GDUSA May/June 2015

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GD USA

GD USA GRAPHIC DESIGN USA

AMERICAN WEB DESIGN AWARDS SPONSORED BY

THE CREATIVE GROUP MAY | JUNE 2015

ANNUAL COLOR FORECAST PRINT DESIGN SURVEY GRAPH EXPO EVENT LOGO TRENDS REPORT

www.gdusa.com

MAY | JUNE 20 15

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LETTER FROM THE PUBLISHER | CHILDREN CHILDREN FUTURE FUTURE “Children, children, future, future. The future is a coming, hey hey hey! Children, children, future, future! Kids!”

So go the lyrics to The Simpsons pointed satire on the empty uplift songs that squeakyclean pre-adolescents are rolled out to sing at the Olympics and similar events. Why mention this now? First, it gives me an excuse to watch The Simpsons at my desk. Take that, rules against watching cartoons in the office! More to the point, it provides a nice segue into a brilliant trend piece by Bill Gardner of LogoLounge. Bill’s observations about logos and identity are always fascinating but I was especially struck by his initial insight — that the tech, media and marketing worlds increasingly look to children and adolescents for “the next big thing.” The reason is that kids make up the majority of the world’s early adapters and trend drivers. And, he notes, more than nine-in-ten of them access information online through mobile devices. The implications? For one, this compels logo design to bend ever more toward the small, simple and symbolic. For another, designers must develop a new set of iconography because children are experiencing a different visual dynamic than generations before them. These observations GORDON KAYE IS THE PUBLISHER OF GDUSA Comments, suggestions and letters can be sent to gkaye @ gdusa.com.

just scratch the surface of a provocative piece by a true thought leader who suggests that, for good or ill, the children are our future.

MARSALA AND THE PALETTE

Speaking of thought leaders, we are also pleased to feature a color forecast by the experts at Pantone. This, too, is a story rich in ideas and worthy of attention. To prepare your palate, the forecast sees a direction toward natural colors that evoke warmth and security. Hence the selection of Marsala as 2015 Color of the Year. It’s an earthy red wine shade that exudes “confidence and stability.” Leatrice Eiseman, Executive Director, Pantone Color Institute says that Marsala easily translates to many graphic and package design applications and — editor’s note — pairs nicely with nuts, chocolates, assorted olives and a soft goat cheese.

THE FRIENDLY SKIES

After you read Bill Gardner’s article or the color forecast — or before — I am not rigid about the order of things — please take a look at our 52nd Annual Print Design Survey.

The results represent a realistic reaffirmation of the importance of print for graphic designers and their clients. Realistic because everyone recognizes that digital communications dominate. A reaffirmation because the vast majority of designers still work in print as part of the mix and continue to appreciate its classic strengths. Perhaps the most intriguing survey insight: given the digital clutter, effective print can be special — fresh, surprising, welcome, authentic, personal, engaging, even a statement that a brand values itself and its customers. This is not an altogether new observation, but a consensus is building. Several recent examples that may bear out this proposition: Uber, AirBnb, WebMD, CNET, Style.com, all digital services at their core, are investing in print marketing; IKEA, J.Crew, One King’s Lane, Anthropologie, Restoration Hardware, Bonobos, NYTimes Magazine, Conde Nast Traveler, Newsweek, Domino are doubling down on print; and Warby Parker, the millenial’s favorite, is associating its brand with printed books. This month reveals another interesting example of a company turning to print to engage customers and elevate a brand. United Airlines’ Rhapsody is a high-end literary magazine that helps position the airline as a premium place for luxury travelers.

United officials say that the magazine adds sophistication to its first-class service, and contributes to an overall experience that includes mood lighting, curated music and even a branded scent. The headline here is not as sappy as “Print is making a comeback!”

The fact is it never left but, rather, people were and are confused about its proper role.

The 2015 survey results suggests that clarity is coming and, more specifically, that print and not-print are complementary, and designers best serve their clients when they integrate various media in ways that makes the message whole.

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CONTENTS | MAY/JUNE

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FRESH Target parties hearty for Lilly Pulitzer; Paula Scher’s new look for The New School; Sagmeister & Walsh eschew typical tech; Brand Union refreshes iconic Absolut bottle; Prophet caffeinates Keurig brand; Project Projects honored by Cooper Hewitt; and more.

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PEOPLE AIGA’s Ric Grefé to step down as executive director; Tom Bodkin headlines Society of News Design event; Sony Music’s Julian Alexander leads GUILD operations; Lina Sucharda is third generation at Design North; and others.

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COLOR FORECAST The desire for warmth and security is an important driver in color directions and palettes. So says Pantone, and who are we to argue with the global color authority. As great designers know, when it comes to color decisions, there is nothing less at stake than the success of products, services, ideas, causes, and communications.

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PRINT DESIGN SURVEY Do creatives still recognize the value of print and paper?

Is the role of print in the mix starting to clarifying itself?

Do designers control the spec and the buy? Is this our oldest and most favorite reader survey? Yes, yes, yes, and yes. The 2015 survey is sponsored by Verso Corporation.

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LOGOLOUNGE 2015 Bill Gardner’s tour de force explores the impact of small screens, design tourists and democratization, responsive logos, the motion logo smoothie, and why the ancient Egyptians were onto something.

108

FOCUS Graph Expo theme is Transform; ChoosePrint on Kaiser Permanente and Obamacare; Kevin Hall remembers General Foods Design Center; an interview with Shanoor and Silva

GDUSA - Graphic Design USA Volume 51 / No. 3 May June 2015 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.

Devarj; Diane Domeyer of The Creative Group on working with a recruiter; and a special dedication to Tom Wright of Neenah.

WWW.GDUSA.COM

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| 2015 |

AMERICAN WEB DESIGN AWARDS

This competition is our annual showcase

SPONSORED BY THE CREATIVE GROUP

the GDUSA digital edition for desktop,

of the power of design to enhance websites and online communications.

The outstanding work displayed has been created by design firms, ad agencies and inhouse departments, and encompasses websites, microsites, apps, publications, video, social media and more. You can view the 100 winning pieces (from well over a thousand entries) here and on our popular website, and in tablet and phone.

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IMAGE CAN TRANSFORM A BRAND AND FOSTER A DEEP AND LASTING AFFINITY. IMAGE CAN MOVE PEOPLE TO ASPIRE, DESIRE AND TAKE ACTION. IMAGE ENGAGES AUDIENCES WHEREVER THEY ARE.

42-25653777 | © Erika Svensson/Corbis

FIND YOURS

corbisimages.com

May 2015 TOC Impo_SEPT 07 TOC/Staff 5/27/15 3:59 PM Page 8

A SPECIAL THANK YOU TO . . .

VERSO CORPORATION Verso and NewPage are now Verso Corporation, a leading provider of Printing Papers, Specialty Papers, and Pulp.

The new Verso offers quality printing papers with a broad selection of certified and recycled options for all types of printing applications. Among the company’s distinguished paper brands are Sterling® Ultra, ArborWeb Plus®, Influence®, ArborWeb® and Liberty®, as well as two new brands, Focus™ and Balance™. This special edition of GDUSA, which includes our 52nd Annual Print Design Survey, is printed on Influence® 60 lb. coated text paper. versoco.com THE CREATIVE GROUP This leading specialized staffing firm is, once again, exclusive sponsor of GDUSA’s annual American Web Design Awards competition. That is most appropriate. Finding top-notch interactive, design and marketing talent to help with new and ongoing projects can pose a challenge for employers today. To ease the process, firms and agencies alike turn to The Creative Group (TCG) to access highly-skilled professionals with cuttingedge digital skills. creativegroup.com LOGOLOUNGE LogoLounge.com is a unique website where, in real time, members can post their logo design work; study the work of others; search the database by keyword, designer’s name, client type, and other attributes; learn from articles written expressly for logo designers; and much more. www.logolounge.com PANTONE For more than 50 years, PANTONE® has helped us bring information and insights to the creative community.

Pantone is the world-renowned authority on color, and provider of color systems and leading technology for the selection and accurate communication of color across a variety of industries. The name is known as the standard language for color communication from designer to manufacturer to retailer to customer. www.pantone.com

GD USA GRAPHIC DESIGN USA

Gordon Kaye Publisher

ART & PRODUCTION Ilana Greenberg Creative Director Rachel Goldberg Production Director Samuel Peltz Art/Photo/Multimedia Editor

ADMINISTRATION & READER SERVICES Althea Edwards Accounts Manager Milton L. Kaye Competitions Jennifer Hoff Scott Sczcypiorski Internet Services Robert Kaye-Walshi Circulation

ABOUT THE COVER Fashion Designer Christian Siriano adds a natural earthiness to his latest creation with Marsala, Pantone's 2015 Color of the Year. It’s all part of our annual Color Forecast which begins on page 36.

PHOTOGRAPH: HAO ZENG

EDITORIAL Gordon Kaye Editor Sasha Kaye-Walsh E-News Editor Charlotte Kaye Assistant Editor

ADVERTISING Ron Andriani Executive VP, Integrated Marketing + Business Development 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

Gordon Kaye Publisher 212.696.4380 gkaye @ gdusa.com

Kallima Paper family of FSC-certified coated cover paperboard, manufactured by Tembec. A leading advocate of sustainability, Kallima Paper has a distinct low-density high-bulk construction resulting in less trees used and significant cost savings to the customer. Kallima’s trusted line of Coated Cover C1S, C1S Plus and C2S are well-known for their bright white surfaces. Visit www.kallimapaper.com and http://kallima.com/blog1-Storyboard

COPYRIGHT 2015 BY KAYE PUBLISHING CORPORATION

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FRESH | PROJECT PROJECTS EXTEND ROLE OF GRAPHIC DESIGN

NEW YORK NY Each year, Cooper Hewitt, Smithsonian Design

Museum, recognizes achievement in American design with its annual National Design Awards program. Of particular note to graphic designers, this year’s recipient in the Communication Design category is Project Projects, a graphic design studio founded by Prem Krishnamurthy and Adam Michaels in 2004.

The firm focuses on art, architecture and culture, and by teaching and lecturing internationally, the founders and associate principal Chris Wu “seek to extend public understanding of the role of graphic design within contemporary culture.” Other recipients, covering a variety of disciplines, are Michael Graves for Lifetime Achievement; Jack Lenor Larsen for Director’s Award; Rosanne Haggerty for Design Mind; Heath Ceramics for Corporate & Institutional Achievement; MOS Architects for Architecture Design; threeASFOUR for Fashion Design; Jack Underkoffler for Interaction Design; Commune for Interior Design; Coen + Partners for Landscape Architecture; and Stephen Burks for Product Design. First launched at the White House in 2000 as a project of the White House Millennium Council, the awards promote design as a humanistic tool in shaping the world. The program includes a broad range of public education programs and the recipients are honored at a gala dinner in October in New York City. First Lady Michelle Obama, is this year’s Honorary Patron. cooperhewitt.org

PICTURED CLOCKWISE FROM TOP LEFT: Exhibition and graphic design for Architecture in Uniform: Designing and Building for the Second World War at the Canadian Centre for Architecture (Montreal, Quebec, 2011). In collaboration with WORKac. Photo: © CCA, Montreal; What If . . . ? The Architecture and Design of David Rockwell, book conceptualization, editorial consultation, comprehensive book design and layout, in collaboration with Rockwell Group (New York, New York, 2014). Photo: Courtesy of Project Projects; Design, editing, and publishing of The Electric Information Age Book by Jeffrey T. Schnapp and Adam Michaels, The Electric Information Age Album by The Masses (Adam Michaels, Daniel Perlin, Jeffrey T. Schnapp), and the Inventory Press tote bag (designed with Slow and Steady Wins the Race). Photo: Courtesy of Project Projects; Spinning whistle teakettle, Target (2000). Photo: Courtesy of Michael Graves Architecture & Design, Inc.; Two-slice toaster, J.C. Penney (2013). Photo: Courtesy of Michael Graves Architecture & Design; Heath Ceramics packaging (2014). Project partner: House Industries. Photo: Jeffery Cross; The Schermerhorn redevelopment (Brooklyn, New York, 2009). Project partner: Ennead Architects. Photo: Courtesy of Ennead Architects; The Brook (Bronx, New York, 2010). Project partner: Alexander Gorlin Architects. Photo: Alexander Gorlin; Renovation and interior design of 1930s modernist-style residence in Silverlake (Los Angeles, California, 2008). Photo: Amy Neunsinger; ©David Sundberg/Esto

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FRESH | LIFE IS A PARTY

MINNEAPOLIS MN The Lilly Pulitzer for Target line features more

than 250 items including home goods, apparel and accessories, and is Target’s largest designer collaboration to date. To celebrate, Target’s marketing campaign is just that — a celebration — in the spirit of Lilly Pulitzer’s manifesto: “Life is a Party.” The woman behind the collection was known for her legendary parties in the 60's-era Palm Beach, so Target’s agency, Chandelier Creative, has recreated one of Lilly’s over-the-top fetes in a tv commercial.

Scenes from the commercial also appear in an immersive online experience accessible via desktop and mobile, with an app that lets customers experience the collection through the party and identify product straight from scenes in the commercial. And print ads evoke the mood, without actually showing any product.

“The tv and digital creative embrace Lilly Pulitzer's legacy as a woman who lived without boundaries and believed life was a party,” says Richard Christiansen, founder and creative director of Chandelier.“ Lena Kuffner served as creative director along with Christiansen, and Michael Scanlon is the art director. www.youtube.com/watch?v=nnLMwkDZsIs

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FRESH | NEUE FACE FOR THE NEW SCHOOL

NEW YORK NY The New School has a new identity. The institution

turned to Pentagram and Paula Scher to create the university’s new look and to express its vision as an integrated institution with “design-inspired thinking essential for success in the emerging creative economy” at the center of its curriculum. The aesthetics of the identity system are inspired by the architecture and typography of the school’s new LEED certified University Center, while also incorporating parallel lines that echo the horizontal striations of the landmark Joseph Urban building nearby. As part of the identity, Scher commissioned a bespoke typeface from Peter Bil’Ak dubbed Neue. It is composed of extended letterforms and governed by a custom algorithm, revolutionary in its combination of regular, extended and very extended widths of the same font programmed together and used seemingly at random. Each individual school within the university appears underneath the primary logo. The university also commissioned a Pantone color, Parsons Red, to honor the history and centrality of the Parsons School of Design. www.pentagram.com

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FRESH | GOODBYE TO TYPICAL ‘TECH’

NEW YORK NY Fugue automates the creation, operations,

and regeneration of cloud infrastructure. The company asked Sagmeister & Walsh to design a brand that visualizes the concept of ephemerality — the software replaces the need for maintenance of long-lived components in the cloud with automated regeneration of short-lived ones — and to move the identity away from typical “tech” graphics. The solution is a logo that works like the software does: it constantly regenerates itself while data moves from one point to another. Since the company is about regeneration and evolution, the designers also developed an application that allows Fugue to import any SVG file so that when they import a line drawing the app automatically generates it in the same language as the logo. The user can then alter the size, speed and density to increase clarity or create specific styles of animations, and there is also a drawing function to draw abstract visuals in the Fugue language using a tablet device. In a bow to the name’s reference to musical composition, the software can also load any music from a users library; the logo speed and pace alters to reflect the beat of the music at trade shows, in demos, or online as animations. www.sagmeisterwalsh.com/work/project/fugue-identity

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Accredited member WSCUC, NASAD, CIDA (BFA-IAD, MFA-IAD), CTC (California Teacher Credential).

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FRESH | ABSOLUT REDESIGN

NEW YORK NY/STOCKHOLM SWEDEN The Absolut Vodka

bottle has been a center of attention since its introduction in 1979. Now it has been refreshed, under the leadership of Brand Union, to feature an updated two line logo, a new script, a redesigned medallion, reduced glass weight and a new brand signifier. Most notably, the iconic shape of the bottle has been tweaked to have more clearly defined shoulders, a straightened neck and body, and a flattened bottom. The simplified logo is complemented by a symbol at the back — “A.” — to serve as a new shorthand for the Absolut brand. Creatives behind the redesigned bottle are calligrapher Luca Barcellona and illustrator/engraver Martin Morck. At Brand Union, Executive Creative Director is Mattias Lindstedt. And at Absolut, Peder Clason is Global Brand Strategy Director while Caroline Mornas is Global Design Strategy Manager. www.absolut.com/us

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FRESH | BREAKFAST COLD WAR BREAKS OUT

LOS ANGELES CA A surreal campaign from Deutsch heats up Taco Bell’s Cold War against McDonalds. The ad agency

reimagines Ronald McDonald as a sunken-eyed Stalinist clown, who subjugates the masses with mediocre and circular breakfast sandwiches. Taco Bell comes to the rescue, of course, with non-conformist breakfast foods that are, among other things, hexagonal. The campaign includes a tv commercial, a mock-propaganda video, and a series of totalitarian communist era posters. The message: become a breakfast “defector.” Credits to Chief Creative Officer Pete Favat, Executive Creative Director Brett Craig, Group Creative Director Tom Pettus, Creative Directors Scott Clark and Pat Almaguer, Director Michael Spiecia, Illustrators Paul Rogers and Erin Burrell, and Production Company Arts & Sciences. www.deutschinc.com

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May 2015 FRESH Impo_feb news play 5/27/15 11:49 AM Page 22

FRESH | COWS AND CHICAGO RECONCILE

GENEVA IL Rule29 is helping 1871 Dairy bring dairy back to

Chicago after a storied and stormy history. As the legend goes, back in 1871 Mrs. O’Leary’s dairy cow kicked over a lantern in a barn, thus starting the Great Chicago Fire that decimated most of the city. Thinking of 1871 Dairy as a road to reconciliation between Chicago and dairy cows, Rule29 has been involved in several projects — including logo and packaging, business cards and stationery, icon sets, website and brochure — that position the dairy as a high-end, healthy and heritage brand.

Products have been place in select Whole Foods, the Publican Meat Market in downtown Chicago, and elsewhere. rule29.com

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FRESH | DRIVING MUCH NEEDED CAPITAL

NEW YORK NY Marisa Rodriguez needed a car to get to work. She couldn’t afford to buy one, and because she had a limited credit history, she couldn't get a loan. Alfalfa Studio collaborated with Ford Foundation to tell the story of Marisa’s problem and solution in an engaging and accessible way. In a playful collage animation style, Alfalfa illustrates how new partnerships between philanthropy and business are bringing much-needed capital to underserved communities. Working closely with the Ford Foundation team, the Alfalfa team created original collage illustrations, produced dozens of branded backgrounds, directed the story and animation, and supervised all production and post-production aspects, including sound effects and commissioning of original music. Rafael Esquer heads the studio and Minal Nairi is senior designer. vimeo.com/112411552

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FRESH | REAWAKENING A COFFEE BUSINESS

WATERBURY VT To visually bring two businesses together and reenergize each brand individually — Green Mountain Coffee Roasters and its Keurig single serve acquisition — engaged the Prophet design firm. The goal: clarify the brand architecture and develop a best practices internal marketing organization, transform Keurig into a brewing system that stands for more than just coffee, and help expand Green Mountain from its Vermont roots to a globally recognized brand. For Keurig, the Prophet team built off the characteristics of simplicity, consistency, convenience and personalization to develop a positioning that centers on ease and choice. The logo focuses on the push button and the pod selection offered by the Keurig system. As for Green Mountain Coffee, the new look pushes the brand upscale by featuring the region’s signature geography and the core of its business — the coffee bean. To unite the company, an overall corporate identity and logo combine elements of both main brands. www.prophet.com

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PEOPLE | LONGTIME AIGA HEAD STEPS DOWN

RICHARD GREFÉ AIGA EXECUTIVE DIRECTOR, AIGA, NEW YORK NY Ric Grefé, executive director of AIGA, will step down from his post at the end of 2015, following two decades in the role. Grefé and the board had long considered this point an opportune time to turn the leadership over to a new generation, as AIGA recently celebrated its centennial and enters its second century. Accordingly, a fresh strategic direction has been developed with members and chapters, an endowment established for the long-term strength of the association, and the staff has moved to new offices. Board President Sean Adams comments: “We are deeply indebted to Ric for his insightful and spirited leadership. For two decades now, he has boldly and skillfully stewarded our organization to new heights with extraordinary acumen, intelligence, and care, and his influence will be felt for years to come.” Says Grefé: “Over the past 20 years, I have been privileged to help strengthen AIGA as it serves a profession that is evolving in terms of disciplines, audiences, technology and media. In an era of social media, wider access to information, and a new generation of designers, this is also an exciting time to redefine the role of an association. It has been a great honor to lead AIGA for the past two decades ...” A national search is ongoing with a new executive director to be selected by year’s end. AIGA now supports 70 volunteer-led chapters across the United States as well as several global affiliates. www.aiga.org

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MAY 2015 PEOPLE impo_SEPT 07 People 5/27/15 11:57 AM Page 30

PEOPLE | PROMOTIONS + HONORS

ANDREINA CARRILLO ASSOCIATE, POULIN + MORRIS, NEW YORK NY

Poulin + Morris has named Andreina Carrillo an Associate of the firm. She joined Poulin + Morris in 2010 as a staff designer and was promoted to Senior Designer in 2013. In her new role, Carrillo is responsible for project direction, design, management, and coordination. She is currently directing the development of environmental graphics, donor recognition, and wayfinding sign programs for cultural and educational institutions including Arizona State University, Gibney Dance, New-York Historical Society, and The Frick

J U L I A N ALEXANDER

Collection; and branding, environmental graphics, and

EXECUTIVE CREATIVE DIRECTOR, GUILD BROOKLYN NY, LOS ANGELES CA, PORTLAND OR

wayfinding sign programs for 55 Hudson Yards, 280 Park

Julian Alexander is named executive creative director at GUILD. Alexander will oversee all of the creative operations for all three of the agency’s studios in New York, Los Angeles, and Portland.

He brings 20 years of art direction and production system to his new position. Prior to joining Guild, he was Design Director at Sony Music Entertainment, where he received a Grammy for his art direction for The Complete Jack Johnson Session by Miles David.

He has also headed his own firm, Slang Inc., where clients included Nike, The Brooklyn Circus, Eminem and 50 Cent. Guild was founded in 2007 by Jeffrey Hatfield and Peter Brown.

PATRICK SULLIVAN HMSDESIGN, FAIRFIELD CT

HMSDesign, a branding and packaging firm specializing in brand imagery, appoints CPG design management veteran Patrick Sullivan as creative director. Sullivan joins HMSDesign from CBX in New York City, having worked with key accounts including Big Heart Brands (formerly Del Monte Pet), ConAgra, Dr. Pepper Snapple Group, Kimberly Clark and The Scotts Miracle-Gro Company.Sullivan is a graduate of Sacred Heart University with a double major in graphic design and illustration. He reports to Hugh Montgomery, principal at HMSDesign.

30 G D U S A

Avenue, and 230 Peachtree Center. Andreina graduated with honors from the School of Visual Arts.

Greteman Group has promoted DONNA GROW to brand production manager from her current role as senior production designer. Grow has been part at the firm for 13 years. Her promotion acknowledges the brand stewardship she provides the agency’s clients, particularly FlightSafety International.

From iPad-optimized collateral and newsletters to tradeshow booths and ads, Grow ensures all meet the highest standards of quality. Sonia Greteman, agency president and creative director, comments: “Donna serves a critical role on our team, helping ensure things get thoroughly thought through and executed beautifully in multiple platforms.”

ArtHouse Design, based in Denver, has promoted graphic designer MEGAN CHARLES to Studio Manager, and has added BRITTANY SPARKS and ZACH KOTEL to the graphic design team. Charles first joined the firm in 2009, and has served as a graphic designer for a full spectrum of two- and three-dimensional design projects. She graduated from Colorado State University, and has studied fine art in Italy.

Sparks is an environmental graphic designer, responsible for developing wayfinding systems and interior/exterior building signage, theming, donor signage, and more. She earned a BFA from the University of Oklahoma and is an accomplished professional photographer. Kotel also has joined ArtHouse Design as an environmental graphic designer, Previously, Kotel has held a variety of positions, including graphic design work for CP+B and University of Puget Sound. He is a painter, photographer, and is fluent in French.

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MAY 2015 PEOPLE impo_SEPT 07 People 5/27/15 11:58 AM Page 32

PEOPLE | PROMOTIONS + HONORS

LINA SUCHARDA MARKETING SUPPORT SPECIALIST, DESIGN NORTH, RACINE WI

According to Business Week, about 40% of family-owned businesses in the U.S. turn into second-generation businesses, and only 13% successfully turn into third-generation businesses. Design North joins that 13% with the addition of Lina Sucharda as Marketing Support Specialist. Lina is the daughter of Lee Sucharda III, current President of Design North, and granddaughter of the founder, Lee Sucharda Jr. As Marketing Support Specialist, she works with the VP of Brand Initiatives, Brand Strategists and the President to promote the firm’s expertise in branding and packaging design. Sucharda has a BS in Retail Merchandising and Management. The Racine WI firm was founded in 1963.

T O M B O DKIN LIFETIME ACHIEVEMENT AWARD SOCIETY OF NEWS DESIGN

The Society for News Design recognized Tom Bodkin of The New York Times with the Lifetime Achievement Award on the final evening of SND’s Annual Workshop in Washington DC. The Society’s highest individual honor is presented for a significant body of work that has had lasting influence on the field of visual journalism or extraordinary service to SND. Presenting the award was Charles M. Blow, author and op-ed columnist for The New York Times.

Bodkin was the 23rd Lifetime recipient. The design director of The New York Times since 1987, Bodkin was named a deputy managing editor in 2011, and Creative Director in 2015. He also holds the title of Chief Creative Officer, overseeing a staff of 140 that includes art directors, news designers, digital designers, information architects, design technologists, graphics editors, multimedia editors, and production artists.

32 G D U S A

Williams Murray Hamm, has appointed former LPK Strategy and Marketing Director, JENNIFER RIPPE to head its Chicago office. WMH has worked in the U.S. for a number of years – initially for Kraft Foods grocery division and Nestle’s Wonka brand, and more recently for ConAgra brands and its global Lamb Weston division. A multiple award winner, Rippe is an experienced creative leader, with extensive experience in running complex design projects. She spent 12 years at LPK in Cincinnati and prior to that, worked for Unilever, as a design manager at its Helene Curtis division and as an art director at Shiseido.

HOW appoints Los Angeles-native ANDREW GIBBS as the new Editorial and Creative Director. At 29 years of age, he will work alongside the internal editorial team to recreate the magazine experience for readers within its new four-time a year frequency. The goal: “to reinvent the magazine to make it relevant to a new generation of designers, non-designers, and businesses who understand the value of design.” Adds Gary Lynch, Vice President/Community Leader, F+W Media: “HOW had become stale. Gibbs brings a young, dynamic and creative perspective to our millennial readers in their late 20's and 30's.” Andrew began his career in package design as a production artist for a gourmet gift company designing products and packaging for major national brands. He founded The Dieline package design website in 2007.

GROWTH In-house is on the rise and so is your

Join the network with exclusive events and content for the in-house community.

career path.

Thought Leadership In-House Creative Services Industry Report In-House InSight Member Profiles Metrics and Inspiration Networking Opportunities

in-source.org

INS_Ad2015_GDUSA_150315.indd 1

4/8/15 10:52 PM

May 2015 Pantone Impo_SEPT 07 People 5/27/15 1:20 PM Page 36

ANNUAL COLOR FORECAST

May 2015 Pantone Impo_SEPT 07 People 5/27/15 12:36 PM Page 37

FALL 2O15

An Evolving Color Landscape Through carefully examining the world around us for new color influences, Pantone has remained the global color authority and provider of professional color standards for the design industries for more than 50 years. Color forecasts including the PANTONE Fashion Color Report, PANTONE VIEW home + interiors and Color of the Year declaration continue to influence product development and purchasing decisions in multiple industries, including fashion, beauty, home and industrial design, as well as product packaging and graphic design. www.pantone.com

This season displays an umbrella of accord that weaves earthy neutrals with a range of bold color statements and patterns to reflect a landscape of hope, fun, fantasy and all things natural. The colors are evocative of a love for nature and a timeless appreciation for warmth and security, which are conveyed through naturally inspired colors that remind us of things that are real and protective.

We are brought back to progressive moments in American history — from the seductive ‘20s to the bohemian hippie and modernists of the ‘60s and ‘70s — while stringing together an affection for colors and styling that is a truly unisex color palette. One such color is Marsala — the 2015 Pantone Color of the Year. Rich and robust, Marsala is an earthy wine red that enriches the mind, body and soul, exuding confidence and stability. Eye-catching, but not overwhelming or bright, Marsala is ideal for use in graphic design and packaging.

LEATRICE EISEMAN Executive Director, Pantone Color Institute

TOP 10 COLORS FOR FALL 2015

DRIED HERB

DESERT SAGE

STORMY WEATHER

OAK BUFF

MARSALA

BISCAY BAY

REFLECTING POND

CADMIUM ORANGE

CASHMERE ROSE

AMETHYST ORCHID

PANTONE Colors displayed here may not match PANTONE-identified standards. Consult current PANTONE FASHION+HOME Color System publications for accurate color. PANTONE® and other Pantone LLC trademarks are the property of Pantone LLC. Pantone LLC is a wholly owned subsidiary of X-Rite, Incorporated. All other trademarks are the property of their respective owners. All images © Pantone Fashion Color Report and the fashion designer attributed below the photograph. © Pantone LLC, 2015. All rights reserved.

PICTURED LEFT: RAOUL G D U S A 37

May 2015 Pantone Impo_SEPT 07 People 5/27/15 12:37 PM Page 38

ANNUAL COLOR REPORT | PANTONE An olive green shade once thought of as strictly safari or military, Dried Herb has been elevated into a color we now perceive as sophisticated and chic. Closely related to nature, Dried Herb is an organic shade redolent of nature’s earthy fragrances.

A cool and soothing greenish gray, Desert Sage is the ideal neutral. Timeless and unobtrusive yet at the same time stylishly powerful enough to make an impactful statement on its own, Desert Sage speaks to this feeling of naturally inspired colors that remind us of things that are real and not invented.

RAOUL

HOUGHTON

DENNIS BASSO

38 G D U S A

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Color, Evolved.

With over 10,000 colors, the PANTONE Portable Guide Studio has everything you need to gain the creative edge, including the full selection of solid and process colors, lustrous metallics, dramatic neons and soft pastels.

Let your colors evolve at pantone.com PANTONEŽ and other Pantone trademarks are the property of Pantone LLC. Pantone LLC is a wholly owned subsidiary of X-Rite, Incorporated. Š Pantone LLC, 2015. All rights reserved.

GDUSA-MayJune15-EvolvePGS v2.indd 1

5/20/15 11:44 AM

May 2015 Pantone Impo_SEPT 07 People 5/27/15 12:37 PM Page 40

ANNUAL COLOR REPORT | PANTONE Reminiscent of the sky on a gray, overcast day, Stormy Weather is dependable, cool and above all, constant. Implying quality and luxury, Stormy Weather is a powerful blue gray shade that is strong, protective and enduring.

Just as the sun comes out after stormy weather to bring us cheer and a glimmer of hope, Oak Buff is a mellow, comforting and warming shade that brings good feelings. Another one of nature’s illustrious shades, the golden yellow Oak Buff acts to nurture and comfort.

Interesting on its own and a wonderful contrast for other hues, Marsala is a winey red-brown that adds finesse and savoir faire. Rich and robust, Marsala incorporates the warmth and richness of a tastefully fulfilling meal, while its grounding red-brown roots point to a sophisticated, natural earthiness.

NICOLE MILLER

Ă€ MOI

REBECCA MINKOFF

40 G D U S A

May 2015 Pantone Impo_SEPT 07 People 5/27/15 12:38 PM Page 41

A lush and elegant teal, Biscay Bay splashes up against more heated tones with its cool touch. Combining the serene qualities of blue with the invigorating aspects of green, the cool and confident Biscay Bay inspires thoughts of soothing, tropical waters, taking us to a place that is pleasant and inviting.

Thoughtful, contemplative and composed, Reflecting Pond is a cooling blue with a lot of depth. Conveying a message of credibility, Reflecting Pond is a serious shade that speaks to our need for stability and security.

A nod to the ‘60s and ‘70s, Cadmium Orange evokes a sentiment of optimism, fun and fantasy. Both playful and sophisticated in its appeal, Cadmium Orange is a warm, welcoming and subtly dramatic orange shade that is striking enough to stand on its own or act as a bold contrast.

CYNTHIA STEFFE

ADEAM YOANA BARASCHI

G D U S A 41

May 2015 Pantone Impo_SEPT 07 People 5/27/15 12:39 PM Page 42

ANNUAL COLOR REPORT | PANTONE A play on the 1960’s with a twist of today, Cashmere Rose is a tactile and soft pink hue that renders exactly what it promises. Cultivated in its richness, Cashmere Rose is a gentle and composed pink that is more upscale than downtown.

Indicative of our affection for color, Amethyst Orchid is the jewel in the crown. Intriguing, vibrant and somewhat sensual, this enigmatic shade is an extraordinary hue that is unique, bold, creative and exciting.

ALICE & TRIXIE

BY ANGELA GEORGE

TADASHI SHOJI

LELA ROSE

42 G D U S A

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Get the look that says you’re

more than smooth.

ACCENT OPAQUE SUPER SMOOTH ®

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Show off your hottest designs on the opaque that redefines smooth.

With Accent Super Smooth, your print pieces will go beyond sensational to a level that is unquestionably super.

To get instant access to the Accent A-List and partake in promotions, visit www.AccentAGame.com.

©2015 International Paper Company. All rights reserved.

Accent is a registered trademark of International Paper Company.

May 2015 Pantone Impo_SEPT 07 People 5/27/15 12:48 PM Page 44

ANNUAL COLOR REPORT | NEW YORK FASHION WEEK

LELA ROSE

À MOI

CHRISTIAN SIRIANO

DANIEL SILVERSTAIN

COSTELLO TAGLIOPIETRA

MONIQUE LHUILLIER

NICOLE MILLER

ADEAM

MONIQUE LHUILLIER

NOON BY NOOR

REBECCA MINKOFF

For more than 20 years, Pantone has surveyed the designers of

NEW YORK FASHION WEEK and beyond to bring you the season’s most important color trends.

44 G D U S A

PHOTOGRAPHY: À MOI BY DAN LECCA, CHRISTIAN SIRIANO BY HAO ZENG, DANIEL SILVERSTAIN BY DAN LECCA, COSTELLO TAGLIOPIETRA BY RANDY BROOKE

REBECCA MINKOFF

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JA JAM A AM

®

PAPER & ENVELOPE w w w. j a m p a p e r.co m

Creative Cr eativ t eP Packaging ackag ging Made e Eas Easy! y!

Legrand Avenue, Avenue, Northvale, Northvale, NJ 07647 07647 185 Legrand 1-800-8010-JAM 1-800-8010-JAM (1-800-80 (1-800-801-0526) 1-0526) 2 www.jampaper.com w ww.jampaper.com

d e x a l e r e r o m % 100 s e e r t e r o m % 8 5 Did you y know that there therre are arre now now 58% 58% more more trees trees growing gr row owing in in U.S. forests forrests e than 60 0 years ago.† Pape er is made from renewable wood… good news if Paper love spending a leisurely afternoon aftternoon reading. you love †

U.S. U . S. D Department epar tment of of Agriculture, Agriculture, 2012 2012

JOIN NOW! TTwo wo Sides Sides iiss a an n iindustry ndustr y initiative initiative tto o pr omote the the responsible responsible use use of of print print promote an d paper. paper. twosidesna.org/ t wosidesna.org/ and ho w-to-jo oin-t wo-sides how-to-join-two-sides

May 2015 Pantone Impo_SEPT 07 People 5/27/15 12:40 PM Page 46

ANNUAL COLOR REPORT | PANTONE VIEW home + interiors 2016

PANTONE VIEW home + interiors 2016 contains visual inspiration, suggested color harmonies, individual tear-out palette cards for each of the nine forecasted palettes, swatches of the 77 forecasted colors, and product imagery for use in presentations and storyboards. Highlighting additional insight and direction, a summary page provides a comprehensive color overview and a look at other factors influencing the world of home furnishings and interior environments.

THE NINE DIRECTIONAL COLOR PALETTES FOR 2016 ARE:

Natural Forms Dichotomy Ephemera Lineage Soft Focus Bijoux Merriment Footloose Mixed Bag

In the French language, Bijoux means “jewelry” — a fitting title for this palette that gleams with drama and intensity across many jewel tones.

46 G D U S A

DARK CITRON

PRISM PINK

TIGER’S EYE

AMETHYST

VIOLET

TOPAZ

EMBERGLOW

AMBER YELLOW

RICH GOLD

May 2015 Pantone Impo_SEPT 07 People 5/27/15 12:41 PM Page 47

LATTE

Capricious color combinations with vacation-destination blues and bluegreens create Footloose — a palette that supports the idea of throwing off the constricting scheduling of everyday life and simply enjoying the freedom of the outdoors.

VALLARTA BLUE

WINTER PEAR

MEADOW GREEN

STRAWBERRY DEEP PINK PERIWINKLE

CAPRI

BLAZING ORANGE

CANDIED GINGER

PIRATE BLACK

MANDARIN RED

DEWBERRY

CAMELLIA

ANTIQUE MOSS

MARSALA

HOT PINK

Mixed Bag is an assortment of eclectic patterns and prints, with exciting and unique colors like pirate black and mandarin red as well as violet and florid orange.

G D U S A 47

May 2015 Pantone Impo_SEPT 07 People 5/27/15 12:42 PM Page 48

ANNUAL COLOR REPORT | PANTONE

PANTONE PLUS SERIES Limited-edition Artist Covers Continually inspired by the artists and designers who use Pantone products, the second iteration of the Artist Edition covers for the PANTONE® PLUS SERIES were introduced — featuring the work of two artists from PANTONE Canvas, Pantone’s free, online portfolio sharing network powered by Behance. With the Artist Edition covers, Pantone celebrates inspired and creative uses of color by those who use the PANTONE® PLUS SERIES guides.

PANTONE MINION YELLOW In an industry first, Pantone, together with Illumination Entertainment and Universal Partnerships & Licensing, created a new PANTONE Color, Minion Yellow. Based on the Minions from Universal Pictures and Illumination’s Despicable Me global film franchise, PANTONE Minion Yellow is the first color to be created and named after a character.

“PANTONE Minion Yellow is a color that heightens awareness and creates clarity, lighting the way to the intelligence, originality and the resourcefulness of an open mind — this is the color of hope, joy and optimism," said Leatrice Eiseman, Executive Director, Pantone Color Institute.

Minions holding Swatch Card image ™ © Universal Studios

48 G D U S A

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Typographics A conference for people who use type Speakers include: Jonathan

Mike

Barbara

Hoefler & Co.

Symbolset, Siteleaf

Heavy Meta

HOEFLER

FORTRESS

GLAUBER

Bethany

Roger

Bruno

Microsoft

Font Bureau

Dalton Maag

HECK

BLACK

MAAG

Adrian

Jackie

Matteo

Unit Editions

Yahoo!

Mucca Design

SHAUGHNESSY Erik

VAN BLOKLAND LettError

June 12–13

GOLDBERG Alex

BOLOGNA Abbott

TROCHUT

MILLER Pentagram

Typographics is a conference devoted to contemporary typography, with talks, workshops, and tours focusing on where typography is today and where its future may lie. It will be held at Cooper Union in New York City as a combined effort of Type@Cooper and the Herb Lubalin Study Center.

Conference participants receive a 10% discount on Type@Cooper workshops from 8–18 June.

Presented by:

Sponsored by:

May 2015 Print Survey Impo_SEPT 07 People 5/27/15 1:41 PM Page 50

| 52ND ANNUAL |

PRINT DESIGN SURVEY SPONSORED BY VERSO CORPORATION

PRINT IS NOVEL IN DIGITAL ERA

BY GORDON KAYE 50 G D U S A

May 2015 Print Survey Impo_SEPT 07 People 5/27/15 1:47 PM Page 51

1

First, print remains crucial as to how professional graphic designers make a living.

More than 9-in-10 designers work in print as part of their mix and roughly 3-in-4 projects involve a print component.

2

Second, designers retain responsibility and control for large swaths of the print process, with more than 8-in-10 involved in print buying and paper specification.

For the 52nd year, GDUSA has conducted a reader survey about print design. When print was the dominant

3

medium for graphic designers, our

Third, designers see the move away from print and the embrace of all things digital as having moved too far and too fast. Everyone appreciates the cost and reach advantages of digital communications but believe that print belongs in the mix.

surveys split hairs: lots of detailed questions and analysis of projects, presses, papers, specification practices.

In 2015, print is far from the only

4

game in town and this survey focuses on the fundamentals — the present

Fourth, designers say that print belongs because of its classic strengths. Foremost is touch — sensual, physical, real, permanent, credible, the human connection that is missing in the virtual world. As one respondent states: “People are people. They want something tangible.”

and future role of print in graphic and media communications. Here, the 2015 results and comments are both suggestive and informative.

5

Fifth, these classic strengths are amplified by context. In the digital clutter of 2015, print can be special — fresh, surprising, novel, welcome, personal, revealing, even a statement that a brand values itself and its customers.

6

Sixth, print’s emerging “special” role comes with responsibility: superior print design, wellcrafted production, and strategic deployment matter as much, perhaps more, than ever.

7

Finally, print’s evolution to a smarter and leaner profile — think digital printing and sustainable paper making — are helping keep the medium a relevant option when hard choices are being made about effectiveness, economics, and ethics.

G D U S A 51

May 2015 Print Survey Impo_SEPT 07 People 5/27/15 1:35 PM Page 52

PRINT SURVEY | THE NUMBERS WHAT TYPES OF DESIGN PROJECTS DO YOU WORK ON?

74% ONLINE

60% POP/PACKAGE

96%

24%

PRINT

TV/FILM/VIDEO

WHAT KINDS OF PRINT PROJECTS HAVE YOU WORKED ON THE PAST YEAR? (TOP 12)) BROCHURES/COLLATERAL ANNOUNCEMENTS/INVITES/CARDS DIRECT MAIL/POSTCARDS PRINT ADVERTISING LETTERHEADS/BUSINESS CARDS POSTERS SALES PROMOTION POP/PACKAGING PUBLICATIONS/MAGAZINES/CATALOGS ANNUAL/CORPORATE/CSR REPORTS SELF PROMOTION CALENDARS

DO YOU BUY, SPECIFY, OR RECOMMEND MORE OR LESS PAPER THAN IN PAST YEARS?

23% LESS

58% SAME

19% MORE

DO YOU BUY, SPECIFY, OR RECOMMEND MORE OR LESS PRINTING THAN IN PAST YEARS?

21% LESS

DO YOU BUY, SPECIFY, OR RECOMMEND PRINTING?

57% SAME

HOW MUCH OF YOUR WORK INVOLVES DESIGNING FOR PRINT?

22% MORE

85% ARE YOU DOING MORE OR LESS PRINT DESIGN THAN IN THE PAST YEAR?

PRINTING IN GENERAL

74% OF YOUR TIME IS SPENT WORKING IN PRINT

21% LESS

84%

58%

DIGITAL PRINTING

75%

SAME

21%

OF YOUR PROJECTS INVOLVE PRINT

MORE

86% THINK PAPER AND PRINTING COMPANIES ARE DOING A BETTER JOB AT BEING GREEN

DO YOU BUY, SPECIFY, OR RECOMMEND PAPERS + SUBSTRATES?

ARE YOU DOING MORE OR LESS PACKAGE DESIGN THAN IN THE PAST YEAR?

13% LESS

DO YOU BUY, SPECIFY, OR RECOMMEND THESE

78%

62%

RELATED BUSINESS PRODUCTS/SERVICES?

RECYCLED PAPERS

SAME

25% MORE

81% 77%

84% PAPER IN GENERAL

DIGITAL PAPERS

Aa

DESIGN SOFTWARE

IS SUSTAINABILITY INCREASING OR DECREASING AS A FACTOR IN DESIGN SOLUTIONS?

6%

81%

88% TYPE

LESS

HARDWARE + ACCESSORIES

67% SAME

21% MORE

Our 2015 survey was sent to a random selection of 20,000 GDUSA print magazine and e-subscribers, and generated 2,359 responses. The benchmark results convey a clear message: though print is no longer the superstar, it remains essential to the design profession. Specifically, 96% of GDUSA readers work in print as part of their mix and spend 74% of their time doing so. Control over key elements of the process still resides with the designer: 84% buy or specify paper, 85% buy or specify printing, 88% buy or specify type. Other notable findings: brochures and collateral, followed by announcements and invitations, are the most frequent print projects; package design is seen as a growth opportunity since it’s role is less directly impacted by the internet than other print-related activities; digital printing and digital papers have become commonplace and mainstream; sustainability continues to influence design solutions and purchasing decisions; and designers maintain significant purchasing influence with regard to hardware and software.

52 G D U S A

May 2015 Print Survey Impo_SEPT 07 People 5/27/15 1:36 PM Page 53

PRINT SURVEY | SELECT COMMENTS

PRINT AND PAPER HAVE CLASSIC STRENGTHS Designers feel strongly and positively about print.

They value print for its classic strengths and how these can be effectively leveraged to convey a message or a feeling. Foremost is touch, but other practical attributes continue to matter: permanence, portability, convenience, accessibility. Print works, in the view of respondents, because it creates a human connection and a trustworthiness missing from the ephemeral, desensitizing, often anonymous world of digital communications. In addition, many observe that the relative rarity of printed communications makes the impact felt even more, assuming that the project is done well.

People are people, they want something tangible. So yes, print is still important and meaningful. Print has the same impact, it is the designers’ challenge to keep it interesting.

Print has greater impact since those who choose to use print tend to do so for more important initiatives. Digital is the throw away whereas print becomes more of a validator or keepsake.

The digital era came upon us just a little too fast and people want to embrace print before it is completely eliminated. Digital publishing and advertising is great for immediate impact but print has longevity that digital does not.

While I do understand many of the advantages of the digital age and technology, it has not held me hostage nor acquired a stranglehold on my technique or mindset. In fact, I have pushed clients (and myself) increasingly to a print renaissance. There is nothing that can compare to the tactile, visual or visceral experience of actually holding something in your hands. I detest the bent neck, eye strained, and digital dominated path that personal devices have led us down.

Print is not dead and never will be. The consumer is inundated with email and web marketing, print is a medium that allows for greater impact. If an open rate could be tracked for print, it would be far greater (with great design) than an email that some do not even see.

I’m thrilled to see the innovation that is happening in the print world in materials and execution because it has to compete with online media. The revival of letterpress, handlettering, varnishes and other techniques is especially fun and a reaction to the de-personalized feel of online media.

Paper choice communicates the message of your design as much as graphics and copy do. Nothing ruins a great design faster than cheap crappy paper.

In a world of digital bombardment, print is now a way to differentiate.

Print is still a valuable tool to convey messages and adds credibility to a business if done well. It shows quality and a firm brand standard that is respected by the public.

MONA JOHNS, CREATIVE DIRECTOR MONA LISA GRAPHIC DESIGN

In 2014, we printed and mailed over 2 million pieces, so print is not dead! 2015 will have about the same amount and the projection for 2016 is an increase in printing and mailing with a market expansion in the works.

Print will always have a place. I still love to look through a design book or a magazine with the tangible piece in my hand rather than on my computer or iPad. Any day!

Print is still very important in graphic communication. Touch and permanence still matter. In an age where everything is so accessible, people feel disconnected from life when there is nothing physical to hold and feel. The digital world provides so much but when reading, touching or using print materials, your other senses click in and help with memory and recognition so much more than when seeing something on an electronic device.

With quality printing becoming a luxury, I find myself noticing quality production far more than in years past. I appreciate the time, effort, and production of designed pieces that are carefully crafted. In a world of total immersion, the finer details of delivery can really separate good design from great design.

The value of print’s unique qualities depends on the application.

Sales and marketing materials that I design are sometimes just as effective as digital files. Costs and version control can be managed better on line than with printed collateral.

I still believe in the power of print. It has permanence that digital communications will never have. Therefore, it requires more thought and intention. When it's done well, it does have more impact because there is so much less of it.

Print is still an important factor in my professional and personal life. Touch, permanence and convenience is still meaningful.

Print has more impact today because people are tired of digital everything. There is something tactile about the printed piece.

The traditional strengths, touch and permanence, are more important now than ever before because these qualities are diminishing in the digital no touch no personal contact world.

Print has tremendous value which cannot be duplicated in a digital format. The feel and comfort associated with print is unmatched. But print remains impactful only when it is supported with superior design and relevant content. Otherwise, it becomes part of a landfill.

G D U S A 53

May 2015 Print Survey Impo_SEPT 07 People 5/27/15 1:36 PM Page 54

PRINT SURVEY | SELECT COMMENTS

PRINT AND PAPER HAVE CLASSIC STRENGTHS (CONTINUED FROM PREVIOUS PAGE)

Brands that are strong have the opportunity to drive everything.

Customer experience continues to sustain brands at all levels and print continues to contribute. Throughout shopping cycles, consumers are connected to brands at many touch points including packaging, POP and direct marketing. The critical factor is, and will continue to be, the quality of the communication and its impact on customer relationships.

Print is still an important factor in my professional and personal life. Touch, permanence and convenience is still meaningful. Print has more impact today because people of tired of digital everything.

Printing on paper is always important and will be. Web-only ads and designers are quickly forgotten by consumers.

Print was holding its own alongside digital until budgets were slashed starting in 2009. Digital work is huge due to the results and cost savings it offers clients.

I am part of a generation that has had to adapt from a printdriven world to a technology-driven one. The digital revolution has brought blessings as well as curses. In spite of the change, none of us can escape the fact that human beings are tactile creatures. We like to touch and feel things. We like texture and the weight of things in our hands. These things we can touch carry a special meaning, vastly different from the one we get from the electronic glow on a screen.

Print is still relevant in 2015. The amount of print being smaller now needs to have a more impactful message. Paper is very important to me personally because I love the tactile dimension of paper and writing things down is a very important part of how I document.

Sometimes people want to touch and feel something in front of them rather than examining a digital screen. Print will always have a prominent place in graphic communications. Although our world is slowly progressing to a digital lifestyle, there will always be things like POS, POP, posters, invitations, etc. that are well designed and have tactile qualities.

Print will always be around for businesses that require it for their category. Packaging, p-o-p, shipping and the like. Print that existed 10 years ago for all visual communications will never come back because of the advent of web-based media.

That’s pretty much dead.

With the advancement of digital printing technologies, print has reestablished its role in the marketing lifecycle.

It is nice to unplug and hold something in your hand that has texture.

Yes, print is important and, yes, it has more impact because there is less of it. But until the cost of printing/mailing can compete with the minimal cost of digital/web, printing will continue to lose ground.

54 G D U S A

Print can have an important place if it is used strategically. For example: my business card has information as usual on the front.

On the back, however, it says three short things about me. I get many comments about it which, in turn, leads to good conversations.

Print is still relevant and has become more noticeable when done correctly.

In consumer packaged goods marketing, we use print every bit as much as ever. Our online presence addresses different audiences and supplements our print marketing.

Print design will always give the personal feeling to advertising and design. You can touch it, smell it, feel it!

Print will always have a place at the table. Nothing beats the tactile feel of a print piece, and you don't have to worry about whether or not you'll have a connection, colors and experience will be on brand across platforms.

As inhouse creatives, we receive requests for brochures, flyers, posters, cards, educational material, maps, and more. These solutions help inform the public and bring value to their experience. We've added interactive digital sign boards and kiosks to the public's experience. The main focus should always be accomplishing the objective, not just creating nice looking pieces.

The traditional strengths of print are more relevant in today’s world than ever before. People are starting to learn that digital isn't always better.

Print is starting to make a come back for impact projects but, in general, clients are utilizing their print budgets for other digital things. For some clients, PDFs and sales presentations are the new print materials.

Print is still important! My clients like to have something tangible to show off or proudly display. Because there is less of it, the quality of printed pieces need to be superior.

Print is still relevant and necessary in a B2B setting. While we frequently employ email blasts, electronic ads, and motion creative, we frequently receive more feedback on our printed materials. These pieces matter to our customer and so we put more effort into selecting the right elements for them, including paper and finish.

Print still introduces the human element to advertising and allows for more interaction. Our world is still full of individuals who aren't necessarily comfortable with dedication to the digital market and so it is important not to cut that audience out.

Advertising must be versatile offering visibility on many sources and platforms. Although the increasing demand for digital can't be ignored, print still holds a part in the game of design.

I would rather get a well-designed print piece than receive a PDF file. I enjoy the feel of paper, the smell of the inks, the tactile qualities of different varnishes.

In my personal life, print is quickly fading away. The company is going digital, which is saving us boat loads of money.

May 2015 Print Survey Impo_SEPT 07 People 5/27/15 1:36 PM Page 55

A FRESH WAY TO ENGAGE AND ELEVATE To further explore print’s appropriate and changing role in the mix of media communications, we noted that many non-traditional brands — Uber, Airbnb, WebMD, CNET — are introducing print into their marketing mix for the first time — and many traditional brands — IKEA, JC Penney, Newsweek, Conde Nast — are doubling down on print. We quoted Kim Caviness of McMurray/TMG, the agency behind WebMD magazine, who said: “Nothing communicates premium and ‘we value you’ like print. Basically you’re taking a powerful digital experience and then personalizing it and taking it to that next level of engagement.” We asked readers to react to the notion that, in the digital clutter, print is a fresh way to engage the customer and elevate the brand. Many hope it is a trend and some see it simply as a blip.

Using the right paper and printing is a way to express the kind of business you are and the experience a customer will have when engaging with your brand.

LOU LEONARDIS CREATIVE DIRECTOR, TRILLION

Paper introduces quality and sustainability that is lost with much of the online experience.

GAYLE FURBERT DESIGN SUPERVISOR, INFORMA - USA

I think people like tangible items. I also think millennials, like myself, are still a little nostalgic towards print. That being said, it sort of puts print in that retro realm now, like vinyl records or throwback jerseys.

Many people see the world as depending on technology, and think that they can just focus on the digital aspect, but then realized it didn’t work very well, and are now backtracking.

With digital communications so the norm and so fleeting, print shows a level of commitment to the consumer, stakeholder and employee.

It says you’re important and we’ve taken time to craft this piece for you.

The tactile engagement that print provides will always be important to brands who seek to position themselves within a market. The opportunity to convey a brand’s personality will always be a key factor to engagement.

A printed piece can be the “next level of engagement.” With digital communication there is an sense of mass communication in an inexpensive and throw-away wrapper.

Print might say, “We value you enough to spend the extra dollars putting this in your hands.” This is especially effective if it is well designed, creative and of obvious quality.

Print is like a “gift” — something for the consumer to have, hold and own. It has dimensionality that online communication does not have; the feel of the paper, turning pages to reveal a vision, colors, and details that screen resolution cannot capture. Catalogs and other publications have become artful and beautiful pieces to display, allowing a company's message to live on.

Yes, there seems to be a growing trend back to print pieces to support online marketing.

In spite of being a print designer, I have to admit that I receive a lot of print pieces in my mailbox that I would be happy NOT to get. The print piece needs to be of value to the person receiving it, not just to the company that sent it.

The industry is much like a boat in the water, drifting through phases of turbulence and calm. With such a downward movement of print in favor of the digital world, it is only a matter of time before the industry responds and embraces what was once tossed out, literally. Print will make a return, but maybe the waves will not be as high this time.

The idea of print being dead was short-sighted at best. Online advertising is ubiquitous, often ugly and increasingly intrusive and noisy. People tune it out, resent it and often feel the need to go offline in order to reduce the stress in their lives. Print now looks less aggressive. Done well, it can seem more posh, personable and respectful of the user's boundaries.

I dearly hope it is not simply a trend, but a return to the atelierinspired, highest level of craftsmanship.

I've heard that the largest user of direct mail is Google.

I like to think that print validates or reveals your brand.

Digital communications are easily ignored, forgotten, or misplaced.

Really great design in a print piece can make a statement of high value and quality related to both the company sending it and the person receiving it.

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d e x a l e r e r o m 100% s e e r t e r o m % 8 5 Did you know that tha at there therre are arre now 58% mor more re trees trrees e growing grrowing o in in U.S. forests forrests e than 60 6 years ago.† Paper is made from m renewable wood… good news new ws if you love spending a leisurely leisurely afternoon reading. †

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May 2015 Print Survey Impo_SEPT 07 People 5/27/15 2:17 PM Page 57

PRINT SURVEY | SELECT COMMENTS

PACKAGE DESIGN AS GROWTH AREA We hypothesized that package design presents a growth opportunity for designers and printers because it is an area less directly effected by online communications than many other activities, and because it is well-positioned to help advance the brand and make the sale in a fragmented media marketplace. Readers responded as follows.

Package design is very important and will continue to play a large part in design — it is what you confront every time you purchase or use a product.

Packaging is one area of print in which clients are still willing to make a substantial investment which gives us more freedom to explore and experiment.

Packaging is important and has been maintained in the design world ... while standard print has become less valued and minimized. Harder to break into, but a field of design that is truer to the mission and values of the graphic design world.

I’m glad package design is one of my niches, and that many designers have never stepped into the arena. That's fine, keeps me relevant and not redundant. People will always and forever reach for a box, bottle, pouch, what have you, when they buy something in the stores. Even if purchased online, the package still has to be made.

You can't really replace package design digitally, and it's becoming more important because there are so many products that now there's a greater effort to ensure yours stands out.

Packaging is, and will be, a place where consumers can be influenced at the critical point of sale. Packaging that efficiently communicates a brand image can have success regardless of its marketing spend. In many instances a brand’s value is dictated by its packaging.

Many other factors are squeezing package design — shelf space, packing requirements, etc. I don't think that has changed.

Package design has crept into the personal space in ways that were not part of the status quo. I’ve designed some unusual invitations or announcement pieces that are more “packaging/package design” than a simple invitation counterpart. I think the words “bespoke”, “one-off” or “custom” certainly apply.

Apple, among others, has raised the bar on packaging. There is increased awareness, among the general population, that packaging speaks a language unlike any other print or digital component of a product.

Packaging has been less impacted than other areas of print.

Consider the growing amount of independent regional manufactures that require competitive packaging. It’s not just the big corporations on the shelves in my local market.

Online lacks touch and smell. So if I were a company today and my products required packaging, I'd take a big step back and think like a start up. Begin with a mission statement and rebuild from there. Make my packaging want to be picked up and explored. Take funding from lesser projects and reinvest here.

Apple is a brilliant example.

Yes, I agree that it's important to stand out at retail and package design is sometimes the only way to do that. Physical items will always need a package and a designer to make it appealing.

At our design studio, we create just a few packaging projects per year but during a recent hiring process, we've heard from many young designers that package design is something that they want to do more of and we have seen a growing percentage of package design present in portfolios.

Print has come inhouse ... but we are also seeing package design coming to inhouse design as well.

No. I do not agree. I see packaging as being prostituted in order to try to sell more more more! While there are some really good and cool packaging out there, in today’s world the package tends to be less important than the product or service that is being promoted. Packaging today is all over the place as far as look and feel. I have heard many consumers say it is overwhelming.

Then they pick the perfect looking package and are disappointed that the product doesn’t meet the packaging’s influence.

G D U S A 57

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58 G D U S A

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May 2015 Logolounge Impo_feb news play 5/27/15 1:55 PM Page 60

LOGOLOUNGE THE 2015 LOGO TRENDS REPORT The Impact of Children, Experts and Design Tourists, and So Much More

BY BILL GARDNER Each year, as I browse through thousands of logos in preparation for the annual Trend Report, I can’t help but consider the societal, technological and environmental influences and how they will affect the future of our industry. This year, three thoughts occurred to me.

ONE

So, back to design; what do these icons have in common? The

Now more than ever, perhaps because they make up a majority of

mono-line. The mono-line is becoming reflective of how you simplify

the world’s early adapters and drivers of trends, we look to children

something iconologically, because it’s simply more legible and con-

and adolescents for insight into what will become the next big thing.

sistent in small areas. It’s adaptable and, frankly, it works. But when

We’ve known for some time, and I addressed in last year’s Trend

I look over the enormous amount of mono-line logos and icons in

Report, that the size of our digital viewing ports — I understand the

circulation today, I’m reminded of past trends, such as the stripe

layman calls them screens — continues to get smaller and smaller.

logos in the 1980s. The two seminal logos that launched a thousand

And a recent Pew Research Center report indicates that 91 percent

stripes — the “stars in motion” 1984 Summer Olympics logo and

of teenagers access information online through mobile devices. So

Saul Bass’ AT&T logo — were fantastic designs at the time, but the

if we are paying attention to this demographic, as history tells us we

concept was so overused in the years following that they now have

should, it’s no wonder that designs continue to bend to the param-

a dated appearance.

eters of small, mobile canvases. And need I mention the affect devices such as the Apple Watch will have this phenomenon?

So, my prediction is that the airy, open, consistent mono-line solution will eventually be so ubiquitous and overused that it will begin

And for those of you thinking, “On the contrary Bill, the iPhone 6+

to seem dated, possibly becoming the “mauve” of the 2010-2019

and monstrous Galaxy W (seriously, that thing is bigger than my

decade. In fact, we’re already seeing designers coloring in between

toaster) suggest that the pendulum is swinging back the other way

the mono-lines to add surface back into the design, so we come full

toward larger screens,” I ask you to consider the latest TV models

circle once again. Consideration for the future: more symbols are

that, while the size of small cars, also incorporate these new symbols

being born every day, so what will the symbol be for 3-D printing?

and icons into their user interfaces.

More on that to come.

So as we toil to conform to these new parameters, designers are

TWO

developing a new set of iconography, and the adolescents, children,

Everyone has opinion > everyone’s a critic > everyone’s an expert.

even infants of today are experiencing a very different visual dynamic

This trajectory used to relate only to words and ideas, but with the

than generations before them. For example, a cloud has a different

abundance of visual corkboards (ahem, Pinterest) and how-to

meaning today than a decade ago. Depending on the setting and

resources, the world is becoming more visually opinionated. The

context, a teenager is likely to look at a cloud icon and think first

good news is that people are embracing creativity and are interested

of data storage rather than rain. Three curved lines stacked on top

in design, and this generation will be more visually astute and

of or next to one another no longer conjure thoughts of rainbows,

capable of forming their own pathways.

but of communication, or more specifically that WiFi is available.

Even a hamburger icon has been simplified and given new meaning

As well, the popularity of life hacks and sustainable practices that

(hint: it has nothing to do with food).

have grown out of reactions to some very stark realizations of the world we live in have contributed to this culture of doing it yourself.

Because the world continues to be reduced to symbols, our commu-

As a result, we are embracing imperfections and seeking proof of

nication will become more icon-based resulting in more common

the human touch in design.

iconography that can cross language barriers. Those ancient Egyptians may have been on to something.

60 G D U SA

May 2015 Logolounge Impo_feb news play 5/27/15 1:55 PM Page 61

And I’m particularly encouraged by this possibility: the design

tomary, the motion logo might automatically take on a new set of

field has historically been dominated by the male gender, but digital

gymnastics when viewed on devices of varying sizes. Logo designers

visual outlets like Pinterest and Instagram are dominated by the

have historically taken cues from illustrators, looking for styles

female gender. Let’s hope that interest will manifest itself into

that can migrate into condensed visual solutions. I see that occur-

more women participating in design-oriented fields.

ring even more frequently as we look for inspiration to develop these experimental and expansive designs.

On the flip side (you knew it was coming), the people who are gaining enthusiasm for design and taking matters into their own hands often aren’t gaining the talent and learning the skills necessary to create successful designs or move the industry forward.

HONORABLE MENTION TRENDS BAR GRAPHS. These rectangles of varying heights and colors may indicate that your client places emphasis on measurement, movement or sound,

These “design tourists” may be able to find or buy the pre-designed

which is a nice alternative to the communication rainbows.

parts and pieces, even design a few of their own, to create a logo.

But they don’t know how they got to where they are or what it says about their brand, resulting in a lot of “Monet” designs that look good from a distance but are a bit messy up close. They can create

TUBES Think of a hemroid donut. I agree. This attempt at multi-dimensional design can go away.

a pretty picture, but it may have little function beyond looking pretty, and forget about applying it appropriately and consistently

BOOMERANGS

across multiple applications.

Your customers may go away, but they’ll come back! Not if your clients’ offerings are as lightweight as these logos. There’s just too

Skilled designers understand the objective nature of design, not

little mass for these solutions to stand on their own.

just the subjective view. Objective gains are what make a brand

TWISTED

successful.

Could be a rope, could be a DNA strand. These logos combine the strength of individual fibers to create a more solid form.

THREE

Projected messages may include integration, activity, bonds and

Versatility or nothing. I mentioned 3-D printing previously in this

interconnectivity.

article, which can be added to the list of innovations that begin as novelties until more practical uses are identified and enough

TEST BARS

interest and funding emerge to help the technology evolve. Think

I still can hear the accompanying sound … beeeeeeeeep. Video

Beta vs. VHS, then DVD vs. BluRay. And how many of us installed

production test bars are being worked into all sorts of shapes, from

one of those massive satellites in our backyard, or fantasized about

letters of the alphabet to 3-D boxes. These are becoming the

doing so, before the smaller roof-top models surfaced? Every day,

universal sign for “video made here.”

innovators are imagining and developing practical uses for 3-D

BISECT

printing, and now that it’s becoming more mainstream, there will

Digital table tents and mobile sculptures. Two or more planes slice

be an immediate need for 3-D design, as well as a consistent icon

through one another to create a multidimensional shape. Architects

for 3-D printers. The challenge is that the 3-D icon contenders

love these and their quick transition to 3-D applications makes

developed today have a good chance of appearing dated in very

them a favorite of designers too.

little time, because the device we are using today will likely look very different in the future.

SLASH AND BACKSLASH MARKS Is there more to follow as in a URL? Or are we simply bored with

With such a wide range of screen sizes on the market, we’re also

using the pipe character to create separation?

seeing more responsive logos and design components. And as the

HOPS = BEER

need for versatility continues to drive design trends, we will see

Need I say more?

responsive design become an additive and subtractive process, rather than simply rescaling and rearranging the components.

ALSO: anchors, rabbits, foxes, corkscrews and movie cameras.

Then, we’ll take those two ideas, throw them together in a blender

A final thought: this report is intended to bring awareness to what

and make a motion logo smoothie. A 3-D image, achieved by

is happening in the identity design field. Be educated by this,

adding movement to a logo, allows viewers to see all sides and

stand on the shoulders of others to advance our industry, but please

angles, and allows designers to build more robust messaging into

do not consider this report a suggestion of what your next project

their designs. And as device-agnostic coding becomes more cus-

should look like. So without further ado . . .

G D U SA 61

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LOGOLOUNGE | THE 2015 LOGO TREND REPORT

DOT TIP For anyone who has ever expressed a fear of injury from falling on a logo with sharp ends, this group has allayed the danger by safety tipping each pointy offender. Possibly as an attempt to move the mono-line trend forward yet another step, the additions of balls or circles bring closure and add additional weight to designs crafted wholly from lines. There is a nod to science by referencing digital terminals with these, though that is becoming a pretty dated symbol in a world that is reliant on more advanced technology. Possibly a reference to connect the dot puzzles is more likely. Without the line work, the series of points represents a challenge and the connecting segments provide a solution. Line work on these can still become busy and needs to be minimal to keep the message from becoming too complicated, but it can allude to a pathway or process that helps link disparate points to achieve an effective end. Still, looking at these is reminiscent of a shoe store clerk’s inventive efforts at devising a solution for lacing up footwear with a few too many eyelets.

LOGICMAZE, LOGICMAZE

BRANDJAMIN, ACS CREATIVE

RESOURCE BRANDING & DESIGN, CONSTELLATION

PAVEL SAKSIN, ABC INTERLINGUA

CONTOURS Designers set on finding a hybrid between simple one-color iconic symbols and a more complex descriptive illustrative mark have landed on a solution. Replete with gradation and contours, highlights and shadow, yet limited detail to keep the marks just on this side of simplistic. Generally, the mark’s iconic outline serves up enough information to complete the messaging when presented at a smaller scale. A closer evaluation or larger presentation reveals subtle volume delineation that creates a tactile temptation for the consumer.

This is just the amount of visual eye candy necessary to lift the logo from a page and create a point of optic differentiation. Some designers might view this technique as a bit to tricky for their liking but time will prove one group or the other right in the end. Although these solutions require halftone and gradation they still convey an economical one-color essence to the public eye. Let’s credit the design direction as moving the conversation forward with solutions that are to the point and not burdened with unnecessary detail.

01D, GALAMEDIA

62 G D U SA

UNIPEN, OPEN CHAT

SABINGRAFIK, INC., ISLAND POOLS

IVAN BOBROV, THRIVE

May 2015 Logolounge Impo_feb news play 5/27/15 1:56 PM Page 63

CONCENTRAK Pattern in any definition usually includes repetition of elements. That simple fact makes pattern an important component in logo design.

It allows a viewer to mentally complete a picture with only partial information. Seeing just part of a checkerboard is enough for us to assume the balance of the missing board will also be covered with a continuing checked pattern. The concentric linear elements of these marks accomplish several fundamental tasks, including pattern recognition, but also allowing lines to volumize and fill space.

They are at once massive and bold, yet delicate and fragile. Bands of lines, often in a loop formation, twist in space to create a rhythmic story to best represent the client. There is elegance to these solutions that seems to flow effortlessly and typically reconnect back to their origin, although not imperative. Played out against a dark background these logos are often packed with high-chroma color and can radiate like neon. It’s also not uncommon to see a gradation in the color to convey an additional message of shift or change as it relates to the entity it represents. This dynamic string art design surged in popularity better than a decade ago but it is seeing a renewed interest with the acceptance of fine line work in identity design.

ASC, BIDLAND

HELOU DESIGN, ANTENA UNO FM

MRS SMITH, SUCCESS INSPIRATION

PENTAGRAM, FULTON CENTER

SPARKLE Shifting the perception of a ubiquitous device can be an arduous task and one from which designers tend to shy away. After all, we trade on the public’s preconceptions regarding symbolic devices. A five-pointed star may evoke nationalism to a major part of the world’s population. That same single star could mean a sub-superior movie or a superior grade on a class assignment. Religious connotations also abound for five- and six-pointed stars. The more polarizing and diverse the symbolism, the more gently designers tread on the celestial minefield. Scrape the meaning and hit re-start on an old friend the four-pointed star, or the proverbial icon for “bling.”

Certainly not a new icon, but one that is on a rocketing resurgence. The four-pointed star is being refitted and reintroduced with a less divisive host of symbolism. Let’s start by acknowledging it’s a happy star, as things that glitter, sparkle and twinkle go. Do note that this same star can be crafted from four semicircles or from eight flat line segments, and both are relatively interchangeable without a shift in meaning. The four-point lens flair effect probably is a more logical representation of a celestial star than a five-pointed star ever will be. It is something to be admired, is still symbolic of good, and frankly, it just brings some pleasant graphic relief.

DESIGNER AND GENTLEMAN, MIODRAG GAJIC

TRICIA HOPE DUGAT :: ART DIRECTION & DESIGN, LUMINARE

RESOURCE BRANDING & DESIGN, CONSTELLATION

GARDNER DESIGN, PP

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LOGOLOUNGE | THE 2015 LOGO TREND REPORT PICK-UP STICKS Randomness is an interesting concept that a definition will tell you lacks pattern or predictability. Though repeatedly dropping a fist full of pick-up-sticks will never create the same order twice, it nonetheless will create the same appearance each time. Or in other words a predictable pattern we will call random. What does chaos bring to the table for a designer? It provides a surface that is untamed and represents a consistency of idea that honors the unexpected. Lines are woven together like so many fiberglass strands and are equally as strong because of their unpredictability. Because of the accidental arrangement, it might reflect the patterns in nature like a woven birds nest or so many pine needles on the floor of a forest. Maybe these remind us of a mud bank that is dried and cracked, or the arbitrary cobweb. All are patterns with a purpose but a dash of mystique as well. Man too weaves these patterns with roads and paths, and with air routes and sea-lanes. Possibly the most compelling reasons for utilizing this in a logo is its confrontational nature. Humans love order and serving up the antithesis guarantees a thoughtful encounter.

STUDIO JELLY, TIMBER PRESS

GARDNER DESIGN, GREY-COLLAR SOLUTIONS

ALEXANDER WENDE, CORTE CORVO

TRUF, KNIGHT FOUNDATION

COLORING It seems only right that as designers focused on mono-line identity solutions look to suck every last breath from the technique, they ultimately would circle back to injecting fields of color. After all, a field of color is the antithesis to the objective of mono-line solutions that rely only on lines to define their subject. This is a natural progression that will stunt the creative juices of designer’s children who’d previously been admonished for NOT coloring outside the lines. All that said, these are really beautiful solutions that maintain a contemporary aesthetic. They manage to hybrid a relevant technique with some nostalgic coloring book skills and a smart limited palette. This is probably the opportunity to discuss trend evolution. In design, this process has jumped to hyper speed due to the ease of access to the work of other designers. Trends can pop up and vaporize in a week, or they can build traction, morph and linger for years. This report is about identifying trends, not to be copied, but to allow you to lift them forward. Mono-line logos of every iteration have made steady inroads for the last five years or so. This particular trend of coloring is one more variant and it may be the end of a line or it could be the nucleus of an entirely new trajectory. Regardless, designers in the future will look at mono-line logos of any ilk and quickly peg them as a child of this decade.

METANOIA, WANDERERS GUILD

64 G D U SA

J FLETCHER DESIGN, SOUTH RIDGE

MMPLUS CREATIVE, FRUIT MINISTRY INDONESIA

SIVIERO|NAHAS, PUBLIC TRANSIT RECORDINGS INC.

May 2015 Logolounge Impo_feb news play 5/27/15 1:57 PM Page 65

CIRCLE BREAK Imagine a pie chart so great that the middle has been eaten and all you’re left with is a really perfect ring of a crust with the same remnants of the colored wedges left on the perimeter. Occasionally there is a piece or two missing but the rim of a circle is always evident. The colored band areas may represent percentiles, or minutes on a clock, or some less orthodox representation, or they could just provide a decorative effect. An unbroken band like this has so many underlying meanings from continuity, to seamless process, to eternal perfection. The addition of a layer of significant color is just one more bonus message. Though some of these marks resemble a rotating ring, such a ring has become one more iteration of the ubiquitous loading or as many read it, the “waiting” symbol.

Yes, that is a process and we like to discuss process with a mark, but probably not one that leaves consumers adrift in a state of animated suspension. A more positive interpretation is a recognition of multiple parts assembling to work in unblemished unison.

This is also a way to introduce some intense color in such moderation that it avoids becoming a garish chroma spectacle.

RIJK CONCEPT & CREATION, LEVARHT

EDER SAOS, INDEXO

GALAMBOS + ASSOCIATES, POWERREVIEWS

36CREATIVE, SYNAPDX

TRIXELATE Obviously the offspring of what happens when a triangle and a pixel hook-up. But not just a solid field of homogeneously consistent triangles. Full of diverse scale and with floating pieces that portray motion and the story of process. These marks are either equilateral or right triangles, but not both in a single mark. They demonstrate a scientific quality and technology, much as a pixel would, but with a much more aggressive feel with sharp points jockeying for a place to land. Almost like peering another layer deep into a field of pixels and discovering their molecular make-up is actually the triangle. These represent entities that understand the story of the whole being greater than the sum of the parts. Or a company that uses building blocks in a strategic plan of growth. Much as a tangram puzzle allows the player to create images from triangle parts, there is an almost game like quality to these marks. Note that some use transparency to allow for overlay while others allow for a general gradient to wash over the full logo. Others are a solid color, and in some, the color family is singular but of varied values. Despite the differences, all of these were born of the same DNA.

JULIAN PECK CREATIVE, ARTISAN BISTRO

JEFF PHILLIPS DESIGN, CARNYX COMMUNICATION, INC.

WELOVENOISE, CREATIVE GROWTH LAB

MVC AGENCY, MEDIALOGIQ SYSTEMS

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LOGOLOUNGE | THE 2015 LOGO TREND REPORT

PHOTO Those ascribing to traditional identity design tenets scrunch up their face and break into a cold sweat whenever a photographic image is interjected into a logo. You can literally see them squirm and then launch into a litany of challenges to this graphic taboo.

Shake it off and embrace it. There is nothing new to using a photograph as we have reported in previous trend articles. In the past, these images have worked their way into a background, or an icon of a single image was used as a mark itself. This trend makes this report, as the last year has been a tipping point for the use of these images fully integrated into the identity vernacular. A different generation of designers has unabashedly translated skill sets in Photoshop into part of their logo design toolkit. These marks are designed with the same symbolic language we might use in a traditional logo but using photo imagery instead of a graphic or a sketch.

Images lift off the page and are often blended with other graphic components to complete the mark. Fusing of “real” and “graphic” elements can introduce wit and whimsy or they can be designed to show gritty reality and detail that is challenging to convey otherwise.

Apprehensions be gone.

KW43 BRANDDESIGN, TRO GMBH

PRINCIPALS PTY LTD, ROYAL BOTANIC GARDENS & DOMAIN TRUST

EDER SAOS, DNA ART DESIGN WORKSHOPS

MUHINA DESIGN, LLC STANDARD

RAYS If it’s important, how do you make sure the world knows? If it’s an email, we go to all caps, or bold face it, or underline it, or maybe we even jump protocol and emphasize the drama by turning it RED with an exclamation point or three!!! Long before those options were available, the master painters and artisans created an ethereal radiance behind their subjects to indicate importance or a call for reverence. To demonstrate this in a graphic manner they used an array of vectors emanating from a central point. This created the effect of a glow that appeared to dissipate as it projected outward. A starburst if you will but generally crafted from mono-weight lines. This year marked a dramatic bloom in the number of marks incorporating this technique. It may be an offshoot of a need to fill space with a single line weight decoration, but the diversity of application has been extraordinary. At a smaller scale the lines tend to soften down and provide a vector solution that starts to read as a subtle gradation. The merging of two of these nimbus elements can even be a unique way to establish a color blend as demonstrated in the Oblivium logo. Look for designers to investigate how various cultures have dealt with this effect as this technique is here for a spell.

SMARTER, MCGINLEY ASSOCIATES

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NIEDERMEIER DESIGN, LUMA CONSULTING

SLOANE DESIGN, ARTISAN SOUTH

MIKHAIL POLIVANOV, OLGA CHERNYAYEVA INTERIOR DESIGN

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LOGOLOUNGE | THE 2015 LOGO TREND REPORT

NAIVE Despite referring to these marks as naive they are about as simple as a fox. There is a renaissance of creating figural logos that have the spontaneity and whimsy of a child’s drawing with the insight and subtle design nuances of a mature rendering. The innocent nature of these solutions brings a smile to the mind. It assures us the product or the owners of the mark are not too full of themselves and likely have a sense of humor. The handcrafted approaches on these bask in an attitude of anti-perfection that bridges to a large dollop of humanity. They demand a certain flaw to guarantee the human touch. Though these examples are black and white, the use of color is kept simple and as equally uncomplicated. Pattern and detail are important to this trend and help maintain that wide-eyed essence.

So wide-eyed that a consumer might feel they too could pick up a pen and create a similar juvenile aesthetic. Practiced designers will recall Picasso once lamented it took him four years to paint like Raphael, but a lifetime to paint like a child.

STEVEN SCHROEDER, SAUCED

NORIU MENULIO, VITTA APS

VOOV LTD., ISTOK PINCE

KEITH DAVIS YOUNG, TRANSPECOS

CODED These marks are for the theorists that have forever believed identity designers are craftily inserting conspiratorial or hidden messages in their work. Assembled from Morse code like morsels, these logos will have pseudo cryptographers’ chomping at the bit to decipher.

The truer story is that of many working together as one, demonstrated by a cadre of dots and dashes marching orderly in parallel lines to achieve a common objective. Generally these are seen on a single plain with various percentages of mortar to block combinations, interlocking with the same strength as a brick wall. Most of these are comprised of elements with rounded or eased tips, though there are plenty with squared tips to be found as well. Color does not seem to be a deal breaker, since our sample logos range from monotone to full-on rainbow. The sequence of the elements conveys an air of a scientific nature, which can be a good fit for a client that trades in formulaic solutions. For the Fred Hutch Cancer Research Clinic, Hornall Anderson emphasized the researchers’ work with a microscope’s window to watch a series of active cells dividing, recombining, and doing their best impersonation of an initial H.

SEAN HEISLER DESIGN, THE ACTIVITY EXCHANGE

HORNALL ANDERSON, FRED HUTCH

FIXER CREATIVE CO., COMPLIANCEWISE

FOCUS LAB, ASSEMBLY

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LOGOLOUNGE | THE 2015 LOGO TREND REPORT

CHROMA COASTER Using a single continuous line to swerve, tip and twist it’s way into a logo is a time-tested tool for designers. Quick and to the point these marks often rely on a line break or shadow at intersections to read well. Imagine any of these marks displayed in a solid color without transparencies and they would hardly capture your attention and could leave you perplexed. Enter the continuous gradation driven stream of hue changing color, coursing through their lineal vein, and a trend is born. A bit like navigating a roller coaster spewing an ever-changing stream of high chroma plasma in its wake. Color can be transparent, opaque, or with shadows and highlights to convey a 3-D aspect to the mark. Whichever you chose, this demonstrates a trail or a pathway of discovery essential to a client process or consumer service. It moves the mark from a status of dormant to active. It coveys a level of vibrancy in activity and in thought. It might allude to shifts in culture, product or ethos. Either way, this vivid technique makes for a dramatic pop as designers search for ways to incorporate additional layers of information and brighten their solution.

YURY AKULIN | LOGODIVER, LLINE

BRANDBERRY, NOVA BANK

MARIA GRØNLUND, METTA

DIXONBAXI, FREEVIEW

DETAIL A single thin line can be a beautiful thing to behold, unless it can’t hold it’s own when scaled down. As more monoline logos are crafted, designers are yearning for a way to add value and weight back into a mark. Without resorting to broad fields of tone, the solution is coming about with repetition and pattern hewn out of the same stroke weight and frankly multiplied to near excess. Patterns may not be practical for viewing at smaller scales but still hold their own weight like the lines of an etching. Expand the scale of the mark and the line work blooms into a riot of decoration. Embellishment still possible without shifting line weight, but selected to enhance the mark by reflecting patterns of the culture, industry,or aesthetic. An homage to a Persian rug, a vintage label, indigenous textiles, or geometric motion each help define the skeleton of the marks shown here. From the consumer’s perspective, the meticulous line work reflects an attention to detail they may hope to find in the entity it represents. Still composed of at least as much negative space as positive, these marks deliver an airy yet rich product that conveys a strong sense of awareness and craftsmanship.

YE OLDE STUDIO, CLUB SCALE

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JACKSON SPALDING, DON'T CALL ME MA'AM

MIKHAIL POLIVANOV, I A M H O M E

SAFFRON, TURKISH EXPORTERS ASSEMBLY

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SHADED Shadows in real life come and go without a great deal of attention to them. They provide immense amounts of information to us that we absorb subconsciously to gauge distance, differentiate texture, identify light sources ,and generally keep someone from sneaking up on us from behind if the sun is at our back. Shadows and dimensional letterforms from a typographic perspective give us a chance to demonstrate substance, illicit drama or provide a bit of campy nostalgia to suggest just a few. There’s absolutely nothing new about the use of the dimensional shadow, but designers are embracing the inclusion of this technique in record numbers and creating them using every conceivable iteration. Less the use of Long Shadows that the user interface designers have latched on to, and much more the graphic solutions that have no intention of fooling the public’s eye. Whether a single letter/monogram or a word or phrase, including a decorative return is akin to knighting a commoner and visually granting the graphic element a dominant role on a page full of bit players.

DEEP, DAPPER BARBER

REDHEAD DESIGN STUDIO, DELTA INSTITUTE

TOKSHOK, UFANET

ZACK DAVENPORT, BALDWIN&

ABOUT THE AUTHOR Bill Gardner is the principal of Gardner Design and creator of LogoLounge.com, a unique website where, in real time, members can post their logo design work; study the work of others; search the database by keyword, designer’s name, client type, and other attributes; learn from articles written expressly for logo designers; and much more. Mr. Gardner also is the author of the best-selling LogoLounge 1-8 book series (LogoLounge 9 to hit stores fall 2015); Logo Creed, a text on logo design; and is the online author of four courses with lynda.com. Contact: bill@logolounge.com

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AMERICAN WEB DESIGN AWARDS SPONSORED BY THE CREATIVE GROUP This competition is our annual showcase of the power of design to enhance websites and online communications.

You can view the 100 winning pieces (from well over a thousand websites, microsites, apps, social media program and more) here and on our popular website, and in the GDUSA digital edition for desktop, tablet and phone.

26 Point 2 Designs A+E Networks Academy of Art University, School of Graphic Design Access Communications ADG Graphic Design AdStation by Adknowledge Ady Advantage Alexandra Rubin Design Anda Creative Astral Brands Atlas Branding Atomic Design & Consulting Beardwood&Co BeFunky, Inc. Behavior Design Boxer Brand Design BRIGADE Built Creative Capisce Design CBRE Property Marketing Center c | change inc Centresource cfk creative Clever Creative Coyne PR Creative Mellen David Kerr Design David Taylor Design Design Principles, Inc. DL48 Studio Element Six Creative Group, LLC Elements LLC Ellen Bruss Design Extra Credit Projects Fifth Letter and Magnetic Ideas Firmseek, Inc. Fluke Corporation Gabe Diaz Graphic Design GCNY Marketing Gill Fishman Associates Global Cloud GNGF Handwriting Without Tears Hausman Design ICE Worldwide Ideas On Purpose Imagemakers

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74 104 103 74 74 74 75 75 75 98 75, 76 76 76 104 77 98 76 98 78, 79 78 77 99 79 79 99 80 80 104 80, 81 80 81 81 81 82 82 82 102 83 82 83 83 105 103 105 83 99, 100 84

JB Systems, LLC Label LLC Leibowitz Branding & Design MarketSpace Communications McDill Design Medi-Weightloss Mermaid, Inc. Metropolis Creative MetroStar Systems MiDESign & Marketing Consultancy Miskowski Design LLC MOKA Graphics MZed NAV Nesnadny + Schwartz New Britain Museum of American Art Pear Design Peter Hill Design Pixel Parlor Proof, the creative boutique within Beam Suntory Propellor/Teaching Strategies, LLC rkStudio6, Inc. Rowland Creative Salesforce Saputo Cheese USA Sarott Design Scoop NYC Sculpt Spearfish Spectrum Brands - Pet, Home & Garden spoon + fork Stephen B. Starr Design Streetsense StudioNorth Suka Creative Taylor Design Tesser Test Monki The Infantree The Walker Group Tminus1 Creative Trade Ideas Truax & Co. VMC Art & Design, LLC WhiteSpace Creative Wilford Design, Inc. Windy City Web Designs

105 105 84 85 85 106 85 86, 87 86, 102, 106 87 87 84 87 88 88, 89 100 89 90 100 100 90 90 106 107 90 91 91 102 91 91 92 92 92 101 101 93 93 93, 94 94 94 101 95 95 96 96 106 96, 97

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5/20/15

2:49 PM

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Creativity requires chemistry from a team, and that isn’t born from just any cookie-cutter crew with the requisite skills.

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AMERICAN WEB DESIGN AWARDS | WEBSITES

Design Firm: 26 Point 2 Designs, Tucson AZ Client: Collier & Company Title: Collier & Company Website Redesign Designer: Jennifer Vasko www.collierandcompany.com

Design Firm: ADG Graphic Design, Chester CT Client: Dr. Peter A. Zaidel, DDS Title: Dr. Zaidel Responsive Website Art Director: Amy Giroux Designer: Amy Giroux Web Developer: Amy Giroux Photographer: John Giammatteo Copywriter: Jo Montgomery www.drzaidel.com

Design Firm: Access Communications, New York NY Client: Just Desserts Title: Just Desserts Website Art Director: Keith Hart Web Developer: Keith Hart Photographer: Shae Rocco Copywriter: Katie M. Gallagher www.justdesserts.com

Design Firm: AdStation by Adknowledge, Kansas City MO Title: AdStation.com Email Monetization and Advertising Art Director: Laura Knoll www.adstation.com

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Design Firm: Ady Advantage, Madison WI Client: Joint Economic Development Initiative of Southern Ohio Title: JEDISO Website VP & Creative Director: Bennett Syverson Designer: Bennett Syverson Programmer: Earthling Interactive www.ChooseSouthernOhio.com

Design Firm: Alexandra Rubin Design, Rohnert Park CA Client: Kitsbow Title: Kitsbow’s E-Commerce Website Art Director: Alexandra Rubin Designer: Alexandra Rubin Programmer: Samantha Cadden, Agency 1903 Web Developer: Samantha Cadden, Agency 1903 www.alexandrarubin.com/kitsbow

Design Firm: Anda Creative, St. Louis MO Client: B.E.S.T. Wealth Management Title: B.E.S.T. Wealth Management Website Art Director: Amanda Potts Web Developer: Pedro Albea Illustrator: Susannah Lohr www.bestwealth.net

Design Firm: Atlas Branding, Asheville NC Client: Sparc Design Title: Architecture Firm Website Art Director: Lisa Peteet Designer: Lisa Peteet Web Developer: Daniel Bryant Photographer: Creative Cargo Co. Illustrator: Lisa Peteet Account Director: Dan Peteet www.sparc-design.com

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AMERICAN WEB DESIGN AWARDS | WEBSITES

Design Firm: Atlas Branding, Asheville NC Client: Honey Darling Events Title: Event Planning Website Art Director: Lisa Peteet Designer: Lisa Peteet Web Developer: Daniel Bryant Photographer: Angela Stott Account Director: Dan Peteet www.honeydarlingevents.com

Design Firm: Atomic Design & Consulting, Plano TX Client: New Millennium Concepts Ltd. Title: Berkey Water Website Design Art Director: Lauren Henry Designers: Chris Bingham, Veronique Zayas Programmer: Jon Mensing Web Developer: Jon Mensing www.berkeywater.com

Design Firm: BRIGADE, Hadley MA Client: Relativity Education Title: Relativity School Website Art Director: Kirsten Modestow Designers: Kristen Valle, Justin Zucco Copywriter: Robert Parker Project Manager: Susie Callahan Lead Developer: Jackson Hoose, Common Media Software Architect: Noah Smith Project Manager: Rick Hood, Common Media www.relativityschool.org

Design Firm: Beardwood&Co, New York NY Title: Beardwood&Co Website Art Director: Sarah Williams Designers: Michael Tyznik, Loren Clapp, Aimee LoDuca Programmer: Mess Design & Development Web Developer: Mess Design & Development Illustrator: Courtney Deary Copywriters: Sadie Dyer, Ryan Lynch, Julia Beardwood www.beardwood.com

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Design Firm: Behavior Design, New York NY Client: Jefferson National Title: Jefferson National Website UX Director: Ralph Lucci Producer: Jim McGrath Information Architect Lead: Matthew Marco Visual Design Lead: Heather Shoon Content Strategist: Silvia Fernandez Visual Designer: Lee Chakov Design Technologist Lead: Matthew Knight Managing Director: Mimi Young www.jeffnat.com

Design Firm: Behavior Design, New York NY Client: Red Hat Title: Red Hat Website Managing Director: Mimi Young UX Director: Jeff Piazza Project Manager: David William UX Lead: Jason Nunes Visual Designers: Joshua Rasiel, Melanie Palishen www.redhat.com/en

Design Firm: Behavior Design, New York NY Client: University of Michigan Title: University of Michigan Ross School of Business UX Director: Ralph Lucci Managing Director: Mimi Young Program Manager: Jim McGrath Project Manager: David William Information Architect Lead: Matthew Marco Visual Design Lead: Ian Cunningham Technical Lead: Sang T. Lee www.michiganross.umich.edu

Design Firm: c | change, inc, Chicago IL Client: Eagle Hill Consulting Title: Eagle Hill Website Art Director: Hugh Schulze Designers: Jolene Redfern, Paul Evangelista Web Developer: Tomas Bulva Copywriter: Brooke Smith Account Manager: Melissa Woods www.eaglehillconsulting.com

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AMERICAN WEB DESIGN AWARDS | WEBSITES

Design Firm: CBRE Property Marketing Center, Houston TX Client: 235 Pine Street Title: 235 Pine Website Art Director: Kenneth Weaver Designer: Jordan Greenwood Programmer: Phil Leedell Web Developer: Phil Leedell Copywriter: Bethany Olivier www.235pine.com

Design Firm: Capisce Design, Culver City CA Client: Donald B. Yoo, M.D. Title: Donald B. Yoo, M.D. Website Art Director: Tracy Capisce Programmer: Capisce Design Web Developer: Capisce Design www.donyoomd.com

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Design Firm: CBRE Property Marketing Center, Houston TX Client: Marathon Oil Tower Title: Marathon Oil Tower Website Art Director: Kenneth Weaver Designer: Jordan Greenwood Programmer: Brian Cornett Web Developer: Brian Cornett Copywriter: Frances Elliott www.marathontower.com

Design Firm: Capisce Design, Culver City CA Client: Labbri Lip Treatment Title: Labbri Website Art Director: Tracy Capisce Programmer: Capisce Design Web Developer: Capisce Design www.labbri.com

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Design Firm: Capisce Design, Culver City CA Client: Chassidy Rana Title: Chassidy Rana Website Art Director: Tracy Capisce Programmer: Capisce Design Web Developer: Capisce Design www.chassidyrana.com

Design Firm: cfk creative, St. Louis MO Client: Allegro Senior Living Title: Allegro Senior Living Website Creative Director: Connie Fry www.allegroliving.com

Design Firm: Clever Creative, Venice CA Client: YWCA Title: Santa Monica YWCA Website Refresh Art Director: Jeff Giniewicz Designers: Michael Gorospe, Katie Spohn www.smywca.org

Design Firm: Coyne PR, Parsippany NJ Client: The Christopher and Dana Reeve Foundation Title: The Big Idea - Epidural Stimulation Research for SCI Art Director: Paul Zakrzewski Designer: Paul Zakrzewski Content Strategist: Carrie Baczewski Digital Strategy: Elizabeth Castillo Executive Producer: Michelle Cohen Video Editor: Tom Dang www.reevebigidea.org

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AMERICAN WEB DESIGN AWARDS | WEBSITES

Design Firm: Creative Mellen, Iowa City IA Client: CIMBA Italy Title: CIMBA Italy Study Abroad Website Designer: Kevin Mellen Web Developer: Nick Bushman Copywriter: Melanie Praderelli Project Consultant: Cassie Cooper, CIMBA www.cimbaitaly.com

Design Firm: David Kerr Design, Berkeley CA Client: Kenneth Caldwell Communications for the Design Industry Title: Kenneth Caldwell Communications Website Art Director: David Kerr Designer: David Kerr Programmer: Gwyn Fisher www.kennethcaldwell.com

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Design Firm: DL48 Studio, London NE Title: StudioTree: The DL48 Studio Website Art Director: Dustin-Lee Casey Designer: Dustin-Lee Casey Web Developer: Dustin-Lee Casey Copywriter: Dustin-Lee Casey www.dl48studio.com

Design Firm: Design Principles, Inc., Marion MA Client: Dellbrook Construction Title: Dellbrook Construction Website Art Director: Karen Alves Designer: Karen Alves Programmer: Dan Cooley Web Developer: Michael Cronin www.dellbrook.com

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Design Firm: Design Principles, Inc., Marion MA Client: Southeastern Massachusetts Visitors Bureau Title: Southeastern Massachusetts Visitors Bureau Website Art Director: Karen Alves Designer: Karen Alves Programmer: Dan Cooley Web Developer: Michael Cronin www.visitsemass.com

Design Firm: Element Six Creative Group, LLC, Morristown NJ Client: Rumson’s Rum Title: Rumson’s Rum Website Art Directors: Keith Smerak, Keven Cintron Designer: Kristen Kuhns Web Developer: Angel Marino www.rumsons.com

Design Firm: Elements LLC, Branford CT Client: Edible Arrangements Title: Edible Arrangements Website Art Director: Amy Graver Designer: Kathryn Chase-Levin Programmer: Edible Arrangements In-House Team Web Developer: Edible Arrangements In-House Team www.ediblebrands.com

Design Firm: Ellen Bruss Design, Denver CO Client: Fairmount Cemetery Title: Fairmount Cemetery Website Art Director: Ellen Bruss www.fairmount-cemetery.com

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AMERICAN WEB DESIGN AWARDS | WEBSITES

Design Firm: Extra Credit Projects, Grand Rapids MI Client: The Pump House Title: The Pump House Website Creative Director: Rob Jackson Art Director: Aaron Sullivan www.pumpjoy.com

Design Firm: Fifth Letter and Magnetic Ideas, Winston-Salem NC Client: The Club at Stoney Creek Title: The Club at Stoney Creek Website Art Director: Elliot Strunk Designer: Elliot Strunk Programmer: David Morton Web Developer: David Morton Photographer: John Walsh Copywriter: David Horne SEO: Jeff SanGeorge www.stoneycreekgolf.com

Design Firm: Firmseek, Inc., Washington DC Client: Pedersen & Houpt Title: Website Design + Development Project Designer: Firmseek Programmer: Firmseek Web Developer: Firmseek www.pedersenhoupt.com

Design Firm: GCNY Marketing, Brooklyn NY Client: Yes Way Title: Yes Way Logistics Art Director: Joseph Blumenfeld Designer: Kessley Bassani Programmer: Jonathan Judge Illustrator: Sam Schwartz Copywriter: Meyer Silver www.yeswaylogistics.com

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Design Firm: Gabe Diaz Graphic Design, Tampa FL Title: Gabe Diaz Graphic Design Website Art Director: Gabe Diaz Designer: Gabe Diaz Programmer: Gabe Diaz Web Developer: Gabe Diaz Copywriter: Gabe Diaz www.gabediazgraphicdesign.com

Design Firm: Gill Fishman Associates, Cambridge MA Client: Harvard Brain Initiative Title: Website Design Art Director: Alicia Ozyjowkski Programmer: Harvard Webx Copywriter: Dana Edelman www.brain.harvard.edu

Design Firm: Global Cloud, Cincinnati OH Client: Team World Vision Title: Team World Vision Website Art Director: Matt Radel Programmer: Tim Mixell Web Developer: Lauren Romano Photographer: Team World Vision www.teamworldvision.org

Design Firm: ICE Worldwide, Portsmouth NH Client: Overland Solutions Inc. (OSI) Title: OSI Website Art Director: Zoe Thurling Designer: Madhavi Velagapudi Programmer: Jeromy Darling Web Developer: Jeromy Darling www.overlandsolutionsinc.com

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Design Firm: Imagemakers, Wamego KS Client: Custom Wood Products Title: Custom Wood Products Website Creative Director: Dan Holmgren Art Director: Ben York Programmer: Luis Carranco Web Developer: Brian John Photographer: Colin MacMillan Copywriter: Carrie Rich www.cwponline.com

Design Firm: Leibowitz Branding & Design, New York NY Client: Hatteras Fund Title: Hatteras Fund Website Interactive Art Director: Sangmi Lim Interactive Designer: Nell McGuire Development Director: Jeff Gaul www.hatterasfunds.com

Design Firm: Leibowitz Branding & Design, New York NY Client: Homestead Funds Title: Homestead Funds Responsive Website Interactive Art Director: Sangmi Lim Interactive Designer: Nell McGuire Development Director: Jeff Gaul www.homesteadfunds.com

Design Firm: MOKA Graphics, Port Jefferson NY Title: MOKA Graphics Website Art Director/Founder: Kendra Beavis Junior Designer: Mollie Heiser www.thinkmoka.com

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Design Firm: MarketSpace Communications, Cranberry Township PA Title: MarketSpace Communications Website Creative Director: Trish Parkhill Copywriter: Megan Prucnal Senior Designer: Jenessa Kaldorf Senior Developer: Dustin McGraw Developer: Michael Boory Digital Marketing Manager: Jennifer Yavorsky www.marketspaceagency.com

Design Firm: Mermaid, Inc., New York NY Client: National Resources Title: Hudson Harbor Website Creative Director: Sharon Lloyd McLaughlin Web Developer: Bart McLaughlin Photographer: Adrian Bonvento Marketing Director: Adrian Bonvento UI Design: Bart McLaughlin Photo Illustrator: Sharon Lloyd McLaughlin www.hudsonharborny.com

Design Firm: McDill Design, Milwaukee WI Client: Columbia Center Birth Hospital Title: The Birth Hospital Website Creative Director: Michael Dillon Art Director: Brenda Mraz-Skibinski Designer: Brenda Mraz-Skibinski Web Developers: Javier Centeno, Brandon Prochnow Photographer: John Nienhuis Illustrator: Brenda Mraz-Skibinski Copywriter: Kimberly Arakelian www.thebirthhospital.org

Design Firm: Mermaid, Inc., New York NY Client: National Resources Title: The Pearl Website Creative Director: Sharon Lloyd McLaughlin Web Developer: Bart McLaughlin Photographer: Adrian Bonvento Marketing Director: Adrian Bonvento UI Design: Bart McLaughlin Photo Illustrator: Sharon Lloyd McLaughlin www.thepearlnj.com

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AMERICAN WEB DESIGN AWARDS | WEBSITES

Design Firm: MetroStar Systems, Reston VA Client: American Health Lawyers Association Title: Website Redesign Creative Director: Jason Stoner Project Manager: Val Treshchov User Experience: Hyun Woo Front End Developer: Hector Portillo Back End Developer: Ajay Manik www.healthlawyers.org

Design Firm: Metropolis Creative, Boston MA Client: Chen PR Title: Chen PR Website Design Art Director: Michael Flint Designer: Matthew Reynolds Web Developer: John Daigneault www.chenpr.com

Design Firm: Metropolis Creative, Boston MA Client: McGarry & Sons Title: McGarry & Sons Website Design Art Director: Michael Flint Designer: Matthew Reynolds Web Developer: John Daigneault www.mcgarrynsons.com

Design Firm: Metropolis Creative, Boston MA Client: PBS International Title: PBS International Website Design Art Director: Michael Flint Designer: Matthew Reynolds Web Developer: John Daigneault Illustrator: Matthew Reynolds www.pbsinternational.org

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Design Firm: Metropolis Creative, Boston MA Client: Thought Labs Title: Thought Labs Website Design Art Director: Michael Flint Designer: Matthew Reynolds Programmer: Thought Labs Web Developer: John Daigneault www.thoughtlabs.com

Design Firm: MiDESign & Marketing Consultancy, El Dorado Hills CA Client: Learn With Me Title: Learn With Me Website Art Director: Marco Ippaso Designer: Marco Ippaso Programmer: Marco Ippaso Web Developer: Thomas Newman Photographer: Marco Ippaso Copywriter: Marco Ippaso Contributor: Michelle Thomas

Design Firm: Miskowski Design LLC, Fort Lee NJ Client: Home AppĂŠtit Philadelphia Title: Home AppĂŠtit Philadelphia Website Design Designer: Justin Miskowski www.homeappetitphilly.com

Design Firm: MZed, Alexandria VA Client: Cinematographer Shane Hurlbut ASC Title: Illumination Experience Website Creative Director: Justin Golt Designers: Justin Golt, Ryan Osborn www.illumination-experience.com

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Design Firm: NAV, New Market MD Client: Apartment Showcase Title: Apartment Showcase - Find Your New Home Designer: Michael Aleo www.apartmentshowcase.com

Design Firm: NAV, New Market MD Client: Women for Women International Title: Women for Women International Website Redesign Art Director: Michael Aleo Designer: Michael Aleo Flash Programmer: Taoti www.womenforwomen.org

Design Firm: Nesnadny + Schwartz, Cleveland OH Client: The Cleveland Foundation Title: Cleveland Foundation Centennial Website Art Directors: Mark Schwartz, Shawn Beatty Designers: Shawn Beatty, Jamie Wilhelm, Greg Oznowich Web Developer: Shawn Beatty www.ClevelandFoundation100.org

Design Firm: Nesnadny + Schwartz, Cleveland OH Client: The George Gund Foundation Title: George Gund Foundation 2013 Annual Report Website Art Director: Mark Schwartz Designer: Jamie Wilhelm Web Developer: Shawn Beatty Illustrator: Greg Miller Writers: Geoffrey Gund, David Abbott, Deena Epstein www.GundFoundation.org/GundAR13

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Design Firm: Nesnadny + Schwartz, Cleveland OH Client: The Primary Day School Title: Primary Day School Website Art Director: Mark Schwartz Designers: Jamie Wilhelm, Greg Oznowich Web Developer: Shawn Beatty Illustrator: James Kegley Writer: Lindsay Spector www.ThePrimaryDaySchool.org

Design Firm: Pear Design, Chicago IL Client: Advance Illinois Title: Advance Illinois Website Art Director: Linda Jackson Designer: Norbert Marszalek Web Developer: Zach Wilson, Gulo Solutions www.advanceillinois.org

Design Firm: Peter Hill Design, Minneapolis MN Client: Arbor Haus, LLC Title: Arbor Haus Website Art Director: Megan Junius Designer: Allison Krogstad www.arborhausllc.com

Design Firm: Peter Hill Design, Minneapolis MN Client: District 600 Title: District 600 Website Art Director: Megan Junius Designer: Allison Krogstad Copywriters: Henry Schafer, Christine Tang & Joanne Henry www.district600.com

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AMERICAN WEB DESIGN AWARDS | WEBSITES

Design Firm: Peter Hill Design, Minneapolis MN Client: Lateralus Title: Lateralus Website Art Director: Megan Junius Designer: Allison Krogstad Copywriter: John Wessinger www.lateralusmpls.com

Design Firm: Propellor/Teaching Strategies, LLC, Bethesda MD Client: Teaching Strategies, LLC Title: Teaching Strategies Website Art Directors: Tom Kendzie (Propellor), Julie Sebastianelli (Teaching Strategies) Designers: Tom Kendzie (Propellor), Julie Sebastianelli (Teaching Strategies) Programmer: CMS Advertising Group Web Developer: CMS Advertising Group Copywriters: Heather Parker (Propellor), Tia Disick (Teaching Strategies) www.teachingstrategies.com

Design Firm: rkStudio6, Inc., Chesterland OH Client: Kew Floristry Title: Kew Floristry Website Art Director: Rachel Krage Designer: Rachel Krage Web Developer: Rachel Krage www.kewfloristry.com

Design Firm: Saputo Cheese USA, Richfield WI Client: Stella Cheese Title: Stella Cheese Website Art Directors: Katie Jury, Kristi Klug Designer: Andrea Harris Programmer: Kari Bronson Web Developer: Kari Bronson www.stellacheese.com

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Design Firm: Sarott Design, Nazareth PA Client: Empirical Consulting Solutions Title: Empirical Consulting Solutions Website Art Director: Sarah Dams www.thinkempirical.com

Design Firm: Scoop NYC, Miami FL Title: Spring 2015 Website, Emails and Lookbook Art Director: Kanan F. Whited IV Designer: Kanan F. Whited IV Photographer: Peter Goldman CEO: Susan Davidson VP E-Commerce: Kelli Swiss Fashion Director: Simone Segall E-Commerce Manager: Kristen Stewart Stylists: Dianna Lunt, Alex Badia Hair: Yoichi Tomizawa Makeup: Anthea King Models: Ryan Allan, Emeline Ghesquire, Chloe Portela www.scoopnyc.com

Design Firm: Spearfish, Troy MI Client: Operating Engineers 324 Title: New Website Design Art Director: Phil Lamb Designer: Kyle McElfish Programmer: Kurt Buesching Web Developer: Kyle McElfish Copywriter: Byron Smith Videographers: Doug Shaible, Jody Fritts Strategy: Brad Carson https://oe324.org

Design Firm: Spectrum Brands - Pet, Home & Garden, Earth City MO Title: Mulch-Lock Website Art Director: Eric Ejchler Designer: Spectrum Brands Pet, Home & Garden Team Programmer: Spectrum Brands Web Developer: Spectrum Brands www.mulchlock.com

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AMERICAN WEB DESIGN AWARDS | WEBSITES

Design Firm: spoon + fork, New York NY Client: Jay Manuel Beauty Title: Jay Manuel Beauty Website Art Director: Chez Bryan Ong Designer: Jennifer Chou Programmer: Dynamicweb NA Web Developer: Dynamicweb NA Photographer: Troy Word 3D Artist: Brian Foley www.jaymanuelbeauty.com

Design Firm: Stephen B. Starr Design, Evanston IL Client: David M. Kulawiak, Inc. Title: David M Kulawiak, Inc. Website Art Director: Stephen B. Starr Designer: Stephen B. Starr Programmer: David Rodman Web Developer: David Rodman Copywriters: David M. Kulawiak, Inc. www.davidkconsulting.com

Design Firm: Streetsense, Bethesda MD Client: Simpson Property Group Title: Corporate and Residential Apartment Website Art Director: Eduardo Garcia Designer: Eduardo Garcia Programmer: Modern Signal Web Developer: Streetsense www.simpsonpropertygroup.com

Design Firm: Streetsense, Bethesda MD Client: Willco Title: Corporate Website Art Director: Daniel Troconis Designer: Shadman Sakib Programmer: Estadop Digital Web Developer: Streetsense www.willco.com

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Design Firm: Taylor Design, Stamford CT Client: Transylvania University Title: Be a Pioneer Art Director: Dan Taylor Designer: Steve Habersang Programmer: Chris Yerkes Web Developer: Chris Yerkes Photographer: Matt Durr Copywriter: Tony Pucca www.transy.edu/pioneer

Design Firm: Tesser, San Francisco CA Client: Musco Family Olive Co. Title: Pearls Olives Website Art Director: Tesser Design Team www.olives.com/pearls

Design Firm: Test Monki, The Woodlands TX Client: Dental Derby Title: Dental Derby Pediatric Dental Website Art Director: Suzy Simmons Designer: Julie Bruton-Pelosi Web Developer: Julie Bruton-Pelosi Copywriter: Gabby Nguyen Contributor: Brad Petak www.dentalderby.com

Design Firm: Test Monki, The Woodlands TX Client: McGrory Orthodontics Title: McGrory Orthodontics Website Art Director: Suzy Simmons Designer: Julie Bruton-Pelosi Web Developer: Julie Bruton-Pelosi Contributor: Brad Petak www.shapingsmiles.com

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AMERICAN WEB DESIGN AWARDS | WEBSITES

Design Firm: Test Monki, The Woodlands TX Client: Solomon Joseph Title: Solomon Joseph Website Art Director: Suzy Simmons Designer: Julie Bruton-Pelosi Web Developer: Julie Bruton-Pelosi Contributor: Brad Petak www.solomon-joseph.com

Design Firm: The Infantree, Lancaster PA Title: Creative Clash Website Art Directors: Ryan Smoker, Ryan Martin Designer: Derek Hollister Web Developer: Ashley Schweitzer Photographer: Donovan Witmer Illustrators: Jordan High, Ryan Martin www.creativeclashgame.com

Design Firm: The Walker Group, Farmington CT Client: Advent Advisory Group Title: Website Redesign Art Director: Jeff Williams Designer: Jeff Williams Web Developers: Michael Delaney, Frank Dixon www.adventadvisorygroup.com

Design Firm: The Walker Group, Farmington CT Client: GTI Title: Website Redesign Art Director: Jeff Williams Designer: Jeff Williams Web Developers: Michael Delaney, Frank Dixon www.gti-usa.com

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Design Firm: Trade Ideas, New Bern NC Client: Choice Neighborhoods Initiative Title: Choice Neighborhoods Initiative Website Design Art Director: Shane Poteete Designer: Wendy Cernal Account Executive: Shannon LuQuire www.choicenewbern.com

Design Firm: Trade Ideas, New Bern NC Client: Coastal Carolina Health Care Title: Coastal Carolina Health Care Website Design Art Director: Shane Poteete Designer: Wendy Cernal Account Executive: Shannon LuQuire www.ccchchealthcare.com

Design Firm: Truax & Co., New York NY Client: Maria Villalba Designs Title: MVD Floral Designs Website Art Director: Tiphaine Guillemet Designer: Leo Raymond Programmer: Becky Yazdan Illustrators: Maria Villalba, Tiphaine Guillemet www.mariavillalbadesigns.com

Design Firm: Truax & Co., New York NY Client: Jack Foxley Title: Jack Foxley E-Commerce Site Art Director: Tiphaine Guillemet Designer: Leo Raymond Programmer: Becky Yazdan Illustrator: Jack Foxley www.jackfoxley.com

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AMERICAN WEB DESIGN AWARDS | WEBSITES

Design Firm: VMC Art & Design, LLC, Allendale NJ Client: Art, Books, & Coffee Title: Art, Books & Coffee Website and Blog Art Director: Victoria Colotta Designer: Victoria Colotta Programmer: Victoria Colotta Web Developer: Victoria Colotta Photographer: Victoria Colotta Illustrator: Victoria Colotta www.artbookscoffee.com

Design Firm: WhiteSpace Creative, Akron OH Client: GDS Express, Inc. Title: GDS Express Website Art Director: Derek Stulpin Web Developer: Sean Mooney Copywriter: Annie Murray Video Producer: Jef Etters Account Supervisor: Heather Evans Account Coordinator: Sarah Cross Interactive Manager: Ashley Messer www.gdsexpress.com

Design Firm: Windy City Web Designs, Algonquin IL Client: St. Mary Services Title: St. Mary Services Website Art Directors: Bjorn Torling, Rich Miller, Alisha Lowans Designers: Rich Miller, Kelly Hammersmith Programmers: Rich Miller, Kelly Hammersmith Web Developers: Rich Miller, Kelly Hammersmith Copywriter: Meagan Kasper www.stmaryservices.com

Design Firm: Windy City Web Designs, Algonquin IL Client: Windy City Doctors Title: Windy City Doctors Website Art Director: Bjorn Torling Designers: Rich Miller, Alisha Lowans Programmers: Rich Miller, Kelly Hammersmith Web Developers: Rich Miller, Kelly Hammersmith Copywriters: Bjorn Torling, Alisha Lowans www.windycitydrs.com

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Design Firm: Windy City Web Designs, Algonquin IL Title: Windy City Web Designs Website Art Director: Bjorn Torling Designers: Rich Miller, Alisha Lowans Programmers: Rich Miller, Kelly Hammersmith Web Developers: Rich Miller, Kelly Hammersmith Copywriters: Bjorn Torling, Alisha Lowans www.windycitywebdesigns.com

Design Firm: Windy City Web Designs, Algonquin IL Client: Wilderness Adventures Title: Wilderness Adventures Website Art Directors: Bjorn Torling, Rich Miller, Alisha Lowans Designers: Rich Miller, Kelly Hammersmith Programmers: Rich Miller, Kelly Hammersmith Web Developers: Rich Miller, Kelly Hammersmith Photographer: Mike Cottingham Illustrator: Trent Hultman Copywriter: Fan Hughes www.wildernessadventures.com

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AMERICAN WEB DESIGN AWARDS | MICROSITES

Design Firm: Astral Brands, Atlanta GA Client: CosMedix Title: Purity Detox Duo Landing Page Art Director: Jazmin Chacon Designer: Jazmin Chacon Web Developer: Kevin Farrar Copywriter: Drew Pizzini www.cosmedix.com/purity

Design Firm: Boxer Brand Design, Chicago IL Client: Arthur Schuman Title: Cello Whisps Microsite Art Director: Renee Virgo Designer: Jolly Hanspal Programmer: Matt Stephens Web Developer: Cory Savage Illustrator: Renee Virgo Copywriter: Gina Signorella www.cellowhisps.com

Design Firm: Built Creative, Apex NC Client: ElectriCities of North Carolina Title: NC Public Power: Delivering Value Art Director: Shane Poteete Designer: Wendy Cernal www.electricities.com/electricities_value

Design Firm: Built Creative, Apex NC Client: ElectriCities of North Carolina Title: Huntersville & Cornelius Public Power Art Director: Shane Poteete Designer: Wendy Cernal www.huntersville.electricities.com

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Design Firm: Centresource, Nashville TN Client: Kansas Leadership Center Title: Your Leadership Edge Art Director: Eli Williamson Designer: Eli Williamson Programmer: Rian Rainey Web Developer: Eli Williamson www.yourleadershipedge.com

Design Firm: Coyne PR, Parsippany NJ Client: Bimbo Bakeries USA Title: Oroweat速 Organic USDA-Certified Organic Bread is Organically Delicious!

Microsite Art Directors: Josh Lee, Paul Zakrzewski Designer: Tiffani Rottner Web Developer: Chris Weston Content Strategist: Carrie Baczewski Digital Strategy: Elizabeth Castillo www.oroweatorganic.com

Design Firm: Ideas On Purpose, New York NY Client: Pfizer Title: Pfizer 2014 Online Annual Review Art Directors: Darren Namaye, Michelle Marks Designer: Darren Namaye Programmers: Darren Namaye, Jiayin Yu Web Developer: Ideas On Purpose www.pfizer.com/annual

Design Firm: Ideas On Purpose, New York NY Client: Stanley Black and Decker Title: Stanley Black and Decker 2014 Online Year in Review Art Director: John Connolly Designers: John Connolly, Meghan Porter Programmers: Meghan Porter, Jiayin Yu Web Developer: Ideas On Purpose www.2014yearinreview.stanleyblackanddecker.com/index.html

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AMERICAN WEB DESIGN AWARDS | MICROSITES

Design Firm: Ideas On Purpose, New York NY Client: TB Alliance Title: 2014 TB Alliance Online Annual Report Art Director: John Connolly Designer: John Connolly Programmer: Darina Karpov Web Developer: Ideas On Purpose www.tballiance.org/annualreport/

Design Firm: New Britain Museum of American Art, New Britain CT Client: New Britain Museum of American Art Title: Craft Sippin’ in New Britain Microsite Designer: Nick Artymiak Programmer: Nick Artymiak www.nbmaa.org/craft-sippin

Design Firm: Pixel Parlor, Philadelphia PA Client: IFC Films Title: Boyhood Nostalgia Microsite Art Director: Andrew Nicholas Designers: Sam Rahman, Andrew Nicholas Programmers: Strange Bird Labs, Richard Orris Web Developers: Strange Bird Labs, Richard Orris Photographer: IFC Films www.boyhoodnostalgia.com

Design Firm: Proof, the creative boutique within Beam Suntory, Deerfield IL Client: Canadian Club Whisky Title: Canadian Club Book of Whisdom Microsite Creative Director: Craig Niedermaier Art Directors: Caroline Corboy, Jess Sorensen, Lucy Beltran Designer: Colin Hayes (Survival Guides) Copywriters: Phil St. Aubin, John Cockrell, Skip Tramontana www.canadianclub.com

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Design Firm: StudioNorth, North Chicago IL Client: CDW Healthcare Title: Healthcare CommunIT Art Directors: Tom Bradley, Shannon Lee Designers: Albena Ivanova, Kris Szczeck, John Pfleeger Web Developer: Andy Goodfellow Copywriter: Outlook Marketing Services www.cdwcommunit.com

Design Firm: Suka Creative, New York NY Client: Liberty Mutual Insurance Title: Liberty Mutual Annual Report 2014 Art Director: Jen Pressley Designer: Esteban Pérez-Hemminger Web Developer: John Macaluso www.libertymutualcommunications.com/AnnualReview/2014/

Design Firm: Suka Creative, New York NY Client: NYU Stern Title: NYU Stern - Report to Donors Art Director: Esteban Pérez-Hemminger Designer: Esteban Pérez-Hemminger Web Developer: Jaime Kleiman www.w4.stern.nyu.edu/it/deansdonorlist_dev/

Design Firm: Tminus1 Creative, Exton PA Client: Agilent Technologies Title: Summer of Fun 2014 Designer: Jessica Willis Web Developer: Frank Rue Copywriter: Gina Signorella-Arlen Account Director: Meghan Dolan www.summeroffun.tm1c.com

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AMERICAN WEB DESIGN AWARDS | SOCIAL MEDIA + NETWORKING

Design Firm: Fluke Corporation, Everett WA Client: Industrial Marketing Group Title: Fluke Connected Student Contest on Facebook Art Director: Mark Inouye Designer: Mark Inouye Program Coordinators: Toffee Coleman, Catherine Higgins

Design Firm: Sculpt, Iowa City IA Client: Iowa City Area Development Group Title: It’s OK To Brag! Art Directors: Kevin Mellen (Creative Mellen), Erick Bailey, Talya Miller Brand Architect: Josh Krakauer Community Managers: Brook Easton, Mackenzie Hasley Communications Director: Eric Hanson (ICAD) www.iowabrag.com

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Design Firm: MetroStar Systems, Reston VA Client: The New York Giants Title: More Than Just A Catch - Odell Beckham Jr. Microsite Creative Director: Nick Cronin Designer: Sean Cummings Programmer: John Seaman Chief Strategy Officer: Amir Zonozi Digital Strategist: Nilay Shah www.giants.com/interstitial/beckham13.html

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AMERICAN WEB DESIGN AWARDS | DESKTOP

Design Firm: Academy of Art University, School of Graphic Design, San Francisco CA Client: Meals on Wheels San Francisco Title: PrimeDelivery Creative Director: Bob Slote Art Director: Yinyin Liu Designer: Yinyin Liu Web Developer: Miky Chu Photographer: Yuan Pu Illustrator: Yinyin Liu Animator: Ray Ku Music and Sound Design: Liang Ma www.primedelivery.us

Design Firm: Handwriting Without Tears, Cabin John MD Title: Handwriting Without Tears Product Email Communication Art Director: Jacob Rath Designer: Jacob Rath Web Developer: Jon Van Dalen Illustrator: Molly Delaney Copywriter: Annie Cassidy

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AMERICAN WEB DESIGN AWARDS | MOBILE + MOBILE OPTIMIZED

Design Firm: A+E Networks, New York NY Client: A+E Networks Title: HISTORY Here Mobile App Art Director: Frank Marchese EVP Digital Media: Dan Suratt SVP Digital Media: Evan Silverman SVP Tech Digital Media: Raj Bahl VP Design: Bob Calvano VP Product: Noah Vadnai VP Engineering: John Cool Sr. Producer: Barbara Maranzani Sr. Project Manager: Jonah Rivera iOS Developer: Angelo Alduino Android Developer: Brian Kurzius Developer: Ming Siu Product Manager: Elizabeth Gupta-Harrison www.history.com/interactives/history-here

Design Firm: BeFunky, Inc., Portland OR Title: BeFunky Mobile Photo Editor Art Director: Tekin Tatar Designer: Rouli Willow Programmer: Azer Bulbul Illustrator: Christina Ferris Copywriter: Derric Hoffman www.bit.ly/BeFunkyIOS

Design Firm: David Taylor Design, Glen Ridge NJ Client: Mystery Writers of America - New York Chapter Title: Mystery Writers of America New York Chapter Website Art Director: David Taylor Designer: Alex Flannery Web Developer: Samin Patel www.mwany.org

Design Firm: David Taylor Design, Glen Ridge NJ Client: Dickstein Real Estate Title: Dickstein Real Estate Website Art Director: David Taylor Designer: Chris Curtin Web Developer: Chris Curtin www.dicksteinrealestate.com

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Design Firm: GNGF, Cincinnati OH Client: The Law Offices of Barbara A. Bowden Title: The Law Offices of Barbara A. Bowden Mobile Optimized Website Art Director: Haley Biel Designer: Brianna Sullivan Web Developer: The Website Project www.trafficticketsgone.com

Design Firm: Hausman Design, Stanford CA Client: Two Bees Books Title: Off To The Beach App Art Directors: Joan Hausman, Mary Marsh Designer: Joan Hausman Programmers: Joan Hausman, Greg Hausman Web Developer: Talespring Illustrator: Joan Hausman Copywriter: Mary Marsh Music: Purple Planet www.twobeesbooks.com

Design Firm: JB Systems, LLC, Eau Claire WI Client: Elite Realty Group, LLC Title: Elite Realty Website Art Director: Meghan Bauer Designer: Jenna Wood Programmer: Tyler Bauer Web Developers: Jay Walters, Josh Schwartz www.eliterealtygroupllc.com

Design Firm: Label, New York NY www.label.co

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AMERICAN WEB DESIGN AWARDS | MOBILE + MOBILE OPTIMIZED

Design Firm: Medi-Weightloss, Tampa FL Title: 5 Secrets of Weight Loss Art Director: Vanessa Cohen Designer: Maria Gazabon Copywriters: Carol Balkcom, Kimberly Brown-Smith www.MediWeightloss.com

Design Firm: MetroStar Systems, Reston VA Client: AAFMAA Title: SpouseLink Social Platform Creative Director: Jason Stoner Product Owner: Liz Samet User Experience: Hyun Woo iOS Developer: Brian Lee, Siti Kamaluddin https://itunes.apple.com/us/app/spouselink/id9224142054?mt=8

Design Firm: MetroStar Systems, Reston VA Client: United States Marine Corps Concepts & Programs Title: U.S. Marine Corps Concepts & Programs Digital Platform Creative Director: Jason Stoner Copywriter: Debbie Peterson User Experience: Hyun Woo Drupal Developer: Mark Schaal Mobile Developer: Dean Faizel QA: Joe Martinez www.usmccp.com https://itunes.apple.com/us/app/usmccp/id814053840?mt=8

Design Firm: Rowland Creative, State College PA Client: Undressed Foods, LLC Title: Undressed Foods Mobile Web Application Art Director: Dan Rowland Designer: David Spak Programmer: West Arete Web Developer: West Arete Illustrator: David Spak www.undressedfoods.com

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Design Firm: Salesforce, San Francisco CA Title: Salesforce Analytics Cloud Mobile Designers: Yuseung Kim, Eli Brumbaugh Lead User Researcher: Mrudula Kodali www.apple.co/1PkrnhL

Design Firm: Wilford Design, Inc., Tacoma WA Client: Northwest ImageShare Title: Northwest ImageShare Responsive Website Art Directors: Dedra Wilford, Michael Wilford Designer: Dedra Wilford Programmer: Collin Alligood Web Developers: Nevine Isaak, Stephen Johnston, Eleanor Zimmermann, Nicole Peoples Copywriters: Andrea Sowitch, Dedra Wilford www.nwimageshare.com

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TRANSFORM IS GRAPH EXPO 15 THEME Event Is Co-Located For Convergence Chicago’s McCormick Place will host an

of the graphic communications and packaging/processing

unprecedented expo combination with

industries. During the two-day overlap, attendees at either event will have all-access admission to the exhibit halls for all events.

GRAPH EXPO 15 running September 13-16 in

“Industry convergence has been a hot topic and driving force

the South Hall with the co-located CPP EXPO

for many years,” says GASC President Ralph Nappi. “For the

and PROCESS EXPO shows running September

first time, processing, packaging, printing, and converting will

15-18 in the North and East Halls.

all converge in one location.”

THE SIXTH POSITIVELY PRINT

GRAPH EXPO, perennially the most comprehensive graphic

GASC has also announced that Two Sides North America is a

communications exhibit and conference in the Americas, is

co-sponsor of the annual Positively Print recognition program.

produced by the Graphic Arts Show Company (GASC) which, in

In its sixth year, the program recognizes print advocacy cam-

turn, is owned by Epicomm, NPES The Association for Suppliers

paigns that promote the enduring power and sustainability of

of Printing, Publishing and Converting Technologies, and the

print in today's multi-channel media mix. Intended to spotlight

Printing Industries of America.

the variety of ways in which the effectiveness and sustainability of print are being promoted, the 2015 Positively Print awardee

TRANSFORM IS THE THEME

will be recognized at the Executive Outlook Conference on

Recognized as the most innovative and comprehensive exhibi-

September 13, the opening day of GRAPH EXPO.

tion in the Americas of inkjet, digital, offset, flexo, gravure and hybrid technologies, products, and services for the commercial, transactional, converting and package printing, publishing, mailing, in-plant, photo imaging, marketing, and industrial printing industries, this year’s “Transform” themed GRAPH EXPO 15 offers an intriguing show-going experience for a

THIS YEAR’S “TRANSFORM” THEMED GRAPH EXPO 15 OFFERS AN INTRIGUING SHOW-GOING EXPERIENCE FOR A DIVERSE SPECTRUM OF ATTENDEES.

diverse spectrum of attendees. The event presents the latest graphic communications technologies in live equipment demon-

“The Positively Print program was created to acknowledge

strations across the exhibition floor, plus education on in-

creative and effective print advocacy campaigns with the entire

demand products and new profit-making opportunities. There

graphic communications industry,” explains President Nappi.

are also 70 interactive learning sessions and 50+ co-located

“This year, together with Two Sides North America, we want to

events for attendees across 12 key market segments.

demonstrate to companies involved in print that advocating for print can be done, and it helps to carry a powerful message that

An important segment: print buyers and creative services and

benefits the entire industry.” Last year’s winner was IKEA's

marketing services providers. The event will feature the Market-

amusing “Bookbook” catalog campaign. The 2015 Positively

ing Pavilion — sponsored by GDUSA, Print+Promo, and Quick

Print program is now open for submissions; to submit an entry,

Printing magazines. Here, in addition to learning and network

visit www.PositivelyPrint.org.

opportunities, attendees can discover providers of today’s hottest marketing-related services, software and products who

LOOKING AHEAD

will also provide tips on how to make informed buying decisions

GRAPH EXPO 16, traditionally a Chicago event, will take place

that will increase the ROI of customer campaigns.

in Orlando FL on September 25-28, 2016, in the Orange County Convention Center. The move is intended to expand the show’s

CONVERGENCE IS HOT TOPIC

current U.S. audience, and also build its international contin-

As noted above, GRAPH EXPO is co-located with CPP EXPO

gent particularly from Latin America. And looking ahead to 2017,

and PROCESS EXPO. With trending industry issues and

exhibitors and attendees will return to Chicago for GASC’s

innovations related to food packaging design, migration and

global PRINT 17 show, slated for September 10-14, 2017.

expiration, the concurrent events will offer a first-of-its-kind opportunity for printers, packagers, processors, and converters to intermingle and explore the global scope of these vital facets

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May Reader Page Impo_feb news play 5/27/15 3:35 PM Page 111

FREE INFORMATION To request product information from advertisers featured in this issue visit:

www.gdusa.com/freestuff.php You can also contact the advertisers directly as provided below or fax this page back to 212.696.4564

COMPANY NAME

m

1 4over

COMPANY NAME

PAGE

109

m

www.4over.com m

2 500px Prime 3 Academy of Art University

3

m

4 Admore

17

5 Art Arena

15

m

6 Art Resource

1 31 29

8 Berthold

5

9 bridgeman images

15

10 Choose Print

IFC

11 Clearwater Paper

19

12 Corbis

7

13 Corporate Image

23

14 Envelopes.com

21

45

m

23 Kallima Paper

IBC

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24 Mohawk

67

m

25 Pantone

39

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26 Shutterstock

BC

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27 The Creative Group

73

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28 Two Sides

45

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29 Typo-graphics

49

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30 Verso

59

www.versoco.com

15 Erickson Stock

13

www.ericksonstock.com m

22 Jam Paper

www.typographics.com www.envelopes.com

m

m

www.youlovepaper.info/us www.corp-image.com

m

43

www.creativegroup.com www.corbismages.com

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21 International Paper

www.shutterstock.com pandp@clearwaterpaper.com

m

m

www.pantone.com

www.chooseprint.org m

35

www.mohawkconnects.com

www.bridgemanimages.com m

20 InSource

www.kallima.com www.bertholdtypes.com

m

m

www.jampaper.com

7 Artisan www.artisantalent.com

m

25

www.internationalpaper.com

www.artres.com m

19 Imagers

www.in-source.org

www.artarena.com m

11

www.imagers.com

www.admorefolders.com m

18 Hoefler & Co. www.typography.com

www.academyart.edu m

9

www.graphexpo.com

https://prime.500px.com m

17 Graph Expo

PAGE

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31 Yupo

33

www.yupo.com

16 FunctionFox

31

www.functionfox.com

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SHANOOR AND SILVA DEVARJ, DEVARJ DESIGN AGENCY

Companies Must Discover Who They Truly Are J Rosenthal and BBD&O Agency in Chicago. Shanoor has also been the head creative director and designed for major brands such as 7up, Green Giant, Marlboro, Schlitz, Vienna Beef and the Chicago Black Hawks professional hockey team. Silva worked as an art director for Polaroid in Boston after graduating from the Massachusetts College of Art with a BFA in design and marketing. She also held creative positions for Boston’s McBer Marketing Firm, Thompson & Thompson and The Slide Center before marrying Shanoor and moving to Chicago’s Lincoln Park neighborhood.

Silva initially freelanced as a designer for various companies like Frankel & Company, Women’s Healthcare Consultants, the National PTA and Needham Worldwide. That’s when the lightbulb went off. Their partnership not only made sense in their personal lives but also professionally as well. In 1984, they formed the marketing design agency Devarj Associates.

Boston is famous and beloved for its higher education, competitive sports teams, cultural diversity, and most notably, the historic city's prominent role during the American Revolution. Rarely is Boston mentioned as a center of the fine arts and communication.

The business grew by quickly, and a decade later they

But the sheer beauty and professionalism of the Museum of

among others, GDUSA’s American Graphic Design Awards.

changed to Devarj Design Agency Inc. reflecting the addition of several new services to their repertoire. The agency has built brands and marketing material for companies such as HKT Developers, Anthem and Kensington Data Systems in New York, Sonoco, Regal Discount Securities, Blue Cross/ Blue Shield in Chicago, and NITCO, Northern Indiana Telecommunications Company in Indiana. They have been recognized with multiple awards in many categories by,

Fine Arts, Institute of Contemporary Art and the Massachusetts College of Art have all brought to light many talented

We sat down with Shanoor and Silva recently to hear their

and honored creative professionals, and that includes the

thoughts on branding and marketing communications in

creative duo of Shanoor and Silva Devarj, founders of Devarj

today’s marketplace.

Design Agency. Indeed, Shanoor and Silva first met through close family ties in their hometown of Boston, and their first

GDUSA:

date was centered, of course, around the creative arts.

You have been successful for more than two decades.

What is your key to this?

In the early 80s the Devarj team established their first partnership — marriage — while tending to their develop-

SHANOOR:

ing careers in marketing and advertising. Shanoor worked

“Our competitive edge, which in turn becomes our clients’

for McCann Erickson in London upon graduating college.

competitive edge, is the diverse range of talent we orchestrate

Over the years, he has held creative positions for advertising

as conductors of the brand-integrated marketing symphony.

giants around the globe including Gray Advertising in London,

More importantly, we are able to help our clients’ discover

Leo Burnett in Chicago, New York and LA markets, and Albert

and express their true authentic story to share with the world.”

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SILVA:

the market in attempts to teach entrepreneurs skills. Multiply

“We also take the time to thoroughly understand our clients’

that by 22 million and the thousands of competing companies

audience, goals and needs. We deliver more than just great

working in a city, and you have a massive message and paper

ideas or customized solutions; we deliver results.”

jam that is creating an incredible amount of confusion.”

SHANOOR:

GDUSA:

“Speaking of great ideas, many times they are sabotaged by

What would you recommend for those companies to cut

poor execution. The rushed ‘just get-it-done’ attitude based

through the clutter?

on a misunderstanding of the evolving market place is the root issue at hand. Customers do not exist for the brand, so

SHANOOR:

being creative is not enough. Changing a logo, the color of a

“Companies must discover who they truly are and why they

brochure, adding an 800 number with Beatles music playing

do what they do to be able to unify and align their messaging

while a person is put on hold — isn’t what creativity or being

across all brand touch-points of the company. Correctly brand-

competitive is about. It’s about a systematic mapping of who

ing the service or product from the beginning and making

the company authentically is or could be, why they do what

absolutely sure that the puzzle all companies believe they

they do, who the prospects are, and then responding to

are in is crystal clear to their current and potential customers.”

these groups of people with the right message and media channels at the right time.”

SILVA:

“Companies must also identify their Unique Selling PropoGDUSA:

sition to complete that puzzle. What are the benefits? What

How do you feel about the U.S. marketplace in relation to

is the offer? And they must make sure the answers to those

design and marketing?

questions are properly expressed to your audience precisely and with utmost efficiency.”

SILVA:

“The American economy is founded upon innovation. The

SHANOOR:

small and medium-sized businesses that are largely respon-

“Last but not least, follow-up is critical. Why? As a general

sible for innovation in America haven’t stalled in their mission.

rule, 20 percent of your customer base represents 80 percent

In 2012 alone, more than 500,000 new businesses popped

of your revenues. If you don’t follow up and nurture your

up in the US. However, the 21st century company usually

base of 80%, this essential group will never move into the

gets stuck in marketplace clutter — too many mousetraps

upper levels of your revenue pyramid. They’ll go on to nibble

for too few mice. That same year, an equal amount of busi-

some other cheese. Heck, it’s a free world after all!”

nesses failed. The truth is, almost every year, there is an equal amount of small and medium sized businesses that

SILVA:

fail compared to starting up.”

“We believe in challenging the status quo. We believe in honoring passionate business men and women in their indus-

SHANOOR:

tries around the globe. Devarj Design Agency at its very core,

“We firmly believe that marketing is not just for the large

believes that these individuals through their dedication,

corporations. We strive to make our services accessible to

passion and expertise, can change the world for the better.

those businesses that have a fighting chance at success.”

Much of what we do is in the detail-oriented brand strategy that unites a company’s strongest assets. We love working

SILVA:

with businesses and setting them on a course that not only

“Add to this that there are a million-and-one do-it-yourself

helps their organization but in the end, helps their audience

marketing strategies, one-to-one marketing, viral marketing,

as well. That’s good for the company, the people and the

direct marketing and e-mail marketing books that have flooded

American economy – both locally and globally.”

G D U SA 113

May 2015 Pub Letter Focus_feb news play 5/27/15 3:02 PM Page 114

BRIDGEMAN STUDIO CELEBRATES FIRST BIRTHDAY Bridgeman Studio, the new contemporary platform from Bridgeman Images, is having significant art licensing success following its first birthday earlier this year.

Studio was launched in April 2014 and has a growing portfolio of accessible contemporary art for image licensing and creative commissions including graphic design and illustration. One year on they have 130 artists, nearly 10,000 images and have launched a competition to discover even more rising stars for their platform.

LICENSING SUCCESS FOR ARTISTS Bridgeman Studio’s first year has seen many success stories

TWO PINE CONES, GRAEME HARRIS, BRIDGEMAN IMAGES

for their represented artists, including book covers, calendar showcases, and a greeting card deals. There are many benefits for Studio Artists. As well as access to Bridgeman’s international client base, the artist receives 50% of the copyright fee the client is charged as well as 50% of the reproduction fee.

Bridgeman Artists Manager Lucy Innes Williams says: “Most recently we have offered our clients the chance to commission our Bridgeman Studio artists. By broadening how clients can work with our artists we are building a portfolio of exciting and unique new works.”

ENTER THE GREAT OUTDOORS. BRIDGEMAN STUDIO AWARD 2015

OLD TIME TRIAL, ELIZA SOUTHWOOD, BRIDGEMAN IMAGES

Most recently, Bridgeman Studio has launched a ‘Great Outdoors’ themed competition for creatives in partnership with the multiaward winning UK based Wilderness Festival and online gift shop Culturelabel.com. Prizes include a product line and $750 high profile commission. The competition closes on June 15 so visit the website for more details. Results will be announced in Creative Review's August Issue and across all Bridgeman social channels, website and newsletter.

BRIDGEMAN IMAGES MAKES ACQUISITION Bridgeman Images is the world’s leading rights-managed specialist in licensing a digital collection of art, photography and footage since 1972. A recent acquisition is online museum shop CultureLabel, positioning Bridgeman as a major player within art and culture industries.

Contact: Bridgemanstudio.com SAIL 1, LAURENCE LAVALLEE, BRIDGEMAN IMAGES

114 G D U SA

May 2015 Pub Letter Focus_feb news play 5/27/15 3:02 PM Page 115

REMEMBERING TRIANGLES, T-SQUARES AND GREATNESS The General Foods Corporate Design Center

BY KEVIN HALL

Just starting my career as a designer, I had the privilege and good fortune to have worked at the General Foods Corporate Design Center.

Our department occupied the to floor of a 4 story building high atop a hill overlooking the Hudson River and the Tappan Zee Bridge in picturesque Tarrytown NY. Located not far from Corporate Headquarters, but close enough for our Account Design Managers to run over to present our concepts or mechanicals to the Brand Managers. The company represented many American household names such as Maxwell House, JELL-O, Birds Eye, Log Cabin, Sanka, Cool Whip and Good Seasons, just to name a few.

To the best of my recollection, in the mid-to-late 1960s, the General Foods Corporate Design Center came into being. Under the helm and leadership of Director Tony Parisi, the Center (Or CDC as it was known) would come to expand significantly over many years. An inhouse staff of 50-60 people, one of the

ABOVE: DESIGNER KEVIN HALL SHOWN AT THE GF CORPORATE DESIGN CENTER SOMETIME DURING THE EARLY 1980'S. LEFT: GENERAL FOODS CORPORATE DESIGN CENTER LOGO

industry's largest at the time, produced eye-appealing designs for everything from packages and promotions to audio-visual and editorial materials. not only produce outstanding design work but to also manage The staff included Account Design Managers, Designers,

every project from concept to completion.

Mechanical Artists, and inhouse Photographer, and a wellknown handletterer named Joel Kaden. Joel was hard-working

I am grateful for the opportunity to have worked with and

and very talented. He would turn out beautifully proportioned

learned from some of the best creative talent design around at

handlettering in perfectly crafted airbrush gradations, all this

that time. Sadly, the General Foods Corporate Design Cener

before the advent of computers. He is also known as one of

would come to a close in 1987. The work designed the tal-

those who designed the popular ITC Typeface American Type-

ented and creative individuals at this inhouse group was truly

writer. There were many talented and notable people who I

exceptional and outstanding.

worked with and learned from at the CDC, Pat Frankel and Art Scholz to name a couple.

Much of the design work created by our inhouse designers set the standard and raised the bar for design excellence in the

The designers were divided into two groups: those who worked

food and beverage consumer packaged goods industry. Looking

strictly on package design and those who worked on sales pro-

back, I can honestly say I was truly surrounded by greatness.

motion design. At time there was a crossover, but rarely. These were the days of T-squares and triangles, magic markers and

KEVIN HALL is the Principal & Creative Director of Kevin Hall

tracing pads. The emphasis was on total design management,

Design, an award winning graphic design firm specializing in

where managerial and creative talents would mesh under the

brand identity, packaging and logo design in Milford CT.

strict discipline of the management process. The goal was to

Contact: www.kevinhalldesign.com

G D U SA 115

May 2015 Pub Letter Focus_feb news play 5/27/15 3:03 PM Page 116

WHY DESIGNERS CHOOSE PRINT, REASON #3 PRINT COMMUNICATES Based On An Interview With Amber Podratz of Kaiser Permanente

BY GERRY BONETTO

The Affordable Care Act created a great deal

“This was important because healthcare in general is very

of confusion for many Americans. Suddenly

daunting,” explains Amber Podratz, Kaiser Permanente’s

consumers – many of whom were new to the

Senior Creative Strategist. “It’s an overwhelming subject that tends to be very dense in complex information. You

health insurance market – needed to research,

cannot absorb it in a quick glance or just by hearing about

understand and consider their options. It’s no

it. You need to sit down and go through it yourself, read it

surprise that when Kaiser Permanente wanted

over and over again if necessary.”

to communicate with this pool of prospective new customers, they turned to print.

PRINT MAKES COMPLEX INFORMATION ACCESSIBLE

Kaiser started by creating pop-up retail stores where consumers could learn about Kaiser Permanente as well as the Affordable Care Act in general. When people came in to the stores they were given a packet of helpful information to take home with them.

“Much of our material deals with rates and charts,” Amber says. “When this is online you can’t go line by line and compare things. You have to see it in person and be able to point to it and direct your eye along the page. In these complex information spaces, print allows us to lay things out and communicate in a way that consumers can easily follow and understand, so they get what they need to make an informed choice.”

PRINT CAN COMMUNICATE IN A PERSONALIZED WAY Amber and her team also used direct mail to drive local residents to these stores. Everything from the list to the images and the text was targeted specifically for the demographics and identity of each store’s neighborhood.

“Knowing the demographics of each community also led us to produce a lot of materials in other languages,” Amber adds. “This was important, especially for a complex subject like health care. Our direct mail program was very successful, and I think that allowing prospects to see something in their native language so that they knew we were truly communicating with them made a big difference.”

GERRY BONETTO is VP Government Affairs for Printing Industries Association, Inc. of Southern California (PIASC) and a Choose Print content provider. PIASC is the trade association for the graphic arts community in Southern California. Founded in 1935 and incorporated in 1944, today, PIASC is the largest graphic arts trade association in the nation. Choose Print is an educational campaign designed to promote the effectiveness of print and to reinforce the fact that print on paper is a recyclable and renewable and thus a sustainable environmental choice.

Choose Print is sponsored by PIASC. Contact: ChoosePrint.org

AMBER PODRATZ, KAISER PERMANENTE’S SENIOR CREATIVE STRATEGIST

116 G D U SA

May 2015 Pub Letter Focus_feb news play 5/27/15 3:03 PM Page 117

FOR YOUR NEXT DESIGN JOB, CONSIDER WORKING WITH A RECRUITER

BY DIANE DOMEYER

Has your job search hit a roadblock? Interested in branching out into a different specialty, or going from a creative agency to an in-house department?

to you when there’s a good match. That said, there’s nothing

The Creative Group 2015 Salary Guide shows that graphic

the job search.

wrong with pinging your point of contact to remind him or her that you’re still interested in finding the right role. An occasional check-in also demonstrates your initiative and commitment to

designers are among the nine in-demand creative roles for the year, but landing a job can still be a challenge. In fact, research

4. BE RESPONSIVE.

from The Creative Group shows that marketing and advertising executives receive an average of 23 resumes for every opening; and HR professionals likely review many more.

After you return from an interview that the agency has set up for you, call or email to let your recruiter know how it went. Besides the positives, mention any concerns you may have and be candid

The competition for jobs may be tough, but employers are hiring.

And working together with a specialized staffing firm can help you find a position that aligns with your career goals, work style and salary expectations. Here are five tips to help you get the

with your feedback. The more information you provide, the better the recruiter will get to know you and what type of work you’re looking for. However, be careful not to be so selective that you pass up some potential golden opportunities.

most out of working with a recruiter.

5. PUT YOURSELF OUT THERE. 1. LOOK FOR EXPERTS IN THE FIELD. There are many general staffing agencies out there. But for best results, work with recruiters whose forte is the creative industry.

Because they have a wide network of local companies and agencies, they may be aware of openings that never hit job websites.

Specialized recruiters also better understand your specific skill set, career goals and market value. In other words, they speak your language and are experts in representing candidates to

Some recruiters proactively look for candidates to fill certain roles, so you want to be easy to find. Start by updating and completing your LinkedIn profile. Upload samples of your best work — PDFs, videos and presentations — and make sure there’s a link to your website or digital portfolio. Besides social media, get out and network in person. Carry your business cards to design meet-ups and professional events in case you run into recruiters in search of job seekers.

organizations that need creative talent.

Recruiters can be helpful allies, but not all of them are equal.

2. BE HONEST.

Be wary of firms that charge fees to job seekers; employers should be the ones who pay the finder’s fee, not candidates.

When working with a recruiter, honesty is the only policy. Present

Before signing on with any individuals or agencies, ask questions

who you are, not the designer you would like to be. For example,

about their methods and make sure you have a good rapport.

if you have only a working knowledge of After Effects, don’t state

The effort will be worth it. When you find the right recruiter,

on your resume that you’re highly proficient. You don’t want to be

you’ll see that it can help expand your options and possibly lead

placed in a job where you lack the requisite skills. Your recruiter

to your next creative job.

will also want to know your salary requirements, preferred employment type (freelance, full-time and/or contract-to-full-time) and any factors that might be deal breakers when it comes to accepting a position.

3. CHECK IN. Patience plays a role in working with a recruiter. Chances are he or she is keeping an eye on open positions and will reach out

DIANE DOMEYER is Executive Director of The Creative Group, a specialized staffing service placing interactive, design, marketing, advertising and public relations professionals with a variety of firms. For more information, visit creativegroup.com. See also: http://blog.creativegroup.com/managingcreative-people-and-projects

G D U SA 117

MAY 2015 PEOPLE impo_SEPT 07 People 5/27/15 3:36 PM Page 118

DEDICATION | THOMAS WRIGHT We dedicate this edition of GDUSA to Tom Wright, a firm believer in and advocate for graphic designers and their central role in the graphics arts, in business and society, in commerce and culture.

The Director of Design at Neenah Paper worldwide, Tom is stepping down July 1 to spend more time with his wife Paula and family and to pursue his many personal interests. Tom has more than three decades of handson experience in numerous design disciplines, a passion for paper, and a delight in value-added printing and specialty production techniques. Over those years, he has continually built Neenah's leadership brand in the creative marketplace, and been a pioneer who took Neenah down a path of many firsts in the paper industry, from developing innovative and educational promotions to building meaningful relationships with industry organizations and associations to creating venues where creativity could thrive to connecting paper with technology. He is also renowned for forging relationships with customers, industry leaders and some of the most talented designers in the world. As a result — and this may be his most lasting legacy — he has encouraged and inspired generations of designers to get the most out of themselves. In announcing his retirement to the Neenah family, Shannon E. Kingsley, Senior Director of Marketing - Fine Paper, wrote: “Tom is a one of a kind leader, visionary, collaborator, business partner, manager, teammate and friend. His 35 years of hard work paves the way for future generations of paper and packaging lovers...” Upon hearing of Tom's decision, I was asked to record my reaction. “Tom Wright will be sorely missed,” I said, “because he is quite simply the best at what he does.”

– GK

118 G D U S A

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