GDUSA - Graphic Design USA - June 2022

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GD USA

GD USA GRAPHIC DESIGN USA

59TH ANNUAL

PRINT + PAPER SURVEY SPONSORED BY

BILLERUD

2022 JUNE 2022

DIGITAL DESIGN AWARDS

20TH ANNUAL www.gdusa.com

LOGOLOUNGE TREND REPORT JU N E 2022

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billerud.com.

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LETTER FROM THE PUBLISHER | CONTEXT IS THE CORE OF MEANING Too much information can make your brain choke,” a quote attributed to author Bryan Davis. In my case, the problem is not too much information but too much age. I assume Mr. Davis is talking about the “drinking from a firehose” flood of data that inundates and overwhelms, a curse of our times.

For our part, we try to be deliberate in providing news and information you may find useful — rather than deadening. This includes a daily selection new projects, people, events and ideas on our website that we hope are interesting in and of themselves but will also spark ideas or connections. Then we strive to layer in broader context, especially from people smarter and more talented than us. For this, we increasingly turn to the print edition — a tangible product in an ephemeral world — that by the very nature of the medium is amenable to trends and commentary and showcases of best work and practices. The lines sometimes blur and we sometimes fail; but that is the general (good) intention.

In this spirit, here are some key features of our June 2022 print edition.

GORDON KAYE IS THE PUBLISHER OF GDUSA Comments, suggestions and letters can be sent to gkaye @ gdusa.com.

DIGITAL DESIGN COMPETITION SHOWCASE Formerly known as the ‘web design’ awards, this competition is in its 22nd year. It has been renamed and expanded to capture the breadth and depth of online communications today.

And to better represent the vital role that graphic design plays in success. Websites, yes, but also email marketing and social media, interactive publications and displays, video and animation, digital ads and apps, and more. A record 2,400 entries were received, with roughly 10% honored. The takeaway: we are in a virtuous cycle of greater demand for digital communications, richer tools and more stable technologies, and a more sophisticated appreciation for sound design principles.

59TH ANNUAL PRINT DESIGN SURVEY This tradition lives on. Our 2022 poll reveals that more than 90% of our readers design for print as part of their mix, that the majority of their projects or campaigns involve a print component, that they remain responsible for purchasing or specification decisions, and that the near-term future of print is likely bolstered by post-pandemic digital fatigue and more savvy integration of print and online initiatives. The takeaway: the classic strengths of print — touch, feel, permanence, portability — still matter in a complex media world.

20TH ANNUAL LOGOLOUNGE REPORT Speaking of traditions, this is a milestone LogoLounge Trend Report. LogoLounge.com is the brainchild of Bill Gardner who does a breathtaking job each year of compiling tens of thousands of logos, contextualizing them, and making them searchable online and in a book series, the 13th edition of which appears later this summer. Then he adds sweeping commentary that bursts with insight. Bill observes, rightly I think, that LogoLounge has value for the design community because “context is the core of meaning” and you need “to grasp the trends in order to transcend.” The takeaway: in year 20, Bill Gardner and his report are better than ever.

KEEPING EMPLOYEES HAPPY Today’s reality is that many, if not most, creatives are going to work remotely or in hybrid situations. Paul Flaharty of Robert Half has suggestions for how to best embrace a flexible work model and retain talented employees. The takeaway: you cannot keep everybody happy, but having a plan can maximize the chances.

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CONTENTS | JUNE 2022

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FRESH COLLINS channels golden age of broadcast media for CNET identity; Two Things campaign for Sun Valley nudges tourists to respect their surroundings and their hosts; self-care is at the heart of Landscape’s branding for post-partum wellness startup; Chermayeff & Geismar & Haviv serve up a logo for Culinary Institute of America; an iridescent installation by C&G Partners at Rockefeller University honors women scientists; and more.

Visit gdusa.com for daily news, people, projects, and events.

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PRINT DESIGN SURVEY In our 59th annual poll, sentiment about the future of print is considerably more positive than in recent years. You can see it in some key numbers and feel it in hundreds of comments that reaffirm print’s role in the mix. Whether this is a result of generally rising spirits as the pandemic ebbs or a new appreciation for human connection or nostalgia for a simpler past, it is hard to say. Still, for print and paper lovers, it is intriguing.

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20TH LOGOLOUNGE REPORT We celebrate with Bill Gardner the 20th anniversary of his LogoLounge.com and related logo trends report. Over the two decades, he has compiled and reviewed more than 380,000 logos. As in past years, Mr. Gardner commands attention in 2022 with a sweeping overview of tens of thousands of logos in which he reveals patterns worth noting and wisdom worth imparting.

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DIGITAL DESIGN AWARDS Our 22nd American Digital Design Awards™ saw a recordbreaking number of entries, and here is a select showcase of winners. The contest formerly known as ‘web design’ was expanded in its 22nd year to better amplify the power of design to enhance online and interactive experiences — for websites, yes, but also social media, email marketing, digital advertising, interactive and interface design, video and animation, 3D and more.

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MAKING FLEXIBILITY WORK Today, managers and employees have more options that create the potential for new and productive work arrangements — but also for friction. Paul Flaharty of talent solutions firm Robert Half tackles the issue how to embrace a flexible work

GDUSA - Graphic Design USA Volume 59 / Number 3 - May/June 2022 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.

model, and how to keep employees creative, happy and loyal.

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AD INDEX To learn more about the meaningful messages and offers in this edition, please view the advertisements and connect with these important suppliers and services.

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THANKS TO THE SPONSOR BILLERUD NORTH AMERICA, sponsor of our 59th Annual Print Design Survey, is a leading American operated producer of graphic, specialty and packaging paper and market pulp.

“Our name means quality and commitment, sustainability and integrity. We offer a variety

GD USA GRAPHIC DESIGN USA

of products, each made with pride in the USA and designed to build brands and business results for our customers.

Gordon Kaye PUBLISHER

We make graphic paper products for direct mail, corporate collateral, catalogs, magazines and books, and specialty paper products, including release liner papers and label face stock for pressure sensitive, glue-applied and laminate applications. We produce packaging paper used in higher-end packaging and printing applications such as greeting cards, book covers, folders, labels and point-of-purchase displays. We also makes market pulp used in printing,

Ilana Greenberg CREATIVE DIRECTOR Sasha Kaye-Walsh

writing, specialty and packaging paper, facial and toilet tissue, and paper towels.

EDITOR/WEBSITE + SOCIAL MEDIA

But we are more than industry-leading products. We are people united by a passion to be the

Gordon Kaye

best in the business. We care about quality. We care about our customers. We care about

EDITOR/PRINT

the environment. We care about each other.”

This publication is printed on Influence® Gloss, 60 lb. text from Billerud North America.

Influence® offers the highest quality coated No. 3 web paper. More information is available later in this edition.

To learn more, please contact your Billerud North America sales professional or visit billerud.com.

Althea Edwards READER SERVICES Angelo Abbondante ACCOUNTS MANAGER Jennifer Hoff Scott Sczcypiorski INTERNET SERVICES Maliya Malik

ABOUT THE COVER This logo by Artsigma is one of many featured in the 20th annual LogoLounge Trend report.

It represents the increased use of the almond shape — actually the intersection of two circles as in a Venn diagram — reflecting interest in the organic, spirit and matter, heaven and earth, wholeness and healing. The report begins at PAGE 40.

DESIGN/SOCIAL MEDIA INTERN Jay Lewis Jeffrey Rosenberg PHOTOGRAPHY Ron Andriani ADVERTISING SALES + INTEGRATED MARKETING + BUSINESS DEVELOPMENT 201.669.9884 212.696.4380 randriani@ gdusa.com

Milton L. Kaye 1921-2016 FOUNDER

COVER PAPER CREDIT: The cover of this special edition of GDUSA is printed on FSC-certified Kallima Coated Cover C2S, part of the Kallima Paper family of FSC-certified coated cover paperboard, manufactured by the Tembec Paper Group. A leading advocate of sustainability, Kallima has a distinct low-density high-bulk construction resulting in less trees used and signficant cost savings to the customer. Contact: kallimapaper.com and 1.800.411.7011

COPYRIGHT 2022 BY KAYE PUBLISHING CORPORATION

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FRESH | CAMPAIGN PROTECTS SUN VALLEY WAY OF LIFE

SUN VALLEY ID For years, Sun Valley ID has existed in relative

obscurity — a tightly guarded secret among in-the-know tourists.

That all changed with the pandemic. Almost overnight, the Sun Valley Tourism Board was suddenly forced to shift priorities from attracting new guests, to protecting the local way of life from too many guests. What the Board needed was a campaign that reminded visitors how things are done in the Valley, and they looked to their creative agency of record, Two Things, to help. Two Things started with a simple call-to-action — “Stay Sunny” — to reflect the optimistic spirit of the Valley. But they also needed a voice that felt honest and to the point. Each creative piece is informed by a pain point Sun Valley wanted to address — rude behavior, disrespect towards staff, disregard for locals, aggressive driving, etc. — using humor and light heartedness. Ads are placed throughout Sun Valley with different messages for different locations, and virtually every piece of the campaign is being delivered through non-traditional media that gives back to the community of Sun Valley. Local collaborations and executing all production locally helps support local businesses. In addition to chalked street messaging, murals, wild postings, local signage and bumper stickers, Two Things is arming local businesses with campaign messaging reminding tourists with “friendship chips” that can be handed out to customers, custom coasters, t-shirts, hats and posters. Two Things also created “The Patience Portal,” for local restaurants where customers can scan a QR code to be taken to a mobile-first site with trivia games and Q&A fun to help pass the time. Says Creative Director Scott Cromer: “The mission of ‘Stay Sunny’ is to teach out-of-towners how they do things in the Valley. It’s a reminder that if you’re kind and considerate, you’ll be welcomed into the family. And if you’re not, you’ll likely be on the next horse out of town.” twothings.com

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FRESH | LANDSCAPE RADIATES WARMTH FOR WELLNESS FIRM

SAN FRANCISCO CA Cookma, a startup which offers a meal delivery service and a product line for parents to inspire a cycle

of deeper self-care, has launched with a brand identity designed by San Francisco-based brand strategy and design studio Landscape. Founded by entrepreneur Lisa Chatham, Cookma is rooted in Ayurveda and traditional wisdom and aims to be a premium yet pragmatic choice for mindful parents interested in postpartum wellness. For Chatham, design had to be part of the business from the foundation stage, which meant establishing an authentic, extensible brand from the company’s inception.“I previously spent 12 years building a 4 million-dollar business ... but without much thought to brand identity, with no plan, structure, strategy, messaging,” she explains. “I wanted Cookma to have the focus, the guide rails, the ability to grow that a good brand identity can provide. Investment in design was something I felt was essential.” Visually, the brand is designed to exude warmth. Mackenzie Brookshire, Landscape Creative Director says, “An earthy color palette complemented by a system of radiating glows, timeless photography, tactile materials, and richly toned photography — these elements harmonize together to convey the feeling of inner warmth and joy Cookma seeks to nourish in these early, intimate moments of new parenthood.” The color palette is largely inspired by Chatham’s approach to cooking — rich with spices and plants that combine to nourish and restore warmth to the body. Brookshire describes the brand as “an intimate and tactile experience that invites a sense of calm, warmth, joy, and a love of learning more about your body and motherhood.” thisislandscape.com

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FRESH | C&G INSTALLATION HONORS WOMEN IN SCIENCE

NEW YORK NY The Rockefeller University has a new iridescent

display for its annual award honoring women scientists: the Pearl Meister Greengard Prize. Designed by C&G Partners, the installation features a floating hexagonal lattice of lightweight aluminum, spanning a panoramic glass wall. This framework holds changeable translucent panels, each with multiple optical film laminations.

Portraits of each winner are done by the same artists who create the famous stipple illustrations for the Wall Street Journal. Each panel holds one of two types of dichroic film, which has the property of natural iridescence: constantly shifting color depending on angle of view and illumination. This is deliberately inspired by nature, with an effect similar to a butterfly’s wing or the internal surface of a seashell. The effect occurs without any electrical or mechanical energy, as viewers simply walk past. The framework is placed in front of a planting area, so that the changing colors of the panels are matched by the seasonally changing colors and shapes. A space immediately adjacent to this holds the Rockefeller University Donor Display and Prize Walls, also designed by C&G Partners. The Pearl Meister Greengard Prize was founded by the late Dr. Paul Greengard, and his wife Ursula von Rydingsvard, funded in part with the proceeds of Dr. Greengard’s 2000 Nobel Prize. It honors Dr. Greengard’s mother, who died in childbirth. hcgpartnersllc.com

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Student work (top to bottom) by: Star Yuan, Sissi Chen, Julia Fernandez, Liu Yu, and Manishka Khanna | School of Graphic Design

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FRESH | BARCELONA BRAND ASKS CITIZENS TO TAKE RESPONSIBILITY

BARCELONA SPAIN Cuidem Barcelona is the new brand for Barcelona’s maintenance and cleaning service. Created by

the Folch agency, both the campaign and the brand appeal to concepts including inclusiveness, empathy and citizen co-responsibility for a cleaner and greener city. The identity, which covers all municipal services linked to public space, reflects the City Council’s commitment to a green and circular economy and the phrase translates to “Let’s Take Care of Barcelona.” Its main objective is to appeal to citizens to feel part of making the city a better place to live. Explains Albert Folch, creative director and agency founder: “The paradigm has changed and, as a mature and aware society, we must become active individuals involved in the care of our environment. We cannot just be passive agents; the same awareness that we demand for the rural environment and the environment is just as necessary in the urban environment. We appreciate what we take care of, we take care of what we appreciate.” The emotional dimension of the brand is a symbol integrated into the logo, an abstraction of the initials C and B, which serves as a synthesis of both a heart and a face. The affective and proximate expression of this element takes on great importance within the identity. Says art and design director Oriol Corsà: “The symbol allows us to communicate a wide range of situations and emotions through simple shapes and movements, bringing richness to the identity, approaching the public in a more direct, expressive and closer way.” A new corporate typeface, Aeonik, features sleek, dynamic forms that make it easy to use in both large body and reading text. folchstudio.com

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FRESH | CHERMAYEFF & GEISMAR & HAVIV PREP NEW IDENTITY

HYDE PARK NY Chermayeff & Geismar & Haviv has redesigned

the logo for the Culinary Institute of America, arguably the world’s premier institution of higher education dedicated to food. From its post-WWII origins as a technical school for training returning US veterans as cooks, today the school offers several undergraduate and graduate degrees in cooking, hospitality, food science, business, and the liberal arts. Alumni include Anthony Bourdain, Geoffrey Zakarian, Maneet Chauhan, Michael Symons, Anne Burrell, and more. As President Dr. Tim Ryan explains it, the overarching strategic imperative has been to elevate the school’s reputation as a leading university for food, and to nurture the traditions and loyalties of a liberal arts university. Thus, a key to the redesign was to replace a previous 1980s identity that was considered unwieldy and otherwise off message. The new symbol by Chermayeff & Geismar & Haviv has as its core concept a sheaf of wheat — a centuries-old representation of food in many cultures. To this foundation, the new image adds allusions to the light of knowledge, an open book, and other appropriate associations to scholarly, culinary and hospitality traditions. Combined with a slab serif wordmark and rendered in Fire Orange and Sage Green, the identity seeks to balance seriousness and vibrancy to represent this dynamic institution. The independent symbol can also be separated from the long name in the modular configurations needed for the Institute’s many applications — from uniforms to flags, from cakes to diplomas. cghnyc.com

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FRESH | REBRAND PUTS PEOPLE BEFORE DATA

BERKELEY CA Experience analytics company Contentsquare wanted

to highlight their commitment to providing “More. Human. Analytics.”

Teaming with creative and strategic branding firm John McNeil Studio (JMS) for the rebrand and campaign, Contentsquare is now able to demonstrate how they put humans front and center. The identity features an icon and wordmark paired with character-focused photography and copy that communicates with both wit and youthful spirit. Beyond the main tagline, messaging — like “Uncookied.

Untargeted. Understood.” — present direct statements of intent that Contentsquare is supporting everyone’s right to privacy and telling businesses that they do not have to sacrifice customer understanding in order to enable that privacy. The approach is also reflected in a new JMS-created campaign — with media strategy developed in partnership with agency Ways & Means — that features display and audio advertising, out-of-home and a series of spots featuring a diverse range of people giving exaggerated, slow-motion reactions.

The advertisements ask viewers if they can tell what emotions are being depicted, suggesting that Contentsquare is the one analytics platform that can tell the difference. Comments Chief Marketing Officer, Niki Hall: “JMS was able to take all the various pieces of the Contentsquare story and mission to craft an identity and campaign that reflect both the scale of our ambitions but also our desire to bring it all back to the people who are online everyday — people who have high hopes for our digital society.” johnmcneilstudio.com

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FRESH | MULLENLOWE HOPES FILM FESTIVAL WILL OFFEND

BROOKLYN NY The Brooklyn Film Festival’s 2022 marketing

campaign takes pride in the fact that the event has “something to offend everyone.” The campaign by MullenLowe New York includes a digital film inspired by stereotypical human resources videos, schooling viewers on how to talk to others about the films without offending them. And leads them to a website, howtotalkaboutbff.com, featuring a “course” of humorous short videos, in which the characters try and fail to communicate new ideas to partner, dog or colleague. On completing the course, viewers can access a digital certificate and a discounted ticket to the Festival, which runs through June 12. The campaign also includes out-of-home work, including billboards, which feature illustrations of characters expressing their anger in explosive ways.

The campaign sharply underscore the fact that the Brooklyn Film Festival never censors its filmmakers, offering a ranges of narratives, sensibilities and arguments that explore every aspect of human reality from different points of view. Executive Creative Director of MullenLowe New York, Ricard Valero, explains: “Independent cinema opens an honest conversation about everything around us. That’s why the Brooklyn Film Festival invites us to leave our preconceived notions at the metaphorical door, and experience something from a different perspective ... to be open, curious, and be pushed.” us.mullenlowe.com

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FRESH | COLLINS AND CNET CHANNEL GOLDEN AGE OF NEWS

SAN FRANCISCO CA In the constant frenzy to publish what’s new

and exciting, many have forgotten the purpose of journalism — to share useful information. CNET has been stubbornly different, trying to stay committed to sifting through the noise in the digital world, elevating what’s important and making it applicable. And in an increasingly noisy space, CNET realized its unique type of service journalism could extend beyond tech, and it is expanding its coverage to many of the things that matter most in modern life, including money, home, wellness, culture, cars and climate.

To communicate the expansion, the company tapped COLLINS to craft a brand strategy, story and identity to transform it from a tech-review site to an editorial-first brand people can trust for a range of useful information. The design team combined visual elements of the non-partisan and more trustworthy “golden age” of the press and broadcast giants — circa 1950s-1970s — with a bold surrealism intended to spark the audience’s imaginations about what they can achieve. The project includes custom illustration styles, engaging motion graphics and new site navigation that highlights the breadth and depth of CNET’s expertise across many categories. The logo heralds a new and open editorial experience, and the brand voice seeks to make talking about the news enjoyable. wearecollins.com

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59TH ANNUAL

PRINT DESIGN SURVEY SPONSORED BY BILLERUD

BY GORDON KAYE

A PUSH BACK AGAINST DIGITAL FATIGUE In 2022, sentiment about the future of print is considerably more positive than in recent years and recent polls. You can see it in some key numbers and feel it in the hundreds of comments we received.

Whether this is a result of generally rising spirits as the pandemic ebbs or a new appreciation for human connection in a remote world or basic nostalgia for a simpler past, it is hard to say. Even harder to say is whether sentiment converts into print quantity and quality or design and sales.

Nonetheless, for a print lover (like me), the promise is intriguing.

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HERE ARE MY TAKEAWAYS FROM THE POLL, CONDUCTED IN MID-APRIL 2022, THOUGH I URGE YOU TO REVIEW THE RESULTS AND THE COMMENTS AND DRAW YOUR OWN CONCLUSIONS:

Print continues to play a vital role in how professional graphic designers make a living.

Fully 96% of respondents say they work in print as part of their professional mix, 54% of their projects involve a print component and 55% of their time is devoted to print. 64% say they expect the same level of print design this year as in the past and, of the remainder, more designers say they expect to do more print (21%) rather than less print (14%) in the coming year.

Interestingly, roughly half of all respondents worked on a project related to the hot button issues of the day: pandemic communications, political advocacy, and/or social justice in the past year. In short, the creative community, or at least our readers, are reaffirming the relevance of print.

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Designers believe print endures because of its classic strengths. Foremost among these is tangibility — it is sensual, touchable, physical, real, permanent, and encourages a human connection often missing in the virtual world.

These classic strengths are amplified by digital clutter. Because print is relatively rare, it has the potential to stand out and be special — fresh, welcome, surprising, disruptive, personal, engaging, meaningful, a statement that a brand values itself and its customers.

And then there is digital fatigue. The fatigue factor from our long global nightmare is sparking a new appreciation for the attributes of print and stirring hopes for a print rebound as one sign that we are putting “remote” behind us.

Closely related is the issue of trust: quality printed pieces are often perceived to possess authenticity and credibility because they feel real and present, spring from an identifiable source, and are the result of a deliberate act of craftsmanship. For many designers, the fleeting nature of digital communications does not inspire similar confidence.

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If print is to stand out and be special, that imposes a responsibility on creators and producers: superior print design, well-crafted execution, strategic deployment, sustainable methods matter more than ever. Perhaps that explains why, when print is part of the marketing mix, designers try to retain responsibility and control for critical steps in the process: 78% buy or specify paper, 85% buy or specify printing, and 83% value resources such as swatchbooks and samples as decisional aides.

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Everyone understands that print is now a role player rather than the star — best used as part of an integrated marketing mix or for certain targeted audiences and purposes. That requires more sophisticated judgements about how and when to deploy print. And the mastering of new technologies such as QR codes and AR combined with print deliverables. Designers are excited about using print and digital in tandem to expand the message and reach people in the manner they best like to interact with a brand.

7

All that said, there is clearly less print volume and a lesser focus on the substrates, materials or the intricacies of printcraft. Digital solutions tend to be the default position — bigger, cheaper, easier, more titillating to clients – and this is especially true for each younger generation of designers and consumers.

8

For most of the six decades we have conducted this survey, Brochures & Collateral have topped the types of print projects.

During the pandemic years, the Posters and Packaging categories rose to the top. This year, Brochures & Collateral reclaimed the top spot, another hint that normalcy is returning.

9

Sustainability and climate change remain important factors when assessing a project — including, of course, whether to recommend print or digital media. In earlier times, there was an easy assumption that digital had the lighter footprint. But designers have a clearer understanding of the negative environmental impact of the digital infrastructure and, in turn, the progress made in smart and clean printing, paper recycling, and tree replanting. As a consequence, print is now often seen as a green option and paper as a renewable resource.

10

G D U SA 23

June 2022 Print Survey Impo.qxp_SEPT 07 People 6/20/22 8:43 PM Page 24

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24 G D U S A

June 2022 Print Survey Impo.qxp_SEPT 07 People 6/20/22 8:43 PM Page 25

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G D U SA 25

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June 2022 Print Survey Impo.qxp_SEPT 07 People 6/20/22 8:44 PM Page 28

PRINT SURVEY | THE NUMBERS OUR 2022 POLL WAS SENT TO A RANDOM SELECTION OF 10,000 GDUSA PRINT AND E-SUBSCRIBERS, WITH A 9.4% RESPONSE RATE. THE BENCHMARK RESULTS MAKE CLEAR THAT, EVEN IN A DIGITAL AGE, PRINT REMAINS ESSENTIAL TO THE GRAPHIC DESIGN PROFESSION. WHAT KINDS OF DESIGN PROJECTS DO YOU WORK ON?

96%

GOING FORWARD, DO YOU EXPECT TO DO MORE OR LESS PRINT DESIGN THAN IN THE PAST?

ONLINE

IN THE PAST YEAR, HAVE YOU WORKED ON ANY PRINT PROJECTS RELATED TO POLITICAL ADVOCACY, SOCIAL JUSTICE, PANDEMIC-RELATED COMMUNICATIONS?

YES

65% NO

PRINT

91%

14%

48% 52%

ARE SWATCHBOOKS/PROMOTIONS/SAMPLES USEFUL IN SELECTING PAPER OR SELLING CLIENT ON PRINT?

LESS

83%

YES SAME

PACKAGE

21% MORE

NO

TV | FILM | VIDEO | MOTION

54%

29%

HOW MUCH OF YOUR WORK INVOLVES DESIGNING FOR PRINT?

55% OF YOUR TIME IS SPENT WORKING IN PRINT

WHAT KINDS OF PRINT PROJECTS HAVE YOU WORKED ON THE PAST YEAR? (IN ORDER)

BROCHURES/COLLATERAL

96%

POSTERS

71%

ANNOUNCEMENTS/INVITES/GREETING CARDS

71%

LETTERHEADS/BUSINESS CARDS

70%

DIRECT MAIL/POSTCARDS

60%

SALES PROMOTION

57%

ADVERTISING

57%

PACKAGING

56%

SIGNS/EXHIBITS/WAYFINDING

55%

PUBLICATIONS/PERIODICALS

49%

ANNUAL/CORPORATE REPORTS

47%

POP/SIGNS/DISPLAYS

45%

UNCOATED ONLY

CATALOGS

30%

12%

BOOKS

24%

CALENDARS

23%

SELF-PROMOTION

18%

54% OF YOUR PROJECTS INVOLVE PRINT

DO YOU BUY, SPECIFY, RECOMMEND, APPROVE PURCHASES OF ... ?

PAPER PRINTING

85%

78%

ARE YOUR PROJECTS PRINTED ON PREMIUM COATED OR UNCOATED PAPERS?

78% BOTH

10%

COATED ONLY

28 G D U S A

17%

June 2022 Print Survey Impo.qxp_SEPT 07 People 6/20/22 8:44 PM Page 29

PRINT SURVEY | SELECT COMMENTS IS PRINT IMPORTANT IN YOUR PROFESSIONAL LIFE? Print is timeless. With digital platforms changing so rapidly and media contributing to our lack of peace, a printed piece — that you can read at your own pace without being bombarded with ads and moving figures on the bluelight screen in front of you — helps us to keep our sanity.

CATE B., MANAGER OF MEDIA AND MARKETING, FAMILY MISSIONS COMPANY AND FREELANCE DESIGNER

Print plays a large role in society, whether we realize it or not.

It surrounds us, from forms, direct mailing, to signage/environmental graphics — it’s everywhere. Can you imagine a world of only digital marketing? There is absolutely a need for printed material to this day and I don’t see it leaving. As the world evolves, so does our industry – but I believe we are just adding new platforms to it, not eliminating the old.

Clients are turning back to print to set themselves apart from the clutter of digital media and/or using it as a way to drive traffic to their websites. Consumers are still drawn to the warm, tactile qualities of print materials – especially after the pandemic. Print exudes a familiar, organic feeling and reminds them of simpler times.

The ease and accessibility of digital communication will reduce the amount of print work produced, but I believe the power of the printed medium maintains enough of a hold on people, generally, that will prevent it from disappearing completely. There is a truth in print not expressed with digital.

I love the ritual of picking up a printed piece and holding it as I read — it is always a different experience. Much more tactile then holding your phone, which you are constantly looking at anyway— the digital info just seems like so much clutter after a while.

The other day I saw an email about some upscale linens, but when I tried to tell my friend the name, I could not remember it.

Later that week, I saw a printed insert tucked into my newspaper about linens. That company I remember, because when I saw the message, I was more focused and in a better situation to note it.

It’s an emotional connection to have and hold art in a personal form. An image on screen is fleeting and forgotten in today’s two second memory.

Print is an incredible part of both work and personal life. Always love seeing well-designed printed pieces and will take time to review.

Print’s traditional strengths are and continue to be important because of the impact they make compared with a digital experience. Being able to engage the senses adds a great dimension that digital has not.

I still like holding a book to read, receiving collateral I can touch, and appreciate embossing, tooth, and other techniques.

My company has been able to grow its footprint within the industry when others are failing precisely because we rely on maintaining a print presence in addition to our online presence and projects.

Print definitely adds quality, detailed information, and sustains branding. In a traditional sense, print still matters as a strong foundation of the entire communications matrix.

Print will never be replaced by digital.

I design with print in mind.

The tangibility of print is part of its strength. Customers seem to trust it more than advertising in a digital space where they aren't sure who is seeing it.

Print is still important to our clients and our firm due to its permanence. It also reaches certain demographics better than digital can.

Our audiences appreciate printed reports and marketing materials due to its credibility and how we can extend their brands.

With more people working remotely, a tangible printed piece brings more credence and authenticity to products and services.

Print will always be important. The feel of the paper and various techniques applied during printing adding elements of texture and creating visual impact still resonate whether it is something you hold in your hand or view in a trade show booth.

We are an in-house agency with multiple business units that delivers to a membership base on-site at show presences and through direct mail. We love to incorporate specialty print finishes and/or items into our audience’s hands.

The more the world goes digital, the more people will crave (whether for practical or nostalgic reasons) paper.

Print does still matter. Holding the printed piece in your hand has value. There is too much online and you cannot guarantee your target audience will even see the work.

Print is not dead!! It is still SO important. We live in a visual world and there cannot (nor should there ever be) based wholly on screens surrounding us and being the ‘be all, end all’ hub for all things design and branding and information.

Tangible ‘things’ are still important in my professional life. As an inhouse designer for a nursery and garden supply chain, I’ve noticed the following: (1) When outside in the bright light, printed pieces are easier to see than digital screens (2) A portion of our customers are retired folk (3) To-Do lists from our printed catalog are clipped and attached to customers’ refrigerators/garage doors/supply closets (4) In the first week a new catalog is delivered, customers come in with the catalogs dog-eared and products circled (5) You don't need electricity to read a catalog.

Print makes a statement, people don’t get many print pieces anymore, so they do stand out.

We still have a segment of customers who can only be reached by print.

For me personally, print will always be important — it’s finite, tactile, and can exude quality in a way digital cannot.

G D U SA 29

June 2022 Print Survey Impo.qxp_SEPT 07 People 6/20/22 8:44 PM Page 30

PRINT SURVEY | SELECT COMMENTS CONTINUED

IS PRINT IMPORTANT IN YOUR PROFESSIONAL LIFE? Print is always important. The most important piece of print for any company is the business card. No matter how many companies try to invent a ‘digital’ version of a business card, it just doesn’t work. There are just too many variables. At the end of the day, there is nothing incompatible with handing someone a printed piece with your logo and contact info on it. It is important and makes your company look professional.

DUSTIN BRENTON PRESIDENT + CREATIVE DIRECTOR, BRENTON CREATIVE

I work as a designer and photographer primarily in education.

A fair amount of our materials are provided in print and online.

I don’t see that changing.

Personally, since I spend all day staring at a computer screen, when it comes time to read, I want a printed book. I don’t like to read on another screen if I can help it.

I still like having something physical as opposed to digital.

Being able to touch and feel make pieces more authentic.

Absolutely, but I’m a print dinosaur. The tangibility of print is as appealing as it’s ever been and is a great sales tool. People still like to hold things. There’s a human quality to printed work that isn’t in digital.

Print is very important in my professional and personal life. Yes, the strengths and attributes of print still matter. With print you have a physical artifact that can be a tether to a special event or fond memory, something that can be held and felt, not merely viewed on a screen.

Touch is one of the five senses and print helps us reach out on another level to audiences using that sense. Texture, color, appearance all aid in graphic design.

Print packaging is still the last touch point before a consumer interacts with a product. It is imperative, more than ever, that this experience enhances the consumers first impression of the product. Touch and sight are two senses engaged with print.

Yes, print still matters. And I am grateful to have come up in our industry with such a strong background in print. I do believe its place in our culture is evolving, though. This year, I created a Sustainability Report that was completely digital where in the past, it had been printed. Humans are tactile creatures. We like to touch, manipulate, and hold things with our hands. For that reason, some pieces will remain as tangible items. We also still need takeaways, posters, signs, etc. Maybe in the future, everything will be like the SyFy shows where all that greets our eyes in the environment is digital, but we are not there yet.

30 G D U S A

It depends on the industry. For higher ed, print is still very much alive. For business and with the pandemic, people are emailing deliverables to review them.

While the industry has changed a lot, it has become more focused.

I’m particularly excited about the recent pairing of print with AR. I hope to do more print again as quality execution becomes more of a novelty.

When I am trying to understand something important or am buying something expensive, I gravitate toward print. For everyday matters, searching online is easier I rely more on digital communications than print, but as a designer, I can really appreciate the beauty of a well-designed print piece.

I especially love when nice paper and finishes are used. This is something that can’t be duplicated in digital communications and marketing.

I’ve been a graphic designer for over 30 years and remember the time when print flipped to digital/social media. Social media seems to be presenting with a few negatives that are pushing print back into the limelight. Print’s traditional strengths (touch, permanence, credibility, accessibility, quality leads) get back to basic human connection. You can see digital/social media, but it’s not tangible ...

Personally, I prefer to receive invitations and information about brands in hand. For my banking, medical and job tacking, digital is more streamlined.

Print is what I like the most about my job, but I also would like to see less paper overall in terms of sustainability/waste management.

So, I’m always inclined to papers and methods that are environmentally friendly. Or to print only when necessary, such as packaging and branding collateral, and turn to digital for things such as catalogs and flyers.

Print is relevant and will continue to be so. The quality of digital printing has made printing more accessible and economical for companies that have smaller budgets and for those that need to frequently update information.

Even though the amount of print work that I do is dwindling, print is not a lost art. In fact, in the digital society that we are in, I think people appreciate print more than they did in the past.

Print still matters, but its role in marketing communications diminishes a bit each year. I don’t envision a ‘printless’ world any time soon, but I suspect print will shrink another 25-50% over the next ten years.

I work in business development on proposals and have noticed a steep decline in print materials in the last two years, but I do see it returning somewhat.

For my private, non-profit organization, print is outdated quickly, compared with online or digital graphics and messaging. We print on-demand as much as possible and I also have a solid copy machine to print smaller quantities inhouse. We don’t mail as much and many times email or share our materials online. BUT, for C-level meetings and meet ’n greet events, it is still nice to have small pieces to hand to a person requesting information. We use small business-card-sized brochures to give teaser info and push them to our website for more information.

June 2022 Print Survey Impo.qxp_SEPT 07 People 6/20/22 8:45 PM Page 31

HAS THE PANDEMIC AND REMOTE WORK UNDERMINED PRINT COMMUNICATION OR LED TO GREATER APPRECIATION FOR IT?

There is still a market for print communications. Brochures, sales sheets, even print ads still are effective. You just have to know your audience and choose the right vehicle for that group.

People are burned out of being online, so print has a huge impact.

This is not to say that just because one medium is hot that the other can’t exist — it all works together. My clients have found success in catering to their audience with both print and digital versions of pieces I create for them. Touch and personalization are still key and help you stand out from all the ads and junk online.

Print rebound baby! There will always be digital and print media.

I agree 100% that print will have a rebound.

Print still has a place in marketing. However, the rise of digital media, accelerated by the pandemic, is indeed a primary focus now for us and our customers. Print must evolve and adapt to better support these changes. Honestly, looking at all media from a holistic view, what we use when, and in what combinations, will be driven by what is most effective for each individual project.

We are starting to see an uptick in print usage.

Print design will make a real comeback. The phenomenon of digital overload is a real worry.

Digital fatigue is real. I experience it and I'm in the business.

I look forward to exploring what I get in the mail daily. It's a needed break both for my eyes and my brain.

Digital fatigue is real, and because of it I think consumers are longing for things they can touch. You'll make a different impact with print, because it is more rare. That said, we're in a new world, so there will be a balance.

Remote work causes us to spend more of our time at home on a screen. Which means when the end of the workday rolls around, we want to do something other than look at a screen. I believe there will always be a place for print because we will tire of the novelty of digital everything.

There is no doubt that the pandemic created a need for digital access to resources and communications. With more and more companies increasing their virtual/work-from-home employee base, there's less touch points for print communication in the workplace. However, digital fatigue is real, and I also believe that if people had the option to read a printed brochure vs. one on-screen, they would prefer the printed version.

There will continue to be a healthy mix of both mediums. Digital fatigue is a thing. People are gravitating towards less screen time, and we even are finding ways to utilize green and recycled print products. I believe the trend will move to sustainable print in addition to digital.

Print will NEVER die! Humans are wired for connection, and our sense of touch is one way that we connect with the world. I think that highly tactile finishes will continue to trend in print design, as will print pieces that incorporate augmented reality. I do think that screen fatigue is a reality, and that printed works are a welcome relief.

Digital fatigue and social media pushback will occur (already has), and the necessary communications will be print again.

Print still matters but I’d say we were already seeing a downward trend accelerated dramatically by the pandemic as employees and clients were working from home and realized they could get by with digital documents.

Any rebound based on digital fatigue will be modest and impermanent.

The effects of the pandemic on all fronts are yet to be calculated.

I live in Central Illinois and from my view see that print has a big piece of the pie. There is just something human about print that you can’t get in digital.

We wholeheartedly believe that there is value in well-designed materials that we hold in our hands, feel the paper’s texture, smell the ink, and enjoy the process of unpacking it and reading. We may reduce printing, but perhaps we may focus on a more targeted and valued production of materials.

The pandemic changed the way folks were sharing their materials and many things stayed digital. But we are receiving requests to print small print runs that can be mailed to constituents.

Having a tangible piece that you can send to someone shows the level of care you put into your content. I feel there will be an uptick in printing.

The pandemic heightened people’s need for human interaction.

People are shifting away from digital versions of books and magazines and are enjoying touching and reading the physical pages.

I disagree that things are trending away from print. People are always going to need printed items for a variety of reasons from packaging to business cards... everything cannot live digitally and whether people get fatigue or not we are a tactile and visual group (us humans) and we need to see and hold things that are not only on a dang screen!

G D U SA 31

June 2022 Print Survey Impo.qxp_SEPT 07 People 6/20/22 8:45 PM Page 32

PRINT SURVEY | SELECT COMMENTS CONTINUED

HAS THE PANDEMIC AND REMOTE WORK UNDERMINED PRINT COMMUNICATION OR LED TO GREATER APPRECIATION FOR IT?

I've worked remotely, mostly, and my work is largely print.

Noticing the number of postcards, I receive in the mail each day proves to me that print is not dead.

I hope print rebounds due to digital fatigue! I know fewer emails are being opened so print is a great way to get in front of people.

I don’t believe newspapers will ever make comeback. I do believe there is the potential for print to grow but this growth is being tamped down by the high price of paper and delayed print press schedules.

Like politics, print will ebb and flow in popularity. That’s okay.

Change and variety make the dynamic of this battle!

Print will rebound as the pandemic recedes. Companies are returning to in-person trade shows; venues such as restaurants, concert halls and performance centers are opening, and all will require printed pieces. Logo design is always needed so print is not going away.

For certain things, we have now learned that digital works best and can be created accessibly for all. But I do agree that all the digital communication has made print more special and will stand out from all the digital clutter.

There will always be a need for print design as there will always be the desire to physically interact with an item or artifact, whether it be a post card, poster, book, or random item.

Print could rebound due to digital fatigue, but I wonder how remote workers will receive printed pieces/direct mail especially if their corporate locations have closed their doors.

Social media is here to stay. Though I’m not convinced online advertising is delivering more ROI. If you have to deliver a lot of content or detail, I think a print piece is essential. People won’t read a lot onscreen

Print will always remain a viable communications media; in conjunction with digital and social media rounds out a program to reach diverse audiences.

There must be a balance between the two mediums. Be smarter about what should be printed and what works more in digital.

Sustainability is pushing print design back but, as we understand, everything we do has an ecological impact; we need better information to decide if digital really is saving the environment.

Now that people are being allowed to work from home and most things seem to be done digitally, there will be a lot less paper.

I also believe people are getting sick of social media, but I don’t think people want additional clutter. Digital forms and brochures are here to stay because they don’t have to be sorted and thrown away.

I agree that remote work has accelerated the trend away from print design, but I see print rebounding once we return to office.

32 G D U S A

My focus is packaging design. I guess you can’t really be digital for 99% of this. I love working in print using materials and methods that are in the sustainable direction. My clients come to me for that very reason. If I had to make a claim: digital fatigue happened about 4 years ago ... before the pandemic.

Pairing new and more accessible technologies, like AR, will give print an added boost. I also believe specialty printing like digital foil gives print a boost.

Print will always work well for traditionalists and those with a sense of nostalgia (or for those who are tired of looking at a screen all day), so I don’t see it going away. However, since the pace of change is so fast in society — especially since the pandemic — print will likely become more of a luxury medium or one that’s used to punctuate campaigns in a surprising way. I don’t see direct mail going away, however: We still get mail, and some marketers will continue to rely on it.

June 2022 Print Survey Impo.qxp_SEPT 07 People 6/20/22 8:45 PM Page 35

PRINT SURVEY | SELECT COMMENTS

HAVE YOU FOUND THAT DIGITAL AND PRINT CAN WORK TOGETHER EFFECTIVELY IN MARKETING CAMPAIGNS?

Of course they can work in unison! Effectiveness of using both mediums together depends on the support and rhythm each pays to the other. Consistency of brand/design/message and the resulting information/statistics that help quantify and qualify will show the effectiveness.

Digital and print absolutely must be coordinated. This is Branding 101: present the same brand personality, messaging and style wherever you come in contact with your audience.

Ideally, the designer who originates the brand style is the central point from which all other design work flows for a consistency across all media.

Absolutely! But print must evolve. Rather than being THE medium of choice, its role is becoming more supportive of other media. We are visual creatures, we like tangible things, and sometimes the internet is down. As designers, we must figure out where and how print can excel on its own, and when it helps propel other media forward.

Digital and print campaigns can work together effectively in marketing programs. They complement one another. Employing both approaches enables messages to reach different people in different places. Which gives your campaign a greater chance of reaching who yoy need to reach.

Digital is a great way to start the business lead funnel. Aiming for a wider swath and as you get to the more legit leads, tailor meaningful print materials to use in mailings or face-to-face exchanges. Clever packaging or experiential video brochures or popups have a wonderful way to keep themselves in one’s memory.

The best campaigns utilize both mediums. Sneak peeks, follow-up emails, and dedicated landing pages often swing a consumer's inaction to action than from print alone.

The decisions must be consistent with how the target demographic likes to interact with brands. The more the digital and print can cross-reference one another in a campaign — e.g., printed QR codes on packaging leading to AR tactics that enhance the product experience – the more effective their combination can be. We’re in an era where consumers are getting smarter and more cynical about marketing, so we can't just do the same design for a poster as we do for a social post — the two need to talk to one another in a unique way to create a more interesting experience for the consumer.

They have to coexist. Otherwise, there are missed opportunities to expand exposure.

Having multiple touchpoints is always important to improving conversions. We shouldn’t discount print as there is a large population that still engages with that medium.

Logo design, corporate colors and typography all work in tandem both for online and printed materials for effective brand recognition.

In my work in the non-profit sector, print and digital are often used in tandem. We can reach the greatest number of people and the widest demographic in that way.

But right now, I feel more are using the digital avenue more than they are using paper. The issue with digital is, at some point, it just becomes too much, and it simply does not get seen. I feel the pendulum will continue to swing on this issue for some time.

Print and digital work wonderfully together if they’re used properly.

Print pieces have limited space so that can be used to really bring excitement, whereas all the smaller details or legal explanations can take up as much room as necessary in the digital media.

We frequently use them to support each other. It is good for a client to see consistent messaging in all our spaces whether it is online or in store.

An effective marketing campaign is one that is aligned and consistent in its messaging and delivery ... no matter how that is delivered. Thoughtfully, with an awareness of the message not just the media. Meet people where they are.

Digital and print versions can reach the same audiences, but they should be used together because there is more potential to increase the audience with digital campaigns. In order for them to be used more effectively, the digital and print campaigns should have a cohesive look.

Any way you can get your message, product, or service in front of more eyeballs, the better. Mixing digital with print is the best way to do this. Also, I have included QR codes on many pieces that link to a website or video to give the viewer more information.

Print and digital don't have to be enemies. They can and should complement each other.

The re-introduction of QR codes is a perfect example of print and digital campaigns working together. Most all my print pieces these days include QR codes that tie messages together for the end-user.

G D U SA 35

June 2022 Print Survey Impo.qxp_SEPT 07 People 6/20/22 8:46 PM Page 36

PRINT SURVEY | SELECT COMMENTS CONTINUED

HAVE YOU FOUND THAT DIGITAL AND PRINT CAN WORK TOGETHER EFFECTIVELY IN MARKETING CAMPAIGNS?

We have a specific marketing calendar based on the seasons marking plant bloom times and applicable yard maintenance.

Our catalogs showcase products as they are in bloom and provide URLs and QR codes for how to videos our social media team puts together. Questions that come in on the social channels may also be answered in our podcasts, and the catalogs and ads include tips and/or sidebars based on what our customers are needing.

We also do a lot of community engagement through sponsorships, partnerships, and speaking engagements. The print-digitalhuman presence allows us to provide info to our customers in the format they prefer.

I have used print to drive traffic to my website — which sells books and paper items — quite successfully.

We saw a real resurgence of QR codes lately so you can create a digital communication piece and most people know how to scan a QR code on a print piece to expect it take them to a landing page or microsite.

I’ve seen some successful telecommunications print campaigns that direct to sign up for services online. I've also seen retailers handing out discount coupons that direct them to social media.

If they post a photo with a hashtag, they’re entered into drawings.

There is a lot of room for cross platform campaigns

Digital can spread a message far and wide without raising or adding additional cost to a budget, working in concert with print, the campaign can also have a physical influence as well.

Almost every fundraising appeal that I design has a printed mailing with reply card and a giving link and includes an email appeal. We use print and digital communications interchangeably in our campaigns.

Its great to reach them online and then close them with a print piece once we know they are really interested. We are definitely running lower quantities, and giving them to the real buyer rather than everyone.

By using data points from print to not only track user metrics but to target digital efforts or portions of a campaign, engage a larger audience and demographic than one of those alone.

DO YOU BELIEVE PRINT IS MORE OR LESS SUSTAINABLE THAN DIGITAL/ELECTRONIC DELIVERY? Print and digital both have their best applications, and the decision of which to use for what purpose may change from situation to situation. I do not believe one or the other is more or less sustainable. The paper industry is very conscious of their impact on the environment and have taken measures toward sustainability.

Digital design is wholly device dependent. Those devices have their own impact on the ecosystem.

Print is more sustainable, based on the recyclability and compostability of paper, as well as the paper industry's dedication to planting trees. The tech industry isn’t as dedicated to using sustainably sourced or recyclable materials, and we all know devices don’t last as long as we’d like.

Both approaches are sustainable for clients: we can make responsible paper recommendations, choose eco-minded and practicing print vendors, etc. Digital campaigns can cost just as much as a printed campaign, depending on social media push, ad placement, etc. What is NOT sustainable is asking designers to be experts in both areas.

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I know that paper companies are doing a much-improved job of planting/replacing trees and producing paper cleanly. Not sure about electronic media, the impact on the climate is much more hidden.

Paper is more sustainable, renewable. We recommend creative ways to reduce our use of paper — for example making a brochure fewer pages and including QR codes that link to more robust information on a company's website.

It’s a question of sustainability versus health and sanity. While I’m happy to get digital receipts from the grocery store or e-bills from my doctor, when it comes to books or information from organizations I support, I love to have something I can hold in my hand, feel, and read away from technology. Plus getting mail is enjoyable! A trip to the mailbox breaks up the routine of the day.

There are ways to eliminate paper, but not at the cost of our own pleasure and sanity.

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Sustainability impacts every decision I make in our studio and home. Print is sustainable if done correctly. If we didn’t use paper, paper companies wouldn’t be planting forests of trees to make the paper. They would be tearing that forest out to put in a factory or office. Balance is key here ... awareness is key here.

Every time I see someone say ‘don't print out this email it makes me wonder if they even know why really. Digital/online/electronic design has its place, but can we recycle all the digital screens and hardware that it takes to make them visible to consumers?

Maybe we are feeling digital is sustainable now, but is it in 5+ years after the hardware becomes extinct?

They probably likely cancel each other out as far as energy use. A server that needs fuel and energy to run, or a tree that can be regrown for paper. Sustainability and choosing a recycled paper affect my decision on papers if available from that paper vendor.

It can be expensive to sustain paper. However, we have been working on this for a while. I hope that we continue to innovate ways to still be able to print with zero waste. How many ways can we reuse what we create? Look at what the world has learned in the last 10-20 years. We adapt faster now because we value the next best thing. Let’s hope saving the world’s climate is the next best thing. We MUST do better. ALL of us.

Paper is less sustainable – unless we have some major energy issue where computers no longer work. Society is changed.

People appear to be silo-ing themselves still, even thought the pandemic seems to have waned and folks are transitioning out of mask wearing behavior.

There are several mills that run sustainable forest initiatives.

With our massive global paper shortage currently going on, I hope more local, smaller scale mills will make a comeback.

A well-managed, treed acreage provides an environment for wildlife, and the cyclical nature of planting/growing/cutting provides for a cleaner undergrowth with less duff, making less fuel for wildfires that may come through.

Paper is expensive but no more so than electricity usage. Some clients require sustainability while others are less concerned about it than with cost. The decision is up to the client.

Digital is more sustainable but there are more and more options out there to sustainably print pieces. There are many things that factor into a print piece being ‘green’ such as printing plates, software, ink, paper, and shipping. Clients are looking to be more sustainable as are we.

I would say it is an even trade off. People forget the amount of energy and fossil fuels required to maintain a healthy electronic infrastructure.

Sustainability is a big factor. Print is not inherently more or less sustainable; it depends on the goal. Print is not dead; we must determine on a project-by-project basis what media adds the most value for the least impact.

Paper is more sustainable, renewable. We recommend creative ways to reduce our use of paper – for example making a brochure fewer pages and including QR codes that link to more robust information on a company’s website

Paper will continue to be used, but on a more limited basis than traditionally has been as environmental concerns weigh heavily on people, as well as the cost increases of paper itself. The ephemera of so much printed work can be seen as wasteful, future printed work will be done so selectively for more targeted audiences.

With supply chain issues, print is becoming challenging. We are currently printing our university magazine and had to go with a much thinner stock because we could not get the paper we wanted. This was a huge disappointment. We do think about sustainability when recommending how clients can best reach their audiences. Cost is also a factor.

Paper is the most renewable source there is. The footprint of digital use is much higher than the use of paper.

Paper and ink are currently entwined in limitations in supply and delivery. Those complications are not a sustainability issue.

Paper and ink are still available and should be available for production. But, in a weird twist of current events, one might believe online or digital is more sustainable. To be fair, they could be interpreted as being equal.

Perception is everything: Historically, consumers see glossy printed pieces as wasteful, even if the printing methods and paper choices are eco-conscious. This is where digital tends to be perceived as more sustainable, regardless of the energy required to power the computers, billboards, websites, etc. digital pieces live on. Clients will take into account their target’s perceptions, even if those perceptions run counter to facts.

More data is needed to truly understand how beneficial digital media is. Is that 100-foot screen using up hours of electricity more sustainable than the mailer responsibly sources on renewable material? It's all about getting as close as carbon neutral or achieve carbon negative!

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June 2022LogoloungeGK-REVISED.qxp_feb news play 6/20/22 8:54 PM Page 40

20TH ANNUAL LOGOLOUNGE TREND REPORT CONTEXT IS THE CORE OF MEANING

BY BILL GARDNER, FOUNDER + PRESIDENT, LOGOLOUNGE.COM

I was recently asked to reflect back on the past 20 years of the LogoLounge Trend Report.

How has it shaped the way I design? What has the impact been on me personally? What came to mind was a phrase I often use, but that others seldom understand: “It’s more important to know how you got there than to know where you are.”

Clearly, it IS important to know where you are. I’m not

jump out of your bubble you find yourself swimming in such

suggesting everyone wander around lost (although that’s

a random pool that you could drown just filtering it down

sometimes a necessary part of the creative process). What

to anything that resonates.

I am saying is that two decades and 380,000 logos later, it’s still just as important as ever to do. the. work. A great logo transcends the trends. And I’m talking about the core definition, the Latin roots: trans (across) + scandere (climb).

The reason the LogoLounge Trend Report has become so valuable to the design community is that it opens our minds to possibilities that are relevant, real, and grounded in our collective psyche. It is the place where that sea of content

As trends build momentum, swing from one extreme to the

has been filtered down and given context. Savvy designers

other, they leave a mark. A tangible foothold. A place to grab

have a voracious appetite to see what’s influencing our

onto and navigate as you climb. And when you reach the

field and this report has become their pilgrimage not

summit, the beautiful views of a place where you’ve nailed

because they’ll agree or even like everything they see. But

the design, it’s breathtaking. When I look at a logo, I know

because it’s an unvarnished forecast that is based on

when a designer came up with it because they did the

reality and delivered with context.

research and foundation work — and when someone just copied something they thought was cool.

Each Spring for the past 20 years, I’ve sat down with submissions and started combing through the specimens–

So why even gather all of these logos into one collective if

much like a scientist doing field research. For this report

pure imitation is something we dissuade? Because context

alone we scrutinized more than 35,000 logos submitted

is core to meaning. The best ideas never come “out of thin

to LogoLounge.com from more than 200 countries and

air.” It’s not possible for a thought to enter your mind with-

considered every significant rebrand or monumental launch

out being preceded by another thought. And one before

internationally.

that. (Unless they’ve invented some new psychedelic I’m unaware of.)

LogoLounge members gain access to more than 380,000 exceptional logos, all highly contextualized and searchable,

We’ve never had so much information yet so little context.

where you can explore for inspiration and take an even

It’s not hard to jump online and summon a certain logo or

deeper dive into your own trend discovery. You can look

a specific designer or topic you have in mind. But what

back on two decades of these reports and start to identify

you’re “fed” (that’s why they call it a feed, you know), is

design trajectory and evolutionary clues of your own –-

more than likely in a closed loop of things you’re already

places to reach for and explore as you climb ever closer to

familiar with. And conversely, when you try to intentionally

your design destination.

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June 2022LogoloungeGK-REVISED.qxp_feb news play 6/20/22 8:54 PM Page 41

Only when you grasp the trends . . . can you transcend.

For the 2022 report, we saw much consideration of wordmarks and typography playing a more important role — all recognizing the need to build some ownership of visual memorability into an otherwise anonymous solution. Reverse contrast (or reverse stress) catches people off guard, and looping letters and flat elongations of horizontals in traditional letter forms are also trying to force a unique foothold into bland brand sans serif wordmarks. Excessive ink traps in sans serif and serif fonts also shook things up, as well as heavy condensing of fonts — some very tall.

And while there are still corporate-looking marks being crafted there is a stronger effort to find ways to identify products that are artisanal and handcrafted. We crave human touch, and humans are, after all, flawed. Things like mugs, rugs, and cookies are good for handmade marks — chainsaws and wiper blades not so much. Hand crafted pattern, naive badges, and hand-drawn type and symbols all have a place and more one-of-a-kind products want this.

There’s much effort still being made to stay biofriendly and eco-sensitive in symbolism and materials being used. Trellis with dappled use of flora is one approach, and even whiplash with its return to the aesthetics of Art Nouveau — a blending of 1910s/1960s/2020s but without the psychedelia palettes of the 60’s. The applications are classed up a little using more restrained color, even when the sinuous variable weight lines are promoting a cannabis product. Interestingly, there’s still a huge amount of design trying to bully its way into some visual corner of ownership in the CBD market and pressing the confidence and medically tested aesthetic in an industry that is the wild west reincarnate.

In terms of color, we’ve seen broader adoption of tri/ quatra/or quintuple color palettes to represent a brand, where a single logo may not have a primary color application but be one of many in its family. There are huge amounts of pink finally being embraced as a corporate color without having a gender whiff. For five years it’s been forecast in color trends and each year the pink gets more intense. I think it is here to stay for a while (get out the guest towels).

More often the logo is playing a subordinate role in the visual vocabulary adopted by organizations.

The logos and wordmarks are still great but they play second chair to pattern, color, texture and especially type that has become much more expressive in application. Even motion and sound have become considerations for even the smallest of brands living in a digital world. Whether a sonic logo like the one-note of Taco Bell, Mac, Sony, or Xbox, or the two tones of Netflix — they’ve become synonymous with the logo.

That ability to build memorability and bonding connections with a public are multiplied with the addition of every sensory touchpoint we include. Sound and animation have few borders that linguistics do. They convey personality and confidence as part of a package and we can absorb — whether we are listening from the kitchen or engaged in a brand conversation.

As ever there are the anomaly clusters of logos that tend to defy logic. In our evaluation there were exuberant arrays of exquisitely rendered roosters, hotdogs and Trojans, if that’s not a telling trifecta. A few too many anchors and fishing hooks tried to wedge their way into our visual vernacular and a menagerie of animals were given flags on poles and enlisted to parade their allegiance, or unceremoniously lopped in half. (I’ll take the flag please.)

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LOGOLOUNGE | 20TH ANNUAL LOGO TREND REPORT

BOWTIES Bass Ale was the first ever registered trademark with its red triangle. A seminal moment for our industry but an oddity in so much as the triangle has always been a bit of an outlier shape for logos: hard, sharp, associated with yield and warnings of every pedigree, and only ever stable when parked on its butt. Iconically it is effusively packed with symbolism depending on how you rotate it from play, to up, to down, to spiritual, to change incarnate as a delta. So imagine if you will the stability that occurs when fusing together a pair of these point to point as we’ve seen happen enumerable times over the last year.

From an outline perspective these create the pathway of a rectilinear infinity symbol or a lemniscate if you want to get all proper in terminology.

Throw that word into any client conversation to buy a bit more cred. These pairings build a foundation and strong stability and magic happens at the confluence of the two elements. This is where two entities become more powerful, or where one shares its knowledge with others. It’s where optically something is brought into focus and inverted to make it legible. Take special note that horizontally it is a sign of infinite time and vertically it’s an hour glass– your time is near the end. What a difference 90º makes.

DESIGN AGENCY: OID CLIENT: MIR MODY

DESIGN AGENCY: DANIEL ROTTER

DESIGN AGENCY:SUGIUCHI

DESIGN AGENCY: FELLOW

CLIENT: ACCURATE COMPONENTS

CLIENT: NEO HOME LOANS

CLIENT: KLEO

UVULA What’s in a drop? A single drop of water … of blood … of oil or vanilla or medicine. And although it takes 480 drops for one fluid ounce, a child’s tear drop can crush a parent’s heart. All of which show how impactful this trend can be when framed in a proper brand story. There is absolutely nothing new to the use of a drop or two or more in a logo design. It’s one of the quickest ways to indicate liquid or water and more than useful in discussing ecology and our environmental resources. But this report found designers taking a different perspective on the importance of that single drop.

These look every bit the oral inspection and the uvula hanging properly at the back of the throat. Here, drops have been raised to a level of high regard, encased in an informative frame, prepared to provide context to the client’s story. You might also note the drops are still connected to their source as if captured in the act of being precious. Let’s say one is an eyedrop for your contacts or allergies and another looks to be fresh squeezed OJ. And you decide… is one of these drops going to either extinguish or ignite that flame. Be prepared for a reaction as soon as gravity acts and any of these droplets break free.

DESIGN AGENCY:

DESIGN AGENCY: COOPERBILITY

DESIGN AGENCY: HMC

DESIGN AGENCY:

MILOS BOJKOVIC

CLIENT: ORANGE JUICE

CLIENT: FLAME & OIL

SPROUT STUDIOS

CLIENT: INK PURPOSE

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CLIENT: COMMCAN

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ROOTERS Symbolism is all about taking reality and knocking it down to a representational simplicity. Trying to iconify the complexity of the roots of a tree can really destroy some brain cells. It’s probably why most designers just turn the tree upside down and call it a day. The inside workings of nature with roots, veins and capillaries or God forbid digital root structures of circuitry can leave a designer curled up in a corner sobbing like a child. Between Fibonacci’s, fractals, and fibrous tectonics, We can see that nature has a plan and it’s here that designers are now starting to break that symbolic code.

Two of these marks have crafted a visual field language that could be referred to as highly organized chaos. By using an angular orthographic grid to chart nature’s course these designs display consistency in angles and spacing as well as avoiding glaring pockets in the pattern’s field.

Divergently, the C and R marks take a no less successful tact but are avoiding a formulaic approach to creating that same patch of nature’s lifelines. Each of these marks demonstrate just how insidious nature, or a client might be at making every attempt to capture, maintain, and nurture life. They confirm for us that complex is not a challenge but can be virtuous and productive.

DESIGN AGENCY: STUDIO5

DESIGN AGENCY: DALIBOR PAJIC

DESIGN AGENCY: FREELANCE

DESIGN AGENCY:

KOMMUNICATIONS DESIGN

CLIENT: CORAL

CLIENT: N//A

LAZAR BOGICEVIC CLIENT: ICE CORAL

CLIENT: STUDIO5

REVERSE STRESS 1820, and the world was awash in Didot and Bodoni style fonts with thick verticals and vapor thin horizontals. That was the way type was meant to be! So when a craftsman at William Caslon’s type foundry created a parody font called Italian and reversed the letter stress, mayhem ensued. Brandishing fat grotesquely engorged horizontals and verticals that were thin spindly pikes, this folly was tantamount to heresy.

As it began to illicit favor, enlisted as a display font on posters, other foundries followed suit with their own iterations. A notable editorial referred to these as typographic monstrosities. Spoiler alert … the monster is ALIVE and thriving in this report.

A novelty font at best but that counter distribution of weight turned type into a hedonistic, anti-academic, forbidden pleasure. Don’t look away! With a reinvigorated fan base, variations started to re-percolate from 60’s and 70’s archives and a newly infatuated cadre of type designers. Boiling into the visual brand arena, now it’s a challenge to cross a room without stepping on a wordmark or two with a heavy top and fat bottom. Doubtful these logos will be gracing the conservative c-suites of industry but they have a niche that assures the consumer base, this brand will be your sidekick if you’re looking for a good time.

DESIGN AGENCY:

DESIGN AGENCY: BRAND BROTHERS

DESIGN AGENCY: JEREMY FIREND

DESIGN AGENCY: TATABI STUDIO

MATT VANCOILLIE

CLIENT: BRASSERIE DIAGONALE

CLIENT: UNION CRAFT BREWING

CLIENT: COKOWO

CLIENT: HAVOC

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June 2022LogoloungeGK-REVISED.qxp_feb news play 6/20/22 8:55 PM Page 44

LOGOLOUNGE | 20TH ANNUAL LOGO TREND REPORT

LOOPERS Five years since an avalanche of Spartan sans serif wordmarks lay waste to generations of brand equity, there are brand crafters still cowering in fear as this torrent has yet to subside. Though the blanding wave led to some stunning visual assets for those that knew what was occurring, many of this ilk fell prey to “me too” as a counter to FOMO. In an ambiguous reaction, this year’s collection of wordmarks are stilted with abundant sans serif solutions to stay on the safe side but with an insertion of whimsy or a visual gesture of self-defiance like a humorless MBA attempting to demonstrate spontaneity.

Note Angi, Upwork, and Tailwind, all determined to demonstrate a freedom of spirit or a human quality by inserting a flowing line of equal monoline weight. All of these succeed but they are merely the tip of the iceberg for scores of logos that embraced one loopy character as the mouthpiece for an otherwise straight up gathering of letters. Yet a few of these free coiling linear characters broke off on their own this year. Whether in monograms paired up with straightlaced wordmarks or the occasional reunion of loopy free spirits like seen in the well-received mark for camp.

DESIGN AGENCY:

DESIGN AGENCY:

DESIGN AGENCY:

DESIGN AGENCY: PORTO ROCHA

INHOUSE W/RED ANTLER

THE REFRESHMENT CLUB

INHOUSE W/BRUNO

CLIENT: UPWORK

CLIENT: ANGI

CLIENT: CAMP

CLIENT: TAILWIND

OVER ARCHING There’s a beautiful yet occasionally awkward dance that goes on with the logo pairing of a wordmark and a symbol. They necessarily live together and like a partnership need to relate and be supportive of each other. Occasionally the wordmark will let the symbol go out on its own and sometimes you’ll see a wordmark hanging out with other logos minus the symbol. This season, conventions aside, wordmarks are draping themselves over symbols at every opportunity. Not so much a badge circumscribed in type, as a canopy of letters dropped atop the subject, minus any extraordinary kerning or finesse.

This archway configuration obviously has a number of iterations but is rampant and leaves the impression of a passageway or portal. Possibly a window into the soul of a product or mission of a client demonstrated by the framed core of the mark. Some of these have a containment device, like Archwell, but those without are relatively monochromatic to let the background they crash on serve as home. There’s a more contemporary feel to these yet they still carry the cache of a personal approachable relationship that we often associate with clients using a badge or crest style of mark.

DESIGN AGENCY:

DESIGN AGENCY:

DESIGN AGENCY:

DESIGN AGENCY: POLONSKY & FRIENDS

TORY NEEDHAM DESIGN CO.

HEAR!HEAR! DESIGN CO.

ANGELLO TORRES

CLIENT: MOONFLOWERS CO

CLIENT:

CLIENT: THUNDERWORX

CLIENT: CARNAVAL

CUSHMAN & WAKEFIELD

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WHIPLASH Without diving into the origins of Art Nouveau or its associated sister movements and detractors let’s just acknowledge it has returned with a vengeance. This movement dominated the creative output of a generation at the beginning of the previous century and bobbed back up for a victory lap in the 60’s as the poster child for the counterculture of psychedelia. Often this movement is defined by its signature organic, variable weight, flowing linear tendrils that swoop, stretch and whiplash back to rest with pure elegance.

Intoxicating letter forms, cartouches, and illustration best signaled the graphic aesthetics of this movement in round one. An homage to nature and life forms both flora and fauna remains a backbone of this style regardless of era. Acid colors and a cortex vibrating lilt was given to the movement in the 60’s but today that palette has desaturated dramatically and often lets a single visual component express the style. This generation speaks of a classical dignity that continues to champion nature but paired with reserved fonts that exhibit restraint. There is a comfortable, yet wanton escapism in this trend, whether promoting a luxury product or retreat, cannabis, or some other hedonistic desire.

DESIGN AGENCY:

DESIGN AGENCY: ZERO

DESIGN AGENCY: RAGGED EDGE

DESIGN AGENCY:

VOLAINE & JEREMY

CLIENT: MELTED

CLIENT: PAPIER

MOTHER DESIGN

CLIENT: LOUIE

CLIENT: PARK LANE

HAND DOTS For consumers, there’s always that first impression where the work we create rings true or not. Designers become obsessed with perception and good for us and our clients, that we care if something is appropriate or authentic. This trend is completely about handmade and we’re looking for imperfection because, well frankly, humans are flawed and that can actually be a selling point. Handmade is an accolade that’s highly dependent on subject matter. Handmade windshield wipers or chainsaws, not so much. But if a hand crafted tortilla isn’t PERFECTLY round ... that’s a sales feature!

Over the last several years there’s been a boom in the number of hand-drawn logos with a naive aesthetic. It’s a very specific style and clientele both. This trend is not the drawing style of the logos, but in the use of a field of hand-drawn or applied dots to create tone. Part of the charm of these is that they emulate halftone but are not. Instead, each dab, each dot is intentionally misplaced by hand to simulate the process. And let’s be fair. The logo is hand drawn, why shouldn’t the dots be the same? These imperfections set the tone for the customer experience and expectations. It assures the consumer, there really is a soul out there that cares.

DESIGN AGENCY:

DESIGN AGENCY: DAMIAN ORELLANA

DESIGN AGENCY: ZENDOKE

DESIGN AGENCY:

ZAC JACOBSON

CLIENT: LA VECINA TACO

CLIENT: MARGARET

GUASCA STUDIO CO.

RIVER BREWHOUSE

CLIENT: REGENCIA

CLIENT: HOUSE OF ASHER

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LOGOLOUNGE | 20TH ANNUAL LOGO TREND REPORT SUPER TRAPS Two words will draw me into a story like a flash … “unintended consequences.” In a way, that phrase is a story in itself. It doesn’t say if it turns out good or bad for the protagonist, but you can anticipate someone in the end shaking their head at an outcome. Designers have developed an infatuation with a typographic artifact designed to counter ink misbehaving on press. As a preventative measure, pockets of negative space referred to as ink traps, were incorporated at the crotch of diminutive letter forms. This allowed for ink spread or accumulation to occur but only to complete the original design. Clever and effective though primarily a remnant of another era.

As an example, the font Bell Centennial was designed for printing minuscule five point text in phone books on the cheapest, most porous stock in existence. This worked like a charm, but our interest really lies with the designers that started digitally enlarging this and other ink trap fonts way beyond their functional norm. Identity designers have fallen in love with the cavernous forms that had previously been too microscopic to perceive. Logos in this trend are typically crafted with new letterforms incorporating traps pressed beyond reason but this rediscovery has offered a fresh technical aesthetic and eye-catching anomaly–a consequence giving new credence to traps living larger than ever intended.

DESIGN AGENCY:

DESIGN AGENCY:

DESIGN AGENCY: BIGFISH

DESIGN AGENCY: M - N ASSOCIATES

ODDITY STUDIO

ANOTHER COLLECTIVE

CLIENT: BRISBANES

CLIENT: PETCHOY

CLIENT: IMMI

CLIENT: AR2

PINCHED A legion of logos this year have focused on a new way to cut corners, literally. A design that might normally have a single or a series of concentric radiused turns are embracing a look we’ll call Pinched. It’s what can happen when bending a piece of copper tubing. TOO much pressure and the whole thing crimps instead of giving you a graceful curve. But since we’re not actually plumbing, I think these pinched solutions are unexpectedly smart. Look at the consistency of the inside radiused corners. The way the outside has collapsed can create repetitive 45 degree angles that are still radiused where they bend, to maintain an eased effect. Where applied concentrically it creates a series of engaging triangular voids which build positive and negative spatial repetition.

Turning a corner and letting the inside of a bend intrude on an otherwise consistent monoline weight can break the tension of a design. Done once it may appear a mistake. Done too much it becomes affected. Repeated with measured judgment, it becomes an engaging signature.

The K in the letterform for the KION wordmark deftly exhibits how type is no stranger here either. The eased sharpness of these corners shows a duality that is technical but approachable and presents a welcome diversion to an otherwise monotonous, mono-weight solution.

DESIGN AGENCY:

DESIGN AGENCY:

DESIGN AGENCY: GOLD LUNCHBOX

DESIGN AGENCY: MATCHSTIC

WILDFIRE CREATIVE STUDIO

ALFONSO RAMOS

CLIENT: KION

CLIENT: WEO

CLIENT: KEATING O’GARA LAW

CLIENT: UON

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VARIRAY Interest in bursting ray logos which have been touched upon in prior reports continues to grow feverishly and more importantly… to evolve! Bursts of energy and light convey an aspirational quality and are engaging and today even more dimensional than ever. Traditional circular configurations though active may pale compared to other shapes, and the technique of adding a variable step to the line weight gives these marks the illusion of layered transparency. That technique accounts for the richness and original shape in Lily Pad. Since the composition of these radiant marks are linear, they are as much about what is there, as what is not. The nature of this ties the mark tightly to the color of the field where it lives. Often achieving the optimal glow effect forces these to live on a darker contrasting foundation.

This can obviously be a limiting detractor, or an opportunity, depending on your perspective and cunning design skills. These demonstrate a shift or gain in momentum, success, speed, time, clarity, or whatever improvement the design is intended to express. Lastly, snag a peek at Pragmatika’s crystal ball as their logo smartly breaks the mold by exploring a triad of vanishing points.

DESIGN AGENCY: XHILARATE

DESIGN AGENCY: SAVA STOIC

DESIGN AGENCY: PRAGMATIKIA

DESIGN AGENCY: SAVA STOIC

CLIENT: CORE TITLE INSUR-

CLIENT: MIND SHAKE

CLIENT: N/A

CLIENT: LILY PAD SANCTUARY

ANCE COMPANY

TIGHT Rooting through logos at the creation of this report we spotted a veritable forest of tightly kerned, sequoia scale wordmarks crafted from fonts so tall and heavy it would have been a squeeze to fit them onto this page. They are everywhere and you could speculate they are the antithesis of the “pay-no-attention-to-me” sans serifs so ubiquitous in our field over the last several years. That is not however the trend that made this report. The story was more about just how TIGHT those same typographic elements could actually get and it wasn’t just limited to letterforms.

If these logos were air vents, we’d suffocate before wrapping this report.

Focus instead on big blocks of graphic mass with some dental floss gaps which to some might harken back to Milton Glaser’s font Baby Teeth or solid hippie poster type of that era. Many of these have a puzzle-like quality where elements are optimally packed together like a well-played game of Tetris. As novel and engaging as these are, there will be a challenge with legibility when scaling down. Though it’s the anticipated effect, reading a word crafted with this trend will take a keener eye than called for in deciphering the same effect used on a single letter monogram or symbol. This trend conveys novelty, boldness, and an excellent sense of spatial planning. Now you can breathe.

DESIGN AGENCY: TOPICCREATIVE CLIENT: OFF-TOPIC

DESIGN AGENCY: NOTHING DESIGN STUDIO CLIENT: N/A

DESIGN AGENCY: JUSTIN MARTIN DESIGN CLIENT: N/A

DESIGN AGENCY: AN OPEN UNDERSTANDING CLIENT: FIRE WITHOUT SMOKE

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LOGOLOUNGE | 20TH ANNUAL LOGO TREND REPORT ALMOND With each year’s report there tends to surface a specific shape–one that designers zero in on as the fundamental building block of the season.

This report takes exception to prior reports by unveiling not one but TWO shapes that were inescapable. The first is that simple shape created at the intersection of a pair of equivalent circles, much like the transparent Venn diagram hedgehog at the center of the Mastercard logo. Because the official names for this shape are pretty sketchy, we’ll refer to it as an almond. Apropos, since this organic icon has time and again played the role of leaves, eyes, lemons, limes, fish, feathers, petals, seeds, and a multitude of other natural nuggets.

The story here is not the newness of the shape, it’s anything but. It is the abundance with which it has worked its way into the visual vernacular in the last year. Certainly, an expanded interest in all things organic or kind to the environment guaranteed the shape at least a courtesy script read. It can symbolically play the lead in a mark or work in multiples in establishing patterns for the same. And as an intersection of circles the same element represents the East and West, spirit and matter, heaven and Earth, as well as wholeness and healing. No wonder the popularity with nary a bad omen in there.

DESIGN AGENCY: MALT

DESIGN AGENCY: ARTSIGMA

DESIGN AGENCY:

DESIGN AGENCY: EXPLORE

CLIENT: SUPERA ASSET

CLIENT: FLOWER + BIRD

DYLAN WINTERS DESIGN CO.

LEARNING YOURSELF CREATIVE

CLIENT: PITTSBURGH

CLIENT: SEVENTH GENERATION

MANAGEMENT

OLYMPICS CONCEPT

TRELLIS As designers we have to be able to pack a bigger bag when we imbue a logo with connotations and one of the favorite ways to load conceptual weight to a mark without exceeding weight limits is to consider the surface of the symbol as a field in play. Which is exactly what we’re seeing this year with botanicals. Not the use of flora to represent the plant itself but as a surface or embellishment that’s packed with that secondary conceptual message. So … much like a trellis, in the shape of a fleur-de-lis, still represents all things French, or royal, it also may be a signal of growth or nature.

All this leafiness is not about the leaf, it is about the symbolic foundation icon that may be furled in green. Eco and biosphere projects have made using botanics not just palpable but a compulsory escort. And we’d be remiss to generalize all plant matter as so much greenery. One of the richest veins of symbolism is associated with various species of plants. The dove of peace specifically carried an olive branch. We may have a crown of thorns to represent suffering or ecclesiastical love where that same crown of laurel leaves represents triumph or victory.

DESIGN AGENCY:

DESIGN AGENCY:

DESIGN AGENCY:

DESIGN AGENCY: GATORWORKS

NIKITA LEDBEDEV

COURTRIGHT DESIGN

QUAINT CREATIVE STUDIO

CLIENT: BAYOU SHADOWS

CLIENT: MEA JEWELRY

CLIENT; THE VINE

CLIENT: ROYAL LEAF LION

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MACARONI Allow me to start this final trend conversation with an apology to anyone who was raised in a home where macaroni broadly refers to pasta of any type, shape, or consistency. In my house it was mac and cheese and due to budget constraints, it was only on a rare occasion the name brand version graced our table. To my surprise there’s no geometric name given to this shape but whether in a half or quarter circle configuration the survey this year churned up enough Macaroni based logos to feed a small nation. Yes, this is the second shape of the year as referenced under the Almond trend.

Designers had considered this trend from some fairly unique perspectives that highlighted it dimensionally, tubular, squared and extruded, folded, cast in gradients but seldom with marinara. And as building blocks, these macaroni proved both expected and surprising. This same shape conveys a corporate message and aesthetic as well as playful when called upon. The flexibility of this component is on full display and speaks to steps on a symbolic pathway, flow and process, simplicity, and clarification as well as a no-nonsense familiarity from its simple geometry.

I had to ask myself how many of these designers had their moment of creative clarity while helping their children with a pasta craft art project.

DESIGN AGENCY:

DESIGN AGENCY:

DESIGN AGENCY:

DESIGN FIRM: ONLY

GARDNER DESIGN

THE MONOCHROMATIC INSTITUTE

DALIBOR PAJIC

CLIENT: BIRI

CLIENT: STRYV BANK

CLIENT: JELLYFISH BEACH FOOTWEAR

CLIENT: WOLF

MORE ABOUT LOGOLOUNGE.COM Remember, just because something is a trend doesn’t mean we have to like it. We are merely the researchers, reporting our findings after thoroughly scrutinizing more than 35,000 logos submitted to LogoLounge since last year’s report. We also review every significant brand introduction and update internationally for the past year — it’s a lot.

And with these observations of trajectory and evolution of key design directions, your task is not to find a shortcut to the top through imitation, but to engage in the climb — to transcend and evolve. Foothold by strategic foothold, you may find yourself at the pinnacle. And through your great design feats, perhaps your work will be featured here next year, establishing your own trend on which future masterpieces will be achieved.

LogoLounge.com is the most comprehensive and searchable database of logos available today. More than 380,000 logos have been submitted to the site by its membership, growing it to the largest online treasury of professionally designed logos. Through their submissions, members also gain the benefit of consideration for publication in the LogoLounge book series, the result of the most prestigious logo design competition in the world.

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| 2022 |

AMERICAN DIGITAL DESIGN AWARDS

Our 22nd American Digital Design Awards™ saw a record-breaking number of entries, and here is a select showcase of winners. The contest formerly known as ‘Web Design’ was expanded this year to better amplify the power of design excellence to enhance online and interactive experiences — for websites and microsites, yes, but also social media campaigns, email marketing, digital advertising, e-publications, apps, animation, video, 3D and more.

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FIRMS REPRESENTED 2 Fish Company, LLC

Jenn Stucker Design

80east Design

Kate Pine

AARP Brand Creative Services

KIKKOS KORNER

Adduco Communications

KUDOS Design Collaboratory

AdSharp

Learning Without Tears

Affinity Creative Group

Leibowitz

Alloy Digital

Lentini Design & Marketing, Inc.

ArtCenter College of Design

Lightner Design

Auburn University

LutemaPhotoNYC

Auto Care Association

Miskowski Design

Aviate Creative

Netgear

Avila Creative, Inc.

Norwegian Cruise Line

Bailey Brand Consulting

Piedmont Brand Co.

Bank of America, Enterprise Creative Solutions

Playstead

Bank of America

Pratt Institute

Barnett Design, Inc.

Principle + KUDOS Design Collaboratory

BaseLineGroupNY

Promega Corporation

Bluetiful Design

QNY Creative

Bonsai Media Group

Regina Rubino/IMAGE: Global Vision

Breakout Studio

Robert Finkel Design

C&G Partners

Rowland

c|change

Rule29 Creative

CF Napa Brand Design

School of Visual Arts

Corse Design Factory

Shiraz Creative

Courtney Windham Design

Smith Design

Creative Force

So Drama! Entertainment

David Langton Creative

sparc

Decker Design

Speak Creative

DESIGNOLOGY, LTD

Stephen B. Starr Design, Inc.

Doubleknot Creative

Studio 165+ | Ball State University

Drexel University

Superliminal

Equinix, Inc.

The Grove Creative

GAF Creative Design

The Hatcher Group

Gauger + Associates

The Walker Group

GED Testing Service

The Word & Brown Companies

Georgia-Pacific Consumer Products | Campfire Creative

TreacyDesign/TFX

GoldenSnow Agency

Trivium Packaging + This is Embrace

Hammer Marketing

ULINE Creative

HiLabels LLC

University of Michigan - Center for Academic Innovation

HMC Architects

Visible Logic, Inc.

Imarc

Waltz Creative

Incorpmedia

Yichun Lin Design

INSP

Yiwen Tu

Jarrod Michael Studios

York and Chapel

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: 2 Fish Company, LLC, Zeeland MI Title: 2 Fish Company Website Creative Director: Scott Millen Art Director: Adam Rossi Designer: Lisa Talarczyk Developer: Jeff Schwartz Programmer: Jeff Schwartz Writers: Andrea Pratt, Scott Millen

Design Firm: 2 Fish Company, LLC, Zeeland MI Title: The Family Hope Foundation Website. Creative Director: Scott Millen Art Director: Adam Rossi Designer: Lisa Talarczyk Developer: Jeff Schwartz Programmer: Jeff Schwartz Writers: Andrea Pratt, Pamela Patton

Design Firm: 80east Design, Poughkeepsie NY Client: 80east Design Title: Pop Portraits for Instagram & Facebook Creative Director: Trevor Messersmith

Design Firm: 80east Design, Poughkeepsie NY Client: 80east Design Title: December 2021 Palindromes Instagram & Facebook Creative Director: Trevor Messersmith Designer: Trevor Messersmith

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Design Firm: AARP Brand Creative Services, Washington DC Title: AARP Brand Creative Services Self-Service Tool Creative Director: Mike Hilker Art Director: Michelle Moser Designer: Debra Hinkle

Design Firm: Adduco Communications, Las Vegas NV Client: Monadnock Paper Mills Title: Trail to Mt. Monadnock Holiday Social Media Campaign Creative Director: Heather Thomson Art Director: Lindsay Doyle Designer: Anna Bacon Writers: Lindsay Doyle, Maria Nuzio

Design Firm: AdSharp, Tampa FL Client: Saving Sanity Planners, LLC Title: Saving Sanity Website Design Designer: Julie Schafer Front End Developer: Julie Schafer

Design Firm: AdSharp, Tampa FL Client: Sirius Lighting US Title: Sirius Lighting Web Design Designer: Julie Schafer Front End Developer: Julie Schafer

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Affinity Creative Group, Mare Island CA Client: Shannon Family of Wines Title: Website Refresh Designer: Affinity Creative Group

Design Firm: Affinity Creative Group, Mare Island CA Client: Mezzetta Title: Website Redesign Designer: Affinity Creative Group

Design Firm: Alloy Digital, Birmingham AL Client: Solairus Aviation Title: Solairus: Aircraft Management Mobile Application Designers: Lisa Clark, Amanda Cochran Director: Andrew Parsons Account Services Manager: Andrew Davis

Design School: ArtCenter College of Design, Pasadena CA Title: Disconnected Short Film Creative Directors: Cash Huang, Qi Zhu Art Directors: Cash Huang, Qi Zhu Designers: Cash Huang, Qi Zhu. Instructor: Miguel Lee

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Design School: Auburn University, Auburn AL Title: You’re Just My Type Animator Designer: Brooke Matey

Design Firm: Auto Care Association, Bethesda MD Title: Auto Care Association Website Redesign Web Manager: Nathaly Branham Art Director: Tom Ho Graphic Designer: Erin Swarthout Digital Experience Agency: Results Direct Senior Director, Communications: Stacey Miller. Writers: Camille Sheehan, Jennifer Ortiz, Keith Matthews Web/Digital Intern: Brent Bemiller

Design Firm: Aviate Creative, Long Valley NJ Client: Aquarius Wellness Center for Healing Arts Title: Aquarius Wellness Website Creative Director: Paul Kiesche Designer: Paul Kiesche Developer: Matthew Dietz

Design Firm: Avila Creative, Chicago IL Client: WBA (Walgreens Boots Alliance) Title: WBA 2021-22 Diversity, Equity & Inclusion Report Creative Director: John Avila Art Directors: John Avila, Norman Rice Designers: Norman Rice, Diane Boichut Developer: Diane Boichut Programmer: Diane Boichut Writers: Cheryl Kaiden, Kaiden Communications Mural Artist: Sydney James

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Bailey Brand Consulting, Plymouth Meeting PA Client: 84 Phoenix Title: Fourth Down, Forever To Go Website Creative Director: Steve Perry Art Director: Eric Yeager Designer: Chloe Atchue-Mamlet Developer: Dan Nocket Writer: Colin George Director of Web Development: Mark Willis

Design Firm: Bailey Brand Consulting, Plymouth Meeting PA Client: Bimbo Bakeries USA Title: Arnold Organic Bread Disney Video Creative Director: Eric Yeager. Writers: Eric Yeager, Todd Wolfe Director/Editor: Todd Wolfe

Design Firm: Bank of America, Enterprise Creative Solutions, Wilmington DE Client: Bank of America Global Banking Title: 2021 State Of The Restaurant Industry Campaign Group Creative Director: Steve Strohm Associate Creative Director: Mohamed Beshir Senior Art Director: Patty McKinney Senior Copywriter: Jim Gialamas Art Buyer: Elise Daher Account Manager: Nicole Logan Group Account Director and Digital Strategy: Debbie Warburton Executive Director: Charissa Messer

Design Firm: Bank of America, Enterprise Creative Solutions, Wilmington DC Client: Bank of America Title: Preferred Rewards Audience Test Digital Creative Group Creative Director: Ken Tattersall Asssociate Creative Director: Kelvin Valencia Copywriter: Kathleen Johnson Account Executive: Karen Sterkenburg Segment & Channel Strategy: Beth Brownholtz Group Account Director and Digital Strategy: Stacy Stigelman Executive Director: Charissa Messer

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Design Firm: Bank of America, Enterprise Creative Solutions, Wilmington DE Client: Merrill Title: Merrill Investing Basics Microsite Group Creative Director: Kara Schemmel Associate Creative Director: Nouri Elasfari Digital Designer: Will Jacomme Copywriter: Greg Rodowsky Art Buyer: Priscilla Person Account Supervisor: Mary Becker Group Account Director and Digital Strategy: Debbbie Warburton

Design Firm: Bank of America, Enterprise Creative Solutions, Wilmington DE Client: Bank of America Home Loans Title: Home Loans December Insights Email Group Creative Director: Ken Tattersall Lead Developer: Mark Lazur Senior Copywriter: Richard Schneider Account Manager: Jennifer Murphy Product Owner: Dianne Dalton Group Account Director and Digital Strategy: Stacy Stigelman Executive Director: Charissa Messer

Design Firm: Bank of America, Enterprise Creative Solutions, Wilmington DE Client: Bank of America Private Bank Title: Transition Your Business eBrochure Group Creative Director: Kara Schemmel Art Director: Liz Krewson Account Manager: Stacy Carcaci Group Account Director and Digital Strategy: Debbie Warburton Executive Director: Charissa Messer

Design Firm: Bank of America, Enterprise Creative Solutions, Wilmington DE Client: Bank of America Global Banking Title: 2021 Digital Edge Report eBrochure.

Group Creative Director: Steve Strohm Associate Creative Director: Teresa Mraz Art Buying: Elise Daher Account Manager: Tiffany Nash Group Account Director and Digital Strategy: Debbie Warburton Executive Director: Charissa Messer

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Bank of America, Enterprise Creative Solutions, Wilmington DC Client: Bank of America Private Bank, Merrill Title: Merrill Perspectives Outlook Report - Dawn Of A Breakout Era Group Creative Directors: Ken Tattersall, Kara Schemmel Associate Creative Director: Kelvin Valencia Digital Designer: Jessenia John Copywriter: Bernie Minarik Account Executive: Keri O’Brien Group Account Director: Kara Foley Segment & Channel Strategy: Jim Clark Group Account Directors and Digital Strategy: Debbie Warburton, Stacy Stigelman Executive Director: Charissa Messer

Design Firm: Bank of America, Enterprise Creative Solutions, Wilmington DC Client: Merrill Title: Merrill Advice For What Matters Most eBrochure Group Creative Director: Kara Schemmel Art Director: Mike Pilotte Graphic Design: Joe Simone Art Buyer: Priscilla Person Account Supervisor: Mary Becker Executive Director: Charissa Messer

Design Firm: Bank of America, Enterprise Creative Solutions, Wilmington DC Client: Bank of America Private Bank Title: Green Hydrogen Climate Change Social Posts Group Creative Director: Kara Schemmel Account Manager: Stacy Carcaci Group Account Director and Digital Strategy: Debbie Warburton Executive Director: Charissa Messer

Design Firm: Bank of America, Enterprise Creative Solutions, Wilmington DE Client: Bank of America Title: Powerful Tools Landing Page Group Creative Director: Ken Tattersall Associate Creative Director: Kelvin Valencia Copywriter: Kathleen Johnson Account Executive: Karen Sterkenburg Segment & Channel Strategy: Beth Brownholtz Group Account Director and Digital Strategy: Stacy Stigelman Executive Director: Charissa Messer

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Design Firm: Bank of America, Enterprise Creative Solutions, Wilmington DE Client: Bank of America Small Business Title: Likely Business Owners Landing Page Group Creative Director: Ken Tattersall Associate Creative Director: Kelvin Valencia Senior Copywriter: Kris Stone Account Executive: Karen Sterkenburg Segment & Channel Strategy: Beth Brownholtz. Group Account Director and Digital Strategy: Stacy Stigelman Executive Director: Charissa Messer

Design Firm: Bank of America, Pennington NJ. Client: Merrill Lynch Title: Financial Literacy Month, April 2022 Designers: Ben Coleridge, Bob Ross Writer: Jeremy Kudesh Project Manager: Valerie Renee

Design Firm: Bank of America, Pennington NJ Client: Merrill Lynch Title: Market Impacts Landing Page. Designers: Ben Coleridge, Bob Ross Writer: Mike Blasenheim Project Manager: Steve Melisi

Design Firm: Barnett Design, Ramsey NJ Title: Barnett Design Website Creative Director: Debbie Barnett Sagurton Senior Art Director: Jefferson Ramos Creative Team: Valerie Haymes, Tara Maratea Writer: Bob Devol Tech: Rob Healy Imagery: Barnett, Freeze Frame, iStock

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: BaseLineGroupNY, New York NY. Client: BPA Worldwide Title: BPA Worldwide Website Design Direction: Brenda Fiorentini, Matthew Belloise Digital Strategist: Andrew Schulkind Content Developer: Sasha Eileen Sutton Founder & Chief Brand Strategist: Darcy A. Flanders

Design Firm: BaseLineGroupNY, New York NY Client: J&G Associates Title: J&G Associates Website. Design Direction: Brenda Fiorentini, Matthew Belloise Content Developer: Sasha Eileen Sutton Founder & Chief Brand Strategist: Darcy A. Flanders

Design Firm: Bluetiful Design, Glen Ellyn IL Client: Volition Title: Volition Tea Commercial Art Director: Kam Ching Wang Video Editor: Jeremías Guzmán Filmed by: Kam Ching Wang

Design Firm: Bonsai Media Group, Seattle WA. Client: Supra Boats Title: Tour it. Build it. Buy it. Creative Director: Evan Fraser Art Director: Evan Fraser Designer: Evan Fraser Developer: Mykola Mul Programmer: Mykola Mul Writer: Supra Boats

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Design Firm: Bonsai Media Group, Seattle WA Client: Legend Brands Title: Merging 3 Websites Into 1 Brand Creative Director: Evan Fraser Art Director: Evan Fraser Designer: Evan Fraser Developer: Jesse Andrews Programmer: Jesse Andrews Writer: Legend Brands

Design Firm: Breakout Studio, Chicago IL Client: Tryp Therapeutics.

Title: Tryp Therapeutics Website Creative Director: Jenn Levreault Designer: Jill Dick Developers: Chip Medema, Layne Taylor, Michael Verzani Writers: Edison Group, Ariel Ranieri, Alison Fairbanks

Design Firm: C&G Partners, New York NY Client: NYU Kress Painting Conservation Title: The Kress Program in Painting Conservation Website Creative Director: Maya Kopytman. Designers: Bartek Lewandowski (UX), Glenn Jeon Technical Director: Red de Leon Producer: Shuyler Nazareth C&G URL: cgpartnersllc.com

Design Firm: c|change, Chicago IL Title: c|change Website Rebrand Creative Director: Hugh Schulze Associate Creative Director: Emily Tumen Designer: Angelica Monteclaro Developer: Angelica Monteclaro Writers: Julia Ruskin, Joe Gustav Core Team: Adam Tock, Cori Dante, Joan Bueta, Maggie Suter, Tom Hehir, Leila Kadri, Juliana Reinhofer, Rob Kerr, Kevin O’Rourke, Sarah MacDonald

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: CF Napa Brand Design, Napa CA Client: Clos du Val Title: Clos du Val Website Design & Programming Designer: CF Napa Brand Design Developer: CF Napa Brand Design Programmer: CF Napa Brand Design

Design Firm: CF Napa Brand Design, NAPA CA Client: Smooth Ambler Title: Smooth Ambler Website Design & Programming Designer: CF Napa Brand Design Developer: CF Napa Brand Design Programmer: CF Napa Brand Design

Design Firm: Corse Design Factory, New York NY Client: Moon Man Title: Moon Man Website Creative Director: Nigel Sielegar Developer: Morra

Design Firm: Corse Design Factory, New York NY Client: Essex Pearl Title: Essex Pearl Website Creative Director: Nigel Sielegar Developer: Morra

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Design Firm: Courtney Windham Design, Auburn AL Title of Entry: Courtney Windham Design Portfolio Website Creative Director: Courtney Windham Art Director: Courtney Windham Designer: Courtney Windham Developer: Courtney Windham

Design Firm: Creative Force, Winston-Salem NC Client: Spacial Justice Studio @ Center for Design Innovation Title: Forsyth County Neighborhood Opportunity Atlas Creative Director: Kristie Staton Art Director: Kristie Staton Designer: Kristie Staton Developer: Kristie Staton Programmer: Kristie Staton Writers: Russell Smith, Zach Blizard Interactive Maps: Zach Blizard Census Tract Facts Coordinators: Rachel Midgett, Lindsay Webb

Design Firm: David Langton Creative Group, Ltd., Ardsley NY Client: The Legal Aid Society Title: Legal Aid LGBTQ+ Law & Policy Infographic Creative Director: David Langton Art Director: David Langton Designer: Jim Keller Writer: Deborah Brozina

Design Firm: Decker Design, New York NY Client: Mutual of America. Title: 2021 Community Partnership Award Website Creative Director: Lynda Decker.

Designers: Susanne Adrian, Ryan Breeser, Jason Mangelson Developer: MANYFOLD

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Decker Design, New York NY Client: Sher Tremonte Title: Sher Tremonte Law Firm Website Creative Director: Lynda Decker Designers: Susanne Adrian, Ryan Breeser Developer: MANYFOLD

Design Firm: DESIGNOLOGY, LTD, Coatesville PA Title: DESIGNOLOGY Website Creative Director: Casey DeCarlo Design Director: Laurie Angel-Sadis Developer: Ethan Lacy Writer: Steve Beckman

Design Firm: Doubleknot Creative, Seattle WA Client: Trothe Wines, Andrews Family Vineyards Title: Trothe Wines Website Creative Director: Jim Craig Art Director: Aaron Grable Designer: Aaron Grable Developer: C1 Studios Programmer: Jason Rampe Writer: Zak Menkel Content Strategy: Zak Menkel Senior Account Manager: Jessica Villa

Design School: Drexel University, Philadelphia PA Title: 12 Versions of You by Cheryl Vo Digital Designer: Cheryl Vo Creative and Art Director: Cheryl Vo Photographer and Retouch: Minh Oanh Nguyen Stylist and Concept: Alex Tran

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Design Firm: Equinix, Inc., Redwood City CA Client: Traceroute, The Podcast For Digital Pioneers Title: Traceroute Digital Marketing Campaign STORIES BUREAU, Agency – Executive Creative Director: Kory Grushka Creative Director: Mathr de Leon Art Director: Lisa Harris Animator: Ben Tuber Creative Strategist: Alisa Manjarrez Copywriter: John Taylor EQUINIX – Senior Manager, Digital Marketing: Kaley Gelineau Director Bare Metal Marketing: Chris Reid VP Equinix Metal Strategy & Marketing: Jacob Smith Design Partner: Roni Lagin Social Media Specialist: Jordan Stump Creative Producer: Ty Gibbons VP Corporate Marketing: Bill Dembinski Senior Director Marketing: Virginia Barasch Principal Product Evangelist & Traceroute Host: Grace Andrews

Design Firm: Equinix, Inc., Redwood City CA. Client: Origins Title: Origins Website Design & Development Creative Director: Roni Lagin Senior Manager Digital Design: Peter Coles Designer: Mo Moussa Developers: Felix Widjaja, Edo Aria Ferdian, Ronggur Hutasuhut Senior Manager Digital Marketing: Kaley Gelineau Content: Yevgeniy Sverdlik Director Bare Metal Marketing: Chris Reid VP Equinix Metal Strategy & Marketing: Jacob Smith VP Corporate Marketing: Bill Dembinski Senior Director Marketing: Virginia Barasch

Design Firm: GAF Creative Design, Parsippany NJ Title: Earth Day Instagram Stories Creative Director: Carlos Caicedo Art Director: Michael Comiskey Writer/ACD: Donald Kilcoyne Senior Manager Creative Design: Natalie Cruz Creative Operations Manager: Kim Bistromowitz Retoucher: Richard Toonkel

Design Firm: GAF Creative Design, Parsippany NJ. Title: GAF Roof Replacement Resources Website Designer: Amanda Padilla Graphic Artists: Michael Comiskey, Angelica Callelo Writer: Don Kilcoyne Content Author: Matt Nielan

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: GAF Creative Design, Parsippany NJ Title: TPO Self Adhered Website Designer: Amanda Padilla Graphic Artist: David Shin Writer: Donald Kilcoyne Content Author: Deb Withey

Design Firm: GAF Creative Design, Parsippany NJ Title: GAF Weather Hub Designer: Amanda Padilla Graphic Artist: Antoinette Prioletti Writer: Donald Kilcoyne Content Author: Matt Nielan

Design Firm: GAF Creative Design, Parsippany NJ Title: GAF QuickMeasure Website Designer: Amanda Padilla Graphic Artist: Matt Nielan Content Author: Matt Nielan Writer: Donald Kilcoyne Development Operations: Brianna Marosy

Design Firm: Gauger + Associates, San Francisco CA Client: Triad Development Inc. Title: Lagoon Valley Website Creative Director: David Gauger Art Director: Jenna Pile Designer: Jenna Pile Developer: Matthew Jimenez Programmer: Matthew Jimenez

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Design Firm: GED Testing Service | Marketing Department Title: GED Wordle Animation For Social Posts Creative Director: Victoria Velez Art Director: Kerry Clark Designer: Kerry Clark Writer: Victoria Velez

Design Firm: GED Testing Service, Washington DC Title: GED Student Roundup Email Newsletter Art Director: Kerry Clark Designer: Kerry Clark Writer: Mariya Bouraima Editor: Victoria Velez

Design Firm: Georgia-Pacific Consumer Products | Campfire Creative, Atlanta GA Client: Sparkle® Title: Make the Bright Choice® Email Campaign Creative Director: Trey Ehart Designer: Atiya Rahman Developer: Atiya Rahman Writer: Melody Beuzelin Director of Campfire Creative: Jeff Bixler

Design Firm: Georgia-Pacific Consumer Products | Campfire Creative, Atlanta GA Client: Vanity Fair® Title: Holiday Content Creative Director: Andre Arriaga Art Director: Devon Hosford Designer: Devon Hosford Writer: Andre Arriaga Director of Campfire Creative: Jeff Bixler Photographer: Devon Hosford

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Georgia-Pacific Consumer Products | Campfire Creative, Atlanta GA Client: Brawny® Title: Tear-a-Square Email Campaign Creative Director: Trey Ehart Designer: Atiya Rahman Developer: Atiya Rahman Writer: Melody Beuzelin Director of Campfire Creative: Jeff Bixler

Design Firm: GoldenSnow Agency, Fort Lauderdale FL Client: Shibui Japanese Whiskey Title: Shibui Website Redesign Creative Director: Evandro Falconi Designer: Evandro Falconi Principals: Adam Gold, Jerry Nieves

Design Firm: GoldenSnow Agency, Fort Lauderdale Client: Pernod-Ricard USA Title: American Whiskey Cocktail Book Creative Director: Evandro Falconi Designer: Evandro Falconi Principals: Adam Gold, Jerry Nieves

Design Firm: Hammer Marketing, Wyommising PA Client: National DCP, LLC Title: National DCP Website. Creative Director: Brenda Bittinger Art Director: Kyle Huntzinger Developer: Lee Gustin

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Design Firm: HiLabels LLC, Jersey City NJ Title: HiLabels Website Design & Development Creative Director: Julia F. McGreevy Art Director: Nick McGreevy Designer: Julia F. McGreevy Developers: Devstetic Solutions, Virtina Programmers: Vladimir Radisic, Hector Kolonas Writer: Nick McGreevy

Design Firm: HMC Architects/Media Department, Ontario CA Client: HMC Architects Title: Hackathon 2021 Campaign Art Director: Steve Potter Designer: Jillian Melgosa

Design Firm: Imarc, Amesbury MA Title: Imarc Hiring Infographic for Instagram Art Director: Rachel Lemieux Writer: Kelly Moynihan

Design Firm: Incorpmedia, Bellingham WA Client: Professional Finishes LLC Title: Professional Finishes Website Design & Development Designer: Cheung Vong Developer: Cheung Vong

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: INSP, Indian Land SC Title: ‘How The West Was Worn’ Digital Ad Campaign VP of Creative: Zach Chambers Art Director: Paul Snyder Designer: Alex Krohn Writer: Jessica Sliker Digital Product Manager: Morgan Newman VP of Digital Content & Social Media: Tina Lloyd EVP of Marketing: Hayes Tauber

Design Firm: INSP, Indian Land SC Title: ‘Always On’ Digital Ad Campaign VP of Creative: Zach Chambers Art Director: Paul Snyder Designer: Oscar Arango Writer: Darlene Cah Senior Manager of Consumer Marketing: Kalli Wade Senior Director of Consumer Marketing: Juli McLaurin VOP of Distribution & Consumer Marketing: Christine Rodocker EVO of Marketing: Hayes Tauber

Design Firm: Jarrod Michael Studios, Sayville, Long Island NY Client: Long Island Salted Spirits Title: Long Island Salted Spirits Website Designer/Developer: Jarrod Michael Gordon

Design Firm: Jenn Stucker Design, Bowling Green OH Client: Bowling Green State University Title: In The Round Speaker Series Social Media Creative Director: Jenn Stucker Art Director: Jenn Stucker Designer: Jenn Stucker Printmaking Elements: Jessie Walton

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Design Firm: Kate Pine, Glenview IL Title: Belly Preg Mobile App Designer: Ekaterina Pine Developer: Roman Petrushel Programmer: Roman Petrushel Writer: Ekatrina Pine

Design Firm: KIKKOS KORNER, Renton WA Client: Virachi Therapy Title: Virachi Therapy Website Creative Director: Edison Lazaga Leonen Art Director: Edison Lazaga Leonen Designer: Edison Lazaga Leonen Writers: Mimi Virachi, Edison Lazaga Leonen

Design Firm: KIKKOS KORNER, Renton WA Client: One Thousand Words Title: One Thousand Words Website Creative Director: Edison Lazaga Leonen Art Director: Shawn Semana Designer: Edison Lazaga Leonen Writers: Michael Braud, Curran Latas, Shawn Semana

Design Firm: KUDOS Design Collaboratory, Jackson Heights NY Client: Four Freedoms Park Conservancy Title: Four Freedoms Park Conservancy Website Creative Director: John Kudos Designers: Ashley Wu, Owen Febiandi Developers: Chris Manlapid, Christyan Juniady Setiawan

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: KUDOS Design Collaboratory, Jackson Heights NY Client: Poster House Title: Poster Machine Creative Director: John Kudos Designers: Ashley Wu, Sumit Paul Programmer: Chris Manlapid

Design Firm: KUDOS Design Collaboratory, Jackson Heights NY Client: Blockchain Creative Labs Title: Blockchain Creative Labs Website Creative Director: John Kudos Art Director: Ashley Wu Designer: Owen Febiandi Developer: Christyan Juniady Setiawan

Design Firm: Learning Without Tears, Gaithersburg MD Title: Mat Man Ugly Sweater Contest Creative Director: Shannon Rutledge Designer: Julie Koborg Developer: Julie Koborg Programmer: Julie Koborg

Design Firm: Leibowitz, New York NY Client: Stevens Institute of Technology Title: On The Rise Anniversary Campaign Creative Director: Ivan Caro Art Director: Ivan Caro Designer: Ivan Caro Chief Creative Director: Paul Leibowitz

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Design Firm: Leibowitz, New York NY Client: Presilium Private Wealth, Dynasty Financial Partners Title: Presilium Company Website Creative Director: Ivan Caro Art Director: Yichan Wang Developer: xforty technologies Writer: Kevin Windorf Animation: John Staton Chief Creative Director: Paul Leibowitz

Design Firm: Leibowitz, New York NY Client: Unique Wealth, Dynasty Financial Partners Title: Unique Wealth Company Website Creative Director: Ivan Caro Art Director: Gerald Morin Developer: John Titus. Writer: Kevin Windorf Animation: John Staton Chief Creative Director: Paul Leibowitz

Design Firm: Lentini Design & Marketing, Inc., Los Angeles CA Client: Bekina Boots Title: Bekina Boots Digital Advertising Creative Directors: Hilary Lentini, Chris Hauri Art Director: Hilary Lentini Designer: Hilary Lentini Programmer: Hilary Lentini Writer: Chris Hauri

Design Firm: Lentini Design & Marketing, Inc., Los Angeles CA Client: Dr. Susan D. Love Foundation for Breast Cancer Research Title: Website Design Creative Directors: Hilary Lentini Art Director: Leanna Hanson Designer: Leanna Hanson Programmers: Keith Hollingshead, Alissa Gouveia, Leanna Hanson, Aria Lentini Writer: Chris Hauri

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Lightner Design, Beaverton OR Client: Southwest Mountain Alpine Ski Teams Title: Online Recruitment Advertising Creative Director: Connie Lightner Art Director: Connie Lightner Photographer: Pieter Ganzer Logo Designer: Jason Hattery, Southwest Mountain Alpine Ski Teams

Design Firm: LutemaPhotoNYC, New York NY Title: Alphabet City Digital Series Creative Director/Digital Artist: Matina Korologos Velez

Design Firm: Miskowski Design, Hoboken NJ Client: Roku Title: Superbowl Ad Campaign Design Creative Director: Justin Miskowski Designers: Justin Miskowski, Julie Chencinski

Design Firm: Netgear, Seattle WA Title: Meural App Designers: Wan Jan Lee, Kirk Wicks, Philip Thepkaysone Developers: Achuyut Parimi, Duane Steel, Maggie Liu, Pauline Yao, Kevin Chen, Jimmy Su Programmers: Manager, User Research: Brian Ashbaugh UX Researcher: Claire Zhou Senior Manager: Poppy Simpson VP Product Marketing: Phillip Pyo

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Design Firm: Norwegian Cruise Line’s Creative Group, Miami FL Client: Norwegian Cruise Line Title: Break Free Video Director, Creative Strategy: Cristina Serarols Sr. Manager, Creative Copy: Ian Mavorah Sr. Director, Norwegian’s Creative Group: Becky Winters. Sr. Manager, Video Production: William Benavides Director, Video & Content Production: Marja Valdez Post Production: Think Twice Media

Design Firm: Norwegian Cruise Line’s Creative Group, Miami FL Client: Norwegian Cruise Line Title: Norwegian Staycation Video Director, Creative Strategy: Cristina Serarols Sr. Copywriter: Melissa Smock Sr. Director, Norwegian’s Creative Group: Becky Winters. Director, Video & Content Production: Marja Valdez Sr. Manager, Video Production: William Benavides Video Editor: Maurice Fleming Manager, Social Media & Partnerships: Lucas Pantel Sr. Social Media Specialist: Catherine Miranda. Manager, Product Marketing: Erica Garcia Sr. Manager, Product Marketing: Christine Wagner Manager, Creative Strategy: Brian Watson Sr. Designer: Alexandra Alonso Copywriter: Megan Baldor Videography: Steve Schuff Production House: Lucke You, Viva

Design Firm: Norwegian Cruise Line’s Creative Group, Miami FL Client: Norwegian Cruise Line Title: Norwegian V!VA Website Sr. Art Director: Ali Armas Sr. Copywriter: Melissa Smock Graphic Designer: Jorge Gonzalez Sr. User Experience Designer: Jeff Weeks Sr. Manager, Web Content: Jojo Dusvitch Director, Creative Strategy: Cristina Serarols Sr. Manager, Creative Copy: Ian Mavorah Sr. E-Commerce Specialist: Alicia Palma Espinoza Web Content Specialist: Lourdes Castro Sr. Manager, Video Production: William Benavides Sr. Manager, Product Marketing: Christine Wagner

Design Firm: Piedmont Brand Co., Fuquay-Varina NC Client: Tebo Loans Title: Tebo Loans Social Media Strategy Creative Director: Brad Stoneking Designer: Brad Stoneking Developer: Brad Stoneking Writer: Brad Stoneking

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Piedmont Brand Co., Fuquay-Varina NC Client: Lipscomb Development Title: Lipscomb Development Website Creative Director: Brad Stoneking Designer: Brad Stoneking Developer: Brad Stoneking Writer: Brad Stoneking

Design Firm: Playstead, Camarillo CA Client: Hacea Coffee Source Title: Hacea Coffee Source Social Media Creative Director and Brand Designer: Nathan Plaisted

Design School: Pratt Institute, Brooklyn NY Title: Tabletop Role-Playing Game Library Creative Director: Xingzhi Shi Art Director: Xingzhi Shi Designer: Xingzhi Shi Developer: Xingzhi Shi Programmer: Xingzhi Shi Writer: Xingzhi Shi

Design Firm: Principle, Houston TX + KUDOS Design Collaboratory, Jackson Heights NY Title: Craft Creamery Website Creative Director: Ally Lack Art Director: Elizabeth Kelley Designer: Katherine Aclin Developer: Chris Manlapid Writer: Erin O’Connor

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Design Firm: Principle, Houston TX + KUDOS Design Collaboratory, Jackson Heights NY Title: Ion District Landing Page Creative Director: Ally Lack Designer: Drake Preston Developer: Chris Manlapid Writer: Erin O’Connor

Design Firm: Promega Corporation, Fitchburg WI Title: Promega Student Resource Center Webpage Designers: Wesley Bishop, Jenna Stormberg Developer: Allan Behring Writers: Darcia Schweitzer, Jordan Nutting, AnnaKay Kruger Illustrators: Wesley Bishop, Jenna Stormberg, Aaron Wardell Animators: Aaron Wardell, Wesley Bishop

Design Firm: QNY Creative, New York NY Client: World Finer Foods/Reese Specialty Foods Title: Reese Specialty Foods Social & Digital Campaign Creative Director: Ana Camero Chief Marketing Officer: James Ferranti Social Marketing Director: Campara Rozina de Haan Writer: Patricia Gonzaga

Design Firm: QNY Creative, New York NY Client: World Finer Foods/Aqua Nobel Title: Aqua Nobel Website Redesign Creative Director: Ezio Burani Art Director: Ana Camero. Writer: Valentina Robotti Chief Marketing Officer: James Ferranti Content Strategy: Campara Rozina de Haan

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Regina Rubino/IMAGE: Global Vision, Honolulu HI Client: State of Hawaii Title: Hawaii State Brand Environmental and Outdoor Graphics Art Director: Regina Rubino Writers: Regina Rubino, Tim Lee, Dean Nakasone Strategy/Concept: Regina Rubino, Tim Lee, Dean Nakasone Production: Alan Lawrence

Design Firm: Regina Rubino/IMAGE: Global Vision, Honolulu Client: State of Hawaii Title: Hawaii State Brand Plan for Economic Development Art Director: Regina Rubino Writers: Regina Rubino, Tim Lee, Dean Nakasone Strategy/Concept: Regina Rubino, Tim Lee, Dean Nakasone Production: Alan Lawrence

Design Firm: Robert Finkel Design, Auburn AL Title: McNair Evans Photography Website Creative Director: Robert Finkel Developer: Chris Gerringer

Design Firm: Rowland, State College PA Client: Avail Technologies Title: Introducing myAvail Video Creative Director: Dan Rowland Art Director: David Spak

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Design Firm: Rule29 Creative, Geneva IL Creative Client: Lytho Title: Lytho Website Art Director: Brian Moore Designer: Susan Herda Developer: Inside Out Account Lead and Brand Strategist: Katie McConville

Design Firm: Rule29 Creative, Geneva IL Creative Client: UNICEF USA Title: We Won’t Stop Campaign Art Director: Susan Herda Designers: Adrian Mendez, Paul Bonnell, Zach Amato

Design School: School of Visual Arts, New York NY Title: OJO: American Premium Optical Boutique Brand and Motion Graphics Designer: Jihyo Yu

Design Firm: Shiraz Creative, Los Angeles CA Client: Avalara Title: Avalara CRUSH Virtual Event Creative Director: Sean Parsons Art Director: Sean Parsons Designers: Dean Hull and Alex Popescu Client Lead: Alexander Jones Executive Producer at 82 South: Brian Riha

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Smith Design, Morristown NJ Client: PB2 Title: PB2 Powdered Peanut Butter Launch Video Creative Director: Jenna Smith Art Director: Miles Hoffman Designer: Miles Hoffman V ideo Editor: Brandan Baki Videographer: Ken Kiger

Design Firm: Smith Design, Morristown NJ Client: Bona Title: Bona Pet Digital Advertising Campaign Creative Director: Glenn Hagen Art Director: Miles Hoffman Designers: Miles Hoffman, Glenn Hagen

Design Firm: Smith Design, Morristown NJ Client: Eggland’s Best Title: Born Free Eggs Website Creative Director: Jenna Smith Art Director: Miles Hoffman Designer: Miles Hoffman Programmers: Mark Errichetti, Nicole Guzman Food Stylist: Grace Peluso Photographer: Ken Kiger

Design Firm: So Drama! Entertainment, Singapore Client: Ministry of Defence, Singapore Title: Total Defence 2022 Graphics Art Director: Bernard Chia Senior Graphic Designer: Bryan Loo Designers: Cheh Zhong Han, Seth Hoo

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Design Firm: So Drama! Entertainment, Singapore Client: Ministry of Defence, Singapore Title: PIONEER: Military Couples Series Website Writer: Koh Eng Beng Photographer: Kenneth Lin

Design Firm: So Drama! Entertainment, Singapore Client: Ministry of Defence, Singapore Title: PIONEER: Singapore Armed Forces Buddies Series Website Writer: Benita Teo Chief Photographer: Chua Soon Lye Photographers: Kenneth Lin, Ong Ji Xuan

Design Firm: sparc, Sarasota FL Client: Center on Halsted Title: Sweet 15 Email Invitation Creative Director: Richard Cassis Art Director: Richard Cassis Designer: Richard Cassis Writer: Richard Cassis Animation: ProLevel Productions

Design Firm: sparc, Sarasota FL Client: Hilco Global Title: Shop-Vac Digital Advertising Campaign Creative Director: Richard Cassis Art Director: Richard Cassis Designer: Richard Cassis Writer: Steve Katz Animation: Richard Cassis

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Speak Creative, Memphis/Nashville TN Client: National Museum of African American Music Title: National Museum of African American Music Website Designer: Gabby Windham Developer: Mark Palomino Project Manager: Sarah Gannon Brand Strategist: Lisa Hoover

Design Firm: Speak Creative, Memphis/Nashville TN Client: Lion Country Safari Title: Lion Country Safari Website Senior Designer: John Waddell Developer: Mark Palomino Project Manager: Sarah Gannon Brand Strategist: Lisa Hoover

Design Firm: Speak Creative, Memphis/Nashville TN Client: Mary Kay Ash Foundation Title: Mary Kay Ash Foundation Website Senior Designer: Leslie Funke Developers: Sabian Samaniego, Carson Ford Project Manager: Sarah Gannon

Design Firm: Speak Creative, Memphis/Nashville TN Client: Man Up Teacher Fellowship Title: Man Up Website Designer: Corinne Mizzell Developer: Mike Nelson Project Manager: Devon Haines Brand Strategist: Lisa Hoover

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Design Firm: Speak Creative, Memphis/Nashville TN Client: Fort Worth Zoo Title: Fort Worth Zoo Website Senior Designer: John Waddell Developer: Carson Ford Project Manager: Sarah Gannon Brand Strategist: Burchie Ellinger

Design Firm: Stephen B. Starr Design, Evanston IL Client: Shem Center For Interfaith Spirituality Title: Shem Center Website Creative Director: Stephen B. Starr Art Director: Stephen B. Starr Designer: Stephen B. Starr Developer: Stephen B. Starr Programmer: Stephen B. Starr Writer: Joseph Kilikevice., O.P.

Design School: Studio 165+/Ball State University, Muncie IN Client: Mid-Indiana Trails (MINT) Title: Until Next Time Designers: Eliza Kuhn, Sara Misak, JC Camacho, Jacqueline Craft, Carlee McKenzie, Sunny Clark Photographer: Eliza Kuhn Faculty: Shantanu Suman

Design Firm: Studio 165+/Ball State University, Muncie IN Client: Muncie Action Plan Title: Celebrate the Unknown Designers: Eliza Kuhn, JC Camacho, Molly Durham, Aaron Franklin, Caitlyn Brown, Olivia McCauley Faculty: Shantanu Suman

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Superliminal, New York NY Client: Gradient Title: Brand, Digital and Website Design Creative Directora: Avantika Agarwal, Nour Malaeb, Adam Brodowski Designers: Avantika Agarwal, Nour Malaeb, Adam Brodowski

Design Firm: The Grove Creative, Winston-Salem NC Client: HiringSolved Title: HiringSolved Website Creative Director: Grisson Davis Art Director: Katelyn Murray Designer: Will Guthrie Developer: Brad Messenger Writer: Lori Maupas

Design Firm: The Grove Creative, Winston-Salem NC Client: Noteworthy AG Title: Noteworthy AG Promotion Website Creative Director: Grisson Davis Art Director: Katelyn Murray Designer: Will Guthrie Developer: Brad Messenger

Design Firm: The Grove Creative, Winston-Salem NC Client: LifeToken Software, Inc. Title: LifeToken Software Website Creative Director: Grisson Davis Art Director: Katelyn Murray Designer: Jensynne East Developer: Brad Messenger

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Design Firm: The Hatcher Group, Bethesda MD Client: Congressional Black Caucus Foundation Title: Pressing Onward – Celebrating 50 Years Video Creative Director: Reece Quinones Art Director/Designer: Marzia Motta Writers: The Hatcher Group Motion Artist: Scott Cooper. Producer/Assistant Editor: Melissa Rogers Camera: Melissa Rogers, Shaun Rosa, Tom Clement Project Manager: Devin Simpson

Design Firm: The Hatcher Group, Bethesda MD Client: Aspen Institute Sports and Society Program Title: The Underrepresented Infographic Creative Director: Reece Quinones Art Director/Designer: Marzia Motta Project Manager: Victoria Cain

Design Firm: The Walker Group, Farmington CT Client: Baby&MeCT Title: Baby&MeCT Website Design Art Director: Nicole Joanna Pierzchalski

Design Firm: The Walker Group, Farmington CT Client: Family Centered Services of CT Title: Family Centered Services of CT Website Design Art Director: Nicole Joanna Pierzchalski

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: The Walker Group, Farmington CT Client: Rothenberg & Cianciola, LLC Title: Rothenberg & Cianciola Website Design Art Director: Nicole Joanna Pierzchalski

Design Firm: The Word & Brown Companies, Orange CA Title: CaliforniaChoice Renewal Email Senior Marketing Manager: Rikki Nedelkow Studio Director: Homer Villegas Marketing Project Manager: Brandi D’Amuro Senior Copywriter: Alex Strautman Senior Digital Marketing Specialist: Noe Villasenor

Design Firm: The Word & Brown Companies, Orange CA Title: Word & Brown GA ‘Redefine’ Campaign Email Series Marketing Director: Missy Bynon Designer: Hugo Miramontes Marketing Project Manager: Heather Jung Senior Copywriter: Alex Strautman Senior Digital Marketing Specialist: Noe Villasenor

Design Firm: The Word & Brown Companies, Orange CA Title: Word & Brown GA Orange County Top Producer Invitation Email Marketing Director: Missy Bynon Studio Director: Homer Villegas Senior Events Manager: Jessica Haluck

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Design Firm: The Word & Brown Companies, Orange CA Title: Word & Brown GA Week of Webinars 2022 Eblast Series Marketing Director: Missy Bynon Designer: Hugo Miramontes Marketing Project Manager: Heather Jung Senior Senior Copywriter: Alex Strautman Senior Digital Marketing Specialist: Noe Villasenor

Design Firm: The Word & Brown Companies, Orange CA Title: Word & Brown GA Week of Webinars 2022 Social Promotion Marketing Director: Missy Bynon Designer: Hugo Miramonte Marketing Project Manager: Heather Jung Digital Marketing Manager: Vidah Quirante Senior Digital Marketing Specialist: Noe Villasenor

Design Firm: The Word & Brown Companies, Orange CA Title: Word & Brown GA Website Marketing Director: Missy Bynon Digital Marketing Manager: Vidah Quirante Digital Marketing Director: Kalup Alexander Front-End Web Developer: Jarrell Walker Marketing Project Manager: Heather Jung Senior Copywriter: Alex Strautman

Design Firm: TreacyDesign/TFX, West Haven CT Client: Helium Commerce Platform Title: Helium Commerce Platform Rebranding Creative Director: Joe Treacy Art Director: Joe Treacy Designer: Joe Treacy Developer: Joe Treacy Programmer: Joe Treacy, Programming Team Writer: Joe Treacy

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: TreacyDesign/TFX, West Haven CT Client: Treacyfaces.com Title: Treacyfaces Glass Case Logo and Social Advertising Creative Director: Joe Treacy Art Director: Joe Treacy Designer: Joe Treacy Developer: Joe Treacy Programmer: Joe Treacy Writer: Joe Treacy

Design Firm: TreacyDesign/TFX, West Haven CT Client: Barr Freight System, Inc. Title: Website Update - Frontend and Backend Creative Director: Joe Treacy Art Director: Joe Treacy Designer: Joe Treacy Developers: Joe Treacy, Inhouse Developer Team Programmer: Joe Treacy, Inhouse Developer Team Writer: Joe Treacy

Design Firm: Trivium Packaging, Schipol NL and Embrace, London UK Title: Trivium Packaging Company Website Creative Director: This is Embrace Art Director: This is Embrace Designer: This is Embrace Developer: This is Embrace Programmer: This is Embrace Writer: Trivium Packaging

Design Firm: ULINE Creative, Pleasant Prairie WI Client: ULINE Title: Boxes One Size Doesn’t Fit All Email Campaign Creative Director: Elizabeth Tenner Designer: Tim Voss Creative Services Director: Lisa Murphy Web Merchandising Project Director: Judy Nicolet

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Design Firm: ULINE Creative, Pleasant Prairie WI Client: ULINE Title: Industrial Fans - Keep Cool Social Media Campaign Creative Director: Elizabeth Tenner Art Director: Eric Dorgan Designer: Audrey Kerpan Creative Services Director: Lisa Murphy Web Merchandising Project Director: Judy Nicolet

Design Firm: University of Michigan - Center for Academic Innovation, Ann Arbor MI Title: Learn For Good Marketing Campaign Art Director: DaJaniere Rice Designer: DaJaniere Rice Campaign Manager: Eric Joyce

Design Firm: Visible Logic, Inc., Portland ME Client: Branding Compass Title: Branding Compass Website & App UI Creative Director: Emily Brackett Designer: Emily Brackett Developer: DeAnne Curran Programmer: Emily Brackett Writers: Emily Brackett, Brian Fudge

Design Firm: Visible Logic, Inc., Portland ME Client: Raising Readers Title: Raising Readers Website Creative Director: Emily Brackett Designers: DeAnne Curran, Chris Cote Developer: DeAnne Curran Writer: Brian Fudge

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Waltz Creative, San Juan Bautista CA Client: 49ers EDU Title: Playbook Digital en Espanol ePublication Creative Director: Cheryl Lovejoy Designers: Cheryl Lovejoy, Michelle Padron Project Manager: Madison Fisher Account Manager: Emily Deleissegues

Design Firm: Waltz Creative, San Juan Bautista CA. Client: Flourish Ventures Title: Digital Hustle Data Visualization Creative Director: Zack Rovella Art Director: Cheryl Lovejoy Designers: Sara Frey, Ana Kahana Client Services Director: Heidi Ash

Design Firm: Waltz Creative, San Juan Bautista CA Client: Waltz Creative Title: Women in Design Social Media Campaign Creative Director: Zack Rovella Designer: Michelle Padron Writer: Heidi Ash Managing Partner: Beth Welch Project Manager: Madison Fisher

Design Firm: Waltz Creative, San Juan Bautista CA Title: Waltz Creative Website Creative Director: Zack Rovella Art Director: Michelle Padron Designers: Cheryl Lovejoy, Sara Frey, Kamryn Cordova, Robert Castellanos Developers: Diane McGirr, Lars Faye Chee Studio Writers: Heidi Ash, Jessica Willis Managing Partner: Beth Welch Marketing Coordinator: Madison Fisher

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Design Firm: Yichun Lin Design, Queens NY Client: Spot Theater Title: Spot Theater Website Creative Director: Yichun Lin Art Director: Yichun Lin Designer: Yichun Lin

Design Firm: Yiwen Tu, Long Island City NY Client: Talenti Gelato & Sorbetto Title: Talenti Website Design Designer: Yiwen Tu

Design Firm: York and Chapel, Shelton CT Client: Kosher.com Title: Kosher.com Mobile App Creative Director: Hugo Manhani Art Director: Hugo Manhani Designer: Hugo Manhani Developer: Tom Gabrysiak Programmer: Shaan Antony Peiris Project Manager: Katherine Cantillo

Design Firm: York and Chapel, Shelton CT Client: LOG-NET Title: LOG-NET Website Creative Director: Hugo Manhani Art Director: Hugo Manhani Designer: Hugo Manhani Developers: Derek Traver, Tom Gabrysiak Programmer: Mireille Gallegos Project Manager: Katherine Cantillo

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gdusaadfullpage_Layout 1 6/9/209:10 9:32 AMPage Page jun22ads.qxp_Layout 1 6/20/22 PM 921

VISIT OUR WEBSITE FOR

DAILY DESIGN NEWS

PEOPLE PROJECTS IDEAS

WWW.GDUSA.COM EVENTS PRODUCTS

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MASTER THE BUSINESS OF DESIGN Explore the power of design in today’s marketplace with the Georgetown University Master’s in Design Management & Communications.

Developed for working professionals, this accredited online program brings together creative management, design thinking, and business strategy.

Learn more at scs.georgetown.edu/design

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A NEW WAY TO EVALUATE BRANDING AND PACKAGE DESIGN

BY RICHARD SHEAR GDUSA is publishing a series of four articles from Richard Shear on “How Evolutionary Search Patterns Influence Consumer Purchase Decisions – and How To Design For Them.”

PART 4 Can You Help Me: The Influenced Search You are traveling on horseback across an unfamiliar prairie when you meet an old friend.

She has deep experience and local knowledge, and you’re looking for a safe place to camp with your family, so you ask if she can help you. You come upon the perfect campsite following her directions, well protected from the wind and sun.

This story could have taken place one thousand years ago or just yesterday, and it’s an analogy for a consumer search pattern we call influenced search. What are consumer search patterns? They are Invok Brands’ way of looking at how consumers locate, assess, and select categories of products.

Here’s a quick review of the first three search patterns before jumping into the next one, influenced search. And, if you believe, as I do, that humanity is defined by shared com-

MAKING INFLUENCE SEARCH WORK IN

munities and cultures with shared values, you'll see that

THE AGE OF INFLUENCE

influenced search is perhaps both the oldest and the newest of the four and the most genuinely human.

• Familiar search, the ‘let's go back’ impulse.

• Associated search, an experience of ‘that reminds me.’

• Free search, a ‘let's explore’ frame of mind.

• Influenced search, asking, can you help me?

THE FOUNDATION OF INFLUENCED SEARCH IS TRUST

Marketers have several opportunities in a world where media activities and influences increasingly impact consumers' decisions. We'll explore them here using our client RoC as an example because of its expertise in influenced search.

MARKETING AND BRAND CHALLENGES FROM INFLUENCED SEARCH First, with so many more communications platforms, consumer information can be directed to a wide range of

The foundation of this search is trust — seeking and relying

audiences and picked up and shared among media. Our

on recommendations to influence your decision. Asking for

client RoC shares that it has been partnering with derma-

a friend’s advice is now manifested by a mainstay of social

tologists since 1957, reaching those seeking expert infor-

media and influencer culture, ranging from individuals to

mation and experts seeking to recommend products.

organizations. On social, information, reviews, and recommendations can direct virtually every brand decision that a

Second, consumers appear to have an infinite number of

consumer makes. Influencers, and the parties behind

choices, and they will search for the product that meets

them, are bent on impacting and often profiting from your

their needs best, strengthening the requirement for informed

choices. The institutionalization of influence has become

advice. RoC's consumer love is enormous; it boasts at least

a double-edged sword that we benefit from and has made

100,000 five-star reviews online.

us the target of a culture driven by information access.

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Finally, consumers and media recommend RoC products so frequently and in such

RICHARD SHEAR is a professor at New

volume that RoC's media coverage generates more media coverage. For example,

York’s School of Visual Arts and teaches in

in addition to TV spots on GMA and The Today Show recommending it, in 2021,

the Masters of Branding program. He is

RoC had 12 billion-plus total media impressions and earned more than 30 beauty

Chief Creative Officer at Invok Brands,

awards. Roc has got consumer love, influencer love, and media love.

where he uses his consumer search pattern framework to help clients get an edge.

Influenced search will play a strategically important role in brand communication as the world becomes increasingly dominated by brand and media interaction. Recommendations are worth a thousand ads when consumers are searching by influence.

Invok Brands has conceived a new way to evaluate branding and package design that considers how consumers locate, assess, and select categories of products. These consumer search patterns are universal and based on the history of consumer behavior — even before retail. This is the fourth in a series to help you find the technique that applies to your brand and use it.

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EMBRACING A FLEXIBLE WORK MODEL THAT KEEPS EVERYBODY HAPPY

BY PAUL FLAHARTY

Paul Flaharty is executive director of the marketing and creative practice at global talent solutions firm Robert Half

In the early days of the pandemic, many organizations swapped one set of rigid work arrangements (come into the office five days a week) for another (go home and stay home). Managers didn’t have to worry about favoring one employee’s scheduling preferences over another.

Today, managers and employees have more options that create the potential for new and productive work arrangements — but also for friction. In a Robert Half survey, four in 10 (41%) marketing and creative professionals said they crave more flexibility in where they work each day. On the other hand, 41% of managers would like to see the team in the office every day, 29% mixing home and office (hybrid) and 30% working remotely full time.

Managers looking at data like this may assume they can’t keep everyone happy. But some teams that have embraced a flexible work model have very nearly achieved just that.

Here’s how you can emulate them.

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1. Make The Positive Case for Flexibility The negative case for flexibility — if we don’t give our employees more autonomy, they will vote with their feet — may be true, but it’s hardly designed to inspire your workforce or client base. Instead, take every opportunity to emphasize that flexibility is good for the business and that if you allow employees some self-determination, they will reward you with improved productivity and loyalty. Use employee feedback and data (productive hours lost to daily commutes, for example) to win over skeptics on your leadership team and broadcast your commitment to innovative work routines on your website and social media channels.

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2. Determine Your Room For Maneuver

6. Get Creative About Collaboration

Client and business needs come first. So before offering team members more flexibility, establish how many people you need in the office each day to meet those needs. The worst thing you can do is promise your workers more autonomy and then renege on those commitments when you find yourself shorthanded.

During the height of the pandemic, chat rooms, cloudbased docs, digital whiteboards and other collaboration tools helped keep work discussions alive. Now, as some workers return to the office, there’s a danger these brainstorming sessions may become fragmented or exclusionary, with remote workers left out of the loop.

3. Clarify Definitions and Expectations

One way to avoid this is to continue some of the collaboration methods that worked for you during the pandemic.

After all, if most of your client pitches are virtual, it makes sense to continue rehearsing them virtually. Another idea is to arrange team meetings on the days when fewest people are in the office, so that remote workers aren’t in the minority.

Flexibility means different things to different people, from clocking in at 10 a.m. to having complete control over when and where they work. Some may feel that a hybrid arrangement means alternating between home and office whenever they please, for example, whereas you understand it to mean working three days on site and two days at home. Make sure there is no ambiguity around the arrangement agreed to.

4. Don’t Favor One Environment Over Another If you start out from the premise that working from home is a privilege and working in the office a responsibility, you risk fostering an “us vs. them” culture that can quickly become toxic. Discourage any suggestion that telecommuting is a perk — it’s simply another way for creative people to operate with the highest productivity. At the same time, try to reimagine your office as a space people are excited to visit. Ideas include taking out some cubicles and creating a chillout zone where remote workers can drop in to catch up with their office-based colleagues.

5. Stay Alert For Proximity Bias Proximity bias, or unconsciously favoring employees you’re in close contact with, is a particular risk in the age of hybrid and remote working. It’s all too easy to give more attention to someone who is working hard, making sales and wooing clients right in front of your eyes — and to offer them raises, promotions and plum assignments as a result.

The solution? Measure performance rather than observing it. Tell your team that metrics like time-at-desk are less important to you than productive design work and client satisfaction ratings. And if you yourself work some days from home, use that time to complete performance assessments and project assignments to avoid being swayed by recent personal interactions.

7. Hold Inclusive Team Building Sessions Workers on hybrid teams can become isolated (either at home or in the office) or even feel like they don’t belong.

Regular team-building activities can prevent this. Offer your crew some non-business-related challenges that both office and remote workers can collaborate on — building a Wordle competitor, for example. And if you do hold occasional all-hands meetings in the office, reserve some time for coffee and chit-chat. It could be the only opportunity remote workers get to get to know colleagues they would otherwise never meet in person.

Almost nine in 10 (85%) of marketing and creative managers in the survey mentioned earlier are concerned about their employees leaving for greener pastures. Talented employees will always have options, of course, but if your goal to is make as many as possible happy with their situation, they may decide their best option is you.

PAUL FLAHARTY is executive director of the marketing and creative practice at global talent solutions firm Robert Half, which connects professionals with companies hiring in marketing, creative, digital, advertising and public relations. His primary responsibility is to develop and oversee the growth strategy for the company's marketing and creative contract talent solutions teams across the United States.

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