out what they don’t need as much as what they do need.”

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Platform Summit identity, 2014. Ken Deegan/Pedro Mendes, designers; Eddie Opara, art director; Pentagram, design firm

2018

2009

—Jennifer Jerde, Elixir Design, 2009

“

There were many pieces that gave me ‘design pause’—that moment of ‘wow, I wish I’d done that.’” —Laura Scott

“

DESIGN 2019 ANNUAL

It was interesting to see how digital tools and media platforms can be creatively hacked to design unique artifacts and innovative services.”

—Brad Bartlett

1

POSTERS 1 Jeffrey Wolverton, designer DJ Stout, art director Pentagram (Austin, TX), design firm Art Alliance Austin, client “Screen-printed poster for a creative speaking event in Austin. This one was at the Google corporate offices.” 18 × 24, 5-color, silkscreen print.

2 Fidel Peña, designer Claire Dawson/Fidel Peña, creative directors Underline Studio (Toronto, Canada), design firm Native, client “Poster design for Native, a publication dedicated to inspiring the creators of tomorrow.” 20 × 28, 4-color, digital print.

3 (series) Matt Rector, designer Marty Senn/Milton Un, creative directors Carmichael Lynch (Minneapolis, MN), design firm Minnesota Twins, client “In 2019, everything changed about the Minnesota Twins. The team’s wholesome, aging captain retired, and in turn, they hired the youngest manager in the history of the game. We needed to not only reflect the new spirit of the team, but also help establish it. Not with nostalgia or jokes or the usual baseball tropes, but with newfound swagger, speed, strength, explosions, nachos, colors, large speakers and fun.” 48 × 72, 4-color, digital print.

2

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2

POSTERS 1 (series) Justin Kowalczuk, designer/art director Dennis Lenarduzzi, creative director Makespace (Edmonton, Canada), design firm Gather Factory Co., client “FACTORY is a retail campus for modern creators and consumers—a hub where people and ideas collide. Fusing retail, dining, hospitality and entertainment, FACTORY transforms central building spaces into vibrant and dynamic ‘campuses,’ which offer curated products and relevant experiences to fuel work and life.” 25 × 36, 4-color, offset.

2 Oliver Siegenthaler, designer S&Co. (Bogotá, Colombia), design firm Elsewhere, client “For the show Little Acts of Rebellion by musician Ela Minus in Elsewhere in New York, we made a small act of rebellion and wrinkled the poster.”

19½ × 27½, 1-color, offset.

3 Jeffrey Wolverton, designer DJ Stout, art director Pentagram (Austin, TX), design firm Art Alliance Austin, client “Screen-printed poster for a creative speaking event in Austin. This one was at an abandoned wholesale florist warehouse.” 18 × 24, 6-color, silkscreen print.

3

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1

POSTERS 1 Michelle Maudet, designer DJ Stout, art director Pentagram (Austin, TX), design firm Art Alliance Austin, client “Screen-printed poster for a creative speaking event in Austin. This one was at the Native Hostel.” 18 × 24, 3-color, silkscreen print.

2 (series) Cédric Rossel/Sophie Rubin, art directors Cédric Rossel, typographer WePlayDesign (Grandvaux, Switzerland), design firm Les Concerts du Mercredi, client “The concept for classical music concert series Les Concerts du Mercredi consists in the layout of content orchestrated and played as a score, using a structure composed of four grids that juxtapose. Inspired by producing different notes on a musical instrument, we have designed two typefaces, Gridsytem Mono and Gridsystem Alternate, which have more than 650 alternative glyphs to play with letters and words in the same way.” 35 × 50½, 4-color, digital print.

2

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2

POSTERS 1 (series) Jacob Rosenburg, designer James O’Briant, art director James Adamé/Gary Pascoe, creative directors Commonwealth // McCann (Detroit, MI), design firm The Fillmore Detroit, client “Each poster is a collector’s item given away to VIP concertgoers at the Fillmore Detroit. They have become highly sought after due to their creative, inspired nature, which ties them to their respective bands and fans. Their overall psychedelic feel—attributable to the artist’s design and color choices as well as the use of holographic paper—enables them to hang together, despite the disparate nature of the bands and their music.” 24 × 32, Greta Van Fleet 1: 3-color with split fountain, Pixies: 3-color, Umphrey’s McGee: 3-color, Greta Van Fleet 2: 3-color, Metric: 2-color, screen printed on holographic paper.

2 (series) Fidel Peña, designer Claire Dawson/Fidel Peña, creative directors Underline Studio (Toronto, Canada), design firm Sur Gallery, client “We reinterpreted two posters from the 1973 Chilean poster exhibition Por la Vida...Siempre! as part of the exhibition Stance: Design Against Fascism at Sur Gallery. Stance created a space to question how the ideological dogmas of the past continue to shape our current political, social and economic realities. Our solution was to reinterpret the posters in a clean, direct manner.” 20 × 28½, 4-color, digital print.

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1

POSTERS 1 Michael Schwab, designer/illustrator Michael Schwab Studio (San Anselmo, CA), design firm Thomas Reynolds, Fillmore Merchants Association/Steven Restivo Event Services, LLC, clients “Created originally as an outdoor street banner, this poster design graphically celebrates the rich cultural heritage of the Fillmore Street jazz scene from the 1940s and 1950s in San Francisco’s historic Fillmore District.” 18 × 24, offset.

2 (series) Cédric Rossel/Sophie Rubin, art directors WePlayDesign (Grandvaux, Switzerland), design firm Festival Archipel, client “Archipel, a contemporary music festival in Geneva, has been renamed Archip-elles for its 2019 edition, which is 100 percent feminine. The 2019 visual identity deconstructs stereotypes through a visual language advocating an uninhibited affirmation of femininity. Borrowing from the socially constructed codes of feminism and femininity, our visual identity proposes an iconography that is humorous, cynical and irreverent.” 35 × 50½, 4-color, digital print.

2

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1

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2

POSTERS 1 (series) C.J. Yeh, designer/illustrator Christie Shin, art director Cynda Media Lab (Englewood Cliffs, NJ), design firm National Central University, Taiwan, client “Exhibition poster series for a large-scale mixed-reality installation about the intricate relationship between time, reality and memory. Each of the eight posters depicts a rose, frozen in a moment during the process of withering. It’s a metaphor for how the human brain segments continuous experience into separate memories of events.” 40 × 60, 4-color, digital print.

2 Dejan Djuric, designer/art director

© Arash Moallemi

Lisa Greenberg/Chris Munnik/Kerry Reynolds, creative directors Judy John, chief creative officer Dave Thornhill, writer Alex Dabic/Dan Purdy, developers Gord Cathmoir/Barry Durocher/Alexandra Postans/Kevin Stephen, producers Leo Burnett (Toronto, Canada), ad agency Michael Armstrong, TD Canada, client

3

“The TD Poster Bank is a tactile savings account for kids. Along with their parents, kids could pick the item they wanted to save for and, over time, insert the coins needed to buy it. When all the slots were filled by the appropriate coins, the item could be bought. Each coin saved was an opportunity for parents to educate their kids about money.” 21 × 36, 1-cut coin shapes.

3 Shawn Knight, art director D. Chase Nann, creative director Geoff McFetridge, illustrator Vans Global Creative, design firm Vans (Costa Mesa, CA), client “The 2018 Vans Duct Tape Invitational and Festival poster. The Vans Duct Tape program brings surfing culture and skateboarding culture together by celebrating art, music and craft. Utilizing the simple, universal symbol of DIY culture—duct tape—to depict wave and ramp forms, the art symbolizes the link between the two cultures.” 18 × 24, 4-color.

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POSTERS 1 (series) Nathalia Jaramillo/Felipe Osorio, designers Julian Jaramillo/Oliver Siegenthaler, art directors S&Co. (Bogotá, Colombia), design firm Masa, client “Every year for the month of October, Bogotá-based café Masa offers typical Oktoberfest products, like beer, pretzels and German sausage.

This time, we wanted to get away from the common German aesthetics, and personified the products with illustrations inspired by classic caricatures, contrasting them with contemporary typographical compositions. As a result, we printed a series of silkscreen posters that became part of the space.” 19½ × 27½, 1-color plus 1 PMS, silkscreen.

BROCHURES 2 (product brochure) Stephan Peters, designer Stuart Flake (Minneapolis, MN), art director Medora Danz, writer Josh Grubbs/Rod Komis/Nikki Norberg, photographers Blu Dot, design firm/client “This tabloid previews Blu Dot’s furniture and accessories design work. It shares our design process with customers and design enthusiasts. Visuals focus on prototypes and sketches that expose the creative spark integral to Blu Dot’s design legacy.” 16 pages, 10½ × 14¼, 4-color, saddle stitched, uncoated paper.

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2

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2

BROCHURES 1 (annual report) Dana Vague, designer Kathryn Tanner, senior designer/art director Dan Murch, creative director Dan Monroe/Allison Swagler-Webb, writers Rob Culpepper/Samantha Richardson, photographers David Webb, illustrator Stacey Fell, production manager Katherine Beshear, project manager Cayenne Creative (Birmingham, AL), design firm Alabama Power Foundation, client “Alabama Power Foundation provides grants and volunteers to support organizations that ‘spread the good’ throughout Alabama. This piece shares the stories of organizations and people making a difference in Alabama, thanks in part to the foundation.” 149 pages, 5� × 8�, 4-color, perfect bound, bookmark, pencil loop, back pocket, elastic closure strap.

2 (catalog) Kira Campbell, art director Sung Lee, creative director Frank Daniello, writer Stephen Wilde, photographer Herschel Supply Company (Vancouver, Canada), client “The challenge was to introduce a vibrant orange colorway as part of Herschel’s historically monochromatic Studio Collection. The catalog acts as a workbook for global distribution partners and as an educational tool for the sales team.” 44 pages, 8 × 11¾, 4-color plus 2 PMS, perfect bound, black foil, spot UV.

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BROCHURES 1 (annual report) Rachel Roth, designer Ingred Sidie/Michelle Sonderegger, creative directors Ingrid Busch/Aly Trost, writers Design Ranch (Kansas City, MO), design firm Hall Family Foundation, client “The 2017 Hall Family Foundation annual report was inspired by the future of Kansas City—children. Titled Inspiring Growth, the colorful book focuses on the formative years of a child’s life, highlighting the age groups most impacted by the organization’s funds. As the chapters grow, so does the book physically, further emphasizing the growth of an individual throughout their early years in life.” 84 pages, seven different page sizes associated with growing older, smallest page: 4¼ × 5½, largest page: 7¼ × 9¼, 4-color, red wire-o binding.

2 (institutional brochure) Judy Zheng, designer Ryan Gravito/Dylan Staniul, creative directors Michael Slobodian, photographer Burnkit (Vancouver, Canada), design firm Ballet BC, client “We’ve introduced a progressive brand identity for the innovative, boundary-pushing ballet company Ballet BC. Our fourth season brochure for the company finds balance between movement and color, bringing a fresh, contemporary take on motion for the latest season.” 11 × 15½, 4-color, self-cover with no stitches, folded.

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© Mari Juliano

© Marshall Dackert Photography

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PACKAGING 1 (series)

© Mike Tjioe

Andrew Bablo, designer Steez Design (Beverly, MA), design firm Gentile Brewing Company, client “As the craft beer market becomes increasingly competitive, Gentile Brewing Company, a small, family-owned brewery, wanted a label aesthetic that was unique but approachable, reflecting its quality-over-quantity approach. Steez Design chose an attention-grabbing die-cut shape and clean design reminiscent of a cigar ring, using a simple color palette and a classic look to make the brewery stand out while sticking to its values.”

2 Mirko Ilić (New York, NY), designer/art director 5

Clai d.o.o., client “Terrebianche is an extra-virgin olive oil produced by Clai, a winery based in Istria, Croatia.”

3 (series) Kevin Chao/Sanuk Kim, designers Leo Porto, design director Brian Collins, chief creative officer Antonia Lazar, project manager COLLINS (New York, NY), design firm Target Creative Team, client “Target launched Heyday, its first electronics brand, which has a full range of 150 affordable products to showcase emerging design trends in consumer technology.

Our goal was to expand Target’s relationship with its customers through simple design and packaging that addressed the need for originality. Since its launch, Heyday has continuously sold out in stores nationwide and has led Target into new consumer categories.”

4 Man Wai Wong, designer/art director 6

Lisa Greenberg, creative director Judy John, chief creative officer Matt Williamson, writer Leo Burnett (Toronto, Canada), ad agency Grinning Face, client “Because Grinning Face Coconut Milk is 100 percent natural and contains no stabilizer or gums, it naturally separates. Instead of hiding the separation with a carton, we celebrated it with a design that puts it right in plain sight and encourages the consumer to shake it.”

5 Marc Berenguer/Kenny Coil, designers Break Maiden (Saint Petersburg, FL), design firm Made Coffee, client “How do you withstand a typical Florida summer? Cold coffee. That’s been Made Coffee’s motto since it opened up shop in 2015. After successfully launching a line of canned cold brew, the coffee shop figured it would pay homage to the sunshine and good times of its home state with Made for Florida.”

6 Marc Ferrino/Ben Harman/Steve Wolf, designers Ben Harman, writer 828 Design (Austin, TX), design firm Tyson’s Tacos, client “Tyson’s Tacos Prayer Candle for fervent taco lovers. Placed on tables and sold. Give us this day our daily breakfast tacos. Pray for our dinner now, and at the hour of our lunch, that our tortillas may never be empty. Amen.”

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PACKAGING 1 (series) Bhakti Garach/Lokesh Padmashali, designers/illustrators Lokesh Padmashali, art director Ashutosh Karkhanis/Mangesh Rane, creative directors Vatsala Bisen, writer Open Strategy & Design (Mumbai, India), design firm Desk & Coffee, client “Desk & Coffee is India’s first ready-to-read eyewear brand for those who are short on time and sharp on style. As a hat tip to our creative zeitgeist, we imagined its packaging as books on major artistic movements. We named the frame styles Brit Pop, Art Deco, Pulp Fiction and Potboiler, and created genre-specific book covers with copy and illustration that evoke the movements.”

2 (series) Julián Cardozo/Lucho Correa, designers Lucho Correa, creative director Angélica Delvalle, illustrator Silvia La Rotta, strategist Lip (Bogotá, Colombia), design firm BBC, client “Bogotá Beer Company, the largest craft brewery in Colombia, was migrating its name to just BBC. We did the whole brand image, including the labels for its entire portfolio of beers. Keeping some elements—like the truck, colors and type fonts—from the former image, which was also developed by us nine years ago, we came up with a whole new brand.”

3 Adam Kereliuk Creative (Toronto, Canada), design firm Echo Bay Vineyard, client “Echo Bay is a new winery in the Okanagan Valley in British Columbia. Since the same piece of land growing the same varietals each year can still result in very different wines through environmental inputs, I researched how synoptic weather—the overview of global weather—was charted before modern computing. When recorded throughout the year, the system of symbols tells the story of a growing season and, ultimately, the wine.”

4 Chad Michael Studio (Dallas, TX), design firm Artist in Residence Distillerie, client “The Spirit of Enlightenment, a ginger liqueur from Artist in Residence Distillerie in Gatineau, Québec, is naturally balanced with uplifting notes of ginger root and filtered spring waters.”

5 Stranger & Stranger (New York, NY), design firm Terlato Wines, client “These blends each contain two dueling varietals. The visual duel plays out across the range, so you’ll need to search out all the bottles if you want to know who wins.”

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4

5

© Rusty Hill Photography

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© Nick Cabrera/Reid Long/Sarah Rau

© Jens Haugen/Roger Johansen

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PACKAGING 1 (series) Judy Zheng, designer Ryan Gravito/Dylan Staniul, creative directors Burnkit (Vancouver, Canada), design firm Espro, client “As Espro, a purveyor of coffee excellence, enters a new phase of its evolution, we’ve established an updated graphic design that is refined and streamlined. The numeric system, which highlights the technical character of Espro’s brand, is balanced by the playful use of bold typographic elements and a monochromatic color scheme.”

2 (series) Simen Schikulski/Vivi-Ann Slaatsveen, designers Simen Schikulski, art director Kjetil Wold, creative director Magnus Vanem, video director Ellen Østmoen, project manager ANTI (Hamar, Norway), design firm Torbjørn Anderssen/Maja Tjelta/Espen Voll, Nedre Foss, clients

5

“The Nedre Foss brand is based on the philosophy of making solid, timeless and lasting products.

It’s only natural that its packaging should be an extension of this philosophy. The cardboard packaging with 1-color print is designed to be environmental, freight and cost effective.”

3 (series) Benjamin Garner/Emily Lamontagne/Megan Pando/ Emily Prestridge/Nat Sathi, design team Christian Helms, creative director Ryan Kitchens, project manager Helms Workshop (Austin, TX), design firm Blackberry Farm Brewery, client “Blackberry Farm Brewery started humbly in a milking barn at Blackberry Farm, nestled alongside pastures of livestock and produce. Inspired by Southern folk art, bright patterning blazes across a clean, refined white backdrop, reflecting both deep Tennessee roots as well as a commitment to high-quality beers.”

4 Michael Stearns, designer/illustrator Hybrid3 (Seattle, WA), design firm Water1st International, client “Nonprofit organization Water1st wanted this wine and its packaging to raise awareness of its goal of bringing water to the world’s poorest communities.

Wine sales support sustainable water and toilet projects. Each year, we can update the numbers on the label to reflect the growing number of lives transformed by Water1st’s collaborative projects.”

5 Shaobin Lin (Shantou, China), designer/creative

© Yanpeng Chen

director Haiyang Song, client “This tea is baked using artificial charcoal. Due to differences in baking times, it has three concentrations, from light to strong. The design differentiates the concentrations and presents the concept of high mountains and the charcoal process. I incorporated folding, laser engraving and bronzing with a creative Chinese landscape painting to present the tea’s process.”

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1 Roberto Núñez, art director/creative director/writer Roberto Núñez Studio (Barcelona, Spain), design firm Bodegas Davide, client “Observador is a wine that comes from a personal way of working with and understanding nature, which we call ‘thoughtful’ viticulture. The text is engraved on the bottoms of the 3,327 numbered bottles.”

2 Ed Sherman, designer/illustrator Gail Marowitz, art director Sheryl Nields/Pieter Van Hattem, photographers The Visual Strategist (New York, NY), design firm Jonathan Coulton, client “Jonathan Coulton recorded Some Guys, an album of 1970s soft rock songs to address male toxicity.

We saw humor in creating a ‘cover’ after the famous Rolling Stones album art for Some Girls. The interior illustration drew inspiration from a 1978 knitting pattern catalog.”

3 (series) Jeremy Dahl/Becky Nelson Dahl, creative directors BexBrands (San Diego, CA), design firm Philip Risk/Kristen Risk, Be In Good Spirits, LLC, clients “Frankly supplies the world with vodka made from 100 percent real, organic ingredients for people who are real. Extrastraightforward copy adds to the honesty the brand stands for.”

Carol de Lucca, graphic designer Jessica Zimmer, design director Nathan Weaver, associate creative director Jim Zimmer, creative director Raul Urias, illustrator Adam Grimshaw, retoucher Zimmer-Design (Louisville, KY), design firm Dark Matter Coffee, client “Coffee Cold is a line of intensely caffeinated, chilled coffee by Chicago-based Dark Matter Coffee. Dark Matter has amassed a cult following, hence the psychedelic-inspired illustrations and typography.”

2

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© Roberto Treviño

4 (series)

3

© Richard Gary

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PACKAGING 1 Isaac LeFever, designer/art director GCH, Inc. (Seattle, WA), design firm Willie’s Reserve, client “Willie’s Reserve is a recreational cannabis brand founded by country music legend Willie Nelson.

Developing this preroll joint pack offered me the opportunity to dive deep into archival images of vintage tin packaging and other period design work.

The result feels timelessly collectible.”

MISCELLANEOUS COMPANY LITERATURE 2 Stefan G. Bucher, designer/art director Mara Campione/Jon Kane, opticnerve, creative directors David Mayes, Typecraft, production manager Lawrence Taub, Institute for Regional Education, executive producer 344 Design LLC (Los Angeles, CA), design firm Philip Glass/Godfrey Reggio/Robert Wilson, clients “This limited edition book introduces Once Within A Time, a new theatrical performance by Philip Glass, Godfrey Reggio and Robert Wilson, and provides customized information to potential donors and investors.” 45 pages, 7 × 10, 4-color, digital offset, three vertical Singer-sewn signatures bound into one gatefold hardcover, with a pouch for an individualized, hand-inserted pitch document.

3 (series) Daniel Robitaille, art director Louis Gagnon, creative director Paprika (Montréal, Canada), design firm Éditions Noir sur Blanc, client “In just five years and with 46 books published, Notabilia has carved out a prime position in the world of French publishing. Through original texts often taking place in lesser-explored literary contexts—like Serbia, Taiwan, Norway and Uruguay—and a well-defined graphic identity, this collection has, since its beginning, taken on a leading role. The campaign celebrated Notabilia’s fifth anniversary.”

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MISCELLANEOUS COMPANY LITERATURE 1 Thomas Hull/Lana Rigsby, designers/creative directors Rigsby Hull (Houston, TX), design firm AMB Group, client “Atlanta Falcons owner Arthur M. Blank commissioned Rigsby Hull to create this private, limited edition monograph about the building Architectural Digest calls ‘the most beautifully designed stadium on the planet.’ The 472-page volume—an exploration of the stadium’s art, architecture and the vision behind them—is housed in a personalized, sculpted slipcase. Throughout the book, augmented reality takes readers into the minds of the people who created one of the most important new buildings of our time.” 412-page monograph with a 60-page artist’s sketchbook, 10 × 14, 4-color plus 2 PMS and dull aqueous, monograph: Smythe-sewn case binding, sketchbook: side sewn, gilt- and foreedge printed, silver-foil-stamped cover and spine.

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TRADEMARKS

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1 David Bell, art director David Bell/Jacqueline Chubirka, creative directors David Bell Creative (Tyler, TX), design firm Tyler Renfrow, Renfrow’s Paint Pros, client “As a startup in Tyler, Texas, Renfrow’s Paint Pros wanted to establish itself as a trustworthy, experienced and professional painting contractor. We created a simple yet iconic logo that will serve it for years. We bartered for services, created a beautiful mark and made a good friend.

Everyone wins.”

2 Mustaali Raj (Vancouver, Canada), designer/creative director Jared Chartrand, Hummingbird Smart Services, client “Founded by Canadian Métis people, Hummingbird Smart Services provides cost-effective energy independence to homes and businesses via smart energy solutions and solar technology. At the heart of the company lies strong Indigenous values and principles, which are characterized by the hummingbird, a prominent symbol in North American Indigenous cultures. The final mark is a fusion of a hummingbird and an energy icon—the ‘Hummingbolt.’”

INTEGRATED BRANDING PROGRAMS 3 (series) Simon Langlois, designer Richard Bélanger, art director/creative director Peter Ignazi/Carlos Moreno, chief creative officers Isabelle Bourgeault, production artist Mélissa Choquette/Colette Dumay, producers Hugo Fournier, strategy Noémie Ferland, project manager Andrée Losier, project director Cossette (Montréal, Canada), ad agency The Montréal Children’s Hospital Foundation, client “Heal, love, bond—three words that support the Foundation’s purpose are transformed into universally recognizable symbols at the heart of this new identity, which is as warm and welcoming as the Foundation itself. An identity filled with hope that goes beyond the barriers of language.”

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INTEGRATED BRANDING PROGRAMS 1 (series) Tânia Junceiro Raposo/Emma Zhang, designers Anny Chen, senior designer Sonja Hernandez, design manager Brooke Hopper/Arie Huang/Lidia Lukianova/Steve Ogden/ Tanya Siadneva/Brian Yap, contributing artists Soomin Park, animator Marisa Bazan/Robert Gianino/Carri Holden/Pollyanna Macchiano/ Bailey Sharrocks/Cassarie Soungpanya, production managers Preview Events, production service company Angelie Herreria, project manager Adobe (San Francisco, CA), project design and development/client

© Alnie Figueroa/Eric Haseltine/Ryan Hicks/Matthew Richmond/Emma Salom

“Adobe Design Summit celebrates our creative leadership, forges new partnerships and looks to the future of our profession. The 2018 theme was Perspective, and activities were framed around working together, leveraging empathy as a tool for creativity and shifting our perspective to our future. The brand system played with this theme by using collage, blurring the lines between 2-D, 3-D, AR and VR, and by creating opportunities for collaboration.”

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INTEGRATED BRANDING PROGRAMS 1 (series) Rasna Jaswal, designer Dan Cantelon, art director Alexis Bronstorph/Kelsey Horne, executive creative directors Marc Levesque, writer Alison Gordon, editor Malika Favre, illustrator Benjamin Nicolas, director Jared Kuemper, sound design Kaelem Cahill/Conor Fisher, production Michael Walker, production designer Leigh Anderson, production manager Joan Digba/Cherie O’Connor/Dennis Soler, producers Christine Maw, strategy Adam Ball, project director TAXI (Toronto, Canada), ad agency Louise Bellingham/Adrienne Clarke/Goodwin Gibson, United Way, clients “Canadians don’t realize that social issues like domestic violence, poverty and homelessness exist in their own communities. United Way wanted to change that. So we created a new Pantone color and called it Unignorable.

This high-visibility neon was the foundation of our integrated campaign and became a beacon for social issues everywhere. Garnering more than 150 million impressions, our campaign helped raise a record-breaking $110 million in donations.”

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INTEGRATED BRANDING PROGRAMS 1 (series) Stéphane Monnet/Emma Wright/ Yanchen Zhao, designers Stéphane Monnet, creative director Monnet Design (Toronto, Canada), design firm Toronto Outdoor Art Fair, client “Rebrand of Canada’s largest and longest-running outdoor art fair. The logo, a versatile square mark representing the square in which the event takes place, incorporates the initials of the festival: the letter O is a stylized sun that represents the outdoor venue, and the letter A is a stylized tent, representing the white tents used by participating artists.

A vibrant color palette was chosen to bring life to the mostly concrete square.”

2 (series) Brian Okarski/Camille Sauve, designers Jump Jirakaweekul, senior designer Tomas Markevicius, motion graphic designer Gabe Benzur, design director Nick Ace/Thomas Wilder, creative directors Brian Collins, chief creative officer MCKL, typographer Fictive Kin, developer COLLINS (New York, NY), design firm Ogilvy, client “As Ogilvy dissolved internal obstacles and eliminated more than 50 of its subdivisions, we began the task of giving logic to a new brand architecture and designing a new visual identity. The project included clarifying the company’s core values, establishing stringent brand standards and redesigning ogilvy.com.”

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INTEGRATED BRANDING PROGRAMS 1 (series) Sohee Kim, associate designer Caroline Bagley/Erik Berger Vaage, senior designers Kris Wong, motion graphic designer David Nguyen, design director Ben Crick, creative director Brian Collins/Matt Luckhurst, chief creative officers Tom Elia, writer Kirsten Harkonen, producer Angie Shih/Anna Sternoff, strategy R/GA, ad agency COLLINS (New York, NY), design firm Mailchimp Brand Team, client “To mark a new era, Mailchimp invited us to evolve its brand to fuel its growth. Its new design system and identity retain the original elements that endeared the company to its first fans, while working to balance the pragmatic with the surreal. It also sends a message to growing companies that growing up doesn’t mean erasing your peculiarities.”

2 (series) Éloïse Daigle, art director Richard Bélanger, creative director Peter Ignazi/Carlos Moreno, chief creative officers Marc Fabien, writer Véronique Long, strategy Charlotte Fabre/Mathilde Givern-Héroux/ Olivia St-Jacques, project managers Ève-Marie Boutet, project director Cossette (Montréal, Canada), ad agency Fondation Montréal inc., client “Fondation Montréal inc. became Mtl Inc., an organization that helps and sponsors young entrepreneurs and connects them to Greater Montréal’s business opportunities. With its new identity, Mtl Inc. reaffirms its place in the Montréal business community while staying current. We’ve created a brand identity that evolves, adapts and transforms itself according to the media.”

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INTEGRATED BRANDING PROGRAMS 1 (series) Ryan Crouchman/Jeff Watkins/Man Wai Wong, designers Anthony Chelvanathan/Man Wai Wong, art directors Anthony Chelvanathan/Lisa Greenberg/Steve Persico, creative directors Judy John, chief creative officer Steve Persico, writer Hanna Tapang, illustrator Karen Steinberg, developer Sabrina DeLuca/Tania Gaudio/Carly Moreau/Franca Piacente/ Alexandra Postans, producers Leo Burnett (Toronto, Canada), ad agency Rachel Hilton/Heidi Reitmaier, Museum of Contemporary Art Toronto Canada, clients “The design for the Museum of Contemporary Art Toronto Canada’s new identity needed to be simple and neutral so it wouldn’t detract from the art. Inspired by the building’s thick-to-thin columns, we developed a new typographic system where each line of copy gets thicker as it moves down. The treatment was also integrated into the color palette, which consists of shades of gray, from dark to light.”

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INTEGRATED BRANDING PROGRAMS 1 (series) Jack Curtis/Saadia Kardar, designers Ryan Booth, design director Ryan Booth/Charline Fauche-Simon/Michael Romaniuk, art directors Zak Mroueh, creative director Mark Delisi/Patrick Godin/Angeline Parsons, writers Jarvis Alston, editor Cary Smith, content coordinator Anna Harju, studio artist Jesse Hunt, director Dino Cuzzolino, sound engineer Jenna Peel, production manager Greg Heptinstall, production director Teresa Bayley/Cherie O’Connor, producers Ground Glass Media/The Pixel Shop, production service companies Mike Johnson/Erin McManus, project managers Zulubot, production company Zulu Alpha Kilo (Toronto, Canada), ad agency Hilary Ashworth/Rebecca Dudgeon/Karin Heinsch/ Kim Wells, RGD, clients “Speak the Truth, the timely theme for the 2018 RGD DesignThinkers conference, communicates how most designers approach their craft: bold and without apology.

The concept focuses on exposing the truths of design around us in a humorous, relevant and sometimes provocative manner. Since the truth is often black and white, the conference materials follow suit while highlighting design truths across all of the elements.”

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INTEGRATED BRANDING PROGRAMS 1 (series) Jens Marklund/Juan Carlos Pagan, designers Juan Carlos Pagan, creative director Sunday Afternoon (New York, NY), design firm Dave Canning/Lisa Clunie/Jaime Robinson/Karla Vitrone, Joan, clients “Identity for Joan, a new ad agency founded by Lisa Clunie and Jaime Robinson. Drawing on a historical combination of ambition, curiosity, imagination, work ethic and badassery, Joans have challenged—and changed—the status quo. Taking inspiration from this ethos, we built a custom logotype around the sword, wielded by one of the greatest and most famous Joans of all time, Joan of Arc.”

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INTEGRATED BRANDING PROGRAMS 1 (series) Raymond Lanctôt/Sébastien Paradis/ Fanny Roy, art directors Louis Gagnon, creative director Paprika (Montréal, Canada), design firm Maison Corbeil, client “Home Société draws on decades of design expertise, finding inspiration and beauty in the world at large. Its collections of furniture and accessories showcase a selection of local and international products for the home and garden. Paprika designed its entire brand identity, including signage, store opening invitations, promotional bags and posters.”

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INTEGRATED BRANDING PROGRAMS 1 (series) John Bufalino/Ian Dickens/Collin Joyce/Kyle Meyer/Erick Morales/David Sieren, designers Stacey Donaldson, lead designer David Sieren, design director Liz Olson/Bianca Smith, writers Brett Burwell/Collin Joyce/Molly Wells, developers James Johnston/Liz Olson/David Sieren/Bianca Smith, strategists James Johnston, project manager One Design Company (Chicago, IL), design firm Marcus Hotels & Resorts, client “Through research, concept development, positioning and experience design, we helped launch Saint Kate, a boutique hotel that redefines how visitors approach, engage with, and support the arts and the creative process. Saint Kate— named for Saint Catherine, the patron saint of artists—has been designed to celebrate all modes of expression. It’s a platform for the Milwaukee arts community, a hub for locals and a portal to the scene for travelers.”

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INTEGRATED BRANDING PROGRAMS 1 (series) Amelia Irwin/Jeff Jones, design directors Melissa Chavez/Linka Lin/Naomie Ross, design team Andy Baron, creative director Sarah Moffat, executive creative director Bruce Duckworth/David Turner, chief creative officers Mike Scelza, production director Michelle Farhang/Kate Monahan, project managers Turner Duckworth (London, United Kingdom/New York, NY/San Francisco, CA), agency Equal Justice Initiative, client “Already armed with inarguable facts and emotionally charged imagery, our system helped amplify and bring clarity to what has always been a part of the Equal Justice Initiative. We wanted to design an identity that both lived up to the weight of its content and was neutral enough to play second fiddle to it.”

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ENVIRONMENTAL GRAPHICS 1 (series) Richard Bélanger/Louis Chapdelaine/Simon Langlois/ David Theroux, art directors Richard Bélanger, creative director Peter Ignazi/Carlos Moreno, chief creative officers Mélanie Delisle, writer Daniel Cartier, production artist Colette Dumay, producer Fanny Laferrière/Andréanne Lessard, project managers Ève-Marie Boutet, project director Cossette (Montréal, Canada), ad agency The Port of Montréal, client “The maritime landscape of Montréal has always featured multicolored flags, used as a visual code to communicate with sailors from a distance. We created a new identity for this point of entry that’s attractive and welcoming. Strong and functional, each letter represents the maritime flag to which it corresponds, thereby transforming a coded system into a language shared between the Quay and the whole world.”

2 (series) Norman Coloma, designer Lester Coloma, illustrator Paul Kwiczala, Forge and Foster, project manager Coloma Art + Design (Hamilton, Canada), design firm Forge and Foster, client “This three-story mural adorns two opposing walls of a heritage building in downtown Hamilton, Ontario, Canada. The imagery pays homage to the generations of laborers from the community who were once employed at this site. The figures composed on opposite walls raise a giant hammer in unison, dynamically integrating the building as a whole and evoking the communal event of totem pole raising by Canada’s Indigenous peoples.”

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ENVIRONMENTAL GRAPHICS 1 (series) Matt Cole, Studio Matthews, lead designer Dana Golan/Eva Grate/Jazmine Hoyle/Christen Miyasato/Monica Niehaus/ Angela Piccolo/Samantha Spaeth, University of Washington, design team Kristine Matthews, Studio Matthews (Seattle, WA), art director Benjamin Benschneider, photographer Imagine Visual Services, fabricator Office of Minority Affairs and Diversity, University of Washington, client “In 1968, an iconic student protest at the University of Washington (UW) led to the founding of a minority affairs department—one of the first in the country. Fifty years later, UW’s Office of Minority Affairs and Diversity approached Kristine Matthews to design an anniversary exhibition.

Matthews tied the project into her exhibition design class on campus.

The design by Studio Matthews incorporated several of the strongest student concepts, including ‘tearing down the walls’ of injustice.”

2 (series) Edo Cuallo, designer Rocco Pelle, art director Jeff Millar, creative director Alex Davies, writer Samantha Cox, production manager Manny Machado, production director Central Station (Toronto, Canada), design firm Nike, client “To celebrate the release of the movie Uncle Drew, starring basketball player Kyrie Irving, Nike launched a signature colorway and tasked us with creating a brand-specific moment for sneakerheads. We turned a dusty back room at Foot Locker’s House of Hoops into Uncle Drew’s Rec Room, a totally immersive, superfly hangout spot. We installed wood paneling, vintage furniture, shag rugs and Pop-A-Shot; built a working barbershop; and used way more orange and brown than was healthy.”

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ENVIRONMENTAL GRAPHICS 1 (series) Silvia Camargo/Nicolas Galeano, designers Julian Jaramillo/Oliver Siegenthaler, art directors Paula Martinez, writer S&Co. (Bogotá, Colombia), design firm Paula Guerra, MinTIC, client “Colombia 4.0 is Colombia’s largest digital culture and technology event. Over time, it has become a national reference of innovation through platforms, businesses and digital content. For its 2018 iteration, we created a visual system full of powerful typographic compositions complemented with color and geometry, which signify the different representations of human thought on digital screens.”

2 (series) Vic Bath, art director Ian Grais/Leia Rogers/Bob Simpson/Chris Staples, creative directors Jordon Lawson/Sophia Lucken, writers Michael Kirsch/Scott McClellan, video directors Kerry Bhangu/Alex Butt, producers Aliz Tennant/Darren Yada, strategists R+D Productions/TYGH Studio, production companies Rethink (Vancouver/Montréal/Toronto, Canada), ad agency A&W Canada, client “A&W is the first restaurant chain in North America to ban plastic straws, a move that will keep about 82 million single-use straws from landfills each year. To show how one small change can make a big impact, A&W took the last 140,000 straws from its inventory and turned them into a 35-foot-long permanent art piece.”

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ENVIRONMENTAL GRAPHICS 1 (series) Elizabeth Anderson/Ron Demetrio/Eleanor Kung/Joshua Marz/Michael Prisco, designers Lydia Romero, 3-D designer Michael Meister, design director Catharine Weese, art director Lauri Halderman, creative director Margaret Dornfield/JoAnn Gutin/Martin Schwabacher, writers Sasha Nemecek, executive editor John Sparks, curator José Ramos, photo editor Toni Gabor, production manager Ron Demetrio, associate project manager American Museum of Natural History (New York, NY), design firm/client “The ocean covers more than 70 percent of the Earth’s surface, yet it remains mostly unexplored. This 7,500-square-foot traveling exhibition seeks to both evoke the ocean’s mystery and spotlight the 21st-century scientists and technologies that illuminate it. The entire show is designed for durability in order to withstand a very hands-on public and at least five years of travel; a bilingual version will ensure that many different audiences can access it.”

2 (series) Sohee Kim, associate designer Kris Wong, motion graphic designer Joanna Sieghart Hobson, manager of graphic design Ben Crick, creative director Brian Collins/Matt Luckhurst, chief creative officers Angie Shih/Anna Sternoff, strategists COLLINS (New York, NY), design firm Exploratorium, client “For the Exploratorium’s Inflatable: Expanding Works of Art exhibit, we coded and customized a software algorithm to create illustrated typography that expanded to fill whatever space and situation copy was needed. Through our citywide campaign centered around these bold inflatable letterforms, the playful qualities of the exhibition blanketed San Francisco with bursts of bright blue, inviting viewers into the wondrous world of inflatables.”

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ENVIRONMENTAL GRAPHICS 1 (series) Cátia Lima, designer Sergio Alves, art director Atelier d’Alves (Porto, Portugal), design firm The Zero Hotel Porto, client “This signage system is a clear extension of the architectural design system already installed in the building. We used direct painting systems, such as stencil or screen printing, making these elements more naturally based in space.

With this, we ensured that all the elements, architecture, interior design and signage have the same tone, creating a harmonious dialogue.”

2 (series) Ben Johnston (Toronto, Canada), designer WeLiveUpHere, client

© Tiago Casanova

“WeLiveUpHere, a nonprofit organization based in Greater Sudbury, Ontario, Canada, was created around the idea that art can inspire, transform and help build a better community. The Heart of Gold mural was created for the community as a reminder of how special their city is.

Greater Sudbury was once the world leader in nickel mining, and as an homage to the area, we came up with the phrase ‘City of Nickel, Heart of Gold.’”

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MOTION GRAPHICS 1 (series) Kendra Eash, creative director Kelli Miller, executive creative director Taylor Alley/Larisa Martin/Adam Wentworth, design Min Liu/Joe Perno/Olga Povarchuk/Diksha Watwani, animation Marianne Hill/Matt Hixon, editors YouTooCanWoo, audio engineer Melissa Tanzer/Zack Tupper, producers Nika Offenbac, executive producer And/Or Studio (Brooklyn, NY), design firm Rakhee Jethwa/Rialda Zukic, MTV News, clients “MTV News: The Breakdown” 3:40, 3:05, 2:40 “MTV News asked us to help get out the vote for the 2018 midterm election by creating a series of celebrity-driven videos breaking down the basics of the election for young people, including what’s at stake, how their votes could affect the next ten years and why it’s important that they turn up at the polls.”

2 Hazel Baird, creative director Charles Khoury/Carlo Sa, designers Remo Gambacciani/Susi Sie, contributing artists EJ Kang/Charles Khoury/Byron Slaybaugh/Marcos Vaz, animators Paulo de Almada, 3-D artist Mike Dupree/Ash Ogasawara, 3-D modeling Rachel Fowler, editor Kate Berry, production supervisor Michael Ross, producer Luke Colson/Jennifer Sofio Hall, executive producers Elastic (Santa Monica, CA), design firm HBO, client “The Inventor” 2:45 “This main title is part of a documentary film by director Alex Gibney. It is about Elizabeth Holmes, whose ambition was to revolutionize blood testing through biotechnology but who ended up being one of the biggest frauds in Silicon Valley.

We focused the title around blood, but also needed to incorporate a lot of imagery, blueprints and archive footage. So the challenge was to take these elements and make them work elegantly together, using a bold aesthetic to temper the uneasy nature of the dark tale of Theranos.”

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MOTION GRAPHICS 1 (series) Arno Visser, art director Byron Meiring, creative director Ryan de Carte/Jay Gordon/Jean Rousseau/Arno Visser/Carmen Ziervogel, illustrators Willie Blignaut/Schalk Pienaar, storyboard artists Willie Blignaut/Chris Mayne/Schalk Pienaar/Rob Pita/Alex Potts/Francois Schonken/Srinivasan Sundararaman/Mirac Tercan/John Turello, animators Geoffrey Trusler, lead animator André Ackermann/Scott Bridge, compositors Andre Davids/Thys Lötter/Damien Manuel/Ian Swemmer/Geoffrey Trusler/ Kyle Zeeman, 3-D artists Aaron Barr/Leizel Thebus, producers Made by Radio (Reading, United Kingdom), production company Nickelodeon, client “Nickelodeon Halloween Idents” “Nickelodeon tasked us with creating a series of animated broadcast promos for its 2018 Halloween campaign. The brief was to bring to life a haunted house occupied by spooky, scary and ghastly characters. We worked closely with the Nickelodeon team, coming up with concepts that relate to each show, such as SpongeBob SquarePants, The Loud House and Teenage Mutant Ninja Turtles, as well as a few generic idents, all featuring our beloved crew of characters. The house, characters and environments were all created from scratch and then brought to life by our team.”

2 Buck, production company TBWA\Media Arts Lab (Los Angeles, CA), ad agency Apple, client “Share Your Gifts” 2:45 “With researchers finding that seven out of ten people aren’t acting on their creative potential, one thing is clear: creativity is threatened. However, Apple believes that creativity moves the world forward, which is why the brand wanted to send an inspiring message aimed at creators everywhere during the holiday season. We created an animated short film, crafted using a combination of practical miniatures and digital animation. Called ‘Share Your Gifts,’ the modern-day fairytale tells the story of a young woman named Sofia and her journey towards finding the courage to put herself out there.”

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MOTION GRAPHICS 1 Jay Grandin, writer/editor Bob Galmarini, Slack/Jay Grandin/Anna Pickard, Slack/Jonathan Prince, Slack, creative directors Jay Grandin/Rafael Mayani/Eric Pautz/Conor Whelan, design Alice Bybee, Slack, design director Matt James/Pam Lama, Slack/Eric Pautz, technology directors Will Brown/Jay Grandin/Shawn Hight/Matt James/Diego Maclean/Conor Whelan, animators Matt James/Eric Pautz, compositors Will Brown/Shawn Hight/Matt James/Diego Maclean/Eric Pautz, 3-D modeling Carly Walde, voice talent Ambrose Yu, music Ryland Haggis/Ambrose Yu, sound design Jarrod Kelsey, Slack, producer Teresa Toews, executive producer Giant Ant (Vancouver, Canada), production company Slack, client “Slack Frontiers Conference Intro” :60 “Armed with a color palette and the phrase ‘Frontiers of Possible,’ we created a 3-D journey about teamwork and the value of solving complex problems together.”

2 Daniel Linnihan, art director Gopal Chandroth/Andrew Siegel, writers Adam St. John, creative director Mark Andersen, group creative director Mike Caguin, chief creative officer Rachel Enerson/Christine Fruechte/Rachel Schneider/Lori Wohletz, strategy Carolyn Ahlstrom, strategic planner Chris Peters, art producer John Borchardt, broadcast producer Rhonda Stroup, project manager Aggressive, production company Colle McVoy (Minneapolis, MN), ad agency Land O’Lakes, client “The Truth About Biodiversity” “Land O’Lakes is helping to shape the future of food, but it starts with understanding the issues that food faces today, like biodiversity and the variety of life on Earth. Colle McVoy created an 180-degree theater video that immersed viewers in the story of biodiversity. Guests were surrounded by vivid graphics projected on nine-foot-high screens that explained biodiversity’s importance to our food system and the steps humans are taking to protect it.”

PUBLIC SERVICE 3 Michael Braley/Kate Davis, designers Michael Braley, creative director Rich Binell, writer Tucker Nichols, illustrator Braley Design (Lexington, KY), design firm Pando Populus, client “Why Pando Matters is a call to join Pando Populus initiatives. The organization aims to create a more environmentally balanced, economically secure and socially just future. It connects diverse partners across disciplines, thickens the root system between them and helps them accomplish things that are difficult to pull off alone. Think old-fashioned barn raisings with an ecological and urban twist.” 20 pages, 11½ × 16½, 4-color, saddle stitched.

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PUBLIC SERVICE 1 Howard Poon, designer/art director Eva Polis, creative director/writer Debbie Shinehoft, production director Martha Jamieson, strategist Boxer Building & Crating Ltd., fabricator Tessa Vriend, project manager DDB Canada (Edmonton, Canada), ad agency Royal Alberta Museum, client

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“When a museum with more than two million artifacts moves into a spectacular new building, there’s a lot to unpack, including the anticipation of what’s coming.

We added to the excitement by installing giant crates around the city. The headlines focused on artifacts visitors would actually see.”

2 Jackson Bernard/Michele Morales, designers Kevin Grady, design director Rodolfo Fernandes, art director Bruno Mazzotti/Dean Paradise, creative directors Sam Luchini, executive creative director Fred Levron, global creative director Liz Taylor, chief creative officer Ricardo Salgado, writer Lauren Cartier/Zachary Kieltyka, researchers Greg Olsen, retoucher John Skibicki, developer Katherine Vilt, production Daniel Abrigg/Ryan McDaniel, production artists Julie Regimand, production director Domenic Caruso/Marissa Mandarino, producers John Bleeden, executive producer A & H Bindery/Fuse, production service companies Kara Burghardt, project manager FCB Chicago (Chicago, IL), ad agency Illinois Council Against Handgun Violence, client “America has a tragic history of gun violence.

But sadly, we’ve yet to learn the lessons of the past. Introducing The Gun Violence History Book. A powerful symbol and an educational tool made from more than 200 years of gun violence, this book has done what history has been unable to do—stop a bullet.” 10⅛ × 12½, 4-color, case bound, round spine, rounded back, oversewn body pages, white linen wrapped, foil-stamped front and back covers and spine, gilded edges, ribbon marker.

3 (series) Julien Hébert/Vedran Vaskovic, art directors Louis Gagnon, creative director Paprika (Montréal, Canada), design firm Art Souterrain, client “Installed throughout Montréal’s underground city and in eight satellite sites, the eleventh edition of the Art Souterrain Festival focused on the theme True or False.

Paprika produced a range of visuals, including posters, guerrilla advertisements, brochures, videos and more.”

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PUBLIC SERVICE 1 Katherine Flores, Narrative, art director Gints Bruveris/Meredith Klapowich, Narrative/David Mueller/Laura Serra, Narrative, creative directors Joseph Bonnici, executive creative director Matthew Valenzano, writer Matt Barnes, Westside Studio, photographer Lulu Wei, director of photography Jamie Kaiser, technologist Daniel Rankin, producer Kristina Kosa, strategist Sadaf Ghandehari, project manager Ashley Belfast, project director Bensimon Byrne (Toronto, Canada)/ Narrative, ad agencies Joanne Simons/Mark Trask, Casey House, clients “To dispel the myths around touch and HIV transmission, we opened Healing House, the world’s first HIVpositive spa.”

2 (series) Daniel Robitaille, art director Louis Gagnon, creative director Mathieu Labrecque, illustrator Paprika (Montréal, Canada), design firm Côte-des-Neiges–Notre-Dame-de-Grâce, client “The borough of Côte-des-Neiges–NotreDame-de-Grâce has to communicate with a very diverse population defined by different financial, family, linguistic and professional realities. Using various media, the campaign conversed with residents about the future of the borough’s parks. Through friendly, colorful characters, the campaign conveys accessibility and optimism, breaking away from traditional communications while engaging residents.”

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PUBLIC SERVICE 1 Jeremy Dimmock, creative director Ariel Costa/Kristian Duffy/Yuki Yamada, illustrators Oliver Dead/Bob Zagorskis, animation Jeff Moberg, music composer Robyn Smale, producer Polyester Studio (Toronto, Canada), production company Toronto International Film Festival, client “Love is the Answer” :50 “Each year, we partner with the Toronto International Film Festival to select sound bites from filmmakers that we craft into animated content. Here, Guillermo del Toro talks about how we can all choose between fear and love each day. But it’s love that solves the problems that fear creates.”

2 Jonathan Arcila/Amy Ditchman/Andre Griner/Jorge Pomareda/Mike Roe, creative directors Publicis Sapient (Chicago, IL), design firm The Night Ministry, client “The Night Ministry provides housing and health care to Chicago’s homeless population, relying on donations to help those less fortunate stay warm and safe. We created Selfless Pins, the first donation campaign based on inspiration topics. We captured images showing the harsh reality of living on the street, then turned the images into promoted pins. We delivered our message through keyword targeting, so any search related to homes, beds or clothes revealed the homeless equivalent.”

EDITORIAL 3 Nancy Campbell/Trevett McCandliss, designers/creative directors Emily Beckman, editor Greg Dutter, executive editor Zoe Adlersberg, photographer Mariah Walker, stylist McCandliss and Campbell (New York, NY), design firm Wainscot Media, publisher Earnshaw’s, client “To open a gorgeous fashion story that was shot in Ibiza by Zoe Adlersberg with our fashion editor, Mariah Walker, we created a custom typographic design inspired by the Spanish landscape and culture. This piece appeared in the September 2018 issue of Earnshaw’s magazine.”

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EDITORIAL 1 Ryan Bailey, designer Ryan Bailey/Leon Banowetz, creative directors Geof Kern, photographer Banowetz + Company, Inc. (Dallas, TX), design firm NorthPark Center, client “Editorial feature for the Fall/Winter 2018 issue of NorthPark The Magazine, showcasing luxury shoes, handbags and accessories set amid surreal landscapes and imagery.”

2 Lauren Allik, designer Ron Thompson/Matt Titone, creative directors Michael Adno/Matthew Ankeny/Matthew Shaw/Molly Wilson, Indoek, writers Sean Kelly Conway/Julien Roubinet/Jimmy Wilson, photographers ITAL/C (Los Angeles, CA), design firm Indoek, client “The St. Augustine issue is the second in an ongoing series of large-format, printed city guides we’ve produced for our sister brand, Indoek. It is 92 pages of unique editorial content that we concepted and produced ‘soup to nuts,’ featuring the creative culture of the nation’s oldest city. The issue is 5-color offset printed on five different high-end paper stocks from Mohawk Paper and includes a vinyl sticker sheet tip-in.”

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BOOKS 1 Andrew Walters, graphic designer Jenny Romei Hoffman, creative director David Goldman/Jennie Sherwin, writers Ashton Design (Baltimore, MD), design firm Paula Gately Tillman, client “Paula Gately Tillman: Fringe. Editioned artist book box set.”

Box: 11 × 14, cloth-wrapped custom clamshell with foil stamping. Book 1: 212 pages, 10 × 13, 4-color plus 1 PMS, offset, 1 foil, Smyth sewn, case bound with embossed tip-on image and foil stamping, tipped-in short sheets with two-sided foil stamping. Book 2: 4¼ × 7½, 4-color with 1 foil, digital print, Smyth sewn, exposed spine, tip-on softcover with foil stamping.

2 Kyle Blue/Geoff Halber, designers Andrew Blauvelt/Amber Bravo, writers Everything Type Company (Minneapolis, MN), design firm Blu Dot, client “Less Is More (Difficult): 20 Years of Design at Blu Dot by Andrew Blauvelt. Published in conjunction with Blu Dot’s 20th anniversary, this book collects ideas, inspiration and design that chronicles Blu Dot’s evolution. The book employs a mix of paper and finishes to document the company’s history through photography, sketches, ephemera from the archives, essays, oral histories and complete product inventory.” 360 pages, 8½ × 11, 4-color plus silver, case bound, perforated pages, variety of papers.

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BOOKS 1 Cameron Gibb, designer Peter Pickford/Beverly Pickford, photographers Blackwell & Ruth (Auckland, New Zealand), design firm Thames & Hudson, client “In this collection of more than 200 images, acclaimed photographers Beverly and Peter Pickford have created an unparalleled portrait of the Earth’s most untouched places.

Spanning four years and seven continents, Wild Land traverses the globe from Namibia to Alaska to Tibet to Patagonia, among others.

Accompanied by a fascinating text, Wild Land highlights the urgent need for humankind to protect the planet’s future.” 400 pages, 10½ × 13½, 4-color, case bound.

2 Jessica Fleischmann, still room/ Kimberly Varella, Content Object, designers Kimberly Varella, creative director Derek Traub, writer Robin Rauzi/Julia Ward, editors Benjamin Critton, Benjamin Critton Art Department, typographer Charles Gaines/Christine Sun Kim/ Lucky Dragons, contributing artists Conti Tipocolor/Aandrea Stang, Echelon Color, producers Los Angeles Philharmonic (Los Angeles, CA), client “Published on the occasion of the Los Angeles Philharmonic’s centennial, Past/Forward: The LA Phil at 100 is a two-volume coffee-table book that revisits the history of the Los Angeles Philharmonic and contemplates the future of ‘America’s most important orchestra.’” 488 pages, 8½ × 10½, hardbound, tip-in acetate.

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BOOKS 1 Alex Bruce/Paul Kepple, designers Chika Azuma, associate designer Paul Kepple, art director Gina McIntyre, writer Renée Bollier/Megan Worman, Melcher Media, editors Christopher Steighner, Melcher Media, senior managing editor Oskar Kalinowski, photographer Kyle Lambert, illustrator Susan Lynch, Melcher Media, production director Netflix, production company Headcase Design (Philadelphia, PA), design firm Ballantine Books, Del Rey, publisher Melcher Media, client “Stranger Things: Worlds Turned Upside Down mimics a tattered, secondhand 1980s genre novel. Breakout sections are designed as yearbook spreads, file folders, Dungeons & Dragons character sheets and ’80s-style ads. The ‘upsidedown world’ section is literally upside down, legible when readers rotate the book. Includes a hidden drawing on the inside jacket, a map and a decoder for secret messages.”

224 pages, 7 × 10, 4-color, hardcover, die-cut tears, mylarwrapped jacket, sticker, foil stamping.

2 Kristine Planche/Sarah Rafter/Hélio Teles, designers Nic Bradford/Taylor Toth, art directors Carey George/Sue McCluskey, creative directors Mike Barber/Mike Kanert/Erinn Steringa, editors Derek Moxon, production designer Jess Arnold, project manager Goods & Services (Toronto, Canada), design firm UXB Press, client “Tomorrow Is Too Late by Derek Emerson and Shawn Chirrey.

Printed in black and white as a nod to the zines and posters of the movement’s heyday, Tomorrow Is Too Late keeps the DIY spirit alive in a fast-paced oral history of Toronto’s 1980s hardcore punk scene.” 320 pages, 9½ × 12¾ folded and finished, 1-color, perfect bound, fore-edge printing, individually hand-lettered covers.

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BOOKS 1 (cover) Kevin Brainard/Cybele Grandjean/Joao Mota/Matteo Giuseppe Pani/Tala Safié, designers Stefan Sagmeister/Jessica Walsh, creative directors Sarah Bader, editor Daniel Brokstad, typography David McLeod/Francisco Rossi, 3-D artists Erica Grubman/Megan Oldfield/Gosbinda Vizarretea/ Elaine Ward, producers Area of Practice/Sagmeister & Walsh (New York, NY), design firms Phaidon, publisher “Sagmeister & Walsh: Beauty by Stefan Sagmeister and Jessica Walsh. Over the course of the last century, beauty was displaced by functionality in design and architecture. As a result, something essential was lost.

Beauty not only impacts the way we feel, it changes the way we behave. Sagmeister & Walsh wants to make beauty become tangible as a central, functional aspect of appealing design, but also show that beauty is more than merely a superficial strategy.”

2 Julian Nicol, designer Shane Hutton/Ilya Rozhdestvensky/Lee Walters, creative directors Lena Abujbara, photographer Arcana Academy (Los Angeles, CA), design firm Alice Hsu-Meyer/Jean-Victor Meyer, Victor Antonio Foundation, clients “Cancl This and Rest celebrates the light, dark, life and work of contemporary artist Victor Antonio, who tragically died too young.” 186 pages, 9¼ × 13¼, hardcover, 4-color, cotton cover with spot varnish, inside pages 4-color gloss.

3 Rob Alexander, designer/illustrator Rob Alexander/Jill Robertson/Jason Schulte, creative directors Jill Robertson, writer Lindley Boegehold, Clarkson Potter, editor Heather Beck, production artist Office: Jason Schulte Design (San Francisco, CA), design firm Clarkson Potter, publisher Wee Society, client “Wee Hee Hee by Wee Society. Nothing brings people together like sharing a good giggle. And according to doctors and researchers, telling jokes is linked to higher intelligence, creativity, sociability and self-esteem in kids. That’s why we designed this oversized book of jokes and pictures. In addition to 50 vibrantly illustrated jokes, inside are tips for just-right joke telling, a spot for recording people’s reactions and an extra riddle for kids to illustrate.” 64 pages, 11 × 15, 4-color, case bound.

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BOOKS 1 (cover) Bobby C. Martin Jr./Michael McCaughley, designers The Original Champions of Design (New York, NY), design firm Aperture Foundation/Portland Art Museum, clients “Aperture Foundation produced only 25 limited edition Hank Willis Thomas: All Things Being Equal monographs.

The cover simulates the retroreflective, an interactive artform pioneered by Hank Willis Thomas, which is activated by the flash of a camera and only momentarily reveals a powerful hidden narrative.”

2 (series) Maëlle Doliveux, Beehive Books, designer/creative director Josh O’Neill, Beehive Books, editor Paul Pope/Yuko Shimizu/Bill Sienkiewicz, illustrators Omar F. Abdullah, production artist Beehive Books (Philadelphia, PA), publisher “This is a new line of classic novels illuminated by today’s greatest artists. Paul Pope illustrates The Willows and Other Nightmares by Algernon Blackwood (168 pages), Bill Sienkiewicz illustrates The Island of Doctor Moreau by H. G. Wells (168 pages) and Yuko Shimizu illustrates The Fairy Tales of Oscar Wilde (156 pages). Each book is 9 × 12; 4-color plus 1 PMS endpages; hardcover; and encased in a die-cut, foilblocked, embossed and debossed slipcase.”

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BOOKS 1 Bobby C. Martin Jr./Michael McCaughley, designers The Original Champions of Design (New York, NY), design firm Aperture Foundation/Portland Art Museum, clients “Hank Willis Thomas: All Things Being Equal from the Aperture Foundation and the Portland Art Museum. This is the first time in 20 years that all of Hank Willis Thomas’s work can been seen together. Bold imagery needs to be complemented with bold typography. Throughout the monograph, we modulate between quotes, essays and dramatic crops of graphic work to bring a sense of urgency and gravity to Thomas’s examinations of race and class.” 268 pages, 9¾ × 11¾, 4-color, Smyth sewn, case bound, black foil on cover.

2 (cover) Leandro Castelao/Francisco Roca, designers Flecha Books (Cleveland, OH), client “How does one capture the essence of a long-forgotten illustrator? Will conjuring up the visual universe of his covers in one volume do him justice?

As researchers and designers, we sought a balance between Cotta’s background and his cover art.”

3 (c0ver) Nicole Caputo (Woodside, NY), art director Deborah Shapiro, writer Strick&Williams, design firm Catapult, client

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“We were particularly taken with writer Chloe Aridjis’s description: ‘[The Mexican beach community of] Zipolite meant [a] place of seashells ... spirals are such neat arrangements of space and time, and what are beaches if not a conversation between elements, a constant movement inward and outward.’ Charlotte Strick reached for her ink and brushes, painting a veritable yin and yang between two nautilus shells. Art director Nicole Caputo finished the package with raised blind gloss over the texture to provide a glistening seafoam effect.” 6¼ × 9½, 4-color with raised gloss.

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BOOKS 1 (cover) Phoebe Hu/Heiman Lam/Jing-Yan Zhong, designers Fa-Xiang Hu, senior design director FJCU AART, design team Alain Hu, art director Yun Liu, creative director Fa-Hsiang Hu, executive creative director Woody Hu, typographer Sammi Wu, illustrator Ji-Kai Li, artist Natasha Liao, project director hufax arts (New Taipei City, Taiwan), design firm Ding Ding, client “A Streak of Grey features essays reminiscing on the author’s experiences, observations, thoughts and revelations in life. Through the decades, the constituents of life are revolving joys and sorrows as time passes. Life is symbolized by neutral colors for its mix of black-and-white episodes over time.”

MISCELLANEOUS 2 Greg Breeding, Journey Group, designer/art director William J. Gicker, Jr., United States Postal Service, creative director Jay Fletcher, J Fletcher Design, illustrator Journey Group (Charlottesville, VA), design firm United States Postal Service, client “We created a product to accompany the Art of Magic stamp pane, which depicts classic illusions in magic. Our solution was to design a souvenir sheet featuring one of the illusions and apply an effect to mimic the trick.

The classic version of the production illusion involves a rabbit emerging from a top hat, a trick that has become synonymous with magic itself.”

SELF-PROMOTION 3 Paul Hudachek, designer Michael Aberman, art director/creative director Melissa Huybrecht/Rita Kovtun/Josie Steen, writers Ann Benrud/Melissa Huybrecht/Rita Kovtun/Josie Steen, editors Tom Bierlien/Jasmine Hoerter/Rita Kovtun/Lindsey Kusterman/Lauren Mulder/ Grace Olson/Cole Seidl/Forest Wasko, photographers Phillip Countryman, video director Dylan Olson-Cole, production manager Nora Kubiaczyk, project manager Minneapolis College of Art and Design (Minneapolis, MN), client “The specs of this ambitious viewbook include 516 pages, more than 1,000 illustrations, 4-color plus 10 different PMS, and twelve papers and ten typefaces, all in a modest Otabind 5½ × 7½ package. Additional special treatments include a Risograph comic insert, silkscreened pages and a vinyl book sleeve.”

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SELF-PROMOTION 1 James Sholly/Jon Sholly, designers Nicole Sholly, writer Martha Steele, editor Commercial Artisan (Indianapolis, IN), design firm/client “Commercial Article is a self-published journal that shines a light on Indiana’s little-known design history. The twelfth issue profiles a nearly forgotten Mad Men–era novelty stationery company called Stupid, Inc. The Indianapolis-based venture produced wacky paper goods and cheeky gifts that were sold in the United States and United Kingdom for several years during the late 1950s and early 1960s.” 68 pages, 6¼ × 9¼, 4-color, perfect bound, die-cut details, short sheet insert.

2 Craig Frazier, designer/writer/illustrator Craig Frazier Studio (Mill Valley, CA), design firm/client “MUSE.01 is the first in a series of twelve-page newspapers featuring essays about the business of design, illustration and creativity. The essays express the point of view of Craig Frazier Studio and are intended to inspire and connect with kindred spirits. MUSE examines subjects like ‘the Plight of the Malcontent’ and the value of sketching— ‘Ideas Looking for Problems.’” 11½ × 15.

3 Michael Hester, designer/creative director Dave Stevenson, illustrator Pavement (Oakland, CA), design firm/client “Fortune Teller is a special-release aquavit that was conceived to commemorate and celebrate the fifth anniversary of the founding of Pavement. The word aquavit derives from the Latin aqua vitae, meaning ‘water of life,’ and is often drank at festive gatherings and celebratory events. For us, good fortune has prevailed. We therefore lift our glasses in gratitude and as good luck for what’s yet to come.”

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SELF-PROMOTION 1 Adnan Huseinovic, designer Adnan Huseinovic/Howard Poon, art directors Eva Polis, creative director/writer Aaron Pedersen, photographer Richard Thompson, 3-D artist Irina Edwards, production artist Debbie Shinehoft, production director Ilhaam Jiwaji/Helene Leggatt, strategists Burke Group, production service company DDB Canada (Edmonton, Canada), ad agency Advertising Club of Edmonton, client “Instead of looking back for the Advertising Club of Edmonton Awards’ 40th annual show, we created a theme that looked forward. AI:40 celebrates advertising intelligence while reminding us that work that elicits human emotion will always win above all else. This book was the perfect time capsule.” 88 pages plus a 6-page rollout and 2 divider pages, 8¾ × 12¼, 5-color plus PMS 877 metallic silver, perfect bound with double-matrix score, printed on Heidelberg low-energy UV XL106 press. Covers: 5-color with rich black plus opaque white, cover 1: die-cut area 5 × 9, cover 2: die-cut area 4 × 7, back cover: debossed logo, 2½ × 1½, dividers: 1-color plus opaque white.

2 Jason Chae/Eva Gallagher/Tiffany Palacios/Vedanti Sikka, designers Gaby Hernandez, art director Sucha Becky/Pum Lefebure/Jake Lefebure, creative directors Design Army (Washington, DC), design firm Maryland Institute College of Art, client “The Maryland Institute College of Art is one of the oldest and most prestigious art schools in the country. When approached to help find an exciting and interactive way to unite its 20 graduate programs, we developed a semiannual magazine to connect students, alumni, faculty and prospective students. We created exciting layouts with bright pops of color and dynamic typography. The publication increased engagement and graduate enrollment.”

42 pages, 12¾ × 9, 4-color plus 1 PMS, perfect bound.

3 Patchara Charoensiri, art director Dora Drimalas/Caleb Kozlowski, creative directors Hybrid Design (San Francisco, CA), design firm Mohawk Fine Papers, Inc., client “A celebration of color, Keaykolour introduces unique shades designed to family beautifully together. Drawing on the playful experience that color evokes, this piece encourages the mixing and matching of color. Loose and unbound, cards can be combined and recombined using die-cut shapes as viewfinders, mashing up color combinations. The result is a dare we say fun paper specing experience that reinvigorates the potential of colored paper in design.” Metallic PMS, custom die cuts, scored and folded container.

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SELF-PROMOTION 1 Omar Morson, designer Todd Temporale, art director Frank Viva, writer Viva & Co. (Toronto, Canada), design firm/client “The initiative Celebrating 10 Years of Good Fortune was sent to about 80 current and past clients to commemorate Viva & Co.’s tenth anniversary.”

2 (series) Brad Bartlett/Alex Seth, graphic designers Brad Bartlett, creative director Lynne Heffley/Brenda Rees/Solvej Schou/Jamie Wetherbe/Mike Winder, writers Mary Nadler, editor Mike Winder, editorial manager Josh Finklea, typographer Juan Posada, photographer Alex Seth, programmer Audrey Krauss, production Ellie Eisner, production manager Scott Taylor, project manager Brad Bartlett Design (Pasadena, CA), design firm ArtCenter College of Design, client “Since each experience at ArtCenter is unique, we designed a modular system that generates 40,500 unique covers for the College’s 2019–20 Viewbook for prospective students. The modules were inspired by West Coast modernist— and one-time ArtCenter instructor—Alvin Lustig and his practice of using geometric letterpress ornaments to create complex patterns. Complementing this system is a grid that plays an active role throughout the publication, and a new monospace font by alumnus Josh Finklea.”

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3 Brad Connell, art director Nick Asik/Monique Gamache, creative directors Jordan Finlayson, writer WAX (Calgary, Canada), design firm/client “In July 2018, Canada found itself in a dire blood shortage to treat patients across the country. It being an issue we believe in and want to get behind, we created a poster with a simple message urging Canadians to donate blood.”

12 × 18, 4-color, digital print.

4 Jason Kernevich, designer Jason Kernevich/Dusty Summers, creative directors The Heads of State (Philadelphia, PA), design firm Wide Eye, client “We created this poster for the Poster Project, an agency-led poster campaign initiated during the 2018 midterm elections.” 11 × 17, 4-color, digital print.

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SELF-PROMOTION 1 Frederique Gravier/Sarah Jean Recht/Carl-Hampus Vallin/Olivia Ward, designers Brett Newman, art director Dora Drimalas/Caleb Kozlowski, creative directors Olivia Ward, illustrator Hybrid Design (San Francisco, CA), design firm Mohawk Fine Papers, Inc., client “There is a harmonic tension in the balance between service and leadership—bravely charging into the unknown, all the while leaving a trail for others to follow. The fourteenth issue of the Mohawk Maker Quarterly explores the tension between the concepts of service and leadership and the ideas that arise in the space created between them.” 224 pages, 6½ × 8½, 4-color plus 1 PMS, perfect bound, edge paint, deboss, foil.

2 Fidel Peña, designer Claire Dawson/Fidel Peña, creative directors Elizabeth Brandt/David Hernández, writers Alejandro Cartagena, photographer Dichos de un Bicho/José B. González/Anne McLean/Osvaldo Ramírez Castillo/Javier Zamora, contributing artists Underline Studio (Toronto, Canada), design firm/client “Our third social justice newspaper focuses on the current Central American refugee crisis. Our aim is to raise both awareness about these issues and funds for organizations working on behalf of these marginalized communities—in this case, the shelter Hermanos en el Camino in Mexico. The newspaper is divided into four posters that cover four of the most tragic events emanating from this crisis.”

15 × 22¾, 4-color, web printed on newsprint.

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SELF-PROMOTION 1 Willie Baronet (Dallas, TX), designer/art director/photographer WE ARE ALL HOMELESS, client “Commemorative poster for an exhibit of homeless signs as part of ArtPrize 10 in Grand Rapids, Michigan. The installation is part of the WE ARE ALL HOMELESS project.

Artist Willie Baronet has been buying signs from people on the streets since 1993 and uses them in an effort to raise awareness and compassion towards those experiencing homelessness.” 18 × 12, 4-color, digital print.

2 Stranger & Stranger (London, United Kingdom/New York, NY/San Francisco, CA), design firm/client “2018–2019’s holiday pack, Bitter & Twisted, features handmade bitters created from exotic and esoteric ingredients, along with a cute mixing spoon. Perfect for winter cocktails.”

3 (series) Bob Delevante (Nashville, TN), designer/creative director/illustrator/client “Flip Nevada! Flip Arizona! Flip Texas! Flip Tennessee! The mission was to create a memorable graphic to illustrate the concept of flipping these very red states blue.

The marks were used in T-shirt designs and street graphics for the 2018 midterm elections. Because the state shapes are so easily recognizable, the legibility of the backwards and upside-down letterforms was never an issue.”

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SELF-PROMOTION 1 Patchara Charoensiri/Sarah Jean Recht/Carl-Hampus Vallin/Olivia Ward/ David Weber, designers Dora Drimalas/Caleb Kozlowski, creative directors Olivia Ward, illustrator Hybrid Design (San Francisco, CA), design firm Mohawk Fine Papers, Inc., client “The fifteenth issue of the Mohawk Maker Quarterly focuses on the object qualities that materials make possible. Articles are realized as their own objects—made of materials that help communicate point of view. Collectively, the issue speaks to the importance of object quality in our work.”

Three different 9 × 12 containers, die-cut spine detail, nine unique objects inside, each a different size and form factor, custom-match color inks.

STUDENT WORK 2 (series) Chase Body, designer Jason Gottlieb/Ellen Lupton/Jennifer Cole Phillips, instructors Maryland Institute College of Art (Baltimore, MD), school “Future Perfect Tense, a degree project completed in the graphic design MFA program at the Maryland Institute College of Art, proposes interactions that attempt to inform and question attitudes and biases towards an artificially intelligent future. The rise of automation will soon force humanity to reconcile their anxieties around AI in their everyday lives. The future perfect tense in linguistics indicates that an action will have been completed, finished or perfected at some point in the future.” Various sizes, 4-color, digital print, uncoated. © Chase Body

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STUDENT WORK 1 (series) Yura Park, designer Kevin Martin, photographer Brad Bartlett, instructor ArtCenter College of Design (Pasadena, CA), school “Through the history of cybernetics, feminism, postmodernist thinking and conversations in the popular press, this book investigates the definition of cyborg and what it means to be a human. The book opens with an electronic circuit board and e-paper display, which offers provocations for readers to ponder.” 240 pages, 8¼ × 11, 4-color plus 1 PMS silver metallic, Smyth-sewn binding, clamshell bookcase, e-paper display installed inside of the bookcase. © Yura Park

2 (series) Edward Lau, designer Michael Chen, instructor LASALLE College of the Arts (Singapore, Singapore), school “A to B magazine is about the movement and migration of people and objects. The first issue of A to B investigates and explores asylums through an observation of the refugee crisis—a look at our mundane, everyday asylums, and a contemplation of our inner selves so that we can better understand and sympathize with the flood of asylum seekers around the world.” 152 pages, 7 × 9¾, 4-color, open spine and Coptic binding, die-cut tabs, hole punched. © Edward Lau

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STUDENT WORK 1 (series) Carson Chang, designer Gerardo Herrera, instructor ArtCenter College of Design (Pasadena, CA), school “COSRX is a global Korean skincare brand that merges dermatology and cosmetics, with a focus on natural, high-quality products at an affordable price. Targeted towards conscientious teens and young adults, the new COSRX uses recycled paper pulp and highlights unique ingredients such as snail mucin and galactomyces fungus. Inspired by the organization of medical forms, the visual language showcases linework and typography in order to create a functional, modular graphic system to package different types of skincare products.” © Carson Chang

2 Eun Jung Bahng, designer Tracey Shiffman, instructor ArtCenter College of Design (Los Angeles, CA), school “This book does not tediously arrange a list of dreadful crimes; it helps people identify criminals by observing their behaviors.”

176 pages, 7½ × 10, 1-color plus 1 PMS, hardcover bound with eleven signatures, Epson gloss paper glued on top of blind-debossed rectangles on cover. © Eun Jung Bahng

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STUDENT WORK 1 (series) Laura McNeill, designer Adrian Pulfer, instructor Brigham Young University (Provo, UT), school “I curated and designed a book series by one of my favorite authors, Kurt Vonnegut, whose literary voice is known for being dry and minimal, with punches of abrasive reality. With his writing style in mind, I took inspiration from wood type. The letterforms are simple yet loud, reflecting Vonnegut’s unique tone. The asterisk is used as the author’s byline, since Vonnegut was known for including an asterisk in his signature.” 5¾ × 8½, 3-color. © Laura McNeill

2 Max Tran, designer David Shields, instructor Old Dominion University (Virginia Beach, VA), school “This logo is designed for a bookshop called the Bookery, located in Ithaca, New York.

The concept of a flapping book in the shape of an owl’s face illustrates the themes of knowledge and rookery, or a colony of birds. Viewers might imagine eyes moving when staring at the logo for a long time. In addition, this logo also has the theme of staircases, which is another definition for rookery.” © Max Tran

3 (series) Hayley Lee, designer Brad Bartlett, instructor ArtCenter College of Design (Pasadena, CA), school “Founded in 1872, the iconic Los Angeles Public Library is a living legend that contextualizes the past to bridge the present and the future. The three stacked lowercase l’s are derived from the Dewey Decimal Classification system, the universal way libraries organize their collections. The three long posters represent the l elements in the logotype, and their long forms portray the archival nature of libraries, cataloging the past, present and future.” Promotion posters: 24 × 72. © Hayley Lee

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STUDENT WORK 1 (series) Abby deWitt, designer Adrian Pulfer, instructor Brigham Young University (Provo, UT), school “I redesigned Elie Wiesel’s Night Trilogy covers in order to reflect the main characters’ transformation and perception of religion. I used the Star of David as the primary icon in the patterns to represent that transformation. Patterns were screen printed and blind embossed onto each cover, representing both the titles and the change in religion.” 5¾ × 8, 3-color. © Abby deWitt

2 Eun Jung Bahng, designer River Jukes-Hudson, instructor ArtCenter College of Design (Los Angeles, CA), school “Ta-Nehisi Coates is an American author, journalist, comic book writer and educator. As a national correspondent at the Atlantic, he wrote about cultural, social and political issues, particularly regarding African Americans and White supremacy.

Newsprint paper was chosen to reflect Coates’s characteristic and his writing style, which is very realistic and bold.” Booklet: 12 pages, 81/2 × 11, 1-color, saddle stitched, newsprint paper. Flyer: 1 page, 8½ × 11, 1-color. © Eun Jung Bahng

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STUDENT WORK 1 (series) Mruna Mistry, designer/illustrator Mohamed Danawi, instructor Savannah College of Art and Design (Savannah, GA), school “The challenge was to highlight endangered species through packaging design to promote wildlife conservation.

I combined decoration with information through aesthetics and content to get the attention of consumers. The packaging features a tiger for terrestrial species, an otter for aquatic species and an owl for avian species. Floral vines and stems make up the species, symbolizing their fragile state of endangerment and their fleeting presence, which is like the life of a flower.” © Mruna Mistry

2 (series) Priscilla Chong, designer Taylor Luo, photographer Brad Bartlett, instructor ArtCenter College of Design (Pasadena, CA), school “What does sound look like? Where does it exist, and how do we experience it? The book Sound Shapes Space explains the connection between sound art and the environment it lives in. The narrative expands on how sound artists may collaborate, rely on, change, install or embrace space with their sounds.” 352 pages, 8 × 10, Smyth sewn, digital print. © Priscilla Chong

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FRESH TWOMUCH

“If it isn’t fun for us to make, it’s probably not fun for someone to see or experience.” That’s the ethos behind London-based design studio twomuch’s work. Ever since they began collaborating while studying graphic design at Central Saint Martins (CSM) in London, cofounders Benjamin Chan and Malone Chen have woven a playful experimentation throughout their oeuvre, which features work for Reebok and their alma mater. Chan and Chen describe their work as being “split between two paths.” One wanders through the world of experimental projects, such as designing a generative typeface, and the other is paved with digital visuals, created with software that Chan and Chen taught themselves how to use by working on side projects while at CSM. One of their favorite projects, a digital platform titled Boook.Land that they made with designer Harry Boyd, pulls together open submissions from authors and illustrators into a “live,” collaborative novel. “It’s ended up being one of our most successful projects, with more than 3,500 text and illustration contributions,” the pair says. “It has been great to see people engaging with our work and having fun!” twomuch.studio

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1. “Reebok relaunched its classic Reebok Rapide shoe exclusively for size?, a shoe retailer.” four23, ad agency; Reebok/size?, clients. 2. “Design for Dance is a series of performances held by the Performance: Design and Practice Bachelor of Arts program at Central Saint Martins.” Central Saint Martins, client.

3. Personal work. “The poster Pwang explored the use of Omsetype’s new typeface Athletics by using the word pwang to mimic a sound and action.”

4. “Plastic Paper, a project by New York City–based design firm Placeholder, is about how plastic bags have been neglected as pieces of art. We designed and developed its website.” Placeholder, client. 5. “Dance Lab, a series of events held at Central Saint Martins by the students and staff of the Performance: Design and Practice Bachelor of Arts program, explored an experimental take on dance and challenged what people expect from performances.” Central Saint Martins, client.

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FRESH MICHELE MARCONI

Although Michele Marconi commonly tackles tricky, abstract topics—from finance to science to the future of technology—in his editorial illustrations, the Rome-based artist presents them in a way that feels easy. “I make illustrations that help explain the main theme and concept in a simple, direct way before readers even read the first word,” he says. The marriage of composition and clarity in his work reflects his background in graphic design, which he studied at the Istituto Europeo di Design in Madrid and Rome.

After working as an art director at ad agency TBWA, he decided to freelance as an illustrator himself, or, as he puts it, join “the dark side.” Now he works with illustration agency Synergy Art and counts Apple, Google and WIRED UK among his clients. He credits an old pastime for helping him find new inspiration. “As a skater, I broke and had to replace a lot of skateboard decks,” he says. “Every time I was in a skate shop to look for a board, I was surrounded by decks with awesome artwork hanging on the walls. I still love going into skateboarding shops to see new artwork.” Thanks to Marconi, readers will glide straight to the crux of the matter in style. michelemarconi.com

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1. “Entrepreneurs always need more—more help, more time, more insight. So we asked: What’s the one product you wish someone would create to help your business?” Paul Scirecalabrisotto, creative director; Entrepreneur, client. 2. “The changing workplace—for better and worse, the workplace is no longer just one place.” Beth Murphy, art director; Lehigh Business, client. 3. “Start embracing nature—a scientific guide to the resolutions that are really worth the effort.” Ryan Willis, art director; New Scientist, client. 4. “Hipster van Gogh on the ferry with Amsterdam’s Eye museum in the background.” Rebecca Naylor, art director; Eurostar, Metropolitan, client. 5. “The first motorcycle road trip. Not for the faint of heart.” Mirosleidys Pirela, art director; Nexos, client.

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FRESH SOFIA JARAMILLO © Nick Roush

It’s practically impossible not to feel the fresh air in Sofia Jaramillo’s images. The Jackson, Wyoming–based photographer captures real, unscripted scenes in the wild in her work for clients like apparel brand Arc’teryx, Budweiser and Stetson. “My goal,” she says, “is to get viewers to connect not only through beauty within the imagery, but also through relatable moments and human emotion.”

This search for candid shots within raw landscapes is informed by her beginnings in journalism—Jaramillo interned for the Associated Press in Mexico City and worked as a staff photographer for the Yakima Herald-Republic—as well as her passion for travel and adventure photography. The New York Times and Outside magazine have published images from her long-term personal project PNW Sheepherders, in which she documents the lives of Peruvian migrant sheepherders as they work for low wages and help produce wool in the United States. “After working as a photojournalist for years, it was helpful to shoot this project solely for myself,” says Jaramillo. “Without limitations, my creative vision evolved into my unique style of shooting.” Regardless of the assignment, Jaramillo brings the heart of the story into the sunshine. sofiajaramillophoto.com

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1. “Arc’teryx commissioned this project as part of a Wyoming ski photography competition.” AJ Cargill/Kate Carothers/Rosie Fee/Morgan McGlashon/Rachel Reich/Sophia Schwartz/Diana Wendt, models; Arc’teryx, client. 2. “For the Modern Hotel and Bar, photographing all the farms it sources from in Idaho.” Davis McDonald, model; The Modern Hotel and Bar, client. 3. “Product shoot for KAVU.” Tyler Lee, art director; Dan Holmes, creative director; Loegan Silliman, model; KAVU, client. 4. “Product shoot for Stetson.” Abby Schwamm, model; Cristina Dillon, senior content coordinator; Stetson, client. 5. “For Stio’s Spring 2019 catalog.” Brendan Levine, art director; Emma Beecher, stylist; Danny Holland, video director; Jenna Mahaffie, producer; Stio, client. 6. “For KEEN, featuring one of the footwear brand’s sponsored athletes.” Nick Greece, model; KEEN, client.

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INSIGHTS Kawal Oberoi Preserving visual dialects

Kawal Oberoi offers up hearty fare. Last year, the independent graphic designer launched a podcast called Designed This Way to spice up the saccharine narrative of the creative life with candid conversations about struggles and growth. Oberoi also provides nourishment for those growing faint on a diet of sans serif type and stock imagery. On a mission to capture the rich desi aesthetics of India, he has long been sharing photographs of “beautiful things” through his online archive, Swatch Bharat. Seven series in, it is full of snapshots of everything from a vibrantly colored rickshaw to lettering on the side of a bus to a handprinted Pepsi ad, which, Oberoi bemoans, has since been repainted. Lucky for us that he documented it for all to savor. —Michelle Yee

How did you get started in graphic design? I grew up in the Indian state of Jammu and Kashmir (J&K). Anyone familiar with the mainstream Indian education system knows that visual arts aren’t taken seriously. They are mostly taught in “hobby classes” and are not appreciated as much as languages or mathematics. So my love for making comics and zines remained “extracurricular” during my school life. If I had to date my first experience with graphic design, it would be the time I created a periodic newsletter-style zine for my schoolmates. It was drawn and written by hand and featured games, puzzles, recipes and articles created by my friends. I spent all my pocket money printing the zine at a local photocopier.

My parents supported me on this journey, especially during those early years. In J&K, there was a local newspaper called Kashmir Times, which would publish kids comics drawn by established cartoonists.

My parents encouraged me to submit my comics to the newspaper, and the editor thought my twelve-year-old work met their standards for publication.

I then started exploring visual arts through animation. After watching a show called Splat! on the Discovery Kids channel, which introduced me to the world of stop-motion animation, I used my mom’s phone to make a stop-motion short film. Afterwards, a channel called Pogo 194

Design Annual 2019

invited me to partake in an episode of M.A.D., an Indian educational children’s television program. Being there with professionals, I realized that I needed to pursue an education in visual arts. Later on, I went to design school to become an animator, but discovered that my true calling was graphic design.

Why did you decide to share Swatch Bharat so widely? I love collecting pictures of the beautiful designs, embellishments and architectural nuances I see in the streets of India. Since most of these graphics are created by local artists who aren’t formally trained, you can see a lot of regional flavor in them.

However, I started observing that a lot of these visuals were getting replaced with more modernized—and often Westernized—graphics.

The beautiful handprinted Pepsi ad that I had spotted in the Ludhiana railway station and included in the first Swatch Bharat series doesn’t exist anymore. It has been replaced with sans serif type, the company logo and a stock image. I know that globalization is inevitable and that it comes with standardization, but it is also killing the visual dialect of different cities and regions. The idea of Swatch Bharat is to capture the native expressions of graphic design and share them with others before they get replaced. Maybe someday, we will be able to appreciate the diversity of these graphics.

What fueled your decision to start a podcast? During my time in design school and as a young Indian designer, the conversations I was having with other designers about their creative practice were

extremely useful to me. These conversations were intimate and raw, filling a void that design books, articles and essays didn’t cover.

I thought to myself, “What if I published these conversations online?”

What’s a conversation you’ve had on Designed This Way that has stayed with you? The conversation I had with Gadi Amit about his design process and his San Francisco–based technology design firm

I’d wanted to podcast since 2016; however, work commitments kept me busy, and I also felt that my voice and hosting skills were not a good fit for recording podcasts. What I did know was that more conversations about design needed to happen. I wanted to understand how designers and creative folks think, and how they execute their ideas. Most importantly, I wanted to bring out more stories about the realities of living a creative life—not just the stories of aspiration, hard work and success, but also those of mistakes, rejection and skepticism.

NewDealDesign, where they have a theory called the Dark Horse

I taught myself how to edit audio recordings and bought the necessary equipment. In April 2018, I started recording. My first guest was my professor Mahendra Patel, followed by my talented friend Mira Malhotra. From the feedback I’ve received, people are vibing with the podcast. I think that’s because I’m a graphic designer who also podcasts and not a professional podcaster. Interestingly, many listeners seem to like the fact that I do not have a radio-host voice and that I talk just like them. Some people have told me that they like the podcast because I ask the right questions. One listener even told me that she finds the podcast content to be “nutritious and wholesome.” I love that feedback because that’s exactly what I was aiming for. I thank all the listeners for showing such love and encouragement for Designed This Way.

problem. This has significantly improved the quality of my work and

Theory. For each project, the designers at NewDealDesign commit themselves to creating three ideas. One of these will be a far-fetched idea that counters the original brief. Called the Dark Horse, its role is to offer a completely valid but very alternative view of the subject— a contrarian view of the problem.

Gadi’s words keep echoing in my mind. Since that conversation, I have not hesitated to include ideas that aren’t a direct answer to the client brief, but are solutions created through intuition or by rephrasing the made the ideation process more exciting. I thank Gadi for sharing this knowledge with everyone.

What’s one thing you wish you knew when you started your career? As a kid, I was intellectually inclined toward the natural sciences. Since I had the scientific framework of thinking, where the process of inquiry and solutions is set to a high precision, I fell into the trap of thinking about design in the same way. I wish I had kept my mind open to different ways of approaching a design problem. Today, I’ve realized that design operates in doubt. Nobody knows the right answer, and there’s not just one set criteria to evaluate a design. It’s important to look beyond your own knowledge and beliefs. ca

Communication Arts | commarts.com

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Five Designers Share Their Treasured Finds NOREEN MORIOKA Wieden+Kennedy Portland, OR

Go-to app: Notion is awesome. The way I can personalize my lists to map my thinking and needs is a game changer. It’s tough at first, but when you get into it, you realize that you are making a virtual map of your thinking process.

Wonderful reading: The Alchemist by Paulo Coelho and Balzac and the Little Chinese Seamstress by Dai Sijie. The writing and imagery are unforgettable.

Eye-opener: Coming to Wieden+Kennedy. Being part of an organization, especially one like Wieden+Kennedy, means we can truly put the work first and not just meet a monthly spreadsheet.

We have a saying: “Walk in stupid.” It means: Don’t fall back on old habits and ideas. Don’t rely on what’s worked in the past. The minute you think you have things figured out is when you start making derivative work that the public filters out. When you are part of a small shop or by yourself, these are luxurious ideas—and risks—that don’t always pay the bills. Our ultimate goal is to make the best work of our lives, and with a large team behind you, it’s possible.

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STÉPHANE MONNET Monnet Design Toronto, Canada

Useful tool: I have been splitting my time between Toronto, Canada, and Rotterdam, the Netherlands, so we’ve started using Slack. It’s been a great way to organize projects, and it has enabled me to easily review my designers’ work and correspond with them through audio, video and screen sharing.

Visual influences: In addition to the usual blogs and Instagram accounts of the designers I admire, like Studio Dumbar (@studiodumbar), Hey Studio (@heystudio) and SWISSPOSTERS (@swissposters), I often look to the past. I have many design annuals from the ’60s and ’70s, which always spark something in me. I appreciate the care and thought that went into a lot of the minimal, Swiss-inspired work of that time; I aspire to create that bold, memorable work.

Recharge: If I’m feeling overwhelmed, I will take my dog for a walk.

It’s the best way for me to clear my mind. An added bonus is that I’m often inspired by what I see on the street. However, I’ve walked into several people—and poles—while quickly sketching an idea that has popped into my head.

CLAUDIA NERI

JON KEY

GHADA WALI

Teikna Design Milan, Italy

Cairo, Egypt

Morcos Key Brooklyn, NY

Mood booster: My studio is based in the heart of Milan, which is an art- and designdriven city. During our lunch breaks, my assistant, Elisa Stagnoli, and I make daily pilgrimages to the nearby stores and galleries and just browse aimlessly. This is a great stress reliever, and a creativity and mood booster.

Crucial conference: I’m keen on attending major design conferences, workshops, exhibitions, competitions and events around the world. I love the conference OFFF Barcelona!

Splurge-worthy investment: Lunch!

We always buy our team lunch and have a moment to connect, talk about the news and maybe even watch TV. It’s a nice break in the middle of the day that we can all enjoy together.

Inspiration: The Modern Magazine: Visual Journalism in the Digital Era by Jeremy Leslie; Asymmetry by Lisa Halliday; and Massive Attack’s Mezzanine concert tour, which I saw last February.

Trendspotting: Being part of design juries.

I found the judging for ADC and Cannes Lions to be particularly useful.

Visionaries: I admire Gucci’s creative director, Alessandro Michele, a full-blown visionary with his take on Gucci and all things visual. I also look at the work of Maria Grazia Chiuri, creative director for Dior. I like Prada head designer Miuccia Prada’s unique way of revisiting the past and reinterpreting it. I also find the Moncler Genius project to be inspiring.

Challenges: Cairo is very male driven. As a creative team leader, I’ve had difficulty managing young males because they couldn’t accept a female leader. If you’re an Arab, you’re automatically put in the “terrorist/danger” zone. Being an Arab woman is even worse! An Arab woman is raised with a million battles that she has to resolve before she can start believing in herself. There are dusty layers of gender inequality, peer pressure, and religious and race dilemmas. If she manages to shake what has been built up for years, only then can she break free and start battling the next monster.

Self-motivation: I want to create a visual revolution in Egypt—to expand graphic design education and increase awareness of its necessity. I hope that one day, I will be responsible for implementing the role of graphic design in education, health, politics and any fields where design can contribute to promoting, maximizing and reviving our country.

Creative fuel: Music keeps me going! Most of the music I listen to is disco and house music. One of my favorite artists right now is Lizzo. I love her new album, Cuz I Love You. Valuable platforms: Instagram is great for our business. It is such an easy and effective way to connect with new audiences and potential designers and collaborators.

Surprisingly, Behance helps attract new clients more frequently than I thought was even possible.

Underappreciated tool: Everyone uses Google Drive, but to me, it is free and has so much endless potential. It is the easiest way I’ve found to create clearer collaborative processes.

Must-read book: I am reading Michelle Obama’s memoir, Becoming, and it is such a wonderful read. I miss the grace and love this family portrayed.

Artistic muse: French Tunisian artist eL Seed.

Communication Arts | commarts.com

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W. E. B. Du Bois’s Data Portraits Visualizing Black America Edited by Whitney Battle-Baptiste and Britt Rusert 144 pages, hardcover, $29.95 Published by Princeton Architectural Press papress.com

The American Negro Exhibit debuted at the 1900 Paris Exposition. It was the world’s first look at the status of Black Americans after the Civil War. With its goal of drawing similarities between the Negro community and the rest of the world, it was essential that the great landscape of Black accomplishments stood in the foreground of this exhibit. Academics and students from Black American schools contributed text, images and objects to the exhibit so spectators could witness an extraordinary moment of self-definition, creative capacity and collective tenacity.

International bystanders became students of Black prosperity and scholarship, despite the relentless brutalities and oppression of the Jim Crow era.

This book showcases the full set of infographics that sociologist and activist W. E. B. Du Bois and his team created in full color for the first time. It was a startling triumph that all 63 data visualizations were crafted in less than four months. More still, it was an unprecedented marvel that those data portraits would feature a creative prowess that predated and foreshadowed the European avant-garde movement, the modular design elements of Russian constructivism and the isotype picture language of the international typographic style. Du Bois and his team created an immersive, empirically sound experience that forever changed the way sociologists would communicate with the general public.

The book is appropriately written by five contributors, each with their own distinct professional insight and perspective. Section by section, it unravels the steadfastness and creativity that was necessary to birth the American Negro Exhibit. —Jessica Bellamy

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Writing for the Design Mind

By Natalia Ilyin

Every designer will have to write in her career.

Some will find it more painful than others. Funny, direct, wise and clear, design educator Natalia Ilyin has come to the rescue. Writing for the Design Mind is for the design student who wants to sharpen her writing skills but has no patience for dissecting things like past participles. Communicating visual ideas and graphic systems comes with its own quagmire of challenges, and Ilyin’s book offers advice on navigating common pitfalls, exercises to guide the reader’s progress and encouragement to help her become a modern design professional who can handle paragraphs as well as pixels.

200 pages, softcover, $26.95, Bloomsbury Visual Arts. —Maya P. Lim

Brand

by Hand Blisters, Calluses, and Clients: A Life in Design

By Jon Contino

All the blisters and calluses that Jon Contino has weathered to establish himself and his eponymous design studio have paid off, as evidenced in Brand by Hand.

His old-fashioned, handcrafted aesthetic suffuses every part of this book, from his handwritten thoughts to his doodles to even the page numbers, which all work together to make it a design artifact. Organized by essay, it shows off Contino’s work through his interest in topics like New York City, occult symbols and baseball. His character shines through in written gems like “I realize now after years of collecting tattoos that hating on tattoo culture is like calling the cave paintings of Lascaux ‘shitty doodles.’”

240 pages, hardcover, $40, Abrams.

—Michael Coyne

A Colorful Life Gere Kavanaugh, Designer

By Louise Sandhaus and Kat Catmur 220 pages, hardcover, $40 Published by Princeton Architectural Press papress.com

Furniture designer, graphic designer, interior designer, product designer.

Gere Kavanaugh is a woman of many hats—sometimes even literally, as proven in an epigraph image in Louise Sandhaus and Kat Catmur’s A Colorful Life: Gere Kavanaugh, Designer. Born in 1929, Kavanaugh has created an incredible career for herself, from being the third woman to graduate from the cross-disciplinary design program at Cranbrook Academy of Art in Michigan to being one of the first women designers creating displays for model cars at General Motors to opening her own multidisciplinary design studio in Los Angeles, where she, with her love of bright colors, pop aesthetics and patterns made using everything from flowers to gaskets, would influence the zeitgeist of design in the ’80s and ’90s. This book charts the rise of Kavanaugh’s career with both images of finished works and conceptual drawings straight from the designer’s

Morla : Design

By Jennifer Morla 432 pages, hardcover, $125 Published by Letterform Archive shop.letterformarchive.org

Bold. Bright. Illuminating.

Jennifer Morla’s monograph is all of that, and more. With 120-plus examples of projects spanning 40 years of work, Morla : Design provides an intimate perspective into Morla’s design approach and prolific career. From ads to catalogs, book covers, packaging and more, each project is presented with a short description of the challenge, Morla’s rationale for her solution and numerous photos, both in context and as extreme close-ups.

Bursting with color, forms and angles, the resulting cornucopia of visuals reflects Morla’s design ethos; she writes, “Words are as important as images. And images can be more powerful than words.”

sketchbooks, as well as the occasional ad featuring her wrapping papers, kitchen fixtures and home furniture.

Sandhaus and Catmur offer not only an expertly curated archive of Kavanaugh’s many talents in A Colorful Life, but also warm, firsthand accounts of the designer from the many people she’s impacted with her work, such as Terry Irwin, head of the School of Design at Carnegie Mellon University, and Jessica Fleischmann, founder and creative director of Los Angeles design firm still room. This book is a fitting tribute to the storied body of work that Kavanaugh has built up throughout her lifetime.

—M.C.

across disciplines and integrate them into her journey as a designer, artist and educator. Notes on Morla’s major influences (and favorite typefaces) provide an additional peek into her wide-ranging interests and sources of inspiration.

“Open this book anywhere, as it is not a linear read,” writes Morla in the introduction. But beware: Opening this book is like dipping into a museum. You may lose yourself for hours, exploring the ideas and exhibits inside. —M.P.L.

That’s one of 25 “designisms,” Morla’s term for her reflections and observations on design. Printed on vellum and featured throughout the book, these statements are gems of insight, reflecting at once Morla’s perspective on design in society and the principles underlying her work.

Also sprinkled throughout the book are stories of Morla’s early interactions with other design giants, such as calling Andy Warhol for photos of his jeans—unbuttoned. Beyond being entertaining, these stories offer a glimpse into Morla’s ability to form connections Communication Arts | commarts.com

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INDEX TO DESIGN ANNUAL 60

a

A & H Bindery 144 A&W Canada 132 Abdullah, Omar F. 160 Aberman, Michael 164 Abrigg, Daniel 144 Abujbara, Lena 159 Ace, Nick 112 Ackermann, André 141 Adamé, James 83 Adlersberg, Zoe 148 Adno, Michael 151 Adobe 109 Advertising Club of Edmonton 168 Aggressive 143 Ahlstrom, Carolyn 143 Alabama Power Foundation 91 Alexander, Rob 159 Alley, Taylor 139 Allik, Lauren 151 Alston, Jarvis 119 Alves, Sergio 136 AMB Group 105 American Museum of Natural History 135 Andersen, Mark 143 Anderson, Elizabeth 135 Anderson, Leigh 111 Anderssen, Torbjørn 99 And/Or Studio 139 Ankeny, Matthew 151 ANTI 99 Victor Antonio Foundation 159 Aperture Foundation 160, 163 Apple 141 Arcana Academy 159 Arcila, Jonathan 148 Area of Practice 159 Armstrong, Michael 87 Arnold, Jess 156 Art Alliance Austin 76, 79, 80 Art Souterrain 144 ArtCenter College of Design 171, 179, 181, 182, 185, 186 Artist in Residence Distillerie 96 Ashton Design 152 Ashworth, Hilary 119 Asik, Nick 171 Atelier d’Alves 136 Azuma, Chika 156

b

Bablo, Andrew 95 Bader, Sarah 159 Bagley, Caroline 115 Bahng, Eun Jung 181, 185 Bailey, Ryan 151 Baird, Hazel 139 Ball, Adam 111 Ballantine Books 156 Ballet BC 92 Banowetz + Company, Inc. 151 Banowetz, Leon 151

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Barber, Mike 156 Barnes, Matt 147 Baron, Andy 127 Baronet, Willie 175 Barr, Aaron 141 Bartlett, Brad 171, 179, 182, 186 Brad Bartlett Design 171 Bath, Vic 132 Bayley, Teresa 119 Bazan, Marisa 109 BBC 96 Be In Good Spirits, LLC 100 Beck, Heather 159 Beckman, Emily 148 Becky, Sucha 168 Beehive Books 160 Bélanger, Richard 106, 115, 128 Belfast, Ashley 147 Bell, David 106 David Bell Creative 106 Bellingham, Louise 111 Benrud, Ann 164 Benschneider, Benjamin 131 Bensimon Byrne 147 Benzur, Gabe 112 Berenguer, Marc 95 Berger Vaage, Erik 115 Bernard, Jackson 144 Berry, Kate 139 Beshear, Katherine 91 BexBrands 100 Bhangu, Kerry 132 Bierlien, Tom 164 Binell, Rich 143 Bisen, Vatsala 96 Blackberry Farm Brewery 99 Blackwell & Ruth 155 Blauvelt, Andrew 152 Bleeden, John 144 Blignaut, Willie 141 Blu Dot 88, 152 Blue, Kyle 152 Bodegas Davide 100 Body, Chase 176 Boegehold, Lindley 159 Bollier, Renée 156 Bonnici, Joseph 147 Booth, Ryan 119 Borchardt, John 143 Bourgeault, Isabelle 106 Boutet, Ève-Marie 115, 128 Boxer Building & Crating Ltd. 144 Bradford, Nic 156 Brainard, Kevin 159 Braley Design 143 Braley, Michael 143 Brandt, Elizabeth 172 Bravo, Amber 152 Break Maiden 95 Breeding, Greg 164 Bridge, Scott 141 Brokstad, Daniel 159 Bronstorph, Alexis 111 Brown, Will 143 Bruce, Alex 156

Bruveris, Gints 147 Bucher, Stefan G. 102 Buck 141 Bufalino, John 124 Burghardt, Kara 144 Burke Group 168 Leo Burnett 87, 95, 116 Burnkit 92, 99 Burwell, Brett 124 Busch, Ingrid 92 Butt, Alex 132 Bybee, Alice 143

c

Caguin, Mike 143 Cahill, Kaelem 111 Camargo, Silvia 132 Campbell, Kira 91 Campbell, Nancy 148 Campione, Mara 102 Canning, Dave 120 Cantelon, Dan 111 Caputo, Nicole 163 Cardozo, Julián 96 Carmichael Lynch 76 Cartagena, Alejandro 172 Cartier, Daniel 128 Cartier, Lauren 144 Caruso, Domenic 144 Casey House 147 Castelao, Leandro 163 Catapult 163 Cathmoir, Gord 87 Cayenne Creative 91 Central Station 131 Chae, Jason 168 Chandroth, Gopal 143 Chang, Carson 181 Chao, Kevin 95 Chapdelaine, Louis 128 Charoensiri, Patchara 168, 176 Chartrand, Jared 106 Chavez, Melissa 127 Chelvanathan, Anthony 116 Chen, Anny 109 Chen, Michael 179 Chong, Priscilla 186 Choquette, Mélissa 106 Chubirka, Jacqueline 106 Clai d.o.o. 95 Clarke, Adrienne 111 Clarkson Potter 159 Clunie, Lisa 120 Coil, Kenny 95 Cole, Matt 131 Colle McVoy 143 COLLINS 95, 112, 115, 135 Collins, Brian 95, 112, 115, 135 Coloma Art + Design 128 Coloma, Lester 128 Coloma, Norman 128 Colson, Luke 139 Commercial Artisan 167 Commonwealth // McCann 83 Connell, Brad 171 Content Object 155

Conti Tipocolor 155 Conway, Sean Kelly 151 Correa, Lucho 96 Cossette 106, 115, 128 Costa, Ariel 148 Côte-des-Neiges–NotreDame-de-Grâce 147 Coulton, Jonathan 100 Countryman, Phillip 164 Cox, Samantha 131 Crick, Ben 115, 135 Critton, Benjamin 155 Benjamin Critton Art Department 155 Crouchman, Ryan 116 Cuallo, Edo 131 Culpepper, Rob 91 Curtis, Jack 119 Cuzzolino, Dino 119 Cynda Media Lab 87

d

Dabic, Alex 87 Dahl, Jeremy 100 Daigle, Éloïse 115 Danawi, Mohamed 186 Daniello, Frank 91 Danz, Medora 88 Dark Matter Coffee 100 Davids, Andre 141 Davies, Alex 131 Davis, Kate 143 Dawson, Claire 76, 83, 172 DDB Canada 144, 168 de Almada, Paulo 139 de Carte, Ryan 141 de Lucca, Carol 100 de un Bicho, Dichos 172 Dead, Oliver 148 Del Rey 156 Delevante, Bob 175 Delisi, Mark 119 Delisle, Mélanie 128 DeLuca, Sabrina 116 Delvalle, Angélica 96 Demetrio, Ron 135 Design Army 168 Design Ranch 92 Desk & Coffee 96 deWitt, Abby 185 Dickens, Ian 124 Digba, Joan 111 Dimmock, Jeremy 148 Ding Ding 164 Ditchman, Amy 148 Djuric, Dejan 87 Doliveux, Maëlle 160 Donaldson, Stacey 124 Dornfield, Margaret 135 Drimalas, Dora 168, 172, 176 Duckworth, Bruce 127 Dudgeon, Rebecca 119 Duffy, Kristian 148 Dumay, Colette 106, 128 Dupree, Mike 139 Durocher, Barry 87 Dutter, Greg 148

e

Earnshaw’s 148 Eash, Kendra 139 Echelon Color 155 Echo Bay Vineyard 96 Éditions Noir sur Blanc 102 Edwards, Irina 168 828 Design 95 Eisner, Ellie 171 Elastic 139 Elia, Tom 115 Elsewhere 79 Enerson, Rachel 143 Equal Justice Initiative 127 Espro 99 Everything Type Company 152 Exploratorium 135

f

Fabien, Marc 115 Fabre, Charlotte 115 Farhang, Michelle 127 Fauche-Simon, Charline 119 Favre, Malika 111 FCB Chicago 144 Fell, Stacey 91 Ferland, Noémie 106 Fernandes, Rodolfo 144 Ferrino, Marc 95 Festival Archipel 84 Fictive Kin 112 The Fillmore Detroit 83 Fillmore Merchants Association 84 Finklea, Josh 171 Finlayson, Jordan 171 Fisher, Conor 111 FJCU AART 164 Flake, Stuart 88 Flecha Books 163 Fleischmann, Jessica 155 Fletcher, Jay 164 J Fletcher Design 164 Flores, Katherine 147 Fondation Montréal inc. 115 Forge and Foster 128 Fournier, Hugo 106 Fowler, Rachel 139 Frazier, Craig 167 Craig Frazier Studio 167 Fruechte, Christine 143 Fuse 144

g

Gabor, Toni 135 Gagnon, Louis 102, 123, 144, 147 Gaines, Charles 155 Galeano, Nicolas 132 Gallagher, Eva 168 Galmarini, Bob 143 Gamache, Monique 171 Gambacciani, Remo 139 Garach, Bhakti 96 Garner, Benjamin 99 Gately Tillman, Paula 152 Gather Factory Co. 79

Gaudio, Tania 116 GCH, Inc. 102 Gentile Brewing Company 95 George, Carey 156 Ghandehari, Sadaf 147 Gianino, Robert 109 Giant Ant 143 Gibb, Cameron 155 Gibson, Goodwin 111 Gicker, Jr., William J. 164 Givern-Héroux, Mathilde 115 Glass, Philip 102 Godin, Patrick 119 Golan, Dana 131 Goldman, David 152 González, José B. 172 Goods & Services 156 Gordon, Alison 111 Gordon, Jay 141 Gottlieb, Jason 176 Grady, Kevin 144 Grais, Ian 132 Grandin, Jay 143 Grandjean, Cybele 159 Grate, Eva 131 Gravier, Frederique 172 Gravito, Ryan 92, 99 Greenberg, Lisa 87, 95, 116 Grimshaw, Adam 100 Griner, Andre 148 Grinning Face 95 Ground Glass Media 119 Grubbs, Josh 88 Grubman, Erica 159 Guerra, Paula 132 Gutin, JoAnn 135

h

Haggis, Ryland 143 Halber, Geoff 152 Halderman, Lauri 135 Hall Family Foundation 92 Harju, Anna 119 Harkonen, Kirsten 115 Harman, Ben 95 HBO 139 Headcase Design 156 The Heads of State 171 Hébert, Julien 144 Heffley, Lynne 171 Heinsch, Karin 119 Helms, Christian 99 Helms Workshop 99 Heptinstall, Greg 119 Hernández, David 172 Hernandez, Gaby 168 Hernandez, Sonja 109 Herrera, Gerardo 181 Herreria, Angelie 109 Herschel Supply Company 91 Hester, Michael 167 Hight, Shawn 143 Hill, Marianne 139 Hilton, Rachel 116 Hixon, Matt 139 Hoerter, Jasmine 164 Holden, Carri 109 Hopper, Brooke 109 Horne, Kelsey 111 Hoyle, Jazmine 131 Hsu-Meyer, Alice 159 Hu, Alain 164 Hu, Fa-Hsiang 164

Hu, Fa-Xiang 164 Hu, Phoebe 164 Hu, Woody 164 Huang, Arie 109 Hudachek, Paul 164 hufax arts 164 Hull, Thomas 105 Hummingbird Smart Services 106 Hunt, Jesse 119 Huseinovic, Adnan 168 Hutton, Shane 159 Huybrecht, Melissa 164 Hybrid Design 168, 172, 176 Hybrid3 99

i

Ignazi, Peter 106, 115, 128 Ilić, Mirko 95 Illinois Council Against Handgun Violence 144 Imagine Visual Services 131 Indoek 151 Institute for Regional Education 102 Irwin, Amelia 127 ITAL/C 151

j

James, Matt 143 Jamieson, Martha 144 Jaramillo, Julian 88, 132 Jaramillo, Nathalia 88 Jaswal, Rasna 111 Jethwa, Rakhee 139 Jirakaweekul, Jump 112 Jiwaji, Ilhaam 168 Joan 120 John, Judy 87, 95, 116 Johnson, Mike 119 Johnston, Ben 136 Johnston, James 124 Jones, Jeff 127 Journey Group 164 Joyce, Collin 124 Jukes-Hudson, River 185

k

Kaiser, Jamie 147 Kalinowski, Oskar 156 Kane, Jon 102 Kanert, Mike 156 Kang, EJ 139 Kardar, Saadia 119 Karkhanis, Ashutosh 96 Kelsey, Jarrod 143 Kepple, Paul 156 Adam Kereliuk Creative 96 Kern, Geof 151 Kernevich, Jason 171 Khoury, Charles 139 Kieltyka, Zachary 144 Kim, Christine Sun 155 Kim, Sanuk 95 Kim, Sohee 115, 135 Kirsch, Michael 132 Kitchens, Ryan 99 Klapowich, Meredith 147 Knight, Shawn 87 Komis, Rod 88 Kosa, Kristina 147 Kovtun, Rita 164

Kowalczuk, Justin 79 Kozlowski, Caleb 168, 172, 176 Krauss, Audrey 171 Kubiaczyk, Nora 164 Kuemper, Jared 111 Kung, Eleanor 135 Kusterman, Lindsey 164 Kwiczala, Paul 128

l

La Rotta, Silvia 96 Labrecque, Mathieu 147 Laferrière, Fanny 128 Lam, Heiman 164 Lama, Pam 143 Lambert, Kyle 156 Lamontagne, Emily 99 Lanctôt, Raymond 123 Land O’Lakes 143 Langlois, Simon 106, 128 LASALLE College of the Arts 179 Lau, Edward 179 Lawson, Jordon 132 Lazar, Antonia 95 Lee, Hayley 182 Lee, Sung 91 Lefebure, Jake 168 Lefebure, Pum 168 LeFever, Isaac 102 Leggatt, Helene 168 Lenarduzzi, Dennis 79 Les Concerts du Mercredi 80 Lessard, Andréanne 128 Levesque, Marc 111 Levron, Fred 144 Li, Ji-Kai 164 Liao, Natasha 164 Lima, Cátia 136 Lin, Linka 127 Lin, Shaobin 99 Linnihan, Daniel 143 Lip 96 Liu, Min 139 Liu, Yun 164 Long, Véronique 115 Los Angeles Philharmonic 155 Losier, Andrée 106 Lötter, Thys 141 Luchini, Sam 144 Lucken, Sophia 132 Luckhurst, Matt 115, 135 Lucky Dragons 155 Lukianova, Lidia 109 Luo, Taylor 186 Lupton, Ellen 176 Lynch, Susan 156

m

Macchiano, Pollyanna 109 Machado, Manny 131 Maclean, Diego 143 Made by Radio 141 Made Coffee 95 Mailchimp Brand Team 115 Maison Corbeil 123 Makespace 79 Mandarino, Marissa 144 Manuel, Damien 141 Marcus Hotels & Resorts 124 Markevicius, Tomas 112 Marklund, Jens 120

Marowitz, Gail 100 Martin Jr., Bobby C. 160, 163 Martin, Kevin 179 Martin, Larisa 139 Martinez, Paula 132 Maryland Institute College of Art 168, 176 Marz, Joshua 135 Masa 88 Matthews, Kristine 131 Maudet, Michelle 80 Maw, Christine 111 Mayani, Rafael 143 Mayes, David 102 Mayne, Chris 141 Mazzotti, Bruno 144 McCandliss and Campbell 148 McCandliss, Trevett 148 McCaughley, Michael 160, 163 McClellan, Scott 132 McCluskey, Sue 156 McDaniel, Ryan 144 McFetridge, Geoff 87 McIntyre, Gina 156 MCKL 112 McLean, Anne 172 McLeod, David 159 McManus, Erin 119 McNeill, Laura 182 Meiring, Byron 141 Meister, Michael 135 Melcher Media 156 Meyer, Jean-Victor 159 Meyer, Kyle 124 Chad Michael Studio 96 Millar, Jeff 131 Miller, Kelli 139 Minneapolis College of Art and Design 164 Minnesota Twins 76 MinTIC 132 Mistry, Mruna 186 Miyasato, Christen 131 Moberg, Jeff 148 Moffat, Sarah 127 Mohawk Fine Papers, Inc. 168, 172, 176 Monahan, Kate 127 Monnet Design 112 Monnet, Stéphane 112 Monroe, Dan 91 The Montréal Children’s Hospital Foundation 106 Morales, Erick 124 Morales, Michele 144 Moreau, Carly 116 Moreno, Carlos 106, 115, 128 Morson, Omar 171 Mota, Joao 159 Moxon, Derek 156 Mroueh, Zak 119 MTV News 139 Mueller, David 147 Mulder, Lauren 164 Munnik, Chris 87 Murch, Dan 91 Museum of Contemporary Art Toronto Canada 116

National Central University, Taiwan 87 Native 76 Nedre Foss 99 Nelson Dahl, Becky 100 Nemecek, Sasha 135 Netflix 156 Newman, Brett 172 Nguyen, David 115 Nichols, Tucker 143 Nickelodeon 141 Nicol, Julian 159 Nicolas, Benjamin 111 Niehaus, Monica 131 Nields, Sheryl 100 The Night Ministry 148 Nike 131 Norberg, Nikki 88 NorthPark Center 151 Núñez, Roberto 100 Roberto Núñez Studio 100

o

O’Briant, James 83 O’Connor, Cherie 111, 119 Offenbac, Nika 139 Office: Jason Schulte Design 159 Office of Minority Affairs and Diversity 131 Ogasawara, Ash 139 Ogden, Steve 109 Ogilvy 112 Okarski, Brian 112 Old Dominion University 182 Oldfield, Megan 159 Olsen, Greg 144 Olson, Grace 164 Olson, Liz 124 Olson-Cole, Dylan 164 One Design Company 124 O’Neill, Josh 160 Open Strategy & Design 96 opticnerve 102 The Original Champions of Design 160, 163 Osorio, Felipe 88 Østmoen, Ellen 99

p

n

Nadler, Mary 171 Nann, D. Chase 87 Narrative 147

Padmashali, Lokesh 96 Pagan, Juan Carlos 120 Palacios, Tiffany 168 Pando, Megan 99 Pando Populus 143 Pani, Matteo Giuseppe 159 Paprika 102, 123, 144, 147 Paradis, Sébastien 123 Paradise, Dean 144 Park, Soomin 109 Park, Yura 179 Parsons, Angeline 119 Pascoe, Gary 83 Pautz, Eric 143 Pavement 167 Pedersen, Aaron 168 Peel, Jenna 119 Pelle, Rocco 131 Peña, Fidel 76, 83, 172 Pentagram 76, 79, 80 Perno, Joe 139 Persico, Steve 116 Peters, Chris 143

Communication Arts | commarts.com

201

INDEX TO DESIGN ANNUAL 60 Peters, Stephan 88 Phaidon 159 Phillips, Jennifer Cole 176 Piacente, Franca 116 Piccolo, Angela 131 Pickard, Anna 143 Pickford, Beverly 155 Pickford, Peter 155 Pienaar, Schalk 141 Pita, Rob 141 The Pixel Shop 119 Planche, Kristine 156 Polis, Eva 144, 168 Polyester Studio 148 Pomareda, Jorge 148 Poon, Howard 144, 168 Pope, Paul 160 The Port of Montréal 128 Portland Art Museum 160, 163 Porto, Leo 95 Posada, Juan 171 Postans, Alexandra 87, 116 Potts, Alex 141 Povarchuk, Olga 139 Prestridge, Emily 99 Preview Events 109 Prince, Jonathan 143 Prisco, Michael 135 Publicis Sapient 148 Pulfer, Adrian 182, 185 Purdy, Dan 87

r

Rafter, Sarah 156 Raj, Mustaali 106 Ramírez Castillo, Osvaldo 172 Ramos, José 135 Rane, Mangesh 96 Rankin, Daniel 147 Raposo, Tânia Junceiro 109 Rauzi, Robin 155 Recht, Sarah Jean 172, 176 Rector, Matt 76 Rees, Brenda 171 Reggio, Godfrey 102 Regimand, Julie 144 Reitmaier, Heidi 116 Renfrow, Tyler 106 Renfrow’s Paint Pros 106 Steven Restivo Event Services, LLC 84 Rethink 132 Reynolds, Kerry 87 Reynolds, Thomas 84 R/GA 115 RGD 119 Richardson, Samantha 91 Rigsby Hull 105 Rigsby, Lana 105 Risk, Kristen 100 Risk, Philip 100 Robertson, Jill 159 Robinson, Jaime 120 Robitaille, Daniel 102, 147 Roca, Francisco 163 Roe, Mike 148 Rogers, Leia 132

202

Design Annual 2019

Romaniuk, Michael 119 Romei Hoffman, Jenny 152 Romero, Lydia 135 Rosenburg, Jacob 83 Ross, Michael 139 Ross, Naomie 127 Rossel, Cédric 80, 84 Rossi, Francisco 159 Roth, Rachel 92 Roubinet, Julien 151 Rousseau, Jean 141 Roy, Fanny 123 Royal Alberta Museum 144 Rozhdestvensky, Ilya 159 R+D Productions 132 Rubin, Sophie 80, 84

s

S&Co. 79, 88, 132 Sa, Carlo 139 Safié, Tala 159 Sagmeister & Walsh 159 Sagmeister, Stefan 159 St-Jacques, Olivia 115 St. John, Adam 143 Salgado, Ricardo 144 Sathi, Nat 99 Sauve, Camille 112 Savannah College of Art and Design 186 Scelza, Mike 127 Schikulski, Simen 99 Schneider, Rachel 143 Schonken, Francois 141 Schou, Solvej 171 Schulte, Jason 159 Schwab, Michael 84 Michael Schwab Studio 84 Schwabacher, Martin 135 Seidl, Cole 164 Senn, Marty 76 Serra, Laura 147 Seth, Alex 171 Shapiro, Deborah 163 Sharrocks, Bailey 109 Shaw, Matthew 151 Sherman, Ed 100 Sherwin, Jennie 152 Shields, David 182 Shiffman, Tracey 181 Shih, Angie 115, 135 Shimizu, Yuko 160 Shin, Christie 87 Shinehoft, Debbie 144, 168 Sholly, James 167 Sholly, Jon 167 Sholly, Nicole 167 Siadneva, Tanya 109 Sidie, Ingred 92 Sie, Susi 139 Siegel, Andrew 143 Siegenthaler, Oliver 79, 88, 132 Sieghart Hobson, Joanna 135 Sienkiewicz, Bill 160 Sieren, David 124 Sikka, Vedanti 168 Simons, Joanne 147

Simpson, Bob 132 Skibicki, John 144 Slaatsveen, Vivi-Ann 99 Slack 143 Slaybaugh, Byron 139 Slobodian, Michael 92 Smale, Robyn 148 Smith, Bianca 124 Smith, Cary 119 Sofio Hall, Jennifer 139 Soler, Dennis 111 Sonderegger, Michelle 92 Song, Haiyang 99 Soungpanya, Cassarie 109 Spaeth, Samantha 131 Sparks, John 135 Stang, Aandrea 155 Staniul, Dylan 92, 99 Staples, Chris 132 Stearns, Michael 99 Steele, Martha 167 Steen, Josie 164 Steez Design 95 Steighner, Christopher 156 Steinberg, Karen 116 Stephen, Kevin 87 Steringa, Erinn 156 Sternoff, Anna 115, 135 Stevenson, Dave 167 still room 155 Stout, DJ 76, 79, 80 Stranger & Stranger 96, 175 Strick&Williams 163 Stroup, Rhonda 143 Studio Matthews 131 Summers, Dusty 171 Sundararaman, Srinivasan 141 Sunday Afternoon 120 Sur Gallery 83 Swagler-Webb, Allison 91 Swemmer, Ian 141

t

Tanner, Kathryn 91 Tanzer, Melissa 139 Tapang, Hanna 116 Target Creative Team 95 Taub, Lawrence 102 TAXI 111 Taylor, Liz 144 Taylor, Scott 171 TBWA\Media Arts Lab 141 TD Canada 87 Teles, Hélio 156 Temporale, Todd 171 Tennant, Aliz 132 Tercan, Mirac 141 Terlato Wines 96 Thames & Hudson 155 Thebus, Leizel 141 Theroux, David 128 Thompson, Richard 168 Thompson, Ron 151 Thornhill, Dave 87 344 Design LLC 102 Titone, Matt 151 Tjelta, Maja 99 Toews, Teresa 143

Toronto International Film Festival 148 Toronto Outdoor Art Fair 112 Toth, Taylor 156 Tran, Max 182 Trask, Mark 147 Traub, Derek 155 Trost, Aly 92 Trusler, Geoffrey 141 Tupper, Zack 139 Turello, John 141 Turner, David 127 Turner Duckworth 127 TYGH Studio 132 Typecraft 102 Tyson’s Tacos 95

u

Un, Milton 76 Underline Studio 76, 83, 172 United States Postal Service 164 United Way 111 Urias, Raul 100 UXB Press 156

v

Vague, Dana 91 Valenzano, Matthew 147 Vallin, Carl-Hampus 172, 176 Van Hattem, Pieter 100 Vanem, Magnus 99 Vans 87 Vans Global Creative 87 Varella, Kimberly 155 Vaskovic, Vedran 144 Vaz, Marcos 139 Vilt, Katherine 144 Visser, Arno 141 The Visual Strategist 100 Vitrone, Karla 120 Viva & Co. 171 Viva, Frank 171 Vizarretea, Gosbinda 159 Voll, Espen 99 Vriend, Tessa 144

w

Weese, Catharine 135 Wei, Lulu 147 WeLiveUpHere 136 Wells, Kim 119 Wells, Molly 124 Wentworth, Adam 139 WePlayDesign 80, 84 Westside Studio 147 Wetherbe, Jamie 171 Whelan, Conor 143 Wide Eye 171 Wilde, Stephen 91 Wilder, Thomas 112 Williamson, Matt 95 Willie’s Reserve 102 Wilson, Jimmy 151 Wilson, Molly 151 Wilson, Robert 102 Winder, Mike 171 Wohletz, Lori 143 Wold, Kjetil 99 Wolf, Steve 95 Wolverton, Jeffrey 76, 79 Wong, Kris 115, 135 Wong, Man Wai 95, 116 Worman, Megan 156 Wright, Emma 112 Wu, Sammi 164

y

Yada, Darren 132 Yamada, Yuki 148 Yap, Brian 109 Yeh, C.J. 87 Brigham Young University 182, 185 YouTooCanWoo 139 Yu, Ambrose 143

z

Wainscot Media 148 Walde, Carly 143 Walker, Mariah 148 Walker, Michael 111 Walsh, Jessica 159 Walters, Andrew 152 Walters, Lee 159 Ward, Elaine 159 Ward, Julia 155 Ward, Olivia 172, 176 University of Washington 131 Wasko, Forest 164 Water1st International 99 Watkins, Jeff 116 Watwani, Diksha 139 WAX 171 WE ARE ALL HOMELESS 175 Weaver, Nathan 100 Webb, David 91 Weber, David 176 Wee Society 159

Zagorskis, Bob 148 Zamora, Javier 172 Zeeman, Kyle 141 The Zero Hotel Porto 136 Zhang, Emma 109 Zhao, Yanchen 112 Zheng, Judy 92, 99 Zhong, Jing-Yan 164 Ziervogel, Carmen 141 Zimmer-Design 100 Zimmer, Jessica 100 Zimmer, Jim 100 Zukic, Rialda 139 Zulu Alpha Kilo 119 Zulubot 119

Editor’s Note Every effort has been made to ensure that the credits comply with information supplied to us. If, for any reason, a misspelling, omission or other error has occurred, notify us within 30 days and we will be able to issue corrected award certificates.

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“If you think good design is expensive, try bad design.”

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