Stone Yamashita Partners
la comunidad
Damon Winter I
MTV
Marc Burckhardt
Green Design
fxhibit
I
May/June 2005 Eight Dollars www.commarts .com
Miami co unidad Ia Buenos A ires Un Poco Es Mucho {A Little Is A Lot} by Matth ew Porter
I
t is a new year, but old prejudices linger. Every advertising
agency (or design firm) that I ever have written about has
either been an upstart, fast-start or a renegade branch
office of a big, bad agency. Upon seeing themselves in the text of a CA mirror, nearly every one of them has expressed the concern that, serious audiences may view them as " boutiques," and, th erefore, unserious artistes. Time and
again, I have told them all that their work will speak for itself and to let others believe what they will because you cannot change closed minds. If the approach is unique, if the work is intell igent, if the people are witty and if the production values sublime, they're better than 99.99°/o of all the rest. They never believe me. But what is so wrong with being called a boutique? How, then, should we identify small, exciting agencies defining themselves through great work in specific markets with remarkable new approaches to remarkably old problems? Are they boutiques? Are they mom and pops? Head shops where sroners lurk? How, conversely, shall we describe their antitheses: is a TBWA/Chiat/Day or other hydra-headed Jose Molla and Joaquin Molla provided the caption information. Right : Two-page spread for P&C magazine, a Latin American publication on advertising and communication. Ricky Viar/Mariano Cassisi , art directors; Luciano Bele lli, w riter; Joaquin Molla/Jose Molla, creative directors; Urko Suaya, photographer; P&C, client . Transit poster for Rolling Stone magazine . Federico Callegari , art director; Francisco Ferro, writer; Joaquin Molla/Jose Molla/Ricky Vior, creative directors; Ro lling Stone, client .
50
May/June 2005
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Understand the environment In which you mterect.
Communi cation Arts
51
by Anne Telford
A
ll children love to draw, at least for a time, but when
Coast, where he attended Art Center College of Design
others were hanging up their plastic aprons and throwing out crayon scraps, Marc Burckhardt kept
in Pasadena, graduating in 1989 . She joined him after a year, and they were married in 1988. After years in the
drawing. And he never stopped. It's a testament to both his
gall ery business and public relations and marketing, in
talent and determination, that aside from a brief stint bussing
2001
tables, he's always made a living as an artist.
seventeen years, they are one of those co uples that perfectly
"I was always drawing from early on," Burckhardt says. "My
Janice turned her skills to work with Marc. Married
complement one another, genuinely appreciative of the
mom was an art history major, who became a philosophy
other's talents and interests.
major. She was painting and we had art around us all the time."
Within a month of graduating, they headed to New York
His inspiration came from location as much as example
City. The California airbrushed look that was popular at the
though. "My father was from Germany, and my mom was
time wasn't to Marc's taste and he was especially interested in
from Chicago," he says of the cultural diversity that shaped
the book market, so off they went to Manhattan.
his life and his art, "but we lived in Waco, Texas!" His parents
After five years, they returned to Texas, settling in Austin.
were both teachers, so summers were spent between the cultural
Having estab li shed his career, they wanted to be closer to
poles of Midwest America and Heidelberg, Germany.
family and Austin's dynamic music scene was a big draw.
Burckhardt attended Baylor University where he received an
All through their moves, Burckhardt's style continued to
undergraduate degree in art history and printmaking, and
evolve. In his paintings meticulous detail combines with a
met his future wife Janice. After graduation Janice went to
playful sense of discovery of new materials, subject matter
England to work at Sotheby's and he moved to the West
and story.
Right : "This essay dealt with the potential repercussions of the coming exploration of Mars, and what life on other planets might mean for world religions ." Mary Parsons, art director; The Atlantic Monthly, client.
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May/June 2005
Communication Arts
81
Green Design This page : "The objective was to promote the environ mental, structural and printing advantages of Candesce , a line of paperboard manufactured by Pot latch. The audience is comprised of packaging designers and printers in the U.S. The primary message was that Candesce has it all: an outstanding print surface, structural integrity and superior utility, all in a completely renewab le and recyclable resource utilizing earth-friendly materials," said creative director Bill Sykes. "The challenge was to exhibit each of these characteristics utilizing the Candesce paperboard. Our unifying theme was 'The Natural Selection,' which featured three different, uniquely-shaped boxes, a series of icons with each representing a unique attribute, a common look and feel and a consistent copy approach . The rectangular box included ten packets of Blue Spruce tree seeds stitched into a custom matchbookstyle cover depicting germinating, planting and growing instructions . The hexagonal box contained seven 100% pure beeswax, honey-scented votive candles . Each was packaged in a custom-designed hexagonal box that simulated a honeycomb pattern inside the box. The square box contained a unique potpourri, exuding a harmonious blend of colors, fragrances and textures. This box contained a custom -designed insert that, when placed into position, converted the box into an attractive potpourri display container." Matt Mullin, designer; Charlie Sue Back, writer; Communications Design (Sacramento, CA). design firm . "A poster promoting recycling is a bit useless if no one's going to hang it up. Get Michael Schwab to do the illustration and you can be pretty certain people are going to see it. The objective was simple : give restaurants the opportunity to take pride in their recycling efforts . The message is not only to customers, but to employees as we ll. With advertising that doubles as art, you can help ingrain recycling in popular culture . Rather than make people fee l guilty if they don't recycle, make them feel good when they toss their empty bottles and cans into a recycling bin," said creative director Tom Ortega . Bill Robbins, art director; Dave Robb, executive creative director; Michael Schwab, illustrator; Riester- Robb (Phoenix, AZ). ad agency; International Color Posters, publisher; California De~artment of Conservation, client . Right: "This is the third book in Alameda County's Green Building Guideline series . It is a detailed, comprehensive overview of the myriad sustainable building techniques available to architects and developers," said partner Rod DeWeese. "Our design, first and foremost, needed to be engaging and easy to use, as well as convey a sense of innovation and fun. We also wanted the project to embody the principles of green design-to really 'walk the ta lk' of eco-innovation . We originally proposed a self-mailing three-ring binder format that would enable the contents to be easily updated . However, the initial print run was low and the cost for a custom binder proved to be prohibitive . Our solution was to use inexpensive, easy-to-get materials and binding, but to combine them in unusual ways . The cover is printed on a standard 100% recycled chipboard and the interior pages are printed on Neenah Environment
100% recycled paper. The binding is copper-coated 100% recycled steel wire 0-ring . We put much of our design energy into the chapter divider pages, which became the defining element of the piece. They are printed on brightlycolored Fraser Genesis 100% post-consumer recycled paper and feature a specially-designed tab that eliminates die-cutting waste ." Rod DeWeese/Brian Dougherty, art directors; Jennifer Roberts, writer; Aya Akazawa, designer; Karen Kho , producer; Celery Design Collaborative (Berkeley, CA), design firm .
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May/June 2005
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JobDJl'lem1q Princ ipal, Bellfteld Primary School
Bachelor of Eduoat1on Congratulations to your University on the outstanding quality of teachers it la providing to the Government Schools Sector. We currently have two of your Graduates t.eaobing at our School. Their performa.noe t.hie year has been nothing short of outstanding. They have a oomm.itment and approach to teaching that. la es:emplary Thia School eerv:ices a.n exoeptiona.lly disadvantaged oommunlty These two teachers have oome lnt.o our 80hool and have impreeeed everyone with their te&ching appro&ehee and methodologies. A glowing endorsement of the work of your Institution .
lf I thought 1 knew everything there waa to know about music when I left school, I had another thingooming, says nm Nikoleky_Tim , a Jazz guitarist, went straight from achool t.o TAFE to study muelc and then into the new RM1T Music lnduelry degree oouree.
The degree oouree at RMJT University has been ree.lly different, particularly turning out written assignments. But as well aa theory, l have gone on learning many things about lhe industry and how it works .
My name ia RWJSell Burrage, I'm 36 years old a.nd have returned to study alt.er 18 years of employment as a kitchen hand and then as a cleaner at two hoepits.ls in my home town of Traralgon . Suffering from a vtsua.! peroeptual dyafunct.ion (Sootapic Sensitivity Syndrome) which was uncUa.gnoeed at the time, I lef't echool in 1980 at Lhe age of 15 to flnd a.job. I oonsidered myeelt a.I.meet illiterate, since to write a simple sentence or greeting oard was a major event and required the use of a dictionary, and t.o write anything at work ln the presence of others, I was struck with fear. Even though my situation looked hopeless, the teachers at the Lee.rning Skills Unit took me under th.ell' collective wing and et.a.rt.eel to teach me maths
it called on
Arter many months or study I at.a.rted. the Diploma of Further Education , which was perfect for me . Thia not only improved my writing skills but aleo my oonf\denoe . What a great oouree! It allowed me to do one subject from the Aeroepaoe Diploma, I found it very rewarding, and now here l a.rn suooeeefully doing &n Advanced Diploma m Aeroepaoe and l owe a great deal of tha.nk8 to all the staff at the Learning Skills Unit . They are helpful , fnend.ly encouraging and profeeeional and I don't know how I could have come this fa.r without them . They a.re a great bunch of people and I would recommend them to anyone who needs thell' eervioee
Comm unication Arts
105
FireGirl
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Location : Porco, Porrugal, and www.firegirl. co.pt. Duration: FireGirl was created in 2002.
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Staff: The founders: Renato Seixas, graphic designer; Nuno Baldaia, multimedia programmer. Freelancer: Antonio e'Silva, graphic designer.
AMODA DO
PORTO
Education : Renaco Seixas, degree in
Communication Design, ESAD (Superior School of Arts and Design, Macosinhos), currently attending Master's in Multimedia Technology, FEUP (Facu lty of Engineering of the University of Porro). Nuno Baldaia, degree in Eleccrical and Computer Engineering, FEUP (Faculty of Engineering of the University of Porro) . Antonio e'Silva, degree in Communication Design , FFAUP (Faculty of Fine Arts of the University of Porro) .
4
Cultural Influences: The power of color
is the very essence of FireG irl 's life. Environment: FireGirl's working environment is a creasured collection of dreams , memories, colors, shocking colors, freedom, process and "latex design" for long life. Philosophy: Time ends. An end is a beginning. Plastic heroes are washed away and a new vision emerges. FireGirl wanders the world shuffling hearrs, prodding desire and searching for new dreams. Given the right input she'll stimulate your responses and inspire inner growth. Nurrure images, dreams, memories, real and imaginary worlds and give birrh co an organic, collective development of the creative process. A creative alliance co which you could belong. If you do, you'll find yourself being pushed by a dominatrix forcing out the "real you ." FG loves you all (right on) .. .
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May/June 2005
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