sara remington tool of north america coloraDo Posters justin renteria Design ranch exhibit TYPOGRAPHY ANNUAL 2
January/February 2012 Twenty-Four Dollars www.commarts.com
DESIGN RANCH { by Matthew Porter
an uncommon pair}
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or fourteen years and counting, Design Ranch (dr) has been Kansas City’s rising star. This branding and graphic design powerhouse boasts six full-time employees at work inside a contemporary building in the Crossroads Arts District west of downtown. Ingred Sidie and Michelle Sonderegger founded and lead the company. “The Girls” (as they are referred to by many) are a dynamic design duo. Uncommon connection Riding in from the airport, they communicate freely, finishing unspoken sentences, with nods and glances. They are warm and welcoming and I sense immediately an uncommon connection here. This, I later learn, has led to more than just good design work; it has led also to good thinking and a harmony rare, appealing and profitable.
us see beyond the familiar. Design Ranch provides a valuable external perspective that helps us reinterpret familiar emotions.” The goal, he says, is connecting people at both extraordinary and ordinary moments. He continues, “Hallmark is about emotional connection, unconditional love, the flow of life and tokens of affection as expressions of gratitude. Making this happen requires individuals attuned to cultural forces shaping human relationships. Design Ranch does this very well.”
Hallmark, the 100-year-old All-American icon, lies just around the corner. It employs more communication arts professionals than any corporation on Earth. Its definition is design. They can choose any creative agency or artist anywhere to help it forecast trends and change. Among others, it chooses Design Ranch.
Uncommon conversions It is uncommonly hot: 103 degrees. We arrive at Genesee Royal Bistro in the West Bottom historic district, the first of three gas station restaurant conversions we’d visit. The former petrol station is unvarnished yet stylish, an oasis in the treeless, sweeping prairie of sun-baked, buckled asphalt outside. The mute brick edifice of the old Kansas City Cattle Exchange looms over us, offering neither cattle nor shade. Cattle arrive downtown these days only on a plate; the shade flees the high-noon sun. To my surprise, Michelle admits they eat lunch together every workday—and have for fifteen-plus years. Really?
Jeff Wilson, Hallmark vice president, creative innovation, admits he has never dwelled on the women’s distinctions. “They blend together,” he says. “Their value to us is their ability to hear what isn’t being said and bring that to our attention. They do this by listening. They help
I ask what characteristics each bring to the partnership. Without hesitation, Michelle replies, “Ingred can pull together ideas and concepts faster than anyone I know. She helps us focus on the big picture. She does not get bogged down in the details like me.”
Ingred Sidie and Michelle Sonderegger are creative directors on all projects shown and supplied the caption information. Right: “The owners of Sheridan’s Frozen Custard set out to UNdo what people believe about fast food. Our job was to communicate that Unforked is a socially responsible, high-quality alternative to a quick meal. Through fresh graphics and fun language, we did just that. Collaborating with 360 Architecture on the restaurant’s interiors, we were able to name, design and brand menus, to-go bags, employee uniforms and everything in between. The result: tons of UN.” Claire Gude, writer; Laura Berglund, designer; Unforked, client.
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Typeface Design 1 (series) Panos Vassiliou, Parachute (Kifissia, Greece), designer “According to the brief, this typeface had to be elegant, luxurious, vibrant, reflect the female sensitivity and take into consideration a modern woman who is more connected, spontaneous, open-minded and eager to try a whole host of new products and services. Targeting this consumption-wise and well-educated woman required a typeface not strictly based on classic forms, but that also incorporated several distinct elements expressing a modern woman’s personality. In that respect, Regal Finesse not only emphasizes femininity, but also the romantic and dynamic aspects of the female personality.”
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A principle is not a principle until it costs you something.
—William Bernbach
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Periodicals 1 Nancy Campbell/Trevett McCandliss, art directors Trevett McCandliss, typographer 9Threads (New York, NY), design firm Earnshaw’s, client “This editorial fashion story opener features children’s clothing. The big white W is made from fuzzy white fabric and cut in the shape of a W from Bureau Grotesque.” Additional fonts: Chronicle, Fette Fraktur, Univers. 2 Thomas Alberty, designer Fred Woodward, design director Richard Burbridge, photographer GQ (New York, NY), client
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“There’s a certain breed of actor that makes the most of every role, inhabits every bit of the characters he plays and makes every film worth seeing simply by the power of his presence. The type for this Richard Burbridge photo portfolio of movie tough guys was inspired by film noir title cards.” Typeface: Didot Italic. 3 Andrew J. Nilsen, SF Weekly (San Francisco, CA), designer/ art director “’Your Rags to Their Riches’ by Matt Smith, uncovers a secretive international company that runs a network of nonprofits across the United States that collects donated clothes. The company sells the donated clothes to third-world countries for a massive profit.” Typeface: Titling Gothic. 4 Adonis Durado (Muscat, Oman), designer/creative director Times of Oman, publisher “A business-feature story about workers so afraid of committing mistakes that they avoid innovation and initiative to be safe in their careers. The NO is a typeface called Morgan that I cut out and stuck together using duct tape to resemble letter shapes.”
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