novpreview2004 by Commarts

Design Annual 45 I

ical develop1

November 2004 Twenty-Four Dollars www.commarts.com

Packaging (series) Charles S. Anderson/Todd Piper-Hauswirth, art directors Kyle Hames/Todd Piper-Hauswirth, designers Charles S. Anderson Design Company (Minneapolis, MN), design firm Blue 0, client "Designing what has to be the rock bottom of kitsch culture , we chose to embrace the negatives and ignore the positives . With the help of some Pop Ink imagery, we created a collection of eight air fresheners that are dripping with irony and scented with only the finest blend of essential oils ." 2

(series) Craig Markou , art director Eymard Angulo/Craig Markou, design Jana Peck, writer Tracy Fogarty/Andrea lsbester/Cynthia Tycholis, project directors Dan Pawych, creative director Richard Heyfron, photographer Eymard Angulo, production artist Downtown Partners (Toronto, Canada), ad agency Chris Barroll/Tom Hare/Pepsi OTG Canada/Jeff Schoo, clients " What happens when you give an ad agency a project to design a cereal box? No bowl. No spoon . No smiling kid or cartoon character. Sorry."

(series) Betsy Nathane, art director/creative director Renee Miller, writer Nicholas Wilton, illustrator ecndesign@earthlink.net (Pasadena , CA), ad agency Centinela Feed and Pet Supply, client "Centinela Feed and Pet, a small pet food retailer, wanted to launch a new line of high -end all natural dog food, to compete against international brands like lams and Purina . The packaging had to break through the clutter and grab consumers' attention in -store because the client had very little to spend on traditional advertising . Additionally, the illustrative style conveys a friendly natural feeling, as well as one of quality."

5 4

Sharon Werner, art director Sarah Nelson/Sharon Werner, designers Werner Design Werks (Minneapolis, MN), design firm Monica Nassif, Clean & Co. LLC , client "We worked with Clean & Co . to develop the product brand strategy, including packaging, for a line of no-fuss, no-frills , fantastic smelling, aromatherapeutic household cleaners . The totable cleaning kit contains four different products for cleaning your home top to bottom with a singular scent; product descriptions and sizes are clearly visible on the exterior of the package."

(series) Sonja Frick, art director Hideo Akiba , designer Mary Lewis, creative director Hideo Akiba/Fiona Verdon-Smith, illustrators Lewis Moberly (London, United Kingdom) , design firm Peter Fulton, Grand Hyatt, Dubai, client "The Grand Hyatt Dubai is one of the Middle East's largest and most exclusive hotels . Our brief was to create the venue identities within the complex each representing a unique dining experience . Panini packaging was designed to reflect the fun , gregarious nature of cate culture . The spontaneous logotype extends to free -style illustration across the numerous items on sale. " Communication Arts

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Sonia Greteman/James Strange, art directors James Strange, designer/illustrator Sonia Greteman, creative director Greteman Group (Wichita, KS), ad agency Kansas Humane Society, client "Woof Stock, a 1960s-themed festival benefiting the Kansas Humane Society."

Sandy Speicher, designer Sandy Speicher Design (San Francisco, CA). design firm David Margolis, Baum Raum , client

4 " Baum Raum is a company that designs and produces furniture made of wood . The name means 'the space between trees .' The logo was designed to elegantly express this concept while working within the constraints of many 1-color applications such as a blueprint title block or branding into a piece of wood ." 8

Richard Boynton , designer Richard Boynton/Scott Thares, creative directors Wink (Minneapolis, MN). design firm Copycats, client "A digital duplication company that manufactures CDs and DVDs."

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Candelario Cano (San Antonio, TX), art director/designer Tejano Music Festival, client " The Tejano Music Festival is a celebration of both music and culture . To properly represent this function, I chose the armadillo because it thrives in the south Texas

RAUM

region where the Tejano culture is rooted, and I chose the button accordion because it is the very pulse of the Tejano sound ." 10 Michael Mooney (Washington, DC), designer Michael Million , Third Story Films/Marc Ryan , clients "This film company had humble beginnings on the third floor of a small apartment building and kept the name as its client roster and office needs grew. The inspiration came when coupling the lit windows of a three-floor building with the sprockets on film. " 11 Jack Anderson/John Anicker, art directors Jack Anderson/John Anicker/Sonja Max/Leo Raymundo/Andrew Wicklund,

designers Hornall Anderson Design Works (Seattle, WA). design firm Clearwire, client "Clearwire's mission is to provide their customers with high-speed broadband Internet connections . The design path to the brand included a wordmark emulating their service: simple, elegant. clean , straightforward . The concept centers on freedom-freedom from wires, from hassles related to conventional Internet solutions and from waiting. In addition to signifying a 'clear' wire, the absence of the 'i' reflects freedom ."

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12 Randy Heil, art director/designer/illustrator Arnie DiGeorge, creative director R&R Partners (Las Vegas, NV), ad agency Insomnia Entertainment, client "The owners of Insomnia Entertainment recently bought the Golden Nugget Hotel & Casino and repositioned it with an Old Vegas theme . They have an affinity for the Vegas Rat Pack heyday and wanted their logo to reflect a spiritual melding of Old Vegas with Old Hollywood . Is the neon keeping you up at night or luring you out to play? We like to think it's a little of both." 13 David Slack, designer Ryan Gagnard/David Slack, creative directors Chris Ronan, senior brand strategist Slant (Dallas, TX), design firm RD2, Inc. (Dallas, TX). ad agency Tommy Echols, Verappraise, client "Identity for a residential real estate appraisal network. The house and V letterform was a perfect opportunity to communicate residential market value ." Communication Arts

Letterheads (series) Mickens Powell, designer Neil Powell, creative director Josh Rogers, illustrator Powell Communications (New York, NY), design firm/client Business papers for a public relations company.

Miscellaneous Company Literature 2

Joe Petrina, designer Rick Landesberg/Joe Petrina, creative directors Landesberg Design (Pittsburgh, PA) , design firm Strada , client "Late January can get pretty gloomy in Pittsburgh. Architectural firm Strada brightened it up with a party for friends, clients and colleagues."

(series) Jennifer Teixeira, designer Susan Slover. creative director Thomas Bricker, photographer slaver [and] company (New York, NY), design firm Sandra Constantine, client "A luxurious line of sweaters for children , Sam Little is the brain child of a seasoned product developer. The program takes a flash card approach that can be easily edited or modified as the collection evolves. "

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Comm unication Arts

Books (series) Alica Gracin , Profil International, editor Orsat Frankovic, Laboratorium/lvana Vucic , Laboratorium, creative directors Ivana Vucic , photographer Laboratorium (Zagreb, Croatia). design f irm Profil International , client " Book covers for Biblioteque FEM/NA (female writers and women's issues) . Books are published in a series . Covers for each series are fragments of one photograph . When printed and put together, covers compose the initial 'BIG PICTURE ." ' 2

Theflr1tlHue. nltedln•tantly1tlheforum, wu 'do w11 0001iderbuildinptha1bavebeendemoliahedf' Atju1t the aame moment. Ian McDougall Rid, "Of course" and Peter Conigan Mid, "Of COWM not." McDoupll'1 view wu tbet

weahouldcoosiderthedemoH1hedbuildlngultwHm•de andiaed.notlt1exl1tence.

Some people may have Men it, but you've got plan• and phologroph•; thf! lxJildins ho• bMn documented. You con

outtulhebuildinga.gain1tlt1JnnovaUon1ondhow 1ua;eufultMywentinthearchltecturalcultureotrheUmn. PeterCorrlganuld: Thearchi19Clurethotalftld1our/iVMUthearchitectunt that'• htuw. It'• thol 1lmple. ~mo/11hed ploCM only u/11 In ~oriM or boob, and that'• really the realm of the 1pecloli1t. WehavetokHpproteflingthatarchitecture i1.amethingthatloymenptinvolvedin. lnth11end, orchil«turemu1tbehere, orrl1klhe/udpmento/ memory. If it'6 hetW, even if it'• ever 10 mode1t, It'• here. ldon 't lhinkameo1urecone\!erbedoneintho111 term1 becouaithelaymanwont1fluhandbloodarchitecture. And C.Onnd Hamann argued for the incluiion or the now demoliahed Old Southern Stand 1t the M(X;. It MU the ma.t po11>-etful 1lnsJe building in Me/boome. It celebrated the Bradman~ra cricket rncttndancy therecovwtiyaftt!rbodyllne-andwo11helatp110/th• Olympic 1tond1 for the epic ev''"'' in 1956 - Ron Clarke bumt bythe torch,L.andyandCJarkefalllnslntheuoo, thelarxestbosebollso1elnhi1toryanywhere,lhewomen., 4 x 100 relay, Al Oerler'• 111 gold medal, Zotopek, Kut• vsPirieinlhetenlhou1and!Wilhlhedemolitlonof all other early MCG 11and1 the vi1ual ietdngs for both Bradmon and th• Olympia, and the epic 8'\.'flntl, ll'Ond finol1 and concetU which followed - Garfield Soben In 1'1Z and the Stonn etc - will now be completely IOI'"· Notatl"l>Qlofthefabricwillremainandthearenowifl

becu1tandard01Seou/.,tHOjob, themtioo1CoxRu,by fields and the corporatiHd 1tadia of the US Jeoguu. AlthoughthelmportofmanyofVict.o ri1'1demoll1hed bulldi031 was recogni.ed , U wu seen H 100 complex to argue our w1y throu°gh 1 body of work without prepantlon and documentlition to 1upport the di.cus1lon, and It wu 98f8lld thatbulldingswhichhadbeendemoli1hedwouldnotbe con1idered. But Hamann'• pua:lon about the life, the events, the people and the memorlu which swirl around the mention

John Calabro/Damien Stanyer, designers Philip Goad , editor David Pidgeon , design director John Gollings/David Pidgeon, creative directors John Gollings, photographer Ease Productions, production GollingsPidgeon (St. Kilda Melbourne, Australia). design firm Royal Australian Institute of Architects Victorian Chapter, publisher

Judging Architecture, edited by Philip Goad . "Asked by the RAIA Victorian Chapter to produce a publication to celebrate 75 years of architectural awards in Victoria, we felt a more interesting story might be told if today 's archi tects , critics and historians had to choose afresh . We had the period rejudged, making a rephotography survey of the new winners and documenting a forum in which the judging process was reexamined . The book records the results with a comprehensive discussion of the awards process." 324 pages, 9 x 11 1/4, perfectbound, black and PMS plus varnish throughout .

Com mun ication Arts

125

Books

ATOOL FOR YOURSELF, Y

Rita Marshall, art director/designer Ruth Vander Zee, writer Aaron Frisch, editor Roberto Innocenti, illustrator Delessert and Marshall (Lakeville, CT), design firm Tom Peterson, publisher Creative Editions, client Erika 's Story by Ruth Vander Zee. "The story of a Jewish daughter trying to imagine her mother's thoughts when she threw her baby from a train to save her from death in the winter of 1944. Stark sepia-toned illustrations capture the sad yet hopeful emotions of this narrative." 32 pages, 101/4 x 93/4, 4-color throughout, die-cut front cover. 2

Becca Rees, designer Alex Ashton/Sandra Spataro, writers Janet Goldstein, editor Wendy Smith, project director Keith Yamashita, creative director Chris Buck/Bill Gallery/Sian Kennedy/Greg Miller, photographers Anne Bodel, production manager Stone Yamashita Partners (San Francisco, CA), design firm Portfolio, a member of the Penguin Group, publisher "Getting stuck is an integral part of business because the most ambitious and rewarding work is often the hardest to undertake . In this dynamic, pragmatic book, Keith Yamashita and Sandra Spataro share insights, methods, and best practices for getting unstuck, based on experiences with business leaders at IBM , Sony, Disney, Nike . Unstuck helps you diagnose your situation, identify the most important challenges, and implement the right tools to get things moving again." 200 pages, 51/a x 71/4, perfect-bound, 2-color dust jacket, 2-color throughout, 2-color scoring wheel included .

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Communication Arts

127

Self-Promotion Carlos Segura, art director/ creative director Ryan Holversen/Chris May/ Carlos SegurafTnop Wangsillapakun ,

.....

designers Segura Inc. (Chicago, IL). typographer/design firm Corbis, client " Corbis had many years of bad habits under their belt. Their perception in the marketplace from a ' creatives' perspective was dismal. Our challenge was to change that . We wanted to create materials that would not only tackle our competition , but also compete with the everyday onslaught of sensory input. For the first time in a while, our target now thinks of Corbis. Mostly because of these very inventive, intelligent, attractive and highly conceptual vehicles." 76 pages, 191/ 2 x 263/4 and 18-page Bettmann insert, 171/ 2 x 23. 2

Rethinking Safety Navigator Magazine (Holiday Inn)

Felix Sockwell (Maplewood, NJ). art director/designer/writer/ illustrator/client "This project was hatched after a friend used work without paying . Since they owned a printer, I decided to work it out in trade . A simple portfolio brochure became an editorial, process and game piece . I wanted the promotion to reflect my work and sensibilities and make a promise-collaborations in Central Park off the back of my pedicycle (talk about service industry)!" 20 pages in each booklet, 4 x 5, saddle-stitched, 2-color throughout .

Comm unication Arts

169

Isabelle Arsenault

Location :

Montreal, Canada.

Duration : Three Staff:

years.

Me.

Bachelor degree in graphic design (2001), -University of Quebec in Montreal (UQAM). Education :

Frederique Bertrand, Gerard DuBois, Edward Gorey, Michel Gondry, Radiohead, the cul rural diversity of Montreal, Yoshitomo Nara, Chris Ware, Tim Burton, Boris Vian, The Prisoner ... And so much more. Cultural Influences:

Environment: Home office in a hundred-year-old house, big windows with a view on the garden. Neighbor on his balcony spying at my work. .. pretending to get some fresh air. Philosophy: I see my work as constant evolution. I don't want to become a prisoner of my style, so I try to have many possibilities to give me as much freedom as I want. I see each contract as unique and try to create an image that showcases one direct concept, something that hits you in a second.

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Design Annual 2004