365: AIGA Year In Design 30 by AIGA

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365: aiga Annual Design Competition-----------------------------------------------------------12 Branding---------------------------------------------------------------------------------------13 Entertaining---------------------------------------------------------------------------------48 Experimenting----------------------------------------------------------------------------------60 Informing---------------------------------------------------------------------------------69 Packaging---------------------------------------------------------------------------------------92 Promoting--------------------------------------------------------------------------------------108 aiga 50 Books / 50 Covers-------------------------------------------------------------------------199 About aiga-----------------------------------------------------------------------------------------291 Official aiga sponsors-----------------------------------------------------------------------------292

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All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the publisher.

The descriptions of selections and credits published by AIGA in this publication and on the website designarchives.aiga.org are based on information provided by those who originally submitted the entry.

AIGA

Publisher: Richard Grefé Director of competitions and exhibitions: Gabriela Mirensky Editorial director: Sue Apfelbaum Writers: Richard Grefé, Gabriela Mirensky, Franc Nunoo-Quarcoo Design: Omnivore Typefaces: Helvetica Neue, Myriad, Times ISBN: 1-884081-12-6 Manufactured in the United States of America. 10 9 8 7 6 5 4 3 2 1 Copyright 2010 by AIGA. First published in New York by AIGA, 164 Fifth Avenue, New York, NY, 10010. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the publisher. The descriptions of selections and credits published by AIGA in this publication and on designarchives.aiga.org are based on information provided by those who originally submitted the entry. The copy submitted my have been edited for length or style. AIGA is not responsible for missing information or credits. We apologize for any omissions or spelling errors that may have been carried through from original submission materials.

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aiga

INTRO

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Welcome to 365: AIGA Year in Design 30

leadership and opportunity to the profession, stimulating thinking about design, demonstrating the value of design and empowering designers along the way. We hope 365: aiga Year in Design 30 contributes to those goals and, as always, your feedback is welcome. richard grefé, executive director

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created with the intention of enabling far greater interaction with each selected work. Click on a pdf page and you will be taken to that selection’s entry in the aiga Design Archives, where additional images and multimedia content can be experienced. Through tagging and indexing, selections can be discovered in the context of other work related by content, form or author. By virtue of the technology, work can be represented in a medium in which it was designed. aiga’s online archives represent the largest digital collection of design examples in the world. Documenting the annual aiga competitions since 1924, Design Archives has become a resource to 20 times the number of readers of our printed collections and are accessible to virtually every future student of design. Through recent upgrades to the site, we also hope to extend the appreciation and discovery of design to even more audiences. aiga, with the support of its chapter leadership and more than 20,000 members, has committed to a mandate for change to ensure that, as our organization approaches its centennial in 2014, we represent the full reach of the profession. As designers and design adapt and evolve, aiga must also be as current and vital as it was when fewer than a score of printers and publishers met in New York City to found the organization so many years ago. Now aiga is involved in global design issues and is an active player in professional matters internationally, with offices in China and partners in Europe. aiga is a leading voice in advancing design thinking as a valuable contribution to business and society; its professional standards consider all media and lead the discussion of ethical, environmental and social responsibility. aiga stands committed to providing relevance,

AIGA

welcome to 365: aiga year in design 30 The first aiga competitions date back more than 90 years, and for many of those years the selections have been canonized in individual catalogues. The first annuals were considered to have been a major breakthrough. They included black-and-white illustrations and gradually introduced an increasing amount of color. For almost two decades they were a single format, with only the cover commissioned by a leading designer. The books, and the competitions they capture, have evolved to include media not even conceived of at the beginning. Regardless of the form an annual takes, the purpose is always to commemorate exceptional work and the talent of its creators. As we reflect on the achievements of the previous year, we celebrate design’s ability to surprise and delight, whether through the demonstration of new techniques or an unexpected take on a classic composition. Their ideas and solutions inspire critical thinking, many of them articulating the value of design for business. Judged by a jury of peers, the assembled works represent the year in design. Represented by the categories of Branding, Entertaining, Experimenting, Informing, Packaging and Promoting, some of the most daring and important contributions—in interactive media and video, experience design or software— no longer lend themselves to paper. So while we all love the tactile quality of books—which we celebrate through the “50 Books /50 Covers” competition—we must also consider how audiences engage with imagery and editorial content, through increasingly online experiences. This annual, 365: aiga Year in Design 30, is the first to be presented digitally, to be downloaded by those who would like a printed version but

The jury Susanna Barret, BVD, Stockholm (Packaging; Print/Information) Anne Burdick, Media Design Program, Art Center College of Design, Pasadena, Calif. (Screen) Chris Calori, Calori & Vanden-Eynden, Ltd., New York (Space) Bart Crosby, Crosby Associates, Chicago (Cross-media; Print / Branding) Michael Hendrix, IDEO, Boston (Space) Karen Hsu, Omnivore, Portland, Ore. (Print/ Promoting) Haley Johnson, Haley Johnson Design, Minneapolis (Packaging; Print/Information) Diti Katona, Concrete Design Communications, Inc., Toronto (Cross-media; Print/Branding) David Kohler, AdamsMorioka, New York (Print/Promoting) Victor Newman, Freestyle Collective, New York (Print/Promoting) Elva Rubio, Rubio Studio, Chicago (Space) Christopher Simmons, MINE, San Francisco (Cross-media; Print/ Branding) Brad Weed, Microsoft Corp., Redwood, Wash. (Screen) Craig Welsh, Go Welsh, Lancaster, Pa. (Packaging; Print/Information)

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AIGA 365 / 30

INTRO

a number. Of course, as Bance stated so well in her 1984 article, “the visual recognition of an individual piece or style and its author cannot be mitigated.” There is no prescreening—every juror reviews every single piece entered in his or her category. There are three jurors for each category in the “365” competition; and five to review the book and book cover submissions in “50 /50.” Jurors work for a solid day or two (depending on the number of submissions) to cull a representative group of outstanding entries that meet aiga’s criteria for inclusion in the show. We seek design that is excellent (i.e., effective) in meeting its brief. Aesthetics are not ignored, but purpose matters. Jurors focus on selecting the best design work regardless of personal taste. A common sign of inclusion is when a juror says, “Oh, I wish I had done that!” Selections need not be unanimous, but of the three jurors, at least two must feel strongly about including a certain piece in the show, and the third one must not object. No judging process is perfect; at aiga we strive to make ours as fair as possible. For starters, jurors can only select from what has been submitted. For those who think that it is always the same firms that get awarded, consider the alternative: Should The New York Times Magazine, for instance, be “punished” for sending two or three times more submissions as other publications, even when it produces great work? The solution to this issue is to get ever-more entries from the broadest number of designers in the widest range of design disciplines, with the confidence that they will be reviewed fairly, thoroughly and thoughtfully. So, are you ready to send in your work? The next deadline is March 5, 2010. —Gabriela Mirensky, aiga director of competitions and exhibitions

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demystifying aiga competitions Recently I read the article “The Judging Process,” written by Shelley Bance, in a 1984 issue of aiga Journal of Graphic Design (vol. 2 no. 1, page 4). aiga archivist Heather Strelecki brought it to my attention when we were discussing the judging process and how to make it more transparent to those outside the judging room. Although the article is a quarter-century old, I was surprised—in both good and bad ways— to realize that not much has changed. Few shifts in 25 years make the process consistent; on the other hand, we run the risk of seeming stale and outdated. During my decade-long tenure as director of competitions at aiga, we have made significant improvements to the submission and entry process, in keeping with industry trends and technological developments. The judging process, however, has remained remarkably similar. For those of you who wonder how the process goes and what happens when the jury meets “behind closed doors” (not literally, since judging takes place on open floors), here are some facts: aiga’s current president, executive director, director of competitions and past jurors work together to identify prospective jurors, with the goal of gathering a group of experts representing a range of geographical locations, disciplines, practices, genders, ages and ethnicities. Jurors focus on the categories related to their area of expertise; in order to widen the spectrum, they do not have to be current aiga members. Since international entries became eligible for submission three years ago, we also strive to include several jurors from beyond the United States. The judging is as anonymous as we can possibly make it—the only form of identification on each entry is

AIGA 365/30

The yearâ&#x20AC;&#x2122;s best-designed graphic identities for corporations, organizations, institutions and individuals are honored in this category. Jurors evaluate each entryâ&#x20AC;&#x2122;s overall quality of visual expression; they also assess the designâ&#x20AC;&#x2122;s appropriateness relative to the entity for which it was created. Entries for new, repositioned or legacy brands are eligible.

Branding 13 500

AIGA 365 Branding

hystericalâ&#x20AC;&#x201D; laser awesome!

Primal Screen

of fun and irreverence. This montage is made up of bumpers and identities that feature a giant hot dog who finds himself in situations of escalating awesomeness. It is a silly, whimsical send-up of the action-movie genre.

Branding

Laser Awesome is a two-hour, primetime action block on Nicktoons Network. The main challenge was to create an entertaining interstitial that was distinctive from the programming and fit the network positioning

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Design firm: Primal Screen, Atlanta Creative director: Douglass Grimmett Production director: Teresa Cloud Animators: Brennan Isbell, Robert Shetler Art director: Robert Shepps Music: Stephen Mank Producer: Hunter Matheson Client: Nicktoons

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Branding: Animation Laser Awesome

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Paprika Cascades 2007 Report on Sustainable Development

As soon as we decided what paper to use, our concept was pretty clear. We wanted the document to be a good representation

of Cascades’ environmental concerns, so we decided to create a hard cover with some cardboard that usually isn’t used for publication design. It closes with a sticker and can be sent directly, without an envelope.

Branding

Cascades, a leader in paper transformation and recycling, publishes a yearly Report on Sustainable Development, announcing its environmental results. This very important document must be conceived in cohesion with Cascades’ philosophy and ethical concerns about the environment, and we had to use only Cascades’ papers.

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Design firm: Paprika, Montréal Creative director: Louis Gagnon Art director: Sebastien Bisson Photographer: Monic Richard Printer: Transcontinental Litho-Acme Printing methods: Lithography, screen print Binding methods: Side-stitch binding; the document is glued on c3 corrugated board cover Paper: Norampac, 100% recycled corrugated board (cover); Kraft #324, manufactured by Cascades East Angus, 40% recycled, 50 lb. (body) Typefaces: Akzidenz-Grotesk, Baskerville, Didot Client: Cascades Client industry: Paper transformation and recycling

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Branding: Annual Report Cascades 2007 Report on Sustainable Development

This is the environmental equivalent of an annual report: it shows the progress, stats and decisions that have been made from an ecological point of view. This document is distributed to investors, journalists, partners, employees and many others with ecological concerns.

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The inside is great: bold, with interesting typography. Nice visual texture that keeps you interested.

Branding Kazakoff Design AB

The photo agency NordicPhotos was starting two new companies (Nordic Photographers and Nordic Art Photos) and decided to create a new identity. Kazakoff

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Design firm: Kazakoff Design ab, Stockholm Creative director: Igor Kazakov Designer: Igor Kazakov Art director: Igor Kazakov Photographer: NordicPhotos Production coordinator: Johan St책lh채ll Copywriter: Igor Kazakov Producer: Arnaldur Gauti Johnson Project managers: Niklas Blomkvist, Arnaldur Gauti Johnson Printer: Ekotryckredners ab Client: NordicPhotos

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Branding: Booklet NordicPhotos Publications

Design created a new publications and design program. The inspiration came from graphics particular to photographic film.

NordicPhotos Publications

So disciplined and sophisticated. Beautiful type. Packaged very cleverly; very functional. A piece you would keep.

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Branding: Brochure NetApp

Landor Associates NetApp Brochure

and photo style. We also recommended that it formally adopt the simplified, friendliersounding name, NetApp—already in use as a nickname by many customers. To reinforce NetApp’s promise to do whatever it takes, and to go above and beyond for its customers, we developed fresh messaging, including the new humanistic brand line: “Go further, faster.”

The interesting part is the activation of the symbol. It’s great that they took this simple shape and made it proprietary.

Branding

Landor conducted extensive research with current, potential and competitors’ customers and concluded that NetApp was widely perceived as having superior technology and incredible customer service. To better communicate its desire for a strong human connection—unique commitment in the b2b and technology categories—we introduced a warmer visual identity

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Design firm: Landor Associates, San Francisco Creative director: Nicolas Aparicio Designers: J. J. Ha, Henricus Kusbiantoro, Michael Lin Art director: J. J. Ha Production director: Jo Clarke Client: NetApp

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Branding: Brochure EmblemHealth

Simple yet fun; a recognizable symbol; playful. Nice way of involving employees in the new identity.

Siegel+Gale EmblemHealth Brand Book

We developed a brand book that celebrated their shared strengths and galvanized them to work as a cohe-

sive whole. The book includes two sections: the first introduces the EmblemHealth brand platform (mission, promise, values, voice); the second recommends â&#x20AC;&#x153;real worldâ&#x20AC;? behavioral tactics and offers fun, engaging interactive activities (e.g., Emblem stickers) to help employees live the brand.

Branding

Two New York health insurers, ghi and hip, merged to form EmblemHealth. The resulting company needed to unify and inspire its employees, while encouraging a fresh perspective.

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Design firm: Siegel+Gale, New York Creative director: Young Kim Art director: Michelle Matthews Designer: Luma Eldin Photographer: J. J. Sulin Production director: Steffanie Haase Writer: Frank Oswald Project manager: Lisa King Printers: dg3, WorkFlowOne Binding methods: Perfect, pur glue Paper: Mohawk Options, pc 100, Bright White, 100 lb., cover; Mohawk Options, pc 100, White, 100 lb., text, smooth; Strip-Tac, 60 lb., semi-gloss Typeface: Gotham Client: EmblemHealth Client industry: Health care

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Spin

to make exclusive, contemporary furniture and decorative objects.

Branding

Meta, a new company formed by classic antiques dealer Mallett, commissions the best of todayâ&#x20AC;&#x2122;s furniture designers and puts them together with traditional craftsmen

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Design firm: Spin, London Creative director: Tony Brook Photographer: Lee Mawdsley Typeface: Customized by Spin Client: Mallett

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Branding: Campaign (multiple channels) Meta

Scope of work: identity, brand strategy, name, art direction, catalogue, website, signage.

Really nice, cohesive program with a very interesting font. Very rich in texture on some applications and quite sterile on others. Nicely put together. Able to take the initial from the logo and use it as a distinguished mark.

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Pentagram Design Museum of Arts and Design

The mad acronym is a great asset; it’s short, memorable and pronounceable, but, in some ways, overly

familiar. Part of our design problem was to make it surprising, less familiar and proprietary—to come up with a mad that could only be the Museum. We also wanted a way of writing the name that embodied the values of the Museum and that could appear in different ways on different occasions. The Museum, after all, is dedicated to artists who take typical forms—say, vessels or chairs—and transform them over and over again. The simple form of the new logo permits just that kind of transformation.

Branding

Pentagram created a new identity for the Museum of Arts and Design to coincide with the opening of its new home at the refurbished 2 Columbus Circle in New York. The geometric-based mark reflects the circles and squares present in the building’s shape, its location on Columbus Circle—the only circle in Manhattan’s street grid—and the building’s iconic “lollipop” columns retained in the redesign.

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Design firm: Pentagram, New York Art director: Michael Bierut Designers: Michael Bierut, Joe Marianek Typefaces: Arnhem, Futura, madface Client: Museum of Arts and Design (mad) Client industry: Nonprofit arts

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Branding: Campaign (multiple channels) Museum of Arts and Design (MAD) Identity

Really unusual combination of letters that work very well in all implementations. The logo comes alive with the application.

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Branding: Campaign (multiple channels) Hudson Gavin Martin Identity

Hudson Gavin Martin

We began a witty and engaging conversation revealing “ideas” that come in threes. The three wise men—Hudson, Gavin, Martin—are cool, calm and collected; they advise on clients’ assets, equities and liabilities and are ready, willing and able. The identity uses the copyright, trademark and registered symbols to directly reference the firm’s core business.

The diversity of the application is surprising for a law firm—for anyone, really. The logo tells you what business they are in. Intellectual property law represented intellectually.

Alt Group Limited

sandwich, for dinner a three-course meal.

Branding

Hudson Gavin Martin is a boutique legal practice formed by three partners who advise on Intellectual Property and Technology Law in Australasia. All good (and bad) things come in threes. Three is more than a partnership—it’s a team. Culture and customs offer up all sorts of threesomes, humorous and otherwise. We eat breakfast, lunch and dinner with a knife, fork and spoon. For lunch we’ll have a bacon, lettuce and tomato

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Design firm: Alt Group Limited, Auckland Creative director: Dean Poole Designers: Toby Curnow, Clem Devine, Aaron Edwards, Dean Poole, Tony Proffit Photographer: Duncan Cole Typefaces: Didot, Helvetica Neue Client: Hudson Gavin Martin

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Moving Brands E. Tautz Campaign

With such a rich history, our communications objective was to tell the story of “a wardrobe for a life less ordinary.” The identity

we created is clean and modern, with a hint of utility to reflect its military provenance. We mixed muted, natural blacks, grays and copper with a very rich, bright yellow. The yellow is hugely identifiable and unusual, and it features in many of the design expressions. To retain the Savile Row background, we used high-quality authentic materials in everything we created—heavy uncoated stocks, natural buckram, copper foil and, of course, parcel string.

Branding

Our client approached us with the challenge of creating the identity for a British brand steeped in heritage as a military outfitter, one that could thrive in today’s modern world. E. Tautz is from the stable of Norton & Sons, a Savile Row tailor, and takes the form of a luxury, ready-to-wear range of menswear.

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Design firm: Moving Brands, London Creative director: Mat Heinl Designer: Mark Thompson Project manager: Paul Martin Photographer: Adam Laycock Client: Norton & Sons Client industry: Tailors

AIGA

Branding: Campaign (multiple channels) E. Tautz

Requires a second look, and then it is spectacular.

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Office

yet known to man,” said Dave Eggers, 826 Valencia founder and McSweeney’s editor. Reflecting the store’s wildly imaginative experience, the products represent 826’s mission to support creative expression. All proceeds directly benefit 826 Valencia’s writing programs.

Branding

Office collaborated with 826 Valencia, a nonprofit tutoring center for youth, to reinvigorate its pirate-supply storefront. We developed the store’s new identity, and conceptualized and designed nearly 50 new products. “Office has produced some of the most ravishing and funny buccaneer supplies

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Design firm: Office, San Francisco Creative director: Jill Robertson Designers: Rob Alexander, Jeff Bucholtz, Will Ecke, Gaelyn Mangrum Client: 826 Valencia

The content is the brand, and the designer created the content. Purposefully overwhelming.

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Branding: Campaign (multiple channels) 826 Valencia Products

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Branding: Campaign (multiple channels) Lattitude Re-brand

Branding OPX

real difference, rather than observing from the safe distance that tourism usually offers.

Really simple; unmistakable on the outside; very well detailed on the inside. Perfect for the audience.

There were budgetary restrictions due to the nature of the industry (a charity could not spend a lot on its communications materials), but simplicity felt right anyway. Decisions on design were steered not only by the company itself but also by volunteers past and present. It was tested on its intended audience and informed by their experiences; it was a product of something real and felt. As a result, Lattitude emerged as an organization with attitude and heart.

Lattitude Re-brand

The re-branding of gap Activity Projects to Lattitude Global Volunteering covered a number of touch points, but the idea behind the look and feel was to communicate the passion felt by the volunteers themselves. The use of red was emotive and the bespoke typeface gave the identity a handwriting feel, which reflected the personal contribution volunteers make to the communities where they are placed. The effect is expressive, removing the brand from the sphere of other generic gap-year companies and appealing to an audience who wants to immerse themselves in a culture and make a

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Design firm: opx, London Art director: David Bennett Creative director: Simon Goodall Designers: Ivan Mato, Michael Weber Printer: Team Impression Printing method: Lithographic Binder: Team Impression Binding method: Perfect Paper: Robert Horne, Revive 100 Typeface: Lattitude Sans (bespoke) Client: Lattitude Global Volunteering Client industry: Volunteering and placements abroad, charity sector

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The Public Theater Identity Redesign

Appropriate evolution of a great legacy. Thereâ&#x20AC;&#x2122;s a good reason to keep some things and not reinvent.

Pentagram Design

more architectural. The new system utilizes the strict 90-degree angles of a De Stijl-inspired grid, retaining the activity of the original but providing more structure. After 15 years it was clear that the original identity had a lot of power, and while the system cannot return to that original, we can return energy to the form. The identity is a bit like New York itself: constantly evolving.

Branding

We created our first identity for the Public Theater in 1994, and the identity has evolved over the past 15 years through updates in 2005 and 2008. The new identity was introduced with the campaign for the 2008 Shakespeare in the Park productions of Hamlet and Hair. The letterforms were redrawn using Knockout, and the logo was changed from a vertical to a horizontal orientation, which makes the logo

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Design firm: Pentagram, New York Art director: Paula Scher Designers: Lisa Kitschenberg, Paula Scher Typeface: Knockout Client: The Public Theater Client industry: Nonprofit arts

AIGA

Branding: Campaign (multiple channels) The Public Theater Identity Redesign

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The expression of the brand adapts to every piece. The implementation is great—simple and straightforward, without being simplistic. Bold and elegant.

Gensler Gensler Corporate Branding 26 500

the local office level yet robust enough to reinforce Gensler’s leading position among global design firms. Thus it incorporates both the print and interactive media created and maintained by a central team, and a full collection of templates for use in marketing and business development at the local level. New content and brand oversight are provided by this central team, which works closely with practice leaders and field marketers. This helps surface and incorporate best practices from the The richness of this offer had to be captured local level, giving the brand an open-source in a brand program quality that recogsimple and flexible enough to allow for on- nizes its size, global the-fly customization at reach and diversity.

Branding

The challenge of Gensler’s externally facing brand program was to convey the culture and values of a design firm of exceptional breadth in its markets and offerings. With more than 2,500 active clients, Gensler completes close to 4,000 projects a year, ranging in size from wine labels to new urban districts. With offices in 30 cities, it has worked in 2,200 different communities, drawing on an array of design services.

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Design firm: Gensler, San Francisco Creative director: Mark Coleman Designers: Peiti Chia, Mark Jones, Joohyun Park, Tiffany Ricardo, Peter Synak Interactive designers: Jonathan Skolnick, in collaboration with Method Editors: John Parman, Matthew Richardson Writers: Barbara McCarthy, Rupal Shah Printers: Ambassador Press (folder, note card, envelope); Beijing Artron Color Printing Co., Ltd. (Cities book); Hemlock Printers Ltd. (annual report); k p Corporation (stationery); Watermark Press (brand booklets); WestDigital (proposal) Paper: Neenah, Environment pc 100, white (stationery); Mohawk Options, 100% pc, Cool White, smooth (annual report); Finch Fine, 80 lb. cover, 80 lb. text (proposal); Strathmore Script Smooth, pc 100, White, 130 lb. (folder); Finch Fine, Bright White, 130 lb. antique finish Typeface: Custom Kievit ot Client: Gensler

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Branding: Campaign (multiple channels) Gensler Corporate Branding

Gorgeous from beginning to end: color, type, materials. Very well done. Really detailed, disciplined brand book; playfulness in the print materials.

Living Proof Brand Identity

ing forms, we also named the product and created a messaging construct for expressing product benefits and increasing shopability.

Wolff Olins 27 500

all other beauty brands. As each one of Living Proofâ&#x20AC;&#x2122;s products is completely unique and solution-specific, we developed a packaging system that would mimic thatâ&#x20AC;&#x201D;each form is exclusive to a particular solution, and the system will expand with the addition of future product lines. These forms will grow into a diverse collection of shapes and sizes as the company adds new products, but will always stay rooted by material selection and color palette. In addition to creating the brand and the packag-

Branding

Living Proof was created for the purpose of applying advanced technology to solve the toughest beauty challenges. Living Proof is composed of a team of scientists from outside the beauty industry, led by mit Institute professor Dr. Robert Langer, and beauty authorities alike, who share a vision: to invent efficient formulas based on entirely new molecules and breakthrough technologies that create results you can see from across the room. Our design challenge was to create a brand that stands apart from

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Design firm: Wolff Olins, New York Creative director: Todd Simmons Designers: Tiziana Haug, Sung Kim, Peter Sunna Illustrator: Tiziana Haug Production director: Beth Kovalsky Production manager: Michele Miller Packaging consultant: Barbara Spakowski & Associates Writers: Carmine Montalto, Mary Ellen Muckerman Content strategist: Mary Ellen Muckerman Project managers: Veronica Otto, Erin Roh Structural designer: Wolff Olins Printers: Master Digital (guidelines book); Toppan (card pack) Printing methods: Offset lithography (card pack); Indigo Digital Press (guidelines book) Binder: Master Digital Paper: Montauk Gloss, 111 lb. + 11.4 pt Invercote c2s, white, matte (card pack); Finch Fine, Bright White, 100 lb., c + 80 lb. t (guidelines book) Manufacturers: Asia Dispensing (caps); M&H Plastics usa (bottle) Typeface: dtl Documenta Client: Living Proof Client industry: Beauty

AIGA

Branding: Campaign (multiple channels) Living Proof Brand Identity

lg2boutique MaisonThéâtre Platform

immediate understanding of their mandate: more family, more professional, more entertaining, easily remembered. The Maison Théâtre project is strongly inspired by the playful, colorful world of children. The logo is an abstract representation of two spotlights interlocking, creating a new, naive geometric form. The two fonts, Marie Script and Tommy Bold, were created to add a childlike look.

Branding

Maison Théâtre puts on plays conceived and performed by professionals, for 2- to 17year-olds. Adults are the primary influencers in the decision-making process, though, and they also have a good time while accompanying their children. We had to give the company a recognizable, clear and desirable identity in the culturalfamily-entertainment world–and to underpin this with a simple descriptor that fostered

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Design firm: lg2boutique, Montréal Creative director: Claude Auchu Art director: Anne-Marie Clermont Designers: Julie Bisson, Tania Chiarotto, Anne-Marie Clermont Editor: Gilles Chouinard Content strategist: Pénélope Fournier Typefaces: Marie Script, Tommy Bold Client: Maison Théâtre

AIGA

Branding: Campaign (multiple channels) Maison Théâtre Platform

Simple, appropriate, fun. Delightful job in two colors. Used the various parts of the logo very well. Never too young to have something sophisticated.

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Swisscom Re-brand 29

Comprehensive. Interesting that they managed to have all these different companies come together into one. It’s really good; well thought out, which is very hard to do with a group of companies. Animated logo makes it.

Moving Brands

Our key objective was to create a living, moving identity to engage people through sound, motion and interaction. The new brandmark is a constantly moving life form, with free-flowing planes that reflect Swisscom’s multisensory customer offering. The revolving planes pivot around a fixed axis, symbolizing Swisscom’s strong heritage as a trusted national provider of technology.

Branding

The re-brand of Swisscom, the numberone telecoms operator in Switzerland, was part of the strategic consolidation of multiple businesses into a single unified brand. This shifted the focus of communications away from telecoms and it toward a warm relationship with customers based on media and entertainment.

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Design firm: Moving Brands, London Creative director: Guy Wolstenholme Art directors: Darren Bowles, David Eveleigh-Evans Designers: Luke Alexander, James Brand, Mat Heinl, Jon Hewitt, Jack Laurance, Joseph Luffman, Karsten Schmidt, Paul Stafford, Stephen Wells Illustrators: Jess Jones, David Turfit Project managers: Hanna Laikko, Paul Martin Editor: Jack Laurance Writer: Philip Browning Client: Swisscom Client industry: Telecommunications

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Branding: Campaign (multiple channels) Swisscom Re-brand

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Branding: Catalogue Bricmate Catalogue

Branding Kazakoff Design AB

color in 100% scale. On the opposite page the consumer can find information about size availability, the article number and pricing. The cover adds 3-d to the catalogue—a porcelain tile. The newly designed catalogue creates a competitive advantage for the company and gives better information to the customer.

Bricmate Catalogue

Bricmate is a Swedish company that specializes in selling ceramic and porcelain tiles. Kazakoff Design has created a new system for Bricmate’s catalogue, which contains the entire product range and shows the various sizes and colors available. The pages show products on a full page where one can see the structure and

365/30

Design firm: Kazakoff Design ab, Stockholm Creative director: Igor Kazakov Designer: Igor Kazakov Art director: Igor Kazakov Production coordinator: Johan Stålhäll Copywriter: Christer Alm Producer: Hans Croon Printer: EkotryckRedners ab Client: Bricmate Client industry: Bricmate

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Incredibly understated, restrained to the point of creating intrigue and mystery. Beautiful; takes away from the expected vocabulary.

Domison Identity Program

Once the logo was done, it became more of a “universe” than a logo. As the project

This is an evolving concept. When creating a new piece, we pick something from the old, but we give ourselves the right to change it. This way, the program evolves and takes a direction that we couldn’t have planned at the beginning of the project.

Paprika

For the logo, the client requested that we create something classical. We did little intervention on the typography; tweaking the I in Domison while cutting its hair stroke. Then we added the leaf of a gingko, an old Chinese tree.

“grew,” it became “organic,” with very few constraints. We treat the leaf and the name like graphic elements, creating patterns, playing with the logo. We make it move, change its angle, repeat it, etc. We play with juxtaposition, transparency, overlapping and duplication of elements.

Branding

Domison is a furniture brand whose goal is to grant access to good design to everyone. They created a line of furniture that is sophisticated and classical. It is accessible, but still very well done.

365/30

Design firm: Paprika, Montréal Creative director: Louis Gagnon Art director: Rene Clement Client: Domison Client industry: Furniture

AIGA

Branding: Environment Domison Identity Program

Integrates the brand into an environment in so many interesting ways. Endless textures; sense of discovery; poetic.

31 500

AIGA

Branding: Environment Hudson Gavin Martin Corporate Art Collection

Branding Alt Group Limited

sandwich, for dinner a three-course meal. We began a witty and engaging conversation revealing “ideas” that come in threes. The three wise men—Hudson, Gavin, Martin—are cool, calm and collected; they advise on clients’ assets, equities and liabilities and are ready, willing and able. The identity uses the copyright, trademark and registered symbols to directly reference the firm’s core business.

Hudson Gavin Martin

365/30

The best law firm identity we have ever seen. Three partners, use of triplets. Bold graphic and whimsy create the unexpected. We congratulate the collaborations.

32 500

AIGA

Branding: Environment Gensler Chicago

Gensler Chicago 33

This is what happens when a graphic designer takes the space. It is a true multidisciplinary collaboration. There is a good separation between the old and new. We love the interaction button wall! A great invention!

Gensler

the stair behind the adjacent wall. A wall in the open workspace is transformed monthly. Each Velcro-attached disk, represents one of six levels of gray. A wall covering of numbered circles creates a placement template. The first composition on move-in day was President Madison, as the official address changed from Monroe to Madison Gensler is rendered in the everyday language Street. Quotes from Sullivan and Daniel of a design firm. The Burnham adorn the name emerges in a glass on conference mosaic of floor plans rooms. Glass fronts from buildings the office has touched over on private offices and huddle rooms display a decade of practice abstracted enlargements in Chicago. A gate, of patterns derived designed to close the from the celebrated office after hours, showcases the Sullivan- Sullivan column capitals that were preserved designed ornate stair. throughout the office. A large-format photo on the gate “reveals”

Branding

Entering Gensler’s office in the Carson Pirie Scott building designed by Louis Sullivan, visitors cross a wall of “cubbies,” each owned by an employee. Taken together they represent the collective power of all. Over time the cubbies are refreshed to indulge the joy of creation.

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Design firm: Gensler, Chicago Creative director: Carlos Martinez Art director: Deborah Beckett Designers: Chad Finken, Daphne Firos Production director: Margaret Goddard-Knop Client: Gensler

500

Branding: Logo We

COLLINS:

Our belief: the logo represents exactly what it takes to solve the problem—all of us. It embodies the guiding principle of any successful alliance: the responsibility is with “me,” but the real power is with “we.” We

Our vision: since the audience is everyone, we flipped the m in the word me to create a bigger, more inclusive idea: “we.” This conveys the importance of

personal initiative, but also combines it with a call to collective action.

Branding

Our challenge: to take an idea as complex— and potentially intimidating—as stopping global climate change and present it as an achievable goal.

365/30

Design firm: collins:, New York Creative directors: Brian Collins (collins:); Raymond McKinney, Sean Riley (The Martin Agency) Art director: Ty Harper (The Martin Agency) Designers: John Moon, Mickey Pangilinan Typefaces: Chester Jenkins, Typographer, Village Client: The Alliance for Climate Protection

AIGA

Once in a while, you get the perfect word and the perfect client. It takes a lot of restraint and discipline to know when to stop.

34 500

AIGA

Branding: Logo Encore Careers

365/30 Branding Landor Associates

Design firm: Landor Associates, San Francisco Art director: Paul Chock Creative director: Christopher Lehmann Designer: Gaston Yagmourian Photographers: Bill Bamberger, stock Production director: Jo Clarke Production artist: Michael Weil Writer: Cori Constantine Project managers: Justin Epstein, David Perls Typeface: Foundry Sterling Client: Encore Careers Client industries: Institutions, nonprofits

The application makes the logo come alive; encourages whoever is implementing the mark to have fun.

the focal point of the identity. The design aligns one’s earlier career with possibilities for the future. The Encore Careers movement is creating broad awareness and appeal around a galvanizing idea, building a community of passionate followers and spreading the word virally.

Encore Careers Logo

The inspiration for the Encore Careers visual identity came from a quote by noted cultural anthropologist Mary Catherine Bateson: “The famous midlife crisis is a search for punctuation, for the feeling that one is making a new start.” The semicolon as a graphic device is

35 500

AIGA

Branding: Logo Bobby’s Burger Palace Identity

Branding Pentagram Design

The identity for Bobby’s Burger Palace, the new joint from celebrity chef Bobby Flay, makes “burger” the tasty center of a logotype sandwich that has been blessed with an even number of letters in each word, set in a customized version of Hoefler & Frere-Jones’ Knockout font. The bright colors match

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Design firm: Pentagram, New York Art director: Michael Bierut Designers: Michael Bierut, Joe Marianek Typeface: Customized Knockout Client: Bobby’s Burger Palace Client industry: Hospitality

Flay’s bold flavors. In print applications, the graphics demonstrate his exuberant personality via Flayisms like “Bobby says we’re goin’ to the bbp” and “Bobby reminds you to ask about our topless burger.” The interior design is by the Rockwell Group, based on the lines and colors of Pentagram’s identity.

Bobby’s Burger Palace Identity 36 500

Like...fun and appropriate. Makes you want to eat there. It’s like a burger joint, but better.

Pentagram Design The Oak Room Identity

each featured Frakturstyle lettering, but the existing examples and the historical archives revealed little consistency. We carefully redrew the letters to create new logotypes for each venue, and also created something new: an O monogram, flanked by acorns, used as a secondary logo and repeat pattern on fabrics and finishes. The colors and materials specified for menus, matchbooks and other items coordinate with the accents of copper and green of the interior design.

Branding

The landmarked Oak Room in New York’s Plaza Hotel reopened in 2008 after an extensive renovation that updated the restaurant’s original 1907 wood-paneled interior to appeal to a new generation of genteel patrons. Although modern touches abound, we made a decision at the outset to channel the restaurant’s great iconic history. Our graphic identity, commissioned in conjunction with the renovation, was inspired by the original Oak Room and Oak Bar logos. These

365/30

Design firm: Pentagram, New York Art director: Michael Bierut Designers: Michael Bierut, Yve Ludwig Typefaces: Custom Logotype, Gotham Client: The Oak Room Client industry: Hospitality

AIGA

Branding: Logo The Oak Room Identity

Elegant, appropriate, well crafted and exquisitely applied.

37 500

Pentagram Design OLIN Identity

a logotype in Gotham Black, characterized by a redrawn O. The simplicity of the name and mark are counterbalanced by vibrant color options and flexible logo compositions that allow for a customizable identity. We also designed a website that extends the identity into a navigable experience, encouraging users to view the firmâ&#x20AC;&#x2122;s work through a series of different lenses, complementing the firmâ&#x20AC;&#x2122;s deep understanding of public space.

Branding

olin is a landscape architecture, urban design and planning firm that is internationally recognized for creating spaces that promote social interaction and for emphasizing environmental, economic and social sustainability in their work. The firm was previously known as Olin Partnership, and the new identity coincided with the introduction of the abbreviated name. The identity is composed of an icon of two perfect circles and

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Design firm: Pentagram, New York Art director: Abbott Miller Designers: Abbott Miller, Kristen Spilman Typefaces: Custom Logotype, Gotham Black Client: olin Client industries: Landscape architecture, urban design and planning

AIGA

How simple can you get and still be interesting? The website brings it all alive. Lots of cues: circles, colors, etc.

Branding: Logo OLIN Identity

38 500

Turner Duckworth Metallica, Death Magnetic

coffin-shaped special edition and a vinyl boxed set. A design kit including logos, imagery and graphics was distributed to the band’s record companies to produce promotional materials around the world.

Branding

To provide an integrated marketing launch for all packaging and promotional pieces, we reworked the classic Metallica logo, created a signature typographic style, and extended the concept to various materials including a flag, a

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Design firm: Turner Duckworth, San Francisco Creative directors: Bruce Duckworth, Sarah Moffat, David Turner Designers: Emily Charette, Brian Labus, Jamie McCathie, Marty O’Connor Photographers: Anton Corbijn, Robert Daly, Andy Grimshaw, Britt Hull, Gavin Hurrell, Mike Kemp, Missouri State Highway Patrol, Harper Reed, Tom Schierlitz, Craig Snelgrove, David Turner Production director: Craig Snelgrove Project manager: Jessica Rogers Client: Metallica

Sells out without selling out. It’s a corporate identity that doesn’t look corporate. Dead on!

AIGA

Branding: limited-edition Metallica, Death Magnetic, limited edition vinyl boxed set

39 500

Sagmeister, Inc.

buttons, and incorporating “This is a pair of Levi’s, sewed with the strongest thread,” conveniently found on the inside pocket of the jeans.

Branding

When Levi’s asked us to design a poster for the 501, we simply took a picture of their jeans—but not before deconstructing them down to the individual threads and

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Design firm: Sagmeister, Inc., New York Creative director: Stefan Sagmeister Designers: Joe Shouldice, Richard The Photographer: Tom Schierlitz Trim size: 33 x 47 (a0) Client: Levi Strauss and Co.

AIGA

Branding: Poster The Strongest Thread

Terrific! Great idea; well executed. So expressive in spite of using a single element. A beautiful piece of persuasive art.

The Strongest Thread 40 500

Hornall Anderson Mammoth “Unbound”

destination ski area. Unbound, the Mammoth snowboard park—a series of 77 runs—has a radical, loose and expressive look and feel. The Mammoth logo is used as a post-applied element, like a spraypainted image turned upside down to be more freestyle—a little reminiscent of a U. To give Unbound its own visual system, the Mammoth logo is flipped. Unbound is the subculture at Mammoth, and we needed to link the two while giving the Unbound people a way to express themselves.

Branding

Come as you are! This casual, laidback message represents the Mammoth mantra, emphasizing the unconventional Southern Californian lifestyle and reflecting their authentic personality. The initial creative scope focused solely on a visual system, but the project quickly turned to rebranding the mountain to better reflect who they wanted to be, capturing the spirit of California and what Mammoth represents: a unique offering of a surf-culture environment at the mountains and an international-

We love the upside-down type and imagine the audience really identifies with it.

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Design firm: Hornall Anderson, Seattle Creative directors: Jack Anderson, David Bates Designers: David Bates, Javas Lehn Client: Mammoth Resort Client industries: Travel, recreation

AIGA

Branding: Poster Mammoth “Unbound”

41 500

Branding Barretto-Co.

Named after the freewheeling gypsy, Gitane is a modern, funky and artistically bold restaurant in downtown San Francisco. Barretto-Co.

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Design firm: Barretto-Co., San Francisco Creative director: Steve Barretto Designers: Steve Barretto, Katharina Schultz Photographer: Jeff Dow Production artist: Katharina Schultz Interior designer: Charles Doell Muralist: Masterpiece Signs Neon Signmaker: Sign & Sign Again Clients: Gitane, Franck LeClerc Client industry: Food

AIGA

Branding: Signage Gitane Restaurant outdoor sign and mural

was inspired to create a graphic solution that is as unique and memorable as the interior design and dining experience. Fun and interesting graphics; canâ&#x20AC;&#x2122;t help but go in! Sophisticated mix of vernaculars; elegantly funky.

Gitane Restaurant 42 500

AIGA

Branding: Website, business Nokia viNe

R/GA Nokia viNe

Nokia viNe also represents a new way of approaching branding, in which name, design and functional interface are seamlessly combined—the first time intuitive brand design has served as both the branding and the interface of an application. Nokia viNe makes it easier than ever for users to preserve their experiences. And while users are recording their lives, they are creating and sharing the Nokia brand.

Branding

Nokia viNe is a breakthrough mobile application that records photos, videos and music while geo-tagging them to a multimedia map of the user’s life. The mobile application simultaneously broadcasts to the web to form the ultimate social travelogue—an easy way to relive, search and share one’s mobile experiences in real time. I can vine, I can have a vine, or I can be vining. Nokia viNe evolves blogging from a solitary activity to a live geo-social digital experience.

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Design firm: r/ga, London Creative directors: Carla Echevarria, Virgilio Santos, Marc Shillum, James Temple Art director: Nathalie Huni Designers: Gustav Arnetz, Ennio Franco, Rasmus Knutsson Interactive designer: Kathrin Hoffmann Producers: Dylan Connerton, Krystal-Joy Williams Copywriter: Neil Starr Programmers: Ben Doran, Neil Duggan, Nicolas Le Pallec, Ozay Olkan, Michael Potts, Jolyon Russ, Kevin Sutherland, Tomas Vorobjov Content strategists: Barry Fleming, Luane Kohnke, Shirley Wong, Jonathan Ziegel Client: Nokia

A truly exceptional approach to branding; the interface itself is the brand. Very smart and delightful; effective, economical, brilliant.

43 500

Ripple Effect 44 500

concept. As a result, we helped encourage the universityâ&#x20AC;&#x2122;s president to provide funding for Ripple Effect. Enlisting e-commerce best practices, we provided a fresh and tangible way of looking at charitable donating on a national and international level. The website provides an intuitive buy flow and recommendations for popular gift kits, while demonstrating the residual positive impact one person can have on an entire community. Ripple Effect is a vehicle that allows users to join together as part of a bigger endeavor: e-commerce meets social networking meets nonprofit.

Hornall Anderson

Gifting that can change an individual, a community, a nation: that is the Ripple Effect. Powered by Washington State University (wsu), Ripple Effect provides individual and corporate donors with a tangible means of giving to generate a positive impact on people, their families and communities in developing countries such as Malawi. wsu called on Hornall Anderson to create an e-commerce tool that tells a story, emphasizing a uniquely transparent way to give through an emotive online experience. We developed a modern and distinct logo/mark, name and prototype site to serve as proof of

Branding

This project deserves recognition on many levels. It brings an effective fund-raising tool to the public in a form that is both clear and fun.

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Design firm: Hornall Anderson, Seattle Creative director: Jamie Monberg Interactive designers: Rachel Blakely, Don Kenoyer, Joseph King Producers: Zak Menkel, Halli Brunkella Thiel Developers: Matt Frickelton, Luke Jennings, Gordon Mueller Copywriter: Ben Steele Client: Washington State University

AIGA

Branding: Website, educational and nonprofit Ripple Effect

Massachusetts General Hospital Redesign 45

This hospital site is exceptional for the accessibility of its deep content. We are convinced that users will not only find what they need quickly but also gain a sense of assurance from the experience.

Massachusetts General Hospital

Most importantly, the cms allows publishers to make relationships with online content to present the most important and contextually relevant information to the hospitalâ&#x20AC;&#x2122;s primary target audience of prospective patients, existing patients, caregivers and referring physicians during their online hospital decisionmaking process.

Branding

The goal of the new massgeneral.org is to engage a consumerpatient audience in an ever-changing consumer-healthcare-driven landscape. The new website provides modernized design and functionality to more than 400 entities across the hospital and, through a centralized contentmanagement system (cms), offers new ways to create, publish and edit content.

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Design firm: Massachusetts General Hospital, Boston Creative director: Gene Lee (IconNicholson) Art director: Gretchen May Interactive designer: Benjamin Ashfield (IconNicholson) Information architect: Leslie Dann (IconNicholson) Content strategist: Michael Spinella (IconNicholson) Producer: Kristen Drury Photographer: Bill Truslow Writer: The Hired Pens Editor: Dawn Scarola Production director: Shawn M. Gross Production coordinator: Octavio Marin (IconNicholson) Project manager: Jeni Cram Client: Massachusetts General Hospital Client industry: Health care

AIGA

Branding: Website, educational and nonprofit Massachusetts General Hospital Redesign

500

Office of Arts Education

This site provides useful content through a clean and elegant interface. It is the opposite of fussy.

Firebelly Design

and support for teachers, students, parents and community arts partners could be easily accessed by specific discipline. We designed and developed the website and custom content-management system using RoR (Ruby on Rails).

Branding

The Office of Arts Education was recently created to oversee, shape and promote art—in all its forms— across Chicago’s more than 600 public elementary and high schools. The objective was to create a hub of communication where a wealth of resources

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Design firm: Firebelly Design, Chicago Creative director: Dawn Hancock Designer: Will Miller Information architects: Tom Galant, Antonio Garcia, Keith Norman Content strategist: Antonio Garcia Typeface: Gotham Client: Chicago Public Schools Client industry: Education

AIGA

Branding: Website, multi-user community and blogs Office of Arts Education

46 500

Scandinavian Furniture in Milan

If you recognize it, itâ&#x20AC;&#x2122;s for you! Plays on the iconography. Great that they found a way to communicate the designersâ&#x20AC;&#x2122; names and the silhouette of iconic furniture pieces all in one color.

Teikna Graphic Design, Inc.

We felt it was a good idea to reinforce the fact that mc Selvini is the true source for real Scandinavian design in Italy. Thus we decided to go with a bold, easy (and cost-effective) approach that reflects the inner strength of true design, just like the pieces mc Selvini sells.

Branding

Milan-based furniture retailer mc Selvini has been an active force in the mid-century modern Scandinavian design market since the 1920s. Lately, though, knockoffs have been popping up everywhere, lowering the bar for quality and damaging the reputation of authentic design pieces.

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Design firm: Teikna Graphic Design, Inc., Toronto Art director: Claudia Neri Illustrator: Claudia Neri Designer: Claudia Neri Printer: Litogramma Printing methods: Offset, 1-color Paper: Fedrigoni, Sirio, White White Client: mc Selvini Client industry: Furniture

AIGA

Branding: Calendar Scandinavian Furniture in Milan

47 500

AIGA 365/30 Entertaining Branding 48 500

AIGA 365 Entertaining

Branding Entertaining Experimenting Informing Packaging Promoting

year’s best-designed graphic identities TheThe year’s best works designed to amuse an for audience corporations, organizations, institutions and individuals are honored in this category. It’s not about work done are honored in this competition. Jurors evaluated for the entertainment industry, but pieces designed for entry’s overall quality of visual expression; they also theeach purpose of entertaining—they do not sell, brand assessed the design’s appropriateness relative to the or promote anything in particular. Jurors evaluate each entity for which it was created. entry’s overall quality of visual expression; they also assess the design’s appropriateness relative to the Jurors: entity forAdams, whichAdamsMorioka, it was created. Los Angeles Sean Janet DeDonato, Methodologie, Seattle Michael Vanderbyl, Vanderbyl Design, San Francisco

Blok Design

Construcci贸n, an art program examining the creative processes of leading visual artists in Mexico.

Entertaining

Working in collaboration with Crush in Toronto, we developed this fluid visual identity and opening sequence for Arte en

365/30

Design firm: Blok Design, Mexico City Creative directors: Vanessa Eckstein, Natasha Rand (Crush), Gary Thomas (Crush) Designers: Mariana Contegni, Vanessa Eckstein, Patricia Kleeberg Director: Adrian Lawrence (Crush) Producers: Debbie Cooke (Crush), Stephanie Pennington (Crush) Client: Jumex

Nice utilization of focus and depth of field to draw attention to the craft of the creations.

AIGA

Entertaining: Animation Arte en Construcci贸n

Arte en Construcci贸n 49 500

Hunter Gatherer

ping photos of black holes, and enabling governments to spy on obscure regions of Afghanistan. Leroy Chiao, the 311th astronaut in space, takes us on a tour of some satellites past and present.

Entertaining

There are more than 3,000 satellites orbiting earth. While we go about our daily lives, these contraptions are hard at work in our stratosphere, beaming the latest episodes of American Idol, snap-

365/30

Design firm: Hunter Gatherer, New York Director: Todd St. John Production artists: Ashley Norton, Phil Pinto, Jeff Shepherd, Leta Sobierajski, Huy Vu, Macon York Client: good magazine

AIGA

Entertaining: Animation Satellites

Whimsical, clear, thoroughly delightful and informative.

Satellites 50 500

Alt Group Limited

stated three times and the gift itself was in three parts: wine, a rolling pin and a candle—all the ingredients for a celebration, or three. A holy trinity, if you will.

Intellectual property is a subject that is often difficult to grasp. The brilliance of showing the same object shaped in three different materials pays homage to this.

Entertaining

We were charged with developing a Christmas gift for intellectual property law firm Hudson Gavin Martin. The concept of three is an important part of the Hudson Gavin Martin brand. Christmas was

These three materials—grain, wood and wax—are exciting together. Message and typography is confident and authentic. An object of desire!

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Design firm: Alt Group Limited, Auckland Creative director: Dean Poole Designer: Aaron Edwards, Tony Proffit Fabricators: Monument, Notre Vie, Woodcroft Industries Manufacturer: Ngatarawa Wines Typeface: Didot, Helvetica Neue Client: Hudson Gavin Martin

The ©h®is™as as type was a bit tough to decipher. The tactile quality of the materials was irresistible. Highly conceptual, wonderfully tactile!

AIGA

Entertaining: Giveaway Hudson Gavin Martin ©h®is™as

Hudson Gavin Martin ©h® is™as 51 500

The material choice, casual folky illustration style, and environmentally hip copy make this tote make sense in all ways.

Turnstyle Promo Tote Bags

A promotional piece I would actually enjoy having and using! Fresh and easy typographic application with a beautiful color palette. Materials and printing technique also appreciated; a nice quality piece.

Turnstyle

ing the importance of environmental impact, this series of bags is sort of a tonguein-cheek nod to just that. It was given as a holiday promotion.

Entertaining

“This is neither plastic nor English.” We wanted to create a tote that was unique, while acknowledging that it doesn’t stray far from existing didactic canvas bags. Without overstat-

365/30

Design firm: Turnstyle, Seattle Creative directors: Ben Graham, Steve Watson Art director: Ben Graham Designer: Madeleine Eiche Printer: Inter City Empire Printing method: Screen-printed on canvas Typeface: Hand-lettering Client: Turnstyle

AIGA

Entertaining: Giveaway Turnstyle Promo Tote Bags

Small copy is fun. Bold graphics are refreshingly surprising and provide nice energy.

52 500

LELcollective Good Hotel

a grassroots ensemble of furniture experts to produce locally made, low-carbonfootprint custom pieces. ReadyMade light fixtures, Ohio Design platform beds and Thomas Wold coffee tables and computer bar add to the local design sensibility. The art experiences are playful, too, with touch points folded into the guest experience. With the addition of a photo booth, Co-creation wall, Daydream blinds and Cookoo Timezones, the guest relationship extends beyond the traditional “Welcome and enjoy your stay.”

Entertaining

Good Hotel is a San Francisco-style concept destination that was voted number one in California Home+Design’s “Ten to Watch: The Coolest Hotel Designs in California” editorial feature. The designers, Anthony Laurino and Nao Etsuki Lee, approached the hospitality experience through the concepts of having fun, creating an engaged guest community and being good. Merging the hotel’s personality and spaceplanning needs while striving to be green, the design team assembled

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Design firm: lelcollective, San Rafael, California Creative director: Anthony Laurino Art directors: Anthony Laurino, Nao Etsuki Lee Designers: Anthony Laurino, Nao Etsuki Lee Photographers: Christian Horan, Anthony Laurino Printer: Fast Signs Client industry: Hospitality Client: Joie de Vivre Hospitality/Big Rock Partners

AIGA

Entertaining: Immersive Experience Good Hotel

This project uses space, devices and everyday objects to create identity and brand experience. The work is participatory and memorable through fun and interactive landscape. It is on a level that relates to all ages and positions—delightful!

53 500

Sagmeister, Inc. Obsessions Make My Life Worse and My Work Better

After completion, the coins were left free and unguarded for the public to interact with. Less than 20 hours after the grand opening, a local resident noticed a person bagging the coins and taking them away. Protective of the piece they had watched being created, they call the police. After stopping the “criminal,” the police—in an effort to “preserve the artwork”—swept up every remaining cent and carted them away.

The amount of planning and the method of installation with such a simple repetition of a module is incredible. The effect of the final piece and the 3-D quality is fantastic.

Entertaining

On September 13, 2008, Sagmeister, Inc. began the installation of 250,000 Eurocents on Waagdragerhof Square in Amsterdam. Over the course of eight days and with the help of more than 100 volunteers, the coins were sorted into four different shades, and carefully placed over this 300-square-meter area, according to a master plan. The coin mural spelled out the sentence, “Obsessions make my life worse and my work better.”

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Design firm: Sagmeister, Inc., New York Creative director: Stefan Sagmeister Designers: Joe Shouldice, Richard The Project manager: Maaike Gottschal Trim size: 75 feet x 40 feet Typeface: Custom (Richard The) Client: Experimenta

AIGA

Entertaining: Immersive Experience Obsessions Make My Life Worse and My Work Better

54 500

The raw typographic treatment next to the staged feeling of the photograph says it all.

James Franco Sends His Regrets

Simple and bold. Consistent use of the “interface” windows.

the old Apple “bomb” being the most memorable (and menacing) graphic representation we could conjure. Whenever that grim little icon appears, your only choice is to make a clean start.

Entertaining

The subhead for this profile speaks to James Franco’s past mistakes and new beginnings. For those of us who spend the better part of our day looking at a computer screen, this translates to one word—“restart”—with

365/30

Design firm: gq, New York Art director: Fred Woodward Designer: Anton Ioukhnovets Photographer: Nathaniel Goldberg Director of photography: Dora Somosi Client: gq

AIGA

Entertaining: Magazine Article James Franco Sends His Regrets

Bit-map graphics are stripped-down visuals against the oft-hyped celebrity persona. The design shows restraint while still connecting to a very techno-minded, visually stimulated audience.

55 500

Bine Design Windhover 08

or being left behind, but that carries meaning and is not to be disposed of, just as each student leaves behind an imprint during his or her time in college. Certain design elements were used and repeated throughout the pages to further convey the concept, create rhythm and pace, and establish an overall commonality among variety. Tracing contours to echo certain shapes then accumulating them for the cd design as well as wrapping images to create continuity throughout the magazine were implemented as part of our design process.

Entertaining

Windhover is the undergraduate literary magazine of North Carolina State University. The magazine is published annually through Student Media, and it features studentsubmitted prose, poetry, essays, art, design and a music-compilation disc. The design team faced the challenge of working within a reduced budget to integrate a variety of submissions that demonstrate the breadth of creative talent at the university. Our concept for the 42nd edition was simple: residue. In other words, the idea of something remaining

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Design firm: Bine Design, Concord, North Carolina Designers: Ioana Balasa, Elena Bondar, Nicole Kraieski, Becca Mayfield Editors: Hannah Richardson, Joe Wright Typeface: Priori Printer: Theo Davis Printing Client: nc State Student Media

AIGA

Entertaining: Magazine Windhover 08

Tight and well designed the whole way through. So much fun.

56 500

Flip-book treatment is nice visual illustration of the dancer’s movement. Rubber-like cover seemed to be a paper trend this year.

Entertaining Pentagram Design 2wice: False Start

name. Readers can take each page as a portrait or take it as a progression, with a beginning, middle and end, viewing each page as a frame in an animation. Bokaer’s dance is an elegant condensation of modern visual and performing arts, reflecting influences from artists such as John Cage, Merce Cunningham, False Start is a collabo- Eadweard Muybridge, ration between dancer- Jasper Johns and Marcel Duchamp. choreographer Jonah Our approach to the Bokaer, photographer publication was to let Joachim Ladefoged all of those echoes play and designer Abbott out in an extremely Miller. We designed it simple presentation that as a 97-page flip-book allows the complexithat allows readers to ties to unfold in the re-animate Bokaer’s reader’s hands. dance of the same 2wice is a visual and performing arts journal built around specific themes that are explored through essays and performances conceived for the page. Some performances are based on an existing piece of choreography while others are developed uniquely for 2wice.

Flip-book turned dance—an appropriate use for the intent. The abstract letterforms are also a simple and light interpretation of the human form.

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Design firm: Pentagram Design, New York Art director: Abbott Miller Photographer: Joachim Ladefoged Designers: Eric Karnes, Abbott Miller, Kristen Spilman Editors: Abbott Miller, Patsy Tarr Printer: Monroe Litho, Inc. Paper: Neenah Coronado sst, Bright White, 80 lb., cover, stipple; Neenah Coronado sst, Soft Touch, Sirius White, 110 lb., cover Typefaces: Akkurat, Frieze, hand-lettering Client: 2wice Arts Foundation Client industries: Performing arts, nonprofit

A very aesthetic piece of print with incredible line of finish. Typography, photography, printing and paper choice are immaculate. 2wice does it again.

AIGA

Entertaining: Magazine 2wice: False Start

57 500

Verse Proximity 002 (Cover)

Cities Issue”—to this collection of writing and documentation of little-known artists, ephemeral art scenes and artistically inspirational locations around the world. The cover photography is an appropriately abstract cityscape by Daniel Everett.

Entertaining

A Chicago-based art journal providing an alternative review of contemporary art and culture, Proximity strives “to unearth and map underrepresented artistic endeavors in all locations and localities.” The second issue gives a whimsical title—the “Imaginary

365/30

Design firm: Verse, New York Creative director: Michael Freimuth Art director: Michael Freimuth Designer: Michael Freimuth Editors: Mairead Case, Ed Marszewski, Rachel Marszewski Photographer: Daniel Everett Writer: Mairead Case Director of photography: Michael Freimuth Printer: kk Stevens Printing methods: Web, conventional offset Binder: kk Stevens Binding method: Perfect Paper: Newsprint, Premium White, 80 lb. Client: Proximity Client industry: Publishing

AIGA

Entertaining: Magazine Proximity 002 (Cover)

A well-designed and digestible journal. Format, uncoated paper and grid are good in the hand and easy to read. Unpretentious and functional.

This publication feels natural and smart as the cover sets you up for a variety of content within.

Typography sets the tone and provides a foundation for many varied and interesting elements.

500

Colors, textures and smart thinking. Nice to see a piece that helps promote multiple people (illustrators).

Entertaining Studio on Fire

Letter pressed desktop calendar product with the theme, â&#x20AC;&#x153;Hair & Fur.â&#x20AC;?

Letterpress and illustration heaven. A promotional item you use but will also hold onto forever.

365/30

Design firm: Studio on Fire, Minneapolis Creative director: Benjamin Levitz Designer: Studio on Fire Production director: Selina Larsen Illustrators: Justin Blyth, Clarimus, Adam Garcia, Brian Gunderson, Benjamin Levitz, Rinzen Printer: Studio on Fire Printing method: 4-color letterpress Paper: 100% tree-free cotton stock Client: Studio on Fire

A lovely little piece done with love! The letterpress printing is beautiful.

AIGA

Entertaining: Calendar 2009 Desktop Calendar

2009 Desktop Calendar 59 500

365/30 Experimenting 60 500

Aiga 365 Experimenting

AIGA

This category is distinct from all the others—perhaps the only client involved was you. It’s about personal expression; your idea is the genesis of the piece. A successful “Experimental” piece would have a viral, word-of-mouth quality to it, enabling and creating a community. Its driving force is the desire to engage the audience/user at an emotional level and provide some level of surprise or pleasure. Jurors evaluate each work’s integrated design approach, including typography and other visual elements, information design and/or sound and motion, and its effectiveness.

The Crisis of Credit Visualized

Making sense of the complex should be the hallmark of every designer. Jonathan made clear a subject weâ&#x20AC;&#x2122;re still trying to figure out.

Jonathan Jarvis

leverage to subprime mortgages. Complex concepts like these are attached to simple graphic forms, like a box or bomb. Once the association between the concept (abstract) and the form (representational) is established, the graphics can then be assembled in a narrative. The narrative goes on to draw clear relationships between the graphics, setting up a framework into which the concepts can be inserted and understood.

Experimenting

The Crisis of Credit Visualized distills the economic crisis into a short and simple story by giving it form. It is an example of how research, information design and expository writing come together to model a complex situation and communicate it to others. The piece works as an expository visual essay that sets up a visual language, which it then layers and remixes to help the audience comprehend a wide range of related ideas, from

365/30

Design firm: Jonathan Jarvis, Fairfield, Iowa Director: Jonathan Jarvis Music: Brandon Au

AIGA

Experimenting: Animations The Crisis of Credit Visualized

61 500

Exploring outdoor clothing in the outdoors gives you a “Duh...why didn’t I think of that?” moment. There is no line between photography and the interface. Truly gorgeous.

Nau Concept Site

The goal was to design an ecommerce experience that enables the user to engage more deeply and to understand the unique qualities of the brand through design, visuals, motion and interactivity. We worked with Nau, an outdoor clothing company, to envision the future of ecommerce by reflecting their products and business philosophy. The result is the Nau Concept Site, which demonstrates a more natural, immersive and unique shopping experience.

Artefact

the shopper who doesn’t know what they want or who may be browsing as they would in a mall.

Experimenting

Shopping web sites often sacrifice engagement in favor of utility. They assume their customers are driven to buy stuff in the shortest amount of time with the fewest number of clicks. Major brand sites have fallen victim to this approach to ecommerce. Remove retailer logos from most of these sites, and it is not possible to differentiate between them— unique brands have been homogenized with almost identical web templates. Additionally, most major brand sites fail to address the customer desire to browse merchandise the way they would in a brickand-mortar retail store. They have given up on

365/30

Design firm: Artefact, Seattle Creative director: Rob Girling Art director: Issara Willenskomer Animator: Charlie Bartlett Photographer: Laura Totten Interactive designer: Nathan Roberton Client: Microsoft Corporation

AIGA

Experimenting: Interface Nau Concept Site

500

Experimenting Andrew Byrom

The experimental Letter-Box-Kite design is a series of 26 typographic kites fabricated from thin nylon fabric and fiberglass pole.

365/30

Design firm: Andrew Byrom, Long Beach, California Designer: Andrew Byrom Photographers: Andrew Byrom, Aubry Mintz Fabricators: Andrew Byrom, Arian Franz

AIGA

Experimenting: Typeface Letter-Box-Kite

The kite project could not be more perfectâ&#x20AC;&#x201D;ecological and pure fun! We thought it was the most delightful of the bunch. We want the whole alphabet.

Letter-Box-Kite 63 500

The New York Times

watch the results and read our coverage of the events throughout that day. The resulting visualization, upon exploration, illustrated how the supporters of each candidate felt, and how their moods would fluctuate throughout the day.

Experimenting

Reader comments are ubiquitous on the web, and there was no shortage of opinion from readers on election day in 2008. We wanted to capture the mood of our readers, distilled down to a single representative word, as they returned to our site to

365/30

Design firm: The New York Times, New York Creative director: The New York Times Art director: The New York Times Designer: The New York Times Editor: The New York Times

AIGA

Experimenting: Website experimental/art Mood Tracker

The interactive tools on the NYTimes.com website stand out for their clarity, inventiveness and responsiveness to the user and to the historical movement.

Mood Tracker 64 500

AIGA

Experimenting: Website experimental/art Election Results 2008

Experimenting

information. They then orchestrated these sources into a clear and compelling set of rich visualizations, maps and tools to present a narrative of the dayâ&#x20AC;&#x2122;s events as they unfolded across the nation and in every county.

The New York Times

For the 2008 presidential election, the graphics, interactive news, multimedia, design, video and production teams armed themselves with a large array of polling data, election results, live video feeds and geographic

365/30

Design firm: The New York Times, New York Creative director: The New York Times Art director: The New York Times Designer: The New York Times Editor: The New York Times

The interactive tools on the NYTimes.com website stand out for their clarity, inventiveness and responsiveness to the user and to the historical movement.

Election Results 2008 65 500

Brett Yasko

I had with the owner of a photography studio whose work remains trapped behind glass for all the world to see. 4.25 x 6; 28 pages.

Experimenting

This is the first in my “a book a year” series that doesn’t feature the words of a local writer. It does feature a telephone conversation

365/30

Design firm: Brett Yasko, Pittsburgh Designer: Brett Yasko Printer: Kreider Printing Photographer: Brett Yasko Printing method: Offset Binder: Saddle stitch

AIGA

Experimenting: Artifact Three Windows

A wonderful homage to “seeing art in the everyday,” packaged in an intimate and restrained manner. A little piece of visual poetry.

Three Windows

This piece is a wonderful documentation of an event—deteriorating photographs in a solar-baked window. I am charmed to share something that this designer stumbled upon—it’s something most would find ugly but this designer showed us the beauty.

Props to the designer for seeing the photos in the window. Bigger thanks for documenting the poetic transformations taking place. Fascinating.

66 500

Paprika

Hand me the krink! Makes me want to tag everything. Love it. The pen is a great touch. Riveting typography and messaging; draws in the viewer/reader and is tough to put down, even after you’ve worked the whole way through.

Experimenting

This book was created as a gift for the 2008 holidays, offered to Paprika’s clients and friends.

Graffititherapy

their case. Graffiti brings them relief like a primal scream. This book will free the graffiti artist in everyone. Draw out your gut reactions when on the Walls may have ears phone, when in meetbut it’s the face of the ings or while shopping, building that has the on the bus, at the beach last word. Graffiti artists use walls and faces or when you’re reaching and other empty spaces to turn out the light at to make a statement, to night. Scribble or doodle down the thoughts speak up and cry out against, to insult and to that come to you in seduce, to lay claim to a flash without too what is rightfully theirs, much contemplation. to set the tone and make

Tactile and inviting, these books draw you in. The spraypainted flocking prepares you for the contents within. The interactive addition of the pen in the spine is an added surprise and also supports this object as a multi-use product.

365/30

Design firm: Paprika, Montréal Creative director: Louis Gagnon Art director: David Guarnieri Photographer: Paprika Printer: Transcontinental Litho Acme Printing method: Lithography Binding method: Perfect Paper: Rolland Enviro 100, cover and text, 160m Client: Paprika

A wonderful promotional book with attention to detail and material. The hidden pen inviting the user to “graffiti” the book as a notebook is inspiring. The spray-painted “graffiti” covers give the book life.

AIGA

Experimenting: Artifact Graffititherapy

67 500

Weare scarf

Great idea that looks good; intriguing and inviting. Aggregation of ideas to form a pattern. Seduced equally by the idea and the look; it stands out.

Moving Brands

item. We collected all the resulting doodles from the website and used them to make a pattern on a scarf. The scarf was made available to buy online and in select independent design shops in London. The Weare scarf generated a blizzard of publicity both online and in the press.

Experimenting

We set out to bring together the worlds of fashion and technology by designing a fashion item based on co-creation and social networking. We set up a website where the public could create images for us to then turn into fashion design and the first user-generated fashion

365/30

Design firm: Moving Brands, London Creative director: Ben Wolstenholme Art directors: Matt Wade, Guy Wolstenholme Designers: Mat Heinl, Neil Mendoza, Karsten Schmidt, Matt Sephton, Samo Smon Project managers: Michelle MariathasanHolland, Joel Todd Client: Moving Brands

AIGA

Experimenting: Artifact Weare scarf

68 500

365/30 Informing 69 500

Aiga 365 Informing

AIGA

Excellence in works designed to display information clearly is honored in this category. Such works may deal with the presentation of quantitative information, data or spatial information; they may also be explanations of process dynamics, mechanisms in motion or cause/effect, signage, etc. Jurors for this category evaluate each workâ&#x20AC;&#x2122;s integrated design approach, including concept and visual elements such as typography and illustration. Jurors also consider how well an entry fulfills its stated communications objectives.

365/30 Informing Identica

Design firm: Identica, MontrĂŠal Creative director: Barbara Jacques Art director: Julie Brassard Designers: Isabelle Allard, Julie Brassard Copywriter: Patrice Dancziger Production artist: Daniel Cartier Producer: Louis Dorval Printer: Transcontinental, Litho Acme Client: Enablis

AIGA

Informing: Annual report High 5

A wonderful object quality to this piece; an appreciation of the 3-D nature of a book. Every detail is very well thought through.

High 5

This feels fresh and light; a book that is more than a bookâ&#x20AC;&#x201D;a piece of sculpture. The logo treatment is also clever and engaging.

70 500

Calgary Society for Persons with Disabilities

Beautifully consistent throughout, this report feels very personal and intimate. I feel as though Iâ&#x20AC;&#x2122;m looking through the eyes of the disabled.

WAX Partnership

A moving solution for a sensitive subject; puts the viewer in the same perspective as the disabled individual. Handwritten copy is well handled and consistent, as well as a clever solution for the financials.

Informing

To express the significance of fund-raising on a human level, the entire annual report was written by hand on objects that were purchased from fund-raising efforts to help people living with disabilities.

365/30

Design firm: wax partnership, Calgary Creative directors: Monique Gamache, Joe Hospodarec Art director: Jonathan Herman Writer: Saro Ghazarian Photographer: Justen Lacoursiere Printer: Blanchette Press Client: Calgary Society for Persons with Disabilities

AIGA

Informing: Annual report Calgary Society for Persons with Disabilities 2008

71 500

Photography is gorgeous and the overall package demonstrates Nike’s position as a design innovator across all its pursuits.

Informing Opolis

This internal communications piece was created to launch the Nike Sportswear brand. This book was used at global sales meetings and internal

The use of materials brought this piece together for me. Its utilitarian exterior invites you to reveal and explore its more complex interior.

365/30

Design firm: Opolis, Portland, Oregon Creative directors: Dan Richards, Michael Verdine Art directors: Dan Richards, Michael Verdine Designer: Lael Tyler Illustrator: Lael Tyler Copywriter: Lane Foard Project manager: Alexis Chamberlain Printer: Metropolitan Fine Printers Binder: Metropolitan Fine Printers Client: Nike Client industries: Footwear, sportswear, apparel

AIGA

Informing: Booklet Nike Sportswear Internal Launch Book

The “unfinished” and raw aspect of this brochure is the draw here. Mixed materials and formats feel fresh and relevant.

Nike events and helped set the creative and business direction for the new brand. It also helped introduce Nike Sportswear’s signature iconic product lineup.

Nike Sportswear Internal Launch Book 72 500

365/30 Informing

Design firm: Air Conditioned, Santa Monica Creative director: Clive Piercy Art director: Ann Field Designer: Clive Piercy Photographer: Nicholas Alan Cope Production director: Steve Nowlin Client: Art Center College of Design

We love the rigor and simplicity, as well as the colorful composition of the objects in space. We love the mix of cultural figures with the visual. The exhibition has a contemporary context that delivers on modest means.

AIGA

Informing: Exhibition American Illustration 25

Air Conditioned American Illustration 25 73 500

American Museum of Natural History The Horse 74 500

The design aimed to bring a richness and depth to objects and interpretation without upstaging the artifacts themselves. In homage to cavalry flags and

racing silks, section introductions and story panels were printed on satin banners, which brought sheen and movement to the show. Titling type is simple and monumental, in tribute to the scale of the animal itself. To modulate the surfaces, the designers evolved a library of textures referencing each set of artifacts or their cultures, from interlocking wagon wheels to Yakut textile patterns, and a rich earthy color scheme harmonized remarkably well with the objects.

Informing

“The Horse” examines the biology and cultural history of the horse. Introductory sections focus on its evolution and physiology, which made it exceptionally suitable for domestication. A cultural section examines artifacts from many cultures showcasing the horse’s long and productive relationship with humans.

365/30

Design firm: American Museum of Natural History, New York Design director: David Harvey Director (Exhibit design): Michael Meister Associate director (Exhibit design): Tim Nissen Exhibition designer: Lydia Romero Lighting design: David Clinard Associate directors (Graphic design): Stephanie Reyer, Catharine Weese Designers (Graphic design): Elizabeth Andreson, Kelvin Chiang, Brandon Huang Production manager (Graphic design): Caroline Seitz Interactive designer: Harry Borrelli Animator: Ana Camila Benitez-Martinez Programmer: Dee Dixon Director of exhibition interpretation: Lauri Halderman Senior editor: Sasha Nemecek, Writers: Margaret Dornfeld, Martin Schwabacher Project manager: Dina Langis Photographers: Denis Finnin, Roderick Mickens Printing method: Dye-sublimation, Digital c Typefaces: Knockout, Chronicle Printer: ColorEdge Visual Client: American Museum of Natural History

AIGA

Informing: Exhibition The Horse

This is a great example of a traditional big museum exhibition initiative. It is so nice, with beautiful artifacts and deep in content. It needs to be recognized for the absolutely professional execution and final impact of all the components. We are pleased it is going to be traveling internationally.

Lapointe

The staging of the exhibition offered a new way of using space. The eight concrete columns surrounding the exhibition area in the Arts and Literature section and the showcases at the service counters on all four levels of the Grande Bibliothèque sported the event’s colors. These visual displays were not only a reminder of the exhibition but they also provided a unique way to read the work.

Paprika

In 2008, Bibliothèque et Archives nationales du Quèbec (banq) dedicated an exhibition to the poet Paul-Marie Lapointe. Combining improvisation, social challenge and linguistic invention, Lapointe created amusing and innovative poetry. We were mostly inspired by his original work and by his constant effort to present words in inventive layouts.

Informing

We have seen projects with excessive type and imaging. This project uses typesetting for meaning and visual impact. The exhibition is about a poet and the content is clearly communicated through direct and simple means. The restraint of the actual typeface and color reflects the poet’s style of writing.

365/30

Design firm: Paprika, Montréal Creative director: Louis Gagnon Art director: Sebastien Bisson Typeface: Courier Client: banq

AIGA

Informing: Exhibition Lapointe

75 500

Pentagram Design

political and cultural climate. This 8,500-squarefoot exhibition at the Nevada Museum of Art in Reno included Civil War-era flags, handmade quilts, hundreds of toy-flag-bearing soldiers, weather vanes, jewelry, Native American weavings, political campaign memorabilia, clothing and protest banners, packaging labels and fine-arts photographs.

Long May She Wave

In his search to understand what is iconic, Kit Hinrichs, designer and collector, has been fascinated with the many graphic interpretations of the American flag and how the elements in its design can be parsed into individual colors and patterns, yet are recognizable to millions around the world. The stars and stripes are a national brand, a logo and a symbol that is filled with emotion and levels of meaning that change with the

Informing

Starting with a great subject, this is a beautifully curated exhibition. You are motivated to walk through the space not only by the subject matter but also by the composition of the installation. We enjoyed the change in scale, from postage-stamp repetition to large environmental pieces wrapping the space.

365/30

Design firm: Pentagram Design, San Francisco Creative director: Kit Hinrichs Designers: Gloria Hiek, Kit Hinrichs Writers: Delphine Hirasuna, Miriam Stanton Production artist: An Luc Project manager: Adi Wise Curators: Miriam Stanton, Ann Wolfe Client: Nevada Museum of Art

AIGA

Informing: Exhibition Long May She Wave

76 500

R2 design Vai com Deus

lized in the Portuguese language while maintaining their status as conscious evocations of the divine. This collection of popular expressions highlighted the diversity of words, proverbs and idiomatic expressions mechanically repeated by each one of us in our day-to-day lives. Using Knockout we We were fascinated by spelled out expressions like “God is good” the chapel’s original and “the Devil isn’t so function as a place bad”; as well as spaceof worship. The dual presence of divinity and evocative ones like “God save us from the popular culture led us bad neighbors on our to play with idiomatic doorstep” and “When expressions in the God closes the door, Portuguese language he opens a window,” that refer to God. We which were placed sought out formulae next to the neighbors’ used by everyone, façade and in the which, by force of repetition, have crystal- window, respectively.

Informing

The Hermitage of Nossa Senhora da Conceição was built in Lisbon in 1707. Reopened in 2008, this small chapel has since been used as a gallery to display work by contemporary Portuguese artists. Our mission was to make people aware of the gallery’s reopening and new purpose.

365/30

Design firm: r2 design, Porto Art directors: Lizá Defossez Ramalho, Artur Rebelo Designers: Lizá Defossez Ramalho, Artur Rebelo Editors: Lizá Defossez Ramalho, Artur Rebelo Typeface: Knockout Client: Dr. Eduardo Fernandes, Ermida Nossa Senhora da Conceição, Belém Manufacturer: Pedrita/Pavilhão 3 Client industry: Art gallery

AIGA

Informing: Exhibition Vai com Deus

77 500

Walls have recorded mankind’s history from the beginning. This tiny alley in Portugal is a contemporary remake on Lou Dorfsman’s wall in a medieval setting. A great example of restraint and abundance.

WSDIA New Practices New York 2008 78

We divided the space into two parts: “practice vs. work.” The practice area provided a series of questions about studio history, its current inner workings and future ideas. It also displayed high-end imagery capturing portraits and the atmosphere of all six studios and displayed looped profile films of each studio. The work area displayed a sample of the studios’ portfolios, working models fitted onto an armature piece that connected the viewer in the gallery to the viewer on the street level. Along with the portfolios and models, a 2 x 2 volumetric sculpture piece was created by each studio.

Informing

New Practices New York 2008 is the second juried portfolio competition and exhibition in a new biennial tradition sponsored by the New Practices Committee of the aia New York Chapter. It serves as a platform for recognizing and promoting new, innovative and emerging architecture firms within New York City that have undertaken unique and commendable strategies. A selected jury elected six most promising architecture firms. We were asked to create the branding, exhibition design, exhibition graphics, motion graphics, art direction, advertising (print and online) and poster design.

365/30

Design firm: wsdia | WeShouldDoItAll, Brooklyn Designers: Jonathan Jackson, Sarah Nelson, Jared Seavers, Corey Yurkovich Photographers: Floto+Warner (exhibition photos), Mastomatteo + Steen (studio portraits) Project manager: Jonah Stern Curator: Rosamond Fletcher Fabricator: Tim Pearson Typefaces: doT-Star, Typ1451 Client: American Institute of Architects (aia) Center for Architecture Client industry: Architecture

This exhibition is about austerity in all elements— colors, graphics, materials, etc. The exhibition presents great innovation and is well organized. The exhibit text is unremarkable but the execution wins.

AIGA

Informing: Exhibition New Practices New York 2008

500

AIGA

Informing: Exhibition Nine Planets Wanted!

Informing Zago

view of carbon-dioxide volumes emitted around the world, as do the puffy seats where visitors can read the installation’s newsprint piece. The installation’s title is a reminder that if every person in the world left the same carbon footprint as the average North American, we would need the atmospheres of nine planets to deal with the consequences.

Nine Planets Wanted!

Nine Planets Wanted! is an installation that transforms data from the undp 2007/2008 Human Development Report into a threedimensional space. It aims to heighten visitors’ understanding of the inverse relationship between responsibility for climate change and vulnerability to its impact. Twelve island-like beanbag seats displayed in a redand-blue-striped lounge offer a comparative

365/30

Design firm: Zago, New York Art director: Muriel Degerine Creative director: Nereo Zago Designers: Julia Bessler, Matt Convente, Muriel Degerine, Mai Kato, Mingxi Li Producer: Manuel Toscano Project manager: Jenna Robles Writer: undp 2007/2008 Human Development Report Fabricator: Waste Client: undp (uno) Client industry: International organization

This project presents very complex data in a meaningful and concise way. The exhibition strategy is inventive, contemporary and engaging. The information is received through multiple formats; completely user-friendly and downright playful—we love it!! Special commendation for not using the color green!

500

AIGA

Informing: Graph A_B_ peace & terror etc. The computational aesthetics of love & hate

The Luxury of Protest

An intriguing conceptual idea, visualized beautifully. The message remains a little cryptic but maintains curiosity.

This is world peace and terror turned into a science in a visually attractive and engaging way.

A_B_ peace & terror etc. The computational aesthetics of love & hate

of terror. For each measure, the graph is divided into three rings (three separate indexes for peace and for terror) that are themselves composite quantitative measures. The quantitative degree of peace and terror is represented as continuous variation in line thickness: thin = low value; thick = high value. As a functional information design piece, the poster reveals complex and socially relevant data derived from researchers working in the field of geopolitics.

Informing

a_ b_ peace & terror etc. The computational aesthetics of love & hate blends world politics with the aesthetics of computational data to create a powerful, pertinent and spellbinding view of the modern world. As an intriguing collection of data, a _ b reveals the quantitative contribution that each of the 192 member states of the United Nations has made to peace and terror in the world. The project is a dual-sided poster: the a _ side displays measures of peace, the b _ side measures

365/30

Design firm: The Luxury of Protest, London Creative director: Peter Crnokrak Designer: Peter Crnokrak Writer: Peter Crnokrak Printer: k2 Screen, London Printing method: Dual-sided silk-screen Paper: gfsmith Plasma Polycoat, Glass Clear, 350 micron, plastic Typeface: Avant Garde Fabricator: gfsmith Manufacturer: gfsmith Client: bio.21

Visual intensity matches the contrast of peace and terror.

500

AIGA

Informing: Interactive Kiosk Interactive Table for the Star-Spangled Banner Permanent Exhibition

C&G Partners, Chermayeff & Geismar, Potion 81

Great use of scale; shows tremendous restraint. The use of multi-touch surface is well orchestrated.

Interactive Table for the Star-Spangled Banner Permanent Exhibition 500

Custom sensing technology recognizes visitors’ gestures, allowing them to easily activate information about the flag. One hundred and fifty “hot spots,” indicated by circles, are scattered across the flag’s surface. Touching a hot spot brings up a fact about the flag, such as why the material is torn in a certain place, what techniques were used during preservation, or why one of the original stars is missing. Visitors can also intuitively navigate to different areas of the flag. By holding their hand over the surface, they activate a graphic tool that can quickly push the flag in any direction.

Informing

For the reopening of the National Museum of American History, Potion and c&g Partners designed an interactive table to accompany the Star-Spangled Banner display. The museum wanted visitors to have the opportunity to see, touch and explore the details of the flag. With the nearly 200-year-old flag’s delicate condition, this hands-on experience could only take place with an interactive design. Here, a high-resolution image of the flag is projected onto a 15 x 4 table, presenting a section of the flag at actual scale to reveal its intricate details.

365/30

Design firms: c&g Partners, New York; Chermayeff & Geismar, New York; Potion, New York Creative directors: Jonathan Alger (c&g Partners); Jared Schiffman, Phillip Tiongson (Potion) Art directors: Tom Geismar (Chermayeff & Geismar Studio); Jared Schiffman, Phillip Tiongson (Potion) Designers: Jonathan Keller (Potion); Masahiro Ogyu, Cigdem Tanik (c&g Partners) Photographer: Chuck Choi (Potion) Editor: Cindy Yoon Interactive designer: Potion Programmer: Young Sang Cho Producer: Jeff LeBlanc Fabricator: Design Craftsmen Inc. Architect: Skidmore, Owings & Merrill llp Typeface: Caslon 540 Client: National Museum of American History

Second Story Library of Congress New Visitor

Building to enlighten, inspire and encourage visitors to continue their explorations at home after visiting this remarkable site. From interactive document viewers to collections browsers and life-size interactive projections, the visual language of the designs communicates the stature of the institution and its responsiveness to the public it serves.

Informing

The New Visitor Experience at the Library of Congress consists of a group of new exhibitions with state-of-the-art exhibitry, immersive audiovisual installations, and rich interactives that fuse curatorial expertise with innovative technology. The interactive installations capitalize on the significant treasures and exceptional architecture of the Jefferson

365/30

Design firm: Second Story, Portland, Oregon Interactive media design: Second Story Interactive Studios Development: Second Story Interactive Studios; Schematic, Inc.; Novera Project management: Sapient; Library of Congress (Office of the Librarian, Interpretive Programs Office, Web Services, Information Technology Services, Education Outreach) Exhibit and environmental design: Riggs Ward Design, Chermayeff & Geismar a/v integration: Design & Production Client: Library of Congress

AIGA

Informing: Interactive Kiosk Library of Congress New Visitor Experience

Each kiosk responds to its unique placement within the building and collection. We were particularly impressed by the interactive document wall as it brings the history to life.

82 500

Dream States

Sexy. Eyes-roll-back-in-your-head gorgeous.

The New York Times Magazine

The photo comparisons here are so dynamic and rich. A wonderful expression of the power of nature and beauty.

Informing

Exceptional photography; strong and graphic layout. Sophisticated; a new take on a beauty story.

365/30

Design firm: The New York Times Magazine, New York Creative director: Janet Froelich Art directors: Chris Martinez, David Sebbah (senior art director) Designer: Elizabeth Spiridakis Photographer: Coppi Barbieri Picture editor: Judith Puckett-Rinella Client: T: The New York Times Style Magazine

AIGA

Informing: Magazine Article Dream States

83 500

Fox News, Crack the Code, Constructivism Zone

Interpretations are so varied but all belong to the same family. Theyâ&#x20AC;&#x2122;re like siblings that have varied interests but all come home for the holidays to be with family.

The New York Times Magazine

Exploration of the T intrigues with its potential for a variety of treatments while setting the tone for the simple headline.

Informing

Great idea! Consistently high level of execution; continues to surprise and delight. Classical great design. Love it!

365/30

Design firm: The New York Times Magazine, New York Creative director: Janet Froelich Art director: David Sebbah Designer: Elizabeth Spiridakis Picture editor: Judith Puckett-Rinella Photographer: Stephen Lewis Editor: Stefano Tonchi Client: T: The New York Times Style Magazine

AIGA

Informing: Magazine Article Fox News, Crack the Code, Constructivism Zone

84 500

A Higher Calling

Type is solid and commands attention yet the image of PS Hoffman is turning his back to it.

The New York Times Magazine

The space and distance create the tension here.

Informing

Strong and restrained solution. Simple and effective typography and composition.

365/30

Design firm: The New York Times Magazine, New York Creative director: Janet Froelich Art director: Arem Duplessis Designer: Arem Duplessis Picture editor: Kira Pollack Director of photography: Kathy Ryan Photographer: Brigitte Lacombe Editor: Gerry Marzorati Client: The New York Times Magazine

AIGA

Informing: Magazine Article A Higher Calling

85 500

Informing Landor Associates

Refreshingly classic; good poster design! Function, form and content all coming together delivered with humor!

365/30

Design firm: Landor Associates, Sydney Art director: Sam Pemberton Creative director: Jason Little Designer: Sam Pemberton Copywriter: Jason Little Photographer: Pan Yamboonruang Printer: The Production Factory Client: Keith Morris

AIGA

Informing: Poster Keith Morris Lecture

So pure, simple and conceptual for the topic at hand. Bravo! And bon appetit!

Keith Morris Lecture

Spaghetti type and sauce is relaxed and casualâ&#x20AC;&#x201D;the mood any lunchtime lecture should have.

86 500

Informing Hot Studio

Hot Studio gave bart.gov a personality as unique as its riders.

365/30

Design firm: Hot Studio, San Francisco Programmer: Carbon 5 Creative director: Henrik Olsen Art director: Eric Grant Designer: Eric Grant Information architect: Han Wang Producer: David Paige Client: Bay Area Rapid Transit Client industry: Public transportation

AIGA

Informing: Website, business BART website

Anyone who has used a website to book travel will appreciate this site. Flexible, easy to use, content-rich tools for navigating BART.

BART Website 87 500

Even though the way this site was built is a bit of a cheat, we like the way it captures the spirit of the exhibition. For a viewer who has not seen the show in person, the site is a rich surrogate.

Informing Flat

exhibition including a catalogue, website and educational materials. Flat designed and built the website and supporting contentmanagement system. In line with the innovative nature of the other elements of this exhibition, the Home Delivery website was the first moma exhibition website to engage in daily, multi-voiced online publishing. Its first phase featured an online journal so that architects, curatorial staff and project managers could update the site. Its second phase added on interactive representations of the interior exhibition materials.

MoMA Home Delivery

Flat was engaged to create the site for Museum of Modern Art exhibit, â&#x20AC;&#x153;Home Delivery: Fabricating the Modern Dwelling.â&#x20AC;? This show consisted of an interior exhibition that was a selective survey of prefabrication in architecture (represented by the Timeline) and an exterior exhibition on an adjacent lot that featured five installed prefabricated homes that were open to the public (as chronicled in the Installation Journal Archive). This exhibition was a massive undertaking for moma, who commissioned the installations, oversaw the permitting and construction, and managed all the usual items relating to an

365/30

Design firm: Flat, New York Creative directors: Allegra Burnette (moma), Tsia Carson Art director: Petter Ringbom Project managers: Maureen Costello, David Hart Designers: Dan Arbello, David Maron Interactive designers: Ben Haynes, Bryan Winters Curators: Barry Bergdoll, Peter Christensen Client: Museum of Modern Art Client industry: Museum

AIGA

Informing: Website, educational and nonprofit MoMA Home Delivery

88 500

Informing Blender

To create symbiosis in this popping portrait of T-Pain, we pumped up the colors of the typography in Blender Display.

365/30

Design firm: Blender, New York Creative director: Dirk Barnett Designer: Dirk Barnett Photographer: Rennio Maifredi Director of photography: David Carthas Typeface: Blender Display (custom) Client: Blender

AIGA

Informing: Magazine Article Pain’s World

Funny and fun.

Flava would be proud, or jealous—not sure which. Copy is well crafted with words like cyborg and strippers setting the tone for the image on the left page.

Pain’s World

Bling. Bling. Love how loud this spread is. Both photograph and typography entertain.

89 500

Paprika Interieurs

The new cover is mainly blank. You have to open the flap to access most of its usual content—the major visual as well as the brand identity of the magazine itself. This idea came in part from the name of the magazine, Interieurs (“interiors”). The cover doesn’t “end” after you flip it once; it becomes “alive,” and definitely invites you to sneak inside.

Informing

Interieurs is a wellknown Canadian publication, dedicated to design and architecture. Paprika was mandated to redesign the entire mock-up of the magazine and improve the presentation of the cover to reflect the artistic and design creativity within its pages. It was important to keep the actual subscribers and increase the readership with art, design and architecture lovers.

365/30

Design firm: Paprika, Montréal Creative director: Louis Gagnon Art director: Francois Leclerc Editor: Ginette Gadoury Printer: Impresse, Inc. Printing method: Web Binding method: Perfect Paper: Gusto Satin, 80 lb., cover and text Typefaces: Baskerville, Courier, Gotham Client: Productions Interface Design

AIGA

Informing: Magazine Interieurs

Having the title wrap around the “interior” of the magazine is an effective and innovative solution. The use of generous “white space” on the cover allows visibility on the shelf. The clever use of a “slice” of photography on the cover also allows for a variety of photographic styles and still maintains consistency with the design.

500

Cover treatment with a vertical image crop creates drama that is atypical in this kind of publication. The interior spreads use type in ways that challenge convention but still remain grounded.

The cropping of the title and imagery on this cover feels fresh. It literally leads you into the interior, hence the name.

Informing Print

Print magazine’s “Type&Form” issue celebrated typography in all its various forms. The cover sculpture, created and designed by Karsten Schmidt, supported the feature article on kinetic typography. The phrase was

365/30

Design firm: Print, New York Art director: Kristina DiMatteo Designer: Lindsay Ballant Illustrator: Karsten Schmidt Editor: Joyce Rutter Kaye Printing method: z450 (3-d printer) Programmer: Karsten Schmidt Printer: ThingLab Typeface: Computer-generated

AIGA

Informing: Magazine Print, Type & Form Issue

built through generative design, executed into solid form through 3-d printing and then photographed, bringing it back to 2-d format. The end result looks larger than life but was actually only a few inches tall.

Refreshing and light; the artwork is allowed to shine.

Print, Type & Form Issue

Having not seen Print magazine for a couple of years, I am happily surprised! What a lift! Both content and design are new and inspired. This particular cover and issue are irresistible. Thank you!

Tough to please the design community but many good things are happening. Cover type illustration hints at a future with 3-D printing and foreshadows technology’s continued impact on design.

91 500

365/30 Packaging 92 500

Aiga 365 Packaging

AIGA

This category awards the yearâ&#x20AC;&#x2122;s best-designed and redesigned consumer packaging, labels, shopping bags, single or boxed music cds, dvds and software packaging and gift or specialty products. Jurors for this category evaluate each workâ&#x20AC;&#x2122;s integrated design approach, including concept and visual elements such as typography and illustration. Jurors also look for quality and innovation in the use of materials, and consider how well an entry fulfills its stated communications objectives.

Incase Designs Corp.

priate for the product it enclosed. The contrast between the rawness of the packaging motif and the sophistication of the details, such as the string tie and button closure, communicates a sense of â&#x20AC;&#x153;rugged refinement.â&#x20AC;?

Packaging

The Courier Collection is a set of premium messenger bags targeted for the bikemessenger audience. The aim for the packaging was to connect the consumer with a familiar yet refined format that was appro-

365/30

Design firm: Incase Designs Corp., San Francisco Creative director: Moses Aipa Art director: Kento Tanaka Designer: Allen Choi Production coordinator: Greg Kaats Client: Incase Designs Corp.

AIGA

Packaging: Box Courier Packaging Collection

This series of boxes delivers form and function simply. The raw use of materials is appreciated.

Courier Packaging Collection 93 500

AIGA

Packaging: Box Bingo

Knock Knock

games are completely self-contained and portable, with punchthrough icons to mark success so players can call it like they see it, over and over again.

Packaging

Our new-school bingo brings back the glory days of childhood— whether at a bar, café, airplane or even on the road. A twist on a true retro classic, these fun

365/30

Design firm: Knock Knock, Manhattan Beach, California Art director: Brad Serum Creative director: Jen Bilik Copywriters: Jen Bilik, Megan Carey Manufacturer: Products Plus Client: Knock Knock

Packaging by omission. Smartly designed to reveal the product with full die-cut front of box. Helps to show quickly what the product is and how it works.

Bingo

Tactile and immediate, this series lets the viewer know what it’s all about by exposing its punch-out cards. It’s bingo with a new humorous twist.

A good example of a crossover from package design to product design; clever idea; very tongue-in-cheek.

94 500

Packaging McGarrah Jessee

Product and packaging come together here. Ka-boom—the taste and the visuals are explosive. It feels authentic and marketed to the appropriate audience: my guess is boys who like fireworks.

365/30

Design firm: McGarrah Jessee, Austin Creative director: David Kampa Designer: Ben Harman Writer: Michael McCormick Client: Stripes

AIGA

Packaging: Box Stripes Thunderstick Packaging

Ka-boom! Fireworks for your mouth. All the right moves with type, color and witty copy.

Wonderful! Makes you happy. A mass-market product that has appeal on many levels. Ironic or genuine? It doesn’t matter. It’s just great.

Stripes Thunderstick Packaging 95 500

AIGA

Packaging: Box SVA Senior Library 2007

365/30

Design firm: School of Visual Arts/ ug, New York Creative director: Richard Wilde Designer: Michael Ian Kaye Client: School of Visual Arts

Packaging School of Visual Arts/UG SVA Senior Library 2007

The use of the corrugated materials invites you in. The volume of work inside becomes interactive as you are asked to become involved and turn this chunk of paper into a book; you might otherwise be overwhelmed by the contents.

Unassuming at first glance but filled with wonderâ&#x20AC;&#x201D;probably like the students who receive it.

500

Edenspiekermann

Indulged indulgence. Shares the same vein with chocoholics: too much is never enough. More, more, more.

A new way of defining the chocolate experience; a librarian’s dream.

TCHO luxury chocolate packaging 97 500

tcho’s proprietary initials are based on modernist industrial

letterforms. An upswept cross-stroke in the H makes it subtly distinct. Just as the Aztec culture prized the cacao bean so highly that it was utilized as a form of currency, tcho’s visual brand development draws on currency motifs, “guilloches,” to represent the six flavor distinctions within the product line. The visual brand system is based on the square as the simplest and most flexible geometric shape, and its color range extends from dark brown to bright magenta, orange and yellow, reflecting the flavors as well as the brand’s values.

Packaging

tcho is a San Franciscobased luxury chocolate manufacturer with origins in the technology industry. tcho is the first high-profile chocolate manufacturer to be established in the Bay Area since the incorporation of the Ghirardelli Company in 1852. In their product development, the founders identified six dominant natural aromas in the chocolate flavor spectrum: chocolaty, earthy, nutty, fruity, floral and citrus. The product line is based on these distinctive flavors.

365/30

Design firm: Edenspiekermann, San Francisco Creative director: Susanna Dulkinys Designers: Susanna Dulkinys, Tobias Trost Illustrator: Francesca Bolognini Photographer: Mark Leet Production director: Richard Richards Production coordinator: Thomas Walsch Production artist: Richard Richards Printer: Apex Die Corporation Printing methods: Heidelberg 6c Speedmaster cd 74 (5g & 9g paper wrappers); pms colors + strikethrough varnish + overall dull aqueous coating (inks); gold-foil stamping (copper dies) + die-cutting 60g box wrappers (special finishing) Paper: Sterling, 10% pcw, fsc & sfi, 70 lb., Ultra Text (paper wrappers); Carolina Coated, C1S (sfi), 18 lb., cover (box wrappers); Sterling Ultra, 10% pcw, fsc & sfi, 100 lb., text (gift set-up boxes) Client: tcho Ventures, Inc. Client industry: Specialty candy manufacturer

AIGA

Packaging: Box TCHO luxury chocolate packaging

studio AG John & Kira's Chocolate

The new packaging needed to appeal to a wide audience, from the thoughtful fancy-food lover to the

impulsive farmer’smarket shopper. Ease of assembly (for busy holiday rushes) was just as important as the way the boxes looked. For the chocolate lover, the new design reflects the artisanal, handcrafted aesthetic of John & Kira’s. For the chocolatier, the system of boxes is versatile and can be efficiently assembled and shipped during busy seasons (so time can be better spent making mouthwatering chocolates).

Packaging

A great deal of heart goes into each and every chocolate produced by John & Kira’s. Their exquisite chocolates are made fresh with the finest ingredients available from local and family farms. “Real people, really good chocolates” is not only their tagline but also their business philosophy.

365/30

Design firm: studio ag, Norwalk, Connecticut Creative director: Amy Gorrek Designer: Amy Gorrek Printer: Rise and Shine Printing method: Letterpress Paper: Crane’s Lettra, Ecru White, 110 lb. Fabricator: Simkins Corporation Client: John & Kira’s Client industry: Fine chocolate

The thoughtfulness of the details speaks to the product’s handcrafted individuality.

AIGA

Packaging: Box John & Kira's Chocolate

98 500

AIGA

Packaging: Label C’est la Vie!

Paprika

while adapting to new products specifically targeted for distribution in North America. Paprika created labels with a focus on French know-how and reputation as well as on the spirit and pleasure of drinking good wine.

Packaging

Established in 1831, Maison Albert Bichot is a well-known French wine producer with products on the market in more than a hundred countries. The company awarded Paprika the mandate of creating labels that respect the Bichot family tradition

365/30

Design firm: Paprika, Montréal Creative director: Louis Gagnon Art director: David Guarnieri Client: Maison Albert Bichot

Would have liked to see the treatment of the top edge of the label handled differently. Nice juxtaposition with many other bottle designs in this product category.

C’est la Vie!

These bottles communicate the French mood in a casual way, which sets up the title “C’est la Vie.” It feels accessible and fresh.

A fresh and immediate design expression; unpretentious and warm. Technical details could have been taken one step further.

99 500

Fun. Simple.

A clever solution where the product becomes the packaging itself. The use of simple and minimal material is appreciated; another crossover between product and package design.

Holiday 2008–Bb.Bandball

Not only is this a fun and colorful book, but also it can be put to good use. The literal tie-in to hair products makes this piece stand out.

Bumble and bumble.

bundled bands to wear (and stow) tidily” were uniquely packaged and dispensed to make a festive, casual and inexpensive gift that was both ornamental and utilitarian.

Packaging

The Bb.Bandball was one of three limitededition tidy (and hairtidying) accessories created for our 2008 “Bring Good Tidyings from Bumble and bumble” holiday campaign. The “100 brightly

365/30

Design firm: Bumble and bumble., New York Creative director: Helen Steed Designers: Gillian Haro, Piet Houtenbos Copywriter: Gillian Haro Production director: Andrew Enright Production coordinator: Ryan Dougherty Project manager: Amanda Lam Client: Bumble and bumble.

AIGA

Packaging: System Holiday 2008–Bb.Bandball

100 500

AIGA

Packaging: Bottle Herdeiros Passanha

The thoughtfulness of the custom bottle is what intrigued me. It is simple, yet communicates the feeling of high quality.

Herdeiros Passanha

We incorporated a contemporary stencil typeface to serve as both a modern type and a reference to the handmade (and to Porto). For the rest of the identity, we used photographic imagery of the stunning property of La Quinta, and a warm, elegant color palette of pale cream, olive green and black, with touches of bright yellow.

Base Design

and lower parts by a horizontal ridge, with the drop just below.

Packaging

In designing the new Passanha identity, we created a round drop icon to hint at the purity and â&#x20AC;&#x153;roundâ&#x20AC;? flavor of pressed oil. We then brought in English industrial designer Michael Young to design the bottle in three sizes. In our brief to Michael we specified that the bottle should incorporate our round drop and emphasize the oil and its color. To represent the olive press, the bottle is divided into upper

365/30

Design firms: Base Design, New York; Michael Young Manufacturer: Vetreria Etrusca, Florence Client: Herdeiros Passanha

A modern interpretation of an olive-oil bottle. An ambitious customized bottle. Stable and solid with surface textures that ask to be picked up.

101 500

AIGA

Packaging: Bottle Numbernine

Numbernine

This series of simply numbered bottles quickly communicates a level of quality and modernity.

Moruba; Vintae

The graphic and conceptual solution for the Winery Arts collection revolves around the number 9, considered by many cultures as the supreme number of knowledge. Each wine from the Winery Arts collection has a particular symbolism that defines the “Numbernine” concept.

Packaging

Numbernine Winery Arts is a winery whose values are based on originality, creativity and innovation. The concept and graphics therefore had to create distance in a forceful way from the usual products in the wine sector.

365/30

Design firms: Moruba; Vintae, Logroño, Spain Creative directors: José Miguel Arambarri, Daniel Morales Art director: Daniel Morales Designer: Daniel Morales Printing method: Silk-screen Typefaces: Trade Gothic, hand-lettering Client: Wineryarts

Clean; fun to see how 9 is handled on each of the bottles.

Conceptually clever and graphically strong; very effective package design. Stands out well on the shelf.

102 500

Turner Duckworth

and nothing more. This clean and confident design simplifies what it means to be Coke and makes the brand feel fresh and new again.

Packaging

Our aluminum bottle design embodies Cokeâ&#x20AC;&#x2122;s renewed focus on its core brand identity. The classic contour bottle shape features an oversize Coke trademark

365/30

Design firm: Turner Duckworth, San Francisco Creative directors: Bruce Duckworth, David Turner Designer: Chris Garvey Project manager: Jessica Rogers Client: Coca-Cola Company

AIGA

Packaging: Bottle Coca-Cola Aluminum Bottle

The shape and bold graphics treatment of these well-established logos make these bottles sing.

Itâ&#x20AC;&#x2122;s refreshing to see a mass-market iconic brand show this much restraint with something this bold and clear.

Coca-Cola Aluminum Bottle

The Coke (red) bottle could probably be reduced even further by eliminating the type. The bottle shape alone says Coca-Cola.

103 500

bustbright Crossfaded Bacon EP

For the label’s second release from Emynd & Bo Bliz, we chose to stick to the duo’s roots. A shot of the Philadelphia skyline bleeds across the paper sleeve while the silk-screened polybag serves as both archival protector and information provider.

Packaging

Emynd & Bo Bliz are two DJs and producers from Philadelphia. Flamin’ Hotz Records is a Philadelphiabased record label that produces limitededition runs of specially packaged club and dance music from around the world.

365/30

Design firm: bustbright, Los Angeles Creative directors: bustbright, Flamin’ Hotz Records, Emynd & Bo Bliz Designers: Derrick Schultz, Katie Varrati Illustrator: Vlad Photographer: Michael Penn Music: Emynd & Bo Bliz Art directors: Stephen Blizard, M. Casi Kroth, Emil Nassar, Derrick Schultz, Katie Varrati Printer: Pirates Press Printing methods: Offset (sleeve, labels), silk-screen (polybag) Typefaces: Knockout, TheSerif Client: Flamin’ Hotz Records Client industry: Music

AIGA

Packaging: Music CD Emynd & Bo Bliz, Crossfaded Bacon EP

It’s all about setting up a feeling. The illustrated overlay works magic over the photograph beneath it. This also functions well as longterm protection for the record.

104

Artistic and original expression; raw yet colorful; wonderful contrast.

500

Non-Format Red Snapper, A Pale Blue Dot

design elements of the packaging. A “superembossed” pvc tag, a silk-screen-printed gray board tag, and a litho-printed white card tag are secured to the blank digipak with a thin plastic kimble tag, which also fastens the digipak closed. If the kimble tag is cut, the three swing tags can be stored in the pouch on the inside flap of the digipak.

Anti-packaging is intriguing. The elements that are usually hidden are now featured.

Packaging

In an attempt to reinforce Red Snapper as a brand, we borrowed the visual language of fashion retail material. By diverting the usual print budget away from the digipak, the packaging became an exercise in minimalism, with emphasis on materials and production techniques. A collection of swing tags, each with its own visual and textural characteristics, became the core

The unexpected is delivered, the use of materials restrained.

365/30

Design firm: Non-Format, Saint Paul Art directors: Kjell Ekhorn, Jon Forss, Gavin O’Shea Designers: Kjell Ekhorn, Jon Forss Typefaces: Custom logotype, Hermes Client: Lo Recordings Production director: Vincent Oliver Client industry: Record label

Irresistibly clever idea. Wonderful that all communication sits only on the hang-tags; brave and elegant.

AIGA

Packaging: Music CD Red Snapper, A Pale Blue Dot

105 500

Sagmeister, Inc.

conditioning unit on the front lawn), and others more disturbing (a gasoline canteen in the kitchen)—all of them alluding to a deeper story that goes untold.

I appreciate the minimal treatment of the box, which leads you into the wonder and mystery of the object inside.

Fantastically weird; it’s dream meets suburbia meets pharmacist. Sounds about right.

David Byrne & Brian Eno, Everything That Happens Will Happen Today

Recipients of the special-edition package are treated to a miniature 3-d diorama of the scene, light-activated sound effects originating from inside the house, a 92-page lyrics mini-booklet, the music cd, and a bonus dvd with enhanced content and other surprises.

Packaging

David Byrne and Brian Eno approached us to create the deluxe packaging for their latest collaboration, Everything That Happens Will Happen Today. The music is folksy, though not without a dark edge. We let this influence the design of the package. An idyllic suburban house sets the stage for many different scenes—some seemingly innocuous (an oil stain on the driveway), some quite curious (an industrial-size air-

365/30

Design firm: Sagmeister, Inc., Brooklyn Creative director: Stefan Sagmeister Designers: Joe Shouldice, Jared Stone, Richard The Illustrator: Stephan Walter Manufacturer: Gamil Production director: Aly Khalifa Production coordinator: Jennifer Gooch Harvey Clients: David Byrne, Brian Eno

AIGA

Packaging: Music CD David Byrne & Brian Eno, Everything That Happens Will Happen Today

A wacky and wonderful piece of work!

106

Crosses the boundary between package design and art. A masterpiece.

500

Packaging Turner Duckworth

Challenged with creating an engaging packaging piece for Metallica’s ninth studio album, Death Magnetic, we developed an iconic,

365/30

AIGA

Packaging: Music CD Metallica, Death Magnetic

three-dimensional cd package using a powerful grave image and an innovative, layered die-cut.

Die-cutting sucks you in.

Metallica, Death Magnetic

The dynamic coffin cutout on this piece draws you in—instant intrigue. Death Magnetic it is.

An effective novelty piece that provokes curiosity.

107 500

AIGA 365/30

This category recognizes excellence in works designed to introduce, sell or promote products, ideas or events. Jurors evaluate each workâ&#x20AC;&#x2122;s integrated design approach, including concept and visual elements such as typography, illustration, photography and/or information design. Jurors also consider how well an entry fulfills its stated communications objectives.

Branding Promoting 108 500

Aiga 365 Promoting

UNICEF Tap Project Seattle Launch

Great message, simple delivery.

Publicis in the West

people to dine out at one of the participating restaurants and pay a dollar for the tap water they usually enjoy for free. All of the glasses were collected from participating restaurants ranging from casual to fine dining.

Branding Promoting

This newspaper ad was created to raise awareness of unicefâ&#x20AC;&#x2122;s global efforts to help provide safe drinking water to the worldâ&#x20AC;&#x2122;s children and to encourage as many restaurants as possible to participate in the campaign. The campaign encouraged

365/30

Design firm: Publicis in the West, Seattle Designer: Yumiko Menikoff Art director: Yumiko Menikoff Creative directors: Kammie McArthur, Bob Moore (chief creative officer), Patrick Mullins Producer: Carrie Blocher Project managers: Monica Brown; Madeline Doherty, Amy Vroom (account managers) Client: unicef Production artist: Kathy Oneha Photographer: David Bell/Studio 3, Inc. Client industry: Nonprofit

AIGA

Promoting: Ad UNICEF Tap Project Seattle Launch

109 500

AIGA

Promoting: Ad Durex "Get It On"

Fitzgerald+CO Durex “Get It On”

personality. And since it engages consumers through visuals that translate universally, it’s ideal for global use.

Branding Promoting

Durex’s “Get It On” is the first condom campaign that actually features the product as hero. It is also the first time a condom has established brand

365/30

Design firm: Fitzgerald+co, Atlanta Creative directors: Rob Rugan (Superfad/ny), Eddie Snyder (Fitzgerald+co) Art directors: Andrew Stubbs Johnston (Superfad/ny), Fernando Lecca (Fitzgerald+co) Designer: Fernando Lecca Animators: Dave Thomlison, Mike Wharton (Superfad/ny) Producer: Mike Tockman Production directors: Geraint Owen (Superfad/ny), Christine Sigety (Fitzgerald+co) Production artists: Domel Libid, Adrian Winter (Superfad/ny) Writer: Jerry Williams Music: Joe Mendelson, Joel Raabe (Gramercy Post) Project manager: Pam Piligian Client: Durex Client industry: Phamacuticals/otc

Nothing is more innocent and safe than balloon animals. What a perfect vehicle for delivering a safe-sex message.

110 500

Motion Theory John Hancock Campaign

moments simply with a blinking cursor—the digital equivalent of stunned silence, and a gut-wrenching realization that some part of one’s financial picture is seriously deficient. With cinematography by Claudio Miranda, the single-scene spots prompt a unique and elegant viewing experience, compelling viewers to read every line. The tension builds through the end, maximizing the impact of the open question represented by the iconic blinking cursor.

Branding Promoting

The “Cursor” campaign starts with the premise that, in a world of email, text-messaging and cell phones, the most important financial conversations don’t always take place faceto-face. In this multispot campaign created with Hill Holiday and Motion Theory directors Mathew Cullen and Mark Kudsi, nuanced character performances are combined with a precise choreography of typography, setting and sound design. The spots stir subtle and genuine emotional

365/30

Design firm: Motion Theory, Venice, California Client: John Hancock Directors: Mathew Cullen, Mark Kudsi Art directors: Doug Gould (hh), Mark Kudsi (mth) Producers: Patrick Nugent (mth), Brad Powell (hh) Editor: Jason Webb Director of photography: Claudio Miranda Copywriter: Elvind Ueland Creative directors: Doug Gould, Elvind Ueland Designers: Kaan Atilla, Leanne Dare, Christian De Castro, Jesus de Francisco, John Fan, Bradley Munkowitz, Jesse Sorin, Angela Zhu

An elegant treatment of a mundane communication medium. The familiarity of the settings and the mode of communication set you up nicely for a rather sobering message.

AIGA

Promoting: Ad John Hancock Campaign

111 500

Blending live action and motion graphics is a popular trend, but this particular execution managed to reflect the personality of the character as well. This campaign continues to generate both awe and inspiration.

Motion Theory HP “Fergie” 112 500

Fergie opens her laptop like an accordion, spilling pieces of her life and slowly revealing her identity through hints of music, dancing, enterprise and personal mementos, all brought to life through a beautifully stylized cg journey. As with Cullen’s other “Hands” campaign spots, Fergie was shot in a single continuous take, emphasizing the amazing choreography and vibrant personality that helped coin the word “Fergalicious.”

Branding Promoting

Best known for her chart-topping hits as a solo artist and as a member of the Black Eyed Peas, Fergie presents a guided tour of her laptop for the iconic hp “Hands” campaign, which was originally launched by Goodby, Silverstein & Partners with Motion Theory in 2006. Motion Theory director Mathew Cullen helmed the spot, which pushes the ever-evolving campaign into new territory to celebrate Fergie, a.k.a. “The Digital Dutchess.”

365/30

Design firm: Motion Theory, Venice, California Creative directors: Rick Condos, Hunter Hinman, Steve Simpson (gsp Group creative directors) Art directors: Kaan Atilla (mth), Jessica Feeney (gsp) Designers: Heidi Berg, Leanne Dare, Chelsea Douglas, John Dretzka, Alex Hanson, Max Keane, Jenny Ko, Mark Kulakoff, Juliet Park, Angela Zhu Animators: Bekah Baik, Bryan Godwin, Ben Grangereau, Chris Leone, Na Song, John Tumlin, Katie Yoon Director: Mathew Cullen Director of photography: Guillermo Navarro Editor: Jason Webb Copywriter: Alexandra Tyler (gsp) Producers: Todd Porter (gsp), Matt Winkel (mth) Music: 740 Sound Design Client: Hewlett Packard

AIGA

Promoting: Ad HP “Fergie”

2008 Video Music Awards

The understated treatment of type appropriately frames the beautifully art-directed sets and scenes. Besides, thereâ&#x20AC;&#x2122;s no sense competing with the hilarious interplays between the characters.

MTV Networks

ated a stylized, impressionistic and semidefined environment in which Brand would exist: classic English Victorian with touches of Goth rock and roll. The look and tone of the spots were meant to be reflective of the show itselfâ&#x20AC;&#x201D;surreal, exciting, spontaneous and unpredictable.

Branding Promoting

The goals for the 2008 Video Music Awards promos were to create interest and buzz about the show and to introduce the host, Russell Brand, to America. The main challenge was creating a campaign that was reflective of the crazy, unexpected nature of the show, utilizing our relatively unknown host. We cre-

365/30

Design firm: mtv Networks, New York Creative directors: Amy Campbell, Kevin Mackall, Brent Stoller Director: Ericson Core Director of photography: Ericson Core Editor: Aaron Langley Writers: Armand Prisco, Natalie Prisco Producer: Sheree Shu Music: Britt Myers Client: mtv

AIGA

Promoting: Ad 2008 Video Music Awards

113 500

One Vote, One World 114

Drawing on outside cultural perspectives to encourage Americans to vote reminds us of our own cultural significance. The understated treatment of the graphics sets a nice stage for the message—a suitable portrayal of the intelligence of youth.

MTV Networks

ness is addressed in an authentic, relevant and unique way, provoking thought around the importance and widespread impact of voting, without endorsing a particular political viewpoint. In providing a platform for the heartfelt and insightful stories of audience members, these spots represent the key brand values of mtvU and have enhanced its image as a network dedicated to providing smart, socially conscious, innovative and culturally relevant programming by college students for college students.

Branding Promoting

During the 2008 presidential election, mtvU launched “One Vote, One World,” a series of six promotional announcements featuring international students studying in the United States. The students shared personal and moving stories of how previous u.s. elections profoundly impacted their families and friends back home, and how the outcome of the 2008 election might continue to influence matters in their originating countries. By highlighting the personal stories of the audience’s own peer group, this message of global interconnected-

365/30

Design firm: mtv Networks, New York Directors: Sophia Cranshaw, Dax Martinez-Vargas Creative director: Amy Campbell Producer: Jeffrey Woodton Director of photography: Jon Hokanson Editor: Ben Williams Animator: Element Art director: John Yu Music: Jon Tropea Client: mtvU

AIGA

Promoting: Ad One Vote, One World

500

365/30 Branding Promoting MTV Networks

Design firm: mtv Networks, New York Creative directors: Terry Lee (Roger), Jay Schmalholz (Nick) Producer: Michael Tricario (Nick) Production director: Christina Augustinos (Nick) Production coordinator: Hilary Wolk (Nick) Writers: Ross Alvord, Michael Tricario (Nick) Music: “Back in Black,” ac/dc (Licensed) Director of photography: Adam Biggs Project manager: Jerehmy White Director: Liam Lynch Client: Nickelodeon

AIGA

Promoting: Ad 2008 Kids’ Choice Awards

Every aspect of this piece is perfectly integrated: live action, motion graphics, type and music. Seamless execution allows the character and humor to take center stage.

2008 Kids’ Choice Awards 115 500

AIGA

Promoting: Ad Husker Fan Ads

116

The fan mentality becomes accessible to everyone. This is a great use of flecked stock. The images are treated like objects.

Husker Fan Ads

“Husker fans. A little out there.” This line was used to tie everything together. The typography was designed to resemble a football game-day ticket.

Bailey Lauerman

This campaign boasted of nostalgia and gave us an opportunity to showcase the fans’ personalities through the objects they owned. Some of the iconic objects included a whiskey decanter, a homemade corncob

man and a 1970s cheerleader doll. To add even more humor, the ads were printed on the front and back sides of the paper (fronts and backs of the objects were photographed so readers could have fun seeing the objects from both points of view).

Branding Promoting

Ameritas Life Insurance Corp. is a proud sponsor of Nebraska football. For this year’s campaign, seven ads were created to tout the fanaticism of die-hard Husker football fans.

365/30

Design firm: Bailey Lauerman, Lincoln, Nebraska Art directors: Ron Sack, James Strange Designer: Ron Sack Creative director: Carter Weitz Photographer: Scott Dobry Production director: Gayle Adams Production artist: Elizabeth Cox Copywriter: Neveen Hegab Paper: French Speckletone, Oatmeal, 100 lb., cover Typefaces: Brody, Trade Gothic Client: Ameritas Group Client industry: Insurance

500

365/30

Design firm: Colle+McVoy, Minneapolis Client: Dupont

The stylistic approach of this piece is part of a larger trend in motion graphics. Nonetheless, we felt it was notable for its impeccable execution.

AIGA

Promoting: Animation Timeline

Branding Promoting Colle+McVoy Timeline 117 500

Cinema Tuesdays

In the design, Colourmovie chose to explore the concept of nesting, presenting vignettes of art installations, filmmaking and music in a deconstructed and offbeat way. These layers of art, film and music exist inside nested boxes within the theater, revealing all that Cinema Tuesdays has to offer.

Colourmovie

the commingling of art, music and cinema that makes up Cinema Tuesdays events.

Branding Promoting

This project draws inspiration from the historic Ricardo Montalbรกn Theater in Hollywood, home of the Cinema Tuesdays screening series sponsored by Nike Sportswear and curated by Flux. The weekly series features innovative motion pictures as well as unique live events. The challenge presented by Flux was to create a show opening that could convey a sense of not only the actual historic theater but also

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Design firm: Colourmovie, Los Angeles Creative director: Brandon Martinez Animator: Miguel Lee Producer: John McGinnis Music: John McGinnis Designer: Brandon Martinez Client: Flux/Nike Sportswear

AIGA

Promoting: Animation Cinema Tuesdays

The animated pop-up cardboard technique enters a new level of complexity and richness in this piece. The metaphor seems to grow with each new box.

118 500

Valins&Co. BBC Video DVD Open

The piece was written and read by The Daily Showâ&#x20AC;&#x2122;s John Oliver, providing a hilarious framework. The intent of the animation was to utilize strong iconographic illustrations in an upbeat and vibrant way, eliciting smiles and anglophilic laughter.

A modern interpretation of the Monty Python aesthetic drives home the long-standing relationship weâ&#x20AC;&#x2122;ve had with British comedy.

Branding Promoting

bbc America came to Valins&Co. with the desire to better acquaint the American market with the outstanding programming the bbc is known for worldwide. The main goal of this project was to create an endearing promotional piece that not only champions the content of the bbc but also points domestic viewers to bbc America for their fill of all things British.

365/30

Design firm: Valins&Co., New York Creative directors: Matt Christine, Andrew Jackson (bbc); Scott Valins (v&co.) Illustrators: Devin Clark (v&co.), Mike Gordon (bbc) Animator: Luis Aguirre Client: bbc America Producers: Vicky Lemont (bbc); Michele Watkins (v&co.) Designers: Luis Aguirre (v&co.), Mike Gordon (bbc) Copywriter: John Oliver

AIGA

Promoting: Animation BBC Video DVD Open

119 500

Lucien Lagrange Website Launch

Itâ&#x20AC;&#x2122;s experiential to have a delicate, respectful and traditional piece promote a website.

50,000feet, Inc.

firmâ&#x20AC;&#x2122;s hand-renderings, the announcement conveys the sensibilities, subtlety and style that have become the unmistakable hallmarks of the worldrenowned group.

Branding Promoting

With an unwavering hand to the smallest detail, 50,000feet created an announcement for the launch of the new Lucien Lagrange Architects website. Inspired by one of the

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Design firm: 50,000feet, Inc., Chicago Illustrator: Renato Gilberti Printer: lcp Paper: Neenah Paper, eames Architecture Text, Natural White, 50t, diffused finish Typeface: Lucien medium Director: 50,000feet Client: Lucien Lagrange Architects

AIGA

Promoting: Announcement Lucien Lagrange Website Launch

120 500

August Heffner Studio August Heffner

The pieces in this promotion also unwittingly chronicled the 2008 recession starting from minor housing worries to the need for full-blown economic stimulus. This promotion was created during the year that newspapers across the country began to close and The Times considered its own fate. Among The Times’ illustrations are several done for Blender magazine, a publication that closed its doors soon after this piece was printed.

Branding Promoting

In order to share some of the illustrations August Heffner created for The New York Times’ op-ed page in 2008, we printed this promotional newspaper. By enlarging them to nearly 20 times the size they appeared in The Times, we’ve breathed new life into illustrations that had been created quite quickly and thrown away with the old news at the end of the day.

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Design firm: August Heffner Studio, Brooklyn Designer: August Heffner Printer: Jae Kim Printing Creative director: August Heffner Illustrator: August Heffner Client: August Heffner

AIGA

Promoting: Announcement August Heffner

I would email this guy after receiving this. It’s nice he took things to a dimensional level. Good balance of self-promotion and identity. It really shows his work.

121 500

365/30 Branding Promoting gdloft PHL

Design firm: gdloft phl, Philadelphia Art director: Allan Espiritu Designer: Allan Espiritu Production artists: Christian Mortlock, Sung Mike Park Writer: Allan Espiritu Editor: Joseph Schiavo Copywriters: Michele Cooper, Allan Espiritu Printer: Perfect Printing Binding method: Saddle stitch Paper: Finch Premium Blend, white, 100 lb., text Client: aiga Philadelphia

AIGA

Promoting: Announcement Philadelphia Design Awards Call For Entries

Such a good use of type and color, 2-D and 3-D. Thereâ&#x20AC;&#x2122;s no excuse to have no money for art.

Philadelphia Design Awards Call For Entries 122 500

365/30 Branding Promoting Opolis

Design firm: Opolis, Portland, Oregon Creative directors: Dan Richards, Michael Verdine Art directors: Dan Richards, Michael Verdine Designers: James Parker, Dan Richards, Michael Verdine Illustrators: James Parker, Dan Richards, Michael Verdine Photographer: Marcelo Krasilcic Copywriter: Lane Foard Project manager: Alexis Chamberlain Printer: Metropolitan Fine Printers Client: Nike Client industries: Footwear, sportswear, apparel

AIGA

Promoting: Booklet Nike Sportswear Icon Book

The typography really reflects the characters. It feels intimate without being preachy.

Nike Sportswear Icon Book 123 500

Pentagram Design A Number of Numbers

is titled â&#x20AC;&#x153;A Number of Numbersâ&#x20AC;? and features seven numerical systems, from simple tallying to the Burmese system consisting almost entirely of circles. Each system is accompanied by a brief explanation and a challenge, with the answers in the back.

Branding Promoting

Each year Pentagram issues a small holiday book as a greeting to friends, clients and colleagues. The partners take turns researching and designing these books, which usually contain some kind of game or activity. Designed by Michael Gericke, the 2008 book

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Design firm: Pentagram Design, New York Art director: Michael Gericke Designers: Michael Gericke, Seong Im Yang Writer: Lisa Kahan Printer: American Printer Co. Printing method: 4-color sheet-fed Binding method: Sewn spine Paper: Mohawk Superfine, Ultra White, 100 lb., cover, eggshell; Mohawk Superfine, Ultra White, 80 lb., text, eggshell Typefaces: Akkur, Archer Client: Pentagram Design Client industry: Design

So tidy. The proportions are perfect.

AIGA

Promoting: Booklet A Number of Numbers

124 500

Pentagram Design Pentagram Papers 39: Signs

For Pentagram Papers 39, Austin partner dj Stout wanted to shed light on the universal and growing problem of homelessness. “Signs” features a selection of homeless signs from the personal collection of legendary Texas musician Joe Ely, photographed by Randal Ford, and a series of large-format portraits of homeless people by Michael O’Brien. The photographs paired with a personal essay by Ely, recounting his own homeless experience, reveal a gripping and uncomfortable truth. For the launch of the book, Pentagram organized an event that raised $5,000 to feed the homeless.

Intimate and powerful.

Branding Promoting

Since 1975, the international design firm Pentagram has produced a series of signature documents, known as Pentagram Papers, exclusively for clients and colleagues. Each paper explores a different and curious topic that, at one time or another, has caught the interest or sparked the imagination of the Pentagram partners. From the iconic to the obscure, the topics illustrate a huge variety of influences: Chairman Mao buttons, the Savoy lights, mailboxes of rural Australia, and the pop architecture of Wildwood, n.j., have all been featured subjects.

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Design firm: Pentagram Design, Austin Art director: dj Stout Photographers: Randal Ford, Michael O’Brien Designers: Barrett Fry, Julie Savasky Client: Pentagram Design

AIGA

Promoting: Booklet Pentagram Papers 39: SIGNS

125 500

Branding Promoting Thirst/3ST

It’s painterly. It’s wet—you can swim in it.

365/30

Design firm: Thirst/3st, Chicago Designer: Rick Valicenti Printer: Graphic Arts Studio, Chicago Illustrators: Dana Arnett, vsa, Chicago (Custom Logotype) Client: Classic Color

AIGA

Promoting: Booklet Tom Vack Book

Tom Vack Book 126 500

AIGA

Promoting: Booklet Hum Research Book

Alt Group Limited Hum Research Book

workplaces. Its role as a communication piece is to provide evidence of the investigation, exploration and design process that led to the development of the product. This is entirely a pioneering case of evidence-led design. The book builds and amplifies the reputation of the product and the company bringing it to market.

Branding Promoting

To coincide with the launch of Formway Design Studioâ&#x20AC;&#x2122;s new product Hum, a book was created to support the research behind the development of the product. The book was designed to function as a tool for facility managers, human resource managers, architects and designers charged with the task of creating and maintaining high-performance

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Design firm: Alt Group Limited, Auckland Creative director: Dean Poole Designers: Aaron Edwards, Max Lozach, Anna Myers, Dean Poole, Tony Proffit, Shabnam Shiwan Photographers: Alt Group, Barrett Lyonâ&#x20AC;&#x2122;s Opte Project graphic map of the World Wide Web, Duncan Cole, Formway, Getty Images, iStockphoto, Kimball Office, Toaki Okano, Ian Robertson, Superstock Typefaces: Helvetica Neue lt Std, itc American Typewriter Std Client: Kimball Office/Formway

Artistic. In-your-face, yet neutral. It works. Nice control of yellow.

127 500

AIGA

Promoting: Brochure ¾ Polar Brochure

¾ Polar Brochure

This does so much with so little.

Paprika

Our primary goal was to render the expression “¾ Polar” in typographical form. The name of this romans noirs collection evokes the balance of psychological, historical and sociological themes in each novel. We used visuals that reminded us of blood dripping and, besides black, red was as the only color used.

Branding Promoting

Les Allusifs is a small publishing house that likes to distinguish itself from the more commercial, less art-oriented publishing firms. Throughout Europe and North America, they publish challenging works of fiction by internationally renowned authors. They mandated us to create the promotional brochure for their new collection of detective novels, “¾ Polar” (literally “¾ Detective Novels”).

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Design firm: Paprika, Montréal Creative director: Louis Gagnon Art director: David Guarnieri Editor: Brigitte Bouchard Binding method: Side stitch Client: Les Allusifs Client industry: Publishing

128 500

Pentagram Design Yale College Viewbook

detailing students’ studies abroad, accompanied by the students’ own photographs. The book expresses the nuances and the depth of the Yale experience as an aggregate of student and faculty voices, vivid photography, and meaningful detail. It is meant to be a keepsake that students interested in Yale will appreciate as a warm and authentic introduction to the college.

Branding Promoting

The new Yale College viewbook has been designed to give applicants an insider’s view into the school. It is dense with layers of detail that show Yale’s strengths instead of merely describing them—from an annotated map of a residential college, to an illustrated listing of all the theater, music, film and fine arts offerings in a typical weekend, to a series of vignettes

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Design firm: Pentagram Design, New York Art director: Michael Bierut Designers: Michael Bierut, Yve Ludwig Photographer: Lisa Kereszi Picture editor: Yve Ludwig Editor: David J. Baker Writer: Andrea Jarrell Printer: Finlay Printing Paper: Mohawk Options, 100% pcw Typefaces: News Gothic, Serifa Black, Yale Client: Yale College Client industry: Education

AIGA

Promoting: Brochure Yale College Viewbook

Clean, friendly, approachable in spite of a daunting amount of information.

129 500

AIGA

Promoting: Brochure Image Book 2008

Peter Schmidt Group

Each chapter is infused with the same creative spirit, yet devoted to a different aspect. All of these highlight the agency’s wide and varied spectrum. The clean, distilled presentation in this medium reflects the unique approach of the Peter Schmidt Group and affords insights into a rich array of outstanding projects.

Branding Promoting

The Peter Schmidt Group, one of Germany’s leading branding agencies, showcases its driving force in this image book: passion. On the wings of this word alone, the book takes the reader on an odyssey through the Peter Schmidt Group world of branding, where consumers’ perceptions of companies and products are honed and shaped.

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Design firm: Peter Schmidt Group, Frankfurt Client: Peter Schmidt Group

Big! Big company, big brand. Like a symphony, it’s confident and precious.

Image Book 2008 130 500

America’s Best Cities for Design 131

Really good information design: tasteful, clean, accessible. Simplicity is its strength.

RMJM

a minimalist and uniform representation of each city, distilling its essential, salient features into a simple and accessible profile. A series of icons representing key design-wise characteristics were developed and served as a quick key to guide the reader through the evaluation of each city. As material for distribution to both industry experts and non-architectural clients, the scheme sought to visualize content in such a way The book’s design is that was comprehensive driven by an essential yet accessible regardvisualization of statistics. To accomplish this, less of the reader’s designers implemented background or industry.

Branding Promoting

Clients seek out rmjm for not only the vast scope of its services but also the depth of its familiarity with local markets. As a promotion geared to support the 2008 launch of the firm’s new u.s. Urban Design Studio, rmjm’s America’s Best Cities for Design effectively demonstrates the firm’s familiarity with national urban trends in architecture, planning and sustainability.

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Design firm: rmjm, New York Art director: Effie Yang Designers: Amanda Hecko-Abel, Jeffrey Tryon Editor: Melinda Sherwood Writer: Linda Crites Printing methods: 2-color offset, foil-stamp cover Binding method: Perfect Typefaces: Foundry Monoline, Minion Client: rmjm Client industry: Architecture

AIGA

Promoting: Brochure America’s Best Cities for Design

500

Otis College Graduate Viewbook

Serious without being overwhelming. Still has energy—you will have a life. The nested books and color palette make it.

ALT Design; still room

inform them about the graduate programs and attract them to the school. The book is composed of two connected parts: informational texts printed in 10 spot-colors, and photographic visual documentation, the 4 x 6 “barnacle,”printed in 4-color process.

Branding Promoting

The 2008–2009 Otis Graduate Viewbook is the graduate admissions catalogue for Otis College of Art and Design, a small, independent art school with a long history in Los Angeles. The goals of this recruitment catalogue are to communicate with potential graduate students,

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Design firms: alt Design; still room, Los Angeles Designers: Jessica Fleischmann, Ana Llorente Creative directors: Jessica Fleischmann, Ana Llorente Printing method: Offset Binding method: Saddle stitch Typeface: Univers Trim sizes: 7 x 11, 4 x 6 Printer: Typecraft Wood & Jones Client: Otis College of Art and Design Pages: 106 Client industry: Education

AIGA

Promoting: Brochure Otis College of Art and Design Graduate Viewbook

132 500

Otis College Viewbook 133

You feel like you’re there with the students at the school—the process and the lifestyle.

ALT Design; still room

where students receive professional, worldclass training in art and design. Two designers with independent studios came together to collaborate on this project. After extensive research and conceptual development, we decided to put the students and their work in the forefront by minimizing our hand as designers, all the while retaining a considered, lively presence.

Branding Promoting

The 2008–2009 Otis Viewbook is the undergraduate admissions catalogue for Otis College of Art and Design, a small, independent art school with a long history in Los Angeles. The goal of this 116-page, 4-color recruitment catalogue is to invite potential students to visit the campus by presenting the school as a friendly, supportive, diverse environment

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Design firms: alt Design; still room, Los Angeles Entry title: Otis College of Art and Design Viewbook Designers: Jessica Fleischmann, Ana Llorente Printing method: 4/4 offset Pages: 116 Client: Otis College of Art and Design Printer: Typecraft Wood & Jones Binding method: Perfect Typefaces: Agape, Crank 8, Dot and Circles (customized Type Jockey), Section Trim size: 7.25 x 10 Creative directors: Jessica Fleischmann, Ana Llorente Editors: Marc Meredith, Margi Reeve Paper: Topkote, fsc-certified, dull

AIGA

Promoting: Brochure Otis College of Art and Design Viewbook

500

365/30 Branding Promoting

Design firm: Vanderbyl Design Art director: Michael Vanderbyl Designers: Tory Ford, Michael Vanderbyl Photographer: Widner Creative Client: hbf

Thereâ&#x20AC;&#x2122;s enough control. They let the product speak for itself.

AIGA

Promoting: Brochure C Collection by Yves Behar

Vanderbyl Design C Collection by Yves Behar 134 500

365/30 Branding Promoting

Design firm: Vanderbyl Design, San Francisco Creative director: Michael Vanderbyl Art director: Michael Vanderbyl Designers: Tory Ford, Michael Vanderbyl Photographer: Widner Creative Client: hbf Textiles

This is â&#x20AC;&#x153;harmony in contrast.â&#x20AC;? So simple, tactile, smart.

AIGA

Promoting: Brochure Harmony in Contrast

Vanderbyl Design Harmony in Contrast 135 500

Werner Design Werks, Inc. Charles Luck Stone Centers Brand Awareness Kit

ers excited about the possibilities for stone. The book emphasizes the heritage and legacy of the Luck Stone, as well as the heritage and legacy of stone itself. Stone is the epitome of longevity and durability as well as quality and beauty; these qualities are apparent in the entire kit. Stone is a very tactile material; this kit with all of its tactile elements is a testament to this quality.

Branding Promoting

Luck Stone is a wellestablished, multigenerational stone company. They decided to open Charles Luck Stone Centers, where architects and designers can learn about the wide variety and many applications of stone that Luck Stone acquires from all over the world. This kit, with its fan-book catalogue, promotional book and stone samples is intended to get those architects and design-

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Design firm:Werner Design Werks, Inc., Saint Paul Creative director: Cabell Harris (Work Labs) Art director: Sharon Werner Designers: Sarah Nelson Forss, Sharon Werner Copywriters: Eric Boyd (Work Labs) Photographer: Geoff Kern Printer: Franklin Press, Inc. Production artist: Work Labs Printing methods: Offset, hot stamp, screen-printing Fabricator: Franklin Press, Inc. Client: Work Labs/Charles Luck Stone Centers

AIGA

Promoting: Brochure Charles Luck Stone Centers Brand Awareness Kit

This one made me love science again. I really respect the product. Itâ&#x20AC;&#x2122;s totally worth the investment. Itâ&#x20AC;&#x2122;s fantastic.

136 500

Concrete Design Perricone Prescription Brochure

After an unsuccessful packaging redesign that resulted in

sagging sales and a loss of brand identity, Perricone md turned to Concrete to revitalize the brand. Concrete developed a comprehensive campaign that involved updating the visual identity, creating new packaging design, overhauling the website and developing both brand and tactical advertising. The design approach was a modern interpretation of a traditional apothecary: understated, elegant typography, scientific photography and frosted amber glass. Another key component was returning Dr. Perricone as the â&#x20AC;&#x153;faceâ&#x20AC;? of the brand.

Branding Promoting

Known as the guru dermatologist to the stars, Dr. Perricone and Perricone md products have had extensive media coverage on Oprah, pbs and Larry King as well as in publications such as Vanity Fair, Vogue and The New York Times. The range of products includes topical anti-inflammatory formulas to reverse and prevent damage to the skin, as well as dietary supplements that are scientifically designed to promote healthy, youthful skin.

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Design firm: Concrete Design Communications, Inc., Toronto Art directors: Diti Katona, John Pylypczak Designer: StĂ¨phane Monnet Client: Perricone md

AIGA

Promoting: Brochure Perricone Prescription Brochure

So well done; feels so credible, interesting, beautiful.

137 500

Concrete Design

captures the essence of thoughtful, discerning, modern women. The brochure uses clothing not for the purposes of documentation, but as an expression of the woman who is intelligent, feminine, confident and ultimately modern.

Branding Promoting

Bold color blocking and dramatic cropping are the hallmarks of the Lida Baday Spring 2009 Collection brochure. With offices in Toronto and New York, Lida Baday designs and produces well-detailed, beautiful clothing that

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Design firm: Concrete Design Communications, Inc., Toronto Art directors: Diti Katona, John Pylypczak Designer: Agnes Wong Photographer: Chris Nicholls Client: Lida Baday

AIGA

Promoting: Brochure Lida Baday Spring 2009

Bold crops; not pretentious; raw and sophisticated.

Lida Baday Spring 2009 138 500

Fishten Retrouver

sion of the exhibition. An intricate sewing pattern from the artist’s work is die-cut into the cover. The books were sewn one at a time on an old sewing machine and hand-stuffed into cheesecloth bags to be discovered and rediscovered. Celebrating Vickerson’s attention to labor and detail, the book complements her work without overshadowing it.

Branding Promoting

Visceral beauty and delicate decoration are central strands in the exhibition “Retrouver” (which means to find again or rediscover), featuring over a decade of diverse sculptural art by Laura Vickerson. Textiles, tactility, texture and hand-labor/ sewing are the main “threads” pulled from Vickerson’s work to create a delicate handcrafted book that feels like a natural exten-

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Design firm: Fishten, Calgary Creative director: Kelly Hartman Art director: Kelly Hartman Designer: Kelly Hartman Photographer: Daniel Engel (Hide Away Studios) Production coordinator: Kelly Hartman Production artist: Kelly Hartman Curator: Joanne Marion Writer: Diana Sherlock Printer: Kallen Graphics Printing methods: Sheet-fed, laser die-cut Binding method: Sewn Paper: Neenah Papers, eames Painting Vellum, Solar White, 80 lb., text; 100 lb., cover Typeface: Garamond Client: Esplanade Art Gallery

AIGA

Promoting: Brochure Retrouver

139

The materiality makes it. The laser cut is so appropriate.

500

365/30 Branding Promoting

Design firm: ken-tsai lee design studio, Rego Park, New York Entry title: Type Faces Creative director: ken-tsai lee Art director: Chiung Hui Designer: ken-tsai lee Photographer: Chiung Hui Client: Harvest Ads Co., Ltd.

AIGA

Promoting: Brochure Type Faces

ken-tsai lee design studio Type Faces 140

Great stillness; Zen silliness.

500

Branding Promoting Studio on Fire

Creation of appealing, interesting and provocative promotional and event materials for the 2009 Design Camp.

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Design firm: Studio on Fire, Minneapolis Creative director: Benjamin Levitz Designer: Erik Hamline Production director: Selina Larsen Illustrators: Jenna Brouse (characters), Erik Hamline (supplemental pattern work, ornament, filler) Copywriter: Riley Kane Photographers: Various family photos from sof employees, David Dresbach, Erik Hamline Printers: Shapco Printing (offset), Studio on Fire (letterpress) Printing methods: 4-color letterpress, 7-color offset Client: aiga Minnesota

Magical.

AIGA

Promoting: Campaign (Multiple channels) AIGA Design Camp Materials

Audience included creatives and students in the Midwest, Dakotas, Iowa, Wisconsin and Manitoba areas. AIGA Design Camp Materials 141 500

Nike+ Human Race 142

A project that puts social technologies to work for a good cause at such a large scale seems overdue. This is an exemplary project for the integration of design technology and community.

R/GA

anywhere in the world with Nike+ to log their runs. Together, they challenged and inspired each other and helped raise money for some very worthy causes. As the lead digital agency, it was our responsibility to connect people from around the world to the race in the digital space and beyond.

Branding Promoting

The Nike+ Human Race 10k was the largest one-day running event in historyâ&#x20AC;&#x201D;and the next evolution of the award-winning, industry-changing product, Nike+. With breakthrough technology, runners around the globe came together to run in either one of 28 official race cities or

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Design firm: r/ga, London Creative directors: Wade Convay, Jim Hord, Natalie Lam, Can Misirlioglu, Jill Nussbaum, Robert Rasmussen Designers: Diego Aguilar, Adam Jesberger, Cesar Marchetti, Steve Peck Interactive designers: Claudia Burnett, Masha Ioveva Animators: Josh Baron, Laura Pence, Jerome Thelia, Eric Wagner, Chad Yapyapan Programmers: Josh Balik, Thomas Chan, Nick Coronges, Daisy Dai, Vincent DiBartolo, Sarah Grant, Nauman Hafiz, Thomas Harris, Michael Mosley, Michael Piccuirro, Michael Randolph, Simon Tam, Henry Tseng, Tai U, Lee Walling Content strategists: Alberto Botero, Heidi Miller Producers: Guy Helson, Dan Jurow, James Kuo, Sean Lyons, Donald Oliver, Jordana Reim, Dayna Vecsi Editors: Jesse Beller, Mike Frank, Chris Shimojima, Bharat Vohra, Kirill Yeretsky Copywriters: Todd Brown, Jared Elms, Colleen Harlan, Eissa Shively Client: Nike

AIGA

Promoting: Campaign (Multiple channels) Nike+ Human Race

500

This is such a complete, unique, cohesive package.

Bumble and bumble.

oversized Post-its for â&#x20AC;&#x153;curlifiedâ&#x20AC;? backdrops, wallpaper, floor covering; the buttons, tattoos, bandanas (as scarves), bags and T-shirts, to be worn and carried in solidarity; and the Curl Manifesto, a rallying cry to the naturally curl-endowed to throw out their flat irons and embrace the unstraight.

Branding Promoting

Our challenge was to raise Curl Consciousness and reach out to our community of curly clients (who have been straightening their hair since the day they could). We achieved this through curlcentric campaign material and events in our Network Salons: the

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Design firm: Bumble and bumble., New York Creative director: Helen Steed Designers: Adriana Deleo, Sarah Wilkinson Project manager: Amanda Lam Copywriter: Caroline Wilson Production director: Andrew Enright Production coordinator: Ryan Dougherty Client: Bumble and bumble.

AIGA

Promoting: Campaign (Multiple channels) Curl Conscious Campaign

Curl Conscious Campaign 143 500

Mostra SESC de Artes

So cohesive with such a simple system. They turned a tremendous amount of information into art.

Celso Longo; Daniel Trench

challenges were to build a visual identity that could hold some kind of connection in this dispersed environment and to visually translate its curatorial will. Art has a multiplying effect, and the identity uses the multiplication sign to build a grid, where all the visual and textual contents were laid out.

Branding Promoting

The Mostra sesc de Artes is a cultural event held by one of Brazilâ&#x20AC;&#x2122;s most important cultural institutions. It takes place annually in SĂŁo Paulo, and for 10 days occupies all 15 branches of the institution and some public areas (such as squares, parks and avenues) all over the city. The main

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Art directors: Celso Longo, Daniel Trench Designers: Celso Longo, Daniel Trench Printers: Aquarela (program and invitation), Ipsis (catalogue) Printing method: Offset Binding methods: Spiral-bound (program), paperback and plastic jacket (catalogue) Typeface: Gotham Client: sesc

AIGA

Promoting: Campaign (Multiple channels) Mostra Sesc de Artes

144 500

The Independent Group

section of the book are derived from student thesis titles. These create a dialogue with the running narrative, which accentuates the contextual and idiosyncratic nature of the work produced across the school’s departments and reflects the spirit of the graduate experience as a whole.

Branding Promoting

The challenge of this piece was to take an existing catalogue’s format, chronology and feel (which I designed the previous year), and essentially “remix” the elements to take on a new graphic life and personality. The large text fragments on the right side of each spread in the front

Irreverent and cohesive, it shows exploration and process. It’s not trying to be perfect.

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Design firm: The Independent Group, Brooklyn Designer: Isaac Gertman Editor: Liisa Silander Client: Rhode Island School of Design Printer: Meridian Printing

AIGA

Promoting: Catalogue Rhode Island School of Design (RISD) Graduate Prospectus 2008–2009

RISD Graduate Prospectus 2008–2009 145 500

Visual Arts Press, Ltd.

Our solution is to present visual and factual evidence, first by giving dozens of facts about New York, sva and its students, and then by presenting literally hundreds of examples of student work throughout the book, setting a new standard for publications of its kind.

Branding Promoting

365/30

Design firm: Visual Arts Press, Ltd., New York Creative director: Anthony P. Rhodes Art director: Michael J. Walsh Designers: Suck Zoo Han, Brian E. Smith, Patrick Tobin Client: School of Visual Arts

It looks a bit heavy, like a phone book, but it’s light. It’s an adventure. A good amount of restraint and pacing. I would be proud to walk away from school with my work in that.

AIGA

Promoting: Catalogue School of Visual Arts (SVA) Undergraduate

SVA Undergraduate 146 500

Design Cluster 2008

The archive pockets allowed visitors to the exhibitions to collect ephemera and business cards of the students they liked and keep them together as a record of the show. This archive element gave the catalogues a permanent rather than transient life cycle.

KK OUTLET

printed on recycled paper and compiled in archive pockets, which were hand-screenprinted. The posters were produced in different sizes, proportional to course size, so not to waste paper. The catalogue was printed at Calvertsâ&#x20AC;&#x201D;a local, environmentally sound printer.

Branding Promoting

The brief was to produce a catalogue that documented studentsâ&#x20AC;&#x2122; work and promoted the design cluster courses at Camberwell College of Arts. The brief stipulated the final catalogue must be environmentally friendly and produced within a very limited budget. The main communications objective was to promote the design cluster, demonstrate how the courses overlap, provide a visual record and promote the work of graduates. We produced a set of posters designed to showcase the work on a wall, rather than hidden away on a bookshelf. The posters were

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Design firm: kk outlet, London Designers: Vicky Simmons, Stefania Tomasello Printer: Calverts Co-operative Printers Polyester pockets: Secol archive specialists Client: Camberwell College of Arts

AIGA

Promoting: Catalogue Design Cluster 2008

Nice use of color; high impact with low cost but doesnâ&#x20AC;&#x2122;t look cheap.

147 500

AIGA

Promoting: Catalogue Blu Dot Sales Catalogue

Branding Promoting Matthew Rezac

front, business in the back. The first section of the book is composed of lush environmental photography that asserts Blu Dot’s personality—a unique blend of humor, irreverence and Midwestern mythos. The second part of the book presents traditional product photography and vital information organized in user-friendly layouts.

Blu Dot Sales Catalogue

Blu Dot’s annual sales catalogue is their primary marketing piece each year. As a result, it must be many things to many people—both a seductive marketing tool and a lasting resource for individual customers, retailers and clients. This was achieved by splitting the book into two sections, based on a “reverse mullet” approach—fun up

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Design firm: Matthew Rezac, Minneapolis Art director: Matthew Rezac Designer: Matthew Rezac Photographer: Dan Monick Copywriters: Maurice Blanks, Brad Bray, John Christakos Project manager: Medora Danz Printer: Shapco Printing Binding method: PUR Otabind Typeface: Akkurat Trim size: 9.5 x 11 Client: Blu Dot Quantity printed: 22,000 Paper: Weyerhaeuser Cougar, 80 lb., text, smooth; Weyerhaeuser Cougar, 100 lb., cover, smooth

Nice use of color; high impact with low cost but doesn’t look cheap.

148 500

AIGA

Promoting: Direct Mail 2008 Office Holiday Art

Office

that makes people happyâ&#x20AC;&#x201D;something that they will want to keep or pass on.

Nice use of color; high impact with low cost but doesnâ&#x20AC;&#x2122;t look cheap.

Branding Promoting

Office creates limitededition holiday art for clients and friends. We try to make something beautiful and unique

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Design firm: Office, San Francisco Creative director: Jason Schulte Designer: Jason Schulte Client: Office

2008 Office Holiday Art 149 500

Branding Promoting Tandemodus

months, at the same time of day and from the same positionâ&#x20AC;&#x201D; visual evidence of the changing seasons, the passing of time and the wonder of nature. The platform for Curiosities allows us the opportunity to take an idea and challenge it to be something more. What began as a visual collection of seasonal changes in nature uncovered a story far more elaborate and compelling than we could have ever imaginedâ&#x20AC;&#x201D;a testament to the design process we work through for every project, big or small.

Curiosities: Volume 1.1

Seeking refuge in knowledge,Tandemodus researches, writes and designs on topics that stem from observation of everyday occurrences. Project 23.5 is the first that originated as a simple documentation idea and grew into much more. Our studio, located on Chicagoâ&#x20AC;&#x2122;s South Side, has a breathtaking view of the city and its surrounding neighborhoods, and is ideal for observing nature in an urban environment. As autumn approached, we decided to document the foliage as it turned colors. We captured 60 photos over two

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Design firm: Tandemodus, Chicago Creative director: Kelly Komp Designer: Adam Katz Writer: Adam Katz Photographer: Adam Katz Content strategists: Andy Eltzroth, Adam Katz, Kelly Komp Printing method: Offset Paper: 40 lb., text, opaque Typeface: Helvetica Client: Tandemodus Client industry: Strategic design

AIGA

Promoting: Direct Mail Curiosities: Volume 1.1

150 500

Bold and subtle; primitive and sophisticated.

SHN Season Mailers

The corporate identity captures the anticipation theater audiences experience as the curtains openâ&#x20AC;&#x201D;and the thrill of live theater that awaits them. An intensified plum color references the traditional velvet-curtain color. The system has been rolled out through integrated marketing tactics, including print advertising, web content, direct mail and outdoor.

Addis Creson

Broadway shows among new and existing theater audiences.

Branding Promoting

Shorenstein Hays Nederlander (shn) is one of the Bay Areaâ&#x20AC;&#x2122;s preeminent theater companies. But even after 30 years of producing and promoting successful Broadway shows, it lacked recognition. The company came to us because it wanted to step out of the shadow of its shows and gain recognition as the entity responsible for the productions. Our task was to elevate the shn brand as a major force in national theater, while also generating appeal for

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Design firm: Addis Creson, Berkeley Creative director: John Creson Designer: Magdalena Hladka Production director: Jonathan Fisher

AIGA

Promoting: Direct Mail SHN Season Mailers

The gift pays off. Giveaways are tough to keep sophisticated. Smart work.

151 500

Branding Promoting

We just love the idea of Fishington, whatever it is.

365/30

Design firm: Colle+McVoy, Minneapolis Client: Recreational Boating and Fishing Foundation

AIGA

Promoting: Direct Mail Fishington Postcards

Colle+McVoy Fishington Postcards 152 500

2008 Facebook

We designed a catchy self-mailer instantly recognizable as Target; emphasized value in coupon offers, thus prompting more store visits; and utilized Target-branded photography for the faces on the coupons, creating a playful “build a face” format that features the witty Target “wink” and makes shopping more fun for both Mom and the kids. The campaign saw an increase in coupon redemptions, and therefore incremental sales, improving on previous campaigns.

Little & Company

to shop more often and buy more products was quite another.

This elevates the coupon. They really did a good job. This is the only time I would use a coupon.

Branding Promoting

Target’s ongoing consumer direct-mail campaign leverages coupon offers to promote the company to its guests as a preferred shopping destination. Due to the sudden economic downturn, an already-competitive commodities market became even fiercer. An especially creative overhaul of the campaign was crucial to effectively reminding guests that Target still has all the everyday products they need, and at great values. Encouraging them to make Target a routine stop in their shopping was one challenge; persuading these guests

365/30

Design firm: Little & Company, Minneapolis Client: Target Creative director: Joe Cecere Designer: Heidi Schweigert Production artist: Nicole Phelps Project manager: Heidi Springman Copywriter: Gene Valek Photographer: Stephanie Rau

AIGA

Promoting: Direct Mail 2008 Facebook

153 500

Little & Company 2008 Health Catalogue 154

merchandise when the Center for Disease Control vetted our editorial content and quick tips; we intermingled throughout the catalogue easily accessible coupons for vendor products, which served as store trip drivers; and we reinforced the energetic tone of the copy with full-page lifestyle shots of family members engaging in healthy activities together (one photo showed Dad with We created the folbucket and sponge— lowing elements to young daughter establish Target as a hanging gleefully from friendly and trustworhis arm—positioned thy source of healthacross from a page ful information: we promoting organic designed two seasonally relevant catalogues cleaning products). (October, kid-focused; January, Mom-focused) Our campaign to simultaneously to save establish Target as the time and reduce costs; best source for healthy we helped legitimize products was well Target’s promotion received by the client. of its health-related

This raises the bar.

Branding Promoting

Target knows that health and wellness is important to its core guests, and wished to build awareness of Target as the key destination providing all things good for you. An additional, no-lesschallenging task was to convincingly leverage the theme “Long Live Happy” to show how a healthy lifestyle can be fun, fashionable and add to a happy home.

365/30

Design firm: Little & Company, Minneapolis Client: Target Creative director: Joe Cecere Designer: Viet Do Copywriters: Mary Lou Hidalgo, Dan Mackaman Photographer: Terry Doyle Production artist: Nicole Phelps Project manager: Sarah Hillstrom

AIGA

Promoting: Direct Mail 2008 Health Catalogue

500

Can we have one?

Branding Promoting Opolis

To celebrate Opolisâ&#x20AC;&#x2122; fifth (wooden) anniversary, we selected a handmade wood toy

365/30

Design firm: Opolis, Portland, Oregon Art director: Dan Richards Designer: Lael Tyler Illustrator: Trent Russell Copywriter: Lane Foard Creative directors: Dan Richards, Michael Verdine Project manager: Alexis Chamberlain Printer: Northwest Paper Box Client: Opolis Design Client industries: Graphic design, branding

AIGA

Promoting: Giveaway Blocky

to create packaging around and gave it as gifts to friends and clients of the agency.

Blocky 155 500

156

We like how the images multiply. The growing was unexpected and created drama with the unfolding. It balances the massiveness and personal aspects of eBay.

Toy TOY toy

By listing our piece on eBay using the highestranked terms to sell it, “Toy toy toy” completes the loop between eBay and the products they define as a “toy.”

Tim Belonax

By compiling the words associated with a search for the word “toy,” one gains a momentary glimpse of an online, amorphous definition. Our piece serves as a visual and linguistic snapshot of ecommerce—an

economic field that 10 years ago was hardly the behemoth of today. By illuminating the frequency of words used, as well as the popularity of specific words and the emergence of newly created words, “Toy toy toy” provides useful information in a beautiful, utilitarian format.

Branding Promoting

“Toy toy toy” illustrates an experiment in online-community linguistics and commerce—an evaluation of search terms used on eBay. Our piece displays a moment in ecommerce that presents new words used in a discussion that few would ever see.

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Design firm: Tim Belonax, San Francisco Art directors: Tim Belonax, Michael Chanover Designer: Tim Belonax Information architect: Adrian Cotter Programmer: Adrian Cotter Printer: Paragraphics Printing method: 4-color offset Paper: Finch, Bright White, 50 lb., text, opaque smooth Client: eBay users

AIGA

Promoting: Giveaway Toy TOY toy

500

Power of Place

Esquer’s sketch is inspired by the powerful interviews that he conducted with attendees of the Glass House’s 2007 Inaugural Gala and captured in his series of three short films, Glass House Openings. The pen-andink sketch visualizes the transcript of the film via hand-lettering and typography and, at the same time, forms a text composition that evokes the poetic and inspiring site of the Glass House.

alfalfa studio

sketchbook will support the Glass House.

Branding Promoting

In May 2008, the Philip Johnson Glass House and Moleskine launched a partnership to produce a custom sketchbook and online gallery of sketches inspired by the Glass House’s unique power of place and role as a source of inspiration. The sketchbook features 29 sketches by various architects, designers and artists inspired by the site, relevant quotes by Philip Johnson and many blank pages for notes or sketching. Now a featured product in the Glass House Shop, all proceeds from the

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Design firm: alfalfa studio, New York Illustrator: Rafael Esquer Designer: Rafael Esquer Clients: Moleskine; The Glass House Client industry: Arts and culture

AIGA

Promoting: Illustration Power of Place

It’s nice and it’s personal. I would use it.

157 500

Osborn The 1st Birthday

and forms of beauty.” The custom letters in this invitation were “discovered” while playing with two three-dimensional objects, which were then digitalized for two-color letterpress printing. Limiting the objects and their resulting shapes— a semicircle and a straight line at 45 or 90 degrees—enhanced, paradoxically, the possibilities of creation and the complexity of the design method.

Branding Promoting

This birthday-party announcement was inspired by the methodology of “gifts,” the materials of kindergarten invented by Friedrich Froebel in the mid-19th century. Norman Brosterman’s book, Inventing Kindergarten (1997), explains that “these gifts were used in short sessions of directed play to create pictures or structures that fit loosely into three fundamental categories—forms of nature, forms of knowledge

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Design firm: Osborn, Glendale, California Designer: Yuju Yeo Printer: Traction Press Printing method: Letterpress Paper: Crane’s Lettra, Flourescent White, 600 gsm 2-ply, 220 lb., cover Typeface: Customized

AIGA

Promoting: Invitation The 1st Birthday

In spite of the legibility, it is playful and joyful; all achieved with type and color. It’s its own form; the harmony in the original type is good.

158 500

Bureau of Invitations Felton-Boynton Wedding

to a finished theme generated around vintage train ephemera, and afforded us a wonderful opportunity for study, research and exploration of a specific, rich time and place. Additionally, a metaphor was drawn between travel by train and marriage as a shared journey, not only between the couple but also among the guests. This was on every level an absolute joy to be a part of as a graphic designer.

Branding Promoting

I was asked by a friend and co-worker, Lauren Felton (also the art director), to realize a concept sheâ&#x20AC;&#x2122;d developed for her own wedding invitation. The concept made great use of the location, historical significance of the wedding, and reception venues for inspiration: an outdoor space at the Edgar Allen Poe Museum and the Main Street Amtrak Station in downtown Richmond, Virginia, respectively. This led

What feels like ornamentation is all functional in supporting the theme.

365/30

Design firm: Bureau of Invitations, Durham, North Carolina Art director: Lauren Felton-Boynton Printer: Officina Briani Designer: David Eller Printing method: Letterpress Creative director: David Eller Illustrator: David Eller Photographer: Doc Brunk Production coordinator: Officina Briani Production artist: David Eller Copywriters: David Eller, Lauren Felton-Boynton Project manager: David Eller Clients: Andrew & Lauren Boynton

AIGA

Promoting: Invitation Felton-Boynton Wedding

159 500

It’s just really nice; there’s a lot of discipline yet it’s lush.

Chen Design Associates Stanford Lively Arts Wine Series

production methods to create a more intimate sensibility—framing the events as opulent and exclusive but also highly personal. To this end, we employed hand-stamped elements, textured papers and letterpress printing. The results: increased visibility and buzz, a record-setting 30% response rate, and more funding for the arts.

Branding Promoting

For several seasons, Stanford Lively Arts held a series of winetasting events in conjunction with certain performances as a way of thanking donors for their philanthropic support. Yet awareness and attendance were quite poor. With the invitations, we saw a previously untapped potential for the artwork, materials and

365/30

Design firm: Chen Design Associates, San Francisco Art director: Joshua Chen Designer: Max Spector Creative director: Joshua Chen Printers: Full Circle Press (letterpress), Oscar Printing Company (offset) Printing methods: Letterpress, offset Paper: Neenah eames, Neenah Classic Columns, blotter paper stock Typefaces: Gotham Font Family, itc Century Bold Italic, Zebrawood Fill Client: Stanford Lively Arts Client industry: Performing arts

AIGA

Promoting: Invitation Stanford Lively Arts Wine Series

160 500

Cue, Inc. Curtain Call Ball 2008

youthful color palette, hand-painted illustrations and witty copy bring a playful attitude to a “grownup” night out. With a more straightforward cover, the invitation opens with a map-fold that expands to twice the size, revealing a colorful inside—an executional element that communicates a night of unexpected surprises.

Branding Promoting

Every fall, the Children’s Theatre Company hosts the Curtain Call Ball, its annual fund-raising event. Cue has collaborated on the event theme and designed the invitation for the past four years. “Oh, the Drama” was the theme for 2008, inviting guests to let their hair down and participate in the evening’s events. Classic typefaces, a

365/30

Design firm: Cue, Inc., Minneapolis Creative director: Alan Colvin Designer: Nate Hinz Illustrator: Nate Hinz Producer: Chris Thomas Printer: Franklin Press Copywriter: Nate Hinz Printing methods: Offset, 175-line screen Binder: Franklin Press Binding method: Hand-folded Paper: Domtar Cougar, white, 100 lb., cover, 70 lb., text, smooth; French envelopes in Lemon Drop and Sour Apple Typefaces: Century Schoolbook, Hoefler Text, Gotham Client: Children’s Theatre Company Client industries: Theater, entertainment

AIGA

Promoting: Invitation Curtain Call Ball 2008

So fun, sweet, appropriate and unexpected. It remembers its audience.

161 500

AIGA

Promoting: Invitation Erwan Frotin

Erwan Frotin

I love the edging; you don’t forget it. It’s bold and sensitive.

Anisa Suthayalai; Alex Lin

Flowers photo series by introducing a color gradation on the edges of the thick letterpressed card.

Branding Promoting

Lisa Naftolin from Art + Commerce was looking for an invitation that was unusual and subtle. We hinted at Erwan Frotin’s Wild

365/30

Design firm: Anisa Suthayalai and Alex Lin, New York Creative directors: Alex Lin, Lisa Naftolin (Art + Commerce), Anisa Suthayalai Photographer: Masood Kamandy Production artists: Alex Lin, Sara Sidler, Anisa Suthayalai Printer: Lunar Caustic Press Printing method: Letterpress Paper: Beckett Concept, 160 lb., cover, Radiance Typeface: Elephant Client: Art + Commerce

162 500

365/30 Branding Promoting Identica

Design firm: Identica, Montréal Creative director: Barbara Jacques Art director: Julie Brassard Designers: Julie Brassard, François Cournoyer Illustrator: Julie Brassard Retoucher: François Lattaro Computer graphics: François Lattaro Copywriter: François Forget Producer: Louis Dorval Printer: k2 Impressions Client: Théâtre du Nouveau Monde

AIGA

Promoting: Invitation Cena d’chez nous

Extreme colors with gold—it’s not tame! It’s whimsical, bold; it explodes.

Cena d'chez nous 163 500

Branding Promoting Metalmother

A long courtship = a long story = an extremely long wedding invite.

365/30

Design firm: Metalmother, Brooklyn Art director: Matt Dorfman Designer: Matt Dorfman Editors: Jill Bell, Matt Dorfman Writer: Matt Dorfman Printer: Kayrock Printing method: Silk-screen Paper: Cougar Natural, 110 lb. Typefaces: Agency, Cooper, Futura, Gothic, itc Century Clients: Jill Bell & Matt Dorfman

AIGA

Promoting: Invitation Jill & Matt & The USPS

have a wordy, ungainly poster unfold out of it.

Jill & Matt & The USPS

From the writing, editing, formatting and My wife Jill and I had kerning, to the small dated for eight years heart attack when our between four cities printer told us that (mainly long-distance) printing this thing before getting engaged. would be impossible To announce the wed(they happily reneged), ding, we decided that to the manual cutting our relationship’s surwe did ourselves so the vival was enough cause rsvp postcards would for celebration, so we hold in the folded catalogued the essential invite, making this twists and turns of our thing was every bit a courtship on the invite. case of art imitating our It was designed to fold dating history. It wasn’t and slip into a standard easy by any stretch, but 5 x 7 envelope, so we are both happier for half the fun would be having done it—plus receiving a very basic our guests got a massive envelope in the mail jolt one afternoon when only to open it up and they opened their mail.

164

Even though we know the ending, we still want to read the story.

500

Pentagram Design

calligraphic Mohawk— and launched a refreshed identity for the Public Theater. The new identity is set in Knockout and uses the strict 90-degree angles of a De Stijl-inspired grid, a pattern that resonates in Manhattan’s streetscape.

Branding Promoting

First introduced in 1994, the annual poster campaigns for Shakespeare in the Park have become a summer tradition in the streets of New York City. The 2008 campaign promoted the productions of Hamlet and Hair— represented by the skull of Yorick topped with a

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Design firm: Pentagram Design, New York Art director: Paula Scher Designers: Lisa Kitschenberg, Paula Scher Typeface: Knockout Client: The Public Theater Client industries: Arts, nonprofit

AIGA

Promoting: Poster Shakespeare in the Park 2008

Shakespeare in the Park 2008 165

The old tradition...made new again.

500

AIGA

Promoting: Poster Overspray

Branding Promoting Periscope

Our goal was to remind homeowners how easy it is to finish small projects around their homes. With a limited budget, photography wasn’t an option. We designed our posters by utilizing the negative space of objects spraypainted on newsprint.

365/30

Design firm: Periscope, Minneapolis Art director: Kym Ohna Writer: Chris Wareham Creative director: Brien Spanier Illustrator: Kym Ohna Project manager: Ann Mansavage Paper: Newsprint Client: Rust-Oleum Client industry: Paints and coatings

The painted objects relate to the section of the newspaper they are “painted on.” Do-ityourself homeowners could identify with these posters, knowing what the aftermath of a spray-painting project on newspaper looks like. Overspray

It goes to the function of the product...we just wish it were a real newspaper (though we know it would fall apart).

166 500

AIGA

Promoting: Poster I Feel Life

R2 design I Feel Life

what used to be a shop. One actor embodied two circus characters: a rich clown and a poor clown. Driven by this content, we designed two posters, one for each character.

Branding Promoting

The main challenge was the low budget we had to advertise this play—announcing the play and grabbing people’s attention to a performance that would not be held in a current theater but in

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Design firm: R2 design, Porto Art directors: Lizá Defossez Ramalho, Artur Rebelo Designers: Lizá Defossez Ramalho, Artur Rebelo Printing method: Silk-screen Trim size: 23.6 x 35.4 Client: Cassiopeia Photographer: Filipe Braga Copywriter: Alexandre Osürio Directors of photography: Lizá Defossez Ramalho, Artur Rebelo Printer: VCoutinho Paper: Poster paper, white, 120 gm Typeface: Customized by r2 design Client industry: Cultural productions

This feels so great. It’s so classic, simple, yet original.

167 500

Virginia Commonwealth University MFA Sculpture Program

At first you think it’s a crazy funny person...but it’s a poodle butt! It sees something so ordinary so differently. It’s great, it’s like a Rorschach.

Scout Design

The photograph was shot with natural light and left unaltered. The poster’s 2 x 3 scale helps give the image a monumental and possibly human quality. Ideas about culture, art and the skills needed to shape a Duchampian readymade are also suggested. And, of course, poodles are just fun.

Branding Promoting

To promote Virginia Commonwealth University’s renowned mfa Sculpture program, this poster reflects a curriculum that combines the conceptually rigorous with the purely visual. We wanted to engage this very educated audience with an image that was visually restrained while conceptually provocative.

365/30

Design firm: Scout Design, Richmond, Virginia Creative director: Charley Foley Designer: Angeline Robertson Photographer: Charley Foley Printer: b&b Printing Clients: Virginia Commonwealth University Department of Sculpture + Extended Media

AIGA

Promoting: Poster Virginia Commonwealth University MFA Sculpture Program

168 500

Branding Promoting Spur

Poster series for the 2008–09 productions of Le Cabaret de Carmen, Living Openly & Notoriously, Cyclopedia, The Mechanical, and Above & Beyond. 14 x 23, digital.

365/30

Design firm: Spur, Baltimore Designer: David Plunkert Client: Theatre Project Illustrator: David Plunkert Printer: jh Furst Printing method: 4-color Paper: Carnival Groove, text Typefaces: Bodoni Poster, Franklin Gothic Extra Condensed Client industry: Theater

AIGA

Promoting: Poster Theatre Project Poster Series 2008–09

Bravo! It’s the whole package, but it’s hard to imagine this on any other paper. It’s so right.

Theatre Project Poster Series 169 500

AIGA

Promoting: Poster Pearl Street

Steve Bullock Design

along Pearl Street in Boulder, Colo., with the goal of elevating the visual discourse in the public landscape.

Branding Promoting

This series of street posters were placed on public kiosks (usually dominated by Day-Glo drink-special flyers from local brew pubs)

365/30

Design firm: Steve Bullock Design, Lafayette, Colorado Designer: Steve Bullock Illustrator: Steve Bullock

Pearl Street 170 500

These are just so graphic, as raw and basic as it comes. Iâ&#x20AC;&#x2122;d love to see them up.

AIGA

Promoting: Poster Love Yourself

Branding Promoting Taber Calderon

Genius for such a delicate area.

365/30

Design firm: Taber Calderon, New York Designer: Taber Calderon Art director: Taber Calderon Client: Good 50x70 Client industry: Social communication

Love Yourself 171 500

AIGA

Promoting: Poster 08-09 Loeb

365/30 Branding Promoting

Design firm: Thirst/3st, Chicago Creative director: Rick Valicenti Client: Harvard Graduate School of Design

Thirst/3ST 08-09 Loeb

This is pleasantly futuristic. Itâ&#x20AC;&#x2122;s bold, and the play on dimensionality reveals itself as you get closer.

172 500

How will it change you? 32nd Cleveland International Film Festival

They could have done this in so many ways but this particular execution is so authentic and intimate. The credits are hand-drawn.

TWIST Creative, Inc.

With “How will it change you?” as our

platform, we converted the iconic film reel into a vehicle for expressing the breadth of world views offered by the festival. We employed elaborate hand-lettering to project the ideas of humanity and diversity, and we held ourselves to a high standard: every part of this campaign— environment, trailer components and print elements—was handlettered in the style of the original poster.

Branding Promoting

The Cleveland International Film Festival is a robust cultural event that welcomes over 60,000 die-hard film lovers to our rusty city each year. For the 32nd annual festival, the team at twist began with a desire to focus on the word “international” and express the medium’s ability to deliver a horizonbroadening experience.

365/30

Design firm: twist Creative, Inc., Cleveland Creative director: Michael Ozan Designer: Brittyn DeWerth Art directors: Christopher Oldham, Connie Ozan Typeface: Ms. b hand-lettered face Printer: The Oliver Printing Company Illustrator: Brittyn DeWerth Copywriter: Michael Ozan Client: Cleveland International Film Festival

AIGA

Promoting: Poster How will it change you? 32nd Cleveland International Film Festival

173 500

UCLA DMA

screened posters, using simple generic colors and layering, while exploring movement, power and dynamics.

Branding Promoting

Karen Finley and Alex Galloway are activists in the art and science world. For both lectures the inspiration came from â&#x20AC;&#x153;old schoolâ&#x20AC;? silk-

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Design firm: ucla dma, Venice, California Creative director: Willem Henri Lucas Designers: Tiffany Huang, Everett Pelayo Printing method: Inkjet Printing Paper: Epson Enhanced, matte Typeface: Letter Gothic 12 Pitch Client: ucla art | sci center

AIGA

Promoting: Poster ART + ACTIVISM Lecture Series

ART + ACTIVISM

These feel like the activist mind: fear, madness, a lot of emotions.

174 500

AIGA

Promoting: Poster Sustainable Design

Sustainable Design

It’s so clear. The image holds up to all the information. Such confidence to be so simple.

University of Georgia

representation of color and shape: the black circle in the middle of the poster represents the Earth’s crisis and the bleeding green stands for living hope. In addition, using only two colors satisfied the client’s need for a lowbudget project.

Branding Promoting

The main communications objective was to introduce the October 2008 international seminar, Sustainable Design. With clear legibility, the poster focuses on awareness about the climate crisis and the hope of green growth. To convey that idea, I used a universal

365/30

Design firm: University of Georgia, Athens, Georgia Designer: Moon Jung Jang Project manager: Ran-young Kim Typeface: Legacy Serif itc std Client: British Council in Korea Client industry: British Council in Korea

175 500

AIGA

Promoting: Poster They Give Birth to Life

Xpatriate Studios

The goals were to create a poster that could personify the strength and power of women, despite their tribulations, and to convey a sense of empowerment.

Branding Promoting

This poster is a campaign giving attention to womenâ&#x20AC;&#x2122;s-rights violations in a country of our choosing. The content is relevant to all women who suffer from acts of violence.

365/30

Design firm: Xpatriate Studios, Pasadena, California Designers: Mari Nakano, Haelim Paek Creative directors: Mari Nakano, Haelim Paek Client: wilpf, Washington Branch

The hand-drawn type speaks to the human struggle. Itâ&#x20AC;&#x2122;s nice to make a poster with a pencil.

They Give Birth to Life 176 500

AIGA

Promoting: Poster In Our Nature Tour

Zwölf Medien

Nature” fades away within a couple of weeks. The typeface was cut based on ancient wood types of the 1920s. We developed the printing technique and the special color ourselves.

Branding Promoting

Due to a custom-made silk-screen paint based on iron swarfs, these tour posters change when exposed to rain and begin to rust. Designed for the Swedish shooting star José González’s tour, the name “In Our

365/30

Design firm: Zwölf Medien, Berlin Designers: Stefan Guzy, Björn Wiede Art directors: Stefan Guzy, Björn Wiede Printer: Novak Siebdruck Typeface: Heinemann (customized) Client: 2fortheroad booking

The use of material is so genius. Great type; I love the accent marks. They really thought it through. It makes something so classic so contemporary.

In Our Nature Tour 177 500

Hans Seeger

material. What is typically discarded now has a new purpose. The materials used in Martino’s work and the poster promoting it are one and the same.

Branding Promoting

A poster promoting the Martino Gamper exhibition at Wright Inc., Chicago. The artist’s objective was to make furniture from furniture-shipping

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Design firm: Hans Seeger, Wauwatosa, Wisconsin Art director: Hans Seeger Printer: Mat Daly Printing method: Silk-screen on plywood Typefaces: Custom, Wright Sans Client: Wright

AIGA

Promoting: Poster Receiving: Martino Gamper at Wright

It’s nice to see another material and it’s totally appropriate to the theme.

Receiving: Martino Gamper at Wright 178 500

AIGA

Promoting: Poster Rhetoric

Hyperakt Design Group

by highlighting key words of the text and revealing the core truths behind Obamaâ&#x20AC;&#x2122;s messages of hope.

Branding Promoting

By placing quotes from Barack Obamaâ&#x20AC;&#x2122;s various speeches in bright lettering against a black background, meaning can be deciphered

365/30

Design firm: Hyperakt Design Group, Brooklyn Creative director: Deroy Peraza Designer: Deroy Peraza Printer: Baboo Digital Printing method: Digital C-print Client: Hyperakt Design Group

This is so smart that we forgive the punctuation.

Rhetoric 179 500

365/30 Branding Promoting Identica

Design firm: Identica, Montréal Creative director: Barbara Jacques Art directors: Richard Bélanger, Julie Brassard Designers: Richard Bélanger, Julie Brassard Illustrator: Julie Brassard Typographer: Richard Bélanger Production artist: Daniel Cartier Copywriter: Patrick Emiroglou Producers: Louis Dorval, Claude Tardif Printers: Transcontinental, Litho Acme Client: Vélo-Québec

AIGA

Promoting: Poster Féria 2008

Féria 2008 180 500

Branding Promoting Identica

Has Espace Go really turned theater upside down? As the only Montréal theater to constantly morph its space, Espace Go is aptly represented

365/30

Design firm: Identica, Montréal Creative director: Barbara Jacques Art directors: Isabelle Allard, Olivier Caron Designers: Isabelle Allard, Olivier Caron Production artist: François Lattaro Computer graphics: Isabelle Bourgault Photographer: Carl Lessard Producer: Louis Dorval Printers: Transcontinental, Litho Acme (offset); SSP, Inc. (silkscreen) Client: Espace Go

AIGA

Promoting: Poster Espace Go 2008–2009

through communications that emphasize the cube, symbolizing reinvented space, with unexpected colors and expressive photography.

Espace Go 2008–2009

These are truly contemporary. All the elements work together.

181 500

This is a tactile adventureâ&#x20AC;&#x201D;total craft with constant surprise, forcing the viewer to get involved.

Landor Associates Wall

and every one of us. Seen through the eyes of four designers and four photographers, wall pays homage to these wall displays.

Branding Promoting

Whether in the name of beauty, nostalgia or practicality, the items we display on our four walls say something about each

365/30

Design firm: Landor Associates, Sydney Creative directors: Jason Little, Mike Staniford Designers: Jason Little, Ivana Martinovic, Sam Pemberton, Joao Peres Photographers: James Cant, Michael Hall, Adrian Lander, Karl Schwerdtfeger Printers: Macdonald & Masterson, Watermarx Graphics (embellishment) Illustrator: Joao Peres Production director: Peter Van den Elshout Copywriter: Claire Crethar Project manager: Sam Pemberton Paper: Spicers Paper, Hello Gloss, Stephen, Environment, Starwhite Client: Spicers Paper Client industry: Paper

AIGA

Promoting: Poster WALL

182 500

Branding Promoting lg2boutique

These are exciting, insane and poetic. You can’t wait to hear it.

365/30

Design firm: lg2boutique, Montréal Creative director: Claude Auchu Art director: Cindy Goulet Designer: Cindy Goulet Illustrator: Cindy Goulet Client: Hugo Fleury

AIGA

Promoting: Poster Hugo Fleury

Hugo Fleury 183 500

AIGA

Promoting: Poster Yahoo! Project Hello

Moving Brands Yahoo! Project Hello

We created a simple naming system so that employees could identify the customer at different life stages: socialists, settlers, providers and balancers.

To make the personas feel real, we developed a theme of “human traces,” illustrating the fact that we are most identified by what we use, leave behind and are interested in—the things you find on bookshelves and desks and in fridges and homes. The internal poster campaign was one of several creative executions and was integral to the launch event, where the top 50 global Yahoo! executives engaged with the project, met the personas and explored their lives through visuals, films and 3-d environments.

Branding Promoting

Following a Europewide survey that revealed much about existing and potential customers, Yahoo! wanted to communicate the lifestyles and behaviors of different types of customers to their employees. By creating memorable and true-to-life personas, they hoped to integrate customer needs more closely into all of the company’s working processes.

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Design firm: Moving Brands, London Art director: Darren Bowles Designers: Emma Barratt, Jon Hewitt Project manager: Anthony Dale Production director: Alison Landy Client: Yahoo!

It’s human, friendly, engaging. One can really identify and connect with this...yet it is the internet.

184 500

AIGA

Promoting: Poster The Dinner Party

The Dinner Party

The type is beautiful, but the belly makes it!

Mucca Design

industry. The poster had to appeal to a highly discerning set: not only graphic designers but also anyone interested in restaurants and their design.

Branding Promoting

The Dinner Party poster was created to promote an aiga/ ny event that featured prominent chefs and designers in a roundtable discussion on creativity in the hospitality

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Design firm: Mucca Design, New York Creative director: Matteo Bologna Designer: Georgina Clarke Photographer: Megan Paradise Client: aiga/ny Art director: Georgina Clarke Printer: Finlay Printing Printing method: Brilliance foil by Finlay Paper: Utopia Three, 80 lb., text, matte Client industry: Professional design association

185 500

Domani Studios Porsche “I Can”

smooth interactive flow and seamless transitions from one section of the website into another. The team also created a custom module that allows potential Porsche buyers to upload a photograph of their driveways and “visualize” what a Porsche might look like in their homes. The site also provides consumers with practical leasing information and links to local dealers in their areas.

Branding Promoting

Because visual elements are so important to the success of a website, Cramer-Krasselt and Domani Studios fully rendered Porsche vehicles in 3-d, placing them in a stunning virtual environment that encourages site visitors to click and explore. Intuitive navigation and a clean interface were paramount and enabled users to obtain relevant information quickly. Flash technology provides the basis for a

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Design firm: Domani Studios, Brooklyn Production director: Chris Smith Art director: Mark Brooks Designer: Matt Cragnolin Creative director: Rick Hamann Writer: Josh Kemeny Interactive designers: Ryan Burke, James Hu Producers: Peter D’Amato, Rock Darlington Client industry: Automotive Client: Porsche

AIGA

Promoting: Website, business Porsche “I Can”

Most car-promotion sites are over the top. This one shows both restraint and humor in an elegant and friendly interface.

186 500

Information Architecture Video Series

Tackling a question like “What is information?” only makes me want to sigh. MAYA has done a nice job of unraveling the mystery with ease through simple graphics and nicely timed transitions.

Maya Design, Inc.

ture.” We needed to use a narrative style and aesthetic that reflected the eclectic personality of maya, a 20-year-old technology design and innovation lab.

Branding Promoting

Our challenge was to help clients and prospects better understand, on a fundamental level, what we mean when we use the words “information” and “architec-

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Design firm: maya Design, Inc., Pittsburgh Author: Seung Chan Creative director: Matthew J. Ross Illustrator: Matthew J. Ross Editors: Dr. Peter Lucas, Mickey McManus Writer: Seung Chan Lim Music: Matthew J. Ross Information architect: Dr. Peter Lucas Animator: Matthew J. Ross Client: maya Design, Inc.

AIGA

Promoting: Website, business Information Architecture Video Series

187 500

Plural

Still images cannot capture the surprise and elegance of this site’s interactive design. The navigation system performs beautifully and plays with the user’s expectations. Beautifully executed.

Plural Design

Navigable by using the arrow keys, the gallery of images moves around, and the browser window is used as a crop to highlight parts of the page while keeping adjacent images partially in view.

Branding Promoting

It’s a simple and elegant showcase of work by Plural Design in an online gallery space spare enough that a visitor can concentrate on each piece without easily forgetting that there’s more to see.

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Design firm: Plural Design, Chicago Designers: Jeremiah Chiu, Renata Graw, Christopher Kalis Photographer: Shannon Benine Programmer: Eric Mika Client: Plural Design Client industry: Graphic design

AIGA

Promoting: Website, business Plural

188 500

The Footprint Chronicles 189 500

We all know enough about the impact of consumerism on the environment to make us just stop shopping. We applaud Patagonia’s effort to expose the impact their own products have on the environment so that a quality buyer can at least know what contribution they’re making. Footprints also reveals Patagonia’s commitment to being as responsible as a retailer possibly can be.

The Royal Order of Experience Design

of the garment-manufacturing process— from design to delivery—through a highly interactive multimedia presentation. Developed in Flash, The Footprint Chronicles presents these stories using video, slide show and text, and true to its commitment, Patagonia continues to add products to the site, even when the items featured aren’t yet where the company would like.

Branding Promoting

As Patagonia has always been a leader in social and environmental responsibility, the goal of corporate transparency represented another significant commitment to the self-examination and improvement of their habits as a company. The Footprint Chronicles invites visitors to explore the environmental and social impact that are the inevitable by-products

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Design firm: The Royal Order of Experience Design, Chicago Creative directors: Bill Boland, Kyle McCarthy Interactive designer: Shawn Hillgart Art director: Jason Bowman Designer: Jonathan Sluys Information architect: Jason Bowman Project manager: Naomi Dhillon Client: Patagonia, Inc.

AIGA

Promoting: Website, business The Footprint Chronicles

Dan Flavin: Constructed Light + The Light Project

The Pulitzer Foundation for the Arts has done a great job of bringing the exhibition to life online. The art is experimental and ephemeral; the site captures these qualities effectively.

TOKY Branding + Design

sarily site-specific, so toky and the show’s curators worked hand in hand to determine how best to present the work online. Rather than simply showing the work, we opted for a more exploratory experience, helping the viewer understand the art in the context of Ando’s architecture.

Branding Promoting

The Pulitzer Foundation for the Arts is housed in a Tadao Ando-designed concrete complex in St. Louis’ arts core. Their installation of renowned light artist Dan Flavin would be one of the largest exhibitions of his work since his death. Flavin’s art is neces-

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Design firm: toky Branding + Design, St. Louis Creative director: Eric Thoelke Art director/designer: Jay David Producer: Rachel Gagnon Developers: Tyler Craft, David Knape, Kathy Sprehe Content strategist: Jay David Project manager: Melissa Allen Curator: Matthias Waschek Photographer: Robert Pettus Writer: Camran Mani Typeface: Pill Gothic Client: The Pulitzer Foundation for the Arts Client industry: Art museum

AIGA

Promoting: Website, educational and nonprofit Dan Flavin: Constructed Light + The Light Project

190 500

Branding Promoting Grow Interactive

allowed people to participate and share. Moreover, we had to do it in a way that was succinct and moving.

500

This site and video draw attention to an important issue in an effective manner. The typography strikes just the right tone and avoids the pitfalls of a photographic approach, which can have a numbing effect.

191

With the challenge of a truly worldwide audience, we built the site with a robust html backup that matched deep-linked Flash content. Browser navigation, bookmarking and search-engine indexing were all Grow Interactive, a retained. Papervision3d Norfolk, Virginia-based was used to enhance interactive studio, was the presentation, approached by advertis- providing a uniquely ing agency Wieden recognizable transition + Kennedy to work from section to section with them on designwithout making The ing and developing a Girl Effect message website that introduced unapproachable. The Girl Effect and

The Girl Effect

The Girl Effect is defined as “the powerful social and economic change brought about when girls have the opportunity to participate in their society.” It’s rooted in the work of the Nike Foundation, which has been joined by the NoVo Foundation in a shared mission to create opportunities for girls, and for the world.

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Design firm: Grow Interactive, Norfolk, Virginia Client: Nike Foundation Executive creative directors: Jelly Helm, Steve Luker Creative directors: Drew Ungvarsky, Tyler Whisnand Copywriter: Jessica Vacek Interactive art director: Paul Bjork Art directors: Julia Blackburn, Joe Branton Interactive producers: Eric Green, Jeremy Lind Content producers: Melanie Fedunok (broadcast), Krystle Mortimore (art buying) Interactive designers: Rebecca Kading (Flash developer), Josh McDonald, Gabe Molochko, Darius Pilapil Animator: Curious Pictures

AIGA

Promoting: Website, educational and nonprofit The Girl Effect

Social Studies | Educating Designers in a Connected World

This site is a breath of fresh air—simple and not too fussy. The photography makes it work; the carefully edited images communicate concept in an understated manner.

MICA GD/MFA

or images nested inside them. The rotating background images (different chair groupings around the campus where the conference was held) inspire the ideas of connection and conversation—the themes of the Social Studies Conference. These images are randomly selected from a Flickr photo group we created that changes with each page load, adding to the site’s dynamism.

Branding Promoting

For the Social Studies Conference, our site needed to be experimental, yet remain easily navigable and legible. The idea we agreed upon was to make everything columnar and use as many columns (in standard widths) as necessary to fit each page’s assortment of content. The horizontally scrolling end result is minimal, unique and interesting. Heights of the columns are controlled simply by the amount of text

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Design firm: mica gd/mfa, Baltimore Designers: Kristian Bjørnard, Joos Ha, Tony Venne Programmer: Kristian Bjørnard Photography: Tony Venne, Kristian Bjørnard, Joo Ha, Ryan Clifford Client: aiga Design Educators Series

AIGA

Promoting: Website, educational and nonprofit Social Studies | Educating Designers in a Connected World

192 500

Nike has the budget and the pull to sign any rap star they choose. They’re teaching us all a lesson about opening the creative doors to the masses.

R/GA Nike Basketball This Is Our Game: Anthem

style tournament bracket system. The final four mcs, selected by thousands of fans, were given exclusive Nike Olympic gear and professional recording sessions for the final release. In the end, the Anthem followed Team usa to Olympic gold and was featured on espn2’s Road to Redemption miniseries.

Branding Promoting

When Olympic Team usa wanted an anthem to motivate them through the event, Nike enlisted hip-hop superproducer Just Blaze and fans across America to make it happen. The Anthem mc contest allowed basketball fans and rappers to rhyme to Blaze’s exclusive beat, record it from their phones, and vote online in an Olympic-

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Design firm: r/ga, London Art director: Shu Zheng Li Copywriter: Jason Nichols Designers: Chadwick Shao, Ray Sison, Rasmus Wangelin Interactive designer: Ryan Romero Production director: Vin Farrell Producers: Jennifer Allen, Kyle Bunch, Nigel Goodman, Sean Lyons, Julie Renwick, Dayna Vecsi Programmers: Jon Hackett, Adam Housman, Asako Kohno, Robert Messerle, Dale Tan Creative directors: Andrew Hsu, Richard Ting Music: Mike Frank Client: Nike

AIGA

Promoting: Magazine Article Nike Basketball This Is Our Game: Anthem

193 500

AIGA

Promoting: Magazine design mind–numbers issue

Branding Promoting frog design, Inc.

opportunities, enhancing client relationships and promoting frog expertise among industry peers and media.

Incredible. Great imagery and attention to detail. All the different styles fit together; many voices in one.

194 500

design mind provides the design and innofrog’s design mind pub- vation community lication is written and with perspectives on produced internally, industry trends, emergwith contributions ing technologies, and from a broad range of global consumer culdisciplines within the ture. design mind also company. Our aim is to features interviews with engage corporate lead- high-profile thought ers, clients and future leaders and contribufrogs with smart and tions from external accessible insight into writers, designers and business, technology photographers. Finally, and design, reflecting the magazine provides frog’s culture of innova- a way for frogs around tion and collaboration. the world to engage Because design mind with the thinking and is frog’s central piece personal interests of of public-facing print their colleagues, and to collateral, it must serve have an outlet for their multiple purposes ideas, writing and art and audiences, while without the constraints creating new business of client work.

design mind–numbers issue

Published by global innovation firm frog design, design mind is a media platform that includes a print magazine, a website, videos and events.

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Design firm: frog design, Inc., San Francisco Editors: Chelsea Holden Baker, Samantha Holmes Designers: Anna Kardaleva, Lauren Kim, Andrés Quiroz, Jacob Zukerman Art director: Jacob Zukerman Printer: Dome Printing Client: frog design, Inc. Writers: Alis Cambol, Alvin Cheong, Nick de la Mare, Denise Gershbein, Rod Graves, Jody Hankinson, Andrew Lomano, Scott Nazarian, Stefanie Posavec, Mark Rolston, Adam Silver, Emma Zhu Photographers: Camilla Engman, Rod Graves, Darius Ramazani, Jacob Zukerman Paper: New Leaf

AIGA

Promoting: Magazine HERE 08

Iconologic HERE 08

energetic cycle—one form converting to another, with no energy created or destroyed—the effects of which move from personal to political, physical to emotional, local to global, human to planetary.”

Branding Promoting

HERE is a 150-page yearly publication that looks far beyond the discipline of architecture as it explores topical themes. HERE No.3‚ “the Energy issue‚” is a wideranging exploration on the topic: “We find ourselves in a constant

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Design firm: Iconologic, Atlanta Creative director: Matt Rollins Designers/Illustrators: Gabe Benzur, Lea Friedman Photographers: Edward Burtynsky, J. Henry Fair, Gregory Miller (principal photography), Jason Rutherfurd Writer: Kendra Bentle Editor: Juliet D’Ambrosio Project manager: Ward Copeland Printer: Geographics Printing method: Offset Binding method: Perfect Paper: Mohawk, Beckett Concept & Expressions Typefaces: Akzidenz-Grotesk, Fournier Client: Cooper Carry Client industries: Architecture, urban planning

It’s well organized, with unexpected art and format shifts. It’s like science and art combined.

195 500

AIGA

Promoting: Magazine Varoom

Branding Promoting Non-Format

Varoom balances in-depth essays and critiques on the illustration field with visual showcases of illustration practitionersâ&#x20AC;&#x2122; work. A simple grid was created to display the visual work as clearly and objectively as pos-

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Design firm: Non-Format, St. Paul, Minnesota/London Art directors: Kjell Ekhorn, Jon Forss Designers: Kjell Ekhorn, Jon Forss Illustrators: Jasper Goodall, Thomas Hicks (issue 08), Brad Holland Editor: Adrian Shaughnessy Production director: Derek Brazell Typefaces: Futura, Supersize (custom) Client: The Association of Illustrators Client industry: Trade association and publisher

sible. Text pages that are simple to navigate with picture numbering within the text blocks steer the reader toward the images mentioned. The headline typeface, Supersize, was created especially for the magazine. Varoom

This is a beautiful roller-coaster ride.

196 500

Lait, à la Bouche Mobile Store

The project was designed to travel and be flexible, thanks to a structure made of spare parts that are easily assembled and carried, in order to bring people together and to benefit producers, processors, retailers and cheese makers.

Nolin Branding & Design

The mobile store took inspiration from the carousel used in the dairy industry. The round shapes, minimalist style and dramatic

lighting create an intensity and mood that enhance the appeal of the products. The electronic animation invites consumers to taste a wide variety of products.

Branding Promoting

The Lait, à la bouche (Milk, so much to love) mobile store supports the move initiated by the fplq to bring the diversity of innovative dairy products to consumers’ attention, interacting with them in different ways, allowing them to taste some of the 50 products made from 100 percent Canadian milk, and giving them new ideas for recipes.

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Design firm: Nolin Branding & Design, Montréal Creative director: Caroline Reumont Art director: Genevieve Lapointe Designer: Champigny Raymond Project managers: Roland Aubert, Marie-Eve Caron Client: Fédération des producteurs de lait du Québec (fplq)

AIGA

Promoting: Environment Lait, à la bouche (Milk, so much to love) Mobile Store

Every interaction is designed from print to the environment. There are clever relationships. Historical Parisian kiosk made contemporary through language and surface; it is really a walking refrigerator. Who knew celebrating the dairy world could be so engaging?

197 500

Branding Promoting Skidmore, Owings & Merrill

100 different diameters into the windowâ&#x20AC;&#x2122;s triangular aluminum panels.

198 500

Primary thresholds throughout the Cathedral incorporate the written word using custom technologies to embed cut stainlesssteel type into the floor plane. Incorporating the names of the Apostles, the consecration candles provide a permanent indication of where the walls of the Cathedral were anointed. The Great Doors are inscribed with embedded and adjoining circles. The surface texture of the cast stainless-steel door handles is a topographic map of the spiraling Fibonacci sequence.

The Cathedral of Christ the Light

The Cathedral of Christ the Light celebrates the liturgical traditions of the Catholic faith through the vocabulary of 21st-century design and technology. Architecturally scaled graphic elements highlight the Cathedralâ&#x20AC;&#x2122;s play of light and its integration of Catholic symbols. The Omega Window resonates with the surrounding structure metaphorically and physically. An algorithm was developed to translate the subtleties of shade and shadow into pixels of light and to replicate a 12th-century image of Christ. The digital information guided laser technology to cut over 94,000 pixels of

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Design firm: Skidmore, Owings & Merrill, San Francisco Designers: Lonny Israel, Alan Sinclair, Jane Lee, Chris Kimball, Neil Katz, Alex Ng, Brad Thomas Creative director: Craig W. Hartman, faia Photographers: Timothy Hursley, Cesar Rubio Project manager: Conversion Management Associates, Inc. Structural designer: Skidmore, Owings & Merrill llp Architects: Kendall/Heaton Associates Inc. (architect of record), Skidmore, Owings & Merrill llp (design architect) Fabricators: Mare Island Woodworks, Marirose Jelicich, Thomas Swan Signs, Tice Industries, Tortorelli Creations Contractor: Webcor Builders Typeface: Quay Sans Client: Roman Catholic Diocese of Oakland Client industries: Religious, civic

We appreciate true integration of architectural and environmental concepts. There is a dedication to design from an urbane scale to human interaction. The attention to detail is exquisite and considered on all levels of execution. Religious vocabulary is transformed in a new and contemporary way through material, craft and typography.

AIGA

Promoting: Environment The Cathedral of Christ the Light

Denver Art Museum. A second set of the awarded books and covers becomes part of the Rare Book and Manuscript Library at Columbia University, New York.

the jury Jane Brown Distributed Art Publishers (D.A.P.), Los Angeles Rodrigo Corral Rodrigo Corral Design, New York

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Vanessa Eckstein Bløk Design, Mexico City Franc Nunoo-Quarcoo University of Michigan School of Art & Design Ann Arbor, Michigan Brett Yasko, Pittsburgh, Pennsylvania

199 500

AIGA 50 Books / 50 Covers

disobeying the brief Judging a competition is in many ways no different than offering an opinion or a preference for something or someone over another. The "50 Books / 50 Covers" jury, after two days of respectful deliberation and rounds of selections, decided to defy the assumption that the sum of our efforts should add up to 100. That decision— made with a clear understanding of the rules as well as the potential reaction from AIGA members and the design community—provided the fodder for intense discussions. However, as aiga executive director Ric Grefé explained in one online forum, “aiga has never set a quantitative target over a qualitative judgment and we respect the jury in deciding where the threshold falls in meeting a consistent standard in their judgment.” The jury’s choice of 41 covers from the pool of work entered represents the best ideals of a democratic process, in that the integrity of the process was proven to allow for an elasticity of application. All in all, it was not the lack of good, even superb work submitted for the competition, but rather the melding of individual thoughts on what qualifies as selectable. That the jury was informed that its decision to select less than 50 covers would go down in the infamy column of aiga history—although this is not the first time it has happened—had no impact on its eventual decision to disobey the brief. Every designer does it sometimes. —Franc Nunoo-Quarcoo, juror, 50 Books /50 Covers of 2008

AIGA

aiga 50 books/50 covers of 2008 aiga’s competitions are widely recognized as the most discerning statement on design excellence today, extending a legacy that began more than 90 years ago. By means of the competitions, aiga creates an authoritative chronicle of outstanding design solutions, each demonstrating the process of designing, the role of the designer and the value of design. This time-honored competition aims to identify the best-designed books and book covers that have been designed, produced and used in the marketplace between January 1 and December 31, 2008, as chosen by distinguished jurors. As such, they become part of the aiga Design Archives, a searchable visual database of exemplary design, and are exhibited at the aiga National Design Center in New York and offered as a traveling exhibition for display across the country. The physical artifacts are maintained at the aiga Design Archives at the

50/50 Spin

Design firm: Spin, London Creative director: Tony Brook Editors: Rosie Boycott, Meredith Etherington-Smith Trim size: 8.5 x 11 Pages: 424 Quantity printed: 10,000 Typefaces: Akzidenz-Grotesk, Courier Sans, Plantin, Water Tower Printer: Graphicom Jacket printer: Graphicom Paper: Munken Print 18, 100 gsm Binding methods: Section sewn, perfect Binder: Graphicom Publisher: Culture Shock Media

The use of two colors is executed to perfection.

AIGA

Literature and nonfiction: Book 25 x 4: Channel 4 at 25

25 x 4: Channel 4 at 25 200 500

Celebrating Channel 4â&#x20AC;&#x2122;s 25th birthday, this book reflects the unique contribution the channel has made to the cultural life of the United Kingdom. The many special commissions from artists, photographers, illustrators and authors make a rich visual and written history.

The framing of the text, page numbers and author treatment are a nice touch.

Les Allusifs Je voudrais pas crever

Je voudrais pas crever is an illustrated book of poems by Boris Vian, dedicated to a French illustrator and close friend, Martin Matje, who died in 2004. Under the leadership of Les Allusifs editor Brigitte Bouchard, everyone who participated in the book’s creation—all friends of Martin Matje—made the project meaningful for us.

Playful; almost a children’s book. The design works nicely with the illustrations and accompanying poems.

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Design firm: Les Allusifs, Montréal Designer: Lyne Lefebvre Illustrators: François Avril, Serge Bloch, Philippe Brochard, Serge Clerc, Dominique Corbasson, Gérard Dubois, DupuyBerberian, Jochen Gerner, Jean-Claude Götting, Jacek Jarnuszkiewicz, Lionel Koechlin, Jacques de Loustal, Jean-François Martin, Martin Matje, Christophe Merlin, Emmanuel Pierre, Alain Pilon, Frédéric Rébéna, Alain Reno, Rémi Saillard Author: Boris Vian Pages: 80 Quantity printed: 3,500 Publisher: Les Allusifs Printer: Imprimerie Gauvin Editor: Brigitte Bouchard Trim size: 7 x 10.5 Typefaces: Boulevard, ITC Lubalin graph, Mrs Eaves Jacket printer: Imprimerie Gauvin Paper: Cascades Rolland Opaque 30, fsc-certified (interior); Rainbow 80, fsc-certified, ecological fibers (cover)

The constructivist design treatment pays tribute to 1950s Paris.

AIGA

Literature and nonfiction: Book Je voudrais pas crever

As 2009 is the anniversary year of Vian’s death, this book was dedicated to Vian’s lovers and to every book collector.

201 500

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Design firm: McSweeney’s, San Francisco Designers: Jordan Bass, Dave Eggers, Eli Horowitz Illustrators: Tucker Nichols, Art Spiegelman, Scott Teplin Editor: Dave Eggers Publisher: McSweeney’s Printer: twp

A silver printed box that contains yet entices one to peep through the “window” die-cuts was intriguing enough. The wonderful surprise was to discover three very different books inside. The differences in texture, typographical solutions, format and content are part of a unique literary neighborhood.

AIGA

Literature and nonfiction: Book McSweeney’s 27

McSweeney’s McSweeney’s 27 202 500

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Design firm: McSweeney’s, San Francisco Designers: Eli Horowitz, Brian McMullen Editor: Dave Eggers Publisher: McSweeney’s Printer: twp

AIGA

Literature and nonfiction: Book McSweeney’s 29

McSweeney’s McSweeney’s 29

Beautifully considered from front to back, the effect is restrained.

203 500

AIGA

Literature and nonfiction: Book O livro amarelo do terminal

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Design firm: Cosac Naify, São Paulo Designers: Elaine Ramos, Maria Carolina Sampaio Production coordinator: Letícia Mendes Author: Vanessa Barbara Editor: Cassiano Elek Machado Printer: Geográfica Quantity printed: 3,000 Pages: 256 Typefaces: Interstate, Mercury Trim size: 5.5 x 8.5 Publisher: Cosac Naify Paper: apg, yellow, 50 gsm, text; carbonless paper cfb, white, 53 gsm, text; mf, purple, 86 gsm (endpapers); Copel cardboard, yellow, 240 gsm (cover)

Cosac Naify 204

The interior is kinetic and full of life despite only one color.

500

The design takes advantage of the combination of heavy and geometric elements (inspired by the sign systems and bus painting) with the dirty and random results of photocopy and paper transparency— a contrast that evokes the station itself, a functional framework amid the chaos of the crowd in transit. The lines on the front and back of the lightweight paper intercalate positions, suggesting the movement of coming and going. This results in a dirty and chaotic aspect but avoids making the reading too difficult. The yellow paper, which inspired the title of the book, refers to the travel tickets and cheap leaflets that circulate in the bus station. The cover is also a collage of tickets, newspaper cutouts and graphic elements.

O livro amarelo do terminal

This book is about one of the biggest bus stations in the world, the Terminal Rodoviário Tietê in São Paulo. Structured in a totally unconventional way, the narrative is constructed from a collage of the uncountable voices that circulate inside the station—from the testimonies of travelers and station workers to loudspeakers, songs, newspaper and magazines headlines, warning signs and so on.

McSweeneyâ&#x20AC;&#x2122;s

The aim with All Known Metal Bands was to make the book feel like the record of a culture rather than the project of a particular person. All explanatory info was placed in the back; the main text and cover were dedicated to a straightforward fulfillment of the concept. The shape of the book allowed a large number of band names to be placed efficiently on each page, and gave it a bit of a logbook feel. The cover design, with its vaguely Middle Eastern aesthetic, was again meant to emphasize the information over any particular image. We used silver ink on black paper, for obvious reasons.

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Design firm: McSweeneyâ&#x20AC;&#x2122;s, San Francisco Art director: Eli Horowitz Designers: Dan Nelson, Alvaro Villanueva Author: Dan Nelson

A very funny joke executed with great finesse and attention to detail.

AIGA

Literature and nonfiction: Book All Known Metal Bands

All Known Metal Bands 205 500

This is a beautifully designed book in the classical tradition: proportion, symmetry, ergonomics and accessibility.

Takigawa Design Traveller: Observations from America

Traveller is a collection of letters and journal entries that bring the immediacy of experience together with perceptive reflections of the authorâ&#x20AC;&#x2122;s own past. The entries in this volume are not travel guides. They are more personal, like letters from the most desirable sort of friend. The friend carries you with him as he meanders through the medina in Fez or into the hills of Gallipoli. His voice is such that you can almost smell the herbs and dusty soil of Crete, and you are always introduced to people he meets along the way.

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Design firm: Takigawa Design, Monterey, California Creative director: Jerry Takigawa Designer: Jay Galster Photographer: Michael Katakis Picture editor: Michael Katakis Author: Michael Katakis Editor: Tanya Johnson Publisher: Burton & Park Publishers Trim size: 5.375 x 8.375 Pages: 160 Quantity printed: 3,000 Typeface: Bembo Printer: New Sun Color Printing Co. Ltd. Jacket printer: New Sun Color Printing Co. Ltd. Paper: ikpp, 260 gsm, cover, uncoated; Yuen Foong Yu, wood-free, 100 gsm, text

AIGA

Literature and nonfiction: Book Traveller: Observations from an American in Exile

206 500

AIGA

Literature and nonfiction: Book Writings on Architecture

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Design firm: Pentagram, New York Art director: Michael Bierut Designers: Michael Bierut, Yve Ludwig, Iris Shih Jacket designers: Michael Bierut, Yve Ludwig Picture editor: Nina Rappaport Author: Paul Rudolph Editor: Nina Rappaport Publisher: Yale School of Architecture Trim size: 5.75 x 8.5 Pages: 163 Typefaces: Scala, Scala Sans Printer: Westcan

Pentagram Design

A little quirk to a simple grid is enough to make 163 pages interesting.

Writings on Architecture 207 500

Writings on Architecture was published in conjunction with the rededication of Paul Rudolph’s newly restored masterpiece, the Yale Art and Architecture building. Built in 1963, the seven-story building features 37 interlocking levels and a concrete façade. The book is a collection of 19 essays, interviews and lectures that span a 40-year period beginning in 1952. Arranged chronologically, the entries cover a range of Rudolph’s interests from prefabrication to regionalism and urbanism. The design references Rudolph’s signature architectural elements with naturally textured paper and a layout of strong right angles and interlocking text and images.

The MIT Press Camps: A Guide to 21st-Century Space

In Camps, Charlie Hailey examines the space and idea of the camp as a defining dimension of 21st-century life. The ubiquity and diversity of camps (from summer camps to military camps to refugee camps) call for a guidebook. The result is a portable book, combining many short chapters and hundreds of illustrations into an organized framework. The exposed binding came from a desire to show the skeletal construction of the book, relating it to the often â&#x20AC;&#x153;bare bones,â&#x20AC;? rugged and temporary nature of camp spaces. The type on the spine is incorporated into the structure of the book, giving it an imperfect, do-it-yourself quality.

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Design firm: The mit Press, Cambridge, Massachusetts Designer: Emily Gutheinz Production director: Theresa Lamoureux Author: Charlie Hailey Editor: Sandra Minkkinen Publisher: The mit Press Trim size: 5.375 x 8 Pages: 544 Quantity printed: 3,000 Compositor: The mit Press Printing method: Offset Typefaces: Chaparral (body), Interstate (display) Paper: Cyclus Offset, 100 gsm, uncoated Binder: Grafos s.a. Printer: Grafos s.a. Jacket printer: Grafos s.a. Binding method: Sewn, exposed spine Client: The mit Press Client industry: Publishing

Charming book (almost an object) that anyone would want, even if they had no interest in the subject. A combination of lo-fi DIY aesthetic and an innovative design, particularly the exposed stitched spine. We appreciate the sturdy construction and readable type on the spine.

AIGA

Literature and nonfiction: Book Camps: A Guide to 21st-Century Space

208 500

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Design firm: Chip Kidddesign, New York Art director: John Fulbrook iii Designer: Chip Kidd Illustrators: Charles Burns (drawings), Chris Ware (lettering) Author: Chip Kidd Publisher: Scribner

Although this book looks different from The Cheese Monkeys, it still feels consistent with the Chip Kidd brand; and thatâ&#x20AC;&#x2122;s not a bad thing.

AIGA

Literature and nonfiction: Book The Learners

Chip Kidddesign The Learners 209 500

50/50

Design firm: Chip Kidddesign, New York Art director: John Fulbrook iii Designer: Chip Kidd Illustrators: Charles Burns (drawings), Chris Ware (lettering) Author: Chip Kidd Publisher: Scribner

The half jacket and half author photo alone make this a memorable jacket.

AIGA

Literature and nonfiction: Cover The Learners

Chip Kidddesign The Learners 210 500

50/50

Design firm: Vintage Books, New York Designer: John Gall Art director: John Gall Publisher: Vintage Books

Beautiful palette. A pleasing way to represent a story of four sisters.

AIGA

Literature and nonfiction: Cover Makioka Sisters

Vintage Books Makioka Sisters 211 500

Mucca Design

’68 is a nonfictional account of the political and cultural uprising in Europe and America in 1968. The challenge was to come up with a simple but striking historical cover that captured the emotion of the time.

50/50

Design firm: Mucca Design, New York Art director: Erica Heitman-Ford Creative director: Matteo Bologna Author: Franco Piperno Publisher: Rizzoli/rcs Libri Designer: Erica Heitman-Ford Trim size: 5 x 8 Typeface: Helvetica

An intriguing cover; a subtle crack of the paper and the political sphere.

AIGA

Literature and nonfiction: Cover ’68

’68 212 500

Chip Kidddesign

A deceptively simple solution to a complex story and subject. It evokes the wolf in “Little Red Riding Hood.”

50/50

Design firm: Chip Kidddesign, New York Creative director: Chip Kidd Art director: Steve Snider Designer: Chip Kidd Photographer: Geoff Spear Author: Augusten Burroughs Publisher: St. Martin’s Press

AIGA

Literature and nonfiction: Cover A Wolf at the Table

A Wolf at the Table 213 500

50/50 Little, Brown and Company

Design firm: Little, Brown and Company, New York Designer: Ploy Siripant Creative director: Mario J. Pulice Production director: Antoinette Marotta Author: Josh Bazell Editor: Reagan Arthur Publisher: Michael Pietsch Trim size: 6 x 9.25 Quantity printed: 40,000 Typefaces: Base Twelve, Knockout Printer: Coral Graphics Printing methods: Overall matte lamination, spot gloss and emboss

Never seen such a hideous blue actually work.

AIGA

Literature and nonfiction: Cover Beat the Reaper

Beat the Reaper 214 500

A surprisingly minimalist approach to a complex subject.

Canadian Water Politics

Great cover image choice and wonderful use of varnish.

Salamander Hill Design

I would be hard-pressed to explain why, but there is just something very Canadian about a Billy Boot. It seemed like the right image to use for this book on a very hot topic: Canadian water politics. This cover would have worked without the spot-uv varnish on the wet part of the boot, but it definitely adds another dimension to the finished product.

50/50

Design firm: Salamander Hill Design, Elgin, QuĂŠbec Designer: David Drummond Creative director: David Drummond Photographer: David Drummond Production coordinator: Susanne McAdam Editors: B. Timothy Heinmiller, Carolyn Johns, Mark Sproule-Jones Publisher: McGill-Queenâ&#x20AC;&#x2122;s University Press Trim size: 6 x 9 Pages: 390 Typeface: Futura Jacket printer: Tri-Graphic Printing Ltd.

AIGA

Literature and nonfiction: Cover Canadian Water Politics

215 500

50/50

Design firm: Alfred A. Knopf/Vertical Press, New York Jacket designer: Peter Mendelsund

AIGA

Literature and nonfiction: Cover Censoring An Iranian Love Story

The balance of the design with the embossing really makes the cover work.

Alfred A. Knopf/Verical Press Censoring An Iranian Love Story 216 500

Graphically bold and memorable.

Office of Paul Sahre

Big Helvetica.

50/50

Design firm: Office of Paul Sahre, New York Creative director: John Fulbrook iii Designer: Paul Sahre Publisher: Scribner Author: Chuck Klosterman Trim size: 5.25 x 8.25 Typeface: Helvetica

AIGA

Literature and nonfiction: Cover Chuck Klosterman IV

Chuck Klosterman IV 217 500

50/50

Brilliant hues complement the abstract black; the overlapping shapes and white illustrations are a breath of fresh air.

218 500

To attract young students, we developed covers that used visual elements aimed toward a youthful audience, such as vibrant colors, sinuous forms and less objective illustrations. The book covers are easily recognized as part of a collection, as they have the same visual pattern: colorful abstract forms overlapping with caricatures of the authors. However, the books are unique, each playing with different colors, distinct character illustrations and alternate title positions.

Clássicos Saraiva book collection

The Clássicos Saraiva collection is composed of traditional books utilized by most schools in Brazil and the biggest Brazilian publishers. Initially, the series was to have only six books. Then six more were added, and later six more, and another six. Now we have 24 books. Six more will likely be published next year. This is a result of the commercial success of the collection.

rex Design

Design firm: rex Design, São Paulo Creative director: Gustavo Piqueira Art directors: Samia Jacintho, Gustavo Piqueira Assistant designer: Thaís Guerra Illustrator: Carvall Editor: Edições Jogo de Amarelinha Publisher: Editora Saraiva Trim size: 5.4 x 8.1 Quantity printed: 24 titles

AIGA

Literature and nonfiction: Cover Clássicos Saraiva book collection

An elegant, restrained design and nice use of the debossed type, sitting almost cloud-like above the school.

219 500

In the end, I didn’t feel the need to frame the book in any point of view. What really needs to be said? The publisher had already set the tone for me. As far as the cover copy, there was no author’s name, no descriptive subtitle, just the word columbine. That said it all. So I used an exterior news photo of the high school. I made it as small as I could and cropped out any distracting elements, setting it low on the page. I extended the gray skies heavenward and set the title small and floating in Knockout white. The contrast was subtle, in hopes that the dramatically haunting sparseness would draw you in.

Columbine

I thought, this was a regular day in the life of a regular high school. I wanted to depict the banality of school life by using stock photos of lockers, hallways and students shuffling between classes, but I would have had to use images from Columbine itself or it wouldn’t have made sense. I also explored using the chaos captured on the classroom video feed, but I already knew that would have been too exploitative and painful for the final jacket.

Hachette Book Group

Design firm: Hachette Book Group, New York Creative director: Anne Twomey Art director: Flag Jacket designer: Henry Sene Yee Photographer: Steve Peterson (Zuma Press) Production director: Antoinette Marotta Production coordinator: Tom Whatley Author: Dave Cullen Editor: Jonathan Karp Publisher: Twelve/Hachette Book Group Trim size: 6 x 9 Pages: 432 Quantity printed: 38,000 Compositor: Textech Typeface: Garamond mt Jacket printer: Coral Graphics Paper: Domtar Book, cream white, 45 lb. Binder: rr Donnelley Crawfordsville

50/50

A welcome un-sensational treatment of a subject that has been sensationalized in the press.

AIGA

Literature and nonfiction: Cover Columbine

Alfred A. Knopf/Vertical Press

This cover reflects the visual vocabulary of the artist in a unique manner.

50/50

Design firm: Alfred A. Knopf/Vertical Press, New York Designer: Peter Mendelsund Production director: Danielle Monaco Author: Osamu Tezuka Publisher: Vertical Press Art director: Peter Mendelsund

AIGA

Literature and nonfiction: Cover Dororo

Dororo 220 500

Office of Paul Sahre

There are no owls (the feathery kind) in this book. Chuck Klosterman’s first novel takes place in the fictional small town of Owl, North Dakota. The title is literal (it refers to a place that also happens to not sound like a place); it is also slang for someone who hangs out at bars all night, a “night owl.”

50/50

Design firm: Office of Paul Sahre, New York Creative director: John Fulbrook iii Designer: Paul Sahre Photographer: Jamie Grill Author: Chuck Klosterman Publisher: Scribner Trim size: 5.75 x 8.75 Jacket designer: Paul Sahre Typeface: Helvetica

AIGA

Literature and nonfiction: Cover Downtown Owl

The die-cut really encourages you to pick up the book and look. Downtown Owl 221 500

HarperCollins Publishers Epilogue

The project was to design a jacket for Epilogue, a memoir by Anne Roiphe. The author unexpectedly lost her husband of 40 years when she was nearly 70. The book is about Roiphe’s navigation of the year following his death, including challenges, unexpected emotions, vacillating relations with family and friends, coming to terms with her “inside world” and adjusting to the “outside world.” The book opens with this sentence: “Each month the moon waxes and wanes, grows full and curves into itself and becomes again a sliver of light against the dark sky.” The author was acutely aware of the passage of time, and it is this imagery of the waxing and waning moon that I used in the jacket design. The moon imagery is also used in the book’s chapter headings.

50/50

Design firm: HarperCollins Publishers, New York Jacket designer: Christine Van Bree Art director: Archie Ferguson Production director: Roni Axelrod Author: Anne Roiphe Editor: Claire Wachtel Publisher: Jonathan Burnham Trim size: 5.6875 x 8.5 Pages: 214 Quantity printed: Approximately 20,000 Compositor: HarperCollins Typefaces: Bembo, Futura Printer: rr Donnelley Jacket printer: Lehigh Phoenix Paper: Mohawk Tomahawk, cool white, 80 lb. Binder: rr Donnelley

A quiet and beautiful cover that employs metaphor to explore the central theme of the book: “passage in life.”

AIGA

Literature and nonfiction: Cover Epilogue

222 500

50/50

Design firm: Alfred A. Knopf/Vertical Press, New York Designer: Peter Mendelsund Author: Sandor Marai

AIGA

Literature and nonfiction: Cover Estherâ&#x20AC;&#x2122;s Inheritance

Alfred A. Knopf/Vertical Press Estherâ&#x20AC;&#x2122;s Inheritance

An elegant and thoughtful composition of elements: period photography, dots representing gold currency and classically rendered typography.

223 500

50/50 Metalmother

Design firm: Metalmother, Brooklyn Designer: Matt Dorfman Art director: Jesse Marinoff Reyes Creative director: Paul Buckley Photographer: Getty Images Author: Zhu Wen Trim size: 5 x 7.75 Pages: 240 Typefaces: Customized (title and subtitle only), Opera House Bold

The use of type and visual imagery reflects the content and juxtaposition of the two cultures.

AIGA

Literature and nonfiction: Cover I Love Dollars

This book is composed of multiple short stories that highlight Chinaâ&#x20AC;&#x2122;s peculiar relationship with the American dollar with regard to sex, family and awkward, unspoken social expectations. For example, the title story involves a young manâ&#x20AC;&#x2122;s quest to use his paltry life savings to pay for a prostitute for his father, with whom he is not especially close.

I Love Dollars

Typical imagery often used to underscore Chinese writing could not be used (e.g., images of Mao). We had to strike a particular balance between China, money and a little perversity.

224 500

50/50

Design firm: Alfred A. Knopf, New York Designer: Peter Mendelsund

Excellent use of Le Corbusier font and color palette. The collage treatment is a work of art in itself.

AIGA

Literature and nonfiction: Cover Le Corbusier

Alfred A. Knopf Le Corbusier 225 500

de Vicq Design Little Bee

The book tells the story of a Nigerian refugee and a British woman, thrown together by circumstantial forces, then forced to make a terrible choice. For any jacket, thereâ&#x20AC;&#x2122;s lots of work, sometimes punctuated with moments of luck. For me, fortune appeared when I was playing with the type (Memoir) and saw how the beautiful swashes created a mask over the silhouetted face. A normally elegant script font becomes ethnic and tribal, echoing the duality of the story line.

50/50

Design firm: de Vicq Design, New York Art director: Jackie Seow Jacket designer: Roberto de Vicq de Cumptich Creative director: Jackie Seow Production director: John Wahler Author: Chris Cleave Editor: Marysue Rucci Publisher: Simon & Schuster Trim size: 6.25 x 9.2 Quantity printed: 70,000 Typefaces: Memoir (customized), Old Abe regular and outline, Roulette Jacket printer: Coral Graphics Paper: Tomahawk, cool white, 80 lb.

Roberto de Vicq de Cumptichâ&#x20AC;&#x2122;s use of the Kara Walker-inspired silhouette is quite beautiful and just right for the subject matter. The use of type as illustrative line is also informative of the content.

AIGA

Literature and nonfiction: Cover Little Bee

226 500

50/50

Design firm: Barbara deWilde design, Montclair, New Jersey Designer: Barbara deWilde Art director: Michael Accordino

Between the simplicity and the Robert Indiana touch, this cover is just perfect.

AIGA

Literature and nonfiction: Cover Love Today

Barbara deWilde design Love Today 227 500

McSweeney’s

For Michael Chabon’s first essay collection, we wanted to emphasize the range of subjects he covered, as well as his affinity for genre fiction. The solution was three die-cut, overlapping jackets, drawn by Jordan Crane, which populated the cover with an ocean-jungle-desert spectrum of fantastical characters. Beneath them all, on a simple black book, the title (visible through the jacket diecuts) is stamped inside a golden X—a punch line revealed only when all three jackets are removed.

50/50

Design firm: McSweeney’s, San Francisco Designers: Jordan Crane, Dave Eggers, Eli Horowitz Illustrator: Jordan Crane Author: Michael Chabon Editor: Eli Horowitz Publisher: McSweeney’s Printer: twp Jacket printer: twp

Between the simplicity and the Robert Indiana touch, this cover is just perfect.

AIGA

Literature and nonfiction: Cover Maps and Legends

Maps and Legends 228 500

50/50

Design firm: Barbara deWilde design, Montclair, New Jersey Designer: Barbara deWilde Art director: Carol Devine Carson Photographer: James Day Author: Anne Mendelson

AIGA

Literature and nonfiction: Cover Milk: The Surprising Story of Milk Through the Ages

Barbara deWilde design

The striking black and white composition works beautifully with the homespun type.

Milk: The Surprising Story of Milk Through the Ages

Gorgeous type, conveying a handwritten, calligraphic feel to the subject.

229 500

Office of Paul Sahre

The Night of the Gun is a memoir of drug addiction, but with a twist: the author (a New York Times reporter) uses investigative techniques to confirm and deny his drug-clouded memories.

50/50

Design firm: Office of Paul Sahre, New York Creative director: John Fulbrook iii Jacket designer: Paul Sahre Photographer: Michael Northrup Illustrator: Brian Rea Trim size: 6.375 x 9.5 Author: David Carr Typeface: Hand-lettering

AIGA

Literature and nonfiction: Cover Night of the Gun

The main design problem was to find a way to connect the titleâ&#x20AC;&#x201D;specifically, the word gun, which might lead the reader to misunderstand the bookâ&#x20AC;&#x201D; with drug use.

Night of the Gun

At a glance, the typography could look like simple hand-lettering; look closer and you see it is not.

230 500

Simon & Schuster

Simple text and bold colors mimic the value and softness of â&#x20AC;&#x153;insignificant moments.â&#x20AC;?

50/50

Design firm: Simon & Schuster, New York Art director: John Fulbrook iii Jacket designer: John Fulbrook iii Publisher: Scribner

AIGA

Literature and nonfiction: Cover No one belongs here more than you

No one belongs here more than you 231 500

The Univeristy of Chicago Press Obsession

A visual solution taken to the ultimate level. Including the pin is a perfect touch.

Lauren Nassef (my wife, an illustrator and my frequent collaborator) suggested a pinprick technique she had used years ago. I prepared a type treatment that Lauren then punched out of heavy card with a pin, hole by hole. The final jacket is a photograph of the reverse of this pinpricked card.

50/50

Design firm: The University of Chicago Press, Chicago Art director: Jill Shimabukuro Jacket designer: Isaac Tobin Photographer: Isaac Tobin Illustrator: Lauren Nassef Production director: Sylvia Mendoza Production coordinator: Joseph Claude Author: Lennard J. Davis Editor: Alan Thomas Publisher: The University of Chicago Press Trim size: 6.125 x 9.25 Pages: 290 Typefaces: Attleboro Gothic (homemade), hand-lettering by Lauren Nassef, Hoefler Text Jacket printer: Phoenix Color Paper: c1s, 80 lb

This book traces the wide-ranging history of obsession, from demonic possession to the medical condition, and addresses forms of obsession that are pathologized (ocd, nymphomania) and those that are celebrated (the dedication of a professional or romantic devotion). Rather than depict any one of these myriad forms of obsession, I decided to let the cover reflect an obsessive process. My first attempts at computer-generated obsessive lettering were failuresâ&#x20AC;&#x201D;the repetition had to reveal the labor of the hand to be truly obsessive.

AIGA

Literature and nonfiction: Cover Obsession

232 500

Penguin

Very good conceptual approach to a difficult and popular subject; satisfying to see that the front cover is not stranger than the back cover.

50/50

Design firm: Penguin, New York Creative director: Paul Buckley Jacket designer: Greg Mollica Illustrator: Greg Mollica Author: Jack Kerouac Publisher: Penguin Paper: Mohawk vellum

AIGA

Literature and nonfiction: Cover On the Road: The Original Scroll

On the Road: The Original Scroll 233 500

AIGA

Literature and nonfiction: Cover Samedi the Deafness

50/50

Design firm: Vintage Books, New York Art director: John Gall Designer: Helen Yentus Author: Jesse Ball Publisher: Vintage Books Trim size: 5.1875 x 8

Vintage Books

A compelling fusion of word and image, except for the added endorsement.

Samedi the Deafness 234 500

Farrar, Straus and Giroux

Clarity and boldness. Strikingly clear.

50/50

Design firm: Farrar, Straus and Giroux, New York Creative director: Susan Mitchell Jacket designer: Jennifer Carrow Production coordinator: Peter Richardson Author: Stephen Amidon Editor: Lorin Stein Publisher: Farrar, Straus and Giroux Trim sizes: 6 x 9 (book); 6.125 x 9.1875 (jacket) Pages: 276 Quantity printed: 8,000 Compositor: nk Graphics Typeface: Akzidenz-Grotesk Jacket printer: Lehigh Phoenix Paper: Glatfelter b18 Offset, cream white, 45 lb., text Binder: Quebecor World Martinsburg

Security takes place in a quiet college town. The main character, Edward Inman, runs a home-security business with little excitement, until he receives a false alarm one evening from his wealthiest client. Edward is soon thrown into the drama of secret lives and sexual hysteria. For the jacket design, I wanted to play off the classic Neighborhood Watch signs while also suggesting a pervert lurking in the shadows.

AIGA

Literature and nonfiction: Cover Security

Security 235 500

Alfred A. Knopf

The design problem here was not only to find a way to capture visually one of the most enigmatic and fundamental properties behind quantum physicsâ&#x20AC;&#x201D;entanglementâ&#x20AC;&#x201D;but also to address the multiple individuals who developed this field of scientific understanding. Author Louisa Gilder shapes this development into an extended and accessible dialogue between these legendary physicists. In the title, Entanglement works doubly as a metaphor for this deep connection between the physicists and for the scientific principle, which can be generally understood as follows: quantum entanglement is a phenomenon by which the states of two objects are linked together so that affecting one will affect its counterpart simultaneously, even though the individual objects may be spatially separated.

50/50

Design firm: Alfred A. Knopf, New York Art director: Carol Devine Carson Jacket designer: Jason Booher Photographer: Anonymous

The play of type and imagery enhances the title and makes the content so much more enticing.

AIGA

Literature and nonfiction: Cover The Age of Entanglement

The Age of Entanglement 236 500

50/50

Design firm: Vintage Books, New York Art director: John Gall Designer: John Gall Photographer: Simon Lee Author: Simon Critchley Publisher: Vintage Books

My favorite cover in the show. The tall, narrow trim size adds to the effect, and the placement of the blurb is perfect.

AIGA

Literature and nonfiction: Cover The Book of Dead Philosophers

Vintage Books The Book of Dead Philosophers 237 500

50/50

This is a very good composition of a hauntingly beautiful image and a collection of typefaces used in a sensitive manner. The effectiveness of the cover extends to the spine and the back.

Little, Brown and Company

Design firm: Little, Brown and Company, New York Creative director: Mario J. Pulice Jacket designer: Julianna Lee Illustrator: Marc Yankus Photographer: Jan Bulhak Production director: Antoinette Marotta Author: Kathleen Kent Editor: Reagan Arthur Publisher: Michael Pietsch Trim size: 6 x 9.25 Quantity printed: 78,000 Typefaces: Alternate Gothic, Founders Caslon, Opsmarckt Printer: Coral Graphics Paper: Neenah Felt, Bright White, 80 lb., text

AIGA

Literature and nonfiction: Cover The Hereticâ&#x20AC;&#x2122;s Daughter

The Hereticâ&#x20AC;&#x2122;s Daughter 238 500

239 500

I hired photographer Scott Nobles to execute this vision. Scott’s technique for creating the giant-size mannequin involved photographing muslin over an oversize model and superimposing this onto an extra-large mannequin. Embroidery from my personal collection was later added as a border.

The Little Giant of Aberdeen County

The feminine crafts of sewing and embroidery are integral parts of the book. An embroidered quilt was a family heirloom and used secretly as a book of spells left by a green witch, generations before it was discovered by Truly. The floral embroidery also spoke to the book’s other themes of herbal healing and gardening.

Hachette Book Group

The book’s main character, Truly, is a human giant, a difficult character to depict. An oversize mannequin seemed like a solution that addressed Truly’s size, was feminine and spoke to the hand-tailoring needed. The seamstresses’ mannequin, especially a large one, is also reminiscent of other archetypal female forms, like the Greek goddess’ bust.

This beautiful image celebrates embroidery, sewing and other women’s crafts.

50/50

Design firm: Hachette Book Group, New York Creative director: Anne Twomey Art director: Anne Twomey Designer: Anne Twomey Photographer: Scott Nobles Production director: Antoinette Marotta Production coordinator: Tom Whatley Author: Tiffany Baker Editor: Caryn Rudy Karmatz Publisher: Hachette Book Group/Grand Central Publishing Trim size: 6 x 9 Pages: 352 Quantity printed: 34,300 Compositor: E. T. Lowe Typeface: Bembo Printer: RR Donnelley Crawfordsville Jacket printer: Phoenix Color Corp. Paper: Domtar Book, cream white, 45 lb. Binder: rr Donnelley Crawfordsville

Striking image with carefully orchestrated type.

AIGA

Literature and nonfiction: Cover The Little Giant of Aberdeen County

50/50

Design firm: Gray318, Bishop’s Stortford, England Art director: Lisa Amoroso Designer: Jonathan Gray

AIGA

Literature and nonfiction: Cover The Mayor’s Tongue

Gray318 The Mayor’s Tongue

The dynamic lover is informed suitably by the work of the Dada artists and designers of the 1920s. Excellent typography on both front and back covers. The cover is thoughtfully complemented in the interior.

240 500

Mother Design

Clear illustration. I liked the color reference to the Philadelphia Eagles, especially since the team is part of the novel.

50/50

Design firm: Mother Design, New York Creative director: Michael Kaye Designer: Derrick Lee

AIGA

Literature and nonfiction: Cover The Silver Linings Playbook

The Silver Linings Playbook 241 500

AIGA

Literature and nonfiction: Cover Things Fall Apart

50/50

Design firm: Edel Rodriguez Studio, Mount Tabor, New Jersey Illustrator: Edel Rodriguez Art director: John Gall Jacket designer: Helen Yentus Author: Chinua Achebe Publisher: Anchor Books/Random House Trim size: 5 x 8 Pages: 210 Typeface: Hand-lettering by Edel Rodriguez

Edel Rodriguez Studio

A very clever redesign of a classic book.

Things Fall Apart

Things Fall Apart tells two intertwining stories, both centering on Okonkwo, a “strong man” of an Ibo village in Nigeria. The first, a powerful fable of the immemorial conflict between the individual and society, traces Okonkwo’s fall from grace with the tribal world. The second, as modern as the first is ancient, concerns the clash of cultures and the destruction of Okonkwo’s world with the arrival of aggressive European missionaries. The goal was to create a simple yet effective book cover that would harmonize all of these plot lines into one graphic image.

The use of the 1950s type combined with the worn-in paperback look makes this a real standout.

242 500

50/50

Jacket designers: John Fulbrook iii, Timothy Goodman Illustrator: Mark Stutzman Production director: Danielle Monaco (Random House) Author: Nobuko Takagi Publisher: Vertical Press Trim size: 5.5 x 7.75 Pages: 188 Quantity printed: 4,000 Typefaces: at Sackers Square Gothic, Mrs Eaves Jacket printer: Phoenix Color Corp. Paper: Tomahawk (textured); case cover; acetate jacket Binder: Berryville Graphics

Never imagined a love story to look anything like this.

AIGA

Literature and nonfiction: Cover Translucent Tree

A Japanese love story about a woman who has a sexual awakening after rubbing against a pine tree. By printing on acetate and the case cover, we stayed literal to the name, with a surprise innuendo underneath.

Translucent Tree 243 500

AIGA

Literature and nonfiction: Cover The Way Through Doors

50/50

Design firm: Vintage Books, New York Art director: John Gall Designers: Jason Booher, Helen Yentus Author: Jesse Ball Publisher: Vintage Books

Vintage Books

Completely readable in its “unreadableness.”

The Way Through Doors 244 500

Evan Gaffney Design Wishful Drinking

I have always loved those melodramatic images of good-for-nothin’ drunks slumped over the bar with their empty bottles of hooch beside them. It was only natural to borrow the form for Carrie Fisher’s book, as her troubles, and those of her family, took place under the watchful and judgmental public eye. The photograph was a miracle of circumstance—my dear studio-mate Gabriele Wilson happened to have both a Leia-esque white dress and a wonderful intern by the name of Gabrielle Tigan to pose in it. The martini glass and Leia wig were mine, of course.

50/50

Design firm: Evan Gaffney Design, New York Creative director: Jackie Seow Production artist: Tal Goretsky Publisher: Simon & Schuster Typeface: Bulmer Photographer: Evan Gaffney Printing method: 4-color offset with embossing Designer: Evan Gaffney Author: Carrie Fisher Editor: Kerri Kolen Trim size: 5.625 x 8.5 Jacket printer: Coral Graphics

Love that this cover hints at Star Wars with a subtle wink and a drink.

AIGA

Literature and nonfiction: Cover Wishful Drinking

245 500

50/50

Design firm: Alfred A. Knopf/Vertical Press, New York Designer: Peter Mendelsund

Motion expressed through color overprints makes this cover bold.

AIGA

Literature and nonfiction: Cover Zen and Now

Alfred A. Knopf/Vertical Press Zen and Now 246 500

Matsumoto Incorporated Color Chart: Reinventing Color, 1950 to Today

This publication was a challenge because it represents the work of 40 artists from the early 20th century through today. The artwork varied greatly, so there had to be some element in the design to tie all the work together. The curator focused on art that has been influenced by industrial paint colors, so we used the colors from the offset printing process to reiterate the theme. Each section title (the artistâ&#x20AC;&#x2122;s name, birthplace and dates) was printed in magenta. Below that there is a quotation by the artist, which is printed in cyan. The divider pages were also process colors: solid pages of cyan, magenta, yellow and black. The bookbinding cloth is cyan and the endpapers are process yellow.

A cover where the design plays a fantastic role in featuring the colorful art.

50/50

Design firm: Matsumoto Incorporated, New York Art director: Takaaki Matsumoto Creative director: Takaaki Matsumoto Designers: Hisami Aoki, Takaaki Matsumoto Jacket designer: Takaaki Matsumoto Photographers: Various Production director: Marc Sapir Author: Ann Temkin Editors: Anne Doran, Stephen Robert Frankel, Emily Hall, Nell McClister Publisher: Museum of Modern Art Trim size: 9 x 12 Pages: 248 Typefaces: Helvetica Neue, Jansen Printer: cs Graphics Pte Ltd. Paper: Gold East, 157 gsm, matte

A well-balanced look.

AIGA

Image-driven books: Books Color Chart: Reinventing Color, 1950 to Today

247 500

The Office of Gilbert Li Derek Sullivan: We May Be Standing on the Shoulder of Giants But Some of Us Are Looking at the Stars

This catalogue is a companion to the exhibition “Derek Sullivan: We May Be Standing on the Shoulder of Giants But Some of Us Are Looking at the Stars,” presented at the Southern Alberta Art Gallery. The design tries to convey the artist’s fascination and obsession with the ephemera of pop culture. For example, the book is wrapped in a jacket that is also a folded poster. The French-folded pages were inspired by the artist’s preference that his poster works be installed as an unbroken sequence. The folded fore-edge of the catalogue’s pages allowed us to bleed images and text over the sides of pages smoothly. The resulting seamless flow of the whole book echoes the endless quality that permeates the artist’s work.

Images and type flow throughout the book in a descriptive and clear manner.

50/50

Design firm: The Office of Gilbert Li, Toronto Art director: Gilbert Li Designer: Lauren Wickware Photographers: Raphael Goldchain, David M. C. Miller, Chris Thomaidis Compositor: The Office of Gilbert Li Publisher: Southern Alberta Art Gallery Trim size: 6 x 9 Printer: Transcontinental Metrolitho Paper: Cascades Rolland Enviro100, 60 lb., text Quantity printed: 750 Author: Pamela Meredith Printing method: Sheet-fed offset Binding method: French-folded perfect Pages: 96 Typefaces: Archer, Linotype Univers Binder: Transcontinental Metrolitho

The simplicity of the cover hides and invites you to the bold content within.

AIGA

Image-driven books: Books Derek Sullivan: We May Be Standing on the Shoulder of Giants But Some of Us Are Looking at the Stars

248 500

The Museum of Modern Art Design and the Elastic Mind

From the perforated edges to the font, the book feels like it was designed by a hand machine with the aid of designers.

50/50

Design firm: The Museum of Modern Art, New York Designer: Irma Boom Production director: Elisa Frohlich Author: Paola Antonelli Editors: Libby Hruska, Rebecca Roberts Publisher: The Museum of Modern Art Pages: 192 Printer: Oceanic Graphic Printing Paper: Arctic Amber Preprint, 120 gsm Trim size: 7.5 x 9.5

AIGA

Image-driven books: Books Design and the Elastic Mind

Strong cover graphics have the beauty of hand-type and all the sophistication of complex computer modeling. Black-and-white cover is stunning; a great design solution for limited budgets. 249 500

AIGA

Image-driven books: Books Fundação Iberê Camargo—Álvaro Siza

50/50

Design firm: Cosac Naify, São Paulo Designers: Elaine Ramos, Maria Carolina Sampaio Photographers: Fabio Del Re, Leonardo Finotti, Nelson Kon, Duccio Malagamba, et al. Production coordinator: Letícia Mendes Authors: José Luiz Canal, Kenneth Frampton, Jorge Figueira, Flávio Kiefer, Roberto Segre Editor: Flávio Kiefer Pages: 176 Publisher: Cosac Naify Typefaces: Gotham, Mercury Trim size: 8.46 x 10.43 Quantity printed: 2,500 (Portuguese version); 500 (English version) Printer: Ipsis Paper: GardaPat 13 kiara, 135 gsm, text Binder: Hardcover

Cosac Naify

The subtle color palette, silver typography and black-and-silver duo-toned photos all make for a stylish package.

250

One of the building’s most striking characteristics is its white concrete, so the designers chose a light-gray Pantone that was printed in the background of the inside pages, thus highlighting the white of the images. The two-tone printing of the photographs, in black and gray, reproduces the gentleness with which light penetrates the building, emphasizing its volume, which stands out in the cropped images of details that border on abstract at the beginning of each essay. The texts are printed in gray instead of black, which collaborates with the gentle atmosphere and reinforces the emphasis on the photos. The cover image is a screen-printed detail from the façade.

Fundação Iberê Camargo—Álvaro Siza

This book is dedicated to the Fundação Iberê Camargo’s Museum in Porto Alegre, Brazil, designed by architect Álvaro Siza. The edition includes analytic texts about Siza’s work, a photographic essay by contemporary architecture photographers outlining the route taken by visitors through the museum, and technical drawings.

500

AIGA

Image-driven books: Books Home Delivery: Fabricating the Modern Dwelling

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Design firm: The Museum of Modern Art, New York Designer: Naomi Mizusaki Production director: Christina Grillo Authors: Barry Bergdoll, Peter Christenten Editor: Ron Broadhurst Publisher: The Museum of Modern Art Trim size: 9.5 x 11 Pages: 248 Printer: Tien Wah Press Paper: Nymölla MultiFine woodfree, 130 gsm Typefaces: Letter Gothic, Nobel

The Museum of Modern Art Home Delivery: Fabricating the Modern Dwelling

MoMA’s exhibition “Home Delivery: Fabricating the Modern Dwelling” covered a wide range of prefabricated architecture and design from the 1830s to present day. The curators gathered a huge amount of varied materials—full-scale constructions, architectural drawings, models, catalogues, advertisements, patent drawings, instructions, toys and packaging. Finding a form that could work with such disparate imagery was difficult. Our solution is based on basic prefab concepts: typography that is utilitarian and familiar, a palette of industrial materials and a layout that feels modular and efficient.

251

Subtle graphic elements, a unique grid and memorable typographic choices enhance the content in a very clean and bold manner.

500

It’s Not Only Rock ’n’ Roll Baby

This exhibition catalogue is a cross between an art publication and a rock magazine. The designer uses rock aesthetics to attract a younger audience to a museum. The hallmarks of “rock” are suitably employed: big, large type and equally matched images. Tactile.

Base Design

For the 2008 Bozar exhibition presenting the visual work of artists better known for their contributions in the world of music, Base designed a book/catalogue as a cross between an art book and a rock zine. The book features exclusive interviews with the artists and photographs of their artwork. The artists are represented as silhouetted icons, and the text is in black and white, contrasting with the color images and underlining the distinction between music and art.

50/50

Design firm: Base Design, New York Publishers: Books on the Move, Bozar Pages: 204 Printer: Ingoprint

AIGA

Image-driven books: Books It’s Not Only Rock ’n’ Roll Baby

252 500

Studio Blue

The small inserts and the typography on the divider pages were a nice surprise to the otherwise straightforward layout.

Krannert Art Museum: Selected Works

The Krannert Art Museum guidebook is grounded in the idea of the museum as an intriguing destination on the campus of the University of Illinois. Both museum and book reveal bits of their stories to visitors, inviting participants to follow the progress of a serial narrative. The materials create a tactile experience in conjunction with visceral letterforms that reflect the motion of a story told over time. Designed to be sensory and engaging both visually and as an object, the book is a little mysterious, as it subtly reveals the word art just as art is experienced and interpreted within the museumâ&#x20AC;&#x2122;s walls.

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Design firm: Studio Blue, Chicago Creative director: Cheryl Towler Weese Designers: Esther Chak, Rob Mach, Jena Sher, Brian Watterson Production director: Siobhan Drummond Production coordinator: Lauren Boegen Project manager: Katherine Fredrickson Trim sizes: 5 x 8 (body); 4.5 x 7 (inserts) Pages: 412 (includes 4 inserts) Quantity printed: 2,000 Typefaces: Akzidenz-Grotesk, Berthold Printer: Graphicom Paper: Curious Touch Milk, 300 gsm (cover); GardaMatt, 150 gsm (body); Tauro, 80 gsm (inserts)

AIGA

Image-driven books: Books Krannert Art Museum: Selected Works

253 500

Adam Pendleton: EL T D K 254

The cover image, rather than being taken from a work by the artist, referenced his appropriation of Sol LeWitt’s Incomplete Cubes in the series of Black Dada paintings by creating a scale model of one of these sculptures and photographing it specifically for the jacket design.

Haunch of Venison

Published to accompany an exhibition by Adam Pendleton at Haunch of Venison Berlin, the book design mirrored the process of appropriation and deconstruction used by the artist in his working process. Pendleton is known for his paintings, installations and performances that unite seeming incongruities in a formal embrace. Within his repertoire allusions range from 1960s conceptual art to the Black Arts movement, from experimental poetry to punk rock, from gospel to gay liberation. A thread throughout the artist’s practice is an interest in language and its unique capacity to shape existing realities and inaugurate new ones.

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Design firm: Haunch of Venison, London Designer: Matt Watkins Creative director: Matt Watkins Jacket designer: Matt Watkins Production director: Matt Watkins Production coordinator: Matt Watkins Authors: Mark Beasley, Krist Gruijthuijsen, Jena Osman Editor: Adam Pendleton Publisher: Haunch of Venison Trim size: 6.5 x 9 Pages: 120 Quantity printed: 1,500 Typefaces: Akkurat, Arial Printers: Lecturis Jacket printer: Lecturis Paper: Lessebo Design, Smooth White, 150 gsm (pages and endpapers), 115 gsm (cover)

Clean empty spaces juxtaposed with bold, black-and-white grainy imagery, this book expresses the “Black Dada Manifesto” through the subtle and strong use of typography and its play on subtraction.

AIGA

Image-driven books: Books Adam Pendleton: EL T D K

500

AIGA

Image-driven books: Books Leigh Ledare: Pretend Youâ&#x20AC;&#x2122;re Actually Alive

Triboro Design

The book chronicles the relationship between the artist Leigh Ledare and his mother. The story is told through a mix of photographs, handwritten texts, transcribed interviews, video stills, napkin notations, classified-ad clippings and a will.

50/50

Design firm: Triboro Design, Brooklyn Designers: David Heasty, Leigh Ledare, Andrew Roth, Stefanie Weigler Printer: The Studley Press Quantity printed: 1,000 Client: ppp Editions Production director: xl Homer Author: Leigh Ledare Editor: Andrew Roth Publisher: ppp Editions Trim size: 8 x 10.5 Typeface: Andale Mono The dedication page sets the reader up for a weird and creepy ride. The pacing of the photos and the mash-up of their chronology are terrific.

Leigh Ledare: Pretend Youâ&#x20AC;&#x2122;re Actually Alive 255 500

Leisurama Now: The Beach House for Everyone, 1964– 256

And so, in 1964, 200 people did just that, and if the company who sold them hadn’t gone bankrupt during the construction of the first phase, many more would have followed. The initial development plan called for 800 Leisuramas in Montauk, Long Island, alone. Since being built, these identical (and identically furnished) houses have been in a constant state of change. I was introduced to these odd little buildings as a renter in the summer of 2001 and then began research for this book, almost exclusively door to door.

Office of Paul Sahre

Who buys a house at a department store? Sounds crazy, but then again, why not? Even if a prospective owner didn’t succumb to the smartly designed, full-size, fully furnished Leisurama model on the ninth floor of Macy’s at Herald Square; or didn’t swallow the advertising, which boasted the ultimate in convenience: “Just pick a few colors and start enjoying your new life of leisure”; or wasn’t convinced by the price tag ($490 down and $73 per month), a well-designed house this cheap—and by the beach—could hardly be believed.

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Design firm: Office of Paul Sahre, New York Creative director: Paul Sahre Art directors: Peter J. Ahlberg, Paul Sahre Designers: Peter J. Ahlberg, Loren Flaherty, Jonathan Han, Andrea Koch, Ulrike Schwach, Michiel Van Wijngaarden Photographers: Michael Northrup, Office of Paul Sahre, various Authors: Jake Gorst, William Morgan, Paul Sahre Editor: Jennifer Thompson Publisher: Princeton Architectural Press Pages: 256 Trim size: 7.5 x 10 Picture editor: Paul Sahre Quantity printed: 5,000 Typefaces: dtl Documenta, Futura, Monterey

Some really good information organized in a clear and interesting way. Reading through this book was like watching a great documentary film.

AIGA

Image-driven books: Books Leisurama Now: The Beach House for Everyone, 1964–

500

AIGA

Image-driven books: Books Look at Me: Photographs from Mexico City by Jed Fielding

Studio Blue

Exemplary presentation of what first appears to be an unsettling subject. Through this beautiful and bold presentation the book works toward “confronting disability in a way that affirms life.” Look at Me: Photographs from Mexico City by Jed Fielding

The close crops of these evocative photographs by Jed Fielding work to draw the reader into his compelling and challenging, but rewarding work documenting blind schoolchildren in Mexico City. The typography on the cover plays on the title, as the spot uv that creates “Look at me” is visible when close to the book, but disappears as you move farther away.

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Design firm: Studio Blue, Chicago Creative director: Cheryl Towler Weese Designers: Rob Mach, Claire Williams Project manager: Katherine Fredrickson Production coordinator: Siobhan Drummond Photographer: Jed Fielding Publisher: The University of Chicago Press Trim size: 10.5 x 13 Pages: 132 (112 + gatefolds) Quantity printed: 3,000 Typeface: itc Franklin Gothic Printer: Meridian Paper: Topkote, 115 lb., text, dull

257 500

The sequencing allows the reader to experience Frank’s body of work in an almost cinematic manner. National Gallery of Art Looking In: Robert Frank’s The Americans

Looking In: Robert Frank’s The Americans provides an in-depth examination of Frank’s prescient book, first published in 1958, as a catalogue for the exhibition of the same title, which opened at the National Gallery of Art in January 2009 and will travel to the San Francisco Museum of Modern Art and the Metropolitan Museum of Art. It is composed of four chronological sections, each of which includes several essays and a plate section. The expanded edition (hardcover) also includes a chronology, reproductions of the contact sheets for The Americans’ 83 works and archival materials. Conceived as a showcase for the well-known photography of Robert Frank, this catalogue’s design references the works’ original reproduction format while recognizing the limitations inherent in adapting them to this size and shape.

Five hundred and six pages devoted solely to the classic photography book—a huge undertaking. The designer presented the mounds of material exceptionally.

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Design firm: National Gallery of Art Designer: Margaret Bauer Production director: Chris Vogel Editors: Tam Curry Bryfogle, Michelle Piranio Trim size: 9.25 x 11.5 Publisher: National Gallery of Art, Washington/Steidl Pages: 528 Quantity printed: 9,240 hardcover; 8,350 softcover Compositor: Duke & Company Typeface: The Sans Printer: Steidl Paper: PhoeniXmotion Xantur Author: Sarah Greenough

A model monograph; will serve an exemplary book.

AIGA

Image-driven books: Books Looking In: Robert Frank’s The Americans

258 500

50/50

The strength of this book is in the nuanced typographic solutions. The designers found some way to present an artist’s world with thoughtful pacing and just a touch of irreverence, just like Martin Kippenberger.

Martin Kippenberger: The Problem Perspective

The publication of Martin Kippenberger: The Problem Perspective was designed to accompany the first major retrospective displayed in the United States. Kippenberger (1953–97) is regarded as one of the most relevant and prominent artists of our time. With a rich and distinctive body of work from the mid-’70s, the catalogue presents a comprehensive insight into the artist’s expansive 20-year career with works in many media—paintings, sculptures, works on paper, installations, photographs, collaborations with other artists, posters and postcards.

Green Dragon Office

Design firm: Green Dragon Office, Los Angeles Creative director: Lorraine Wild Designers: Lauren Harden, Joe Potts, Lorraine Wild, Xiaoqing Wang Jacket designers: Louise Lawler, Green Dragon Office Production director: Green Dragon Office Photographers: various Authors: Diedrich Diederichsen, Ann Goldstein, Pamela M. Lee, Ann Temkin Editors: Elizabeth Hamilton, Jane Hyun, Lisa Gabrielle Mark Publishers: Museum of Contemporary Art, Los Angeles; The mit Press Trim size: 9.5 x 11.25 Pages: 372 Quantity printed: 5,000 Typefaces: Berthold Akzidenz-Grotesk, Berthold Walbaum, Monotype Script Printer: Shapco Printing, Inc. Paper: Mohawk Super Fine Binder: Shapco Printing, Inc. Binding method: Square back paper over board with jacket

AIGA

Image-driven books: Books Martin Kippenberger: The Problem Perspective

259 500

Looking through this well-edited book leaves you with a craving for chocolate cookies.

Underline Studio

Milk and Melancholy traces the history of the iconic milk splash from its origins in the scientific photography of Harold Edgerton to its appropriation by contemporary art and photography. Writer Kenneth Hayes’ comprehensive study is illustrated by more than 100 images, most of them in full color. With this quiet, clean design, the heavy academic text is at maximum readability and Hayes’ argument is made easily accessible by the respectful treatment of the accompanying images.

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Design firm: Underline Studio, Toronto Creative directors: Claire Dawson, Fidel Peña Designer: Emily Tu Editor: Scott McLeod Author: Kenneth Hayes Publishers: Prefix ica; The mit Press Trim size: 7 x 9.25 Pages: 208 Typeface: Akzidenz-Grotesk Printer: Friesens Corporation

AIGA

Image-driven books: Books Milk and Melancholy

Milk and Melancholy 260 500

The minimal, almost textbook-like cover treatment is enhanced by the taped-on note reading Art as Life.

Getty Publications Allan Kaprow—Art as Life

Allan Kaprow—Art as Life is organized into six essays and a chronology spanning five decades of Kaprow’s life and work. Given the vast amount of material, including photographs, letters, posters, newspaper clippings and scores, the challenge was to develop a framework that would allow the many underlying grids to disappear, echo, reprise and reappear in unexpected places. As the process took hold, the book designed itself; the more information received, the more insight gained. The ordinariness of everyday life drove Kaprow’s work, as did the desire to open participants to a spirited experience as projects were conceived, understood and realized. The hope for this book was to follow that adventure—a happening or activity—from cover to cover. Exploring Kaprow is like going to see a good movie: you walk in feeling one way and walk out feeling another.

The array of materials—letters, photographs, art works, ephemera—are all presented in an engaging way.

50/50

Design firm: Getty Publications, Los Angeles Designer: Meryl Pollen Production coordinator: Suzanne Watson Authors: Eva Meyer-Hermann, Andrew Perchuk, Stephanie Rosenthal Editor: Tobi Kaplan Publisher: Getty Publications Trim size: 9.5 x 9.5 Pages: 276 Quantity printed: 2,570 Compositor: Meryl Pollen Typeface: Helvetica Neue Printer: Asia Pacific Offset, Inc. Paper: Gold East, 140 gsm, matte (text); Fancy woodfree, star white (cover) Binder: Asia Pacific Offset, Inc.

An excellent design treatment to an artist monograph on a self-described “un-artist.”

AIGA

Image-driven books: Books Allan Kaprow—Art as Life

261 500

The overlapping of type and juxtaposition of images gave this book an undeniable identity. It felt random, yet precise—a unique combination.

Danielle Aubert, Lana Cavar ReFusing Fashion: Rei Kawakubo

This catalogue was designed to document the exhibition “ReFusing Fashion: Rei Kawakubo” at the Museum of Contemporary Art Detroit. Kawakubo’s clothing designs for Comme des Garçons were exhibited throughout the gallery in a series of smaller spaces. The photographic documentation was designed to give readers a sense of the organization of the space. The book is organized so that photo spreads alternate with text spreads to produce a sense of each page’s inside and outside, similar to clothing.

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Designers: Danielle Aubert, Lana Cavar Photographer: Corine Vermeulen-Smith Editors: Linda Dresner, Susanne Hilberry, Marsha Miro Publisher: Museum of Contemporary Art Detroit Trim size: 8.5 x 11 Pages: 138 Quantity printed: 1,000 Printing method: Offset Production coordinators: Julie Chang, Carlie Dennis, Gregory Tom Paper: Munken Print White, volumen 1.5, 115 grams (text); Munken Print White, volumen 1.5, 150 grams (cover) Typeface: Helvetica Creative directors: Danielle Aubert, Lana Cavar Printer: Printera

AIGA

Image-driven books: Books ReFusing Fashion: Rei Kawakubo

262 500

The use of materials and ink gives this book so much life.

Pentagram Design Superheroes: Fashion and Fantasy 263

Superheroes: Fashion and Fantasy is the catalogue for the exhibition of the same name presented by the Costume Institute of the Metropolitan Museum of Art. The exhibition explored the symbolic and metaphysical associations between fictional comic-book characters and fashion, and featured icons such as Superman, Spider-Man, the Hulk and Wonder Woman alongside the work of fashion designers like Alexander McQueen, John Galliano, Thierry Mugler and Jean Paul Gaultier. The catalogueâ&#x20AC;&#x2122;s design affirms this alliance through the juxtaposition of fashion imagery, comic-book details, and film and tv stills in a comic-book frame format. Comics pioneered the fragmentation of time and space with multiple-frame compositions, and our design uses this strategy to show multiple perspectives on a single garment. The catalogue also features a pressed tin front and back cover that adds a tactile, three-dimensional element to the design. Of course this also doubles as armor or a chest plate (think Iron Man) and is reminiscent of a superhero lunch box.

50/50

Design firm: Pentagram, New York Art director: Abbott Miller Designers: John Kudos, Abbott Miller Jacket designer: John Kudos, Abbott Miller Picture editor: Andrew Bolton Authors: Andrew Bolton, Michael Chabon Editor: Joan Holt Publisher: The Metropolitan Museum of Art Trim size: 8.1 x 10 Pages: 160 Typeface: Teuton Printer: Graphicom Jacket printer: Graphicom Paper: Pressed tin (cover); Ikono Gloss, 170 gsm; overall acrylic primer (text and endpapers)

AIGA

Image-driven books: Books Superheroes: Fashion and Fantasy

500

Clearly, the work of “knowing” designers. The strong conceptual framework provides a structure for the book. The iconoclastic pacing and texture of the book is effective and nods to Bruce Mau’s S,M,L,XL and some books by Irma Bloom.

Andrew Blauvelt/ Matthew Rezac Superlight

Superlight documents the 2006 and 2008 biennials of digital media presented by zer01. Formal and material decisions were gleaned from the title: the design concept, simply put, explored all things “light.” We chose to print on lightweight, high-bulking uncoated paper using quick-setting uv inks for both image quality and black-onblack effects. The visible light spectrum was repurposed as an organizational device (red and orange for 2008 front matter and essays; yellow for artist works; green for special projects; turquoise for companion exhibitions; blue and violet for 2006 biennial documentation), and the sections were divided by thin translucent sheets, printed with the spectral rainbow. Interior pages explore the overprinting of color on black. The light spectrum manifests itself more subtly on the cover, which has a shifting varnish (pink to green). Lastly, the cover title treatment is cut by laser light.

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Design firm: Andrew Blauvelt/ Matthew Rezac, Minneapolis Creative director: Andrew Blauvelt Designer: Matthew Rezac Photographers: Everett Taasevigen, et al. Authors: Steve Dietz, et al. Editor: Pamela Johnson Publisher: ZER01 Curator: Steve Dietz Trim size: 6.375 x 9 Pages: 336 Quantity printed: 1,000 Printer: Shapco Printing, Inc. Paper: Arctic, Munken Print White 15, 115 gsm; Neenah, uv/Ultra ii, Radiant White, 17 lb., text; StoraEnso, Centura, 120 lb., cover, dull Typeface: Romain bp

AIGA

Image-driven books: Books Superlight

264 500

Visual Arts Press, Ltd.

The objective of the School of Visual Arts’ undergraduate catalogue, “Proof,” is to show prospective students why sva is the preeminent training ground for the next generations of artists. We want to prove that sva, located in New York City, is the best art school to attend. Our solution is to present visual and factual evidence, first by giving dozens of facts about New York, sva and its students, and then by presenting literally hundreds of examples of student work throughout the book, setting a new standard for publications of its kind.

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Design firm: Visual Arts Press, Ltd., New York Creative director: Anthony P. Rhodes Art director: Michael J. Walsh Designers: Suck Zoo Han, Brian E. Smith, Patrick Tobin

I was anticipating a much heavier book just before picking it up. The lightness of it was a pleasant surprise. The cover that turns into a poster and the interior both make me want to go to school there.

AIGA

Image-driven books: Books SVA Undergraduate Catalogue

SVA Undergraduate Catalogue 265 500

50/50

Design firm: Walker Art Center, Minneapolis Designer: Emmet Byrne Creative director: Andrew Blauvelt Production director: Lisa Middag Production artist: Greg Beckel

The unusual cover stock combined with the Day-Glo orange circles create a unique juxtaposition.

AIGA

Image-driven books: Books Tetsumi Kudo: Garden of Metamorphosis

Walker Art Center Tetsumi Kudo: Garden of Metamorphosis 266 500

The book is fluid because of the thoughtful use of a grid system. The chapter openings are fantastic.

Volume Inc. The Art of Participation

The Art of Participation: 1950 to Now exhibition presents an overview of participation-based art since the 1950s, reflecting on how artists create situations in which the public takes a collaborative role in the art-making process. The exhibit catalogue’s design demands similar participation by providing a space on the cover for a second, later book that will record how visitor contributions change the exhibition’s form and content during its run at sfmoma. This theme is investigated further through the “incomplete” nature of the headline typography and the empty spaces of the body text, which are meant to be “filled in” (whether literally or mentally) by the reader.

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Design firm: Volume Inc., San Francisco Creative directors: Adam Brodsley, Eric Heiman Art directors: Adam Brodsley, Eric Heiman Designers: Adam Brodsley, Iran Narges Authors: Rudolf Frieling, et al. Editor: Karen A. Levine Publishers: Thames and Hudson/San Francisco Museum of Modern Art Trim size: 8 x 10.25 Pages: 212 Quantity printed: 5,000 Typefaces: Chaparral, Custom, ff Bauå Printer: Cantz Binder: Cantz

AIGA

Image-driven books: Books The Art of Participation

267 500

The Collections of Barbara Bloom 268 500

This project is a hybrid of a self-curated midcareer retrospective, estate sale and self-portrait. This volume takes its formal cues from the estate-sale catalogue (particularly from the Jacqueline Kennedy Onassis estate sale). Objects and images take center stage; they are the characters, the protagonists revealing a narrative. The book is lavish and beautiful, while touched with a melancholy and dark humor of an estate sale of someone still living.

Barbara Bloom

Conceptual artist Barbara Bloom has built a career from questioning appearances, exploring the desire for possessions and commenting on the act of collecting. The Collections of Barbara Bloom accompanied an exhibition of the same title at the International Center of Photography, New York, and Martin-Gropius-Bau, Berlin. It explores all aspects of her oeuvre, including works from past installations, newly made pieces, as well as objects from her vast personal archives of books, films, photographs and ephemera. Bloom revisits previous works and adds new elements, resisting the delineation between past and present in her work. Bloom also invents and illustrates fictitious works and collections. Her categories are idiosyncratic. They are the subjects that have been her inspirations and obsessions.

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Design firm: Barbara Bloom, New York Authors: Dave Hickey, Susan Tallman Designer: Barbara Bloom Photographers: Julia Braun, Katja TĂśpfer (Steidl Digital Darkroom) Production director: Bernard Fischer (Steidl) Production coordinator: Martine Neider (icp) Picture editor: Yi-Ting Chung Director of publications: Philomena Mariani (icp) Publisher: icp Steidl Trim size: 9.5 x 11.5 Pages: 272 Typeface: Adobe Caslon Printer: Steidl

Well designed; the layout allows you to see Barbara Bloom as a person from an artistâ&#x20AC;&#x2122;s-catalogue perspective.

AIGA

Image-driven books: Books The Collections of Barbara Bloom

Nice surprises like the ribbon and the back-cover illustration of Dorothy, the lion and the tin man. The paper changes and small scale make this a perfect exhibition catalogue and gift book.

The Wizard of Oz 269

How could we use the novel as a starting point, yet create a fresh visual language for a “contemporary” exhibition? One of our ideas was to allow the catalogue to remain a little ambiguous. We wanted someone to pick it up and not be sure if they were looking at the original novel or something else. One constraint we set was that the catalogue needed to be the same size as the original first edition. The rest of the design used classical references from the original book in combination with more contemporary design choices to create a publication that referenced the past, but connected to the themes of an art exhibition in 2008.

A charming design; playful use of type and color selection; has a storybook quality.

Stripe

The Wizard of Oz takes L. Frank Baum’s The Wonderful Wizard of Oz as an entry point to examine the relationships between this classic novel and art. Many have interpreted the story as a metaphor for the political, economic and social events of 1890s America. Artists featured in this exhibition presented work that connected with these themes.

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Design firm: Stripe, San Francisco Creative director: Jon Sueda Art director: Jon Sueda Designers: Jennifer Rider, Jon Sueda Production director: Erin Lampe Authors: Claire Fitzsimmons, Jens Hoffmann, Rebecca Loncraine, Natalie Musteata Editor: Lindsey Westbrook Curator: Jens Hoffmann Publisher: California College of the Arts/Wattis Institute of Contemporary Arts Trim size: 6.75 x 9.25 Pages: 76 Printer: Westcan Printing Group Typefaces: Berkeley, Windsor Quantity printed: 1,500 Client: cca Wattis Institute of Contemporary Arts Production coordinator: Meghan Ryan

AIGA

Image-driven books: Books The Wizard of Oz

500

Visible Language 42.3

Published continuously since 1967, Visible Language maintains its policy of having no formal editorial affiliation with any professional organization. This requires the continuing, active cooperation of key investigators and practitioners in all of the disciplines that impinge on the journalâ&#x20AC;&#x2122;s mission.

Why Not Smile

Visible Language is concerned with research and ideas that help define the unique role and properties of written language. One of the journalâ&#x20AC;&#x2122;s basic premises is that writing and reading form an autonomous system of language expression on its own terms. Ideas that help define the presentation of information in the digital arena must be added to this. The shift from page to screen is comparable to the shift from manuscript to print. Developing the knowledge base and conventions for this new media will take time and challenge our ability to move beyond the book into more fluid, relational and responsive systems of presentation.

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Design firm: Why Not Smile, New York Art director: Thomas Ockerse Designer: Jeong-Hoon Kim Editor: Sharon Poggenpohl Publisher: Sharon Poggenpohl Trim size: 6 x 9 Pages: 96 Typefaces: Franklin Gothic, Times New Roman

A one-color job; the interiors makes you appreciate the play of typographical hierarchy as a clear invitation to content.

AIGA

Image-driven books: Books Visible Language 42.3

270 500

From the choice of black and red colors to the subtle use of typography and binding, this book takes on complex information and makes it visible in a memorable red line through Broadway.

Why Not Smile Walk on Red

With Walk on Red: Soundscapes on Broadway, graphic artist Jeong-Hoon Kim creates a unique portrait of New York City, focusing on four neighborhoods intersected by Broadway and the 311 noise complaints registered within them. Using triangulated irregular network data structures, Kim develops maps of SoHo, Wall Street, Midtown and Inwood, whose varying frequency of noise complaints reflects their different population densities and mixed residential land usages. Kimâ&#x20AC;&#x2122;s striking graphic imagery is accompanied by photographs, satellite images and documentary data.

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Design firm: Why Not Smile, New York Creative director: Jeong-Hoon Kim Art director: Jeong-Hoon Kim Designer: Jeong-Hoon Kim Photographer: Jeong-Hoon Kim Author: Jeong-Hoon Kim Editor: Jeong-Hoon Kim Publisher: Jeong-Hoon Kim Trim size: 7 x 9.5 Pages: 144 Quantity printed: 200 Typeface: Times Ten Printing method: Offset Paper: Mojo, 80 grams

AIGA

Image-driven books: Books Walk on Red

271 500

AIGA

Image-driven books: Books William Wegman: Dogs on Rocks

50/50

Design firm: Matsumoto Incorporated, New York Art director: Takaaki Matsumoto Creative director: Takaaki Matsumoto Designers: Hisami Aoki, Takaaki Matsumoto Photographer: William Wegman Editor: Marion Boulton Stroud Publisher: a.s.a.p. Trim size: 7 x 9.25 Pages: 136 Quantity printed: 5,000 Typeface: Minion Pro Printer: Nissha Printing Co., Ltd. Paper: Dia, white, 151 gsm

Matsumoto Incorporated William Wegman: Dogs on Rocks

This volume contains previously unpublished photographs of William Wegmanâ&#x20AC;&#x2122;s well-known dogs. All the photos were taken over the course of 10 years in Maine, where the artist has a house. We wanted the book to be journal-like, so the trim size is small and the photographs are reproduced at a fairly small size, making it look similar to a personal photo book. Instead of covering the book with a printed jacket, we used a silky bookbinding cloth for the cover. One photo is tipped in and the title is hot-stamped on the cover, contributing to the journal-like feel of the publication.

272

The design of this book complements the photography to perfection.

500

I liked the way the cover photo was cropped so that you see the girl looking away only by opening the cover. The use of the uncoated, colored stocks makes for an interesting organizing system as well as a nice package when the book is closed.

50/50

Design firm: Walker Art Center, Minneapolis Creative director: Andrew Blauvelt Designer: Chad Kloepfer Production director: Lisa Middag Production artist: Greg Beckel Editor: Andrew Blauvelt

AIGA

Image-driven books: Books Worlds Away: New Suburban Landscapes

Walker Art Center Worlds Away: New Suburban Landscapes 273 500

Cut cover revealing the casing is a nice touch.

Project Projects

Brooklyn Modern presents a collection of residential buildings in Brooklyn, ranging from renovated brownstones and former industrial spaces to custom-designed new construction.

Matte paper, muted tones and simple design are appropriate for the audience.

50/50

Design firm: Project Projects, New York Author: Diana Lind Photographer: Yoko Inoue Pages: 224 Trim size: 8 x 10 Printing method: Offset lithography Typefaces: Aldine 721, Plak Binding method: Hardcover Publisher: Rizzoli International Publications, Inc.

The book has the look and feel of Brooklyn, a lifestyle book for those more interested in renovation and recycling than fancy apartments with doormen and elevators.

AIGA

Image-driven books: Books Brooklyn Modern

Brooklyn Modern 274 500

AIGA

Image-driven books: Books Zibaldone of Five Stages in Life

Iconoclastic, irreverent and gorgeous. The poetry, cinematic pacing and sumptuousness of the design, printing and manufacture of this “scrapbook” are nothing short of beautiful.

Zibaldone of Five Stages in Life 275

Zibaldone, Italian for “scrapbook,” was the concept for the design. Chinese charts were the index reference, the objective being to use the organizing principle of the five stages of human life and the principal concepts of each. Through visual haikus, the idea was to achieve maximum communication with the fewest possible elements. Desired result: a subtle book that invites the viewer to reflect on life. The book must also be elegant, unusual and exhibit the client’s printing skills and capacities without ostentation. In Spanish, English and Chinese.

Ana Cortils Comunicacion Visual

A book project for an exclusive printing company (also a publishing company for art books) on the occasion of its 20th anniversary. Principal objectives: to create a book about the different stages and aspects of human life; to bring together collage, fonts, photography and illustration.

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Design firm: Ana Cortils Comunicacion Visual, Madrid Art director: Ana Cortils Designer: Ana Cortils Photographers: Ana Cortils and others Author: Ana Cortils Publisher: Tf. Editores Trim size: 7 x 9.8 Pages: 144 Quantity printed: 850 Printing methods: 4-color; some sections up to 15 spot colors; two types of varnish Printer: Tf. Artes Gráficas Paper: Old Mill, off-white, 140 grams; PhoeniXmotion Xantur, off-white, 170 grams Binders: Cromotex, Ramos s.a. Binding methods: Clamshell case and hardcover bound in black cotton cloth; title card glued over die-cut; dustjacket Clients: Tf. Aetes Gráficas, Tf. Editores Client industries: Printing company, art-books publisher Typefaces: Corporate, Garamond, Helvetica, others

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Brought to Light: Photography and the Invisible, 1840–1900 276

The use of multiple stocks anchors the approach, producing a visual as well as tactile experience. A shift in paper and a flood of custom-mixed chocolate-brown ink signals the transitions between sections of the catalogue. The endsheets display images in relative scale to evoke a salon-style hanging, as many of these prints would have originally been displayed. Essays on a creamy white stock invite comfortable reading. The layout of the plate section is structured to expand and contract in a flow that includes multiple images on a spread when needed, while sometimes allowing individual images room to breathe on their own.

San Francisco Museum of Modern Art

Brought to Light chronicles scientific photography from the dawn of the medium in 1840 to the turn of the 20th century. This catalogue brings together nearly 200 vintage photographs that demonstrate early experiments with microscopes, telescopes, motion studies, electricity and magnetism, x-rays and spirit photography. In the 19th century, such images revealed the spectacle of the natural world not only to the scientific community but also to an awestruck public. The catalogue design seeks to respect the role these pictures played in popular science at the time of their creation, while at the same time highlighting their striking beauty for today’s viewers.

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Design firm: San Francisco Museum of Modern Art, San Francisco Art director: Jennifer Sonderby Designer: James Williams Jacket designer: James Williams Authors: Marie-Sophie Corcy, Maren Gröning, Tom Gunning, Corey Keller, Erin O’Toole, Carole TroufléauSandrin, Jennifer Tucker Editor: Karen A. Levine Publishers: San Francisco Museum of Modern Art/ Yale University Press Trim size: 9.5 x 11.75 Pages: 216 Quantity printed: 6,400 Typefaces: Archer, Van Condensed, Whitman Printer: Editoriale Bortolazzi Stei Jacket printer: Editoriale Bortolazzi Stei Paper: Burgo Selena, 140 gsm; GardaPat 13 Klassica, 135 gsm; GardaMatt Art, 170 gsm Binder: Editoriale Bortolazzi Stei

The use of color is so subtle and elegant that it allows the images to really jump off of each page.

AIGA

Image-driven books: Books Brought to Light: Photography and the Invisible, 1840–1900

500

Putting contributors on the spin is a clever addition.

Getty Publications California Video: Artists and Histories

The design challenge was to produce a system that represents the diversity of voices—artist, curator, interviewer, archivist—while also representing the book’s diverse and disorderly visual imagery. The typographic material attempts to clearly maintain informational hierarchy and strictly adheres to the grid while the images move freely on the page to give the book a more open and fluid feel.

Wonderful use of paper changes.

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Design firm: Getty Publications, Los Angeles Designer: Stuart Smith Production coordinator: Elizabeth Kahn Authors: Meg Cranston, Rita Gonzalez, Kathy Rae Huffman, Glenn Phillips (editor), Robert R. Riley, Steve Seid and Bruce Yonemoto Editor: Tobi Kaplan Publisher: Getty Publications Trim size: 9.5 x 11.75 Pages: 328 Quantity printed: 5,500 Compositor: Stuart Smith Typefaces: Freight Sans, Freight Text Printer: Asia Pacific Offset, Inc. Paper: ikpp woodfree, 140 gsm Binder: Asia Pacific Offset, Inc.

One of the best examples of a video exhibition catalogue. Video is difficult to present in book form, but the designer has made the material accessible.

AIGA

Image-driven books: Books California Video: Artists and Histories

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AIGA

Image-driven books: Books Central de Arquitectura

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Design firm: Varela & Kimura, Mexico City Designers: David Kimura, Gabriela Varela Photographers: Adalberto Adame, Paul Czitrom, Luis Gordoa, Gerardo and Fernando Montiel Klint, Undine Pröhl, Julia Sánchez Quantity printed: 4,500 Compositors: David Kimura, Gabriela Varela Publisher: Arquine Trim size: 7 x 9.5 Pages: 132 Typefaces: ff din, Scala Serif Printer: Everbest Printing Co. Ltd. Jacket printer: Everbest Printing Co. Ltd. Paper: ikpp woodfree, 140 gram, 165 gram Binder: Everbest Printing Co. Ltd.

Varela & Kimura

This book showcases 10 projects designed by the architecture firm Central de Arquitectura in Mexico City. Central de Arquitectura

One of the challenges was to create a formal architecture document that reflected the firm’s young character. A different color was assigned to each project, used not only on the opening spread but also on the edge of each page. The 5-mm color edges, which become a visual index, serve as containers for the graphic scale, as well as for the page number. A contemporary serif was chosen to contrast with the style of architecture in the book, as opposed to the obvious sans serif typeface choice. The blind debossed geometric design is composed of the 10 buildings’ perimeters. This idea is echoed in the index.

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What a delight to read! When a book is executed well on all fronts, it deserves the adjectives: excellent, excellent and excellent.

AIGA

Image-driven books: Cover Franz West: To Build a House You Start with the Roof

pulp, ink.

Bold color and font choices on the linen cover; a nontraditional approach to an art monograph.

Franz West: To Build a House You Start with the Roof

This catalogue accompanies the Baltimore Museum of Artâ&#x20AC;&#x2122;s traveling exhibition of the Austrian artist Franz West. The design needed to reflect both the tactile and playful aspects of his work. Natural linen, a material utilized in many of his sculptures and paintings, is used for the book cloth; all of the typography is silk-screened.

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Design firm: pulp, ink., Brooklyn Creative director: Beverly Joel Jacket designer: Beverly Joel Production coordinator: Marquand Books Author: Darsie Alexander Editor: Joseph Newland Publishers: The Baltimore Museum of Art, The mit Press Pages: 288 Trim size: 8.25 x 10.875 Typefaces: Ultramagnetic, Univers Quantity printed: 4,000 Printing method: Offset Jacket printer: Regent Publishing Services, Ltd.

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AIGA

Limited-edition and fine-press books: Book Rui Chafes

Rui Chafes

Every detail in this book is an experience for the senses: the discovery of white text hidden throughout the book, and the cinematic motion that occurs while browsing consecutive “empty black” pages to arrive at a series of images, then continuing the journey in constant discovery.

Atelier Pedro Falcão

This book is like a movie; a film noir. It’s also a reflection of the artist Rui Chafes.

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Design firm: Atelier Pedro Falcão, Lisbon Designer: Pedro Falcão Art director: Pedro Falcão Jacket designer: Pedro Falcão Photographer: Alcino Gonçalves Authors: Rui Chafes, Nuno Crespo, Mário Dorminsky, Delfim Sousa Editor: Nuno Crespo Publisher: Câmara Municipal de Vila Nova de Gaia Trim size: 7.5 x 10 Pages: 224 Quantity printed: 1,000 Typefaces: Akkurat, Brauer Neue, Eudald Printer: Maiadouro Jacket printer: Maiadouro Paper: Munken Print Binder: Maiadouro

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Ena Cardenal de la Nuez NY Motion 1.0

This bilingual catalogue was published by the Instituto Cervantes in New York, introducing the work of seven Spanish artists and residents of the city. The idea was not to favor the work of any particular artist, and so a typographic motif was chosen. The cover seeks to convey the classic, eternal spirit of the Big Apple by using an elegant, uppercase, black-and-white Bodoni, in a vertical format. To grant Motion the dynamism it implies, the word was printed on the cover as well as on the sleeve that wraps the book’s bottom half. The word Motion actually moves since the jacket is printed with a slight displacement. Movement is further enhanced by the use of different paper textures. The difference between these papers is subtle, as is the displacement between jacket and cover— enough to grant the cover the required visual dynamism and the minimal distraction.

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Design firm: Ena Cardenal de la Nuez, Madrid Designer: Ena Cardenal de la Nuez Editor: Eduardo Lago Printer: Tf. Artes Gráficas Publisher: Instituto Cervantes New York Jacket designer: Ena Cardenal de la Nuez Trim size: 5.9 x 8.6 Pages: 76 Quantity printed: 1,500 Typeface: Bodoni Jacket printer: Tf. Artes Gráficas Binder: Ramos

A poetic and subtle play of materials to express motion without relying on clichés.

AIGA

Limited-edition and fine-press books: Cover NY Motion 1.0

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Exceptionally elegant design makes this work as both a lifestyle book and cookbook. A finely executed book on the art of fine dining.

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A finely produced book; every detail from the photographs to the layout to the font is striking.

Mucca Design

Design firm: Mucca Design, New York Creative director: Matteo Bologna Art director: Erica Heitman-Ford Photographer: Maria Robledo Designer: Erica Heitman-Ford Publisher: Taunton Press Authors: Andrew Friedman, David Waltuck Trim size: 11 x 11 Pages: 314

Chanterelle, a cookbook with more than 150 recipes, follows the story of the New York restaurant, from chef David Waltuckâ&#x20AC;&#x2122;s love of French cuisine to his love affair with his wife. The restaurant is upscale, but family-run, so the challenge was to design a book that is elegant, but still warm and inviting with a personal touch. The design includes beautiful, rich photography by Maria Robledo. It is sophisticated, with the feel of a fine art book, and it captures the warm personality of the Chanterelle family.

AIGA

Limited-edition and fine-press books: Cover Chanterelle: The Story and Recipes of a Restaurant Classic

Chanterelle: The Story and Recipes of a Restaurant Classic 282 500

Timothy Donaldson Shapes for sounds (cowhouse) 283

This book examines a fundamental discovery of humankind: the idea of shapes for sounds, of alphabets. Without them, newspapers would be just folded paper, mystery envelopes would drop through your letterbox, you might brush your teeth with hair gel, 95 percent of the internet wouldnâ&#x20AC;&#x2122;t exist and you wouldnâ&#x20AC;&#x2122;t be reading this. The development of this idea is considered on a sequential and individual basis, from its sonic beginnings, with the Latin alphabet placed into a broader context of other alphabets. Topics examined are: the growth of the second Latin alphabet from the first (and three optional routes); a view of alphabetic application since the invention of printing; and how to make your own tools and letter-shapes. At the heart of the book are 26 charts that map the journey of individual letters as gestalt timelines. These are book-ended by a cross-referenced introductory text and 37 appendices. And there is a map.

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Design firm: Timothy Donaldson, Colwich, United Kingdom Creative director: Timothy Donaldson Art director: Timothy Donaldson Designer: Timothy Donaldson Jacket designer: Timothy Donaldson Illustrator: Timothy Donaldson Production coordinator: Christopher D. Salyers Project manager: Buzz Poole Photographer: Timothy Donaldson Production director: Timothy Donaldson Production artist: Timothy Donaldson Picture editor: Timothy Donaldson Author: Timothy Donaldson Editor: Buzz Poole Typeface: Manchester (designed by Timothy Donaldson) Publisher: mbp Trim size: 8.6875 x 9.625 Pages: 176

This is a shining book. It is innovative in the myriad ways it is designed to reveal the alphabet in sonic, tactile, visual and ideological relevance.

AIGA

Limited-edition and fine-press books: Cover Shapes for sounds (cowhouse)

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Fackel Schimpfwörterbuch 284

The dictionary spans three books, Alpha, Chrono and Explica, and a web-based digital edition of Die Fackel, part of the Austrian Academy Corpus. The books use urls as part of their indexing and navigational systems. Alpha shows entries in their most reduced form, sequenced alphabetically within cultural and linguistic indices. Chrono’s reproductions allow the reader to see the entries as words within sentences, sentences within paragraphs and paragraphs within pages. Printed urls send the reader online to view pages within articles, articles within volumes, and volumes within the entire Fackel digital edition. Explica visually demonstrates how the language of Die Fackel is dismantled and reassembled according to linguistic principles.

Offices of Anne Burdick

The Fackel Schimpfwörterbuch is a dictionary of dirty words and insults. It is the second of three text-dictionaries whose corpus is a journal of media criticism called Die Fackel, published by Karl Kraus from 1899 to 1936. The designer collaborated with a team of linguists and programmers to develop visual strategies derived from the linguistic principles of the dictionary. Entries such as Artist or Historian are displayed in various situations that reveal how any word can become a pejorative term in the right context.

Rethinks the dictionary format with a clear graphic vocabulary in a surprising way.

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Design firm: Offices of Anne Burdick, Pasadena, California Designer: Anne Burdick Editors: Hanno Biber, Evelyn Breitender, Gerald Krieghofer, Karlheinz Moerth, Werner Welzig Publisher: Verlag der Österreichischen Akademie der Wissenschaften Trim size: 6.125 x 8.125 Pages: 986 Quantity printed: 2,000 Compositors: Anne Burdick, Peter Scepán, Oxana Vogel Typefaces: Akzidenz-Grotesk, Century Oldstyle, Cree Serif Printer: typoset Ltd.

AIGA

Reference books: Book Fackel Schimpfwörterbuch

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School of Visual Arts

The SVA Senior Library 2007 is a compendium of the best work of seniors graduating from the School of Visual Arts’ advertising and graphic design department. It presents students’ work in graphic design, advertising, typography, design and motion graphics.

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Design firm: School of Visual Arts, New York Creative director: Michael Ian Kaye Designer: Wei Lieh Lee Production director: Adam Wahler Production coordinator: Carolyn Hinkson Jenkins Printer: Graphicom

Ingenious. An annual of students’ work using what appears to be lo-fi packaging.

AIGA

Reference books: Book SVA Senior Library 2007

SVA Senior Library 2007 285 500

To Sleep, Perchance to Dream

In a nod to the era’s interest in dream interpretation, the design incorporates subtle typographic play, encouraging readers to look closer in search of enhanced meanings. The opening spreads for each section feature an evolving typographic picture suggesting the experience of slowly drifting off to sleep.

Studio A

This book accompanied an exhibition of the same title at the Folger Shakespeare Library. The contents consist of excerpts about sleep and dreams written in Renaissance England. These compilations, known as commonplace books, were frequently produced in manuscript form by literate people of the period.

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Design firm: Studio a, Alexandria, Virginia Designers: Antonio Alcalá, Leslie Badani, Helen McNiell Production coordinator: Caryn Lazzuri Photographer: Julie Ainsworth Curator: Garrett Sullivan Authors: Carole Levin, Garrett Sullivan Trim size: 5.5 x 8.5 Pages: 92 Quantity printed: 750 Printing method: Offset lithography Typeface: Minion Printer: Global Printing Paper: Mohawk Options, Crystal White, 80 lb., cover and text, smooth Binding method: Perfect Publisher: Folger Shakespeare Library

Besides being a thoughtfully designed book, what makes it work beyond the norm is the designers’ deft pacing of a book on sleep disorders. They do not put the reader to sleep. A beautifully designed and manufactured book.

AIGA

Reference books: Book To Sleep, Perchance to Dream

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Sagmeister, Inc.

So beautifully considered with black-andwhite covers and colored stain. Itâ&#x20AC;&#x2122;s a book to walk around like a sculpture; it needs to be appreciated from all sides.

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Design firm: Sagmeister, Inc., New York Creative director: Stefan Sagmeister Designers: Daniel Harding, Joe Shouldice, Richard The Editor: Scott Marble

AIGA

Reference books: Book Columbia Abstract 07/08

Columbia Abstract 07/08

Columbia University asked the studio to design its annual publication Abstract, a yearbook for the Graduate School of Architecture, Planning and Preservation.

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The content is divided into three different colorcoded books that insert into each other to form their own pyramid-shaped architecture. The smallest book contains only photos of staff and students; the middle book contains only text; the large book showcases the studentsâ&#x20AC;&#x2122; work. An extensive cross-reference system directs users to related content between the books.

This book is designed with wit, boldness and a fair hint of irreverence. With the equally wonderful illustrations, this makes for a thoroughly informative and entertaining book of “quirky words for a clever tongue.”

Chronicle Books L Is for Lollygag

A dictionary of grandiloquent, splendiferous and mostly out-of-use words for highfalutin orators of any age, this title is packed to the rafters with delightful bits of language to pepper into your palaver at any swingin’ shindig you may be invited to. Elaborate framing devices and whimsical Victorian clip-art doff their dapper hats to the bygone origins of the content, and mix sublimely with the charming, nostalgic illustrations of the thoroughly modern Melinda Beck. Her delightful line work and cheeky understanding of how to best distill the meanings of “galumph,” “kerfuffle” and “madcap” using only two colors and two square inches made her the ideal artist for this project. The book is printed on a lovely-to-touch uncoated cream stock, lending a quiet dignity to the title, which is somewhat undermined by a splash of neon red across the palette.

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Design firm: Chronicle Books, San Francisco Designer: Tracy Sunrize Johnson Illustrator: Melinda Beck Editor: Molly Glover Trim size: 5.125 x 7.75 Pages: 128 Typefaces: Felina Serif, Futura Publisher: Chronicle Books

AIGA

Reference books: Book L Is for Lollygag

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50/50 Simply Read Books

Design firm: Simply Read Books, Vancouver Designer: Robin Mitchell-Cranfield Illustrator: Julie Morstad Author: Sara O’Leary Publisher: Simply Read Books Trim size: 7 x 10.25 Quantity printed: 7,000 Typefaces: itc Baskerville, hand-drawn drop caps by Julie Morstad Printer: Tien Wah Press Jacket printer: Tien Wah Press Paper: Grycksbo, white, 170 gsm, matte; Stora Enso Oulu, LumiArt, white, 130 gsm, gloss Binder: Tien Wah Press

The subtle illustrative details and handdrawn typography enhance the magical aspects of this story.

AIGA

Reference books: Book Where You Came From

This book follows When You Were Small by the same author and illustrator. We kept the same project dimensions and used a similar grid and typeface. Our intention was again to be mindful of small details and add playful touches without overwhelming the content. Where You Came From

Each page of the text begins with “No,” so we played with the repetitive uppercase N. The illustrator was commissioned to provide a number of black-and-white ink drawings, and we used these in place of drop caps: a different N beginning each page.

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AIGA

Childrenâ&#x20AC;&#x2122;s books: Cover Oliver Twist, Il Cucciolo, Il Richiamo de la Foresta

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Design firm: Mucca Design, New York Creative director: Matteo Bologna Art director: Hana Nakamura Illustrator: Jeffrey Fisher Authors: Charles Dickens, Jack London, Marjorie Kinnan Rawlings Editors: Stefania Dimella, Beatrice Masini Publisher: bur/rcs Libri Trim size: 5 x 7.5 Typeface: Fisher

Mucca Design

The redesign of these classic books is charming. Illustration and type are whimsical, making these classics accessible to a younger new audience.

Oliver Twist, Il Cucciolo, Il Richiamo de la Foresta

For this series, Italian publisher bur (Rizzoliâ&#x20AC;&#x2122;s softcover imprint) asked us to repackage a selection of the classic novels one reads during childhood with an updated, fresh look. We decided the design should appeal to both adults and children, and that the best way to do that was with clean design (for grown-ups) and a fun spot illustration (for kids). Jeffrey Fisher and his whimsical style came to mind right away. Each book is printed on uncoated stock with two Pantones, and the type is embossed.

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aiga, the professional association for design, stimulates thinking about design, demonstrates the value of design and empowers the success of designers at each stage of their careers. aigaâ&#x20AC;&#x2122;s mission is to advance designing as a professional craft, strategic tool and vital cultural force. Founded in 1914, aiga remains the oldest and largest professional membership organization for design, and is a nonprofit, 501(c)(3) educational institution.Â For more information, visit www.aiga.org.

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ABOUT AIGA

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aquent Aquent is the Official aiga Sponsor for Professional Development, serving as a source for creative and design talent as well as providing access to great career opportunities for aiga members nationwide. Aquent partners with aiga on national conferences, initiatives, exhibitions and events. As part of enduring support of aiga members’ career goals, Aquent sponsors the aiga | Aquent Survey of Design Salaries. This resource, which Aquent makes available to aiga members as well as organizations that hire design professionals, establishes a common ground for discussing the costs and value of creative work. To find out more about the aiga | Aquent Survey of Design Salaries, visit www.designsalaries.org. Aquent also strives to support aiga’s efforts to promote a lively and engaging exchange of ideas concerning the issues of greatest importance to the design community. In addition to actively participating in the conversation at national conferences and local events, Aquent also develops accessible, educational resources, including regular webcasts on design topics.

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Official AIGA Sponsors

About Aquent Aquent pairs marketing and design specialists with challenging jobs to create inspired, productive partnerships— which in turn produce meaningful work for its client companies and the talent Aquent represents. That said, Aquent is more than a talent placement company—Aquent is a world-leading innovator in improving the way companies, and talent, work. From pioneering benefits for project-focused designers and marketers, to creating solutions to help companies test-drive talent before hiring them, Aquent works to build a worldwide network of subjectmatter specialists who understand the special needs of marketing niches globally and the world’s increased need for specialized talent.

OFFICIAL AIGA SPONSORS

adobe systems, inc. Adobe Systems, Inc., is proud to be the Official aiga Sponsor for Design Solutions. Together with aiga, Adobe is creating innovative programs that give members a voice, nurture young designers and actively engage the creative community in dialogues about the important issues in the fields of design and technology. The alliance between aiga and Adobe is a long-term partnership dedicated to advancing design and the use of technology across creative industries, as well as understanding and highlighting the impact of design on the economy and society.

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about aiga official sponsors Official Sponsors are limited to a select number of businesses that share our commitment to the future of design. Our partnerships are all geared toward expanding and enhancing member benefits, as well as increasing the value of the profession to the public. The benefits allowed by these alliances provide our entire membership with access to initiatives, conferences, exhibitions and events that aiga would not otherwise be able to produce. We have—and constantly seek out—partners that share similar beliefs and objectives as our own. aiga is proud to be partnering with Adobe and Aquent. These partners share our ideals and are committed to providing the support to advance many of our shared objectives.