mayjunepreview2011

MUCCA DESIGN DOWNTOWN PARTNERS CHICAGO FACTORY DESIGN LABS LAUREN GREENFIELD EXHIBIT ILLUSTRATION ANNUAL 52

May/June 2011 Twenty-Four Dollars www.commarts.com

factory

by Sam McMillan

It’s different in Denver. Maybe it’s the thin mile-high air. Maybe it’s just far enough away from the centers of advertising to do things differently. Maybe it’s that strange orange powder that’s making everyone so happy.

F

actory Design Labs calls it “the power of orange.” And it’s in plentiful supply on their Web site at www.factorylabs.com. Five thumbnails launch short, wordless films, each dedicated to the power of orange. In one a ski patrol deep in the mountains launches an orange mortar to make snow. In another, an orange suitcase descends from a baggage carousel, magically transforming cancelled flights to on-time status.

In Factory’s most ambitious film, a hapless Japanese salaryman negotiates the rainy streets of Tokyo. The guy has a face like an unmade bed. He slogs his way through the streets until he finds a mysterious set of orange headphones lying abandoned in a crosswalk. Putting them on, he tunes into another, different piece of music. Perhaps he hears a better set of instructions. We’ll never know what he’s listening to, but we next see him singing in a karaoke bar, getting his butt tattooed, wearing orange sneakers and dancing in a pachinko parlor.

With his life transformed, he leaves the headphones on a park bench for the next person to discover.

And then there’s that orange powder dished up in a roadside diner by short-order cooks who serve the stuff by the plateful. Cops, businessmen, families, all are snorting it up. Side effects include hilarity, joy and reckless abandon.

design labs This is not your typical approach when it comes to attracting new business clients, but that’s exactly the point. Factory Design Labs isn’t looking for typical clients.

“We asked our guys to bring a unique approach to storytelling, and leverage Factory’s brand position as ‘the power of orange,’” explains ceo Scott Mellin.

The Web site turns out to be an extremely effective business development filter. “If our clients don’t get these films,” Mellin says, “they aren’t going to be happy working with Factory. The site has helped us form a distinct opinion about who we are, what we do and how we do it. The companies that respond recognize we can tell the stories that will bring their brand to life.”

Clients we can believe in In 2004 Mellin joined Factory Design Labs, bringing global brand experience from ski equipment maker Nordica. He transformed the business, taking Factory from its roots designing flyers for the Colorado rave scene and microsites for Hollywood movies to a more mature company with a sustainable business model.

“In 2004 we had 77 customers and we booked $2 million in revenue,” Mellin remembers. “It was a brutal, sweaty business.” Prodded by a question from Oakley’s chief marketing officer who asked, “How does a brand with a leading share of the market grow without selling out?” Factory proposed an online product configurator that let consumers customize their ski goggles and sunglasses. It now

Captions provided by writer Lee Perlman.

Right: “In 2004, Factory and Oakley created the concept for the Oakley Custom Program. Once the concept was solidified, we built the first Oakley Custom Application the following year. Soon after the 2005 release, Factory worked to update the program to include goggles and a strap configurator inside the application. The program was so successful in 2009 that Factory teamed up with Oakley once again to update the application to support additional product, including watches, backpacks and board shorts.” Sean Klassen/Mike Scarano, art directors; Matt Kitt, user experience director; Andrew Price, creative director; Justin Gitlin, senior developer; Ryan Blanchard, project manager; Oakley, client.

“Oakley has a history defined by technologically innovated products that enhance athletic performance. But because of the strong male stigma typically associated with the brand, their women’s line suffered from limited awareness. Until the Perform Beautifully campaign was launched. This statement encompasses the idea that the line between form and function can be erased, that sport and style are one in the same. That performance is a thing of beauty.” Brett Lareau, art director; Amy Kitt, design director; Holly Menges/Emily Philpott, associate creative directors; Tim Richardson, creative director; Steve Whittier, executive creative director; John Huet, photographer; Oakley, client.

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the black stripe bikini

Š2010 Oakley, Inc. Claudia Goncalves

oakley.com

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Editorial 1 Tim Bower, illustrator SooJin Buzelli, art director Asset International, client PlanAdviser magazine article, “Clearing It Up,” instructs investment advisers on new retirement plans. 12 × 16, gouache.

2 Sophie Casson, illustrator Jason Blackheart, art director Portland Monthly, client Special insert in Portland Monthly on breast cancer and new ways to approach fighting it. 6 × 71⁄ 2, mixed media.

3 Christian Northeast, illustrator Stephanie K. Birdsong, art director Fit Pregnancy, client “What’s on Your Worry List?” An article about how pregnant women fret too much about the wrong things, and pay too little attention to issues that can genuinely harm their pregnancy and baby. 151⁄ 2 × 101⁄ 2, mixed media.

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Institutional 1 Harry Campbell, illustrator Ronn Campisi, art director Ronn Campisi Design, design firm Boston University, Bostonia, client Cover illustration about repeated concussions, “Football 2.0.” 8 × 101⁄ 2, digital.

2 Gabe Wong, illustrator Kristy Trinier, Edmonton Arts Council, client A public art installation for an external wall detailing the biodiversity of Alberta’s animals. 14.7' × 15.4' artwork was produced digitally and printed on digital high-pressure laminate panels by Izone Imaging.

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Animation 3 Julia Pott, illustrator/animator John Kritch/David Littlejohn, art directors Donnell Johnson/Shannon Wilch/Jim Haas, writers Juan Bobillo/Stephan Baik, associate creative directors Ron Thompson, creative director Mike McKay, executive creative director Robin Bushell/Daniel Chester, assistant animators Drew Coolidge, voice talent Circle of Sound, music 740 Sound Design, sound designer Annie Porter, associate integrated producer Tanya LeSieur, director of production and integrated multimedia Jennifer Vogtmann, senior broadcast producer Saatchi & Saatchi Los Angeles, ad agency Toyota Motor Sales, USA, Inc., client “Based on the premise that every Toyota fan has a story about why they love their car, the Toyota Auto-Biography campaign was born—a long-term platform on Facebook designed to showcase people’s personal stories. As part of the campaign, the agency and client enlisted leading illustrators and animators from all over the world to help bring a few of these real stories to life.”

4 Matt Luckhurst, illustrator/creative director/director Smalltown Romeo, client “Smalltown Romeo Music Video” 3:00 “Smalltown Romeo is a local legend in Calgary, Canada. After working with the band for years, as an artist and illustrator, we finally found the time to collaborate on a music video. ‘Boom Ha’ features the vocal styling of Shad in addition to Smalltown and was conceived in a coffee-fueled vacuum of space and time while in the midst of completing my master’s degree at the School of Visual Arts. The entire video was drawn in pen then scanned and animated. The concept was mostly tied to depriving myself of sleep and thinking of funny things to draw on paper then convincing myself their collective whole would amount to what could pass for a music video. While the storyline may stand on somewhat thin legs, the collage of sequences provides a texture and attitude appropriate to the track. The success of this solution was determined when my little cousin became determined to mimic the ‘girl shaking her bum.’ Fantastic.”

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