GDUSA Magazine October 2019 by Graphic Design USA

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OCTOBER 2019

GD USA

GD USA GRAPHIC DESIGN USA

HEALTH + WELLNESS DESIGN AWARDS OCTOBER 2019

RESPONSIBLE DESIGNERS TO WATCH SPONSORED BY

DOMTAR CBD + CANNABIS GRAPHICS SHOWCASE ANNUAL STOCK VISUAL SURVEY ENERGIZER BUNNY IS A HERO

www.gdusa.com

JESSICA WALSH OPENS NEW STUDIO

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THIS IS ART SCHOOL

CMY

Student work by (clockwise): Deanna Fordyce, Annika Schneider, Alonso Molina, Jitao â&#x20AC;&#x153;Tommyâ&#x20AC;? Sun.

If you think art schools just teach people how to paint, think again. Whether it's paint or pixels, Photoshop or 3D printers, Academy of Art University will give you the tools and skills needed to create award-winning work that pushes boundaries and solves problems.

To see more of what our skilled students and alumni have created, visit academyart.edu/gdusa

October 2019 Pub Letter-Focus Impo_feb news play 10/7/19 7:38 PM Page 1

LETTER FROM THE PUBLISHER | RESPONSIBLE DESIGN TRANSCENDS THE MOMENT

I don’t like political jokes … too many of them get elected. It’s a Dad Joke, yes, but, hey, I’m a dad. And it’s a non-partisan joke because there are enough jokers to fill both parties and, hey, I’m painfully tired of partisan politics right now. Which created a quandary for me when I started to prepare this edition’s special feature on Socially Responsible Designers. I wanted to spotlight some leading exemplars of designing for good, but in this fraught moment, a report like this had the potential to descend into the kind of divisive partisan exercise that passes for political discourse in 2019. How to escape the trap? Actually, the solution turned out to be simple: ask first-rate minds and firstclass individuals to participate, and then stand aside while they take the high road, find the universal themes, and make us all proud of how effective graphic design can advance commerce, culture and causes. Deb Fiorella and Craig Franke of Franke+Fiorella capture the spirit: “Great design has the power to move people to act.” GORDON KAYE IS THE PUBLISHER OF GDUSA Comments, suggestions and letters can be sent to gkaye @ gdusa.com.

You will not see a single overt mention of Trump, Biden, Warren, Buttigieg, Harris. You will read about Andy Baron of Turner Duckworth who developed a visual identity for the Equal Justice Initiative — the Bryan Stevenson-led group based in Alabama dedicated to criminal and racial justice in America. “At the heart of the identity is a symbol that implores us to break the cycle of injustice,” says Baron. Nina Stanley of MOD, explains how her personal medical story led to promoting women’s heart health embraced by, among others, the American Heart Association. Sasha Endoe tells us that an interest in science and fighting contagious diseases has led her to creating rich UX experiences for non-profits. Ellen Bruss’ passion for the arts led her to donate efforts on behalf of MCA Denver, the Denver Art Museum, and to otherwise enliven the burgeoning Denver art scene. Lynda Decker, motivated by Superstorm Sandy and a desire to use design to protect people, has forged a relationship with the Waterfront Alliance in NYC around the issue of climate change and flooding. The National Association of Manufacturers creative team is energized by advancing “free enterprise, competitiveness, individual liberty and equal opportunity.” Erin Hamilton’s practice in Alaska focuses on mission-driven clients and relevant issues such as sustainability of the fishing industry. Justine Tinari of Easter Seals NJ uses design as a tool “to create merit for both recipients of the cause and stakeholders alike.” Roanne Adams is a UN Women’s Champion Of Change for advocating for equal pay in the advertising and design industry. Gerald-James Rhodes of the Children’s Museum of Houston says that “designers have an opportunity in 2019 to make inclusion and diversity our new superpowers!” Maya Koptyman, who lost family members in the Holocaust, has executed projects for, among many others, the US Holocaust Museum, the Leo Baeck Institute, and recently the Historic Hudson Valley which tells the story of enslaved persons on a Northern plantation. “I believe,” she says, “that design has the power to make historical lessons clearer and more impactful in drawing quick analogies and promoting empathy.” CONTINUED PAGE 2

GDUSA 1

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LETTER FROM THE PUBLISHER CONTINUED FROM PAGE 1

These are creative professionals — there are more inside —

things.” It was the firm’s first print catalog and it blew me

who understand that the moment is bigger than the food

away: gold foil cover, great production values, premium

fight going in capital city and the media. They are using the

paper — instantly creating new interest and respect. There

power of their craft to uplift and elevate. It's called design

is a parallel news item in this edition of GDUSA: Netflix, via

for good and it transcends.

Pentagram, has introduced an oversized journal which seeks to extend the streaming platform’s brand experience to print.

I was planning to end this column with a Dad Joke about pizza

Queue is one more example of an online and ecommerce

but, after all this high-mindedness, that would be cheesy.

enterprise launching a print magazine or catalog as a channel to engage customers and prospects. Think Airbnb, Bumble,

WELLNESS AND WELCOMING This edition of GDUSA carries our annual Health + Wellness Design Awards™ showcase of 100 wonderfully timely winning pieces. The 2019 competition recorded more than 2,200 the 2019 competition recorded more than 2,200 entries, a record for us.entries, a record for a competition of this kind. The winners represent outstanding work on behalf of companies, associations, institutions, brands, products and services. In this regard, I would note three interesting and interrelated trends developing over the past few years. First, when we first conceived this competition, I presumed imagery of doctors, nurses, pills, sick rooms, disease and infirmity. What we are seeing is considerably broader and more aspirational. “Wellness” is clearly superceding

Uber, Net-a-Porter, One Kings Lane, Facebook, Dollar Shave Club, REI. Pentagram states: “Netflix viewers love to talk about their favorite shows, and Queue gives them a water cooler in magazine form, a place to start, encourage and inform the conversation.” That’s a specific explanation for the general phenomenon: the (re)discovery that print’s inherent character — especially tangibility — can forge a unique human connection in an ephemeral era. Says Hearst Magazines Chief Content Officer Joanna Coles, which collaborates on Airbnb Magazine: “I envision readers sharing it with friends, fellow travelers and guests in their homes. It’s something people can hold in their hands, pack in their bags, and talk about with people they meet.” MOVING PAST THE STONER STIGMA

“healthcare” as a way for even traditional marketers in traditional industry segments to approach this sector, with a related shift to design that honors the pursuit of complete and preventative physical and mental well-being. Second, the projects communicate ever more transparency, accessibility, accountability, information and consumer-friendliness. Whether that is a result of enlightenment or externalities, I will not speculate, but clients and creatives deserve much credit for a growing sense of welcome over dread. Third, many more projects are taking the form of video, animation and interactive design, much of it displayed, at least in part, on social media. Given the first two trends, this third one makes a whole of sense.

For 56 years, GDUSA has organized contests and showcases that spotlight areas of growth and opportunity for graphic designers. Most recently, we hopped on the CBD, hemp, and legal marijuana bandwagon — the nascent but booming cannabis industry — because it is an area in which designers can have a defining role in helping to elevate brands, differentiate products, disseminate information, promote safety, help build strong businesses and a responsible business model. Hundreds of you agreed and this summer sent in examples of you work. Today we present our inaugural showcase of the 50 most effective pieces, many of which are deliberate efforts to move past the stoner stigma. Last spring in this column, I noted my ambivalence toward the

SOMETHING TO HOLD

legalization of recreational marijuana, quoting Malcolm Gladwell in The New Yorker on the subject: “We don't know

My wife Susan Lewis Kaye is experienced in the world of

what we don’t know.” I still don't know what I don’t know. But

fine art, a veteran of Christie’s and Artemis, among others,

I will say that the seriousness of purpose of the designers

and she recently called my attention to a print catalog from

and the buy-in from their clients spoke volumes about good

1stDibs, an online seller of art and furniture and “beautiful

will and good intentions.

2 GDUSA

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CONTENTS | OCTOBER 2019

8 FRESH Jessica Walsh becomes a member of a very exclusive club; the Energizer bunny is the cheeky center of a rebrand by DDW SF; a Latin beat by Publicis Group takes bodega-born espresso nation wide; pioneer organic cofee finds its roots; Pentagram brings the Netflix experience to print; and much more.

24 STOCK VISUAL SURVEY 33 has a nice round feel and it also represents the number of years that GDUSA has been documenting the stock visual industry’s evolution from marginal to mainstream. There are many levels to the story but it is best understood thus: today’s society is a visual beast and stock imagery helps the creative community feed it.

28 RESPONSIBLE DESIGNERS This annual special feature continues our commitment to shine the spotlight on designers who exemplify the values of social responsibility and sustainable design. It is an enlightening roundup of people, firms, departments and organizations motivated to ‘design for good’ as they see it.

54 HEALTH + WELLNESS AWARDS Our annual Health+Wellness Design Awards competition honors graphic design excellence in this industry of pivotal importance. The 2019 competition is the biggest and most selective ever, and this showcase features 150 projects from leading firms, agencies and departments that cover the field from traditional medical care to healthy lifestyles to public health challenges.

90 CANNABIS GRAPHICS AWARDS Branding and packaging for CBD, hemp, and legal marijuana presents a vast and timely opportunity for graphic designers to do that thing they do. And in the process to elevate an industry on the cusp. Here are 50 winning pieces from our inaugural Cannabis Industry Graphics Awards™.

Graphic Design USA (GDUSA) Volume 56/No. 5 September/October 2019 Kaye Publishing Corporation (ISSN0274-7499/USPS227020). Published 6 times a year with combined issues in January/February, March/April, May/June, July/August, September/October, November/December. Executive, editorial and advertising offices at 89 Fifth Avenue, Suite 901, New York NY 10003. Phone: 212.696.4380, Fax: 212.696.4564, www.gdusa.com. SUBSCRIPTION: Domestic, $72 one year. International, $140 one year. Periodicals postage paid at New York NY and additional mailing office. POSTMASTER: Send address changes to GDUSA - Graphic Design USA, PO Box 3072, Langhorne PA 19047. Permit #224.

104 FOCUS Diane Domeyer of The Creative Group on the do’s and don’ts of talking salary with co-workers; and Duke Greenhill of SCAD Graphic Design on collaborations that help students secure jobs.

WWW.GDUSA.COM

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THANKS DOMTAR A special thank you to Domtar, exclusive sponsor, once again, of our annual special feature on socially and sustainably responsible graphic design. The narrative of this edition of GDUSA is printed on CougarÂŽ 70 lb. Text, Smooth Finish, manufactured by Domtar Paper. Renowned for its velvety surface, Cougar is the premium paper that amplifies a brandâ&#x20AC;&#x2122;s passion, personality and purpose.

GD USA GRAPHIC DESIGN USA

Gordon Kaye Publisher

ART & PRODUCTION

Long trusted by the creative and print communities alike, Cougar gives you the power to

Ilana Greenberg Creative Director

transform your best ideas into visually stunning printed pieces with vibrant color, sharp images and consistent press performance.

Sasha Kaye-Walsh Production Director

In addition, the printers and creatives who print on Cougar have helped Domtar donate

Jay Lewis Jeffrey Rosenberg Photographer

hundreds of thousands of dollars to the World Wildlife Fund. This partnership commu-

WILL BURKE

nicates that Domtar understands the value of biodiversity, sustainability and equality.

To learn more about Domtar Paper, please visit paper.domtar.com

ADMINISTRATION & READER SERVICES Althea Edwards Reader Services Manager Angelo Abbondante Accounts Manager

ABOUT THE COVER Jessica Walsh was only 25 when she became full partner at Sagmeister & Walsh, helping to build

Jennifer Hoff Scott Sczcypiorski Internet Services

it into one of the most in-demand studios. Seven years later, she has launched her own creative

EDITORIAL

agency &Walsh. Full story on PAGE 12.

Gordon Kaye Editor Charlotte Kaye Associate Editor

FOUNDER Milton L. Kaye (1921-2016)

ADVERTISING

COVER PAPER CREDIT: The cover of this special edition of GDUSA is printed on FSC-certified Kallima Coated Cover C2S,

Ron Andriani Executive VP, Integrated Marketing + Business Development 201.485.8720 212.696.4380 randriani@ gdusa.com

part of the Kallima Paper family of FSC-certified coated cover paperboard, manufactured by the Tembec Paper Group. A leading advocate of sustainability, Kallima has a distinct low-density high-bulk construction resulting in less trees used and signficant cost savings to the customer. kallimapaper.com and 1.800.411.7011

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FRESH | INTERACTIVE EXHIBIT CELEBRATES THE BAUHAUS

LOS ANGELES CA Digital innovation studio yU+co and the Getty

Research Institute recently joined forces in a digital initiative to celebrate the 100th anniversary of The Bauhaus. Through an online exhibit accompanying a physical exhibition at the Getty Center, Bauhaus: Building the New Artist explores the Bauhaus vision, allowing users to engage with the techniques of the masters and test their theories with three interactive exercises. Founded by Modernist architect Walter Gropius in 1919, the Bauhaus represented a new model of education in which various forms of artistic practice would work in harmony to produce a socially-oriented and spiritually gratifying “building of the future.” In this spirit, yU+co incorporated multiple creative disciplines. The online exhibit was led by Robert Checchi, yU+co’s Director of Museum and Special Projects, who joined the studio last year following 12 years as the J. Paul Getty Museum’s Senior Exhibition Designer. Says Checchi: “This project incorporates all of yU+co’s wide range of skillsets — design, 3D, modeling, animation, web design, production, video, editing, etc.” For Garson Yu, Founder/Creative Director, the project reflects the growing need for cultural institutions to reach out to audiences beyond their own walls. He says: “ The desire of museums and cultural institutions to engage the public in new ways is the perfect opportunity to combine new technologies with . . . storytelling in order to create something groundbreaking and enriching.” yuco.com

8 GDUSA

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FRESH | CHERMAYEFF & GEISMAR & HAVIV TOASTS DRINKWORKS

NEW YORK NY A joint-venture between Anheuser-Busch InBev

and Keurig Dr Pepper, Drinkworks is a beverage innovation company whose initial offering, the Drinkworks Home Bar by Keurig®, prepares cocktails, wine, brews and more by using proprietary Drinkworks Pods. As the new system was preparing to go to market, Chermayeff & Geismar & Haviv, the venerable identity design firm, was brought in to optimize a logo that would work in the various small sizes needed for the system’s applications, including on the machines, on the pods, on as an app icon, as well as in the various corporate lockups. The new symbol — seven circles uniting in a round — invokes the company’s core message of bringing people together. The Keurig coffee brewing system has users in over 20 million homes in North America while Anheuser-Busch InBev is, of course, one of the largest consumer goods companies, with over $50 billion in annual revenue. www.cghnyc.com

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unexpected Turn the expected on its head. Save 20% on all visuals with code GDUSASAVE20. It’s not stock. It’s Shutterstock. www.shutterstock.com

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FRESH | JESSICA WALSH OPENS HER OWN AGENCY

NEW YORK NY Jessica Walsh was only 25 when she became full

partner at Sagmeister & Walsh, helping to build it into one of the most in-demand studios in the industry. This summer, seven years later, Walsh launched her own creative agency &Walsh. Through collaboration, strategic process, and irreverent imagination, her goal is to help brands unlock untapped potential. She sees the new venture as “a fresh direction and the culmination of her evolution as a creative, mentor and entrepreneur.” Walsh has spent her entire career using design to draw brands, and society at large, into deeper thought and conversation. Her process is to help brands “Find their weird,” which begins with brand therapy honing in on the idiosyncratic parts brands tend to suppress. To highlight the collaborative nature of her work, a custom ampersand lies at the heart of the agency’s brand identity. Walsh says that she will also be unafraid to bring attention to often ignored social issues. In a class of agencies that is extremely small — those founded, owned, and run solely by women — she says she wants to open the door wide for the underrepresented to similarly grow, thrive and lead. andwalsh.com

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FRESH | WEBSITE DESIGN CAPTURES SPIRIT OF COLLABORATION

NEWARK NJ Express Newark, located in Newark NJ, is dedicated to

the collaboration between community partners and Rutgers UniversityNewark. Level Group was chosen to design a website that would invite and promote further collaboration between Newark and university communities while representing the organizations’ powerful mission. The design team worked closely with Express Newark leadership, program directors, and community partners to gain the insight needed to construct a website capable of mirroring the ecosystem of Express Newark: one of inclusiveness, democratic dialogue, and boundarycrossing networks, in which eleven partnerships and over eighty contributors spanning diverse disciplines, collaborate and engage in public work and creative practice. Level’s resulting design aggregates the collective work of its many partnerships and collaborations in an engaging, inviting, easy to navigate destination that truly reflects the sense of community, collaboration, and interaction that is the organization. levelnyc.com and expressnewark.org

PUBLICIS GROUPE TAKES BODEGA-BORN COFFEE NATIONWIDE

ORRVILLE OH Café Bustelo, the legacy espresso-style coffee, is making its national debut with a vibrant ad campaign

from Publicis Groupe that blends modern and traditional Latin imagery and music. Since 1928, Café Bustelo has had a high profile in Latin communities across the country. The new ad campaign is titled Café Bustelo Estuvo Aquí (Café Bustelo Was Here), and is debuting this Fall on Univision, VH1, Travel Channel, Ion, Nick at Nite, and others, with a television commercial as the creative centerpiece. Additional campaign elements include online, digital banners, social, OOH, and radio. The campaign is the first creative work for the Café Bustelo coffee brand from PSOne, the Publicis Groupe’s Power of One team. It seeks to create a world unique to the legacy barrio-born coffee brand, embracing the vibrancy of its bright yellow and red packaging to reflect the vitality of the Latin culture. The campaign boasts bold, minimalist illustration-style visuals, with a retro poster feel, in a nod to authenticity and to underscore a multi-generational appeal. Music adds to the mix, combining traditional Latin rhythms with modern electronic beats, and was created by HiFi Project. publicisgroupe.com/en/services/the-power-of-one

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FRESH | PIONEER ORGANIC COFFEE GETS REBRAND

SOLVANGE CA Café Altura, the first organic coffee producer

in the United States, rolls out updated branding and packaging as market changes dictate a new look to entice coffee consumers. The company was founded in the late 1970’s when a group of organic enthusiasts gathered in Ojai CA to live and work on a 75-acre farm in order to ranch organically and develop related businesses. By happenstance, they learned of a farm in Mexico growing coffee using organic and biodynamic techniques, and began importing the beans, thus becoming the first company in the U.S. to sell organically grown coffee. Thirty-plus years later, Café Altura’s commitment has continued but intense competition in the space has presented sales challenges and, part of the problem, the branding had not been updated since the 1980s. Design firm Mark Oliver, Inc. (MOI) — long specializing in food and beverage consumer packaged goods — was tapped by the client’s CEO and co-founder Chris Shepherd to create new branding and packaging that would showcase the organic origins of the coffee, improve quality and value perceptions, and increase the line’s instore visibility for more than 80 SKUs. To set Cafe Altura apart, the MOI designers created a position statement and tagline: “Rain Washed, Sun Dried, Air Roasted.” New labels create a narrative of the company history with text and specific visual cues. An illustration of a farmer tending his coffee trees anchors the concept visually while an “Aztec-style” pattern background is used in the panels, and a badge announces the type of coffee and its condition. Shepherd says: “The packaging is beginning to have the desired effect. It is a tough market environment, but, all things considered, we’re now well-prepared for the challenge.” markoliverinc.com

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FRESH | PENTAGRAM BRINGS NETFLIX EXPERIENCE TO PRINT

NEW YORK NY Queue is the new journal from Netflix. Presented in an oversized format, the publication offers a place

for the global streaming service to share stories and provide insight into the process of creating entertainment for the platform. Pentagram worked closely with Netflix to create the look and feel of the journal, including the name, brand identity and editorial design, as well as art direction and messaging. The central challenge was to extend the Netflix experience to a print publication that would represent the company — which produces and presents a wide range of content across different categories — and yet still feel cohesive. The design highlights this diversity right from the start: the name itself is a call back to when the company first began to stream and members would add shows to their lineup of what to watch next; the tone of voice and visual personality is smart, engaging and universal; and the look

and feel is inspired by stylish journals as well as classic movie magazines of the 1950s and 1960s that gave readers behind-the-scenes access to the stars. To set itself apart, yet still feel like part of the Netflix brand universe, “Queue” establishes its own presence with hints of Netflix elements. The iconic red Netflix monogram shows on the spine, the brand colors of red, black and white are subtly integrated into the cover and table of contents, while the cover design features a large letter “Q” with the new logotype as the tail. The Ross Patrick, Executive Creative Director of the San Francisco-based firm, letter doubles as a window into the platform’s world. The Pentagram team also helped shape the journal, working on structure and pacing, creating features and departments, as well as creating headlines and decks to set the tone. Credits go to Pentagram New York partners Luke Hayman and Emily Oberman; a project team that included Shigeto Akiyama, Laura Berglund, Timothy Cohan, Ryan Smith, Jenny Hung, Shira Inbar, Shannon Jager, and Joey Petrillo; and Ayanna Quint as photo editor. www.pentagram.com

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FRESH | ‘GREATER ZION’ SOLVES TOURIST DISTRIBUTION PROBLEM

WASHINGTON COUNTY UT Washington County, Utah, is home to

Zion National Park, the fourth most visited national park in the country. It’s also home to many other state parks, national conservation areas and appealing communities, but visitors often don’t stick around to explore the region because they’re unaware of the diverse tourism offerings that surround them. Washington County doesn’t have a visitation problem — it has a distribution problem. To address this, the Washington County Convention and Tourism Office asked Denver CO-based advertising agency Cactus to create a branding program that included everything from naming to logo design to style guide and video to print and digital marketing communications. The solution: move away from the name “Washington County” and lean into Zion, but also create a platform big enough for the rest of the county to have a voice. “Greater Zion” became the destination brand, capitalizing on the equity of the world-renowned national park, but placing it in context in order to spread visitation throughout the region and entice visitors to stay longer. After exploring more than 40 designs, the design firm realized that it needed an icon that could identified the region, could be optimized across multiple media platforms, was graphically neutral and compelling enough to draw people in. The result is a modern, minimal mark that uses Utah itself as a logo — a bold-bordered outline of the state’s unique shape serves as a frame for all communications (and logomark) with type that accurately places the name “Greater Zion” in the Southwest corner. The frame also gives the mark flexibility; as a decorative border for print ads and other components] it has become an integral part of the art direction. Creative credits include Chief Creative Officer Norm Shearer; Design Director Sarah Berkheimer, Creative Director Jeff Strahl, Copywriter Andy Bartosch, and Photographers Ben Christensen, Ben Horton, Oscar Nilsson, Dan Ransom. At the Greater Zion Convention & Tourism Office, the Director is Kevin Lewis and the Marketing Manager Sara Otte. cactusinc.com

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FRESH | ENERGIZER BUNNY IS A HERO TO DDW SAN FRANCISCO CA DDW SF has reinvented the Energizer

brand with help from the tireless Energizer Bunny. Partnering closely with Energizer ad agency Camp + King, the DDW design team developed new branding and packaging that features a larger-than-life Energizer Bunny, who takes his “rightful place as the proud hero of the No. 1 battery brand.” With its number one competitor having a serious black and copper look, the lighthearted focus creates a contrasting feel that, says Ross Patrick, Executive Creative Director of the San Francisco-based design firm, is “bright and optimistic and maybe even a bit cheeky.” This is complemented by a strategic and singular packaging system that is highly organized and extremely flexible, a necessity given that Energizer has a massive global portfolio with thousands of different packages, in various shapes and sizes, that span many categories across markets and languages. Patrick says the approach is “a clear break from the competitive set” and “brings the Energizer Bunny to life — echoing the advertising and celebrating this unique visual icon,” which, in turn, leads to “a clean, radiant battery and lighting packaging.” ddw.com

RIBBON AND SEAL ELEVATE CRACKER BARREL BRAND

LEABANON TN A moment with cheese is one of life’s simple pleasures whether with a glass of wine or entertaining with

friends. That’s the premise behind BrandOpus’ effort to reestablish Cracker Barrel Cheese as a premium offering within the category. Nir Wegrzyn, CEO at BrandOpus, says: “Transforming from practical to emotional, it was important that we helped Cracker Barrel communicate that it was not only a deliciously rich and bold cheese, but a brand that can help to elevate the everyday. We built on their heritage, introducing visual codes that elaborate the brand narrative and act as an invitation to consumers to unwrap the luxurious product within.” Kim Dunphy, BrandOpus Creative Director, adds: “By reimagining the brand’s visual equities through the seal and ribbon devices, we have achieved a shift in the premium perception of the brand and unified its presence across the entire portfolio.” Adds Ken Padgett, Director of Brand Building for Cracker Barrel Cheese at Kraft Heinz: “Together with BrandOpus we have not only contemporized our packaging, but successfully brought new meaning and ownable equities to the brand. This will enable us to break through and maintain relevance in today’s everydaypremium cheese category. We couldn’t be more excited to see our new packaging on shelves.” www.brandopus.com

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NEWS | TRENDS | INSPIRATION

WWW.GDUSA.COM

October 2019 Stock IMPO_Mar 07 Top Stock BK2/5 10/7/19 7:29 PM Page 24

| 33RD ANNUAL |

STOCK VISUAL SURVEY BY GORDON KAYE

Feeding The Visual Beast

Stock visuals are a vital creative resource for graphic designers, transitioning over decades from marginal to mainstream to essential. Why? There are a thousand reasons that boil down to a single core explanation. Society and business has become more visually hungry and more visually sophisticated at the same time that creative businesses are squeezed by tight budgets, short turnarounds, challenging assignments, multiple media, demanding clients and digital workflow. Stock visuals offer a solution because the central value proposition, choice, content, accessibility, affordability, convenience and speed dovetails perfectly with the intense demand for more imagery.

FEEDING THE BEAST AND SOMETIMES THE SOUL

There has rarely been such a convergence of a product and its times. By the way much of this is a tribute to the brilliance and hard work of stock visual agencies who, ironically, are being winnowed down to a select few because of the intense price competition that falling

The most resonate quote from GDUSA's 33rd annual

barriers have wrought.

stock visual reader survey is thus: “We are a visually hun-

gry society: stock imagery feeds the beast and the very best of it feeds the soul.” And they say graphic designers are

More and Faster and Better

Implicit in the statement above, creatives say that stock

not word people. As the quote suggests, we have become

imagery has become just plain better in terms of quality,

an insanely insatiable visual society. More on that below.

quantity, selection, subject matter, affordability, search and delivery. This, of course, varies from provider to provider, but the overall result is an abundance of choices

For good or ill, stock visuals — photos, illustrations,

at a wide range of price points delivered by an increasingly

motion graphics — are vital resources to help content

dynamic and responsive infrastructure. Indeed, there is

creators do their jobs with as much grace and dignity as

near unanimity on this point: the right image is easier to

possible. I believe it is largely for the good, or at least

find, access, license, use and repurpose.

the inevitable, and 33 years ago — Ronald Reagan was

President, Mike Tyson boxing champ, Oprah Winfrey a

Legitimacy and Acceptance

television newbie, Pac Man was the video game rage, the

In the 1960s and 1970s GDUSA turned down stock photo

space station was launched, the Monkees were the top

ads. Not that we could afford to do so — bankruptcy

grossing tour band — we began to follow and document

was always lurking — or that the magazine was too

the stock visual industry’s ascent from marginal to mainstream to essential.

classy — it was frequently a hot (type) mess. But stock imagery and its use carried a stigma. It was considered fake, phony, fraudulent, cheap, stagey and lazy. For so many reasons, today stock has is legitimate, accepted,

Here are our 3 main takeaways from the 2019 survey of

largely a non-issue. This may not be news to young design-

5,000 GDUSA readers, who were kind enough to respond

ers, but it is stunning in the broad historical sweep. Stock

to short answer questions and provide comments when

providers are seen as necessary often desirable professional partners, collaborators, even trendsetters. This is not to

applicable. Read all the results and many more ’take-

say that concerns about exclusivity, originality or artistic

aways’ online at gdusa.com.

integrity have evaporated but they are tamped down.

24 G D U S A

October 2019 Stock IMPO_Mar 07 Top Stock BK2/5 10/7/19 7:29 PM Page 25

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

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

94% 70% 41% STOCK PHOTOS

STOCK ILLUSTRATION

| | | | | | |

PRICE

STOCK VIDEO/ FOOTAGE/ANIMATION

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

FRESHNESS QUANTITY BRAND/REPUTATION SITE DESIGN SPECIAL PROMOTIONS ADVICE/TRENDSPOTTING EXCLUSIVITY

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

6-10 TIMES

11-20 TIMES

21-50 TIMES

51-99 TIMES

100+ TIMES

22%

15%

20%

34%

SEARCH CAPABILITY

QUALITY

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

FOR WHICH TYPES OF MEDIA DO YOU LICENSE STOCK IMAGERY? BUSINESS + INDUSTRY

98% PRINT

81%

DIGITAL, ONLINE + MOBILE

40%

32%

TV, FILM + VIDEO

POP + PACKAGING

| 4 |

HEALTH/WELLNESS

| 5 |

LIFESTYLES

| 6 |

NATURE

| 7 |

COMPUTERS/TECHNOLOGY

| 8 |

SPORTS/FITNESS/EXERCISE

| 9 |

FOOD/BEVERAGE

| 10 | ARTS/CULTURE/ENTERTAINMENT | 11 |

EDUCATION

| 12 | HOLIDAYS/CELEBRATIONS | 13 | ETHNIC/MULTICULTURAL

PEOPLE

CONCEPTS + IDEAS

| 14 | BEAUTY/FASHION | 15 | CARS/TRAINS/PLANES/TRANSPORTATION | 16 | RELIGION/SPIRITUALITY

WHICH DEVICE DO YOU USE TO SEARCH FOR STOCK VISUALS?

| 17 | HOMES/INTERIORS | 18 | FAMILIES | 19 | BABIES/CHILDREN | 20 | ANIMALS/PETS | 21 | TRAVEL/TOURISM

84%

58%

DESKTOP

LAPTOP

11%

| 22 | ARCHITECTURE/BUILDINGS

15%

| 23 | RETAIL ENVIRONMENTS | 24 | MILITARY/POLICE/SECURITY

66% HAVE A STOCK VISUAL SUBSCRIPTION

TABLET

IN THE PAST YEAR HAVE YOU LICENSED . . . ?

93% ROYALTY FREE

53% RIGHTS MANAGED

PHONE

66% USE STOCK IMAGERY IN SOCIAL MEDIA

| 25 | HOSPITALITY/HOTELS

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

65% MORE

35%

22%

LESS

SAME

WHAT IS YOUR ROLE IN THE LICENSING/ PURCHASING PROCESS?

75% SOLE/PRIMARY DECISION MAKER

24% SECONDARY DECISION MAKER

1% NO ROLE IN DECISION

G D U S A 25

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MADE IN THE U.S.A. W I T H P R I D E A N D PA S S I O N , VISION AND SKILL.

october2019green_Layout 7 10/7/19 7:14 PM Page 28

RESPONSIBLE DESIGNERS TO WATCH SPONSORED BY DOMTAR 28 G D U S A

october2019green_Layout 7 10/7/19 7:14 PM Page 29

DESIGNING FOR GOOD As a complement to our perennial and popular special reports — “People To Watch” (newsworthy creatives) and “Students To Watch” (rising graduates of note) and “Educators To Watch” (influential teachers) — we have added an annual “Responsible Designers To Watch” to the editorial mix. Growing organically out of our longtime “green design” coverage, we are responding to the fact that more and more designers are embracing responsibility writ large in terms of how sustainably they create and produce, yes, but much more broadly how, when, why and for whom they work. The common thread is that these are creative leaders using design principles, talents and skills to make the world a better place as they see it. And, in 2019, it is especially fascinating since it is all happening against the backdrop of a raw and undeniable hunger for change emanating from left and right and all points in between. This feature, and these developments, dovetail nicely with our own 56 year effort to gain recognition for graphic design as a valuable tool for shaping commerce, culture and causes.

JAIME FLYNN TORI SEITELMAN LISBETH LORA DEL LOS SANTOS BONFIRE LABS, SAN FRANCISCO CA

We shared the stories of these women through digital, baseball-card like assets, airdropping them to people’s phones. The airdrops appeared with a preview of the story, while a prompt, "Do you know these women?" enticed people to accept and learn about these unsung heroes. We hope these stories of underrepresented women

Bonfire Labs is a creative studio based in San Francisco. Under one roof, we

in history widen our perspectives, so that in the fu-

concept and produce integrated campaigns, TV spots, brand stories, social con-

ture, people commemorating this day will not only

tent, product films, and everything in between. Our flexible model allows us to

see a select few women as the face of the movement

collaborate with our brand partners at any stage of the creative and production

but now celebrate a wider range of role models.

process to make impactful work and build lasting relationships. HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? Bonfire Labs, a company rebuilt from a tragic fire nearly 30 years ago, has always put an emphasis on supporting its people, community and important causes. Because of this, we’ve made an effort over the years to live up to our founders’ values by investing our time and skills in projects for social good. However, with today’s highly personalized information feeds, it can be incredibly hard to deliver content to those who don’t already subscribe to your manner of thinking — you need to be creative with how you deliver your message, especially if your message flies in the face of conventional wisdom. In a recent project for Women’s Equality Day, “The Forgotten Suffragettes,” we used Airdrop to break through those curated channels and share the stories of the women left out of history and almost certainly left out of your social feed. PICTURED LEFT TO RIGHT: JAIME FLYNN, CREATIVE DIRECTOR, TORI SEITELMAN, ART DIRECTOR, LISBETH LORA DE LOS SANTOS, ART DIRECTOR

DOES 2019 PRESENT ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN DEVELOPING GOOD AND/OR SUSTAINABLE DESIGN? In a world where the average person is constantly bombarded with content, it can be difficult to get your message across while making people want to engage with it. It’s not just about documenting the story or creating the artwork, it’s about designing the delivery of the message and giving users an opportunity to opt in. Airdrop did just this. It allowed us to deliver stories we felt were important without imposing them on people. And by taking advantage of the fact that the average commuter spends so much time engulfed in their phones, we were able to surprise our audience and provide a rare sense of discovery on their way to work.

G D U S A 29

october 19 ads_Layout 1 10/7/19 9:25 PM Page 30

october 19 ads_Layout 1 10/7/19 9:25 PM Page 31

Paper Paper Choic Choice. e. P Powerful owerful Impact. The paper you The you choose can sstrengthen trengthen y your our br brand, and, pr otect fforests orests and support local c ommunities. protect communities. aper choice can say a lot about a brand’s core values—and your own. As a creative professional, you help build strong, distinctive, powerful brands. But you care aab bout more than graphic design and advertising. Yo You also want to do your part to protect the environment, reduce waste, conserve energy and support local communities—and the choices you make in the design process can have an important impact.

Here’s how to choose pap per that sends the right message:

1. Choose a paper that connects with your brand’s image and long-term needs. Look and fe feel. Color and brightness. Reliab bility and performance. These are all important factors in choosing a paper that can aff ffeect the waayy a brand is perceived. For exaam mple, a heavier weight may convey luxury, while a lighter weight will be less expensive to mail. It’s also important to choose a paper that is engineered specifically for the print platform you’re using so that you can get the best results whether you’re printing digitally or using an offset method. Look ffo or pap pers—like Cougar® or L Lyynx®— that off ffer er a wide range of weights and sizes, with options to accommodate diff ffer erent print plattforms, so you can ensure brand consistency ffrrom one print job to the next. 2. Look for actions, not just words. It’s not just what you say aab bout sustainability that mattters. It’s what you do. Look ffo or paper companies who are activelyy footprint. Since 2010, reducing their environmental fo Domtar has reduced its greenhouse gas emissions at pulp and paper mills by 15 percent. The company uses renewaable, carbon-neutral biomass sources ffo or 72 percent of its energy; and returns aab bout 90 percent of the water it uses to its sources, often cleaner than when it was removed.1 3. Look for a company whose values align with your brand. Beffore yo you settle on a paper manufacturerr, take some time to learn more aab bout the company’ss values. Since 2008, Domtar has worked with W Wo orld Wildliffe Fund (WWF) to promote responsible ffo orestry and ad dva vance ffo orest conservation. This partnership communicates that Domtar understands the values of biodiversity, sustainability and equ uality. Y Yo ou can ffeeel good about using Domtar paper because it is sourced ffrrom ffo orests where endangered species are protected, workers are provided with decent wages and the rights of indigenous people are respected.

4. Learn more about paper—and how it can help keep forests as forests. When sourced responsiblyy, paper is a practical, sustainable choice. North American paper companies provide economic incentives to ffo orest landowners to manage ffo orests responsibly and provide markets that help keep ffo orests as ffo orests. There are 23 million more acres of ffo orest in the United States today than there were 40 years ago,2 in part, by growing demand ffo or forest products. 5. Select a company that supports sustainable sourcing. Buying paper ffrrom companies thatt source fo forest products responsibly ensures ffo orests will be around for generations. Domtar complies with strict third-party certification standards that assure our paper produ uction, fo forest management and supply chain-of-custodyy operations are all conducted in a sustainable manner. Cougar® paper is certified* by the Forestry Stewardship Council® (FSC®), the gold standard ffo or sustainable ffo orest products management. When yyo ou choose a paper company that supports sustainable sourcing, you do too.

1. Domtar N Neewsroom, ““P Paper Sustainability M Myyths— and the Tr Truth About the Paper Industry,” 6 JJu une 2019, https://newsroom.domtar/paper-sustainability-m myths/ 2. USDA F Foorest Service Gen. T Teech Report WO-97, M Maarch 29, https://www.ffs.u s usda.gov/treesearch/pubs/57903. *((FSC® C001844)

Find the right paper for your next project. When you choose Domtar paperr, our commitment to social and environmental responsibility can be a reflection of your own values—and the values of the brands your creativity represents. Visit Paper.Domtarr.com to learn more.

october2019green_Layout 7 10/7/19 7:15 PM Page 32

2019 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? For me, designing for good has always been less about the work, and more about the access to the work. I started doing pro-bono when I was 16. At the time, I was skateboarding competitively. One day, at the skatepark, I met the Founder of an organization that taught kids in wheelchairs how to participate in extreme sports. Inspired, I wanted to support the cause. By chance, a few weeks prior, I got my first copy of Photoshop. I was enjoying design, and was hungry for a chance to put some of my new “skills” to use. So, I volunteered to make some stickers for the organization. My dad later explained to me that what I was doing was called “pro bono”. Things escalated when I learned that non-profit organizations spend billions of dollars a year on design and marketing services. It got me thinking: what if there was a model that would allow organizations to get access to the services or skills they need, but at a fraction of the cost, or at no cost at all. There wasn’t one, so I made one. verynice balances

MATTHEW MANOS VERYNICE + USC IOVINE AND YOUNG ACADEMY LOS ANGELES CA

paid projects, pro-bono projects, and sliding scale rate projects at all times. We also now dedicate a significant portion of our practice to the development of free tools and resources that, in a sense, “teach a

Hi, my name is Matthew Manos. I’m a writer, design strategist, and social entre-

man to fish”. These tools include Give All, a series

preneur. My work sits at the somewhat peculiar intersections of consulting,

of 9 toolkits that open source every trade secret

education, game design, and performance art.

verynice has ever had.

I’m the Founder and Managing Director of verynice. verynice is a social enterprise

ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN 2019?

that develops, facilitates, and publishes methods for creative problem solving. verynice's client experience spans 750+ brands including the American Heart Association, Disney Imagineering, Mozilla, UNICEF, and Google. Driven by a mission to alleviate expenses for non-profit organizations, while increasing access to design strategy for all, verynice launched in 2008 as one of the first examples

Not all, but quite a lot of the work our industry generates serves as fuel to a system that often benefits a very small group of people, harms our environment, and grows inequality. Design is supposed to be about

of social enterprise in the design industry. Over the course of the company’s history,

building a bridge between the needs of people, and

verynice has been able to provide thousands of organizations, practitioners, and

the needs of business. At some point, I think we took

students with access to over $17,500,000 in discounted or pro-bono services

a side. I think we forgot about people, society, and our

and open-access resources.

planet. Many of us talk about impact, but what are we really doing? 2019 is the year to ask… “What

I am also currently the Assistant Dean for Academic Strategy and an Assistant Professor of Design at the USC Iovine and Young Academy, a school that brings together design, business, and technology in order to create the next generation of entrepreneurs and innovators. At the Academy, we take impact very seriously, and have collaborated with numerous community organizations on large scale problems. PHOTO: INC MAGAZINE, RUSSIA

32 G D U S A

am I doing?”, and therefore, “what am I not?”

october2019green_Layout 7 10/7/19 7:15 PM Page 33

earning my degree, I forged a relationship with the nonprofit Waterfront Alliance and have served as their “low-bono” (their words) creative director ever since. People, especially New Yorkers, often take their safety in a storm for granted, but Sandy’s widespread destruction became the tipping point for a new response to climate change. Now that storms are more severe, the city’s infrastructure, and building codes have been updated — not only to protect property, but to save lives. As designers, we must place a premium on ways to protect human beings. I think the architectural community has done a brilliant job in innovating solutions for the built environment. However, the graphic design community needs to step up and think about how we can communicate the complexities of these issues more effectively. People simply don’t understand the how the bureaucratic vocabulary relates to their personal safety. A 100-year storm, for example, doesn’t happen once in a hundred years — it’s a term that means there is a 1% chance of risk. The problem is that these “unlikely” risks are happening more frequently.

LYNDA DECKER DECKER DESIGN, INC., NEW YORK NY

Last year the New York Times created a fantastic visualization — they made a GIF of a house and simulated a storm surge. It was a simple but powerful piece of communication.

Lynda Decker founded Decker Design in 1996, which is among the .1 percent of creative agencies founded by women. The firm develops brand strategies for clients in the legal, financial services, and social impact sectors. Lynda most

ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN 2019?

recently completed a five year term as national co-chair of AIGA Women Lead. There are few issues more urgent than climate change HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES?

on both macro and micro levels. New York City has over 520 miles of coastline, and

I come from a family of idealists, so swinging at windmills is in my DNA. My grand-

more residents living in high-risk flood zones than any

mother was a suffragette, my mother and father were always volunteering, and my sister

other city in the country, yet the hazard seems to fall

went to El Salvador during their civil war in the 1980s to document human rights vio-

on deaf ears. Sandy did $19 billion dollars in damage,

lations. While I have always promoted equality for women in the workplace (and this is

but the pace of waterfront development has only

probably the issue I am most associated with), I feel my greatest contribution has been

increased over the past seven years. If we can help

in the area of climate change.

our citizens to understand the issues better, they

Superstorm Sandy demonstrated to me the disproportionate social injustice that climate change inflicts on the poor, the elderly and the infirm. When Sandy hit, I was in the MFA

can elect officials that will prioritize their needs over special interests.

D-Crit program at SVA. My hometown of East Rockaway on Long Island was severely

Climate affects every dimension of our reality, from

damaged and suffered extensive environmental contamination.

the global economy to immigration and public health.

For the D-Crit open house that fall, I spoke about how traditional relief services like the Red Cross were failing in their mission compared to ad-hoc groups like Occupy Sandy, who were using technology and real-time updates to bring water and supplies to desperate people. Karrie Jacobs and Alice Twemlow (the department chair) encouraged me to research and write further about resilience, climate change, and flooding. After

We have to stop thinking of environmental, urban, and social issues as separate domains and use our communication and design skills to enhance public understanding. Honestly, I can’t think of a better challenge for a designer.

G D U S A 33

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2019 | RESPONSIBLE DESIGNERS TO WATCH organizational culture. We believe that culture is our most valuable asset, from the culture of the workplace to the culture of the arts. Because culture is intangible, existing as a set of created stories shared by a group, the creation of these stories is the creation of real value and, ultimately, the designing of culture itself.

HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? My love for cultural projects comes from a deep fascination with history and with the way design simplifies and uncovers hidden connections between past and present, and makes history vivid and relevant. In my MFA thesis at Pratt I designed an interactive module about the history of writing, charting the route of the letter “A” from cave drawings to modern alphabets, and discovering hidden connections between cultures. My design brought to the surface what was hidden in plain sight in the scholarly texts ingested during my research. The project helped me land a job as an art director

MAYA KOPYTMAN C&G PARTNERS, NEW YORK NY I’m a Partner at C&G Partners specializing in branding, interactive technologies, and websites, with a career-long passion for socially responsible design.

of interactive exhibits for the Mashantucket Pequot Museum, devoted to the Native American tribe that suffered a terrible massacre and was dispersed among other nations for centuries until reclaiming their land following federal recognition. The immersion in meaningful and poignant content about people could

Born in the Ukraine, I immigrated to Israel at the age of 10 before coming to the

not beat any other topic on my end, even if I had to

US in 1991. Along the way, I earned a B. Des from Bezalel Academy of Art in

exercise some visual restraint in my work.

Jerusalem and an MFA from Pratt Institute, where I was a visiting instructor in the

Historical projects kept clinging to me — from an

Department of Digital Arts. In my spare time (ha!), I sing in a choir and serve as

interactive exhibit telling the story of collaboration

an executive member of the International Academy of Digital Arts and Sciences.

and complicity during the Holocaust for the United

I focus on interfaces for interactive media, from software to location-based applications and websites, alongside my first, true love for print. I thrive when my work requires reading and learning — this is what keeps me going. The work I’m

States Holocaust Memorial Museum, the stories of 13 young adults coming of age during the Holocaust for the Museum of Jewish Heritage, to a multi-platform virtual calendar depicting the evolution of the events

most proud of is for nonprofits and cultural institutions dedicated to positive

that lead to Kristallnacht in 1938 for the Leo Baeck

change, including foundations (Helmsley Charitable Trust, Low Income Investment

Institute. Working with this topic has been quite

Fund, The Kress Foundation), cultural institutions (US Holocaust Memorial Museum,

emotional, as both my parents managed to escape

Smithsonian National Museum of African American History and Culture) and

the Nazi regime in Europe but lost family members

universities (The Rockefeller University, Columbia University, NYU).

in the Holocaust.

C&G Partners has been a great fit with my design passion, as we are a multi-specialty

My latest project, “People Not Property” for Historic

creative studio dedicated to design for culture — from cultural organizations to

Hudson Valley, depicts the stories of enslaved people

34 G D U S A

october2019green_Layout 7 10/7/19 7:16 PM Page 35

on the largest plantation in the Colonial North. Since we knew very little about these individuals, we had to resort to a variety of storytelling techniques to portray their lives, their hopes and despair. Working with history helps me uncover and reinforce the relevance of universal themes that are resonant in today’s reality — those of oppression, racism, betrayal, resilience and hope. DOES 2019 PRESENT ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN DEVELOPING GOOD AND/OR SUSTAINABLE DESIGN? Historians will tell you that history should teach us how to make more informed choices, to become better citizens, and to prevent injustice. As we observe the current changes in the political environment across the globe many feel a creepy sense of déjà vu, and that the lessons we thought we learned in the

ANURANJAN PEGU

20th century were not quite internalized.

ENVIRONMENTAL DEFENSE FUND NEW YORK NY

Social media, with its ability to reward and augment

Environmental Defense Fund (EDF) is an environmental non-profit that works to

outrage, doesn’t always support authenticity, as we

find solutions to the world’s most pressing environmental problems. I am a multi-

often react to things without context or fact-checking. When we invoke the image of a crowd burning books 80 years ago, we must consider the similarities with our digital world where we can shame and destroy the other with the power of our phones. I believe that design has the power to make historical

disciplinary graphic designer with 10+ years of experience working in two countries and multiple industries and mediums. HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES?

lessons clearer and more impactful in drawing quick

I have been involved with animal rights issues since I was ten years old. I have volun-

analogies and promoting empathy.

teered and provided design services for animal shelters, women-centric organizations and artist-focused non-profits. While my day design job was more “glamorous”, I felt that this work was actually making a real difference in people’s lives and that brought the most satisfaction to me. I started to see the potential of design to actually influence and change minds. This potential became even larger with the growing influence of the internet and smartphones. That, and my experience in advertising showed that how people respond to things depends massively on how the message is packaged, verbally and visually. In the end, design is the most effective tool because the goal is always to find the simplest visual solutions to the most complicated problems. ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN 2019? 2019 is a great but very challenging year to be working in an environmental non-profit. Climate change and other environmental issues have become big issues that more and more people are talking about globally. This presents a unique opportunity to reach out to, and educate a huge, willingly-captive audience that is ready to listen. However, 2019 also places itself in the era of “fake news” and it becomes even more important for design (and any kind of communication) to be authentic and honest. We cannot be over-dramatic but we cannot also soften the harsh reality that faces the world at large. PICTURED ABOVE: The creative team from late last year at a team outing to MoMa.

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2019 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? It’s rare for organizations that do good to have sophisticated marketing teams, or big budgets to create large-scale awareness campaigns. Design is a powerful, accessible tool for them to help communicate their goodness. It’s also powerful because of its ability to articulate and supply substance to otherwise intangible or complex subjects. Design is quicker to absorb and remember than a bunch of words, and it’s something people can rally around, wear, talk about or share easily. A good design idea sticks with you, and can be a perennial reminder of a cause or organization for years after it was generated. This past year we had the opportunity to develop a visual identity for the Equal Justice Initiative — a group based in Montgomery Alabama, led by Bryan Stevenson — who are dedicated to criminal and racial justice in America. Already armed with inarguable facts and powerful, emotionally charged imagery, our system helped to amplify and bring clarity to what has

ANDY BARON

always been a part of EJI. We designed an identity that

TURNER DUCKWORTH NEW YORK NY, SAN FRANCISCO CA, LONDON NY

neutral enough to play second fiddle to it. At the

both lived up to the weight of their content, and was heart of the identity is a symbol that implores us to break the cycle of injustice. Inspired by the name

Andy Baron is an Executive Creative Director at Turner Duckworth. He has directly

Equal Justice Initiative, two equal letter Js form a

influenced many leading brands and organizations including Anheuser-Busch,

broken chain, which not only encapsulates a larger

BlackRock, General Mills, MillerCoors, Samsung, Subway, the School of Visual

purpose, but has also became the symbol for the

Arts, and Visa. He has consistently played an essential role in winning some of

new Legacy Museum.

the design industry’s hardest-to-win awards — numerous Clios, several One Show

in what he believes to be a haunted cathedral, and he regularly sacrifices his

DOES 2019 PRESENT ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN DEVELOPING GOOD AND/OR SUSTAINABLE DESIGN?

body on the tennis court.

Design for good, and particularly good design for

pencils, the Type Directors Club — and has appeared in design annuals for Communication Arts, Creative Review and AIGA 365. Andy lives in Brooklyn, NY,

good is increasingly critical. Not just in 2019, but for the foreseeable future. With daily additions to the crisis pile, and an ever-growing list of cultural issues to rally behind or against, we have a lot to handle. The quality and clarity of design has to follow the ascent of media volume if it has any chance of reaching and landing on its intended audiences.

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HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? When I was a little girl I wanted to be a doctor, to help people live better lives. Well, a doctor or a visual artist. I feel like I get to do a bit of both now. Alas, when I realized just how long it would take to go through med school (and how much debt that would accumulate) the dream had to be put on pause. When I started doing design work, I quickly realized that I wasn’t interested in simply helping companies to make a buck. I also didn't want to spend my days (and let's face it, sometimes nights) working on projects that contributed nothing of value to society at large. This is when I realized that the job of designers is actually to be gatekeepers (to borrow the term from Victor Papanek) and when my dream of helping people live better lives came off the backburner. The websites we build, branding we craft, and collaterals we create are all made with a purpose in mind. That purpose is generally to increase engagement, build authority, and allow our clients to do whatever it is they do better. This is the power of design and it

SASHA ENDOE SASHA ENDOE CODE & DESIGN, MONTREAL, QC, CANADA I built my first website when I was 14, some 20+ years ago. I’d love to say that

comes with the responsibility to use it for good. ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN 2019?

this is when I fell in love with the craft and never looked back but what I actually

I've been very pleased to see more conversations

did is get a degree in Microbiology first, thinking that I could make the world a

about the environmental footprint of digital work as

better place by fighting contagious diseases. Eventually, I came back around to

part of the larger question of creating sustainable

my passion for design and web-building and dove headfirst and elbows deep into

design. For our nonprofit clients, the challenge of

every aspect of not only web-building but also every possible design avenue.

ethical and secure data collection and storage has certainly come more to the forefront. Seeing initia-

After first focusing on design, then development, I’m now happy to run my own

tives like the GDPR in Europe gives me hope that our

digital agency that specializes in helping nonprofits have a great impact. I apply

industry is getting much-needed regulation, even if it

my science research skills to doing UX work while leading digital projects, men-

makes the technical work a bit more complex. I think

toring new developers, and consulting with design teams (with a bit of dev work

that in the era where you can really build anything, it's

thrown in the mix from time to time). I’ve had my work featured in the Web Designer

become ever more important to practice restraint

magazine as well as number of curated online showcases and have had the priv-

and focus on ethics.

ilege of speaking at conferences around the world on topics ranging from using WordPress to build nonprofit websites to UX design, accessibility, flexible storytelling using WordPress, social responsibility in graphic design, and Gutenberg (the new WordPress editing experience). I also regularly give back to the community by teaching coding workshops for women and girls and helping local nonprofits have a greater impact through organizing do_action_mtl, a WordPress hackathon for nonprofits.

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2019 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? I was raised by parents who valued giving back to their community. So, when I started my own design firm, I knew it was something I would incorporate into our firm DNA. Over the years, we’ve done pro-bono work for The Denver Zoo, Girls, Inc, The Children’s Museum, Hospice of Metro Denver, and many more. A few years ago, we formalized our internal process, dedicating 4% of the firm's work towards nonprofit projects. We are currently focused on my passion for the arts, donating our efforts to MCA Denver, Redline Contemporary Art Center, and the Denver Art Museum. Our branding work for Redline supports their mission of fostering education and engagement between artists and communities to create positive social change. At MCA, we participate in their fundraising activities through gala invite designs and by helping to support their work with youth educational programs. Our environmental graphics for the ‘Studio Spaces’ at the Denver Art Museum engage youth communities

ELLEN BRUSS ELLEN BRUSS DESIGN, DENVER COLORADO Ellen Bruss has a BFA with an emphasis in Graphic Design from Michigan State University. She started her career working in the music industry for both Denverbased Fey Concerts and Los Angeles-based MCA/Universal.

of all ethnicities in the power of expressing creativity. In addition, we ask our staff to think about their community and the ways in which they give back — be it time or money. ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN 2019?

Ellen opened her namesake design and marketing firm, Ellen Bruss Design (EBD), in 1990. EBD specializes in the intersection of real estate and retail, addressing

Throughout the history of EBD, a refrain has been to

branding, corporate identity, marketing collateral, digital design, environmental

create things that are cherished and get reused. Our

design and consumer packaging. Clients include Hammond’s Candies, Bed, Bath

2018 MCA Denver gala invite was a lamp, which

& Beyond, Western Sugar, Lennar LMC, Wolff Companies, the Museum of Contemporary Art/Denver, Redline, and the Denver Art Museum. As a side project, she is developing a hospitality brand with her husband Mark Falcone, of Continuum Partners. Their first project, Hotel Born in Denver, opened in the fall of 2017. Ellen oversaw the creative direction for the interiors, art collection, branding and signage. EBD’s creative efforts have resulted in national and international recognition in

became a trustee’s outdoor patio light and an artist’s son’s bed lamp. The key is to create something that brings enjoyment and has an enduring quality over the years, not just for a few minutes before it hits the trash. I’ve frequently seen our pieces on people’s bookshelves, even years later, so I know our method is working.

over 200 publications, including Graphis, Print and How Magazines. Ellen was

That being said, we do a lot of consumer packaging,

featured in GDUSA’s 2014 People to Watch issue, was honored with an AIGA Fellow

so the challenge is always to create as little pack-

Award in 2015, and was a judge of the 2017 Applied Arts Magazine Design Awards.

aging as needed. And we always try to design for a

Ellen has served on the boards of ADCD (now One Club), AIGA/Colorado, and is

second life or determine if there is an environmentally

a Trustee Emeritis of the Museum of Contemporary Art/Denver.

friendly alternative package.

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types of clients we engage with and the intent behind each communication. We, as co-creators of these brands must act as stewards of social & environmental responsibility. For example, RoAndCo was asked to creative direct MAC Cosmetic’s groundbreaking 25th-anniversary VIVA GLAM campaign. This campaign was a celebration of the $500M that had been raised to help end AIDS/HIV and an expansion of the fund to support the inclusion of women, girls and LGBTQ+ communities around the world. When VIVA GLAM 25 launched earlier this year, MAC sold out of the Viva Glam lipstick in just five days. As a female business owner, I’m compelled to advocate for female leadership. I feel strongly that all genders should be paid equally and have an equal say in the design & advertising industry. At RoAndCo’s tenth anniversary, I launched Romance Journal — a publication devoted to exploring truth and raising our collective consciousness through the female lens. The stories within each issue are my way of giving back to the women who have supported, inspired, and mentored me throughout my career. The most recent issue, “Resistance,” celebrates fe-

ROANNE ADAMS RoAndCo., NEW YORK NY

male activists who have advocated for change for decades. Romance Journal’s 3rd issue will launch October ’19 in collaboration with Gucci, titled “Creation.” I hope that through this, we will collec-

Chief Creative Director, Roanne Adams launched her female-led creative studio

tively inspire others to speak their truth, and find

RoAndCo in 2006. The studio first gained buzz in the design world for Roanne’s

their path and purpose in life.

intrepid ability to build successful, scalable brands from the ground up. Over the

Fortune 500’s, among them Google, Nike, and several Estée Lauder companies.

DOES 2019 PRESENT ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN DEVELOPING GOOD AND/OR SUSTAINABLE DESIGN?

Throughout her career, Roanne has cultivated a following of design professionals,

2019 is an incredibly consequential year for society.

devout clients, and mentees. As a studio founder, she fosters a hands-on, collab-

As a company, we are focused on two major chal-

orative culture for her team, many of them female, whom she has championed in

lenges: encouraging people to vote in the 2020 pres-

past decade, Roanne and her team have helped launch hundreds of new brands across the fashion, beauty, tech and lifestyle industries and have worked with

their own path to leadership. She has dedicated time and professional effort to non-profit initiatives like the Women’s March, Together We Rise, and more. In 2017, Roanne was named by UN Women, a Champion Of Change for her leadership in advocating for equal pay for women in the Design & Advertising industry.

idential elections and steering consumer behavior towards sustainable products and environmentally friendly practices. Our president and government cannot be relied on to do what is necessary to reverse climate change, so it is important for brands to act

To her clients and contemporaries, Roanne is an exemplary leader for her ability

responsibly now more than ever. We help our clients

to zero in on the most succinct way to visually capture a brand’s personality and her

understand that doing good can actually help the bot-

relentless passion and contributions in service of a more sustainable and equitable world. She lives and works between NY & LA with her husband and two children.

tom line and attract customers who share the same values. Each of us is responsible for taking action, this is our way of ensuring we are doing our part.

HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? Designing for good has become our mission at RoAndCo. Brands are hugely influential on our culture and values. As designers of brands, we are especially conscious of the

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2019 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? I’m driven to design for good because it allows me to partner with the brilliant minds and innovative missions that are changing the world. This is an opportunity to collaborate one-on-one with leaders who value forward-thinking design. Through design I help my clients tell their powerful stories. Along with this opportunity comes responsibility. A client puts a lot of trust and investment in me to create something both meaningful and effective. Being able to thoughtfully backup your design decisions helps clients understand design as an asset to their overall message. Design is such a crucial component to promoting social good because it engages you instantly. When you’re talking to an audience who values the public good, design is often the first statement in a conversation that you hope will continue — whether that person donates, volunteers, follows on social media, or even just tells a friend. And the right design creates continuity and promotes trust throughout the

RONI LAGIN RONI LAGIN & CO., PHILADELPHIA PA

relationship that an organization has with its network of supporters. I’ve had opportunities to work with so many incredible

Formed 15 years ago, Roni Lagin & Co sees itself as the “friendly neighborhood

organizations over the years, it would be unfair to

design studio.” Since running my own studio, I’ve aimed to work with organizations

single any out. But the commonality is that they

and people who are making the world better. I’m grateful when I get to create

value design’s ability to help them connect with

concise and impactful designs that elevate my clients’ message. It becomes both

people. I live and work in Philadelphia, the city that

an opportunity and a responsibility because the stakes feel higher.

many of my clients serve, so I often get to see firsthand how people engage with my design. It creates an enormous sense of pride when I see the impact we’ve had together. ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN 2019? In the last few years the world has reached a crucial turning point in relation to social good. People are more motivated than ever — and they are listening in larger numbers. In the coming year, we have an opportunity to use design to take a stance on social, climate and humanitarian issues that will span far into the future. I believe that design can give a voice and a platform to amplify a cause or put a magnifier on injustice. It’s not just pixels or dots on a page. It’s a story. It’s a message. And when it’s done well, it makes a difference.

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Our brains are wired to remember experiences through story — so we created stories to change the conversation around these two issues. For women’s heart health, I shared a personal story about my experiences trying to get an accurate diagnosis, and then going through open heart surgery and the recovery. For The Quell Foundation, we captured true stories of what living with mental health illness actually looks like. My heart story is being shown in conjunction with AHA, raising awareness and prompting women to be their own advocates. The Quell Foundation documentary is now being screened on college campuses to raise money for scholarships that are awarded to those affected by mental health. You can measure that in terms of ROI, but there’s something special about attending a screening and listening to people stand up and share their personal stories. You’re changing lives. DOES 2019 PRESENT ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN DEVELOPING GOOD AND/OR SUSTAINABLE DESIGN? Two that come to mind are the paradox of choice and the accessibility. The paradox of choice basically

NINA STANLEY

says that too many options causes us to shut down

MOD, PHILADELPHIA PA

barded with messaging in every moment and every

and not choose anything. With everyone getting bomway, it’s increasingly important that we meet people

Nina Stanley built MOD from a holistic philosophy, design for the human experience.

where they are in ways that are relevant to their lives.

As Chief Creative and Neuromarketing Officer, she has defined MOD’s aesthetic and DNA from years of designing products and experiences. Leading an innovative

Accessibility is a major challenge in 2019. Much of

approach leveraging applied neuroscience, she empowers her design team to extract

design is about streamlining elements and simpli-

the essence and find truth within each user experience, then cultivate desire

fying. But now the question is how to create a visually

and drive behavior. Nina is an advocate for women’s heart health issues and the

stunning site that’s friendly to a screen reader. We

American Heart Association, and also works alongside the Quell Foundation to

need to thoughtfully design with simplicity and acces-

eliminate societal stigmas around mental health.

sibility. The answer used to be creating a different experience for each audience — but there should

HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES?

be one experience, and everyone should be able to appreciate it.

I never just want to have “a career,” I want to have an impact. I’ve always had a talent for simplifying the complex. And I’ve spent my life creating emotional connections through design. Combining those gifts gives me the ability to quickly convey ideas in ways that people identify with. So the potential to inform, raise awareness, and change behavior is huge. Having a cause you feel passionate about gives your life additional purpose. I love the work I do for clients through my agency. But there’s something special when we’re working to bring awareness to women’s heart health. Or when we’re trying to end the stigma against mental health illness.

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2019 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? My first encounter with designing for social good was when I was seven years old. I have a remembrance of watching my Father iron one of many beautiful equipment certification badges to his blue foreman uniform shirt. These patches were designed to communicate the skill level of an employe instantly. The unintended effect of this time-saving convention was a rise in respect, empowerment, pride, and professional development of the individual employee. Which ultimately facilitates advancement and support opportunities for his/her family and community. Although those iron-on wordmarks were designed for the bottom line, they evolved to serve a higher purpose socially. I kept this lesson close to my heart when providing meaningful and quality designs for our patrons. From invitations to exhibits, we ensure that our

GERALD-JAMES RHODES CHILDREN’S MUSEUM OF HOUSTON, HOUSTON TX The Children’s Museum of Houston dedicated to transforming communities through innovative, child-centered learning with a vision to spark a passion for lifelong learning in all children. Founded in 1980 and housed in a whimsical building designed by internationally acclaimed architect Robert Venturi, the Children’s Museum of Houston offers a multitude of innovative exhibits and bilingual learning programs for kids ages birth to 12 years. The Museum serves more than 1,400,000 people annually and operates as a 501(c)(3) under the direction of a

branding and collateral are culturally competent and innovative to address the community’s needs. DOES 2019 PRESENT ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN DEVELOPING GOOD AND/OR SUSTAINABLE DESIGN? Designers have an opportunity in 2019 to make inclusion and diversity our new superpowers! Design by committee is not a creative’s kryptonite. The quickest path to facilitate a viable, sustainable solution is

Board of Directors. I, Gerald-James Rhodes, first joined the Children’s Museum

by collaborating with other thought leaders outside of

as a Graphic Designer in 2004 and eventually became the first Art Director of

their own culture, gender, ethnicities, and denomina-

Branding and Collateral Design. I am a graduate of the New Orleans Center for

tional idea pools. Broadening ones’ think tank and

Creative Arts (NOCCA), and the University of Louisiana at Lafayette with a BFA,

horizons is the firsts obstacles towards developing good

concentration in Graphic Design and Photojournalism. I am also proud to be alumni

design. In the future, designers must adopt the mantra

of the 2018 class of the Artist INC-Houston program. My fine art pieces can often

of doing good work with fewer resources, to benefit

be found touring in gallery shows, city hall presentations, and even in your local

more people in the population. Its applicable, think

library. With the help of Matthew Boteilho and Anthony P. Orantes (pictured above),

tanks of the people, by the people, and for all the

I visually tell the story of the Children’s Museum of Houston through our exhibi-

people is the only route to good sustainable design.

tions, website, direct mail, marketing campaigns, and television commercials. PICTURED LEFT TO RIGHT: MATTHEW BOTEILHO, GRAPHIC DESIGNER; GERALD-JAMES RHODES, ART DIRECTOR OF BRANDING AND COLLATERAL DESIGN; ANTHONY P. ORANTES, DIGITAL VIDEO PRODUCER

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Design serves a critical function for society, as well as the human experience as a whole. Design enables more nuanced, meaningful and delightful interactions. The best design work helps to foster understanding, inspires curiosity and helps set the stage for innovation and growth. We leverage design to tell the powerful stories of some of the most creative and innovative people on the planet: the men and women who make things in America. Modern manufacturing improves the human condition and raises our standards of living. It drives innovation and moves society forward. Manufacturers are always on the cutting edge, and we believe our design work should likewise push the boundaries of conventional storytelling. Our creative team strives to build content that is easy to navigate and facilitates comprehension of complex, nuanced concepts and systems. We take great pride in the work we do with our work-

SAMANTHA MOYA CAMERON ALVAREZ CHRISTINE KALOUDIS NATIONAL ASSOCIATION OF MANUFACTURERS, WASHINGTON DC As the National Association of Manufacturers in-house creative team, we play a key role in telling the story of the manufacturing industry through print pieces, live events, news publications, social media and video content.

force and education partner, The Manufacturing Institute. Through them, we promote an array of initiatives that are aimed at building and maintaining a diverse and skilled manufacturing workforce, including the STEP Women’s Initiative to bring more women into manufacturing and Heroes MAKE America, which provides a path for service members returning to civilian life to pursue careers in manufacturing.

in America. Our work is centered around four values that make our industry strong

DOES 2019 PRESENT ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN DEVELOPING GOOD AND/OR SUSTAINABLE DESIGN?

and America exceptional: free enterprise, competitiveness, individual liberty

We believe 2019 presents many new design oppor-

and equal opportunity.

tunities. The ever-evolving digital and print landscapes

The NAM is the voice of the nearly 13 million men and women who make things

continue to generate countless new canvases and

These pillars guide what we do every day, whether it’s standing up for manufactur-

technologies for visual expression. Also, with the

ers in Washington, D.C., inspiring the next generation of manufacturing talent,

constant flow of information and creative content,

providing news and intelligence about the industry or helping members innovate

there is an abundance of inspiration for designers to

and advance.

tap into. The challenge is to identify ways to differentiate your voice through more relevant, inspired,

HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES?

novel and purposeful designs. We believe every brand

The NAM’s Creative Team employs a sleek and modern design aesthetic to help change

remove the distortions of that voice. The increasing

the common perception of the manufacturing industry. We challenge outdated assump-

interconnectedness of design has allowed creatives

tions about what manufacturing represents and inspire curiosity about the industry

to craft seamless brand experiences that can foster

and its opportunities. This is most plainly evident in our recently launched Creators

more intimate engagements between brands and

Wanted campaign, a multimillion-dollar capital campaign and national tour designed

consumers. Also, the increase in technological effi-

to narrow the skills gap and dramatically increase interest in manufacturing careers.

ciency has resulted in less waste and fewer barriers to

has a unique voice, and it is the role of good design to

sustainable design systems. More photorealistic dePICTURED LEFT TO RIGHT:

sign proofing and simulation systems have resulted

SAMANTHA MOYA, DIRECTOR, CREATIVE CONTENT; CHRISTINE KALOUDIS, MOTION GRAPHICS

in fewer reprints and more room to experiment with

DESIGNER AND VIDEO EDITOR; CAMERON ALVAREZ, SENIOR GRAPHIC DESIGNER

design with minimal environmental footprint. G D U S A 43

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2019 | RESPONSIBLE DESIGNERS TO WATCH Our work strengthens organizations and uplifts their brands. A few recent examples include our work for Children’s Minnesota, Hope Haven, Lundstrum Performing Arts and the Children’s Shelter of Cebu. All are making a positive impact on the lives of families and children and our work is helping each of them tell their unique stories in a much more impactful way. Great design has the power to move people to act. We believe that as designers, we have the unique ability to wake people up to the problems of today and impress upon them the importance of taking action. DOES 2019 PRESENT ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN DEVELOPING GOOD AND/OR SUSTAINABLE DESIGN? We need to use our talents to educate, inspire and motivate people to take action now on issues that need immediate resolution. The opportunities that top our list include: Gun control. We all now live with the fear of a random shooting in schools and public places. This presents a massive opportunity to clarify what legislation really means.

DEB FIORELLA + CRAIG FRANKE FRANK+FIORELLAMINNEAPOLIS MN Franke+Fiorella, in business since 1993, specializes in creating, revitalizing and transforming leading brands. Whether for-profit or non-profit, we have always chosen to work with clients who treat their employees and our team well, offer

Politics. We believe the leader of our country should be a model of great integrity, honesty, respect and compassion. The upcoming presidential election offers a huge opportunity for design to impact the outcome. Climate change. The results are devasting and many

great products and services, conduct themselves ethically, do good in their

feel powerless. But we as designers can help spread

communities and try to make the world a better place

the word about what we can do — individually and

collectively — to make a positive impact.

HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? When we opened our doors, we knew the power of what design + strategy could do. We saw that our work had helped many of our clients increase their sales by doubledigit percentages. For these reasons, we agreed to only work for clients who tried to make the world a better place. We could not sleep at night if we made a living by working for organizations that knowingly sold products or services that harmed people, treated their employees unfairly or animals inhumanely. This doesn’t mean all of our clients are or have been perfect. What it means is that we’ve chosen to work with clients who always try to do the right thing.

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and promising I was a fast learner and fun to work with. Miraculously, he hired me, and from day one I was in love with the work. My guilt about being a designer started to melt away as I saw how powerful design can be as a tool for communication, and a force for change. 20 years and a move to Alaska later, I’ve built my practice to focus on doing purposeful work for mission-driven clients. From sustainability in the fishing industry to the fight against domestic abuse, I know that the client work we do will have an impact. For the last 10 years I’ve been very involved in AIGA at the local and national levels, because they tirelessly advocate for the value of the design. In the end, my motivation to prove my parents and teachers wrong has turned into a long and meaningful career in design, and I’m grateful for it every day. Does 2019 present any special challenges, opportunities, urgencies, obstacles in developing good and/or sustainable design? Technology, the climate, the political landscape... things are changing fast and design is more important

ERIN HAMILTON ERIN HAMILTON DESIGN PRESIDENT EMERITUS, AIGA ALASKA ANCHORAGE AK

than ever. As designers, we have a special ability to cut through the noise and create change in a way that no one else can. The process of design thinking is revolutionizing the business world. Designers are getting a seat at the table for the first time, because the way we make emotional connections between people

Erin Hamilton is the principal and creative director of Erin Hamilton Design.

and ideas is powerful and valuable. I think design

Established in 2001, EHD is an award-winning multidisciplinary design agency

is having a moment right now, and I hope we as an

based in Anchorage AK. We collaborate closely with clients to produce high quality,

industry can grab the brass ring and run with it!

finely-crafted brand experiences. HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? Growing up in Michigan, I dreamed of being a designer, but I didn’t have any exposure to the design world. In high school, my parents shook their heads and warned me that any creative path was a sure road to starvation. My teachers told me I should do something more meaningful and “real” like going to law school or into business. By the time college came around, I had formed the idea that a career in design was a pipe dream. And even worse, I felt guilty about wanting to pursue such a shallow endeavor. Luckily, fate intervened. While studying economics at the University of Michigan, a design job randomly fell in my lap. It was the nineties — the gold rush era of the fledgling internet industry. A friend was working at a new web design studio in Ann Arbor. She got me an interview, and by interview I mean meeting the owner for a beer

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2019 | RESPONSIBLE DESIGNERS TO WATCH even had a name! I am currently serving as President, National Association of Women Business Owners, California Chapter and have been appointed by the Governor to the California Workforce Development Board representing the small business perspective. We’re continually educating ourselves on the latest socially responsible approach, widening our purview to: social impact, corporate social responsibility, social entrepreneurism, social cause, and social enterprise, staying on top of what’s current and what’s to come. In some cases we augment our clients’ social impact efforts, in other cases we have clients who are budding social entrepreneurs and we create a strategic vision for them to grow into. Using digital platforms, we have the ability to augment and multiply a brand’s online impact to educate and promote change for the greater good — sometimes it’s as simple as letting people know how they can take part. Creating content with the mindset of Designing for Good is satisfying for us — our clients are truly making the world a better place.

HILARY LENTINI LENTINI DESIGN & MARKETING (LDM) PRESIDENT, NAWBO-CA LOS ANGELES CA

LDM has always given to causes and supported nonprofits by providing them the professional resources they need in order to stay on mission, reaching key audiences and stakeholders. We’ve been working with the Dr. Susan Love Foundation for Breast Cancer

I intentionally founded Lentini Design & Marketing, Inc. (LDM) as a branding

Research, whose mission is to end breast cancer. No

and marketing firm focused on working with clients who are making the world a

small task. They were challenged by a dated website

better place. Based in Los Angeles, we’re communication experts for our clients

that wasn’t telling the story of their data-driven,

to “message their magic” in print and online. We work with high-potential clients,

ground-breaking research that is saving lives. We re-

established B2Bs, non-profits, public sector, and sustainability sector clients,

designed and rebuilt their online presence, weaving

aligning their branding and marketing while expanding their market and visibility.

in the emotion and vision of the organization into

Our approach is unique to each client, enabling us to re-energize our clients’ print

their online presence.

and digital presence with compelling content. We turn their visions into reality — through branding, print advertising and sales materials, websites, social media and social media advertising (including geo-targeting and geo-interest targeting), email campaigns, and even strategic speaking and networking deployment as well. HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES?

DOES 2019 PRESENT ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN DEVELOPING GOOD AND/OR SUSTAINABLE DESIGN? Climate change must be addressed from as many angles as possible; the design community has an important role in the global conversation. We have

I’ve always given to non-profits whose causes resonated with me. And once I became

the ability to influence not only the sharing of sci-

a parent, it became even more important to me to give back by supporting those

ence and information on a vast, digital scale, but also

whose efforts are literally making the world better for us all. LDM has a page on our

Designer Marketers can use Big Data to draw focus

website listing all the charities we support. Many are clients — we’ve worked with a

and attention to this critical issue. By challenging

broad array, including those with a socially responsible focus before that approach

ourselves to address urgencies like this in our approaches to Designing for Good, we're able to move the needle for all.

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A designer's job is to communicate effectively, and we strive to raise awareness about environmental issues. We designed a series of eco-art installations to visualize one second of US consumption of single use “disposable” plastics: “Urban Tumbleweeds” (plastic shopping bags), “Watershed” (disposable water bottles), and “Take-Less” (take-out containers). The community helped us reclaim the materials for each installation through local collection boxes. They cited that the facts surrounding the art installation alone ignited a conversation. The organic and user-generated content around these installations was staggering. Over one million people experienced the installations at the Figment Art Festival, DUMBO Arts Festival, and the global premiere of the film “The Age of Stupid.” These “Urban Interventions” gained media attention. Our work has been recognized with the AIGA (RE)design Award for sustainable design and the AIGA's prestigious Making the Case Award. Design is a great tool for addressing environmental

SHERI L KOETTING

issues. Our installations leave observers with a lasting visual impression and in turn ignite a conversation.

MSLK, LONG ISLAND CITY NY

People wanted to talk more about their consumption

MSLK Brands Beauty with Brains. Our agency specializes in helping beauty and

habits. In this way design engages conversation and

wellness brands find their voices in today’s crowded marketplace through 360°

community change.

positioning. MSLK’s cross-functional team has expertise in market research, social media campaigns, website development, and sales. Our multi-faceted

ARE THERE ANY PARTICULAR CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN 2019?

approach ensures that our clients send a cohesive brand story across every

When we began our sustainability journey, raising

channel of communication.

awareness was our primary concern. While raising

brand strategy, formulation, identity design, beauty packaging, SEO strategy,

Over the past two decades, we have helped brands grow from the ground up, launch line extensions, rediscover their voices in a crowded market, and create entirely

awareness continues to be important, we believe a large percentage of consumers are aware of the need for more sustainable solutions — across all areas.

new product categories.

The challenge we are seeing is that the options for

We consider ourselves to be brand archaeologists. We uncover the key tenants of

eco-friendly materials and plastic alternatives are

a brand, polishing those stories so they rise to the surface and become clear for consumers to see. Our strategic process and consumer insights turn the subjective creative process into an objective one. The results have been award-winning, attention-getting, and revenue-generating for our clients. HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES?

costly. It can be downright cost prohibitive for small brands. However, increased demand also reduces costs. Within beauty specifically, clean beauty and sustainability are key areas of growth. We hope that the more we guide our clients toward making smarter choices, the faster this will change. We also believe that reusable and refillable items may be the most environmentally friendly solutions. This is a great

MSLK's mission is to build sustainable brands, because being green isn’t a luxury; it's a necessity. We design thoughtfully, so we don't have to compromise on quality

opportunity for design, as those solutions should be well-designed to stand the test of time.

or style for sustainability. As a branding agency, we feel a great responsibility to make a positive contribution to the marketplace. We help our clients eliminate ineffective

2019 is our 20th year in business. As we set our goals

materials and focus on designs that are more sustainable. Our work is to design prod-

for the next two decades, we are actively seeking

ucts that appeal to the consumer, and within that, we want to help consumers make

and prioritizing client relationships that are aligned

more conscious decisions.

with our sustainable values. G D U S A 47

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2019 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? Growing up in a military family, I was fortunate to experience different cultures all around the world. I believe the early exposure I had to a number of foreign social issues, as well as the ones happening in my native country, fueled my desire to be a part of positive change no matter where â&#x20AC;&#x153;homeâ&#x20AC;? was at the moment. When I discovered my passion for design, it only made sense to find an organization where my skill set could help make a difference. Working with the Jewish Federation of Greater Phoenix and Valley of the Sun JCC, I get to help a local community make a worldwide impact. I utilize design to make visually interesting and emotionally resonating materials that inform people about our work towards relevant cultural issues. Through design, my work helps keep our current community members active, engages future generations to take part in our mission, and introduces the importance of our work to the greater Phoenix population.

TRESSA TOOMER VALLEY OF THE SUN JCC JEWISH FEDERATION OF GREATER PHOENIX SCOTTSDALE AZ

ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN 2019? Working in the nonprofit sector does present some challenges, yet in this age of transparency, nonprofit organizations are afforded a unique opportunity to use their platforms to affect real change. Now more than

My name is Tressa Toomer, and I am a graphic designer and illustrator in the

ever, nonprofit designers need to make thoughtful,

Greater Phoenix area. Ever since being introduced to Adobe creative programs

strategic design choices due to how active brand

in a high school yearbook class, I became hooked on all things design. I went on

accountability is today. Thanks to technology, com-

to pursue a BFA in Visual Communication from Northern Arizona University, where

munication is intrusive and continuous, so organiza-

I melded my passions for illustration and photography with interactive design. I

tions are fighting against equally prominent, opposing

am currently working as the senior designer on a small, in-house marketing team

social counterparts. This constant fight for attention

that services two partner organizations: the Jewish Federation of Greater Phoenix and the Valley of the Sun JCC. These complementary organizations work towards bettering the lives of Jewish people and the communities they interact with. The Jewish Federation of Greater Phoenix helps strengthen Jewish life and identity, and provide for Jews in critical need locally, in Israel, and around the world. The Valley of the Sun JCC helps build a stronger, healthier community by providing enriching programs for families and friends from all traditions to learn and grow.

48 G D U S A

means design not only has to be relevant and impressionable but engaging as well. Making intentional, analytically-based decisions when it comes to visual communication is vital in bridging the gap between passive support and passionate action.

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2019 | RESPONSIBLE DESIGNERS TO WATCH I’ve learned that design can be used to effectively communicate the value and potential of those we serve. Similarly, design has the ability to create merit for both recipients of the cause and stakeholders alike, by composing a well-rounded structure that invites people to become invested. Positive affirmation through design prompts people to share their positive experiences with others, and to become more immersed in the brand when they feel valued. Additionally, creating this sense of pride allows them to become brand ambassadors which advances the organization’s mission through strategic action. An example of this is a recent campaign launched by Easterseals New Jersey for our 100th Anniversary. Billboards placed in target locations throughout the state of New Jersey, highly trafficked by our donors, participants, and staff created a wordof-mouth buzz around our close-knit community. Those who saw the campaign had a newfound sense of pride in an organization willing to represent itself so boldly.

JUSTINE TINARI EASTERSEALS NEW JERSEY, EAST BRUNSWICK NJ As a self-taught designer with a Bachelor’s degree in advertising from New York Institute of Technology, I pride myself in being more than a graphic designer. Instead, I identify as a “creative problem solver” — combining intuitive and aesthetically pleasing design with both strategy and function. In my three short years as a young inhouse designer at Easterseals New Jersey, my experiences have stretched beyond the typical standards of visual thinking. I have learned that design has the power to directly impact the lives of thousands through experience, recognition, storytelling, and inclusion: in this case, the impact is felt by nearly 5,000 people with disabilities and special needs that our organization serves throughout the state, as well as our staff, and the public we seek to educate. HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES?

ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN 2019?

In my experience, every new year presents both a set of challenges as well as opportunities. The non-profit world is an ever changing landscape that must constantly be navigated time and time again. No singular way of design or strategy will suffice for the years ahead. We must always find new and inventive ways to engage donors, volunteers, board members, participants receiving services, and our community partners. While challenging in many ways, it can also push us as designers and strategists to break the mold when designing for new mediums that help us build stronger relationships between our audiences and our brand.

Designing for good, especially as a full time career, is something I unintentionally fell into. As a college graduate navigating the job market, it was not something I particularly sought out as a potential career. Though, growing up with a family member with autism, I felt drawn to the disability space, and found that I was able to evolve my underlying passion for the field through my work at Easterseals New Jersey.

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2019 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? I have always been a volunteer. My mom and sister were volunteers for everything as I grew up, and I assumed that’s what everyone did. When I started in the industry, I volunteered for DSVC — which grew my network and my passion for serving the Dallas design community and showed me the joy of creating events that bring people together and inspire them. The point at which I saw design having the power to change the world is shortly after I joined the AIGA DFW board. I can picture where I was sitting 8 years ago when Alissa Walker from GOOD answered an email ask to promote AIGA’s Design Week. She responded by proposing we weave Dallas into the GOOD Ideas for Cities project, and so did. We thought the event would spread the idea of design for good to our graphic design community — but it went farther than our primary audience — pulling in architects, city planners, community and non-profit, and those connections wove me into joining Dallas civic, arts

FRANCIS YLLANA PROJEKT202, DALLAS TX

and youth causes like Art Conspiracy, Youth with Faces, Café Momentum and Coalition for a New Dallas. That’s the “how” for me. The “why” has

I was born in the Philippines and moved to Texas at age 2. I was raised in Dallas

evolved over the last decade. Before, I did it because

surrounded by my sister, parents, aunts, uncles and one hundred cousins. In

I wanted to lead, and I loved the feeling of doing

2001, I graduated from the University of North Texas Communication Design Program in the school of art, and I moved back to Dallas and stayed. One of the reasons was my sister having a baby, and after that both of my parents individually

good. Now, my love is growing future leaders, bringing them up, and seeing them experience that indescribable feeling when they see how their effort affects the people they’re serving. Hopefully it’s contagious.

fell ill. By that time I had no excuse to stay, I had fallen in love with the Dallas non-profit community: the people, their purpose and their passion to make Dallas better however they could. Those day jobs over the last 18 years grew my skillset to include the full range of design — from branding, advertising, publications and video to strategy, research and enterprise software consulting. The last of which, is what I lead teams to deliver at projekt202. Prior to joining projekt202, I was an “ECD” at an ad agency, and it was a big (in my head) jump to make considering I had reached the glass. But I knew I was never going to break it; and by that time, the why behind what I do had evolved from “help client increase clicks …” to “make experiences better for …”. Human-centered design had been fueling my volunteer work with Dallas community organizations and AIGA, and I wanted my day job to have the same motivation. projekt202 also walks the walk with community service; many of the volunteer opportunities are projects where we apply what we do every day to a nonprofit’s

ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN 2019? The biggest urgency: designers entering the civic space The biggest challenge: traditional hierarchical bureaucracy and patience The biggest opportunity: remote collaboration and agile I have a naïve dream where small teams start engaging in design for good on a local level and share their small wins among our networks to inspire greater involvement and greater change in our communities. These networks produce collaborations across cities fighting the same issues creating a larger pool of re-

needs. That giving back is much more impactful, and it was also a big motivator

sources that can chip away at those challenges from

in my joining the team here. Now, I’m an experience director (CD) by day, cochair

different angles. We don’t ask for permission. We

of AIGA Design for Democracy, Incoming Presidents Council Chair, AIGA National

collaborate, we iterate, we test, we share, we come

Board and National Board Member of Creative Reaction Lab. Today, all the work

together and we make things a little better for some

I do aims to make someone’s life a little better.

people. We write down our wins, we start all over again and we hope we inspire others to do the same.

52 G D U S A

october 19 ads_Layout 1 10/7/19 9:26 PM Page 53

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HEALTH + WELLNESS DESIGN AWARDS

Our 2019 Health + Wellness Design Awards™ showcase takes the big picture: traditional medicine and healthcare, healthy lifestyles and nutrition, and community and public health challenges. This year’s competition recorded nearly 2,400 entries — a record — and displays 150 winning pieces — another record. As you will see, the winners represent ad agencies, design firms, Inhousers, and freelancers doing outstanding work on behalf of innovative companies, institutions and brands at the center of the national economy and conversation.

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DESIGN FIRMS AND DEPARTMENTS REPRESENTED AARP Media

Jiann-Ping Hsu College of Public Health

Access TCA

Keenan Nagle Advertising

Acorda Therapeutics

LabCorp Marketing

Acorda Therapeutics

Leibowitz Branding & Design

Aegis Dental Network

Lipari Foods

Alight Solutions

Lisa Cain Design

Andon Guenther Design, LLC

Little Big Brands

Asurion Customer Solutions

MDVIP

Baker Creative

MicroAire Surgical Instruments

Barnett Design, Inc.

MiDESign and Marketing Consultancy

Best Version Media

Miskowski Design LLC

BexBrands

MJR Creative Group

Bolder & Co. Creative Studios

MU Health Care Creative Services

BOLTGROUP

Nancy Reed Design

Bonavita Design

NJ Designs

Branding for the People

North Dakota State University

Cardinal Health Specialty Solutions

Odonnell Company

cfk creative

Palladian Partners

Christiansen Creative

Pareto Intelligence

Ciampa Creative

PRESENT e-Learning Systems

Clever Creative

Prime Studios and Mythology

COE Design

QJS Design Studio

Creative CME

QNY Creative

Design Tree Studios

Ronald Kalstein/RKDK

DISC (An Oliver Company)

RTI International

Donna Huff Design

Sizewise

Electronic Caregiver

Smith Design

Eleven Inc.

Southwest Research Institute (SwRI)

Ellen Bruss Design

Stanford Health Care/Marketing Department

Evolutions by Design

Stephen Gould

FAI Design Group

Test Monki

Franke+Fiorella

The Biondo Group

FUEL Marketing

The Cooper Institute

Garrison Hughes, Inc.

The JVP Group

Gladiator Consulting LLC

The Kitchen Collaborative

Hsiao-Han Chen

The Word & Brown Companies

Hudson Valley Graphic Design

Topco Associates LLC

ICON Creative Agency

Warkulwiz Design Associates

Ingenuity Marketing

Werremeyer Creative

Initial Here Creative Services

Woz Design

Jennifer Cogan Design

Wright Medical Group N.V. G D U S A 55

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: AARP Media, Washington DC Client: AARP Title: Diet for Grownups Creative Director: Scott A. Davis Art Director: Lesley Q. Palmer

Design Firm: AARP Media, Washington DC Client: TheGirlfriend.com Newsletter from AARP Title: The Truth About Hysterectomies Senior Deputy Art Director: Dian Holton Illustrator: Ariel Davis

Design Firm: AARP Media, Washington DC Client: TheGirlfriend.com Newsletter from AARP Title: The Moment I Knew I Was Drinking Too Much Wine Senior Deputy Art Director: Dian Holton Illustrator: Sonia Pulido

Design Firm: AARP Media, Washington DC Client: AARP Bulletin, January/February 2018 Title: How Safe Is Your Supermarket? Creative Director: Scott A. Davis Assistant Art Director: Stephanie Shafer Illustrator: Chris Oâ&#x20AC;&#x2122;Reily

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Design Firm: AARP Media, Washington DC Client: AARP The Magazine, April/May 2019 Title: Your Health In Your 50s Creative Director: Scott A. Davis Art Director: Lesley Q. Palmer Design Director: Todd Albertson Associate Art Director: Joanna Hagan Illustrator: Amber Day

Design Firm: Access TCA, Whitinsville MA Client: Exelixis Title: Exelixis Medical Exhibit at ASCO Creative Director: Bryon Thompson Art Director: Viscira Designer: Bryon Thompson Photographers: Jamie Padgett, Padgett & Company

Design Firm: Acorda Therapeutics - ICOR@Acorda, Ardsley NY Client: Acorda Therapeutics Title: INBRIJATM 40x40 American Academy of Neurology Exhibit Creative Directors: Maria Verastegui, Michael Seymour Art Directors: Brady Tauzon, Nathan Procknow Designers: Brett Kinkel, Charles Wolf, Leslie Leverich Copywriters: Martha Crane, Helen Corrigan Animator: Arturo Brena Medical Editor: Joe Orsini Account Director: Courtney Teska Account Manager: Helen Koutsourades Operations Manager: Shannon MacGiffert Motion Designer: Collin Pisarra Producer: Jill Anzalone

Design Firm: Acorda Therapeutics - ICOR@Acorda, Ardsley NY Client: Acorda Therapeutics Title: INBRIJATM Consumer Website Creative Directors: Maria Verastegui, Michael Seymour Art Director: Nathan Procknow Designers: Brett Kinkel, Charles Wolf, Leslie Leverich Photographer: Jim Hughes Copywriters: Martha Crane, Helen Corrigan, Paul Schmidt Medical Editor: Joe Orsini Editor: Loni Wiercinski Account Director: Courtney Teska Account Manager: Helen Koutsourades Account Coordinator: Emma Folchetti Operations Manager: Shannon MacGiffert

G D U S A 57

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Aegis Dental Network, Newtown PA Client: Inside Dental Technology Title: The Impact of Corporate Dentistry Designer: Jennifer Barlow Illustrator: Craig Bowman Editorial: Jason Mazda, Janene Mecca, Hannah Feldman

Design Firm: Alight Solutions, Lincolnshire IL Client: PepsiCo Title: PepsiCo insight eMag | Winter 2019 Art Director: Cristine Giannotti Designer: Michelle McConnell Creative Director/Client Lead: Jill Rafkin Writers: David Stuart, Ken Mastro Project Manager: Kristine Peacock Production Editor: Randall Van Vynckt

Design Firm: Andon Guenther Design, LLC, Denver CO Client: Dymatize Enterprises, LLC Title: Women Strong Campaign and Branding Creative Director: C. Andon Guenther Art Director: C. Andon Guenther Designers: C. Andon Guenther, Nicholas Jenkins, Sam Perea Photographer: Willie Petersen Copywriters: Rosa Willems, C. Andon Guenther Project Manager: Ian Macdonald

Design Firm: Asurion, Bridgewater NJ Title: Live Your Best Asurion Life Initiative Creative Director: John Elter Art Director: Amy Latham Designer: Nancy Hagen Copywriter: Brady Darity Project Manager: CJ Clark

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Design Firm: BOLTGROUP, Charlotte NC Client: Matchwell Title: Matchwell Visual Identity Creative Director: Peyton Green Designers: Philip Caoile, Alyssa Baker, Sandi Suter, Mandy Smith Copywriter: Melissa Stone

Design Firm: BOLTGROUP, Charlotte NC Client: Matchwell Title: Matchwell Promotional Video Campaign Creative Director: Peyton Green Art Director: Philip Caoile Copywriter: Melissa Stone Senior Media Designer: Andy Kiser

Design Firm: Baker Creative, Groveport OH Client: TAH Benefits Title: TAH Benefits Brochure Creative Director: Michele Cuthbert

Design Firm: Barnett Design, Inc., Ramsey NJ Client: The Jewish Home Family Title: Art of Living Campaign Creative Director: Debra Barnett Sagurton Art Director: Jefferson Ramos Designers: Valerie Haymes, Tara Maratea Photographer: Glen Teitell

G D U S A 59

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Best Version Media, De Pere WI Client: Nourish Medicine Title: Nourish Medicine Advertising Designer: Olivia Gendusa

Design Firm: Best Version Media, De Pere WI Client: Beachside Rehab Title: Beachside Rehab Advertising Designer: Olivia Gendusa

Design Firm: Best Version Media, De Pere WI Client: Manhattan Neighbors June 2019 Title: Kansas Regenerative Medicine Center Editorial Designer: Laura Wire Publisher: Darqel Brown Article Author: Katie Seal

Design Firm: Best Version Media, De Pere WI Client: Alexa MD Title: Title: Alexa MD Advertising Designer: Laura Wire

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Design Firm: Best Version Media, De Pere WI Client: Southeast & Country Club Living August 2018 Title: Back To School Editorial Designer: Jessica MacPherson Publisher: Tina Atha Article Author: Dr. Brooke Silberhorn

Design Firm: Best Version Media, De Pere WI Client: Gull Lake Living May 2019 Title: 11 Tips For A Healthier You Designer: Emily Preston Publisher: Shelley McLaughlin Article Author: Tara Fritz

Design Firm: Best Version Media, De Pere WI Client: Montgomery Neighbors East August 2019 Title: Cooking Up A Healthy Lifestyle Designer: Jackie Weir Publisher: Dana Price Article Author: Jose Melendez

Design Firm: Best Version Media, De Pere WI Client: Solano Dermatology Associates Title: Solano Dermatology Associates Advertising Designer: Laura Wire

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Best Version Media, De Pere WI Client: CycleBar Lake Country Title: CycleBar Lake Country Advertising Designer: Amanda Hensen

Design Firm: Best Version Media, De Pere WI Client: Neighbors of South Charlotte September 2019 Title: A TBI Can Happen To Anyone Editorial Designer: Jackie Weir Publisher: Regina League Article Author: Dr. Alicia M. Brown, DC, DACNB

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Design Firm: Best Version Media, De Pere WI Client: Venice Living September 2019 Title: Highlighting The Health and Wellbeing Practioners of Venice Living Designer: Julie Beardsley Publisher: Carole Stein Article Author: Jennika Ingram

Design Firm: BexBrands, San Diego CA Client: Vero Title: Vero Logo, Submark and Icons Creative Directors: Becky Nelson Dahl, Jeremy Dahl Art Director: Aaron Bueg Designer: Rachael Polack

2019 health + wellness awards_feb news play 10/7/19 8:05 PM Page 63

Design Firm: Bolder & Co. Creative Studios, Urbana OH Client: Atlanticon Title: Atlanticon Website Creative Director: Mark Bloemhard

Design Firm: Bonavita Design LLC, Montclair NJ Client: Wolters Kluwer Title: Future Forward AI In Healthcare Brochure Creative Director: Donna Bonavita Designers: Donna Bonavita, Rose Valentine Marketing Director: Liza Myer, Jump Marketing Printer: Big Color

Design Firm: Bonavita Design LLC, Montclair NJ Client: Wolters Kluwer Title: Hospitals Biggest Threats Series Creative Director: Donna Bonavita Designers: Donna Bonavita, Rose Valentine Marketing Director: Liza Myer, Jump Marketing Printer: Big Color

Design Firm: Branding For The People, Austin TX Client: ZOHKO Title: ZOHKO New CBD Brand and Visual identity Chief Brand Strategist: Re Perez Associate Creative Director: Cindy Reyes Web Designer: Lidya Toscano

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Branding For The People, Austin TX Client: Changing Habits Title: Changing Habits Package Redesign Chief Brand Strategist: Re Perez Associate Creative Director: Cindy Reyes Director of Client Services: Michelle Peake

Design Firm: COE Design, La Jolla CA Client: Scripps Research Title: 27th Commencement Banner Creative Director: Laura Coe Wright Art Director: Tracy Castle

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Design Firm: COE Design, La Jolla CA Client: Scripps Research Title: Education and Training Collateral Creative Director: Laura Coe Wright Art Director: Tracy Castle

Design Firm: Cardinal Health Specialty Solutions, Falls Church VA Title: FOCUS 2019 Magazine Design Designer: Ryan Laughlin Editors in Chief: Bruce Feinberg, Eli Phillips Jr. Managing Editor: Yolaine Jeune-Smith Associate Editor: Laurie Lindemeier Production Manager: Todd Perkins

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Design Firm: Christiansen Creative, Hudson WI Client: Interventional Pain Specialists of Wisconsin Title: Interventional Pain Specialists Branding Creative Director: Tricia Christiansen Designer: Kayla Smith

Design Firm: Christiansen Creative, Hudson WI Client: American Registry of Radiologic Technologists Title: ARRT Stories Creative Director: Tricia Christiansen Designer: Sara Erlandson

Design Firm: Ciampa Creative, Boston MA Client: Health Management Resources (HMR) Title: Day Won App Creative Director: Renessa Ciampa Designers: Elanie Blais, Bryan Runtu, Trevor Collins

Design Firm: Clever Creative, Los Angeles CA Client: Power Crunch Title: Power Crunch Bar Package Design Creative Director: Amy Wilk Art Director: Emily Zarnow Designer: Emily Zarnow

G D U S A 65

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Creative CME, Selden NY Client: Global Medical Education Title: 2019 Psychiatry Update Branding Creative Director: Keith Groshans

Design Firm: DISC (An Oliver Company), Hauppauge NY Client: MEDTERRA Title: MEDTERRA Cooling Cream

Design Firm: Design Tree Studios, Denver CO Client: Landmark Health Title: Health Care Brochure Creative Director: Sara Marker Designer: Sara Marker

Design Firm: Donna Huff Design, Ashland City TN Client: Vanderbilt LifeFlight Title: 2018 iServe Emergency Care Conference Agenda Flyers Creative Director: Donna Huff Art Director: Donna Huff

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Design Firm: Donna Huff Design, Ashland City TN Client: The Nonnie Foundation Title: The Nonnie Foundation Logo Creative Director: Donna Huff Art Director: Donna Huff

Design Firm: Electronic Caregiver, Las Cruces NM Client: Addison Care Title: Addison Care Branding Creative Director: Nathan Kramer Designers: Erin Health, Jeremiah Moralez, Estrella Rivera, Efren Rodriguez, Min Tan

Design Firm: Eleven Inc., New York NY Client: Dignity Health Title: On Mindfulness And Healing With Jewel Creative Director: Matt Wakeman Art Director: Daisy Serafini Dignity Health Brand - Senior Vice President, Brand: Mark Viden Senior Director, Advertising: Lee Yang Director, Digital Marketing: Jopo Valera Eleven Inc. - Chief Creative Officer: Mike McCay Creative Director: Jack Harding Writer: Clemence Pluche Content Producers: Rachel Saxon, Sophia Pellicoro Senior Business Affairs Manager: Angela Eddleman Group Business Director: Eric Lombardi Executive Integrated Producer: Chad Zahorchak Integrated Producer: Jeannette Atherton Jewel + Team - Talent: Jewel Kilcher President: Ryan Wolfington Production Company - More Media Post Production - The Bunker

Design Firm: Ellen Bruss Design, Denver CO Client: Collective Hemp Title: Collective Hemp Brand Identity Creative Director: Ellen Bruss Art Director: Ken Garcia Designer: Ken Garcia

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Evolutions by Design, San Francisco CA Client: Lonza Title: ResistAid Digestive Wellness Creative Director: Juliana Erickson Designer: Ann Schneider

Design Firm: FAI Design Group, Irvington NY Client: Healthy Market Title: HealthyTM CBD Brand Packaging Creative Director: Allison Schwartz Art Director: Robert Scully Designers: Craig Valentino, Robert Scully, Joanna Loftus

Design Firm: FUEL Marketing, Salt Lake City UT Client: The OCD and Anxiety Treatment Center Title: Branding and Identity Including Folder, Brochures and Inserts Designer: Natalie Young Photographer: Natalie Young Account Executive: Melinda Meier

Design Firm: Franke+Fiorella, Minneapolis MN Client: Childrenâ&#x20AC;&#x2122;s Minnesota Title: Childrenâ&#x20AC;&#x2122;s Minnesota Annual Report 2018 Creative Director: Craig Franke Art Director: Todd Monge Designer: Chloe Mark Photographer: Sara Rubinstein

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Design Firm: Franke+Fiorella, Minneapolis MN Client: Childrenâ&#x20AC;&#x2122;s Minnesota Title: Childrenâ&#x20AC;&#x2122;s Minnesota Thank You Cards Creative Director: Craig Franke Art Director: Todd Monge Designer: Chloe Mark Photographer: Sara Rubinstein

Design Firm: Garrison Hughes, Inc., Pittsburgh PA Client: UPMC Senior Services Title: Aging Institute Annual Report 2018 Designer: Larry Hruska

Design Firm: Garrison Hughes, Inc., Pittsburgh PA Client: UPMC Health Beat Title: High Blood Pressure Infographic Designer: Larry Hruska

Design Firm: Garrison Hughes, Inc., Pittsburgh PA Client: UPMC Genome Center Title: UPMC Genome Center Website Designer: Carlo Leo

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Gladiator Consulting LLC, Austin TX Client: HHS Title: Website Redesign Art Director: Nakevia Miller

Design Firm: Hsiao-Han Chen, Brooklyn NY Title: Ocean Beauty Package Design Creative Director: Hsiao-Han Chen Designer: Hsiao-Han Chen

Design Firm: Hudson Valley Graphic Design, Croton-on-Hudson NY Client: The Way Hastings Coalition Title: The Way Hastings Coalition Logo Design Creative Director: Janeen Violante Designer: Janeen Violante

Design Firm: Hudson Valley Graphic Design, Croton-on-Hudson NY Client: Peri-winkle Wellness Title: Peri-Winkle Wellness Logo Design Creative Director: Janeen Violante Designer: Janeen Violante

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Design Firm: ICON Creative Agency, Pasadena CA Client: NestlĂŠ Health Science Title: BOOST Amazon Brand Store Design Creative Director: Dan Castro Art Director: Jennifer Bulter Designers: Tawney Coston, Yvonne Lee Photographer: Tony Prince

Design Firm: ICON Creative Agency, Pasadena CA Client: NestlĂŠ Health Science Title: Nestle Health Science Internal Branding Creative Director: Dan Castro Art Director: Jennifer Bulter Designers: Tawney Coston, Yvonne Lee

Design Firm: Ingenuity Marketing, Jacksonville FL Client: Robison Orthodontics Title: Robison Orthodontics Rebrand Creative Director: Carleton Wilkins Art Director: William Kelley Designers: Charley Walker, Jackie Record Copywriter: Austin Sherrill

Design Firm: Initial Here Creative Services, Rochester NY Client: Gentleman Farmer Title: Pain Relief Salve with CBD Creative Director: Maude Burns Art Director: T.C. Pellett Designer: T.C. Pellett Photographer: T.C. Pellett

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Jennifer Cogan Design, Valley Village CA Client: Anthem, Inc. Title: Anthem Student Advantage Sales Team Placemats Creative Director: Jennifer Cogan Art Director: Jennifer Cogan Designer: Jennifer Cogan Marketing Director: Christine Kim Marketing Strategy Director: Shannon Miller-Bannon

Design Firm: Jennifer Cogan Design, Valley Village CA Client: Providence Saint Joseph Medical Center Title: 75th Anniversary Elevator Wraps and Outdoor Banners Creative Director: Jennifer Cogan Art Director: Jennifer Cogan Designer: Jennifer Cogan Communications Director: Kelly Carolipio

Design Firm: Jiann-Ping Hsu College of Public Health, Georgia Southern University, Statesboro GA Title: Public Health, Summer 2019 Magazine Creative Director: Deborah Harvey Designer: Deborah Harvey

Design Firm: Keenan-Nagle Advertising, Allentown PA Client: Cetronia Ambulance Corps Title: Cetronia Website Design Copywriter: Michael C. Keenan Web Development Director: James Nicnick Backend Development: Rick Flores

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Design Firm: LabCorp, Burlington NC Title: Womenâ&#x20AC;&#x2122;s Health Brochure Creative Director: Lara Tassone Designer: Lara Tassone

Design Firm: Leibowitz Branding & Design, New York NY Client: Advance Care Alliance of New York Title: ACA NY Brand Identity Creative Director: Jason Wheeler Designers: Gerald Morin, Sydney Hirsh

Design Firm: Leibowitz Branding & Design, New York NY Client: AsOne Healthcare IPA Title: AsOne Healthcare IPA Brand Identity Creative Director: Jason Wheeler Designers: Gerald Morin, Sydney Hirsh, Marc Bugayong

Design Firm: Lipari Foods, Warren MI Title: Active Life Daily Branding Creative Director: Uday Modi

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Lisa Cain Design, Glenwood IL Client: American College of Prosthodontists Title: Infographic Design & Social Media Creative Director: Lisa Cain Designer: Lisa Cain Director, Governance: Nathalie Williams

Design Firm: Little Big Brands, White Plains NY Client: Little Spoon Boosters Title: Boosters Package Design Creative Director: John Nunziato Associate Design Director: Tierny Latella Designer: LBB Design Team

Design Firm: Little Big Brands, White Plains NY Client: EAS, LLC Title: Forth Package Design Creative Director: Richard Palmer Associate Design Director: Tierny Latella Designer: LBB Design Team

Design Firm: Little Big Brands, White Plains NY Client: Randob Labs Title: Sting-Kill Package Design Creative Director: John Nunziato Art Director: Marissa Loiodice Designer: LBB Design Team

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Design Firm: MDVIP, Boca Raton FL Client: MDVIP Corporate Office Title: Experiential Graphic Design Art Director: Jean Santangelo Designer: Jean Santangelo Editor and Copywriter: Jean Santangelo

Design Firm: MDVIP, Boca Raton FL Client: MDVIP Wellness Program Plus Title: Membership Card Direct Mail Art Director: Jean Santangelo Designer: Jean Santangelo Editor and Copywriter: Jean Santangelo Project Specialist, Implementation Operations: Susan Bordas Senior Manager, Implementation Operations: Celi Baez

Design Firm: MJR Creative Group, Fresno CA Client: Valley Childrenâ&#x20AC;&#x2122;s Healthcare Title: 2018 Annual Impact Report Creative Director: Brian Moore Art Director: Frank Ruiz Designer: Bekah Franklin Photographer: Jeff Sherman

Design Firm: MU Health Care Creative Services, Columbia MO Client: MU Health Care Title: Bariatrics Campaign Creative Director: Ann Ellebracht Designer: Veronica Burgess

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: MU Health Care Creative Services, Columbia MO Client: Alliance for Precision Health Title: Event Branding Creative Director: Ann Ellebracht Designer: Claudia Johnson

Design Firm: MU Health Care Creative Services, Columbia MO Client: MU Health Care Title: Breast Cancer Awareness Month Campaign Stadium Signage Creative Director: Ann Ellebracht

Design Firm: MiDESign and Marketing Consultancy, El Dorado Hills CA Client: Ruth Haskins MD Title: Ruth Haskins MD Website Design Creative Director: Marco Ippaso Art Director: Marco Ippaso Designer: Marco Ippaso

Design Firm: MiDESign and Marketing Consultancy, El Dorado Hills CA Client: Leap Yoga Title: Leap Yoga Website Design Creative Director: Marco Ippaso Art Director: Marco Ippaso Designer: Marco Ippaso

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Design Firm: MicroAire Surgical Instruments, Charlottesville VA Title: Endotine Patient Information Online Creative Director: Elias Jones Art Director: Sarah Martin Designer: Sarah Martin Illustrator: Sarah Martin Front End Developer: Sarah Martin

Design Firm: Miskowski Design LLC, Hoboken NJ Client: New Jersey Surrogacy Center Title: NJSC Logo Design Creative Director: Justin Miskowski

Design Firm: NJ Designs, Sparks NV Client: Washoe County Medical Society Title: WCMS 113th Inaugural Dinner Invitation Creative Director: Natalie Ede Designer: Natalie Ede

Design Firm: Nancy Reed Design, Cibolo TX Client: Divine Dose CBD Oil Title: Divine Dose Logo Design Designer: Nancy Reed

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: North Dakota State University/Publication Services, Fargo ND Client: North Dakota State University Title: Wellness Center Information & Program Guide Designer: Nathaniel Navratil Photographer: Justin Eiler

Design Firm: Odonnell Company, New Haven CT Client: State of Connecticut, Department of Mental Health & Addiction Services Title: LiveLoud Campaign Creative Director: Eileen Oâ&#x20AC;&#x2122;Donnell Art Director: Denise Arsenault Designers: Eileen Oâ&#x20AC;&#x2122;Donnell, Paul Ruocco Programmer: Paul Ruocco

Design Firm: PRESENT e-Learning Systems, Boca Raton FL Title: Superbones Superwounds East 2019 Welcome Banner Creative Director: Rich Pintur Designer: Kurt Pravel

Design Firm: Palladian Partners, Silver Springs MD Client: CDC Division of Heart Disease and Stroke Prevention Title: Cholesterol Monster Motion Graphics Art Director: Maureen Berg Designer: Rochelle Ku Illustrator: Ale Rodriguez-Gitler Senior Digital Media Producer: David Arbor Project Manager: Amber Mosher

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Design Firm: Palladian Partners, Silver Springs MD Client: Eunice Kennedy Shriver National Institute of Child Health and Human Development Title: Distracted Driving Infographic Art Director: Kathy Foltin Designers: Rob Walker, Rochelle Ku Illustrators: Rob Walker, Rochelle Ku Senior Graphic Designer: Katrina Villavicencio Project Manager: Anna Kern Senior Communications Associate: Samara Tu Project Director: Laura Foree

Design Firm: Palladian Partners, Silver Springs MD Client: CDC Division of Heart Disease and Stroke Prevention Title: Know. Talk. Act. Campaign Art Director: Maureen Berg Designer: Rochelle Ku Senior Digital Media Producer: David Arbor Project Manager: Amber Mosher Project Manager and Content Manager: Rachel Pepling

Design Firm: Pareto Intelligence, Chicago IL Title: Pareto Intelligence Branding Project Designer: Tammy Allen Website Designer: Clique Studios

Design Firm: Pareto Intelligence, Chicago IL Title: Pareto Recruiting Collateral Designer: Tammy Allen Website Designer: Clique Studios

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Prime Studio (Structural Design) and Mythology (Visual Design), Los Angeles CA Client: Welly Title: Welly Packaging Creative Director: Anthony Sperduti (Mythology) Art Director: Greg Kimball (Mythology) Designer: Greg Kimball (Mythology) Photographer: Mercedes DeBellard Prime Studio Founder & Creative Director: Stuart Harvey Lee

Design Firm: QJS Design, Atlanta GA Client: DeKalb County Board of Health Title: DeKalb County Park Prescription Day Art Director: Joey Shephard

Design Firm: QNY Creative, New York NY Client: BodySurf Brands, LLC Title: Body Surf Vitamin-Infused Flavor Water Packaging Creative Director: Ezio Burani Art Director: Dan King Designers: Ana Camero, DoYoung Kim Copywriter: Valentina Robotti

Design Firm: RTI International, Research Triangle Park NC Client: March of Dimes | Funded by Centers For Disease Control and Prevention Title: Beyond Labels Stigma Reduction Toolkit Art Director: Shari Lambert Designer: Shari Lambert Senior Health Communications Scientist: Linda Squiers Research Public Health Analyst: Molly Lynch Communication Strategist: Veronica Thomas Senior Editor and Technical Writer: Jeff Novey Video Specialist: Ari Kirschenbaum Research Training Specialist: Bill Ferris March of Dimes: Lisa Waddell, Kelly Ernst, Sharon Moffatt, Karyn Lee

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

Design Firm: Sizewise Marketing & Manufacturing, Lenexa KS Client: Sizewise Title: Platinum 6000 User Manual Designer: Stacy Beltz VP of Marketing: Dan Vogt

Design Firm: Smith Design, Morristown NJ Client: Ocean Hugger Foods Title: Ocean Hugger Foods Branding Creative Director: Glenn Hagen Designers: Lexi Savino, Gayle Sahler Strategy: Jane Sayer

Design Firm: Smith Design, Morristown NJ Client: Pfizer Consumer HealthCare Title: Viagra Connect Packaging Design Creative Director: Glenn Hagen Art Director: Glenn Hagen Designers: Angel Souto, Glenn Hagen Illustrator: Angel Souto

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Smith Design, Morristown NJ Client: Henkel Title: All Laundry Package Redesign Creative Director: Glenn Hagen Art Director: Melissa Sadowski Designers: Gayle Sahler, Tricia Trozzi Illustrator: Angel Souto

Design Firm: Smith Design, Morristown NJ Client: Hain Celestial Title: Earthâ&#x20AC;&#x2122;s Best Sesame Street Redesign Creative Director: Jenna Smith Art Director: Melissa Sadowski Designer: Lexi Savino

Design Firm: Southwest Research Institute (SwRI), Media Production Services, San Antonio TX Client: Corporate Fitness Center/Human Resources Title: Choosing Happiness Creative Director: Bill Livermore Art Director: Bill Livermore Designer: Bill Livermore Illustrator: Bill Livermore

Design Firm: Southwest Research Institute (SwRI), Media Production Services, San Antonio TX Client: Corporate Fitness Center/Human Resources Title: Fitness Center Brochure Art Director: Jessica Vidal Designer: Lea Peacock

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Design Firm: Stanford Health Care, Stanford CA Title: Precision Health Advertising Campaign Art Director: Vivian Liberti Designer: Nicole Dacumos

Design Firm: Stanford Health Care, Stanford CA Title: New Stanford Hospital: Community Open House Campaign Art Director: Vivian Liberti Designer: Nicole Dacumos Photographer: Paul Keitz

Design Firm: Stanford Health Care, Stanford CA Title: Primary Care Physician Dinner Series Art Director: Vivian Liberti Designer: Nicole Dacumos

Design Firm: Stephen Gould // Pittsburgh Design Center, Wexford PA Client: Alchem Title: Alchemlife Package Design Creative Director: Kathleen Brunetto Packaging Design: Mike Snyder, Brad Cain Sales Agent: Bill Thanel

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Test Monki, The Woodlands TX Client: DaBell & Paventy Orthodonics Title: DaBell & Paventy Brand Identity Creative Director: Suzy Simmons Art Director: Suzy Simmons Designers: Suzy Simmons, Gabby Nguyen, Sarah Wright, Justice Crisp

Design Firm: Test Monki, The Woodlands TX Client: EverGrins Pediatric Dentistry & Orthodontics Title: EverGrins Brand Identity Creative Director: Suzy Simmons Art Director: Suzy Simmons Designers: Suzy Simmons, Sarah Wright, Gaby Quintana, Justice Crisp

Design Firm: Test Monki, The Woodlands TX Client: Happy Healthy Teeth Pediatric Dentistry & Orthodonics Title: Happy Healthy Teeth Brand Identity Creative Director: Suzy Simmons Art Director: Suzy Simmons Designers: Suzy Simmons, Gabby Nguyen, Sarah Wright, Sofi Cruz, Justice Crisp

Design Firm: Test Monki, The Woodlands TX Client: Paventy & Brown Orthodontics Title: Paventy & Brown Bond Box Creative Director: Suzy Simmons Art Director: Suzy Simmons Designers: Suzy Simmons, Sarah Wright, Sofi Cruz, Justice Crisp

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Design Firm: The Biondo Group, Stamford CT Client: Country Life Vitamins, LLC Title: Gut Connection Package Design Creative Director: Charles Biondo Designer: Dominick Colangelo

Design Firm: The Cooper Institute, Dallas TX Title: Community Impact Report - Investigate. Inform. Inspire. Impact! Creative Director: Edward Johnson Art Director: Edward Johnson Designer: Edward Johnson Director of Communications: Amber Freeland

Design Firm: The JVP Group, Studio City CA Client: Gold Coast Health Plan Title: Enterprise Transformation Project Logo Creative Director: Jim Pezzullo Designer: Jim Pezzullo Illustrator: Jim Pezzullo

Design Firm: The Kitchen Collaborative, Burbank CA Client: Seachrome Title: Lift-Assist Campaign Digital Advertising Creative Directors: Aniko Hill, Jesse Hill Designers: Doris Jew, Andrea Kelly Copywriter: Alexa Chigounis

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: The Kitchen Collaborative, Burbank CA Client: Seachrome Title: Lift-Assist Campaign Website Creative Directors: Aniko Hill, Jesse Hill Art Director: Aniko Hill Designer: Doris Jew Video Editor: George Boyd Web Developer: Tracy Swanson

Design Firm: The Word & Brown Companies, Orange FL Client: The Word & Brown Companies: CHOICE Administrators Title: CaliforniaChoice â&#x20AC;&#x2DC;Fast Factsâ&#x20AC;&#x2122; Folder Studio Director: Homie Villegas Marketing Manager: Rikki Medelkow Marketing Administrator: Noe Villasenor Senior Copywriter: Alex Strautman Vice President, Marketing & Communications: Polly Neves

Design Firm: The Word & Brown Companies, Orange FL Client: The Word & Brown Companies: CHOICE Administrators Title: CaliforniaChoice Broker Advertisement Studio Director: Homie Villegas Marketing Manager: Rikki Medelkow Marketing Administrator: Noe Villasenor Senior Copywriter: Alex Strautman Vice President, Marketing & Communications: Polly Neves

Design Firm: The Word & Brown Companies, Orange FL Client: Word & Brown General Agency Title: Word & Brown Value Proposition Brochure Designer: Hugo Miramontes Marketing Director: Missy Bynon Marketing Administrator: Heather Jung Senior Copywriter: Alex Strautman Vice President, Marketing & Communications: Polly Neves

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Design Firm: The Word & Brown Companies, Orange FL Client: Word & Brown General Agency Title: Word & Brown Carrier Con 2019 Microsite Designer: Hugo Miramontes Developer: Jarrell Walker Marketing Director: Missy Bynon Marketing Administrator: Heather Jung Senior Copywriter: Alex Strautman Vice President, Marketing & Communications: Polly Neves

Design Firm: Topco Associates Creative Services, Elk Grove Village IL Client: Topco Associates LLC Title: TopCare OTC Family Redesign Creative Director: Brian Carron Art Director: Kara Fleming Designers: Hedy Wong, Tamara Silver

Design Firm: Warkulwiz Design Associates, Merion Station PA Client: GoPhillyGo Title: GoPhillyGo Destination Map + Guide Creative Director: Bob Warkulwiz Art Director: Emily Zuwiala-Rogers Designers: Emily Zuwiala-Rogers, Caroline Laschenski Illustrator: Michael Rogalski Photographer: Caroline Laschenski

Design Firm: Werremeyer Creative, Webster Groves MO Client: Saint Louis University School of Medicine Title: Grand Rounds, The Issue of Addiction, Spring 2019 Creative Director: Steve Hartman Art Director: Ann Campbell Designer: Holly Hillebrand Photographer: Gregg Goldman Editor: Julie Taylor

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Werremeyer Creative, Webster Groves MO Client: Barnes-Jewish Hospital + Washington University Physicians Title: Curiosus: The Art and Science of Medicine Creative Director: Steve Hartman Art Director: Cheryl Bonnett Illustrators: Abigail Goh, Dmitri Jackson Photographers: Jay Framm, Gregg Goldman Editor: Ann MacKeever

Design Firm: Woz Design, Chicago IL Client: LivaNova Title: LivaNova 2018 Year In Review Creative Directors: David Wozniack, Ted Stoik Art Directors: David Wozniack, Ted Stoik Designers: David Wozniack, Ted Stoik Writer: Ted Stoik

Design Firm: Woz Design / Hartford Design / Ted Stoik, Chicago IL Client: Abbott Title: Abbott 2018 Annual Report Creative Directors: David Wozniack, Tim Hartford, Ted Stoik Art Directors: David Wozniack, Tim Hartford, Ted Stoik Designers: David Wozniack, Tim Hartford, Ted Stoik Photographers: Tom Maday, Dan Socie, Brian White

Design Firm: Woz Design / Ted Stoik, Chicago IL Client: uniQue Title: uniQue Corporate Brochure Creative Directors: David Wozniack, Ted Stoik Art Directors: David Wozniack, Ted Stoik Designers: David Wozniack, Ted Stoik Writer: Ted Stoik

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Design Firm: Wright Medical Group N.V., Bloomington MN Title: Upper Extremities Portfolio Art Director: Bonnie Lindenfelser Designer: Bonnie Lindenfelser Photographer: Gamut One Studios

Design Firm: cfk creative, St. Louis MO Client: Anthem Lakes Title: Is This Dementia? Direct Mail Creative Director: Connie Fry Designer: Peggy Nehman Copywriter: Sue Stanley Strategic Consultant: Ann Marie Ladis, Cachet Partners Production: Ken Bain, 480 Print

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CANNABIS INDUSTRY â&#x201E;˘ GRAPHICS AWARDS For more than five decades, GDUSA has organized design competitions that spotlight areas of growth and opportunity for graphic designers. This perfectly describes the CBD/Hemp/Cannabis industry, a vast and early opportunity to use design to help elevate brands, differentiate products, disseminate information, create safe packaging and distribution, and help purveyors build strong businesses and a responsible business model. In this edition, we present the 50 winners of our inaugural Cannabis Industry Graphics Awardsâ&#x201E;˘ competition.

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Design Firm: BAD Creative, Northridge CA Client: Houdini Title: Houdini Logo Design Creative Director: Bo Gheorghe

Design Firm: BRIGADE, Hadley MA Client: Insa Title: Insa Package Design Creative Director: Joe Marden Designers: David Foote, Tim McKay, Kristin Roy, Liz Moran Illustrators: : Adam Komosinski, Jimmy Parker, Thom Dudley, John Silva Executive Creative Director: Kirsten Modestow Strategy: Kathryn Slater, Melanie Flynn Account Manager: Karen Leet

Design Firm: BexBrands, San Diego CA Client: Vero Title: Vero Logo, Submark and Icons Creative Directors: Becky Nelson Dahl, Jeremy Dahl Art Director: Aaron Bueg Designer: Rachel Polack

Design Firm: BrandJuice, Denver CO Client: Mox Mind + Body Care Title: Mox Mind+Body Care Brand Identity Creative Director: Emilee Dover Designer: Nina DeWane Photographer: Joanie Bier Strategy: Lori Reifert, Lizzy Bakhouse, Brooke Gunzelman

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CANNABIS INDUSTRY GRAPHICS AWARDS

Design Firm: Branding For The People, Austin TX Client: Hunter + Esquire Title: Hunter + Esquire CBD Brand and Visual Identity Associate Creative Director: Cindy Reyes Chief Brand Strategist: Re Perez Web Designer: Lidya Toscano Director of Client Services: Michelle Peake

Design Firm: Branding For The People, Austin TX Client: ZOHKO Title: ZOHKO New CBD Brand and Visual identity Associate Creative Director: Cindy Reyes Chief Brand Strategist: Re Perez Web Designer: Lidya Toscano

Design Firm: Brittany Whiteman Graphic Design, Minneapolis MN Client: LivKind Title: LivKind CBD Product Line Creative Director: Brittany Whiteman Art Director: Brittany Whiteman Designer: Brittany Whiteman

Design Firm: Clever Creative, Los Angeles CA Client: Element of Choice Title: Chil Package Design Creative Director: Amy Wilk Art Director: Emily Zarnow Designer: Schessa Garbutt Copywriter: Ross Barsi Project Manager: Mark Sando

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Design Firm: DISC (An Oliver Company), Hauppauge NY Client: MEDTERRA Title: MEDTERRA Cooling Cream

Design Firm: Ellen Bruss Design, Denver CO Client: Collective Hemp Title: Collective Hemp Brand Identity Creative Director: Ellen Bruss Art Director: Ken Garcia Designer: Ken Garcia

Design Firm: FAI Design Group, Irvington NY Client: Healthy Market Title: HealthyT CBD Brand Packaging Creative Director: Allison Schwartz Art Director: Robert Scully Designers: Craig Valentino, Robert Scully, Joanna Loftus

Design Firm: Gauger + Associates, San Francisco CA Client: Autumn Brands Title: Autumn Brands Packaging Creative Director: David Gauger Art Director: Lori Murphy Designer: Lori Murphy

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CANNABIS INDUSTRY GRAPHICS AWARDS

Design Firm: Gauger + Associates, San Francisco CA Client: Autumn Brands Title: Autumn Brands Instagram Account Creative Director: David Gauger Art Director: Jessica Riano Designers: Lori Murphy, Jessica Riano Motion Graphics: Jenna Pile

Design Firm: Gladiator Consulting LLC, Austin TX Client: Tribe Title: Tribe Logo Design Art Director: Nakevia Miller

Design Firm: Heidolph North America, Wood Dale IL Client: HBX Title: AuditPro: Faster Audits. Better Data Analysis Creative Director: Nicole Kvasnicka Designer: Heather Lee

Design Firm: ID International, Chico CA Client: True Health Cannabis Title: True Health Cannabis Logo Design Designer: Mathew Jacobs

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Design Firm: Intersection Online, Inc., Deerfield Beach FL Client: Earthâ&#x20AC;&#x2122;s Natural Remedy Title: CBD Tincture Label Design Creative Director: Allison Duine Art Director: Allison Duine Designer: David Martinez

Design Firm: Joygum, Aurora CO Title: Joygum Packaging Creative Director: Amy Nudelman Designer: Chris Turpin Designer: Andrea Goddarty Illustrator: Andrea Goddarty Photographer: Jacqueline Anthony

Design Firm: Kneadle, Inc., Fullerton CA Client: Cannabis Insurance California Title: Cannabis Insurance California Website Creative Director: Christopher DeCaro Designers: Ryan Deschler, Owen Song, Yennhi Nguyen

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CANNABIS INDUSTRY GRAPHICS AWARDS

Design Firm: LRDX, Denver CO Title: Growers Package Design Creative Director: Andy Dutlinger Designers: Drew Bentley, Tyler Merritt Copywriter: Greg Lewis Account Manager: Clayton Warwick CEO, Growers: Chip Baker

Design Firm: LRDX, Denver CO Title: Growers Website Design Creative Director: Andy Dutlinger Designers: Drew Bentley, Tyler Merritt Copywriter: Greg Lewis Chief Digital Officer: John Gilbert Lead Developer: Dan Alexander Account Manager: Clayton Warwick CEO, Growers: Chip Baker

Design Firm: Lindsay Hill Design, Charlestown MA Client: Canadian American Standard Hemp Title: Ash Brand Creative Director: Lindsay Hill Art Directors: Adam Czachorowski, Alexander Fletcher, Deirdre Offenheiser Brand Assets/Logo: Turning Point Brands

Design Firm: Lindsay Hill Design, Charlestown MA Client: Canadian American Standard Hemp Title: Ziggys Brand Creative Director: Lindsay Hill Art Directors: Adam Czachorowski, Alexander Fletcher, Deirdre Offenheiser

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Design Firm: Little Big Brands, White Plains NY Client: E-Alternative Solutions, LLC Title: Forth Package Design Creative Director: Richard Palmer Designer: LBB Design Team Associate Design Director: Tierney Latella Account Director: Bill Frohlich

Design Firm: Michael Meade, Florissant CO Client: Plant Song Title: Plant Song Logo Design Designer: Michael Meade

Design Firm: MiresBall, San Diego CA Client: Jetty Extracts Title: Jetty Extracts Core Line Packaging Creative Director: John Ball Designer: MiresBall

Design Firm: MiresBall, San Diego CA Client: Two Roots Brewing Co. Title: Two Roots Cannabis Beer Cans Creative Director: John Ball Designer: MiresBall

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CANNABIS INDUSTRY GRAPHICS AWARDS

Design Firm: MiresBall, San Diego CA Client: Just Society Title: Just Society Coffee and Tea Packaging Creative Director: John Ball Designer: MiresBall

Design Firm: Nancy Reed Design , Cibolo TX Client: Divine Dose CBD Oil Title: Divine Dose Logo Designer: Nancy Reed

Design Firm: Patrick Finley, Christiansburg VA Client: Floyd Hemp Factory Title: Floyd Hemp Factory Branding Creative Director: Patrick Finley

Design Firm: pfw design, Cape Neddick ME Client: Lifted Genetics Title: Lifted Genetics Logo Design Creative Director: Patience F Williams Designer: Patience F Williams

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CANNABIS INDUSTRY GRAPHICS AWARDS

Design Firm: PrintGiant, LLC, Denver CO Client: Greenhouse Payment Solutions Title: Greenhouse Payment Solutions Brand Designer: Janice S. Stoilas

Design Firm: ProAmpac Holdings, Inc., Cincinnati OH Client: Milk Makeup Title: Kush Stash Bag Set Creative Directors: Kali Perez, VP of Product Design, Milk Makeup Art Directors: Alex Roche, VP of Product Design, Milk Makeup) Designer: Kali Perez Photographer: Milk Makeup Staff Project Manager: Esther Jung, Milk Makeup VP Brand and Package Development: Melissa Melillo, Milk Makeup

Design Firm: RLD Creative, Elgin IL Client: Hi-Chew Title: Hi-Chew Package Design Creative Director: Rick Lesser Art Director: Brandon Ribbs Designer: Anthony Ashner

Design Firm: RLD Creative, Elgin IL Client: UpLift Dispensary Title: UpLift Dispensary Branding Creative Director: Rick Lesser Art Director: Brandon Ribbs Designer: Matthew Holley

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CANNABIS INDUSTRY GRAPHICS AWARDS

Design Firm: Safari Sundays, Brooklyn NY Client: Omura Title: Omura Branding Creative Director: Adam Walko Art Director: Mattew Smiroldo VP of Client Service: Kate Dellâ&#x20AC;&#x2122;Aquila Chief Strategy Officer: Georgia Levison

Design Firm: The Grass Agency, Oakland CA Client: Manifest California Title: Manifest California Business Cards and Creative Director: Reena Karia Art Director: Christopher Trout Designer: Reena Karia Photographer: The Grass Agency

Design Firm: The Grass Agency, Oakland CA Title: Grass Agency Business Cards and Case Creative Director: Christopher Trout Art Director: Reena Karia Designer: Reena Karia Photographer: The Grass Agency

Design Firm: The Highly, New York NY Title: The Highly Motion Graphics Creative Director: Nina Fern Art Director: Ferdinand Van Alphen Designer: Ferdinand Van Alphen Photographer: Fredinand Van Alphen

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Design Firm: The Highly, New York NY Title: The Highly Logo Trademarks Symbols Creative Director: Nina Fern Designer: Ferdinand Van Alphen

Design Firm: Truly Creative, Petaluma CA Client: Oz Family Farm Title: Cannabis Candy Specialty Rabbit Fertilizer Creative Director: Carrie Dufour Designer: Emma Williams

Design Firm: Ultra Creative, Minneapolis MN Client: Natural Elevations Title: CBD Oil & Chocolate Creative Director: Shane Breault Designer: William Burns Senior Production Director: Julie Clark VP Brand Design: Ty Tonander

Design Firm: WFM (William Fox Munroe), Shillington PA Client: Magni Company Title: Magnilife Full Spectrum CBD Cream Creative Director: Matthew Kennedy Art Director: Joshua Samolewicz Designer: Kayla Bryer

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AN INSIDE LOOK AT SCAD’s GRAPHIC DESIGN PROGRAM BY DUKE GREENHILL

At SCAD Graphic Design, innovative collaborations with Fortune 500 partners help secure students leading design jobs.

104 G D U S A

A singular mission drives all aspects of the Savannah College of Art and Design (SCAD), including the graphic design department: to prepare students for creative professions. To this end, the primary metric of success for the graphic design department — indeed, for all SCAD departments — is how many graduated students secure meaningful jobs in their fields of study.

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In the graphic design department and under the guidance of SCAD

The outcome of the Delta collaboration, for example, evidences

president and founder Paula Wallace, we believe that providing

the tremendous success of these projects, both in terms of busi-

students with an academic environment that mimics professional

ness value to the client and educational value to the student.

industries is essential to achieving this mission. One of the chief

With SCAD graphic design students’ help, the new Delta uniforms,

mechanisms we leverage to create a facsimile of the professional

work experience is SCADpro.

during an in-person fitting experience in 16 select cities throughout the US and around the world. So impressive were the concepts

SCADpro is a design shop and innovation studio that generates

for launch events delivered by SCAD graphic design and SCAD-

business solutions for the world's most influential brands. SCAD-

pro, that Professor Jane Zash — the professor of graphic design

pro is recognized as the preeminent university partner in higher

who led the project — and several students were invited by designer,

education and among design agencies worldwide, and it operates

Zac Posen, to subsequent professional events. A SCAD graphic

in the U.S., Europe and Asia. In short, SCADpro solves real-life

design graduate who worked on the project, Amy Chang, was also

creative and business challenges through actual projects for

hired by Delta to supervise and produce the fitting events.

Fortune 500 clients, and in doing so, provides students with an integral component of their design education: the opportunity to

When preparing graphic design students to secure meaningful

experience what being a graphic designer on a project for a leading

careers in the field, perhaps nothing is more essential than pro-

brand is actually like.

viding the experience of what a career in the graphic design field is really like. With the assistance of SCADpro and some of the

The SCAD graphic design department is honored to have led or been

world’s top brands, the SCAD graphic design department regularly

involved in many of these projects. Some recent SCADpro-graphic

provides this. Coupled with the graphic design program’s leading

design collaborations include:

faculty and innovative cross-disciplinary curriculum approach, 99-percent of SCAD graduates are employed within nine months

• Assisting the Walt Disney Company in the research and development of concepts for Mickey Mouse’s 90th birthday celebration. • Collaborating with General Electric to assist in the creation of

of graduation, and 91-percent of the graphic design students are employed in positions directly related to their creative field. Not bad, if you ask me.

an immersive experience for data management for locomotive transportation. DUKE GREENHILL is Chair of Graphic

• Working with BMW Group Research to leverage individual vehicle

Design and Advertising at Savannah College of Art and Design.

usage data to create new educational experiences. • And partnering with Delta Air Lines to research and develop creative concepts for a branded event that will reveal the new Delta uniform collection.

G D U S A 105

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BETTER WITH LESS COMPETITION OPEN FOR SUBMISSIONS

Designers Challenged To Create Sustainable Solutions The Better with Less – Design Challenge, organized by Metsä

The chairman, and member of the competition jury, is Ikka Harju,

Board, the European producer of premium fresh fiber paperboards,

Packaging Services Director, EMEA and APAC at Metsä Board.

now in its second year, inspires designers to create more environmentally-friendly packaging solutions for e-commerce, cosmetics

He explains: “We need to challenge the packaging world to find

and food. Submissions in 4 categories: cosmetics, e-commerce,

new solutions — new ways of thinking and new innovations. This

food packaging and a ‘wild card’ category, are open now thru

competition is all about lessening environmental impact without

January 5, 2020. The competition invites professional packaging

compromising brand experiences. We aim to help advance inno-

designers as well as packaging design students from all over the

vative and sustainable packaging design in the world.”

world to submit entries (there is no entry fee). The main prize for the Better with Less – Design Challenge is EUR 7,000, with the second prize EUR 2,000 and the third prize EUR 1,000. Additionally, Metsä Board will award one student the opportunity for an internship with its packaging design team in its Excellence Center in Äänekoski, Finland. The winners will be announced in Spring 2020. The huge amount of plastic packaging is a global concern, in part because global plastic waste in the oceans amounts to almost nine million tons annually. The Better with Less – Design Challenge is looking for innovative, sustainable and recyclable packaging solutions for everyday goods. The competition was first launched in 2017–2018, with great success – over 300 packaging designs from 38 countries were submitted. That year’s winning design found an innovative, environmentally friendly cardboard alternative to plastic bubble wrap.

106 G D U S A

Harju heads a world-class jury of renowned packaging design experts including: Alissa Demorest, Chief Editor of luxury packaging magazine Formes de Luxe; Andrew Gibbs, Founder, CEO & Chief Editor of The Dieline; Charles Ng, Founder & Chief Brand Consultant of MCL Group Hong Kong/China; Clark Goolsby, Chief Creative Officer of Chase Design Group; and Stefan Junge, Professor in Packaging Technology at Beuth University of Applied Sciences Berlin.

www.betterwithless.org

October 2019 Pub Letter-Focus Impo_feb news play 10/7/19 7:40 PM Page 107

THE DO’S AND DON’TS OF TALKING SALARY WITH COWORKERS BY DIANE DOMEYER

Even though many of us are too polite to admit

DO Be Discreet. Just because someone tells you their salary, it

it, everyone is curious when it comes to money.

doesn’t mean they want the information to become public knowl-

We’d all love to know how much our colleagues

edge. What’s more, if you’d prefer that a friend or colleague keep your finances confidential, be sure to state that expectation upfront.

are making, which then allows us to see how our own income stacks up. In the past, talking salary

DON’T Feel Obliged To Tell. Even if a coworker has shared their

was considered taboo and bad for workplace

salary with you, you don’t have to do the same. If you’d rather

morale, but new research from The Creative Group suggests that this sentiment is changing.

keep your details private, be honest about that up front. You can always speak in terms of ranges, approximations or relative amounts rather than giving the exact figure. Likewise, when discussing salary during an interview, you’re not required to reveal your cur-

In an era of equal pay for equal work, companies and profes-

rent pay rate if a hiring manager asks. Rather, focus on desired

sionals are becoming more open about sharing compensation

compensation based on market research.

information. Seventy-seven percent of the creative execs we surveyed said their company offers some level of wage trans-

DO Consider The Bigger Picture. A number doesn’t tell the full

parency, with 34 percent reporting full transparency. What’s more,

story. If someone with the same or similar job title makes more

70 percent of respondents said they’d reveal their own income

than you, maybe it’s because they brought a much-needed skill

if a coworker asked.

to the company, have more experience or were more persistent than you when negotiating their starting salary. Get more info

Open salary policies may help promote an atmosphere of trust,

before making allegations of pay inequity.

yet money is still a sensitive and personal subject to many. Before you start revealing your personal pay details or asking others

DON’T Be Pushy. Even though you may be comfortable sharing

about theirs, here are some do’s and don’ts to keep in mind:

your salary details, not everyone feels the same. If someone demurs or declines to respond, drop the issue. Many people may not be

DO Proceed With Caution. Think about why you want to share the

as open about their compensation history, and you don’t want to

information or repercussions of sharing if you are asked. While

come across as insensitive. Find another way to learn what you

a higher percentage of companies have open pay policies, many

should be earning, like an online salary resource.

organizations and individuals still view compensation as personal and confidential. Ask yourself why you’d like to know how much

Used in the right way, salary transparency can be an effective

someone else makes. A valid reason would be if you are hoping to

approach for ensuring fair pay practices. Though some workers —

negotiate a raise or suspect you’re being underpaid. A not-so-good

perhaps even you — may hesitate to divulge their income, many

reason would be to spread gossip or feel superior to a colleague.

creative employers find that creating an atmosphere of openness and trust boosts morale, productivity, recruitment and retention.

DON’T Forget To Do Your Research. Learn what your company’s policy is around pay transparency before asking any colleagues about their salary. If you’re unsure how your organization treats

DIANE DOMEYER is Executive Director

this topic or feel uncomfortable asking coworkers, you can always

of The Creative Group, a specialized

to talk to industry peers outside your organization or consult

staffing service placing interactive,

resources with market information, like The Creative Group Salary

design, marketing, advertising and

Guide, which lists compensation ranges for 90 creative and marketing job titles. Use our Salary Calculator to customize the

public relations professionals with a variety of firms. For more information, visit roberthalf.com/creativegroup

information for your city.

G D U S A 107

October 2019 Pub Letter-Focus Impo_feb news play 10/7/19 7:41 PM Page 108

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