Block 2019 - Year Book by Block (BlockBranding.com)

2019 Year in Review : Beneath the Surface.

blockbranding.com

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0 YEAR

9 REVIEW

‘Why?’

Good question. It’s a question we’ve been asked a lot in the past year. It’s a question we’ve asked a lot in the past year. It’s a question we’ve asked ourselves a lot in the past year.

2 Big questioning Collaborators _3CM (Web Development) _&Partners (Campaign Creative) _Beautiful Pictures (Production) _Chantel Concei (Photography) _Cue Sound (Audio Post Production Services) _F22 (Photography) _FRED (Strategic Consultancy) _Josh Edge (Creative) _Sam Harris (Photography) _Sign Strategy (Signage Print Production) _Taylor Edwards (Video Production) _The Oï¬&#x192;ce of John Cheese (Post Production) _Till Death (Video Production)

Once upon a time, a business could get away with just ‘doing’. Making stuff. Marketing stuff. Selling stuff without regard for the bigger picture or pondering the ‘why’. Workers worked not in pursuit of any higher purpose but simply to get the job done. No longer. As the world has become an increasingly uncertain place, the climate has been (quite literally) changing. The Gig Economy has replaced jobs-for-life. Edited and considered commentary has been replaced with 140-character rants. The ‘free’ market has its costs and consequences. It is unsurprising then that increasingly, as consumers, employees and citizens, we are collectively seeking to have our economic footprint align with our internal values. We want to spend money with, and work for, businesses that we believe hold values significantly similar to our own or, at the very least, don’t hold values counter to ours. For the first time, having purpose is central in creating a business that is truly sustainable. In this brave new world, bigger isn’t better; better is better.

9 It is easy to dismiss this as soft Millennial BS (like pink t-shirts and wearing trousers that leave your ankles exposed) but, as the rise of Fox News demonstrates, it isn’t a generational thing. Nor just a woke, self-important, latte-lefty thing. It’s much bigger than any of that. It is not a marketing tactic nor a sales gimmick. It is what those you seek to employ think of you and what those who you once employed think of you. It is why you do what you do. It is what our clients are increasingly asking us to help them articulate. If there is a thread that ran through 2019 for Block, it is this. It is a question that clients asked us to ask them and it was a question that we asked ourselves. It was a year of living existentially.

Clients _Assembly & Co. _Black Swan State Theatre Company of WA _City of Mandurah _Celebration Homes _Central Park _Covalent Lithium _Department of Primary Industries _Dale Alcock South West _Emergence _Freo.Social _Global IO _Perth Theatre Trust _Joined Up Films _M/Group _Mandurah Arts Festival _Ned McNeilage Creative _Otherside Brewing Co. _Perron Investments _Take1 - Youth Screen Festival _The Brisbane Hotel _The Lester _Woodside _WritingWA _Youth Focus

Bigger isnâ&#x20AC;&#x2122;t better, better is better

We had arts clients ask us how they can continue to exist in a world where truly no-strings-attached giving has all but disappeared? What role do they fill for those they need so that they may keep the lights on? We had resource companies ask us how they can ensure they are supporting community groups that align with their employeeâ&#x20AC;&#x2122;s values. We were asked to help create an architecture firm that put buildings a distant second to community. The tasks were as diverse as the outcomes. However at the heart of all was the interrogation of the simplest and the most complex of questions: Why?

Why us?

Seventeen years is a long time to do anything. But seventeen years running a creative business is several eternities. It is natural, during such a long ride, there will be the need to make regular existential pitstops. Moments to stop, stretch the legs, to admire the view and then figure out where the hell you are heading next. And, of course, to ask why. 2019 proved to be one of those moments for us. As we looked to switch to a more proactive, growth-focused strategy for the business, we needed to ensure that our purpose and values were clearly understood and articulated. This foundational work needed to be done to guide some major decisions regarding the leadership of the business.

New Business _Bailey Brewing Company _Barre Cafe _Establish Property Group _Flowers Market Development _Partnership Wealth _Place Intelligence _Showroom-X _Sorted Futures _The Fulcrum Agency _The Prendiville Group _Tourism WA _Visit Mandurah _Voddami

Board Positions _Australian Graphic Design Association - National Board Member (Mark Braddock) _Perth Theatre Trust - Trustee (Tanya Sim) _Regional Arts Australia - Deputy Chair (Natalie Jenkins) _Future Now - Creative and Leisure Industries Training Council - Board Member (Natalie Jenkins) _Borderless Friendship Foundation WA - Secretary (Tanya Sim) __The Humanitarian Group - Chair of Future Direction Sub-committee (Emma Watton) _T.H.E. Community Law - Merger Transition Board Member (Emma Watton)

2019 saw Block Co-Founder and Managing Director Tanya Sim take a less hands-on role in the business, so as to take more time for family and her not-for-profit board roles. Emma Watton was continuing to grow our strategic offering combining the best of big consulting processes with a boutique, bespoke service. The highlight of the year was the conclusion of Mandurah Matters, the year-long visioning project for the City of Mandurah. There was a significant project undertaken for a large resource company that developed a brand communications platform for the first time in their business’ history. For Emma, this growth meant juggling both the Strategy Director role and Head of Client Delivery, which was not sustainable. So in November, the Director of Client Services position was filled by Jane Jones, formerly Account Director at 303MullenLowe and Marketing Manager at iiNet and Celebrate WA. Jane’s appointment rounded out Block’s senior management team with General Manager Angela Palandri overseeing operations, Mark Braddock focusing on his Creative Director role and Jessica Richings returning from maternity leave to fill an expanded Studio/Production Manager position. Block co-founders Tanya Sim and Mark Braddock have long recognised the importance of engaging a breadth of knowledge and a diversity of opinion to provide advice in guiding the evolution of the business. In 2019 they further expanded their Advisory Board with APM’s Head of Brand, Marketing and Communications Saffron Solomon joining. Saffron added an all-important client perspective to the Board chaired by Tanya Sim, and including Mark Braddock (Co-Founder and Creative Director, Block), Steve Gava (Director, NKH Business Advisors & Accountants) and Akram Sabbagh (Director, Beckon Business).

With the senior management changes in place, the Board looked to ignite a proactive, growth-focused strategy and recognised the need for a focused, external-facing point of leadership. So began a targeted search for Block’s first CEO. The search came to fruition, late in the year, with the appointment of Natalie Jenkins to the role. As the former Executive Director of Black Swan State Theatre Company of WA, Natalie had been a client of Block’s. Natalie’s extensive CV includes senior management and board positions across the culture, creative industries and community development sectors.

Who us?

It was recognised that with the major changes in structure, and prior to the hunt for the CEO commencing, it was imperitative that Block’s values – which had long been implied – be better articulated. We needed to apply to ourselves a process we have led a plethora of clients through. The process, which included a series of internal workshops and discussions with select clients, partners and suppliers, resulted in our values being enshrined in a series of five statements that, in-turn, guide all decisions we make – individually and collectively – as a business, including framing the search for our first CEO.

Membership _Alumni of Leadership WA (Tanya Sim) _Australian Graphic Design Association _Sock it to Saroma Media and Communications Committee (Melissa Mailey) _Perth Advertising and Design Club

The Block team remained stable throughout the year. London was responsible for the departures of the only two employees that left. Account Manager and Strategist (and 2019 Supernova Finalist) Adam McGlashan left in June to try his chances in the big smoke where he landed a gig as an Omnichannel Brand Planner at WPP’s Geometry. In August Account Manager Shenelle Manwaring followed suit, returning home to take up a position at Archetype London as a Brand Strategy Consultant. In March, rising creative rockstar, Joseph Dennis was lured from Meerkats. In Campaign Brief, Wunderman Thompson Creative Director Joe Hawkins declared 2019 the ‘Year of Dennis’, describing him as, ‘frighteningly good, prolific, passionate, and he’s managed to keep his ego in check’. He brings his strong conceptual and typographic skills to a Creative Department already overflowing with a diversity of talent. Jane Jones started contracting to Block in July in an Account Director capacity before coming aboard fulltime in November. The account management team was bolstered with the hiring of Account Executive Fernanda Fauzi in September followed by Account Manager Johanna Borger in November.

The moves resulted in an overall increase in FTEs of 10% over 2019 with the average staff tenure being a smidge under five years. While these shifts were taking place, operationally the business continued to go from strength-tostrength. The stellar performance of our strategic consulting offering flowed through to briefs that resulted in one of our strongest years ever creatively. A fact that was recognised in the two award shows we entered. Over one huge weekend in November, the creative year came to a head. On the Friday, proceedings kicked off at the Perth Advertising & Design Club’s Skulls where Block batted well above its size to stumble home with five Finalists, five Bronze Skulls, four Silver Skulls and a Gold Skull. Remarkably, work for seven different clients was recognised. This haul saw Block become the second-most awarded agency at the show – a reflection of the incredible effort put in by our (relatively) small team and clients over the previous twelve months and beyond. But there was no time to reflect on these achievements as the team headed to Brisbane for the Australian Graphic Design Association (AGDA)

Awards on Saturday night. At the national show, Block led the Western Australian pack, walking away with five Finalists and five Merits in a field of incredibly impressive work from across Australasia. Joseph Dennis was recognised individually as one of only five Finalists in the prestigious AGDA Emerging Designer of the Year Award. Similarly, back in March, Rachel Boon picked up the PADC Diamond Skull for Emerging Craftsperson of the Year. Our work for Black Swan State Theatre Company, Lester Prize and Writing WA was recognised and featured in international publications including Brand New, Communication Arts, Branding in Asia and Why.Design, amongst others. The strong performance also drew the attention of local creative leaders with multiple name-checks in Campaign Brief WA’s Best of Perth 2019 with Campaign Brief noting that, ‘In overall agency terms, Block led the way with its work across several clients being much admired.’

Financially, it was also a strong year with revenue and gross profit increasing 12% with 26% average growth year-on-year since 2016. This allowed us to invest significantly in additional senior hires and business development.

The stellar performance of our strategic consulting offering flowed through to briefs that resulted in one of our strongest years ever, creatively.

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Black Swan State Theatre Company of WA Brand and Campaign Planning

What to do when the need dictates, but budget says otherwise?

be pragmatic and work smarter Working smarter for Black Swan State Theatre Company meant taking the opportunity to use the Western-Australianfocused 2020 Season campaign to investigate how we could develop their corporate brand identity with minimal impact on their budget. The brand needed to have multi-million dollar sponsorship discussions with corporate and government partners, as well as act as converter for their target audience of non-regular theatre goers. Research insights from their partner, Painted Dog, indicated that when non-regular theatre goers knew Black Swan was THE State Theatre Company, they understood the cost price of the theatre ticket and they could feel confident of the performance quality. With this in mind, we looked at how the visual brand architecture could allow for the elevation of â&#x20AC;&#x2DC;The Stateâ&#x20AC;&#x2122;.

patience, my friend Developing a corporate identity with minimal budget requires patience, as it is done within executional work and The insights showed the need, but existing budgets

then worked back into the identity. It requires significant

did not have the capacity to answer the immediate

control and focus from the creative team to ensure the

corporate brand issues confronting Black Swan

execution can be engineered back into an overarching brand

State Theatre Company.

(that does not yet exist), and the separation of those elements

So we devised a smart strategy to utilise a campaign budget to better address a shifting brand architecture to drive engagement with a new audience over the long-term.

that are part of the seasonal campaign, and those that are ongoing corporate brand elements. The process began with internal strategic discussions whilst the 2019 season was still in roll-out, to identify a process

with the Black Swan State Theatre Company team for moving this forward. With many internal stakeholders using the corporate brand for different purposes, and finding themselves in the middle of a significant change process separate to branding, pragmatic decisions were needed to bring this project to fruition. It’s not for the faint-hearted. A scoping workshop led to the development of the brief. Through a brand architecture workshop, we were able to tease-out user requirements and insight interpretations, before the corporate brand guidelines were developed, alongside the season’s campaign roll-out.

Needs Analysis Brands need to be considered from the viewpoint of all users and experience touch points.

To conflate branding with campaign development is a recipe for disaster. But with smarts, pragmatism and strong partnerships, it can be achieved when you are looking at ‘building out’ a brand identity rather than ‘rebranding’ it.

business not as usual brand (re)deVelopment change

purpose definition transformation program

brand deVelopment eXploration of alignment

internal + stakeholder comms eXternal brand comms

Purpose Clarity on purpose is critical to a strong brand. What an organisation stands for should be the strongest essence that influences brand design.

Black Swan State Theatre Company of WA Brand Identity

How do you tell the storyteller’s story? In Western Australia, amongst those that know theatre, Black Swan Theatre Company of WA is more than ‘just’ a theatre company producing quality performances. They recognise it’s THE State Theatre Company of Western Australia. They know it’s a theatre company of national significance. The challenge was to get a wider audience to recognise it at all. Block refreshed the Company’s brand identity to emphasise its position as the state’s premier storyteller. We developed an identity that allows Black Swan State Theatre Company to boldly take its place amongst the nation’s state theatre companies, while speaking in an unapologetically Western Australian voice – just like the work it produces. Before: Black Swan Logo

BSSTC.COM.AU

BLACK SWAN STATE THEATRE COMPANY OF WA

brand guidelines

BSSTC.COM.AU

BRAND GUIDELINES 1

PRIMARY BRANDMARK

WE ARE BLACK SWAN. WE ARE THE STATE THEATRE COMPANY OF WESTERN AUSTRALIA. WE PRIDE OURSELVES ON PRESENTING WORLD CLASS THEATRE FOR OUR WESTERN AUSTRALIAN COMMUNITY. SHARING STORIES THAT EXCITE, INSPIRE, ENTERTAIN, QUESTION AND DELIGHT. DIVERSE STORIES THAT RESONATE IN THE HEARTS OF OUR AUDIENCE AND PROVOKE CONTEMPLATION ABOUT THE NATURE OF OUR PLACE IN THE WORLD. WE ARE BLACK SWAN - THE STATE THEATRE COMPANY OF WESTERN AUSTRALIA.

BLACK SWAN STATE THEATRE COMPANY OF WA

BRAND GUIDELINES 2

RECOMMENDED CLEAR SPACE

approval of final artwork please print, check artwork carefully, sign and email back to your block contact. whilst every care is taken, block cannot accept responsibility for any errors on approved artwork.

REVERSED PRIMARY BRANDMARK

author’s alts: round 0 of 2 approved. no changes.

SECONDARY BRANDMARK

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BRAND GUIDELINES 3

BLACK SWAN STATE THEATRE COMPANY OF WA

DO NOT RE-ARRANGE THE BRANDMARK

DO NOT USE COLOURS OTHER THAN BLACK (OR WHITE FOR REVERSED BRANDMARK)

DO NOT ADD ANY EFFECTS SUCH AS DROP SHADOWS

DO NOT STRETCH OR DISTORT THE BRANDMARK

DO NOT TRY TO RECREATE THE BRANDMARK

DO NOT ADD PLACE BRANDMARK ON BACKGROUNDS THAT MAKE IT ILLEGIBLE

02/10/2019 block use only

not approved. changes as marked. signed.......................................... date....................

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BRAND ICON

REVERSED SECONDARY BRANDMARK

1.1 BRANDMARK AND VARIATIONS

1.2 REVERSED BRANDMARK AND VARIATIO

Primary Brandmark This is the Black Swan State Theatre Company of Western Australia brandmark. It should always appear in Swan (Black) (see Colour 3.0). Secondary Brandmark This an alternative, centered version of the brandmark and should only be used when the Primary Brandmark is not appropriate for the application. It should also always appear in Swan (Black) (See Colour 3.0).

Brand Icon The swan in the circle icon can be used in isolation as a graphic element or in situations where the brandmark needs to be small (e.g. social media profile photo). It should also mostly appear in Swan (Black) but can take on any colour in the brand palette (See Colour 3.0). It should not be used when the brandmark is already in use.

BRAND GUIDELINES 4

BLACK SWAN STATE THEATRE COMPANY OF WA

STATE THEATRE COMPANY of WA

DO NOT FLIP OR ROTATE THE BRANDMARK

35mm (200px)

Clear Space To calculate the clear space zone of the brandmark, we use the width of the ‘WA’. This is the absolute minimum space allowed. Where possible, give the logo more space to increase visibility. BLACK SWAN STATE THEATRE COMPANY OF WA

DO NOT USE THE WORDMARK IN ISOLATION

22mm (150px)

1.3 CLEAR SPACE AND MINIMUM SIZE To protect the clarity and visual integrity of the brandmark, a minimum clear space zone exists. To ensure the brandmark always appears legible, there is also a minimum size to follow.

DO NOT ADD OR REMOVE PARTS OF THE BRANDMARK

Minimum Size The minimum size the brandmark can be reproduced at is equal to 35mm in width for the Primary Brandmark and 22mm in width for the Secondary Brandmark, to maintain legibility.

1.4 SPONSOR BRANDMARK RELATIONSHIP

1.5 BRANDMARK INCORRECT USAGE

Emphasis should always be placed on the Black Swan brandmark when placed alongside a partner or sponsor brandmark. As a general guide, the height of the accompanying brandmark should not exceed the height of the Black Swan brandmark.

Care must be taken when using the brandmark, so as not to affect its integrity. Use common sense when using the Black Swan brandmark but be sure to adhere to the above guidelines to maintain a consistent brand image.

Always ensure that the minimum clear space zone is observed. BRAND GUIDELINES 6

BLACK SWAN STATE THEATRE COMPANY OF WA

BRAND GUIDELINES 7

BLACK SWAN STATE THEATRE COMPANY OF WA

BRAND GUIDELINES 8

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BRAND GUIDELINES 9

BLACK SWAN STATE THEATRE COMPANY OF WA

COLOUR COMBINATIONS

Runda Black Italic Runda Black ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz 1234567890!?.& 1234567890!?.& Runda Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!?.&

Runda Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!?.&

Runda Medium ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!?.&

Runda Medium Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!?.&

Runda Normal ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!?.&

Runda Normal Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!?.&

Runda Light

Runda Light Italic

SHORT & WIDE Don’T MIx anD MatCH! long, lengthy � condensed Body copy ritisini blat destrum elitistrunt quis mos sinumqui omnienis ea consequi rerum doluptas eatiatem. Elignimus. Porem et ut aut as est, officat uritate ceptasp erendit vent, si

don’t use westralia for big chunks of text culparum reiumqui volumquo tet qui doluptat. xerferro bernam sim ernatur sit arit aut quis aciet vendi bea idenderum quo berit ipit dolorem hiligenit mil maximol uptatem poresti iducidel id eium invelescipid qui simint iumquun totat. voloris assequiam cus, quis quam, sinto opta vel intiis eos doluptat odita adis ne ea con non conse veles vid. igendebis et harum corem. itasperiam, aceptur, sendae conseque as eaquid etur sundipsant landipi duciendi ipitat magnis ut

BLACK SWAN STATE THEATRE COMPANY OF WA

westralia abcdef opqrs ��

BLACK SWAN

RECOMMENDED MINIMUM SIZE

The reversed versions of the brandmarks should only be used when the black brandmarks are not appropriate fo application. They should primarily appear in Beach Sand Colour 3.0) but can appear in white if necessary.

WESTRAL ABCDEF OPQRST 123456

2.1 TYPOGRAPHY - WESTRALIA

An important element in building a strong and distinctiv brand identity is the consistent and correct use of the brand typeface. Westralia can be purchased from josephdennis.net

BLACK SWAN STATE THEATRE COMPANY OF WA

P AL RE U N N A

ORT

2 ANNUAL REPORT 19

REPORT FROM THE

2019 ANNUAL REPORT

artistic 2 director AN R N

EPO

MARKETING MANAGER BLACK SWAN STATE THEATRE COMPANY OF WA maria@bsstc.com.au bsstc.com.au +61 8 000 000 000

social takeover

JOSEPH BLOGGS

RESIDENT ARTIST IAN MICHAEL 9-13 JULY

HAPPY NEW YEAR!

JANET DOE

clare@bsstc.com.au bsstc.com.au +61 8 000 000 000

ALEXA LEE

EXECUTIVE DIRECTOR BLACK SWAN STATE THEATRE COMPANY OF WA danielle@bsstc.com.au bsstc.com.au +61 8 000 000 000

State Th e atre Ce n tre of WA, Level 1 , 1 8 2 W illia m S tre e t, Pe r th WA 600 0 bsstc.co m.a u inform atio n @ bs s tc.co m.a u State Theatr e Centre of WA, Level 1, 182 William Street , Perth WA 6000

bsstc.c om.au inform ation@

bsstc.c om.au

seasons greetings

RESIDENT ARTIST CHLOE OGILVIE 7-12 AUGUST

social takeover

ARTISTIC DIRECTOR BLACK SWAN STATE THEATRE COMPANY OF WA

Black Swan State Theatre Company of WA 2020 Season Campaign

how can you be both local and universal? For Black Swan State Theatre Company’s 2020 season, Artistic Director Clare Watson had programmed a diverse suite of productions that looked at universal themes through a distinctly Western Australian lens. Fittingly, the 2020 Season campaign, Stories from Here, was created to take audiences on a road trip around Western Australia, from the forest community of Manjimup to the historic inland town of York, the West Australian outback or the suburban streets of Perth. To launch Stories from Here, Block recruited seven emerging photographers to capture a mix of landscapes, from outer-suburbia to the beach and bush. The campaign takes inspiration from scrapbooks, travel journals, road directories and, even old telephone books, with colour sampled directly from the land: it’s designed to feel very inclusive and approachable, as theatre should be.

WESTRALIA WESTRALIA WESTRALI WESTRAL WESTRA

AaaAA BBBBB ccccc “WESTRALIA” TYPEFACE BY JOSEPH DENNIS

TRAITS BY SAM HARRIS

PORTRAITS BY SAM HARRIS

WA LANDSCAPES BY CHLOE BARTRAM, NICK COOPER, DANIEL CRAIG, CALEB “SALTY” DAVENPORT, SIMON DEADMAN, KATE HULETT AND SAM SHIELDS

â&#x20AC;&#x153;The campaign not only feels approachable but also distinctly Western Australian.â&#x20AC;? communication arts magazine (USA)

Mandurah Matters Brand Campaign for Change, Stakeholder Engagement & Education

shouldn’t the citizens shape the city?

Phase One involved going out and speaking with staff and community members – engaging key business and industry stakeholders at working breakfasts, hosting community events, and gathering community responses via an online survey.

Phase Two invited community members to join a series of think tanks to explore more deeply the four key areas that mattered most to the Mandurah community: environment, social, economic and health.

In July 2018, Mayor Rhys Williams put forth a motion to the City of Mandurah Council, calling for the creation of a citizen-led vision; one that would guide the city’s intent for the next 20 years. The aim was to give all of Mandurah’s residents custodianship of the future of their city, a progressive move by a Council determined to elevate the voice of the community. Block worked closely with the City and a team of consultants to develop a year-long process that became the largest community consultation program in the City’s history. The journey came to fruition in 2019 with the unveiling of the vision.

Phase Three the final planning phase involved a community, council and stakeholder summit where participants came together to distil what matters. Facilitated by Joel Levin (Aha! Consulting) with live vision writing by Block Strategist, Emma Watton.

“Our best chance at developing a compelling vision for the future is to work in close collaboration with our community – and Mandurah Matters is the manifestation of that.” mark newman, ceo, city of mandurah

Community Workshops Managing change is a massive challenge for organisations of any size. At the best of times any organisation, even the most ‘together’, are homes to friction and cross-purposes, and during times of change these tensions can be amplified.

Visit Mandurah Campaign Identity & Summer Campaign

can relaxed be exciting?

December 2019

OUR Brand

Brandmark

How We Speak

The Reversed Brandmark

Primary Lockup

TONE OF VOICE

OUR BRANDMARK

LOCKUP

This is the Primary Lockup of the Ma Brandmark and tagline ‘Relaxed by N for use when the Brandmark and tag appear together.

What’s Mandurah’s tone-of-voice? It’s pretty straightforward really: Mandurah talks in a welcoming voice. Even if you’ve just met us, we want you to feel like you’re meeting an old friend. There’s no need to put on airs and graces when you’re surrounded by mates, so let us grab you a coffee, or a glass of bubbles or a beer, and you just get busy getting relaxed. No matter how large we grow, we’ll always have the heart of a village. Sure, we can be sophisticated and highbrow (and more than a little urban) at times, but we’re never pretentious, snobby or arrogant – that’s just not the Mandurah way. We love to have a laugh at ourselves and a laugh with you.

BRAND GUIDE

We’re certainly not pushy. When your life is woven by waterways, you can’t help but go with the flow. We’re a pretty chilled lot, but we know how to have fun. We’re the sort of place where you can be as active (or not) as you choose. There’s plenty to do here, but there’s also plenty of nothing to do if you’d prefer. We know what we have is pretty special, but you can see that, we don’t need to brag. We’d love the opportunity to show you ‘round and share our local knowledge – all 40,000 years of it. Welcome to Mandurah. It’s relaxed by nature.

LOCKUP

Brandmark

USAGE

Brandmark

Colour Variations

Combining with Type

Outside the Lockup

While the Mandurah Brandmark must appear in Navy, Black or White, the colour of the tagline can change and respond to its background and context. The following colour variations are all examples of appropriate usage, ensuring there is sufficient contrast between the elements.

The Mandurah Brandmark can be combined with the Headline Typeface, Bureau Grot Condensed Bold. The Brandmark should be positioned slightly overlapping the headline, in a more prominent colour than the text.

In many cases, the tagline ‘Relaxed by Nature’ will need to be used outside of the Lockup. In these cases, the Mandurah Tagline must be used in one of the arrangements shown below.

80,000. The time had come to remind people that, at its heart it is still an incredible place to get away from it all. Promoting Mandurah’s connection to the

BRAND GUIDE

inherently Mandurah state-of-mind. The world would be a better place if we could all just take some time to chill a little.

LARGE HEADLINE HERE

INSPIRED B Overview

The colour palette of Mandurah is ins water, from the waterways to the oce colours reflected in its surface.

Mandurah_Tagline_Stacked_01

Mandurah_Tagline_Stacked_02

BRAND GUIDE

Typography

HEADLINE TYPEFACE

Typography

Using Type

Bureau Grot Condensed Bold

Relaxed

Our brand is typographically led – using three different typefaces to communicate our identity: a bold, structured Headline Typeface; a customdesigned hand-drawn Feature Typeface to provide balance and inject the ‘relaxed’ nature of Mandurah and its people; and a reliable and versatile Workhorse Typeface, which makes up the majority of all communications.

The Headline Typeface for our brand is Bureau Grot Condensed Bold, set in all caps with tight leading. It is proud, confident and energetic.

Relaxed is a custom hand-drawn display typeface designed to emulate a casual, relaxed and confident hand-written style. It’s designed to feel as if it were written by a proud local, endorsing each aspect of their home. It’s the voice of Mandurah – relaxed by nature.

Relaxed

Acumin Pro Family

BUREAU GROT CONDENSED BOLD ALL CAPS

Relaxed – Custom Workhorse Typeface.

Mandurah is unique in WA as city interwoven with water. Water is an integral part of the Mandurah experience rather than an ‘also’. Water is, quite literally, part of the city. So ‘WA’s Water City’ is a position that we can own. It is a combination of the urban experience (convenience, amenity, culture) with the natural (recreation, wildlife, escape). It is the only place in WA that you could step out of your holiday rental, onto a boat and drive it to a café. ‘Water living’ has the connotation of relaxed luxury built into it. Life is just simpler by the water. Less stressful. You can’t help but sit and watch life pass when you are by the water. Water is a natural playground. It can make things as adventurous (kayaking, jet-skiing) or as laid-back (beach walk, birdwatching) as you want them to be.

BRAND GUIDE

WORKHORSE TYPEFACE

Typography

Icons/illustration

Combining the Typefaces

Our collection so far…

The Acumin Pro Family is the Workhorse Typeface of our brand. It is used for all sections of text where Bureau Grot Condensed Bold and Relaxed are not appropriate, such as bodycopy, information, small text, subheadings, descriptions, captions, etc…

Bureau Grot Condensed Bold and Relaxed can be combined to create interesting typographic arrangements. These can be used to create hierarchy, provide structure and communicate complementary tones and ideas.

USAGE

Arial Regular, Italic, Bold + Italic

HEADLINE

Goes here

LARGE HEADLINE ON ONE LINE

Typography

FEATURE TY Character Set

↑ The custom-designed, hand-drawn typeface for visit MANDURAH.

BRAND GUIDE

Acumin Pro Family

Acumin Pro Regular + Italic Acumin Pro Medium + Italic Acumin Pro Semibold + Italic Acumin Pro Bold + Italic Acumin Pro Black + Italic

Relaxed

Typography

The Acumin Pro Family is available at: fonts.adobe.com/fonts/acumin

Mandurah_Tagline_Stacked_04

FEATURE TYPEFACE

Bureau Grot Condensed Bold is available at: fonts.adobe.com/fonts/bureau-grot and store.typenetwork.com/ foundry/fontbureau/fonts/bureau-grot/condensed-bold

HEADLINE

Mandurah_Tagline_Stacked_03

BRAND GUIDE

INTRODUCTION

Bureau Grot Condensed Bold

NAV WAV CHI GLO

Mandurah_Tagline_Primary

LARGE HEADLINE

Typography

waterways and coast, the new tourism proposition and branding makes an emotional connection to an

Colour

TAGLINE

WHAT’S GOING ON IN

sleepy beach holiday town into a satellite city of

BRAND GUIDE

Brandmark

Over the last 50 years, Mandurah has grown from a

while nowadays Mandurah has a lot more to offer,

BRAND GUIDE

LIBRARY

As the brand grows, so too will our collection of icons. As needs are identified, new icons can be drawn and added to the icon library. Care must be taken to ensure they are illustrated in the same style and to the same scale.

TOP line

HEADLINE LARGE HEADLINE

Middle line

HEADLINE

Bottom line

Bookend

LARGE HEADLINE, ANOTHER POINT, ANOTHER COLOUR Bookend.

Visit Mandurah

In cases where Acumin Pro cannot be accessed, the system font Arial can be used as a substitute.

BRAND GUIDE

aaaa hhhii oooo uuuv 00112 01234 ..//:;< -–—

BRAND GUIDE

+61 (0)8 9534 7515 hello@visitmandurah.com 75 Mandurah Tce, Mandurah PO Box 1217 visitmandurah.com

RELAXED THE CUSTOMDESIGNED TYPEFACE FOR VISIT MANDURAH

t o o f e r Ba e c n e g l u ind

aaaabbbcccdddeeefffggg hhhiiijjjkkklllmmmmnnn oooopppqqqrrrsssttt uuuvvvwwwxxxyyyzzz 00112233445566778899 && 0123456789 !!"##$%'()*,+××÷ ..//:;<=>??@[\\]^`{|}«°»‘’“” -–—•‣‹›←↑→↓↖↗↘↙≈≠~~

Breathe.

of peace There’s a certain type that only comes

when you remember how to

breathe.

Deep breath in, slow breath out.

Your shoulders drop. Thoughts of work drift Along with that meeting next week

out of mind,

& what the kids will have for dinner.

In deeply, out slowly.

Let yourself relax.

quiet beach (if it helps), kids playing in the sand, surfers in the distance,

Picture waves lapping on a a pod of

dolphins dipping in and out of the water.

It’s beautiful here.

Welcome to Mandurah: Relaxed

nature.

CRABBING CRABBING BY BY NATURE NATURE

s t h c a Y rom

Tinnies, From Lob ster To

WelComE

tO our

mandjoOgOord OUR

MEeTING PLACe

of the

Heart

Fish & chips

Visitmandurah.Com

Perron Group – Cockburn Gateway Community Consultation & Purpose Development

is ‘branding the change’ just branding twice?

branding the process through change Creating a visual identity and communication tools through change is an important consideration when you need alignment across many stakeholders. For Cockburn Gateway, we shifted the conversation from ‘expanding a shopping centre’ to the idea of ‘creating a heart for the downtown area of Cockburn’. Stepping back from the Cockburn Gateway Shopping Centre brand identity allowed an appropriate campaign identity to emerge, that could engage community, council, investment partners and ongoing tenants with a long-term conversation

Why brand a change process? Why not just create the final brand? Or use what already exists? The reluctance to create a brand for a process of change is understandable but it can be an

that was inherently larger than a shopping centre.

community engagement A vision that is bigger than a shopping centre – a vision

important component in getting stakeholders and

that re-imagines shopping for the future – not only requires

community excited by, and buying-into, a process

insights from global and Australian trends, and interpreting

that will be truly collaborative.

forecast behaviours and technology, it must be grounded in the

We explored this challenge with Perron Group, and developed an identity that would encourage

community, their needs and their expectations. The stakeholder engagement program began with an

people to engage beyond ‘just a bigger shopping

online survey of local shoppers, followed by a stakeholder

centre’, be a vehicle for getting under the skin of how

planning session with local government, community

the community lives, and would provide insights and

representatives and partnering developers. Stage 1 culminated

collaborative input to help design the future.

with in-depth community insights research.

E LD HO KE TA

COMMUNIT Y REF ER

WELCOMING

STAKEHOLDER KNOWLEDGE COMMUNITY INSIGHTS & RESEARCH

HEALTH MATTERS

G R UP O

COCKBURN PLANNING FRAMEWORK

BEYOND OUR BORDERS

DESIGN RETAIL MIX

COMMUNITY INFORMED DEVELOPMEN

COMMUNITY

BUSINESS DEV. & PLANNING

CUSTOMER EXPERIENCE

BEST PRACTICE DESIGN & ARCHITECTURE

LEAFY SUBURBIA

PRIDE

OUR DESIGN ECOSYSTEM

Change Consultation Understanding the influences and players in a change process is critical to designing a process that influences product planning before brand.

HOME

INITIAL BRAND ARCHITECTURE THINKING Define the appropriate Masterbrand to straddle this integrated experience

MASTERBRAND

Retail

Food & Dining

Entertainment

Residential

Commercial & Mixed Use

Town Square/ Open Spaces

from research to actionable insights A six-session research plan was formulated as a listening exercise, designed to understand the nuanced differences between demographic groups, look at the patterns of daily life, and then interpret how a future downtown area of Cockburn could begin to deliver on this. Key insights have driven a review of how the community will

Define roles of these brand extensions, their relationship to the Masterbrand, and to one another.

Brand Architecture Shifting the product from shopping centre to precinct required a review of the brand architecture, and to rethink the naming approach.

engage, particularly with the public open space elements of the development, so as to live a richer and more fulfilling community life. This allows Perron to create a heart for Downtown Cockburn Central, and not just a bigger shopping centre.

“Lifting the horizon from shopping centre redevelopment to precinct planning requires a shift from the entire team. Planning the process, and creating a change communications platform has been a critical step.” emma watton, director of strategy, block

Otherside Brewing Co. Packaging Refresh & Promotion

can a brand be both maverick and mainstream? Since the launch of Otherside Brewing Company brand two years ago, Block has worked with the business to grow it from a start-up to Western Australiaâ&#x20AC;&#x2122;s third largest brewery. The maturation of the brand presented Block with the opportunity to refine the brand architecture and rework its packaging design. The core range was expanded to six products catering to a wide range of â&#x20AC;&#x2DC;every dayâ&#x20AC;&#x2122; tastes. The core range packaging has been created to stand out and be strongly branded in an ever-more crowded mass-market retail environment. Whereas the seasonal Creative Release series appeals to more adventurous, connoisseur drinkers with the packaging featuring original art, created in collaboration with emerging visual artists.

THE ONE YOU CAME FOR O T HER SIDEBR E W ING .COM . AU

ARTIST: WILLIAM KITELY @WILLIAMPJKITE

BREWER: RHYS LOPEZ @OTHERSIDE_RHYS

HELLES YES

O T HER SIDEBR E W ING .COM . AU

ARTIST: LIAM DEE @LIAMDEEART

BREWER: RHYS LOPEZ @OTHERSIDE_RHYS

MOTHERPUCKER O T HER SIDEBR E W ING .COM . AU

ARTIST: TOM CLEAVE @TOMCLEAVE_CREATIVE

BREWER: RHYS LOPEZ @OTHERSIDE_RHYS

Mandurah Arts Festival Brand Identity

can art just go with the flow?

ART, MUSIC, DANCE, PERFORMANCE, FASHION, WRITING, STORYTELLING...

Previously known as the Stretch Arts Festival, the newly renamed Mandurah Arts Festival needed to mark its maturation as a major regional arts event without losing its grassroots community following. Mandurah is a city woven by waterways (so too is its arts festival) so Block sought to bring this sense of place to life in a contemporary way. The Mandurah Arts Festival identity invites the audience to immerse themselves in two weeks of cultural events, big and small, across the city. It is designed to accommodate visuals of any style while building a recognisable, dynamic festival brand. Before: Stretch Arts Logo

M A N IF ES T O

Our stories are at the heart of our city. Our stories reflect the life and vibrancy of our commu nity. Like the waterways that con nect people to places, They transport us to new land s and states of mind – And they bring people to our Mandjoogoordap. Our Arts Festival will be fille d with our stories. It will inspire and foster our creativity. We will express our stories through a diverse range of mediums – Art, music, dance, perform ance, fashion, writing, sto ryte lling – In ways that are uniquely us, uniquely Mandurah. This is Mandurah Arts Fes tival.

1.0 TYP OGR APH Y

2.0

RECOMMENDED MINIMUM SIZE The Mandurah Arts Festival logo should be presented at a reasonable size such that it is legible when presented or printed.

DO NOT align the Primary logo to the X baseline . The waterline should always be

DO NOT create new colour versions X of the logo

X DO NOT re-arrange the logo

straight and the wordmark angled

20mm (150px) DO NOT use the Primary logo in instances X where there is already a WATER graphic. The exception to this is Iogo immersion, when the logo sits directly on the WATER

2.1 TYPOGRAPHY DISPLAY TYPEFACE

This is Formula Condensed (Bold). It is bold, punchy and full of life We use it for titles, headlines, large text and signage. We like to use it in all caps and always in the bold weight.

It's available for purchase here: https://pangrampangram.com/products/formula-condensed System font alternative: Impact (Regular)

ART, MUSIC, DANCE, PERFORMANCE, FASHION, WRITING, STORYTELLING... TRACKING: 50 EXAMPLE: 50/52pt

2.2 TYPOGRAPHY SECONDARY TYPEFACE

This is Cooper Hewitt. It is the workhorse typeface for Mandurah Arts Festival meaning we use for just about everything other than the titles, headlines, large text and signage. It comes in 14 weights but we predominantly use Book, Book Italic, Medium, Medium Italic, Semibold, Semibold Italic, Bold, Bold Italic, Heavy and Heavy Italic.

It's available here for FREE: https://www.cooperhewitt.org/open-source-at-cooper-hewitt/cooperhewitt-the-typeface-by-chester-jenkins/ System font alternative: Verdana

2.3 TYPOGRAPHY USAGE

3.1 COLOURS PRIMARY AND SECONDARY

Formula Condensed (Bold) should always be used for headings and Cooper Hewitt for all other typographic detail. Never should Formula Condensed be used as body copy.

The colour palette is separated into Primary and Secondary colours with the latter divided into Bold and Bright. The Primary colours form the foundation of the brand visuals. They should almost always be present in brand visual communications.

PRIMARY COLOURS Typographical Hierarchy Example: Cooper Hewitt (Medium) 35/40pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890

Formula Condensed (Bold) 120/100pt

Cooper Hewitt (Semibold) 20/22pt

Cooper Hewitt (Medium) 12/16pt

The Secondary colours are used to bring life to the brand and allow for flexibility in the applications, especially when dealing with a range of different artworks and imagery.

SECONDARY COLOURS BOLD

20–29 October

MANDURAH BLUE PMS 2935C CMYK: 100/67/0/0 RGB: 0/82/217 #0052D9

3.0

COL OUR

INSIDE OUT

MANDURAH LIGHT BLUE PMS 297C CMYK: 53/10/12/0 RGB: 113/187/211 #71BBD3

A PHOTOGRAPHIC EXHIBITION OF THE FACES OF MANDURAH After winning the TED prize in 2011, JR expressed his wish to “change the world” by turning it 'inside out'. The project, inspired by JR's large format street pastings, is open for anyone to participate, anywhere in the world. The idea behind it is to place emphasis on the people and their stories behind each action, or cause. Besides the printing of portraits, participants have full control of both

the creative process (taking their pictures) to the pasting process (the installation of the posters). By using strictly black-and-white portraits, which are printed and then pasted in an exterior space, each group action can make a statement in the form of a public artwork and share their message with the rest of the world.

BLACK PMS Black 3C CMYK: 20/20/20/100 RGB: 0/0/0 #000000

PAPER GREY PMS Cool Gray 1C CMYK: 8/3/13/0 RGB: 233/236/221 #E9ECDD

BRIGHT

ORANGE PMS 718C CMYK: 16/83/100/8 RGB: 196/70/0 #C44600

ORANGE (50%)

PASTEL GREEN PMS 353C CMYK: 47/0/74/0 RGB: 126/238/119 #7EEE77

PASTEL GREEN (50%)

RED PMS 1805C CMYK: 22/92/100/22 RGB: 166/19/0 #A61300

RED (50%)

LILAC PMS 530C CMYK: 18/32/0/0 RGB: 233/174/255 #E9AEFF

LILAC (50%)

MAGENTA PMS 220C CMYK: 19/100/40/5 RGB: 195/0/83 #C30053

MAGENTA (50%)

YELLOW PMS 1235C CMYK: 0/30/100/0 RGB: 255/188/0 #FFBC00

YELLOW (50%)

GREEN PMS 342C CMYK: 100/26/100/22 RGB: 0/108/57 #006C39

GREEN (50%)

PEACH PMS 1565C CMYK: 0/54/52/0 RGB: 255/165/99 #FFA563

PEACH (50%)

PURPLE PMS Violet C CMYK: 69/83/0/0 RGB: 130/0/246 #8300F6

PURPLE (50%)

LIME GREEN PMS 390C CMYK: 24/3/85/0 RGB: 203/213/80 #CBD550

LIME GREEN (50%)

COLOURS FOR SKY (See 3.0 Colour Usage)

3.2 COLOUR PALETTE USAGE

3.3 COLOUR PALETTE INCORRECT USAGE

It may seem complex but there are only a few rules to remember when it comes to combining brand colours. The colours used in any one brand communications should always be a combination of the Primary and Secondary colours.

3.4 COLOUR PALETTE USAGE

4.1 GRAPHICS ELEMENTS

Below are examples of colour combinations that work. It is recommended that all typography be in colours from the BOLD palette of the Secondary Colours. Complementary colours work best to ensure bold contrast.

1. This is the SKY. The sky can only be a BRIGHT or a 50% tinted BOLD from the SECONDARY COLOUR PALETTE.

1.0 GR A PH IC S

2. This is the FRAME. When it is not filled with an image it is always PAPER GREY.

1. SKY

4.0

DO NOT colour the frame X to anything other than

3. This is the WATER. It should always be MANDURAH LIGHT BLUE.

Paper Grey or an image

DO NOT use Mandurah X Blue for the Water and

DO NOT use Mandurah X Blue for the Sky

DO NOT flip the water X level

Mandurah Light Blue for the Immersed Frame

DO NOT randomly colour X the Frame, Sky, Water or

DO NOT use a Bold colour X for the background

Immersed Frame

2. FRAME

3. IMMERSED FRAME

4. WATER

4. This is the IMMERSED FRAME. It should always be MANDURAH BLUE.

4.2 GRAPHICS USAGE

4.3 GRAPHICS INCORRECT USAGE

4.5 GRAPHICS TYPOGRAPHIC IMMERSION

The following steps are instructions on how to achieve the signature graphic look of the brand identity - IMMERSION, in particular Typographic Immersion.

10% CLEAR SPACE MARGIN

Water can take up more than half of the composition but only when images do not need to be heroed

FRAME should always be on an angle (never straight) ±2–8°

For taller compositions, opt for more sky (rather than water)

FRAME is smaller than/ equal to 75% of the composition

SKY is appropriate colour (see 3.0 Colour Usage)

WATER is Mandurah light blue

When in doubt 2/3 sky and 1/3 water is a visually pleasing ratio

Multiple frames can be used in composition but they should never overlap or crowd each other

Clearspace around the frame does not have to be equal. In-fact, leaving more space at the top of the composition is preferred

Aspect ratio of the FRAME is similar to that of the composition

IMME RSE YOUR SELF IMME RSE YOUR SELF

FRAME is either paper grey or filled with an image

IMMERSED FRAME is Mandurah blue

NOT bleed frame X DO off the edge of the

NOT fully immerse X DO the frame

NOT skew or warp the X DO frame

composition

NOT place an extreme NOT misalign the X DO X DO amount of the frame frame and immersed above or below the water

X DO NOT tilt the water line

frame graphics

7. Follow steps 1-6 to achieve FRAME IMMERSION

8. Type set headline (See 2.0 Typography) Rotate and position headline to align with FRAME

IMME RSE YOUR SELF IMME RSE YOUR SELF 9. Bring WATER and IMMERSED FRAME to front

IMME RSE YOUR SELF IMME RSE YOUR SELF 10. Create Rectangle frame using the Rectangle Frame Tool

IMME RSE YOUR SELF IMME RSE YOUR SELF 11. Copy headline, paste in place and recolour to Black

IMME RSE YOUR SELF IMME RSE YOUR SELF 12. Cut and paste black headline into rectangle frame so that the black headline is cropped where the WATER ends

Assets in a series should have the same frame aspect ratios (e.g. multiple frames, series of posters)

IM ME RS E YO URSE LF IM ME RS E YO URSE LF MANDURAHARTSFESTIVAL.COM.AU

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The Lester Prize Brand Identity

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how can you reimagine the face of arts IN WA? finalist

The Black Swan Prize for Portraiture is a beloved Perth institution. Since 2007, via its support in fostering and developing the Perth artistic community, The Black Swan Prize for Portraiture had created a unique space in the hearts and minds of the local community. The strategic decision had been to rename the award The Lester Prize for Portraiture (after its founding patron Richard Lester). The challenge was to retain the Prizeâ&#x20AC;&#x2122;s authenticity, and create a distinctive portraiture brand with presence and impact in the national market that is on par with the worldâ&#x20AC;&#x2122;s leading art prizes. Before: Black Swan Prize for Portraiture Logo

â&#x20AC;&#x153;We challenged Block to prepare our organisation for the future. They provided us with a solid framework in which to consult on our rebranding, and relentlessly pursued an insightful and substantial foundation.â&#x20AC;? john langoulant, chairman, the lester prize board

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THE LESTER PRIZE FOR PORTRAITURE

FINALISTS 2019

9 780648 371724 >

YOUTH FINALISTS 2019

ISBN 978-0-6483717-2-4

2019

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Antoinette Barbouttis Alexandra 2018. Charcoal on paper, 132 × 130 cm 2018 Lester Group Winner

In portraits that speak to the rich diversity of humanity that constitutes the special nature of this place on our planet, The Lester Prize provides artists with a platform to speak about their relationships with their fellow human beings. This is what makes The Lester Prize such an important event in our lives each year. Heartfelt thanks go to my fellow judges, Jaklyn Babington and Del Kathryn Barton—as well as the 2019 Pre-Selection Panel, comprising Olga Cironis, Dr Darren Jorgensen, Dunja Rmandić, Mark Stewart and Toni Wilkinson, who had the enormous task of selecting the finalists from more than 450 works entered by artists from across Australia for this prestigious prize. The majority of the finalists’ works are self-portraits, or if a subject is featured, they were chosen for the “Is their spirit or character significant part they play in the artist’s evident, do we understand life rather than being a high-profile more about them, are we in celebrity. The diverse cultural and personal narratives presented are some way more informed revealing of our contemporary world about them?” today—it certainly made the selection and judging process challenging. The works uncover stories of self-reflection, struggle over hardship and unique insights which will hopefully inspire, educate and inform those who have the opportunity to engage with them. It is worth the time and effort!

Antoinette Barbouttis Liam (Liam Nunan)

24/10/19 1:41 pm

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oil on linen 46 × 40 cm

Through my work I seek to celebrate identity. I draw upon what is familiar to me, aiming to find common human themes and universal qualities that connect the viewer.

The Lester Prize for Portraiture

24/10/19 1:41 pm

FINALISTS 2019

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School Year Level 11 Age 16 years Attends Concordia College SA oil on canvas 92 × 61 cm Emma Neill Security (Marcus Neill) Jonny’s spontaneous, curious nature and ability to make bold plans on a whim without fear of consequence, has led to some of his greatest successes and adventures. For his portrait, I had musings of disco balls with Jonny in his best party dress drinking Prosecco from the bottle, surrounded by the noise and movement of his devoted dance floor congregation. My first study of him settled into something quieter. School Year Level 11 Age 17 years Attends Du FN Academy of Fine Art and Christchurch Grammar School WA acrylic on canvas 49.5 × 40 cm Jing Quan Ma Justin (Justin Cai)

PRIZES FOR SCHOOLS Year Level 7–9 Year Level 10–12 Professional Art Workshops by Lester Prize Finalists valued at $1,500 PRIZES FOR STUDENTS Year Level 7–8 Year Level 9–10 Year Level 11–12 Art supplies valued at $1,950 HIGH SCHOOL CATEGORY

SCHOOL YEAR LEVEL 9–10

Sarah Choo Taylor Meyn Kevin Shen Sheng Zi (Jason) Yang Zuli Zhao SCHOOL YEAR LEVEL 7–8

24/10/19 1:42 pm

HOSPITAL CATEGORY

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AGES 16–19 Cash and art supplies valued at $1,350

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AGES 12–15 Cash and art supplies valued at $850

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AGES <11 ENCOURAGEMENT AWARDS Art supplies valued at $500

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Amalie Allan-Fantauzzo Qinzhe (Elle) Chentang Sophie Deka Bridie Dempster Alice Handsock Melina Hosseinzadeh Brandon Loi Matilda Takacs Emilia Traverso Katrina Wyer Kuan (Michael) Yu Sinwai Zheng

24/10/19 1:41 pm

YOUNGER CHILDREN ENCOURAGEMENT AWARDS Art supplies valued at $500

The Lester Prize for Portraiture

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Kaitlyn Lawrance Progression (Ella Lawrance)

Before Jonny came out as gay, he had a very different trajectory. He grew up in a conservative religious family and was even ordained as a pastor. Living the life we want can come at a great cost. Irrespective of whether we have regrets (or not), many of us sacrifice a life lived freely and as authentically as we desire. Inspired by some religious iconography, I hoped to convey a small moment of contemplative reflection—a sense of fortitude and a reconciling with the past.

acrylic on canvas 115 × 76 cm

oil on canvas 64 × 48 cm

School Year Level 11 Age 16 years Attends St Mary’s Anglican Girls School WA

Liam Nunan Jonny Hawkins (Jonny Hawkins)

Eloise Levy Returning to your roots (Vereniki Duarara)

This is a woodcut print based on the charcoal drawing I did of Glenn, capturing his mood, character and external appearance. I make woodcut prints based on drawings. All the colours come from carved plates which force me to simplify the image—I focus more on expressions reflecting a person’s character and mood. The woodcut printmaking process requires a separate plate for each of the colours—the shape of each coloured area is carefully considered and simplified. The sitter’s outfit reflects his personality, so his clothes and accessories are an important aspect of the work.

woodcut print on kozo paper 59 × 48 cm

24/10/19 1:41 pm

oil on wood 44 × 42 cm

Emi Ninoseki Glenn (Glenn Darlington)

It has always been my fascination to paint people. I am, I confess, a ‘people watcher’. As a contemporary figurative artist, when I paint someone I try to inject a feeling that goes beyond skill or technique—to reveal what lies within. It is a somewhat voyeuristic and intimate undertaking, and that is accompanied by a trust and responsibility. I seek to learn from observation, to represent in visual simplicity an emotional complexity—a hint of the inner self in a sincere and sensitive portrayal.

School Year Level 12 Age 17 years Attends John XXIII College WA

The Lester Prize for Portraiture

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Elizabeth Barden Mermaids make waves (Amy Sheppard)

My fine art practice, after a hiatus after art school, has been keenly focused on portraiture. This synchonises with my other career artist practice of theatre – playwriting, performing and occasionally set and costume design. Focusing on the individual and observing the human condition in detail is a field of interest in both fine art and theatre practices. Both artistic fields invite the audience to project, interpret and discover. The triadic relationship between observer, sitter and artist is paramount to my practice, striving to unify, or at the least, identify in part the human condition. My practice with willow charcoal is slow, patient and testing. I care about my subjects and friendship is heavily weighted in my sitter/artist/ artwork relationship. I hope to express this intimate, vulnerable and spirited exchange with my sitter and friend, Liam Nunan.

charcoal on paper 94 × 76 cm

Judging any prize is always challenging and portrait prizes add an additional frisson because they bring in another dimension of engagement—not just with the artwork but also with the sitter. Of course, the same principles of practiced skill, evident expertise and the artist’s ability to make a compelling image are fundamental to the decisionmaking process, then you must add in the question of whether or not the person depicted ‘comes alive’. Is their spirit or character evident, do we understand more about them, are we in some way more informed about them? This becomes a key component in the process of selecting a winning portrait. The task is specific, and the criteria on which we make our judgments are clearly articulated, but that final element of engagement is central to the process of identifying one painting that goes beyond likeness to capture a sense of humanness—in all its strength, vulnerability and frailty. As judges, it requires both our knowledge and experience of the process of making art, together with our shared experience of life—what could be more exciting! The Lester Prize is a rich amalgam of our community, incorporating the full gamut of humanity from the heroic, the desperate, the humble, the stoic, the principled and the fallen. When we interact with these portraits of others, we can’t help but see ourselves—it is the gift of all great portraits. The Lester Prize captures what it means to be ‘them’, to be ‘me’ and to be ‘us’.

The Lester Prize for Portraiture

Professor Ted Snell AM CitWA, 2019 Judging Panel

FINALISTS 2019

Portraiture from an unexpected place

The Lester Prize for Portraiture

Amber Denness Sarah Hoey Kaitlyn Lawrance Eloise Levy Jing Quan Ma Emma Neill Ruchida Saenmuang Grace Stevenson Christine Stinnette Torren Whisson Ayla Woodland Jiaxin (Cindy) Wu Ziqi Yang

School Year Level 9 Age 14 years Attends Ave Maria College VIC

School Year Level 10 Age 15 years Attends Devonport High School TAS

oil on canvas 77 × 62 cm

acrylic on backboard 102 × 76 cm

Amalie Allan-Fantauzzo Adventurer (Lily Rose Lennox)

Sophie Deka Sian (Sian Jones)

SCHOOL YEAR LEVEL 11–12 School Year Level 8 Age 13 years Attends Du FN Academy of Fine Art and Shenton College WA

2019 Youth Finalists

School Year Level 10 Age 15 years Attends Perth Modern School WA

acrylic on canvas 50 × 40 cm

soft pastel on paper 42 × 29.7 cm

Zilu Zhao Annie (Self-portrait) (Self-portrait) 24/10/19 1:42 pm

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THE LESTER PRIZE FOR PORTRAITURE

Qinzhe (Elle) Chentang My father (Hardy Tang)

9 780648 371724 >

YOUTH FINALISTS 2019

ISBN 978-0-6483717-2-4

24/10/19 1:42 pm

FINALISTS 2019

2019

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Writing WA Brand Strategy

wHEN is THE WRITING REALLY ON THE WALL?

what is your purpose worth? Purpose has become a buzzword. Whether your income comes from people buying your product or service or from government or corporate partners, it is fundamentally important your purpose resonates externally. Being told that your funding is ending is effectively being told that ‘we do not see the point in your purpose’. Re-aligning purpose, and doing it at pace, is challenging, but achievable. For Writing WA, it meant first aligning the Board, so that purpose discussions could be fruitful and impactful. It then meant redefining the organisation’s core purpose and looking at the change impact this would have for its members and delivery partners. The focus became articulating how Writing WA could support writing in being an ‘industry of opportunity,’ as they champion the value of writing, and writers.

defining who should be in the room Transformation is rarely a solo activity. In this case, not only were there stakeholders (in particular, members) who needed to be kept informed and engaged, there was also the question of who to have in the room to enrich the purpose conversations. Using the combined networks of the client and Block, we pulled a Think Tank workshop together that prevented us making decisions in an echo chamber. After all

When your most significant funding partner

– it was the echo chamber that had got us to where we were.

terminates future funding as part of an across-the-

Leaders from social impact organisations, philanthropy and

board expenditure-cutting exercise, transformation

commerce joined us to stress-test our purpose and how we

is no longer an option, it is an imperative.

planned to speak about our product and service offering.

To survive, Writing WA needed to define and articulate why Western Australia would be a poorer place without it. It needed to do this in a highly-politicised

brand is more than a styleguide A thorough branding process delivers two key elements: the Brand Identity, with rules for how you visually implement the

environment and undertaken in a considered,

brand, and the Purpose Intent, with guidelines for how you make

thoughtful way – without making any knee-jerk

business decisions. For Writing WA, this was an opportunity to

decisions.

re-frame how they made decisions about what activations and

Beyond branding, this was about Block assisting

activities were on-brand and that supported their purpose, as

Writing WA to adjust to business-not-as-usual, by

well as a visual brand identity that expressed this purpose and

developing a bespoke process that would see them

intent to members, funding partners and stakeholders, in a way

emerge from the turmoil stronger than ever.

that would draw their community in closer.

“We knew it was time to update our brand identity, but what we hadn’t realised was the need to refocus our organisation around a single-minded purpose.” sharon flindell, ceo, writing wa

Writing WA Brand Identity

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CAN A BRAND BE AN OPEN BOOK? finalist

Writing WA exists to champion the value of writing, and writers, in Western Australia. But as the organisation had evolved, its brand began to be diluted across many events and programs â&#x20AC;&#x201C; it was time to embark on a new chapter via a rebrand by Block. Just like writing can be long or short, expressive or terse, Writing WAâ&#x20AC;&#x2122;s new logo can be filled with words, or left to interpretation. Every story starts with a blank page, so our idea is based on lines waiting to be filled, positioning Writing WA as the organisation that works between the lines to help our writing industry thrive. The new identity is designed to attract support from government, commercial and philanthropic partners. Before: WritingWA Logo

WRITING

WA.

Website by Key2 Creative

PEN

SWORD W WA.

The Fulcrum.Agency Brand Identity

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Can an architecture practice build a more equitable world? finalist

TheFulcrum.Agency is a new architecture practice that seeks to leverage evidence-based design thinking to deliver social and community outcomes. TheFulcrum.Agency is a business built on content and substance so we wondered if it was possible to create a brand that rejects the usual emphasis on style and fashion. Block hatched the idea of TheFulcrum.Agency as content creator and curator, creating The Journal of TheFulcrum.Agency to give context to everything the agency stands for. The first issue, Pivot, celebrates agility and resilience while the second, Agency, explores the concept of self-determination.

An architectural consultancy that leverages community and social outcomes through evidence-based design thinking

1.5 degrees of separation.

Head of Communications

Emma

Emmab@TheFulcrum.Agency

Principal

mob +61 (0)418 675 563

Kieran

Brain

Kieran@TheFulcrum.Agency

tel +61 (0)8 6111 0949

Associate Principal

Nick

Nick@TheFulcrum.Agency

Associate

Heather

Heather@TheFulcrum.Agency

mob +61 (0)402 780 413

MacRae

tel +61 (0)8 6111 0949

mob +61 (0)412 978 971

Wong

tel +61 (0)8 6111 0949

CEO

mob +61 (0)413 944 757

Emma

Juniper

Emma@TheFulcrum.Agency

tel +61 (0)8 6111 0949

Graduate Architect

Brad

Brad@TheFulcrum.Agency

mob +61 (0)449 605 933

Wetherall

tel +61 (0)8 6111 0949

mob +61 (0)421 119 897

Williamson

tel +61 (0)8 6111 0949

JLL – Central Park Brand Identity & Campaign

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what does it look like when a landmark reaches for the sky again? finalist

finalist

For some 25 years, Perth’s Central Park building has stood as a bastion of business and an icon of the city’s skyline. However, among a shifting economic, commercial leasing and work/life landscape, the building’s relevance was declining. With a refurbishment on the horizon, it was Central Park’s time to regain its mantle as Perth’s premier business address. The refreshed brand and positioning owns Central Park’s unequalled location and newfound sophistication, whilst nodding to the building’s architectural and artistic heritage.

Joined Up Films – Secret of Our Cities Title Graphics

How do you bring new life to old stories?

The SBS documentary series Secrets of Our Cities delves into the histories of some of Australia’s most interesting cities and suburbs. As production company Joined Up Films entered into production of the show’s second series, they approached Block to review the graphic styling of the show. Presented with mountains of archival documents and footage of all forms, we developed a collaged look for the graphics that brought the historic material to life and created a unifying look across all episodes of the series.

Place Intelligence Brand Identity

how do you find a big idea for big data? The thing about big data is that itâ&#x20AC;&#x2122;s not rare. Itâ&#x20AC;&#x2122;s everywhere, all the time. The trick is to distinguish the useful stuff from the background noise and to interpret it in a way that can inform better decision-making. Harnessing the ubiquitous nature of big data is at the heart of start-up, Place Intelligenceâ&#x20AC;&#x2122;s mission. The analysis and interpretation of location-specific data to guide better placemaking outcomes and manage the public realm, is a potential godsend for developers, all levels of government, and the public sector. Place Intelligence required an identity that visually and verbally conveyed the nature of the business in distilling big, complex ideas down to direct, actionable insights. Simple.

We are the link between:

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+ + + + + +

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Big data at a human scale

Uncovering the human insights within big data to inform cities in the creation and development of people-centric places.

At Place Intelligence, we uncover the human insights within big data to inform government, developers and designers in the creation and investment in people-centric places. We make it simple for our clients to understand their community â&#x20AC;&#x201C; our on-demand analysis providing powerful insights on their audience, uncovering commercial potential, highlighting spatial activity and discovering the magnetism of community. We synthesise data from a number of proprietary sources to assist in making investment decisions, with our insights generating unique windows into communities, including their values and aspirations.

Big data at a human scale.

Uncovering the human insights within big data to inform cities in the creation and development of people-centric places.

We understand public sentiment towards key destinations and uncover themes and trends that develop over time. We make informed decisions within our clientâ&#x20AC;&#x2122;s development portfolio that reflect community sentiment and values, and gain insights on the magnetic attractiveness of spaces and places within your community.

Big data at a human scale.

Andy Sharp CO-FOUNDER / COO (+61) 412 345 678 andy@placeintelligence.com.au placeintelligence.com.au

Norion Ubechel CO-FOUNDER / CEO (+61) 412 345 678 norion@placeintelligence.com.au placeintelligence.com.au

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