janfebpreview2011

MICHAEL OSBORNE McGARRAH JESSEE TRONIC STUDIO JAMES DAY CHRISTIAN NORTHEAST EXHIBIT TYPOGRAPHY ANNUAL 1

January/February 2011 Twenty-Four Dollars www.commarts.com

BIG LITTLE AGENCY SHOOTS (AND HITS) BEYOND TEXAS

McGarrah Jessee Like the city they call home, Bryan Jessee and Mark McGarrah defy stereotype. Bryan loves to rodeo but sips Chardonnay with BBQ. Mark roots for the OK Sooners but works in the shadow of the Texas Longhorns. Their hometown, Austin, is perfect for their tastes and lifestyles. It’s got cowboys, honkytonks, taco stands and rabid conservatives on Capitol Hill, but Austin also remains the capitol of Texas “weird”; a placid blue island in a righteous sea of red, it’s a progressive marvel, home to Whole Foods Markets and five-buck shots of wheat grass and to the Broken Spoke and ten-buck shots of The Ass Kicker (don’t ask). by Matthew Porter

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t is a milieu that attracts people like Jessee and McGarrah, lured here in 1992 and leaving behind Dallas to join gsd&m (then and now Austin’s biggest Three Ring Ad Circus). By 1996 they’d launched McGarrah Jessee (McJ). A fateful encounter would propel their careers.

Dick Evans, chairman and ceo of Frost Bank, had heard of McGarrah and Jessee before they left gsd&m. He made an appointment to drop by their new, humble office. He recalls:

“It was thirteen years ago and we were looking for a new agency. Now, as you know, banks are not the most exciting places and defining the intangible things that distinguish one from another is awfully difficult. The first thing Mark and Bryan did was to show me a bunch of bank ads with their names removed so I couldn’t identify which was which. They all looked the same: an old white-haired man with a coat slung over his shoulder looking over a construction site or a nice young couple sitting by a fire petting their golden retriever. Next, they told me they’d take the time necessary to learn who we were as people and as a company. They said that would require broad access to everyone in our company. We hired them and opened our doors to them. They came back with a campaign called, ‘We’re From Here.’ It’s a phrase that captures the essence of who we are. It remains the basis of our brand message today. Why? Because it defines the character and values of those who work here.”

In the many years since, strategies, channels and media have changed. Frost Bank has grown in size and added hundreds of new technologies that have changed the way they do business. “But,” points out Evans, “people remain the core of who and what we are as a business. Mark and Bryan understood that from the beginning and, over the years, have found marvelous ways to tell that story again and again.”

James Mikus, co-executive creative director, wrote the captions.

Right: “Frost has offered financial services in the state of Texas since 1868. No one reflects Frost’s values better than real, working cowboys. We commissioned tintype photography of these men and women and their families and turned the results into a tabletop book and a touring exhibit, sponsored by Frost.” Tom Frost/John Graves/Robb Kendrick, writers; Derritt Derouen, designer; James Mikus, creative director; Robb Kendrick, photographer; Frost Bank, client.

“Print ads for Frost. Good, old-fashioned customer service meets cutting-edge technology.” Michael Anderson, art director; Brian Jordan, writer; Cameron Day/James Mikus, creative directors; Chris Frazier Smith, photographer; Frost Bank, client.

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Perodicals 1 Chelsea Cardinal, designer Fred Woodward, design director Jolanta Bielat, photo editor Dora Somosi, director of photography GQ (New York, NY), client “If the anti-government Tea Party was a typeface, what typeface would it be? The frayed type recalls America’s founding documents, but in a state of disarray.” Typeface: Engravers’ Old English.

2 Maili Holiman, art director Dustin Edward Arnold (Glendale, CA), typographer/design firm Dan Winters, photographer WIRED, client “American Stonehenge” by Randall Sullivan. “The Georgia Guidestones may be the most enigmatic monument in the United States: huge slabs of granite, inscribed with directions for rebuilding civilization after the apocalypse. Only one man knows who created them—and he’s not talking.”

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3 Cassidy Zobl, art director Christian Northeast (Cobourg, Canada), typographer Hour Detroit magazine, client Cover design for Hour Detroit’s Best of Detroit issue. Typefaces: Various handmade, found scraps and a bit of distressed Futura Condensed Medium.

4 Delgis Canahuate, designer Fred Woodward, design director Kevin Van Aeist, photographer Krista Prestek, photo editor Dora Somosi, director of photography GQ (New York, NY), client “The author of this piece contemplates the implications of being one of only nine people in the world to have his genome sequenced. The design conveys the revelation and concealment of the four-character code that provides a glimpse of the future.” Typefaces: Courier, Helvetica.

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5 Sophy Lee, designer Siung Tjia, art director Timothy Devine, photographer ESPN The Magazine (New York, NY), publisher “Two seasons ago, Boston College’s Mark Herzlich was headed for an NFL career. One bout with cancer later, he wants to tell the world that nothing’s changed. In these photographs, Mark is shown applying his well-known face paint, which he does before every game. The design concept carries his face-painting ritual into the custom typeface, which was created by hand.”

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Typeface Design 1 (series) Fabian Widmer, Letterwerk (Zurich, Switzerland), designer “Carrosserie (French for ‘car body’) was based on the kind of straightforward capitals found in handrendered signs or book covers from the 1930s. It’s an all-cap sans serif, intended for display use, but it has some interesting alternate letter shapes, such as an ‘A’ with rounded top or an ‘M’ with diverging legs and some great alternate ampersands for creating company logos. Designer Fabian Widmer has radically updated this alphabet for the Internet age by adding a set of www domain symbols. The font is available in regular and fat.”

2 (series) Pilar Cano, designer TypeTogether (Prague, Czech Republic), foundry “Edita Sans is a gentle typeface, humanistic in concept yet with a contemporary feel, where softness and fluidity play very important roles, especially in italics that are loosely based on handwriting. Edita is intended to be used in books where text is set with photographs and other graphic elements, however, Edita is versatile enough to be used in many other contexts, from novels to promotion material. Additonally, two optically corrected weights, Small and Small Italic, have been designed for their use in very small type sizes, such as in captions and notes.”

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