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GD USA
GD USA GRAPHIC DESIGN USA
HEALTH + WELLNESS DESIGN AWARDS SPONSORED BY OCTOBER 2018
ERICKSON STOCK
RESPONSIBLE DESIGNERS TO WATCH SPONSORED BY
DOMTAR
ANNUAL STOCK VISUAL SURVEY www.gdusa.com
CELEBRATING OUR
55TH YEAR
OCTOB ER 2018
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SCHOOL OF GRAPHIC DESIGN
Student design by Yihan Hsia
CREATE DESIGN THAT TRANSCENDS EXPECTATIONS Gain skills in typography, print design, branding, and packaging from instructors who are design professionals themselves. Learn to execute marketing strategies, build memorable brands, develop innovative products, and create meaningful experiences—all through design. Study online or onsite in San Francisco. Find your place and master your craft!
Learn More About the School at academyart.edu/GDUSA Family Owned Since 1929 | 888.680.8691 | academyart.edu/GDUSA | Yellow Ribbon Participant Visit academyart.edu to learn more about total costs, median student loan debt, potential occupations and other information. Accredited member WSCUC, NASAD, CIDA (BFA-IAD, MFA-IAD), NAAB (B.ARCH, M.ARCH), CTC (California Teacher Credential).
October 2018 Pub Letter-Focus Impo_feb news play 10/8/18 11:37 AM Page 2
LETTER FROM THE PUBLISHER | OUR AGENDA IS SIMPLE In the beginning, there was “sustainable design” and it was good. More recently we have reframed this coverage under the umbrella of “responsible design” to reflect your embrace of responsibility writ large in terms of how, when, why and for whom they work. The common thread among the “Responsible Designers” profiled in this edition is that they are deliberate and mindful — as well as passionate — about using the power of design for good as they see it. This is a fascinating development, made all the more intriguing because it plays out against the raw emotion, the hunger for change, and the rancor that currently characterizes our national life. I wish we could all just get along, but the silver lining is that conflict has energized and channeled a ton of creativity. A couple of related thoughts. First, in this polarized moment, the content we include in GDUSA is often misinterpreted as a purposeful act of partisanship. As I noted last year, “I am occasionally attacked as a left wing nut and/or a right wing nut depending on the day. The ‘nut’ charge may well be fair. The political charge is unfair.” My politics (if anyone cares) is sort of old-school, GORDON KAYE IS THE PUBLISHER OF GDUSA Comments, suggestions and letters can be sent to gkaye @ gdusa.com.
treasuring the American dream as my extended family has lived it and hoping we can find a way to renew it more broadly for next generations. My editing approach is also old-school: reflect the reality of what is happening in the community we serve. In 2018, the energy is with progressive causes and today’s content is a mirror. That’s nice but, for me, it is not the main takeaway. GDUSA’s only agenda is to recognize and elevate graphic designers for their vital contribution to commerce and culture. No more and no less. Second, the symbiotic relationship between doing well and doing good is clear to creatives who own or manage independent firms and agencies, but it is rarely acknowledged. I was struck by the eloquence with which Rob Jackson of Extra Credit Projects, one of our “responsible designers” expresses the truth of this relationship: “All this talk about design for good doesn’t exist for us without a solid business in place. I keep a small note close to my monitor that says, ‘The most creative thing you can do for your people is run a successful business.’ This is a daily reminder, and about the highest level of responsible design there is to my team and family. Without them it’s difficult to help others.” BEDTIME READING Speaking of conflict, our 32nd stock visual survey lacks any. I always hope for controversy when we tally the results of our reader polls because bad news sells. Believe it or not, for decades the annual stock survey crackled with tension because archival imagery was seen as an existential threat to artistic creativity and originality. And, later, even when stock went mainstream, the offerings were criticized for lagging behind a more fluid and diverse American society. But in 2018, not so much. Broadly speaking, our poll finds that everyone uses stock stills and video across media and accepts the basic value proposition. This is a good thing for designers who need imagery to feed today’s visual hunger. It’s not a good thing for a magazine article that provides gentle insights, reassuring statistics, pleasant conclusions. Maybe pick it up just before bedtime if you are having trouble sleeping. DEFINITELY, MAYBE Speaking of sleep, we don’t get much around here which gives us time to load up on content. Thus, in addition to the above features, you will find our annual Health+Wellness Design Awards showcase, which has blossomed into a big and beautiful exploration of how design can advance physical, mental and community well-being; a mind-expanding interview with SCAD President Paula Wallace on trends in design education; the fruits of our Design-A-Cover Challenge which took place during this hot summer and is just plain cool; and more. So please enjoy this issue of GDUSA, independent since 1963 and definitely not interested in meeting with tech billionaires about joining Time or The Atlantic as the latest periodical to become a plaything of the wealthy. (Well, maybe, just a brief meeting.)
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October 2018 TOC Impo_SEPT 07 TOC/Staff 10/8/18 1:41 PM Page 4
CONTENTS | OCTOBER 2018
10 FRESH The scoop on an interactive ice cream museum; new magazine is no place for men; Chobani packaging reframes yogurt as condiment; Goodwill positioned as fashion resource; iconic tennis stadium nets new identity; and much more.
26
RESPONSIBLE DESIGN This special report continues our practice of shining the spotlight on designers who exemplify the values of social responsibility and sustainability. It’s a stunning roundup of people, firms and organizations motivated to ‘design for good’.
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DESIGN-A-COVER The summer, to underscore the importance of digital printing and digital papers, GDUSA conducted this special challenge. Hundreds of designers submitted proposed covers of GDUSA that take advantage of the strengths of digital print and show how the right paper enhances the outcome. You can see the judges’ choices here
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STOCK VISUAL SURVEY Over the years, we’ve documented stock imagery’s move from marginal to mainstream to an absolutely essential. The 2018 results suggest that creatives continue to use lots of stock imagery, and are largely satisfied with the quality, quantity and direction of the content.
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HEALTH + WELLNESS AWARDS The annual GDUSA Health + Wellness Design Awards™ competition honors graphic excellence in this fast-growing, hugely important, and high-profile segment of the economy. The 2018 winners showcase features more than 100 projects leading firms, ad agencies and departments ranging from traditional medicine and healthcare to healthy lifestyles and nutrition to public health challenges.
98
FOCUS Savannah College of Art & Design’s President Paula Wallace on
GDUSA - Graphic Design USA Volume 55 / No. 5 September/October 2018 Kaye Publishing Corporation (ISSN0274-7499/USPS227020). Published 6 times a year with combined issues in January/February, March/April, May/ June, July/August, September/October, November/December. Executive, editorial and advertising offices at 89 Fifth Avenue, Suite 901, New York NY 10003. Phone: 212.696.4380, Fax: 212.696.4564, www.gdusa.com. SUBSCRIPTION: Domestic, $72 one year. International, $140 one year. Periodicals postage paid at New York NY and additional mailing office. POSTMASTER: Send address changes to GDUSA - Graphic Design USA, PO Box 3072, Langhorne PA 19047. Permit #224.
trends and values in design education and how SCAD continues to evolve, grow and succeed.
WWW.GDUSA.COM
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October 2018 TOC Impo_SEPT 07 TOC/Staff 10/8/18 1:56 PM Page 6
A SPECIAL THANK YOU TO . . . DOMTAR Domtar is the exclusive sponsor of the 2018 “Responsible Designers To Watch” feature and, appropriately, the text of this special edition of GDUSA is printed on Cougar® 70 lb. Text, Smooth Finish. Renowned for its velvety surface, Cougar is the premium paper that amplifies a brand’s passion, personality and purpose. Long trusted by the creative and print communities alike, Cougar gives you the power to transform your best ideas into visually stunning printed pieces with vibrant color, sharp images and consistent press performance. In addition, the printers and creatives who print on Cougar have helped Domtar donate hundreds of thousands of dollars to the World Wildlife Fund. This partnership communicates that Domtar understands the value of biodiversity, sustainability and equality. For a copy of the latest Cougar promotion visit papr.domtar.com/Luxury-10 ERICKSON STOCK The annual Health + Wellness Design Awards™ is sponsored by Erickson Stock, the premier source for highquality, emotional lifestyle imagery. Erickson Stock is the work of renowned, award-winning Creative Director and Photographer Jim Erickson. For decades, Jim and his team have created authentic, character-driven moments for hundreds of blue chip clients demanding the best in high-end photography and video content. His ability to capture the truth of the human spirit is reflected in his assignment work and in the stock collections, long regarded by graphic designers as some of the finest stock imagery in the world. With collections including Healthcare, Seniors, Family, Business, Travel and many more, there are countless ways to tell stories for your brand with Stills or Video. www.ericksonstock.com
WILL BURKE
MOHAWK Mohawk sponsored this summer’s Design-A-Cover challenge. Mohawk is North America’s largest privatelyowned manufacturer of fine papers and envelopes which are preferred for commercial and digital printing, photo specialties and high-end direct mail. These include the signature brands Mohawk Superfine® and Strathmore®, as well as proprietary treatments Inxwell® and i-Tone®. With a culture of innovation reaching back to its beginning in 1931, Mohawk is committed to providing materials that help make every printed project more beautiful, effective and memorable. mohawkconnects.com
ABOUT THE COVER Jessica Teal has held design posts at the U.S. House of Representatives, National Gallery of Art, Democratic National Committee, and as a Design Manager for Barack Obama's first presidential campaign. After that, she started Teal Media as a “full-service creative agency with a conscience.” Responsible Designers To Watch starts at PAGE 26.
GD USA GRAPHIC DESIGN USA
Gordon Kaye Publisher
ART & PRODUCTION Ilana Greenberg Creative Director Rachel Goldberg Production Director Jay Lewis Photo Editor
ADMINISTRATION & READER SERVICES Althea Edwards Accounts Manager Rachel Goldberg Competitions Jennifer Hoff Scott Sczcypiorski Internet Services Julia Imershein Nolan Roth Circulation
EDITORIAL Gordon Kaye Editor Sasha Kaye-Walsh Associate Editor Charlotte Kaye E-News Editor FOUNDER Milton L. Kaye (1921-2016)
ADVERTISING Ron Andriani Executive VP 201.485.8720 212.696.4380 randriani@ gdusa.com
COVER PAPER CREDIT: The cover of this edition of GDUSA is printed on FSC-certified Kallima Coated Cover C2S, part of the
Kallima Paper family of FSC-certified coated cover paperboard, manufactured by the Tembec Paper Group. A leading advocate
Gordon Kaye Publisher 212.696.4380 gkaye @ gdusa.com
of sustainability, Kallima Paper has a distinct low-density high-bulk construction resulting in less trees used and significant cost savings to the customer. Contact: http://www.kallimapaper.com
COPYRIGHT 2018 BY KAYE PUBLISHING CORPORATION
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FRESH | CHOBANI TUBE TURNS YOGURT INTO CONDIMENT
NEW BERLIN NY Chobani has added Chobani Savors to its product line.
Packaged in a squeezable tube, similar to ketchup, the yogurt is essentially turned into and reframed as a condiment. To inform and educate consumers that yogurt can indeed be used as a condiment, Chobani Chief Creative Officer Leland Maschmeyer created specific packaging to show what the product is and how it is to be used. Previously, the brand had only two formats for plain yogurt, cup and tub. The result is a minimalistic design featuring typography and minimal patterns. “Squeezable Greek Yogurt” sits at the top of the tube, followed by only natural ingredients and Chobani Savor brand name underneath. www.chobani.com
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Printed images simulated. © 2018 Canon U.S.A., Inc. Canon and imagePROGRAF are registered trademarks of Canon Inc. in the United States and may be trademarks or registered trademarks in other countries.
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FRESH | NEW MAGAZINE TAKES WING
NEW YORK NY Pentagram has created the brand identity and
editorial design for No Man’s Land, a magazine introduced by The Wing, a high-profile network of co-working and community spaces for women. The tagline sets the tone — “The magazine for women with something to say and nothing to prove” — and the design builds off a brand identity executed by Pentagram earlier for The Wing itself. Published biannually, No Man’s Land is a platform to give The Wing a place to voice different thoughts and perspectives outside its life as a physical space ? a mix of essays, profiles, conversations and features about everything from current events and politics, to art, design and fashion. Emily Oberman’s graphic language for the magazine is intended to mirror the many and varied personalities of women: fonts change from title to title, letterforms in the masthead widen and shrink, playful and colorful double page spreads introduce interviewees, and the latest issue even includes a package of stickers. Oberman describes the design as “a multifaceted, highly visual approach that is fun, witty and self-referential, and draws on the sassy voice of The Wing branding to put an unexpected, feministcentric twist on standard magazine tropes — but is not a parody.” pentagram.com
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FRESH | ARTHUR ASHE STADIUM NETS NEW IDENTITY
FLUSHING NY As part of a 50th anniversary initiative, the US Tennis Association commissioned a new identity by brand
design firm Chermayeff & Geismar & Haviv for The Arthur Ashe Stadium. The stadium is home to the annual (and recentlyconcluded) U.S. Open Tennis Championships. An elegant wordmark evokes the silhouette of the architecture and the building’s retractable roof, while other elements of the new identity are intended to expand public recognition of Ashe's legacy as the first African American to win the men's singles at Wimbledon and the US Open, and the first African-American man to be ranked number one in the world. “Creating a distinct identity for Arthur Ashe Stadium is a way to honor and amplify the incredible legacy of this great player, person, and pioneer,” said Nicole Kankam, USTA's Managing Director of Marketing. cghnyc.com
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FRESH | THE SCOOP ON AN INTERACTIVE ICE CREAM MUSEUM
BROOKLYN NY Ample Hills Creamery is drawing positive reviews
from ice cream lovers for an engaging visitor experience created by design studio C&G Partners at their new ice cream factory in the Red Hook section of Brooklyn. “The story behind Ample Hills Creamery plays a significant role in what makes the company different, interesting and successful,” says Keith Helmetag, co-founder and partner at C&G. “We developed a range of design elements to articulate their unique narrative and engage factory visitors in a way that’s informative and entertaining.” That story includes how the husband and wife duo Brian Smith and Jackie Cuscuna became ice cream purveyors as well as the manufacturing process and the company’s local roots. The experience centers around a self-guided plant tour with observational views onto the factory floor and selective stops along the ice cream making process. Interactive display stations along the way are shaped to match the signature spoons in the lids of Ample Hills pints. Custom-made overhead light fixtures resemble downward-facing oversized ice cream scoops, and an ice cream-inspired color palette is used for lighting and lettering. cgpartnersllc.com
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FRESH | MORLA MONOGRAPH COVERS FOUR DECADES
SAN FRANCISCO CA Legendary graphic designer Jennifer Morla has
teamed up with nonprofit Letterform Archive to create Morla : Design, a monograph that spans her 40-year career. The subject of a successful Kickstarter campaign earlier this year, the publication is expected to be fully available this coming January and can be pre-ordered on Indiegogo. With a preface by Paula Scher and foreward by Erik Spiekermann, the book promises to be an important reference guide and inspiring collection of projects, stories, advice, and typographic wisdom. Encased in white vegan leather and printed with eight inks, the content showcases work for major brands and institutions including Levi’s, Design Within Reach, Herman Miller, Swatch, SFMoMA, the Mexican Museum and some 150 projects in all. Morla was voted by her peers as one of the most influential designers in the world in GDUSA’s 50th anniversary edition. morladesign.com
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FRESH | DOCUMENTARY REVEALS PLAYBOY’S ART PAUL
MILL VALLEY CA MoraQuest Media has announced the October
premier of a new documentary entitled “Art Paul of Playboy: The Man Behind the Bunny” at the Mill Valley Film Festival. The film chronicles the life and artistic impact of Paul, founding art director of Playboy magazine, including his legacy as creator of the brand’s iconic bunny logo. The documentary posits that his thirty-year tenure at Playboy changed the landscape of the two-dimensional magazine, and at the same time revolutionized the relationship between art and publishing. Through conversations with Paul himself, archival footage and imagery, and interviews with artists, graphic designers, art directors, and magazine executives, the life and accomplishments of the man and his art are revealed. This is the feature-length film debut of director Jennifer Hou Kwong. www.mvff.com
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FRESH | MODERN HOTEL BRANDING INSPIRED BY ANCIENT LAND
JAFFA, ISRAEL In the 4,000 year old port city of Jaffa, a new hotel
called The Jaffa has just opened in an extensively renovated 19th century hospital. More than a decade in the making, the project was spearheaded by real estate developer RFR Holdings which, in turn, tapped Jay Schwartz of IdeaWork Studios to create the branding. Seeking inspiration from the ancient land, including its most famous export, the Jaffa orange, Schwartz utilized a restrained golden palette of browns, coppers, and creams. “Ultimately, I wanted to create a brand with a sense of place – a brand you couldn’t pick up and put somewhere else,” says Schwartz. “At every touchpoint, I wanted each guest to know they were somewhere truly special.” Schwartz created all facets of the project from typography — a hand-altered type, which has a heritage that's clean and modern, yet rooted in history — to the logos, signage, the hotel compendium, menus, keycards, coasters, wine labels, hangers, laundry and hair dryer bags, amenity packaging, pens, all business forms, water bottles, even shoe horns. Schwartz' studio has a long track record in the hospitality and luxury industries. Architect on the project was John Pawson and historian was Ramy Gil. www.ideawork.com
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FRESH | TAKING THE DUNKIN’ BRAND BEYOND DONUTS
CANTON MA Long a rumor, Dunkin' Donuts has of-
ficially announced a rebrand. The company will now be known simply as Dunkin' as it jettisons the word “donut” for broader horizons. Global brand design agency Jones Knowles Ritchie (JKR) worked alongside agency partners BBDO New York and ARC Worldwide to reflect a clearer focus on serving “great coffee fast” and providing a range of food offerings, while leveraging customer loyalty by retaining the familiar colors and font that date back to 1973. Packaging, advertising, website, and social channels are on the agenda as is exterior and interior signage. Says JKR North American CEO Sara Hyman: “The redesign ushers in a contemporary innovative era while retaining the nostalgia of an iconic American brand...” Adds Tony Weisman, Chief Marketing Officer, Dunkin' US: “By simplifying and modernizing our name we have an opportunity to create an incredible new energy for Dunkin'.” jkrglobal.com
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RESPONSIBLE DESIGNERS TO WATCH SPONSORED BY DOMTAR As a complement to our perennial and popular special reports — “People To Watch” (newsworthy creatives) and “Students To Watch” (rising graduates of note) and “Educators To Watch” (influential teachers) — we have added an annual “Responsible Designers To Watch” to the editorial mix. Growing organically out of our longtime “green design” coverage, we are responding to the fact that more and more designers are embracing responsibility writ large in terms of how sustainably they create and produce, yes, but much more broadly how, when, why and for whom they work. The common thread is that these are creative leaders using design principles, talents and skills to make the world a better place as they see it. And, in 2018, it is especially fascinating since it is all happening against the backdrop of a raw and undeniable hunger for change emanating from left and right and all points in between. This feature, and these developments, dovetail nicely with our own 55 year effort to praise and elevate graphic design as a valuable tool for shaping commerce and culture.
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COREY GUTCH MICHAEL ELLSWORTH GABRIEL STROMBERG PARTNERS, CIVILIZATION, SEATTLE WA
ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES IN 2018? The current state of affairs in the world is overwhelming, there are no shortage of challenges. Here are a few projects we recently have been or are currently involved with which address these challenges: In response to the drug epidemic in the U.S., we worked with drug and
Civilization was built on a collaborative foundation of three, and over the years has grown into a small, passionate team of nine, that specializes in building identity systems, digital experiences,
addiction experts to build a platform called Drugs Over Dinner that encourages visitors to gather family and friends around the table to engage in a compassionate conversation around drugs and addiction.
printed materials, environmental graphics, exhibitions and cam-
Women’s reproductive rights are under attack. To help take the
paigns. We work with partners committed to creating positive
conversation back we teamed up with Shout Your Abortion to build
change in the service of building community, promoting social
a digital platform where people can share their personal stories with-
change, and advancing culture.
out shame. The platform received last year’s Webby Award for Best
Our practice is a recipient of the National Design Award for Com-
Activist Site.
munication Design from the Cooper Hewitt, Smithsonian Design
America is the world’s largest jailer, bail has criminalized poverty,
Museum in honor of “excellence, innovation, and enhancement
African Americans are criminalized at a rate of five times that of
on the quality of daily life.” Our work is included in the permanent
whites – the justice system is in need of radical reform. We are cur-
collection of SFMOMA and the Milton Glaser Design Archives
rently working with JustLeadershipUSA, a NYC-based non-profit,
at SVA and has won numerous awards including a Webby Award
dedicated to cutting the US correctional population in half by 2030.
for Best Activist Website.
The climate is warming at an unsustainable rate, natural disasters
Building and fostering community is an integral part of our
are more intense and frequent, and people feel understandably pow-
mission. We regularly produce a series of public programs that
erless. The Nature Conservancy is working on a global scale to take
celebrate the diverse history of design, which both inform our
meaningful climate action, conserving our lands and waters, defend-
practice and inspires our work. Our design lecture, our gallery,
ing nature through policy, working with corporations and communities
our interviews bring together local and global design communi-
to think sustainably. We recently launched a Washington-based
ties to explore our shared beliefs, stimulate conversation, and
campaign called Every1 to encourage people to take incremental
discover solutions that strengthen the community and help affect change. We have been fortunate to work with organizations such as the National Head Start Association, The Nature Conservancy, Shout Your Abortion, The Museum of History & Industry, SFMoMA, and The Biennale of Sydney.
actions in their daily lives. In response to Trump’s inhumane zero tolerance policy we designed protest posters to encourage more people to call for an end to family detentions. These posters were screen printed and available for free at our gallery or free to download on our site.
HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? The ability to communicate and connect in such a simple and dynamic way is one of the elements that makes visual design such a powerful tool. Before we started Civilization, we bonded over the designers who inspired us, and most all used design as a platform for radical social change — M&Co., Pushpin Studios, Sister Corita Kent, Ken Garland, Gran Fury. Throughout history, there are countless examples of people using the power of visual communication as a catalyst to build community, to start movements, to inspire action. We recognize that while design alone isn’t the answer, it can help amplify a message and reframe a conversation. PARTNERS LEFT TO RIGHT: COREY GUTCH, CO-FOUNDER & PRINCIPAL; MICHAEL ELLSWORTH, CO-FOUNDER & PRINCIPAL; AND GABRIEL STROMBERG, CO-FOUNDER & CREATIVE DIRECTOR PHOTO: ANNETTE CHEUNG AND SUMMER-LEE SCHOENFELD
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LUXURY WITHIN REACH
Your creative vision brought memorably to life. This is luxury.
To request a copy of Domtar’s latest promotion Cougar – Luxury Within Reach, visit: papr.domtar.com/Luxury-10
Cougar® paper is made from the highest, most exacting standards— reproducing vivid color, rich blacks, luxurious solids and exceptional skin tones. With three finishes, two colors, matching envelopes, an extended digital offering and a vast array of sizes and weights, Cougar can turn any project into a luxurious experience.
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The Source of a Strong Brand Reputation For weeks, you’ve been focused on the design of an important printed piece for your client. You’ve thought of every last detail and how it can affect your message—the design and typographic choices, the color palette, the tone of the messaging, the paper texture, shade and weight, perhaps even the full omni-channel experience. But, have you considered how the products you choose to bring your creative ideas to life could affect your client’s brand, either negatively or positively? Written by Ashley Maydak, Brand Marketing Manager, Domtar Paper
D
esigners and printers are in a unique position to help clients strengthen brands through strategic messaging and sustainable sourcing. Here are a few ways you can help the brands you serve boost environmental efforts, form meaningful partnerships and communicate more positively with their target audiences.
Choose Your Partners Wisely Partnering with organizations that promote causes important to a brand’s audience can have a positive effect. Today, environmental non-governmental organizations (NGOs) monitor company activities closely, including sourcing of forest-based products like paper or farm-based products like soybeans. The most successful brands don’t see these organizations as threats, but as potential partners. Domtar was a pioneer in environmental certifications for paper and continues to routinely partners with the Rainforest Alliance, World Wildlife Fund and other NGOs, leveraging their expertise to advise on topics like supply chain sourcing. But, Domtar’s commitment to sustainability goes far beyond certifications. The sustainability of our natural resources and North American communities has always been one of the company’s core values. For instance, Domtar’s Dryden Mill has hosted a conservation camp for over 60 years that has taught local high school students about sustainable forest management. The Windsor Mill owns and manages 400,000 acres of forestland that is sustainably managed, welcoming campers, hikers and recreational fisherman to enjoy these well-preserved forests. As a founding member of the Appalachian Woodlands Alliance, Domtar is helping to provide sustainable forest management tools and expertise to small, private landowners to increase the amount of sustainable forests in the Southeastern United States. Because designers and printers source paper, envelopes, ink, promotional items and other products on behalf of their clients, they play a direct role in choosing positive partnerships. Seek out partners that not only collaborate closely
with NGOs, but truly demonstrate that they live their values. The insight gained as a result can often help you better connect with existing or new customer bases.
Responsibility Starts at the Source Choosing partners that align with brand values, like fair labor, social responsibility and conservation, can make a big difference in the way a brand is perceived. For example, Starbucks has earned acclaim by responsibly sourcing coffee beans, using sustainable materials in its packaging and supporting fair trade. The creatives and printers who print on Domtar’s Cougar® brand of paper, for instance, have helped Domtar donate hundreds of thousands of dollars to the World Wildlife Fund. This partnership communicates that Domtar understands the value of biodiversity, sustainability and equality. While graphic designers and printers may not control the entire paper sourcing supply chain for a company, they can select paper products that have a positive impact on the environment.
Keep An Open Line of Communication Printers and designers can help brands get the word out about contributions they are making in their communities and the world. Highlight positive efforts, such as reduced energy consumption, volunteer work or responsible choices in the products the company chooses to use, in company communications like annual reports, brochures and websites. After all, no one will know about the good things your brand is doing if you never tell them.
What Goes Around Comes Around Brands which do the right thing get noticed. Companies that take care of their people and help their planet not only gain internal camaraderie, they gain a competitive edge. Even if the cause doesn’t relate directly to every customer, it could certainly lead to a greater respect for the brand, and ultimately more opportunities. The biggest reward, however, is helping your clients make the right choices, even when no one else is watching. It’s the definition of integrity—and it’s what a good reputation is all about.
In addition to creating exceptional paper, Domtar is also dedicated to delivering the value of print and paper to printers, creatives and marketers in a fashion that’s relevant to how they use our products every day. From inspiration, to thought-leading interviews, to tactile how-tos, Domtar’s Blueline Magazine is a resource for innovative ideas, perspectives and possibilities. To learn more, visit https://papr.domtar.com/Blueline-Magazine10
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2018 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? My first foray into designing for good occurred during my studies at the University of Cincinnati, where I designed the universal access symbol for the sight, hearing and physically-impaired to help re-define how people look at each other and at the world. Twenty-five years later, the wheelchair access symbol is now becoming the standard wayfinding symbol for universal access. It has inspired designers across the world; it’s also now emblazoned across all New York City taxis. While we might focus on the visual characteristics of this symbol, its real power is in the changing of attitudes. While focusing on the person, instead of the disability, it becomes a message of empowerment rather than a societal label. Therein lies the power of design; in all its forms, it can be an effective tool for changing perceptions and associations. At Lippincott, some of our most meaningful projects are the ones where we’ve been able to use the power of ideas, design, and language to solve the problems that matter while making people’s lives a little easier. As a firm, we are committed to a host of deserving not-for-profit causes including Potential Energy,
BRENDAN MURPHY SENIOR PARTNER DESIGN LIPPINCOTT, NEW YORK NY I was born and raised in Dublin with three sisters, a brother, and, in true Irish fashion, a million cousins. After coming to the United States for college, I received
AIGA’s Double or Nothing initiative, L’Arche and Creative Art Works. ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES OR DEMANDS IN PURSUING THESE GOALS IN 2018?
my master’s degree in design from the University of Cincinnati. Lippincott followed
I had coffee recently with a friend who needed to use
soon after, and I’ve been here for over 23 years, helping clients visually and
the disabled parking spot. The spot was so narrow
verbally tell their stories as a Senior Partner in our design practice. Lippincott is
that it was incredibly difficult to get out of the car,
a creative consultancy specializing in brand and innovation, with a passion for solving clients’ toughest challenges through a proven combination of strategic rigor and design excellence. The firm was founded in 1943 and really pioneered the branding industry as we know it today. From Coca-Cola to Samsung and Starbucks to Delta, we’ve shaped some of the world’s most iconic brands of our time by driving growth and adding meaning to customers’ lives.
and somewhat ironically, the access point to the shop was up a flight of steps. As designers we have an opportunity, if not a responsibility, to think through the broader experience and make it better, for everyone. The concept and application of access can still be quite nebulous, especially as we enter the digital world. As designers it’s easy to get caught up in the more functional aspects of design, like color contrast. But we can’t lose sight of the inclusive intent. The bigger opportunities that digital enables will include everything from voice-based technologies to autonomous vehicles. But in all of these, we can’t lose sight of the person.
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HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? After grad school, I returned to my home of Houston TX and shortly after came across the opportunity to do graphic design, videography and photography at the Houston Food Bank. I loved the idea of using my skills and education to further a cause and make an impact. Someone once asked me what the difference is between marketing for non-profits versus for-profits. I truly believe that, broadly speaking, the goals are actually the same: increasing awareness and increasing funds. The difference is that for nonprofits, obtaining those goals has further implications. The people who benefit from the services your organization provides are actually aided by collateral that you design if it encourages even one person to become a donor, volunteer, or advocate. ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES OR DEMANDS IN PURSUING THESE GOALS IN 2018? Food banks used to be simply in the pushing out calories business. The mission was just to give people food as efficiently as possible. As the approach has evolved over the years and particularly within the 5
MAGGI MASSAD PARADEIS COMMUNICATIONS MANAGER HOUSTON FOOD BANK, HOUSTON TX The Houston Food Bank is a solution to both hunger and food waste. In the year following Hurricane Harvey, the Food Bank distributed 122 million nutritious
years I’ve been at Houston Food Bank, we’re starting to realize that food distribution is just a part of what we can do to help people in our communities. Hunger doesn’t exist in a vacuum, feeding people is just a piece of the puzzle. At Houston Food Bank, we’re working toward addressing the bigger picture, not just providing food for today but providing ways for
meals through its network of 1,500 community partners, including food pantries,
our community to change their lives for tomorrow.
soup kitchens, social service providers, and schools in southeast Texas. I’ve been
We are not only striving to distribute mostly nutritious
at the Houston Food Bank for five years this October. I’ve always said my design
food, but we are also working toward addressing
career started at age 10 when I designed a t-shirt for my school play. From then
other issues to help break the cycle of poverty by pro-
I was always designing fliers and advertisements for events at school. When I
viding other services such as connections to chronic
attended a pre-college arts program at 15 at University of the Arts in Philadelphia
disease management and financial literacy programs,
I was introduced to Adobe Illustrator and became totally hooked. Afterwards, in my free time I would spend hours drawing in Illustrator, honing my vector illustration skills. I received my B.A. in Media Studies from Pitzer College where I also discovered a love for filmmaking, photography and social justice. After college, wanting to try something different, I headed to Melbourne, Australia where I received a Master’s degree in Multimedia.
nutrition education, hot meals for kids and teens, and even school supplies for teachers. This continuing evolution and change in the ways we best serve the community present unique and exciting challenges in how we, as marketers, approach our design, our language, and our materials in general.
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2018 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? A couple years out of college, I moved to Washington DC. I thought DC would be a ‘short stop’ along the way so I figured I better live up the “DC experience” and applied for a job at the U.S. Capitol. I was hired as the Design Specialist for the nonpartisan Office of the Clerk at the U.S. House of Representatives. A few years later, I saw a job posting for a “progressive organization seeking a designer,” applied, and was offered a position with the Democratic National Committee (DNC). This was a tipping point for me. At the DNC, I was able to see how my designs could contribute to the national conversation. I have found that design is a particularly effective tool to motivate action because the design process often prompts our clients to make organizational change decisions involving their evolving mission, structure, methods, and relationships. Design allows you to imagine your ideal end state, and that naturally leads to and inspires rethinking almost every aspect of the present.
JESSICA TEAL PRINCIPAL, TEAL MEDIA, WASHINGTON DC/ROYAL OAK MI I’ve been designing in service of social change for almost 20 years. I honed my skills in designing for social good in lead design roles at the U.S. House of Representatives, the Democratic National Committee, Blue State Digital, and the National Gallery of Art. Then, in 2008, I was asked to join Barack Obama’s campaign as Design Manager (one of only two female leads in the New Media department). There, I oversaw a powerful design team who produced the bulk of everything you saw during the campaign — from the podium signs to the website
One example is our work with Greenpeace USA. Teal Media transformed Greenpeace USA’s web presence from an outdated, unfocused homepage into a highlyengaging website showcasing their bold personality and demanding user action. A successful launch established the new look as the model for Greenpeace chapters worldwide. ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN 2018?
and microsites, to print brochures, email graphics, and fun things like t-shirts,
Today, more so than a decade ago, there is a lot
car magnets, and even airplane wraps. It was the job of a lifetime, and a life-
more “noise” to break through on social media,
changing experience. There was no going back.
email, and other communication platforms. More
I could not imagine that working for someone else would bring the same amount
change. Plus, there are people just as passionate,
noise requires more time and effort to affect real
of energy and fulfillment as my work on the Obama campaign. I opted to go out on
innovative, and dedicated as you working on the
my own and to design for issues, causes and organizations I cared about. I never
other side of issues. Changing someone’s heart and
intended to start a business. I was only doing what I loved for what I felt was
mind is a long-term play. People today want to see
important. I promised myself I would stay faithful to the lessons and values of the
instant results, but that isn’t the way social change
campaign, which is why we describe Teal Media as a “full-service creative agency
comes about. To make an impact, you need to be
with a conscience.” We believe purposeful design can transform organizations,
relevant and timely, but it’s just as important to be
inspire action, and enable progress. We are committed to quality, dedicated to our clients’ missions, and offer research-driven solutions. These characteristics, our approach to design, and our amazing, diversified staff is clearly working well for us – Teal Media will be celebrating our tenth anniversary in 2019!
memorable, consistent, and persistent over the long run. The best way to overcome obstacles is to build long-term partnerships and make design decisions rooted in research and grounded in strategy. When we work closely together with our partners over time, we’re capable of producing amazing results.
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HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? As designers, we have the tools to communicate in the most immediate and effective ways. We have the opportunity to not only do good, but to mobilize others to do good. That's an opportunity that should be taken advantage of. Social responsibility has always been at the core of my design work — starting with school projects on nuclear disarmament to my majority non-profit clients at Pentagram, starting For All Womankind, all the way through to my current work at the Wing. The Wing’s mission is the professional, civic, social, and economic advancement of women through community, which is something I really believe in and get to contribute to every day. One of the many reasons I joined The Wing full-time was to make advocating for women my full-time job. I'm hiring and mentoring young female designers in an environment that empowers them. I want to create space for more female designers to grow into leadership roles. There are so many female designers
DEVA PARDUE CREATIVE DIRECTOR, THE WING, NEW YORK NY My name is Deva Pardue and I’m the Creative Director at The Wing, a network of work and community spaces for women. I’m originally from Ireland and graduated from the School of Visual Arts in 2011. From 2012 to 2016, I worked at Pentagram in New York under the direction of Emily Oberman and in 2016, shortly after the presidential election, I founded For All Womankind, a design
but so few in executive level positions. ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN 2018? Yes! The Midterms present a huge challenge and opportunity. More than ever before we need to get people to the polls for this election, a lot depends on it. There are also more women running in this
initiative for fempowerment, through which I’ve donated $25,000 to non-profit
election than in any other in American history so this
organizations fighting for women’s rights and empowerment.
is a real opportunity to get more equal representation in our government. I believe the Trump presidency is
I started work at The Wing in September 2017 as the Design Director — with no
a threat to our country, the environment, our children,
designers — and have since built a design team of seven. I was recently promoted
and to world diplomacy — taking back the House
to Creative Director and I now oversee inhouse design, brand, magazine, and
and the Senate this year is crucial.
retail teams. The Wing is a fast growing company with many branches and the creative team is needed for all them; we work on design and copy for events, retail, marketing, environmental signage, food and beverage, and editorial projects to name a few! PICTURED: THE WING DESIGN TEAM, LEFT TO RIGHT: ROSIE NABEREZNY, ABBY CARLSON, NINA LILLIEBJERG-HEDER, MICHELLE SHEKARI, CHELSEA WILLIAMS, MAYHA SOLTANI, DEVA PARDUE, KIRSTIN HUBER, ADRIANA GALLO
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2018 | RESPONSIBLE DESIGNERS TO WATCH Give a Brand! is an exercise in “extreme branding” — with all the work done in one day, all hands on deck, for one underfunded nonprofit. It’s like a brand barn raising. By concentrating our efforts on a single annual event, we are able to do a lot more for the client because we aren’t spreading ourselves thin. Our work gives the client the tools they need to raise awareness and funding. And thanks to generous vendors/sponsors, the nonprofit walks away with things like printed materials and a fully functional website. Design is an especially effective tool for this goal. A nonprofit organization might have an amazing mission, but if it can’t get the word out, it can’t make real progress. Good design provides both clear communication and credibility. ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OR OBSTACLES IN 2018? In the past year, we’ve seen an uptick in environmentally minded for-profit businesses, which is great. We redesigned the brand identity, website, packaging, and sales collateral for Rodeo Plastic Bag & Film. They’re a Texas-based company that produces high quality contractor bags and custom plastic bags
BRETT TRAYLOR CO-FOUNDER AND SENIOR PARTNER THINKSO CREATIVE, NEW YORK NY Brett cofounded Thinkso with business partner, Elizabeth Amorose, in 2006. The “content-driven” creative agency values editorial content and artful design in equal measure – designing and writing everything inhouse, for a wide range of industries including hospitality, finance, medicine, consumer goods, legal, athletics, and nonprofit. Brett provides creative direction on all of Thinkso’s projects. HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? We didn’t start Thinkso to save the world — and after nearly 13 years, we still don’t claim to dedicate our business solely to sustainable or socially responsible initiatives. But giving back and supporting causes we believe in is super important to us. Initially, we did a lot of one-off pro bono projects for social causes and tiny nonprofits. We loved the energy it brought to the studio, but it got to the point where reconciling the workload with paying projects presented a challenge. So we came up with a more disciplined way to integrate do-gooding into the studio. We call it Give a Brand!® PHOTO: MATTHEW SEPTIMUS
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from recycled agricultural plastics that prevent millions of pounds of plastic from reaching landfills each year. Currently, we’re working on a redesign of Singing Prairie Farms, a network of regenerative pig farmers who are reinventing the way pork is farmed so that it actually reverses global warming. Their approach produces a healthier, tastier produce and the grass-fed pigs are treated really well. Another opportunity, ironically, came out of the Trump election and #MeToo movement. We created the identity, website, and content for #MonumentalWomen, a campaign to raise awareness and funding to erect the first statue honoring a woman in Central Park. It subsequently attracted great corporate sponsors — New York Life and Johnnie Walker — and the statue is on track for a 2020 reveal.
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HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? I have always been involved in my community through volunteer work, as well the decision to have LDM in-kind a portion of our services to non-profit clients throughout the decades. As a parent, I know that the next generation inherits what we leave for it, and I take that responsibility seriously. Succeeding generations are dependent on us and our dedication to sustainability and resilience. ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OR OBSTACLES IN 2018?
FOUNDER & CREATIVE DIRECTOR LENTINI DESIGN & MARKETING, LOS ANGELES CA
For the year ahead, I see these special challenges: given that global warming is scientifically indisputable, it is imperative that we –– as individuals and businesses –– help create a more sustainable, resilient future for all. The key to change is education. Our company’s efforts, social media visibility, interviews that share statistics and knowledge, and other marketing channels all allow accessible and clear education about the importance of social responsibility and the impact even a single individual can make. Of course, there are obstacles that we must continue to circumvent. With the attempted rollbacks in environmental protection at the federal level, it’s even more important now that California continues to lead in that area.
I founded Lentini Design & Marketing (LDM) in 1990 as a woman-owned branding
Our LDM Team consists of myself (Principal and
HILARY LENTINI
and marketing firm. Our offices are in Historic West Adams, a neighborhood in
Creative Director), Allie Cormier (Senior Account
Los Angeles. We work with established B2Bs, non-profits, public sector, and green
Executive), Michelle McAllister (Senior Project Co-
sector clients. We utilize a proprietary process that enables clients to rediscover
ordinator), Stephanie Stillings (Associate Project
their magic, re-envisioning their brands and their print and online presence via
Manager), Leanna Hanson (Lead Print and Website
websites, social media including geo-interest targeting, and email campaigns.
Designer), Keith Hollingshead (Lead Programmer and Software Engineer), Alan Altur (Website Production
LDM has served clients in the green sector for over 15 years. We support several
and SEO Manager), and AJ Lentini (Social Media
workforce development clients, who are creating curricula to educate for green
for LDM and in my personal life: my better half!).
jobs. Drawing from this deep experience, it was a natural to move in the direction of social responsibility with a sustainable focus. Designing for social good presents a profound and meaningful way for us to make a difference. For example, we’ve assisted Los Angeles County Metropolitan Transportation Authority (LA Metro) in communicating how it is building LA’s transportation infrastructure in sustainable, responsible ways to reduce traffic congestion and improve quality of life for all Angelenos. This includes creating outreach collateral, reports, digital marketing, video trainings and more. PICTURED LEFT TO RIGHT: AJ LENTINI, TALIA LENTINI, MICHELLE MCALLISTER, ALLIE CORMIER, LEANNA HANSON, JUDI WHEELER, KEITH HOLLINGSHEAD, HILARY LENTINI, ALAN ALTUR, AND STEPHANIE STILLINGS
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2018 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? Tandem’s co-founders began their careers as inhouse designers at non-profits. That led to experience in education, public policy, and political communications. The first night Shaun and Scott met, they discussed affecting substantive change through communication design and the barriers to success faced by even the most impassioned attempts like Milton Glaser’s “It’s Not Warming, It’s Dying” campaign. It was only natural from the outset that Tandem would pursue work that advocates for social causes. The role design plays in a culture is constantly changing and the meaning of the word “design” itself has evolved over time. Similarly we exist in an evolving global economy built increasingly on attention. In the “WHO WHAT WHY” of information vying for our attention, design is the first touchpoint to all three questions. The democratization of technology makes targeted communication a constant. The best ideas can only rise to the top if they’re recognizable as such, and in order to be acted upon, they need to be
SCOTT STARRETT + SHAUN GILLEN CO-FOUNDERS/PRINCIPALS TANDEM, NEW YORK, NY
noticed in the first place. The indistinguishable relationship between form (design) and content was eloquently described by Paul Rand: “When form dominates, meaning is blunted but when content predominates, interest lags.” Our firm was responsible for creating the visual
Tandem is a small but mighty communication design studio forged on the principal
identity and communications collateral for the
that the same persuasive techniques used in marketing and advertising should
Alexandria Ocasio-Cortez congressional campaign in
be used to advance the greater good. Our clients work with us because we care,
New York’s 14th District. In the case of the Ocasio
and we do our best work when they care too.
campaign branding, Alexandria is bold and her aspi-
PICTURED ABOVE: LEFT TO RIGHT: CARLOS DOMINGUEZ, DESIGNER;
it would be representative of a larger movement so we
SHAUN GILLEN, CO-FOUNDER/PRINCIPAL; MARIA ARENAS, DESIGNER;
didn’t shy away from highlighting that and we com-
SCOTT STARRETT, CO-FOUNDER/PRINCIPAL
municated honestly on her behalf. We researched
PHOTO TAKEN IN FLAT'S FIX, THE TACO SHOP WE MET ALEXANDRIA OCASIO-CORTEZ
similarly bold movements of the past and iconic
IN WHILE SHE WAS BARTENDING.
rations were even bolder. If she pulled it off, we knew
figures who succeeded in capturing the support and imagination of the many. In the case of the Ocasio campaign, the most vital components of the design process came down to understanding, deep understanding. Understanding our friend, understanding what she needed to stand for, understanding the people and the movements that came before her, and understanding the community and constituents she speaks on behalf of. Once we had the ethos baked into the visuals, the brand evolved into something
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larger than we ever could have imagined, but the identity held up and served its purpose throughout the primary campaign. We received positive attention from our work on the Ocasio campaign, but more interesting to us is that it sparked a broader discussion of communication design in political campaigns. This isn’t new to designers of course, but whenever the mainstream takes an interest in effective design, we all benefit. We
d e x a l e r e r 100% mo trees e r o m % 8 5
continue to do work with new campaigns and plan on working with the Ocasio campaign through the election. We’ve also been lucky enough to develop relationships with some extremely admirable and forward-thinking organizations. We are, for example, very proud of a campaign we recently completed with Planned Parenthood and look forward to whatever's in store for Tandem. ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN 2018? These are unique times for a number of reasons, but the current collision between technology and ideology has created something unprecedented in human history. Information is vast and attention is finite. We’ve seen the emergence of dominant tech giants like Facebook and Apple. We’ve become acutely aware of the battle for our attention, and boycotting brands and holding them accountable is a new form of advocacy. That said, we believe that change can ultimately come only when people are civically engaged. People often ask us how they can make a difference; our answer is for them to donate their skills. Some of us at Tandem volunteer with a group named Progressive Hacknight here in New York, a technologist meetup designed to promote activism and engagement across the political spectrum. It all boils down to promoting civic engagement one way or another. In particular, we have to get citizens to vote. What’s special about this moment is that people are more activated than ever. The 2017 women’s march was the largest single-day protest in US history. This is our moment. We all have the opportunity to alter the course of human history through our involvement in the democratic process. In order to design a compassionate, inclusive, and healthy society, we need to first think about how
Did you know that ther erre e arre e now 58% morre e trrees ees growing o in U.S. forrests ests than † 60 years ago. Paper is made from renewable wood… good news if you love spending a leisurely afternoon reading. †
U.S. Depar tment of Agriculture, 2012
we can reach the most marginalized and unengaged among us and invite them to participate in our system of governance. Design can play a vital role in the revolution of participation.
JOIN NOW! TTwo wo Sides Sides iiss a an n iindustry ndustr y iinitiative nitiative tto o promote pr omote tthe he rresponsible esponsible use use o off pri print nt and a nd p paper. aper. ttwosidesna.org/ wosidesna.org/ how-to-join-two-sides h ow-to-join-t wo-sides
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2018 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? I’ve always sought a career that has an impact on the greater good. I find inspiration all around but especially in nature. The glorious flowers that color our world and the plants that yield our food don’t just happen. Pollinating bees make them possible. When I learned of their endangerment, I knew I wanted to bring attention to this issue. Our agency created the Free to Bee campaign, which I championed and helped execute. Our hope was that this campaign would generate buzz about these winged wonders. Providing simple suggestions to help bees thrive made it easy for anyone to take action in their own backyard. We created a microsite and using social media, email blasts and press releases, invited one and all to wing their way over. A sharable video, set to the sound of Flight of the Bumblebee, added to the fun. Visitors plant virtual gardens for bees. They scroll over objects and little-known facts pop up. For example, did you know that honeybees never sleep and their fasterthan-the-eye wings stroke 11,400 times a minute?
MEGHAN WOLFE
The site communicates bees’ vital role in pollinating
ART DIRECTOR GRETEMAN GROUP, WICHITA KS
flowers fruit trees and crops. Whimsical graphics
Meghan Wolfe speaks softly but wields a mighty design wand. The way she waves it is to create order, arrest attention and move hearts, well, it’s practically
and playful animation make learning fun. In addition to the site, Greteman Group made a donation to Botanica, the Wichita Gardens. Its 18 acres of wildflower meadows, canopied woodlands, formal
magical. The young designer has risen to the rank of art director in her five years
gardens and water features offer sanctuary for pol-
with Greteman Group, a creative shop that serves clients around the globe. When
linators and humans alike.
Wolfe chose the field of graphic design, she plunged in, determined to shake things up. She experiments. Seeks unconventional solutions. Explores nuances of color and typography. Creates work that vibrates with vitality.
ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN 2018? As of August, a ban on pesticides linked to declining bee populations has been lifted, which poses a grave threat to pollinating insects. And climate change continues to pose a threat to bee colonies. Beekeepers reported an increase in honeybee deaths over the last year, citing abnormal weather patterns as the possible cause. The battle is far from over. We must do what we can to protect our pollinators. Which means Free to Bee will continue to be relevant for some time to come.
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This past year I spent a lot of time on design and illustration for a new book called Wowsdom, created to empower young women. While the words of advice and backstories of the women who contributed to the book are inspiring and comforting, presenting them in a colorful, vibrant and easy-to-read format has contributed to the book becoming an Amazon bestseller. As I mentioned above, I’ve also pursued several selfinitiated projects. I worked with Summer Wood, a fellow artist and friend, on a project called 100 Days for LGBcuTIes, highlighting a wide spectrum of LGBTQIA individuals working towards a safer and more inclusive Jacksonville. We created 100 portraits of people working to pass a new Human Rights Ordinance (HRO). As each portrait and accompanying narrative was shared through social media, people involved in this emotional struggle told us they felt less alone, more supported, more visible. In 2017 the Jacksonville City Council voted to expand the HRO to prohibit discrimination based on “sexual orientation” and “gender identity.” Another local community example: Since I’m passionate about voting awareness, I have worked with other local artists and high school students to pro-
KAREN KURYCKI ART DIRECTOR/ILLUSTRATOR, CMYKAREN, JACKSONVILLE FL My name is Karen Kurycki. I am an independent art director/illustrator based out of Jacksonville FL, working under the name CMYKaren. There are two main themes to my life: expressing ideas through art and design and working to make a difference. While I have represented a wide range of clients and corporations over the past 15 years, I especially enjoy working with small local startups as they establish their identity and brand. A significant amount of my time has been spent with nonprofit organizations in Jacksonville, helping raise awareness so they can survive and thrive to help the community. I've also created a handful of selfinitiated projects that impact my community directly.
duce campaigns that encourage young people to participate. In 2015, I helped create the Jax Young Voters Coalition, a bipartisan young professionals group that encourages involvement. Some of my design for good has evolved from my close association with AIGA over the past 13 years. I am particularly proud of co-founding a high school mentoring program — Discover Design — that has grown and flourished here in Jacksonville. ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN 2018? We're all exhausted and frustrated by the current
HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES?
divisive political climate. It takes passion and energy
Designing for good is just something I have always done. As a preschooler I made a
The greatest urgency is to continue to do the work,
paper sculpture of a body to decorate my pediatrician’s office and in high school I
and to do it with compassion and civility. This includes
helped found an organization that paired students with volunteer opportunities all
reaching across the aisle and treating others with
over Rochester NY where I grew up. My talents are in art and design and so I naturally
kindness, no matter how hard that might be. We
use them as tools to call attention to and perhaps bring about change within the com-
must continue to help young people understand
munity. As designers I feel we have the responsibility and ability to help so many —
that their voice matters and that it can be raised to
the possibilities are endless for collaborating to make our communities better.
create change.
to be creative and sometimes that is hard to find.
One organization I worked closely with for many years is Rethreaded. Kristin Keen and her team work helping women coming out of the sex trade to turn their lives around by employing them and offering recovery services. The visibility of that organization and its outreach has grown immensely and I am very proud to have had a role. G D U SA 39
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2018 | RESPONSIBLE DESIGNERS TO WATCH
GEORGE AYE + SARA AYE
work on complex problems in new ways. Since then, we've com-
PRINCIPALS GREATER GOOD STUDIO, GRAND RAPIDS MI
we just published our final report for a recent project for the Robert
Greater Good Studio is a strategic design firm focused on advancing equity. We do this by co-creating human-centered programs, tools and strategies, and by teaching design to
pleted over 90 engagements with over 50 clients ranging in issue from public education, criminal justice, and healthcare. For example, Wood Johnson Foundation called, Raising Places. Our team worked in six communities (a mix of tribal, rural, and urban settings), in an effort to build child-centered communities across the US.
changemakers in organizations and communities. We have a
ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN 2018?
team of nine full-time Pissed-Off Optimists, split between
Itâ&#x20AC;&#x2122;s a very exciting time to be working in social innovation. Just in
Research, Design and Operations. Our backgrounds are varied
the last few years, weâ&#x20AC;&#x2122;ve seen an enormous growth in the number
pulling from fields like public health, graphic design, engineer-
of organizations bringing human-centered design to the social sector.
ing, fine arts, architecture and business. We believe in the
We've also seen a growing appetite from social sector change makers
capacity of all people to create solutions that improve society.
who are specifically seeking out design methods as source of insight
We envision a world where there is opportunity to do so re-
and innovation which was not apparent even just a few year ago.
gardless of race, gender, income, age or zip code.
Despite these two trends, we believe that there still a large number of designers who are technically proficient in their skillsets but lack
HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES?
an understanding of power and privilege. This gap in their training
Both my co-founder and I had careers working in design consulting
think the best way to bridge this gap is to learn from our peers in
before starting the studio. During that time, we saw how, as design-
anthropology, social work and community organizing. These disci-
ers, we have enormous influence over behavior, but our clients at
plines and others, understand power and privilege intimately and
the time were only asking for help in response to complex business
our ability to work alongside them that may prove to be the new
problems. So in 2011, we founded Greater Good Studio to serve
frontier for this field.
leading change makers in the social sector who were looking to
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can becomes a liability when working on complex social issues like affordable housing, immigrant rights and maternal health. We
october2018green_Layout 7 10/8/18 11:06 AM Page 43
2018 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? Although the three of us followed varying paths to our current roles, ultimately aligning our personal values with the work we do has led each of us to the ACLU. We share a commitment to doing work that provides a sense of purpose that is bigger than ourselves. In the non-profit and policy space, few organizations have dedicated resources for design to happen inhouse. Everyday we advocate for the power of visual communications. In these polarized times, it is up to us, as creatives, to strategize ways to bridge the gaps, and tell stories in ways that change people’s hearts and minds. Strong design can be a powerful driver of social change. We stand by that, using design to mobilize and empower people in order to protect our rights. ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN 2018? Our civil rights and liberties are under attack as never before. From the first Muslim ban to the ongoing family separation crisis, we’ve been fighting back. Now more than ever, many are counting on the ACLU to use its voice and visibility to make the most impact. In the visual culture of 2018, the need to stand out
ANNE HACKETT NEIL SHOVELIN ASTRID DASILVA DESIGN TEAM, ACLU, NEW YORK NY For nearly 100 years, the ACLU has been the nation’s guardian of liberty, working in courts, legislatures, and communities to defend and preserve the individual rights and liberties that the Constitution and the laws of the United States guarantee everyone in this country. Whether it’s achieving full equality for LGBT people, protecting immigrants’ rights, establishing new privacy protections for our digital age, ending mass incarceration, or preserving the right to vote or the right to have an abortion, the ACLU takes up the toughest civil liberties issues to defend all
with compelling design (especially as a non-profit) has become an integral part of our communications strategy. Our rebrand in September of 2017, provided an opportunity to reset ACLU’s visual identity, allowing for a more cohesive and stronger brand voice. The organization is going through a period of rapid growth and it’s exciting to see our capacity to push back being enhanced. The ACLU will soon mark the one hundredth anniversary of its founding. And beyond the current political period, as before it, the words of co-founder Roger Baldwin are worth bearing in mind: “no fight for civil liberties ever stays won.” While we continue the fight, there isn’t a more fulfilling use of design than to speak to our shared humanity and try to create a more equitable and just world.
people from government abuse and overreach. With more than 2 million members, activists, and supporters, the ACLU is a nationwide organization with affiliates in all 50 states, Puerto Rico, and Washington DC working to safeguard everyone’s rights. We are a three-person design team located in the National office, working in close collaboration with digital and communication teams. PICTURED LEFT TO RIGHT: ANNE HACKETT, NEIL SHOVELIN, ASTRID DASILVA
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2018 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? Design is essential for solving our most pressing problems, because it brings with it an understanding of whole systems and can identify the flaws and opportunities in the components of the system. Many of our problems, from plastic waste and transportation’s contribution to global warming, to the lack of accountability of corporations to shareholders, stem from system flaws. With system design, if we considered how our systems would function if we started from scratch, we can identify how our systems need to change. No other discipline can identify root causes and solutions with the same efficiency as design. For the ecosystem of social impact entrepreneurs to thrive, we each need to serve our network of contacts. We help out wherever we can. Often times, that is nothing more than providing a helping hand for an afternoon to paint an office, hosting summer interns, reading a grant application to review its experimental design and flow, or supporting a Kick-
ANDREW CHEPAITIS PRESIDENT ELIA LIFE TECHNOLOGY, PBC, NEW YORK NY
starter. We do what we can. Our in-house socially responsible activities include having reusable lunch containers that our take-out places accept, recycling bins, daily meditation, and
Our company’s aim is to help people achieve their fullest potential by providing
using heat and air conditioning only when necessary,
them with resources that are designed for their unique abilities. We are especially
and even then at temperatures that are lower in the
focused on helping people who have a visual impairment. To enable them, we use
winter and higher in the summer. We are a for-profit
human centered design to develop literacy tools, such as a new tactile alphabet that is an alternative to braille and a printer that can print full tactile graphics. The alphabet is called ELIA Frames and it can be learned in a few minutes. It is important because 99% of the visually impaired cannot read braille. But they can learn ELIA Frames in an afternoon. The majority of these readers lost their
public benefit corporation (PBC) and consistently access how we can do better for the environment and society. Shortly we will be moving our banking accounts to Amalgamated Bank; they are, in many ways, a model for how to do well while doing good.
vision after years of reading print and are otherwise fully literate. Yet they struggle
From a systems design approach, I’ve always been
needlessly against many of the same challenges as do people who have limited
impressed with Kiva. They do amazing work and their
literacy. Our new tools can help people overcome educational, employment, and
system perpetuates gains in society through small,
independence obstacles and live happier and healthier lives. To achieve our goals we collaborate across the STEAM (Science, Technology, Engineering, Art, and Math) fields – our team includes people from industrial/organizational psychology, behavioral neuroscience, engineering, industrial design, media, statistics, education, policy and health care.
measurable outcomes. In product design, I love the work that WearWorks has done in developing the WayBand — a navigation device for the blind. The technology is an impressive integration of components. Their fieldwork to test and optimize their technology has been intense, with a recent successful demonstration during the New York City Marathon.
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our local United Way and YMCA chapters to our area nature center. We also support long-time client Michigan State University College of Human Medicine with communications work for Parkinson’s, Alzheimer’s and Woman’s Health research, as well as branded work for their annual Gran Fondo cycling event for skin cancer research. We’ve worked to promote First Steps Kent, an early childhood readiness program and created the identity and collateral work for 20 Liters, which brings sustainable clean water solutions to sub-Saharan Africa. HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? Cause-related, PSA’s and charitable work has become part of our DNA at ECP. We feel that effective advertising and design is critical to these organizations to help them stand out in a cluttered philanthropic landscape, and to make people think, take a position and hopefully take action. There is nothing more rewarding than when our work rings the bell and produces a return. It satisfies the artist and busi-
ROB JACKSON
nessperson in us, but also something deeper —
PRINCIPAL AND CREATIVE EXTRA CREDIT PROJECTS, GRAND RAPIDS MI
never do. Of all the cause and public service work
something money, awards and business success can we have going at any time, we typically highlight
Rob Jackson launched Extra Credit Projects (ECP) on April Fools Day of 2006
one key cause each year. This is currently Guiding
off a passion for giving extra, years of industry experience, and an ear for a cool
Light Mission, which works to help local men recover
name. But this project started well in advance: DBA papers were registered back
from addiction and find sustainable work and housing
in 2000 upon the realization that those who approach every job with an entrepre-
in Grand Rapids MI. Another interesting niche is our
neur’s energy probably won’t be moonlighting for long. Today, ECP’s blend of smart directors, designers, storytellers, digital natives, media mavens and social butterflies are on a mission to create extraordinary work for extraordinary causes and brands. This hybrid, cross-disciplined group has over 50 years combined experience and has won over 300 industry awards. Jackson was a 2013 GDUSA Person To Watch and in 2016 was awarded the American Advertising Federation Silver Medal Award.
partnership with client OAAA (Outdoor Advertising Association of America) since our earliest days to create messages that address worldwide or national tragedy, emergency relief, anniversaries like 9/11 and other important causes. We have also crafted dozens of tributes over the years for the likes of President Gerald and Betty Ford, Muhammad Ali, Nelson
“Never let us tire of doing good” is a biblical scripture we have always kept posted
Mandela, Steve Jobs and others. Some even say
in our studio, but we don’t really talk much about design for good or try to classify
we created this category back in late 1990s. Our
certain work as socially responsible. It just has always been a part of what we do and who we are. Globally we have worked with YemenCrisisWatch.org and our
most recent tribute project for Aretha Franklin ran in Detroit and Times Square.
branding work with Our Daily Bread is represented in over 40 countries worldwide. Nationally we have collaborated with the Ad Council of New York, promoted foster care for United Methodist Family Services in Richmond VA and have worked for several years with the Los Angeles-based Will Rogers Institute, Motion Picture Pioneers Foundation, and Brave Beginnings, advocating for life-saving neonatal equipment and grants to hospitals. Locally we have supported everything from
EXTRA CREDIT PROJECTS TEAM, SUMMER 2018
G D U SA 45
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2017 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? Growing up, I knew I wanted to be an artist of sorts. In our home there were no limitations. My family was supportive from a very young age and let me dive into a plethora of visual arts — drawing, painting, sculpting and even experimenting in design on a Windows-based Photoshop 7, leading me to pursue a degree in Communication Design. While attending Milwaukee Institute of Art & Design (MIAD) I was eager to lend my art and design abilities for good, designing posters for book drives, brochures for youth organizations, logos for literacy programs, and more. As I honed my skills, I realized what really inspired me: fueling connections through the visual language of design. Good design has the capability to spark a feeling or an emotion. It can motivate people to do something or bring people together for a cause. Right after graduation in the summer of 2008, I lost a friend to AIDS and found that cause. I couldn’t sit still. I became involved by joining an AIDS Walk Wisconsin team that September. As a team member, I was approached to design our shirts as a fundraiser.
MICHAEL BURMESCH
The shirts were a hit! I remember receiving compli-
GRAPHIC COMMUNICATIONS MANAGER AIDS RESOURCE CENTER OF WISCONSIN, MILWAUKEE WI
it be awesome if someday you were the graphic
ments at the Walk and a teammate said, “Wouldn’t designer for AIDS Walk Wisconsin?” Little did I know
I am the Graphic Communications Manager for the AIDS Resource Center of
then, after a few years of captaining our team and
Wisconsin (ARCW). We recently merged with Rocky Mountain CARES (RMC) in
raising funds, I would join the ARCW family in May
Denver and Saint Louis Effort for AIDS (EFA) in Missouri to enhance and expand
2011 as inhouse Graphic Design Coordinator. Since
programs and services for people at risk and living with HIV. These locations now
then I have championed the organization’s graphic
have an HIV Medical Home, a model of healthcare created by ARCW in 2011. The HIV Medical Home offers integrated health and social services, including medical, dental, mental health and pharmacy services, along with case management and social support provided by a team of professionals dedicated to patient care. ARCW is also a leading provider of innovative and aggressive prevention services for at-risk individuals.
communications. Through the conceptualization and design of patient/client collateral, including print, digital and website media, as well as donor-based event marketing graphics, invitations, annual reports and philanthropy appeals, my work impacts the successful outcomes of the patients we serve. It’s rewarding to engage in a mission I care deeply about. ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN 2018? In light of the Denver and St. Louis mergers, my role as a graphic designer has expanded, giving me the opportunity to work on campaigns and collateral in these regions even as our reach and range of services — like our HIV Medical Home and our promising new PrEP prevention strategy — become wider and deeper.
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HOW AND WHY DID YOU COME TO USE DESIGN TO ADVANCE SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES? After spending nearly 10 years as a graphic designer in professional sports and entertainment, my passion for designing for good spurred a change in my career path. I joined OCHD in February 2015 and quickly became immersed in the world of public health, which was in stark contrast to my prior experience. I now work on projects educating our residents on everything from HIV to infant safe sleep to the opioid epidemic. Most health departments in Michigan do not have a graphic designer in their health education team. I am fortunate that my administration understands and values the importance of quality design to reach our target populations. They know that residents need to be visually interested by the communication piece to understand the message. For example, Michigan is currently in the midst of a hepatitis A outbreak. Often times, the visuals I design for our health educators to distribute are the first line of defense and assist in preventing the spread of disease. It is rewarding to know that my work can help inform
LONA BENTLEY GRAPHIC DESIGNER OAKLAND COUNTY HEALTH DIVISION OAKLAND COUNTY, MI
someone and maybe even save their life. ARE THERE ANY SPECIAL CHALLENGES, OPPORTUNITIES, URGENCIES, OBSTACLES IN 2018? There are obstacles in every job but working in local
Oakland County Health Division (OCHD) is the local health department for
public health presents its own set of challenges.
Oakland County MI and provides health services for the public, businesses, and
There are funding and staffing limitations compared
educational communities. OCHD focuses on preventing the spread of disease;
to an advertising agency or private sector organization.
ensuring a safe and clean environment; promoting and encouraging healthy
As a government agency, every piece we publish has
behaviors; preparing for emergencies; surveillance of disease threats; and ensuring accessibility of health services. The Health Division identifies real public health issues affecting the community and addresses needs with cost effective services. As OCHDâ&#x20AC;&#x2122;s graphic designer, staff and administrators rely on me to create visual messages to educate and reach the public. It is my responsibility to translate their public health research, data, and health/safety recommendations in a way
the potential for scrutiny. This means that there is a comprehensive review process to ensure quality, which can impact deadlines and timeliness of public health messaging. However, working in public health has given me opportunities to introduce new design techniques and branding standards to the agency. We are working on rebranding public health in Oakland
that attracts attention and allows our diverse community to understand the public
County and ensuring that our materials are culturally
health message. The Health Division recognizes that good, responsible design is
competent to meet community needs.
essential to fulfilling their mission.
Project1_Layout 1 7/25/18 3:29 PM Page 1
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© 2018 Adobe. All rights reserved. Adobe and the Adobe logo are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries.
October 2018 Digital Cover Contest_feb news play 10/8/18 10:53 AM Page 49
DIGITAL PRINT COVER CONTEST SPONSORED BY MOHAWK This summer, to give designers an opportunity to learn more about digital printing and how the right paper selection can enhance digitally printed projects, GDUSA editors conducted the 2018 Digital Print Cover Contest. The challenge: to design a cover of GDUSA that takes advantage of the strengths of digital printing and papers. From more than 200 entries, two winners and 21 honorable mentions were selected. The sponsor is Mohawk: this fourth-generation, family-owned and operated business is known for its commitment to providing materials that help make every printed project — be it digital, offset, packaging or even letterpress — more beautiful, effective and memorable. ABOUT THE WINNERS DON CARTER A/K/A EDGAR ALLAN SLOTHMAN In 1830, with watercolors, pastels, pen & ink, and gouache, John James Audubon set out to paint every bird in America. Eighteen years later, his monumental effort resulted in the massive tome, Birds of America consisting of 435 life-size, hand-colored prints. In 2010, an original 4-volume edition of Birds of America fetched $11.5 million at Sotheby’s. In 2012, illustrator Edgar Allan Slothman set out with an Apple computer to reinterpret Audubon’s Birds of America in his own simplified, graphic style. Slothman is the pop art persona of award-winning ad agency creative director Don Carter of Adams & Knight in Avon CT. “For every print,” explains the artist, “I look for ways to break it down in some way. Often it is with geometric simplification or repeat patterns. For some, I create an entirely new color palette pushing beyond from the original as far as I can go. But in all, I stay very close to Audubon’s original composition. What struck me most about the Gyrfalcon was not only the very graphic boomerang-like outline of its body, but also the pattern of spots and bars spread across the anterior of the wing coverts and continuing over the back and rump. I could have very easily used a geometric pattern to mimic this, but something about the starkness of the spots against the all-white bird reminded me of ink spots ... maybe found on the arm of a colonial 'printer’s devil.' And that notion took me down the path of early 'spot illustration' engravings and 'printers’ marks” reminiscent of vintage tattoos. Gyrfalcon is printed on Mohawk Superfine Eggshell Digital with i-Tone Ultrawhite 100 cover. KIM BROWN-IRVIS Kim Brown-Irvis is a graphic designer at Hyphen Digital in New York where she takes the lead on creative design and print production projects such as medical ad campaigns, European trade show booth production design, advertorials, brochures, and package video design. Before joining Hyphen, Kim was a graphic designer at Solgar Vitamins and Minerals, a graphic design manager at Lutheran Medical Center, and an art director for corporate projects at the College Board. She has also held art director posts at Creative Impact Communications and at GO&A Marketing Communications. Kim is a highly creative, award-winning art director/designer with a special expertise in conceptual design and communications goals, and she pays attention to detail. Of the cover shot, she says “these Utah Juniper Pines are one of the native trees growing at Bryce Canyon National Park in Utah. I was hiking in the park in September 2017 when a summer storm came through and the sunlight touched this tree in a particular way that caught my eye. I wanted to show this tree bark in black and white to highlight the Juniper Pine’s beauty. I love trees, and these trees on the top plateau of Bryce Canyon National Park are magnificent!” Tree Bark is printed on Curious Collection Metallics Digital with i-Tone Ice Gold 111 cover. G D U SA 49
October 2018 Digital Cover Contest_feb news play 10/8/18 10:54 AM Page 50
MESSAGE FROM MOHAWK DIGITAL PRINTING IS A COMPROMISE NO LONGER Digital printing used to feel like a compromise. Now it’s come of age — and is spreading its wings. This statement is found on the opening pages of Mohawk’s newest Maker’s Field Guide. And sets the stage for a printing tour de force created to reintroduce designers to the world of digital printing.
A Maker’s Field Guide to Digital Materials and Processes was created by Hybrid Design of San Francisco to complement Mohawk’s ongoing series of educational Field Guides. Third in the series, this new Field Guide was designed to demonstrate the flexibility of the latest digital printing presses through print demonstrations showing both paper and non-paper materials. “The new maker needs to work smarter and faster; this means considering design beyond the screen — using materials and processes to translate ideas into physical experiences,” observes Dora Drimalas, Principal and Executive Creative Director at Hybrid. “From speed to iteration to experimentation, digital printing is a tool that has evolved to meet the nimble needs of the new maker. It’s time we started thinking big(er) about print.” A Maker’s Field Guide to Digital Materials and Digital Processes recasts digital printing as an answer to the agility of modern workflow. It meets the needs of faster timelines, “The new Maker’s Field Guide to Digital Materials and Processes is the latest expression of Mohawk’s ongoing commitment to demonstrating the pivotal role materials play in the success of any project designed for print,” said Chris Harrold, Sr.Vice President, Marketing & Creative at Mohawk. “This edition should prove to designers that digital printing is no longer a compromise, but a sophisticated, agile means to produce beautiful print on an impressive range of materials from fine paper to durable synthetics.”
50 G D U SA
collaboration, iteration, personalization and the everclimbing expectations for beauty supported by function. In short we are at a moment in time where the tools for printing are catching up to the needs of the new maker.
October 2018 Digital Cover Contest_feb news play 10/8/18 10:55 AM Page 51
The entire 71 page book, including the cover and dust jacket, demonstrates 22 different digitally printed materials and is organized in three useful and high-impact sections: INTRODUCTION/MAKE GOOD GREAT This section provides an introduction to the harmonious relationship between ideas, materials and process, including a printed demonstration of the top three digital print techniques followed by an eye-catching composition showing a diverse range of materials from durable paper to magnets readily available from Mohawk. PRINTED SAMPLES/MATERIALS WITH PURPOSE This section features six unique sample projects; each suggesting how to use paper in combination with a specialty or a synthetic material. A range of printing techniques from simple single color to wide format inkjet as well as high ďŹ delity, full color printing demonstrate just how far digital print has evolved. Leave your bias at the door, each print sample project is sure to open your eyes to new possibilities. RESOURCES/BECOME THE DIGITAL PRINT EXPERT Besides offering a short-hand summary of the preceding 59 pages of the book, this section is loaded with inspirational and educational resources along with tactical tools designed to get you from ideation to making in the here and now. Starting October 30 get your copy by reaching out to your Mohawk sales rep or your local Mohawk distributor, or to purchase visit mohawkconnects.com/inspiration/field-guides.
G D U SA 51
October 2018 Digital Cover Contest_feb news play 10/8/18 10:55 AM Page 52
DIGITAL COVER CONTEST | HONORABLE MENTIONS
BOUQUET
DESIGNERS RESPONSIBILITY?
DIGITAL LIGHT MAGIC
Barbara Kosoff
Soudabeh Memarzadeh
Kathleen Guerrini
Barbara Kosoff Design + Illustration
NSA+D
Drexel Hill PA
Santa Monica CA
San Diego CA
DIGITAL THINKING
FAR OUT
FLY
Brian Sabalinski
Cindy Ha
Amanda Acevedo
Bcreative Design
Chandler AZ
Chicago IL
Clinton Township MI
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October 2018 Digital Cover Contest_feb news play 10/8/18 10:56 AM Page 53
KIBBLE N 8-BITS
LOVE POTION NO. 9
MIDNIGHT STROLL
Erik Borreson
Lauren Hodges
Barry Barnes
Erik Borreson Design
Madison AL
Trained Eye Graphics Emmett ID
Stevens Point WI
PIERRE THE ARTIST
PIXEL EAGLE
SIGNS ON THE ROAD OF LIFE
Timothy S. Kump
Edgar Allen Slothman
Barbara Kosoff
Bullet Communications
West Hartford CT
Barbara Kosoff Design + Illustration
Joliet IL
Santa Monica CA
G D U SA 53
October 2018 Digital Cover Contest_feb news play 10/8/18 10:56 AM Page 54
DIGITAL COVER CONTEST | HONORABLE MENTIONS
SPLASH
THE OLD MILL
THE RAMEN DIET
Tess DelďŹ na Nicole Velez
Denise Brown
Lauren Hodges
New York NY
ad-cetera graphics
Madison AL
Portsmouth NH
TOUCAN
USA COLOR CHIPS
VOTE
Melanie Robles Berrios
Randy Richards
Meghan Dee
University of Puerto Rico
RandyRichardsDesign
Professor
Bayoman PR
Noank CT
Virginia Tech Blacksburg VA
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WIND FARM
UNTITLED
UNTITLED
Peggy Hellem
John Sposato
Nathan Stock
Four Winds Graphics
John Sposato Design & Illustration
[fn NODE]
Sherrodsville OH
179 Hudson Terrace
Los Angeles CA
Piermont NY
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October 2018 Stock IMPO_Mar 07 Top Stock BK2/5 10/8/18 10:49 AM Page 56
October 2018 Stock IMPO_Mar 07 Top Stock BK2/5 10/8/18 10:50 AM Page 57
| 32ND ANNUAL |
STOCK VISUAL READER SURVEY BY GORDON KAYE
EVERYONE IS USING STOCK AND MORE OF IT Whenever it is time to summarize and capture the essence of our reader survey results, my fervent hope is that I can find — or even fabricate — something new, something edgy, something trendy, something surprising, something controversial. No such luck with our 32nd annual Stock Visual Reader Survey, which reaffirms that pretty much everyone uses stock imagery, that creatives are actually using more of it, and that we are mostly satisfied with the quality and quantity and direction of the content. To be specific, 93% of respondents say they use stock imagery in their work. And 64% say they are using more stock now than in the recent years as opposed to only 15% saying they use less. Not everything is static, of course. For example, business and industryrelated images topped “people” as the most frequently licensed category for the first time in decades. Search capability is more valued than ever when choosing a stock provider. And no one seems to care about having exclusive rights to an image; exclusivity was once a hot-button issue for stock users. In short, the 2018 survey reaffirms that, in the three-plus decades that GDUSA has intently observed this market segment, stock usage has fully evolved from marginal and sketchy to mainstream and trusted. Polarizing disputes of the past about stock’s impact on artistic integrity, creativity and originality appear to have evaporated, leaving a sense of positive calm acceptance. Ommmmm.
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STOCK VISUAL SURVEY | TEN OBSERVATIONS
HERE ARE A FEW TAKEAWAYS:
1
ESSENTIAL RESOURCE Stock visuals are a vital creative resource for graphic designers, transitioning over decades from a last resort to an essential tool. Why? There are a thousand reasons that boil down to a single core explanation. Society and business has become more visually hungry and more visually sophisticated at the same time that creative businesses are squeezed by
tight budgets, short turnarounds, challenging assignments, multiple media, demanding clients and digital workflow. Stock visuals offer a solution because the central value proposition
choice, content, accessibility, affordability, convenience and speed
dovetails
perfectly with the intense demand for more imagery. There has rarely been such a convergence of a product and its times.
2
EASE OF USE In 2018, creatives say that stock imagery is just plain better in terms of quality, quantity, selection, subject matter, affordability, search and delivery. This, of course, varies from provider to provider, but the overall result is an abundance of choices at a range of price points delivered by an increasingly robust infrastructure. Put simply, the right image is
easier to find, access, license, use and repurpose.
3 4 5
LEGITIMACY ACHIEVE Conceptually related, stock has achieved legitimacy. This may not be news to a new generation of designers, but it is stunning in the broad historical sweep given the stigma that hung over the industry in its early years. Today stock providers are perceived as necessary – indeed desireable – professional partners, collaborators, even trendsetters.
MORE IMAGERY MORE OFTEN While it is no longer a surprise that stock visuals are popular, what continues to amaze are the soaring levels of use. This year, more than nine-in-ten designers report licensing or buying stock visuals; one-third say they turn to it more than 100 times a year; and, trendwise, nearly two-third of respondents say the trend is to using stock “more often” as time goes on.
DESIGNERS ARE DECISIONMAKERS The 2018 survey demonstrates, once again, that creative professionals are the decisionmakers with regard to source, imagery and method of license. After all, they are creating the content and trying to stay within budget. Thus, virtually everyone is invested in the decision. What are the primary reasons for selecting a particular stock provider? Price, quality,
searchability, freshness and brand reputation top the rankings. A small surprise: quantity is less highly prized than in the past, perhaps because there is simply so much supply to chose from.
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6 7
BIG SCREEN SEARCH On what devices do designers search and license? Desktops and laptops still largely hold sway as the preferred choice for image search. There is a slight uptick in smartphone use for this purpose but, generally speaking, creatives remain more comfortable looking for and evaluating imagery on larger screens.
FILLING THE VOID In the beginning, stock visuals were licensed solely for print. Today, it goes without saying that creatives work in and across multiple channels, that stock images are frequently licensed for use across media, and that every time a new channel emerges — like social media platforms today — stock licensing fills the visual void. At the same time, licensing
for print has not disappeared: fully 100% of respondents said they license stock for print work.
8
BUSINESS FRIENDLY For 32 straight years, two categories — “People” and “Business/Industry” — have topped the survey. For the first time in forever, business-related imagery rose to number one. Feel free to speculate: is it a growing economy or a businessfriendly administration or a fear of tariffs and trade wars? Less speculative is the continuing trend toward breadth: in all,
more than two dozen identifiable subject categories registered significant activity. Check out the list and note that “Health/Wellness” and “Sports/Fitness” continue to climb. Again, feel free to speculate.
9
FLUIDITY FLOURISHES For years, greater diversity and inclusiveness has been on the designer wishlist. According to survey respondents, that wish is becoming a reality. Generally, the lodestar for judging “diversity” has been racial, ethnic, religious, gender and age inclusiveness within stock collections. More recently, the concept of fluidity has also entered the lexicon, referring
to changes in social mores that are reshaping lifestyles, workplaces, institutions, behaviors and traditions as well as demography. On both accounts, GDUSA readers believe the stock agencies are doing a better job of reflecting real life and embracing this value in their collections. Perfect no, progress yes.
10
LET’S GET SOCIAL The dominance of social media is transforming – disrupting – the way all communicate. In this year’s survey, nearly two-thirds of designers – 63% to be exact – report using stock imagery for social media. This tends to place a priority on images that are simple, clear, user-friendly, and capture attention fast. Needless to say, it is driven by short attention
spans and small screens. Traditionalists have long worried that these developments are diminishing the quality, craftsmanship and professionalism of photography and design. Frankly, we see ever-fewer traditionalists left and even they are resigned to the inevitable, if not inspiring, change.
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STOCK VISUAL SURVEY | THE NUMBERS
DO YOU OR OTHERS IN YOUR COMPANY USE STOCK IMAGERY IN YOUR WORK?
MAIN REASONS INFLUENCING YOUR USE OF A STOCK VISUAL SITE/PROVIDER? TOP 10 IN ORDER OF FREQUENCY
93% 71% 40% STOCK PHOTOS
STOCK ILLUSTRATION
| | | | | | |
PRICE
STOCK VIDEO/ FOOTAGE/ANIMATION
4 | 5 | 5 | 7 | 8 | 9 | 10 |
FRESHNESS QUANTITY BRAND/REPUTATION SITE DESIGN SPECIAL PROMOTIONS ADVICE/TRENDSPOTTING EXCLUSIVITY
1
HOW OFTEN DO YOU USE IMAGES OR FILES DURING THE COURSE OF THE YEAR? 1-5 TIMES
6-10 TIMES
11-20 TIMES
21-50 TIMES
51-99 TIMES
100+ TIMES
4%
3%
22%
15%
20%
34%
SEARCH CAPABILITY
QUALITY
3
2
WHAT SUBJECTS/CATEGORIES DO YOU USE MOST FREQUENTLY? TOP 25 IN ORDER OF FREQUENCY
FOR WHICH TYPES OF MEDIA DO YOU LICENSE STOCK IMAGERY? BUSINESS + INDUSTRY
98% 79% 41% 36% PRINT
DIGITAL, ONLINE + MOBILE
TV, FILM + VIDEO
| 4 |
HEALTH/WELLNESS
| 5 |
LIFESTYLES
| 6 |
SPORTS/FITNESS
| 7 |
COMPUTERS/TECHNOLOGY
| 8 |
NATURE
| 9 |
FOOD/BEVERAGE
| 10 | ARTS/CULTURE/ENTERTAINMENT | 11 |
1
POP + PACKAGING PEOPLE
EDUCATION
| 12 | HOLIDAYS/CELEBRATIONS
CONCEPTS + IDEAS
| 13 | ETHNIC/MULTICULTURAL | 14 | BEAUTY/FASHION | 15 | CARS/TRAINS/PLANES/TRANSPORTATION | 16 | RELIGION/SPIRITUALITY
WHICH DEVICE DO YOU USE TO SEARCH FOR STOCK VISUALS?
3
2
| 17 | HOMES/INTERIORS | 18 | RETAIL | 19 | FAMILIES | 20 | ANIMALS/PETS
84%
14
%
55%
| 21 | TRAVEL/TOURISM
14%
| 22 | ARCHITECTURE/BUILDINGS | 23 | BABIES/CHILDREN
DESKTOP
LAPTOP
TABLET
DO YOU LICENSE?
67% HAVE A STOCK VISUAL SUBSCRIPTION
36% ONLY ROYALTY FREE
7% ONLY RIGHTS MANAGED
57%
| 24 | ARMED FORCES/POLICE/SECURITY
PHONE
63%
| 25 | HOSPITALITY/HOTELS
DO YOU USE STOCK VISUALS MORE OR LESS IN YOUR WORK THAN IN THE RECENT PAST?
BOTH KINDS
USE STOCK IMAGERY IN SOCIAL MEDIA
64% MORE
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WHAT IS YOUR ROLE IN THE LICENSING/ PURCHASING PROCESS?
15%
21%
LESS
SAME
74% SOLE/PRIMARY DECISION MAKER
26% SECONDARY DECISION MAKER
0% NO ROLE IN DECISION
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2018 health + wellness awards_feb news play 10/8/18 10:26 AM Page 62
HEALTH + WELLNESS DESIGN AWARDS SPONSORED BY ERICKSON STOCK
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GDUSA’s American Health + Wellness Design Awards™ honors outstanding graphic communication by this high-profile segment of the economy. The 2018 winners showcase features 100 projects encompassing the big picture of health and wellness: traditional medicine and healthcare; holistic and alternative healing; healthy lifestyles and nutrition; and the aging of our society. DESIGN FIRMS REPRESENTED AARP Publications Access TCA Akseizer Design Group Alight Solutions Altruista Health American Heart Association Anthem Blue Cross and Blue Shield Anthem, Inc. Argus Asano Designs Axion Design Inc. B-Design Graphic Design BOLTGROUP Back Forty Creative BexBrands Cardiovascular Research Foundation CCI Health & Wellness Center for Ecoliteracy Centermost Marketing Cepheid Chen Design Associates Christiansen Creative Ciampa Creative CommunicArte LLC Dark Horse Design Designcog Designwerke Inc. Ellen Bruss Design Enlisted Design Evolutions by Design Gabe Diaz Design HCA Healthcare Hudson Valley Graphic Design Hughes BrandMix Huntsman Cancer Institute Icon PLC Kaiser Permanente Kick LAM Design Left Field Labs
Lentini Design & Marketing Lisa Cain Design Little Big Brands MICA Center for Social Design MNG Health MU Health Care Manughian Design Modern Marketing Concepts Mountain Rose Herbs NJ Designs Nancy Reed Designs Net Health notinsidethebox designs PBD Partners PRESENT e-Learning Systems Palm Beach County Parks & Recreation Department Pearlfisher Pet Partners, LLC Pix-l Graphx Robin Hume Design Ron Kalstein/RKDK Sailpointe Creative Group Smart Blonde Design Smith Design sparc Stanford Health Care TFI Envision, Inc. Ted Stoik / Woz Design / Hartford Design Teldon Test Monki The Velo Group Topco Associates LLC Tufts Medical Center University of Texas MD Anderson Cancer Center Vendi Wake Forest Baptist Medical Center Warkulwiz Design Associates World Synergy Youngstown State University
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MESSAGE FROM ERICKSON STOCK
ILLUMINATING THE ART OF MOTION FOR HEALTHCARE AND AGING Thank you GDUSA, contestant entries, and winners, for shining a light on healthcare, a difficult but important topic that affects us all. Healthcare and particularly aging are difficult subjects to explore visually and emotionally. Erickson Stock believes that the human connection is the strongest currency we have. Your work on these healthcare campaigns is compelling and informative, and your contributions to human insight motivate us all to become more enlightened. WE ARE PROUD TO BE A PART OF THIS WONDERFUL PROGRAM.
See and learn more at… www.ericksonstock.com COMMERCIAL VIDEOS AND IMAGERY
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: AARP Publications, Washington DC Client: AARP The Bulletin Title: Navigating Medicare Creative Director: Scott A. Davis Illustrator: Scott A. Davis Photographer: Nicolas Rapp
Design Firm: AARP Publications, Washington DC Client: AARP The Bulletin Title: Rules of the Road Creative Director: Scott A. Davis Illustrator: Scott A. Davis Photographer: Nicolas Rapp
Design Firm: Access TCA, Whitinsville MA Client: Foundation Medicine Title: FoundationOne CDxT Art Director: Stephen Ross Designer: Bryon Thompson Photographer: Jamie Padgett, Padgett & Company
Design Firm: Akseizer Design Group, Alexandria VA Client: Ivory Dental Centre Title: Ivory Dental Centre Integrated Branding Creative Director: Sarah Kate Snyder Art Director: Laura Chwirut Illustrators: Tre Seals, Moultrie Tisdale
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Design Firm: Alight Solutions, Islip NY Client: PepsiCo Title: Jiff Launch Video Creative Director/Client Lead: Jill Rafkin Art Directors: Cristine Giannotti, Victoria Cook Designer: Victoria Cook Developer: Michael Spencer Project Manager: Kristin Peacock Production Editor: Randall Van Vynct
Design Firm: Alight Solutions, Islip NY Client: PepsiCo Title: Insight Magazine, Winter 2018 Creative Director/Client Lead: Jill Rafkin Art Director: Cristine Giannotti Designer: Michelle McConnell Writers: David Stuart, Ken Mastro Project Manager: Kristin Peacock Production Editor: Randall Van Vynct
Design Firm: Altruista Health, Reston VA Title: Altruista Health Logo Agency: Roger West Creative & Code
Design Firm: Altruista Health, Reston VA Title: Altruista Health Website Agency: Roger West Creative & Code
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: American Heart Association, Dallas TX Title: Path To Parity Advertisement for Variety Magazine Art Director: Stephanie Dahlman
Design Firm: American Heart Association, Dallas TX Title: American Heart Association Logo Renewal Art Direction: American Heart Association Internal Design Studio Inspiration: Concepts from Crispin Porter + Bogusky
Design Firm: Anthem Blue Cross and Blue Shield, Woodland Hills CA Title: Substance Misuse Challenge Teaser Poster Art Director: Michael Niehaus Designer: Michael Niehaus Illustrator: Michael Niehaus Copywriter: Melissa Stephan Project Manager: Sally Oâ&#x20AC;&#x2122;Connor
Design Firm: Anthem, Inc., Woodland Hills CA Title: 3X Dental Cleaning Direct Mail Art Director: Alex Birmingham Designers: Mandie Desroches, Lily Yankovsky Copywriter: Gary Yim Project Manager: Teresa Ciarleglio Editor: Carrie Tullo
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Design Firm: Anthem, Inc., Woodland Hills CA Title: Small Group Worksite Wellness Website Art Director: Gaia Neftci Designer: Zach Webb Copywriter: Sam Oliver Developer: Eric Bentley Editor: Melissa Stephan
Design Firm: Anthem, Inc., Woodland Hills CA Title: Large Group Segment Value Story Book Art Director: Vince Pun Designer: Mandi Desroches Copywriter: Georgi Johnson Editor: Michelle Logsdon
Design Firm: Argus, Emeryville CA Client: Berkeley Lights Inc. Title: Corporate Website Art Director: Jeff Breidenbach Designer: Jeff Breidenbach Copywriter: Berkeley Lights
Design Firm: Asano Designs, Matawan NJ Client: Point of Care Network Title: POCN Brand Identity Creative Director: Michael Campasano
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Axion Design Inc., Petaluma CA Title: Barleanâ&#x20AC;&#x2122;s Organic Seed Blend Packaging Art Director: Jennifer de Vito Designer: Javier Fregoso Illustrator: Javier Fregoso
Design Firm: B-Design Graphic Design, Naugatuck CT Client: The Morgan Leary Vaughan Fund Title: NEC Registry Logo Art Director: Carey Gerwig Jones Designer: Carey Gerwig Jones
Design Firm: BOLTGROUP, Charlotte NC Client: FOX Rehabilitation Title: FOXBOX Sales Kit VP of Creative: Bree Basham Creative Director: Peyton Green Senior Graphic Designer: Philip Caoile
Design Firm: Back Forty Creative, St. Louis MO Client: TeraKashi from TeraGanix Title: TeraKashi Bokashi Packaging Creative Directors: Miranda Summers, Amanda Potts Art Director: Cory Dignazio
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Design Firm: BexBrands, San Diego CA Client: Brekki Overnight Oats Title: Package Design Series Art Director: Jeremy Dahl Designer: Colleen Woolsey Illustrator: Colleen Woolsey
Design Firm: Cardiovascular Research Foundation, New York NY Client: TCTMD Title: 2018 TCTMD Learning Survey Art Director: Barbra Mockus Designer: Barbra Mockus Senior Medical Journalist, TCTMD: Yael L. Maxwell
Design Firm: CCI Health & Wellness Services, Silver Spring MD Title: Healthy Start - Health Record Folder For New Moms Art Director: Jose Luis Dias Photographer: Andrew Harrer
Design Firm: Center for Ecoliteracy, Berkeley CA Title: Healthy Eating Education Posters for Public Schools Art Director: Karen Brown Designer: Karen Brown
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Centermost Marketing, LLC, Syracuse NY Client: Cornell Cooperative Extension Sullivan County Title: 2017 Annual Report Art Director: Lindsay Ott Wilcox
Design Firm: Cepheid, Santa Clara CA Title: Xpert or Not Advertisement Art Director: Jared Tipton Designer: Kristin Bialaszewski Photographer: Randy Parietti
Design Firm: Cepheid, Santa Clara CA Title: One Thing Bladder Cancer Patient Brochure Art Director: Jared Tipton Designer: Kristin Bialaszewski Photographers: Randy Parietti, Kent Clemenco
Design Firm: Cepheid, Santa Clara CA Title: National Sales Meeting 2018 Branding Art Director: Jared Tipton Designer: Kristin Bialaszewski
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Design Firm: Cepheid, Santa Clara CA Title: Power of Now Trade Show Exhibit and Campaign Art Director: Jared Tipton Designer: Kristin Bialaszewski Photographer: Randy Parietti
Design Firm: Chen Design Associates, Oakland CA Client: John Masters Organics Title: Citrus Neroli Social Media Video 2018 Creative Director: Joshua C. Chen Art Director: Tracy Taylor Designer: Bernee Briones Photographer: Thayer Allyson Gowdy Producer: Alexis Tjian Project Manager: Anna Mumford
Design Firm: Chen Design Associates, Oakland CA Client: John Masters Organics Title: Website Redesign Creative Director: Joshua C. Chen Art Director: Hannah Robinson DeMoss Designers: Kimberly Low, Kelsey Sutherland Photographers: Jenny Pfeiffer, Derek Johnson Project Manager: Anna Mumford
Design Firm: Chen Design Associates, Oakland CA Client: Samuel Merritt University Title: Report to the Community 2016-2017 Creative Director: Joshua C. Chen Art Directors: Kathryn Hoffman, Joshua C. Chen Designers: Josh White, Kimberly Low Illustrator: Kimberly Low Copywriter: Kathryn Hoffman Production: Kathy Biesty, Bill Braznell Project Managers: Kathryn Hoffman, Alison Clark
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Christiansen Creative, Hudson WI Client: Henry Ford Allegiance Health Title: 100 Year Wall Art Director: Tricia Christiansen Designer: Sara Erlandson
Design Firm: Ciampa Creative, Boston MA Client: Amyloidosis Research Consortium Title: Cardiac Awareness Campaign Art Director: Renessa Ciampa Designer: Renessa Ciampa Photographer: Katherine Taylor
Design Firm: CommunicArte LLC, Portland OR Client: Oregon Medical Board Title: Cultural Competency: A Practical Guide for Medical Professionals Designer: Mariel Alvarado Copywriters: Patrik McDade, Cecily Dollaz
Design Firm: Dark Horse Design, Neptune NJ Client: LifeStyles Healthcare Title: SKYN Excite Gel Packaging Art Director: Christine Rusin Designer: Ronald Carlucci
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Design Firm: Designcog, Indianapolis, IN Client: Friendly Inc./ Friendly Therapy Shoes Title: Friendly Logo Designer: Tom Renk
Design Firm: Designwerke Inc., Toronto ON Client: Rouge Valley Health System Foundation Title: The Shoulder Centre Fundraising Campaign Art Director: Stephen Boake Designers: Stephen Boake, Gillian Cousin, Laura Marquez Photographer: Nation Wong
Design Firm: Ellen Bruss Design, Denver CO Client: Ascent Extracts Title: Ascent Extracts Packaging Creative Director: Ellen Bruss Art Director: Ken Garcia
Design Firm: Enlisted Design, Oakland CA Client: Fridababy Title: Fridababy Baby Basics Kit Creative Director: Beau Oyler Design Director: Miri Chan Designer: Diana Goldberg Industrial Designers: Kieran Moriarty, Luis Velazquez Account Management: Carleen Bell, Kelcy Spaete
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Evolutions by Design, San Francisco CA Client: Terumo Aortic - Bolton Medical Title: Cheers Recognition Awards Designer: Ann Schneider Marketing Manager: Latoya Spencer
Design Firm: Gabe Diaz Graphic Design, Tampa FL Client: Florida Hospital Title: Florida Hospital Volunteer Community T-Shirt Design Art Director: Gabe Diaz Designer: Gabe Diaz Creative Design Manager: Klaus Herdocia
Design Firm: HCA Healthcare, Nashville TN Client: HCA Healthcare IT&S Title: 2017 Above and Beyond Annual Report Designer: Ashley Reynolds Photographer: Chad Fortenberry Copywriters: Laura Liles, Wes Driver, Angela Vaden, Lisa Horak, Kathryn McKinley
Design Firm: Hudson Valley Graphic Design, Croton-on-Hudson NY Client: Escae Title: Escae: Mindful Modern Cooking Logo Art Director: Janeen Violante Designer: Janeen Violante
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Design Firm: Hudson Valley Graphic Design, Croton-on-Hudson NY Client: Skinchanted Spa Title: Skinchanted Spa Brand Program Art Director: Janeen Violante Designer: Janeen Violante
Design Firm: Hughes BrandMix, Norwalk CT Client: MegaFood Title: MegaFood Gummy Vitamins Packaging Design: Hughes BrandMix Team
Design Firm: Huntsman Cancer Institute, Salt Lake City UT Client: The Linda B. and Robert B. Wiggins Wellness & Integrative Health Center Title: The NEW You Program Collateral Designer: Claire Davis Editor: Meredith Vehar Contributor: Katie Barker
Design Firm: Icon PLC, Yardley PA Client: Sage Therapeutics Title: Disease Awareness Campaign Art Director: Dana Matas Designer: Marcy Davis Copywriter: Noreen Lynch Developer: Travis Tingey Project Manager: Pat Cortese Account Managers: Brendon Gildea, Parker Jones
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Kaiser Permanente, Burbank CA Title: Google Onsite Clinic Handout Art Director/Assistant Managing Editor: Tony Dajnowicz Designer: Cynthia Jacquette Hopkins Writer: Sam Hansen
Design Firm: Kaiser Permanente, Burbank CA Title: Suicide Prevention Workbook Art Director/Assistant Managing Editor: Tony Dajnowicz Designer: Cynthia Jacquette Hopkins Writer: Peter Thornburgh
Design Firm: Kaiser Permanente, Burbank CA Title: 2018 Thrive Calendar Art Director/Assistant Managing Editor: Tony Dajnowicz Designers: Cynthia Jacquette Hopkins, Benjamin Cave Copywriter: Amy Ludwig Writer: Amy Ludwig
Design Firm: Kick, Minneapolis MN Client: Tone It Up Title: Tone It Up Package Design Art Director: Stefan Hartung Designer: Kate Carlson
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Design Firm: LAM Design, Pleasantville NY Client: First Quality Title: Earth & Eden Diapers Brand Invention Program Art Direction/Design: LAM Team
Design Firm: LAM Design, Pleasantville NY Client: Sanofi Title: Gold Bond Ultimate Radiance Renewal Line Extension Art Direction/Design: LAM Team
Design Firm: LAM Design, Pleasantville NY Client: Sanofi Title: Nasacort Allergy Package Design Art Direction/Design: LAM Team
Design Firm: Left Field Labs, Marina del Rey CA Client: Tone It Up Title: Studio Tone It Up App Art Director: Greg Dodds Designers: Celina Frelinghuysen, Michelle Matthews Front End Tech Lead: Timothy Brand Back End Tech Lead: Les Cheong Product Manager: Oleg Sharov iOS Developer: John Blanco Executive Producer: Akash Khoka
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Lentini Design & Marketing, Inc., Los Angeles CA Client: American Heart Association, Western States Title: Life is Why Campaign: Print and Digital Materials Art Director: Hilary Lentini Designers: Allie Cormier, Leanna Hanson Illustrators: Allie Cormier, Leanna Hanson
Design Firm: Lisa Cain Design, Glenwood IL Client: Organization for Autism Research Title: College Guide Art Directors: Lisa Cain, Kyleigh McGrail Designer: Lisa Cain Research and Programs Director: Kimberly Ha
Design Firm: Lisa Cain Design, Glenwood IL Client: American Society of Nephrology Title: ASN Kidney News Magazine Redesign Art Director: Lisa Cain Designer: Lisa Cain Executive Editor: Dawn McCoy
Design Firm: Little Big Brands, White Plains NY Client: Akorn Consumer Health Title: Theratears Extra Packaging Creative Director: Richard Palmer Design: Little Big Brands Design Team
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Design Firm: MICA Center for Social Design, Baltimore MD Client: Baltimore City Health Department Title: HealthiAir Brochure Art Director: Mike Weikert Designers: Becky Slogeris, Smile Indias, Denise Brown
Design Firm: MNG Health, Bensalem PA Title: MNG Health Advertising Executive Creative Director: Will Redmond VP, Content Strategy: Robyn Garrett
Design Firm: MU Health Care, Columbia MO Title: Ashland Family Medicine Direct Mail Art Director: Ann Ellebracht Designer: Claudia Johnson
Design Firm: MU Health Care, Columbia MO Client: Missouri Orthopaedic Institute Title: Contemporary Ballet Sponsorship Advertisement Art Director: Ann Ellebracht Designer: Veronica Burgess
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: MU Health Care, Columbia MO Title: Pediatrics Campaign Designer: Ann Ellebracht
Design Firm: Manughian Design, Redondo Beach CA Client: St. Judeâ&#x20AC;&#x2122;s Childrenâ&#x20AC;&#x2122;s Research Hospital/AIGA Raleigh/HP Title: Design For Hope Initiative - Child Patient to Adult Greeting Card Set Art Director: Moni Manughian Designer: Moni Manughian Illustrator: Moni Manughian
Design Firm: Modern Marketing Concepts, Binghamton NY Client: KCI Title: Skilled Nursing Care Week Card Art Director: Jonathan Hussar Designer: Michelle Armstrong Illustrator: Michelle Armstrong Copywriter: Sara Tripp
Design Firm: Mountain Rose Herbs, Eugene OR Title: Redesigned Organic Tea Packaging Art Director: Thomas Dick
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Design Firm: NJ Designs, Sparks NV Client: Washoe County Medical Society Title: Youâ&#x20AC;&#x2122;re Invited Art Director: Natalie Ede Designer: Natalie Ede
Design Firm: NJ Designs, Sparks NV Client: Washoe County Medical Society Title: Heart Healthy Living Art Director: Natalie Ede Designer: Natalie Ede
Design Firm: Nancy Reed Design, Cibolo TX Client: I Care San Antonio Title: I Care San Antonio 2017 Annual Report Designer: Nancy Reed
Design Firm: Net Health, Pittsburgh PA Title: Living An Active Life Without Pain Medication Producers: David Dobson, Rodger Fletcher Editor: David Dobson
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: notinsidethebox designs, South Hadley MA Client: Pediatric Oncology Experimental Therapeutics Investigatorsâ&#x20AC;&#x2122; Consortium Title: POETIC Phase 1 Website Design Art Director: Amanda M. Buckley Designer: Amanda M. Buckley
Design Firm: PBD Partners, Cambridge MA Client: Boston Health Care for the Homeless Program Title: Medicine That Matters Gala Art Director: Shannon Beer Designer: Holly Broussard Photographer: Liz Linder
Design Firm: PBD Partners, Cambridge MA Client: Brigham and Womenâ&#x20AC;&#x2122;s Hospital Title: Hale Building Dedication Invitation and Banners Art Director: Shannon Beer Designer: Mary Reed
Design Firm: PRESENT e-Learning Systems, Boca Raton FL Client: Podiatric Residency Education East Summit Title: Podiatric Residency Education East Summit Banner Art Director: Rich Pintur Designer: Kurt Pravel
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Design Firm: Palm Beach County Parks & Recreation Department, Lake Worth FL Title: Palm Beach County Parks & Recreation Brochures Art Director: Chris Korbelak Designer: Kimberly Krieger Photography: Palm Beach County Parks & Recreation Department
Design Firm: Palm Beach County Parks & Recreation Department, Lake Worth FL Title: Leisure Times and Park Guide Art Director: Chris Korbelak Designer: Kimberly Krieger Photography: Palm Beach County Parks & Recreation Department
Design Firm: Pearlfisher, London UK Client: The Library Title: Strong Nutrients Package Design Art Director: Karen Welman Designer: Karen Welman Illustrator: Andrew Lyons
Design Firm: Pet Partners, LLC, Wilton NY Title: 12 Days of Giving Social Media Campaign Art Director: Leah LaPointe Designers: Emily Borst, Megan Lombard Copywriter: Brooke Boghosian
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Pet Partners, LLC, Wilton NY Title: City Pet Hospital Brand Art Director: Megan Lombard Designer: Megan Lombard Website Design: Emily Borst
Design Firm: Pet Partners, LLC, Wilton NY Client: Center for Animal Referral and Emergency Services (CARES) Title: More Great Days Advertising Campaign Art Director: Steve Ireland Designer: Emily Borst Photographer: Megan Lombard Copywriters: Brooke Boghosian, Leah LaPointe Videographer: La Rose Media
Design Firm: Pet Partners, LLC, Wilton NY Client: Advanced Veterinary Care Title: National Pet Dental Health Month Promotion Art Director: Steve Ireland Designers: Emily Borst, Megan Lombard Copywriters: Brooke Boghosian, Leah LaPointe
Design Firm: Pet Partners, LLC, Wilton NY Client: Ventana Animal Clinic Title: Ventana Animal Clinic Branding Designer: Emily Borst
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Design Firm: Pix-l Graphx, Kearny NJ Client: Advanced Orthomolecular Research Title: AOR Brand Identity Art Directors: Jose Martinez, Alcides Aguasvivas Designers: Kevin Greene, Dorothy Wierciszewski, Dean Matarrese Campaign Creative Director: Raul Pina Campaign Lead Copywriter: Debra Land Account Manager: Carlos Macias
Design Firm: Robin Hume Design, Houston TX Client: BP Title: Spring 2017 Employee Newsletter Art Director: Robin Hume Designer: Robin Hume
Design Firm: Ron Kalstein/RKDK Design, Southampton PA Client: Einstein Healthcare Network/MossRehab Title: BlueJean Day Fundraiser Button Designer: Ron Kalstein Illustrator: Ron Kalstein Photographer: Ron Kalstein
Design Firm: SailPointe Creative Group, Arlington Heights IL Client: Elior North America Title: Right Course - A Frozen Product for Diabetics Art Director: Robert Rios Designer: Ellen Freedman Photographer: Doug Human Chief Strategy Officer: Pamela Boynton
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2018 health + wellness awards_feb news play 10/8/18 10:39 AM Page 88
HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Smart Blonde Design, Oregon City OR Client: Wise Woman Herbals Title: Wise Woman Herbals Package Redesign Art Director: Victoria Munroe Designer: Victoria Munroe
Design Firm: Smith Design, Morristown NJ Client: Prestige Brands Title: Dermarest Packaging Designer: Glenn Hagen
Design Firm: sparc, Winnetka IL Client: Center on Halsted Title: GET TO ZERO HIV Testing Program Art Director: Richard Cassis Designer: Richard Cassis Illustrators: Cesar Santillan, Francoise Neilly, Loveless, @byisabel
Design Firm: Stanford Health Care, Stanford CA Title: Stanford Health Care About Us Infographic Designer: Nicole Dacumos
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Design Firm: Stanford Health Care, Stanford CA Client: SHC Orthopaedics Title: Stanford Health Care - Like the Pros: Basketball Creative Director: Dominic Parero
Design Firm: Stanford Health Care, Stanford CA Title: Stanford Health Now Patient Stories Creative Director: Dominic Parero
Design Firm: Stanford Health Care, Stanford CA Title: Warriors Physician Dinner Series Art Director: Vivian Liberti Designer: Nicole Dacumos
Design Firm: Stanford Health Care, Stanford CA Client: SHC Medicare Advantage Title: Stanford Health Care Advantage AEP Campaign Designers: Vivian Liberti, Nicole Dacumos Photographers: Dan Liberti, Steve Fisch
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2018 health + wellness awards_feb news play 10/8/18 10:39 AM Page 90
HEALTH + WELLNESS DESIGN AWARDS
Design Firm: TFI Envision, Inc., Norwalk CT Client: Angel Flight NE Title: Susan Baer Memorial Run the Runway 5k Run Poster 2018 Art Director: Elizabeth P. Ball Designer: Elizabeth P. Ball Illustrators: Elizabeth P. Ball, Clare Zisek
Design Firm: Ted Stoik / Woz Design/ Hartford Design, Chicago IL Client: Abbott Title: 2017 Annual Report Art Directors: David Wozniak, Tim Hartford, Ted Stoik Designers: David Wozniak, Tim Hartford, Ted Stoik Photographers: Tom Maday, Dan Socie
Design Firm: Teldon, Richmond BC Title: Healthy Lifestyles 2019 Calendar Designer: Ben Shum
Design Firm: Test Monki, The Woodlands TX Client: SoCal Pediatric Dentistry Title: SoCal Brand Identity Art Director: Suzy Simmons Designers: Gabby Nguyen, Sarah Wright, Sofi Cruz
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: The Velo Group, New York NY Client: Project Yosemite Title: OLO Package Design Art Directors: Odine Bonthrone, Diego Kolsky Illustrators: Jon Porcasi, Pat Daugherty
Design Firm: The Velo Group, New York NY Client: Project Yosemite Title: OLO POP Design Art Directors: Odine Bonthrone, Diego Kolsky Illustrator: Ange Luke
Design Firm: Topco Associates LLC, Elk Grove Village IL Title: Top Care Cold Medicine Package Redesign Art Director: Shelbi Sturges Designers: Kara Fleming-Ward, Tamara Silver, Mary Burr, Mey-Mey Lim
Design Firm: Topco Associates LLC, Elk Grove Village IL Title: Top Care Vitamins National Brand Equivalent Package Redesign Art Director: Shelbi Sturges Designers: Kara Fleming-Ward, Tamara Silver, Mary Burr
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Topco Associates LLC, Elk Grove Village IL Title: Top Care Vitamins Package Redesign Art Director: Shelbi Sturges Designers: Kara Fleming-Ward, Tamara Silver
Design Firm: Tufts Medical Center, Boston MA Title: Always Thinking Ahead Journal Designer: Angelique Markowski
Design Firm: Tufts Medical Center, Boston MA Title: Primary Care Quincy Brochure Designer: Angelique Markowski
Design Firm: Tufts Medical Center, Boston MA Title: Stroke Patient Guide Designer: Angelique Markowski
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Design Firm: Tufts Medical Center, Boston MA Title: Womenâ&#x20AC;&#x2122;s Care Postcard Series Designer: Angelique Markowski
Design Firm: University of Texas MD Anderson Cancer Center, Houston TX Title: Conquest Magazine, The Prevention Issue, Summer 2018 Art Director: Kellye Sanford Designer: Kellye Sanford Illustrator: Kellye Sanford Cover Photo: Robert Seale Managing Editor: Andy Owlin Editor: Ronda Wendler
Design Firm: Vendi, La Crosse WI Client: National Blood Clot Alliance Title: National Blood Clot Alliance Website Art Director: Erik Olson Account Manager: Julie Haas Web Developers: CJ Schrunk, Chris Haas
Design Firm: Wake Forest Baptist Medical Center, Winston-Salem NC Title: Sports Medicine Campaign Art Director: Joey Robbins Designers: Joey Robbins, Nick Weir
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Warkulwiz Design Associates, Merion Station PA Client: Clean Air Council Title: GoPhillyGo.org Advertising Campaign Art Director: Bob Warkulwiz Designers: Emily Zuwiala, Caroline Laschenski
Design Firm: Youngstown State University, Bethel Park PA Client: Faculty Research Proposal Title: Universal Medical Marijuana Icon & Child Warning Symbol Art Director: Rich Helfrich, MFA
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Design Firm: World Synergy, Cleveland OH Client: Benefit Advisors Network Title: Podiatric Residency Education East Summit Educational Conference Program Art Director: Gina Bartlett
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October 2018 Pub Letter-Focus Impo_feb news play 10/8/18 10:43 AM Page 98
AN INTERVIEW WITH SCAD PRESIDENT PAULA WALLACE Paula Wallace is the president and co-founder of the Savannah College of Art and Design. During her tenure, the University has grown to include SCAD Atlanta, SCAD Hong Kong, SCAD Lacoste and SCAD eLearning. She also oversees the award-winning SCAD Museum of Art. President Wallace earned her B.A. degree from Furman University, as well as M.Ed. and Ed.S. degrees from Georgia State University. She spoke recently with GDUSA about the mission, the success, and the future of the institution. GDUSA: Tell us about the SCAD graphic design program? PW: SCAD offers a B.F.A, M.A., and M.F.A. in graphic design at our campuses in Savannah, Atlanta, and Hong Kong, as well as eLearning. It's one of the largest departments in the world (more than 700 students this fall!) and the only graphic design program where you can study on three different continents — North America, Asia, and Europe (our SCAD Lacoste campus in France is a favorite of our GRDS students). Our graphic design alumni have a 99% employment rate, and they're at the world’s best companies: Apple, Google, Microsoft, and Gulfstream. We’ve sent GRDS alumni into some unusual careers, too, like working as a cartographer for the CIA, or as a creative at Ralph Lauren. Our
Atlanta public schools. Early on, I noticed you could teach students
grads are perennial winners of awards with Red Dot, International
more effectively if you create an engaging mode of learning. I also
Design, GDUSA, and AIGA.
noticed that layering the learning — history, writing, drawing, storytelling — makes the most of those all-too-brief class ses-
GDUSA: What industry trends are you noticing, across design
sions. We’re born with a natural love of color, space, drawing,
as a whole and in graphic design in particular, and how is
doodling, shaping, and pattern finding. But as education pro-
SCAD preparing students to address those trends?
gresses, the imagination is often viewed as a mental playground,
PW: One thing I’m noticing right now is the explosive growth of
an unserious form of inquiry and development. We at SCAD know
UX design — web and mobile experience, entertainment envi-
differently. Our mission is to prove that the imagination provides
ronments, shopping and event space, as well as hotels and resorts.
a pathway to successful, sustainable careers, where graduates
User experience defines so much of how brands interact with their
earn a good living and contribute to their firms, their colleagues,
markets, and these companies are always looking for innovative
and their communities in meaningful ways. Our 99% employ-
young UX designers. The pay is high for entry-level designers.
ment rate speaks for itself.
We’ve answered this demand by focusing on our SCADpro initiative, where students work directly with big companies like Coca-
GDUSA: What skills are most important to teach college
Cola, Disney, and Uber — before they graduate. The results have
students these days?
been enormous. So far SCAD students, including hundreds from
PW: Beyond the mastery of technical skills — understanding
GRDS, have worked on more than 200 real world, high-stakes
how to use your industry's software and tools — two critical skills
design briefs with 333 companies. Some 187 SCAD students have
for designers, so often overlooked, are the ability to research and
been hired by companies like Adobe and Samsung before grad-
to tell stories. Ideas don’t just fall into your mind. You have to
uation — including Amy Chang, who as a SCAD student helped
seed the soul! SCAD privileges the habit of research: We teach
design the global rollout of new uniforms for Delta Air Lines. Delta
our students to love the library, to read and observe and investi-
loved Amy so much they hired her to travel the world making
gate, to prime the pump of the imagination with the best that's
sure the rollout was flawless. Now she’s a designer for Delta.
been thought and said. We also know our students must know how to enchant their clients and audiences with stories. Research
GDUSA: How did you become interested in art + design education?
helps with that. You have more to say when you’ve done your due
PW: All my life, I’ve loved art, design, and education. I’m a clas-
diligence. SCAD wants to cultivate deeply attentive designers.
sically trained pianist, so I think from an early age I was attuned
Those skills — research and storytelling — are important not
to patterns and structure — visually, aurally, and conceptually.
only at university but in one’s career. In the digital age they’re
My mother was a teacher, and teaching was my first career in the
also increasingly rare.
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WHY SKILL DEVELOPMENT IS ESSENTIAL FOR YOUR CREATIVE TEAM BY DIANE DOMEYER
Goodbyes are never easy, but they’re even harder when top designers or developers leave your company for an opportunity elsewhere. Could you have done something to keep them from leaving? Quite possibly, yes. The top cause of employee turnover, suggests a survey from The Creative Group, is limited inhouse opportunities for career
The good news is that skill development doesn’t have to break the bank or require excessive time away from work. Here are some options you can easily implement: • Seminars, Conferences and Trade Shows: Led by visionaries and experts, these one-time events can help staff stay up to date on the latest developments in their field. Employees also appreciate the time away to focus on absorbing new information and networking.
growth — a primary way creative professionals can advance in
• E-learning: The internet makes it easy for employees to learn
their field. However, of the marketing and advertising executives
at their own pace. Webinars are good for introductions and quick
polled in a separate survey, 32% said that while their company
overviews. Online learning platforms like Udemy, LinkedIn
does provide some training, it’s not on the most relevant topics.
Learning (formerly Lynda.com) and Unreal Engine offer on-
And 9% of respondents said they provide little or no training at all.
demand video tutorials and courses at affordable prices.
In a time of very low unemployment, especially for highly skilled
• Lunch and Learn: Guest speakers offer the sort of interactions
digital specialists, upskilling your workers is no longer just a nice-
that large conferences and online seminars can’t. Bring in a
to-have, but a necessary retention tool. Your agency or department
different expert each month to give your creative team different
can’t afford the disruption that comes with the departure of a hard-
perspectives and stimulate ideas.
to-replace creative pro. Being short-staffed is bad for business and team morale. Your remaining employees could be stretched thin. Deadlines could get missed. Quality could take a hit. And as a manager, you know all too well how much time and energy it takes to hire even one person. But continuing education is more than just a retention strategy. It also contributes to a healthy business model: • It fuels a culture of appreciation. To attract and keep top talent, an employer needs to establish a reputation as a workplace that cares about its people. Check in regularly with staff, ask about career goals and tailor professional training to their interests. People don’t leave companies that recognize their potential and invest in their future. • It gives firms a competitive advantage. Some of the most indemand creative skills today are mobile development, web
• Mentorship: Inhouse guidance is an invaluable way to sharpen the business acumen of future leaders. It’s also an effective strategy for holding on to the demographic that has the highest turnover rate: entry-level workers. Pair junior designers and developers with senior directors and managers. An added bonus is reverse mentoring, where up-and-coming creatives share generational insights and know-how with tenured professionals. • Stretch Assignments: When encouraging your employees to develop their skills, it’s important to give them projects that puts their new knowledge to use. Stretch assignments will challenge them to continue to grow, keep them motivated and expand their scope of responsibility. The bottom line: Top talent desire — often even demand — skill development from employers. If it’s important to them, it should be high on your agenda as well.
production, interaction design and visual design. Training enables your creative crew to stay on top of these fields, positioning your firm as an industry pioneer.
DIANE DOMEYER is Executive Director of The Creative Group, a specialized
• It stimulates performance. Bored workers produce boring work.
staffing service placing interactive,
By investing in your employees, you’re keeping abilities sharp,
design, marketing, advertising and
while boosting morale and output. The more your employees
public relations professionals with a
know, the more innovative they’ll be.
variety of firms. For more information, visit roberthalf.com/creativegroup
• It produces the next generation of leaders. Is your agency or department prepared for the eventual departure or retirement of senior directors? It will be if you give promising junior employees training in business management, client relations and other relevant topics.
G D U SA 99
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