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GD USA
GD USA GRAPHIC DESIGN USA
OCTOBER 2020
HEALTH + WELLNESS DESIGN AWARDS
www.gdusa.com
RESPONSIBLE DESIGNERS TO WATCH SPONSORED BY
DOMTAR
OCTOBER 2020
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October 2020 Pub Letter-Focus Impo_feb news play 10/13/20 9:03 AM Page 1
LETTER FROM THE PUBLISHER | RISING TO THE OCCASION
Our 2020 GDUSA Health + Wellness Design Awards™ competition honors graphic excellence in this fast-growing, hugely important, and high-profile segment of the economy. This year’s competition is the largest and most selective yet, with winners chosen from an impressive array of design firms, agencies and departments. Honored projects run the gamut from traditional medicine and healthcare to healthy lifestyles and holistic alternatives to public and community health initiatives. The sheer quality and quantity is an interesting sign of how vital graphic design and health-related communications are in this challenging time . . . as well as a promising expression of confidence in the future. As you may have noticed, an image of Dr. Anthony Fauci graces the front cover. Love him — or not so much — his role as the face of America’s public health response to the pandemic makes the selection especially appropriate. The print itself was created in GORDON KAYE IS THE PUBLISHER OF GDUSA Comments, suggestions and letters can be sent to gkaye @ gdusa.com.
appreciation of Dr. Fauci’s efforts by the National Institutes of Health Medical Arts. Which gives us, in turn, a chance to send some love to the small, passionate and intrepid team at the NIH Medical Arts Branch which spearheads the Covid-19 response at NIH while dealing with a huge network of researchers, scientists, surgeons, support staff, and patients across 27 different Institutes. The NIH designers are representative of many of our award-winners who, confronted with unprecedented demands, rise to the occasion.
SILVER LINING I’ve been reading an eye-opening book by John Barry called “The Great Influenza” about the confluence of World War I and the so-called Spanish flu pandemic of 1918, which killed an estimated 50-60 million people worldwide. I keep staring at the copyright — 2005 — because the book reads like today’s headlines in terms of how a public health crisis can tear at the very fabric of society. I was also struck by the fact that the most popular song in that time of war, disease and social unrest — Keep The Homefires Burning — featured the phrase “There’s a silver lining / Through the dark clouds shining / Turn the dark clouds inside out / Till the boys come Home.” The participants in our annual “Socially Responsible Designers” editorial feature also choose to see “silver lining” to the annus horribilis that is 2020. The consensus is that the current hard times will serve — is already serving — as a catalyst for positive change as they see it. More specifically, they envision opportunities to refocus their practices around more culturally relevant issues, to find more efficient and innovative ways to operate, to refresh the mission of their clients, and to reaffirm the power of effective design to shape commerce, culture, and causes. Interestingly, these views parallel the results of a new survey conducted by Adobe in anticipation of the Adobe MAX conference. There, 91% of creative professionals say that the events of 2020 have inspired them to bring real-world issues into their work; 49% are pivoting to campaigns with positive social impact; and 89% believe they are thinking more creatively than ever before. In a blogpost, Monte Lutz, Global Head of Marketing, Digital Media at Adobe, concludes: “Despite the uncertainty, creatives are turning 2020 into an opportunity to thrive.” CONTINUED PAGE 2
GDUSA 1
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LETTER FROM THE PUBLISHER CONTINUED FROM PAGE 1
I have excerpted a few comments from our participants:
• Sarah Rutherford: “We [as educators] have an opportunity to expand how our students are prepared to practice design
• Gianmaria Schoenlib: While this year has been marked by
in their careers . . . We can build assignments and curricula
unprecedented challenges for all us, this moment in time
that allow students to incorporate the principles of equity and
paradoxically represents an opportunity for designers and
inclusion, anti-racism, and social impact in their work.”
creatives of all types to use their skills and talent to raise awareness . . . Where there’s an obstacle, design offers a powerful solution.”
• Pam Tremble: The past six months of managing siloed and fragmented communication across departments in the middle of a public health emergency has demonstrated the need
• Cornell Beard: “Most designers naturally gravitate toward
for a formal public communication strategy . . . Our small
designing for good. We have the ability to motivate people,
inhouse graphic design and media relations team is expand-
express shared experiences or inspire positivity through design.
ing to a more unified marketing and communications
This year has been a big pivot point for people in every pro-
agency model.
fession. Despite the struggles, we designers should gain clarity about what our calling is when designing for good and be moved to do it.”
• Kelli Miller: “We are already seeing designers self-initiate for change . . . Once we get past this election we can take it from there — there certainly is no lack of issues that design
• Andrew Brynjulson: “In 2020, as the world becomes more
can help change.”
and more complex, I foresee consumers responding by trying to simplify their lives — weeding out purchases, brands, and
Let’s be clear. Looking for a silver lining in the midst of disaster
activities that are less important in favor of the few that they
is tricky business; no one in their right mind should believe that
feel most connected to. Designers will be drafted in that
death and despair are worth the game. On the other hand, we
fight for connection.”
have all been reminded — as if we need reminding — that the human condition involves getting knocked down. And one of our
• David Langton: For websites, we found that now IS the time
more admirable traits is that we keep getting back up for more
to launch, we’ve launched four in the last few months. More
and, sometimes, for better. It’s an admirable trait that this
people are home and are paying more attention to websites
year’s cohort of “Responsible Designers” share in abundance.
and online activity. Our nonprofit clients are pivoting . . . the online audience tends to be younger so this pushes some of
BAD JOKES BUT GOOD BALANCE
the legacy nonprofits that we work with to reexamine their marketing efforts.”
Why did the chicken cross the road? Because the other chickens were not properly socially distancing. How do you avoid touching
• Gus Granger: “The intensifying effect of social media combined with the awakening people are going through in
your face? Hold a glass of wine in each hand. Who won the presidential debates? The people who didn’t watch.
understanding suppressed and ugly aspects of US history has made the role of designers more important than ever.
Forgive the self-indulgence. I desperately wanted to end this
Our ability to build understanding through inventive, strik-
column with a joke to lighten my mood and, after long hours of
ing and thought-provoking creations makes the designer a
search, I judged these the best balance of mild humor and no
uniquely essential worker in this period of crisis.”
offense, except perhaps to some chickens. You have to be careful these days.
• Leslie Greenly Smith: “This is a pivotal time for our Library in so many ways. We are looking at this as a wonderful opportunity to be innovative and think ‘outside the book’...”
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October 2020 TOC_SEPT 07 TOC/Staff 10/13/20 9:23 AM Page 4
CONTENTS | OCTOBER 2020
8 FRESH Rule 29 gets out the vote; CBX helps Smucker pivot to multi-category food and beverage category leader; Pentagram refreshes the Waze brand identity including new set of ‘moods’; BRIGADE creates unapologetic, science-forward identity for Bat Conservation International; graphics support The Athletic subscription model; Thinkso authors graphic novel for visionary company; Elmwood helps Tecate expand into Mexico City; cow icon has the last laugh; and much more.
28 RESPONSIBLE DESIGN This special report continues our practice of shining the spotlight on designers who exemplify the values of social responsibility and sustainability. It’s a stunning roundup of people, firms and organizations motivated to ‘graphic design for good’. And it’s especially relevant, meaningful and poignant given the backdrop of the pandemic, a societal reckoning on race and inequality, and a bruising presidential campaign. A special thanks to exclusive sponsor Domtar for making this feature possible.
52 HEALTH + WELLNESS AWARDS The annual GDUSA Health + Wellness Design Awards™ competition honors graphic excellence in this fast-growing, hugely important, and high-profile segment of the economy. The 2020 winners showcase is the largest and most selective yet, featuring projects and campaigns from leading institutions, design firms, agencies and departments encompassing traditional medicine and healthcare to healthy lifestyles and nutrition to the acute public and community health challenges confronting us today.
94 HIRING + CAREER TIPS From an explosion in online retail to the normalization of remote hiring, the pandemic has permanently changed the business and employment landscape. Diane Domeyer of The Creative Group shares the latest insights on the surge toward digital, the most sought-after creative skills, and best practices for recruiting and onboarding in the age of social distancing. GDUSA - Graphic Design USA Volume 57 / No. 5 September/October 2020 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.
WWW.GDUSA.COM
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October 2020 TOC_SEPT 07 TOC/Staff 10/13/20 9:23 AM Page 6
THANKS DOMTAR A special thank you to Domtar, exclusive sponsor, once again, of our annual special feature on socially and sustainably responsible graphic design. Domtar has the North American market’s largest selection of uncoated papers — from high-quality office, printing and digital papers, to innovative converting and specialty papers.
GD USA GRAPHIC DESIGN USA
This edition is printed on Cougar® 70 lb. Text, Smooth Finish manufactured by Domtar. Renowned for its refined velvety surface, Cougar® encompasses a vast line of expertly crafted
Gordon Kaye Publisher
options for offset, digital and inkjet printing making it possible for your brand to send a
ART & PRODUCTION
consistent, memorable and impactful message no matter how you choose to print. And with
Ilana Greenberg Creative Director
every turn of the page, you’ll see a careful balance of shade, opacity and brightness.” Consistent with the theme of our “Responsible Designers” special feature, Domtar says that
Charlotte Kaye Production Director
for graphic designers “especially in these challenging times, trust is a critical factor in when developing brand loyalty and making a purchasing decision for the company you work for and the brands you represent . . . CougarW andI Lynx L Lpapers B UfromR Domtar K E offer you and the brands
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Althea Edwards Circulation & Reader Services
ABOUT THE COVER This print celebrates Dr. Anthony Fauci, the face of America’s public health pandemic response.
GD USA
O CTO B ER 2020
EDITORIAL
and art director/designer Jeffrey Everett of the
Gordon Kaye Editor | Print
National Institutes of Health Medical Arts. Collectively, designers from the NIH Medical
Sasha Kaye-Walsh Editor | Website
Arts Branch had the most winners in our 2020 which begins at PAGE 52.
Angelo Abbondante Accounts Manager
GRAPHIC DESIGN USA
Credits go to creative director Martha Blalock
Health+Wellness Design Awards™ showcase,
Jennifer Hoff Scott Sczcypiorski Internet Services
HEALTH + WELLNESS DESIGN AWARDS RESPONSIBLE DESIGNERS TO WATCH SPONSORED BY
DOMTAR
COVER PAPER CREDIT: The cover of this edition of GDUSA is printed on FSC-certified Kallima Coated Cover C2S, part
FOUNDER Milton L. Kaye (1921-2016)
ADVERTISING Ron Andriani Executive VP, Integrated Marketing + Business Development 201.485.8720 212.696.4380 randriani@ gdusa.com
of the Kallima Paper family of FSC-certified coated cover paperboard, manufactured by Tembec. A leading advocate of sustainability, Kallima Paper has a distinct low-density high-bulk construction resulting in less trees used and significant cost savings to the customer. Kallima’s trusted line of Coated Cover C1S, C1S Plus and C2S are well-known for their bright white surfaces. Visit www.kallimapaper.com
Gordon Kaye Publisher 212.696.4380 gkaye @ gdusa.com COPYRIGHT 2020 BY KAYE PUBLISHING CORPORATION
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FRESH | CBX HELPS SMUCKER PIVOT
ORRVILLE OH Over the past two decades, The J.M. Smucker
Company has transformed from a venerable jams and jellies company to a $7.8 billion multi-category leader of food and beverage products, but the corporate mark didn’t reflect the company’s evolution. A new identity and visual system created by CBX celebrates both the company’s heritage and its growth. The core of the program is a logo which is rooted in the legacy and heritage of the strawberry as an anchor; which features a pivot point to convey change; and which adds new shapes to express an expansive future while evoking modern artists like Picasso and Calder. As such, the mark captures the stability of family leadership while adding an extended visual world of vibrant colors, dynamic patterns, and youthful energy that speak to the diversity of the portfolio and plans for continued growth. Comments Rick Barrack, CBX Chief Creative Officer and co-founder: “Changing the visual identity of a 123 year old company is a tremendous responsibility and a great honor. Our aim was to capture the spirit of how the people who work at J. M. Smucker feel about the company today and where they’re going, while still respecting the company’s past. The fresh colors, movement and transparency of the shapes, and the confidence of the typography all work together to represent the company’s diverse portfolio of brands and celebrates their culture and values.” Adds Smucker Co’s Director of Creative Services Kara Buckler: “With this new identity, we have a fresh visual presentation that gives a nod to our heritage while reflecting the dramatic evolution of our portfolio to position us as a multicategory CPG leader and the momentum we have for continued growth. This launch is an exciting step in presenting the Company we are today as well as the one we aspire to be.” cbx.com
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FRESH | RULE29 GETS OUT THE VOTE
GENEVA IL Rule29’s latest project pursuant to the GIVE
initiative — which encourages companies to give 20% of their time and resources to causes, ideas, and initiatives that help create a healthier, more equitable, more sustainable, and more welcoming world — is the timely and topical ShouldIVote. The project is centered on a colorful and easily navigable website helps visitors understand the importance of registration and participation, and provides links to valuable resources such as vote-by-mail information. In short, the site simplifies the hows and whys of the general election in a way that everyone can understand. And there is a kicker — if you sign the voter pledge, Rule29 will send you a fun sticker which you can, in turn, share on social at #VoteForYou. The initiative’s theme is captured in a quote by Maya Angelou, placed prominently on the site: “You may be pretty or plain, heavy or thin, gay or straight, poor or rich. But remember this: In an election every voice is equally powerful — don’t underestimate your vote. Voting is the great equalizer.” www.shouldivote.us
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FRESH | ELMWOOD BREWS MORE COSMOPOLITAN TECATE BRAND
BAJA CALIFORNIA MX/NEW YORK NY Elmwood New York has crafted the a new brand identity for Tecate, the second-
largest beer brand in the Heineken portfolio. The design extends Tecate’s traditionally masculine identity to feel more progressive and modern in order to expand the beer’s popularity beyond Northern Mexico to younger and more cosmopolitan Mexico City. This included emboldening the iconic eagle and wordmark as well as stripping back visual clutter. Observes Executive Creative Director Meg Beckum: “With a brand as beloved as Tecate, we knew that a boots-on-the-ground immersion across Mexico’s many regions would be necessary to inform a meaningful design. From this process, we understood that the brand is deeply entwined in the country’s cultural fabric. Yes, it’s a great beer, but it’s more than that: it’s an authentic lifestyle icon ingrained in Mexican sports, music and entertainment. We needed to shift the narrative beyond product — to an attitude encapsulating Tecate’s unapologetic boldness and modern masculinity. These insights helped clarify the many behaviors and cultural traditions that the new Tecate design needed to support.” The designers then partnered with Tecate’s advertising agency, Nomades, to craft a new brand world that encompasses everything from music festival and soccer sponsorships to point-of-sale and out-of-home advertisements. New ads were launched this summer, while updated packaging is currently rolling out to stores across Mexico and the U.S. In addition to Meg Beckum, credits at Elmwood New York include Design Directors Bruno Nesci and Mike Tabie; Account Director Melissa Braun; Account Manager Daniela Sabler; Senior Strategist Robert Pietrzyk; Senior Designer Jonathon Jones; and Designer Dee Dalencour. www.elmwood.com
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FRESH | PENTAGRAM PUTS DRIVERS IN MOOD TO COLLABORATE
MOUNTAIN VIEW CA/NEW YORK NY Waze is a popular navigation
app with 130 million users in over 180 countries who collectively join their local voices to help beat traffic. The app facilitates updates from fellow drivers, who share actionable data about accidents, traffic incidents, speed limits and other trip information. Pentagram has refreshed the Waze brand identity with a system that enhances the platform’s collaborative spirit and provides a better experience on the road. Included is an update of the familiar Wazer symbol, introduction of a set of new “Moods” that help users more authentically express themselves, and the streamlining of the platform’s signature use of illustration. The system introduces a colorful visual language called “Block by Block” inspired by the modular design of the city grid, roads and streets, organizing information into “block-scapes” to create a recognizable world of Waze across a multitude of contexts. The refresh also includes the development of a new brand voice, witty and welcoming messaging, and a logotype is based on Boing, a sans serif that has rounded corners for a friendly look. pentagram.com
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FRESH | BRANDOPUS WEAVES MYSTERY STORY FOR VYNE
NEW YORK NY/MELBOURNE AUSTRALIA
Creative agency
BrandOpus has partnered with Molson Coors to create a hop infused sparkling water. For Vyne Botanicals, BrandOpus weaves a story of intrigue and mystery through the Green Man, an historic symbol crafted to appear camouflaged into its surroundings. “We wanted the brand to bring the vitality of nature into our everyday lives,” says Paul Taylor, Chief Creative Officer. “The Green Man, as a metaphor, is a perfect embodiment of this idea as he crosses the divide from the world of nature into our world ... The symbol’s metaphor was perfect for this new product made from hop extracts and botanicals. The Green Man, as a pagan symbol, speaks to the brand’s ability to reignite a sense of curiosity and to explore a bit more of the wildness at the heart of life. It can elevate consumers from the mundaneness of water and soft drinks and bring a bit of vitality to the every day.” Adds Maddie Freestone, lead designer: “Primarily, we wanted to match the curious nature of the drink itself and bring a sense of mystery and intrigue to the sparkling water category. At the same time, the brand also needed to make sure it was still driving refreshment and natural cues.” brandopus.com
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FRESH | COW ICON HAS THE LAST LAUGH
CHARLOTTE NC Located in Charlotte NC, Team Creatif USA serves a
roster of clients ranging from small, local brands to well-established global icons like The Bel Groupe, a major player in the healthy fruit and dairy single-serving portion snacking category. Approaching work for the Laughing Cow brand, the design firm updated the brand’s visual story by bringing new life to the iconic cow design — inspired by a light-hearted strategic approach that “it’s better to laugh …” With a range of varieties available, flavor differentiation was a key component of the communication at shelf. To achieve this, the design team used a bright stroke of color across the multiple varieties. “It was the near-century-long history of the cow and the strategic positioning of ‘it’s better to laugh,’ which inspired us to reassert her significance on pack,” comments Brady Bone, Creative Director at Team Creatif. teamcreatifusa.com
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FRESH | BRIGADE SENDS OUT SCIENCE-FORWARD BAT SIGNAL
HADLEY MA Bat Conservation International came to creative
agency BRIGADE for a brand refresh that would help them stand out among traditional conservation nonprofits, mobilize donors, and raise awareness of the mission to end bat extinctions. In order to help BCI stand out, the Brigade team focused on building consumer engagement and trust through consistent branding at every touchpoint. Working closely with BCI, they created a distinct brand personality that represents their unapologetic, science-forward approach, and matches their unwavering commitment to create meaningful change. The program includes a key messaging platform and new visual identity, a comprehensive brand guide to unify all communications, and a revitalized website that integrates educational resources with captivating bat imagery and videos of fearless conservationists and scientists in the field. BRIGADE is a 20+ person brand-building firm based in western Massachusetts, headed by Executive Creative Director Kirsten Modestow, with a significant roster of blue-chip clients. brigadebranding.com
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DAILY DESIGN NEWS Apple Inc. has multiple positions available for the following job opportunities in Cupertino, CA: Refer to Req# & mail resume to Apple Inc., ATTN: D.W., 1 Infinite Loop 104-1GM, Cupertino, CA 95014: 1. User Interface Designer (REQ#8926504) Dsgn UI for cnsmr SW apps & media srvcs. 2. HI Designer (REQ#5320486) Crft the usr intrfce dsgn for OS X, iOS WtchOS, TVOS, & othr potntial srvces & featrs. Refer to Req# & mail resume and portfolio/link to portfolio to Apple Inc., ATTN: D.W., 1 Infinite Loop 104-1GM, Cupertino, CA 95014: 1. Designer UX/UI (REQ#5679396) Comncate desgn concpt ideas thrgh sktchs & wirefrmes, using tools such as Sketch, Photoshop, and Keynote.
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october 2020 fresh impo_feb news play 10/13/20 9:21 AM Page 22
FRESH | THE ATHLETIC GOES LONG
NEW YORK NY Subscription-based sports website The Athletic has
a new brand identity system in partnership with the Gretel design studio. The result is fresh positioning, visual strategy, and a campaign that celebrates The Athletic’s commitment to smart long-form sports content in a world of highlights and short-takes. “The sports reporting category often goes wide but not deep and quick recaps and highlights build consistent engagement, but lose the nuance and culture around the game which are the visceral benefits at the heart of The Athletic’s best coverage,” said Daniel Edmundson, Strategy Director at Gretel. “The new identity captures the brand’s sense of care, rigor and optimism as a strategic foundation...” Adds Creative Director Simon Chong:“The Athletic publishes highquality, in-depth writing that creates context around sports news rather than showing endless highlights, and actively engages fans on a deeper level. We wanted that sense of elevation and intelligence to permeate the visual experience of the site just as much as it does the actual content.” In partnership with A2 Type, Gretel created a custom inline font, based on A2’s Regular Slab and the Athletic’s logo itself, which provides the ability to brand any application purely with type. Using the original inline logo as a starting point, the system now integrates the inline throughout the identity to evoke a sense of continuous connection. The color palette adds neutral and nuanced warm grays to the previously monochromatic scheme. A promotional campaign, featuring singular moments from sports history, is appearing across various channels including social, print and OTT. gretelny.com 22 G D U S A
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FRESH | THINKSO GRAPHIC NOVEL TELLS STORY OF FINTECH PIONEER
NEW YORK NY Founded in 1969, Instinet invented electronic stock trading and spent the next half century setting
the pace for innovation in the industry. So when Thinkso was tasked with helping the company commemorate its 50th anniversary, inside-the-box thinking wasn’t going to cut it. The solution is a high-end “coffee table” book that tells the client’s story in an unexpected way: through the emotional and cinematic format of a graphic novel. Since the last 50 years were a period of dramatic change, the events and arc of each decade suggested a specific theme. Thinkso brought in five artists to illustrate each of the company’s five-decades, and the simultaneous rise of financial market technology. Before the artists got to work, Thinkso worked on the book’s core narrative with Instinet’s team, developing a storyboard approach that resembled a screenplay. Pulling from first-person accounts, contemporaneous reporting, and corporate archives, the story integrates people, technology and events that shaped the journey. The artist’s different styles — ranging from documentary and journalistic to playful and abstract – give each chapter a distinct point of view. Then, to tie it all together and underscore the concepts of energy, dynamism and innovation, the team introduced the interactive animated illustrations of Takahiro Kurashima. Featured on the book’s cover, and woven into each of the illustrated chapters, the animations immerse the reader in the action. “Fintech at Fifty” has won several financial communications and corporate print collateral awards, and was distributed to thousands of clients, many of whom attended the firm’s 50th anniversary conference and gala, where the book’s themes and artwork were featured as centerpieces of the events. thinkso.com
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October 2020 Pub Letter-Focus Impo_feb news play 10/13/20 9:05 AM Page 26
SPOTLIG H T O N WO MEN IN CO MMU N ICATIO N S Women In Communications (WIC) is a professional organization at Syracuse University affiliated with the S.I. Newhouse School of Public Communications. Their aim is to bring together and empower young women as they enter the workforce. Through various events and campaigns, WIC strives to create a network of young professionals, ready to take on the communications industry. This November, Ilana Greenberg, GDUSA’s Creative Director, will join their illustrious group of speakers. Here is a look at the 2020 executive team who shared with us an inspirational quote or saying they live by.
NIA SHAW
CHELSEA STERN
DANIELLE SLOVINSKY
CO-PRESIDENT
CO-PRESIDENT
VICE PRESIDENT
S.I. Newhouse School of Public Communications / Class of 2021 Major: Public Relations Minor: Spanish and Psychology
S.I. Newhouse School of Public Communications / Class of 2022 Major: Public Relations Minor: Information Management and Technology
S.I. Newhouse School of Public Communications / Class of 2022 Major: Television, Radio, and Film Minor: Information Management and Technology
“I don’t take my life seriously, but I do take what I do in my life seriously.” – Audrey Hepburn
“The success of every woman should be the inspiration to another. We should raise each other up. Make sure you’re very courageous: be strong, be extremely kind, and above all be humble.” – Serena Williams
JULIA LAWRENCE
REGAN TALLEY
EMILY KARP
CREATIVE DIRECTOR
SECRETARY
EVENTS CHAIR
S.I. Newhouse School of Public Communications / Class of 2021 Major: Graphic Design Dual Minor: Psychology and Information Management and Technology
S.I. Newhouse School of Public Communications / Class of 2021 Major: Public Relations Minor: Finance
S.I. Newhouse School of Public Communications / Class of 2023 Major: Television, Radio, and Film Minor: Information Management and Technology
“There is no perfect fit when you’re looking for the next big thing to do. You have to take opportunities and make an opportunity fit for you, rather than the other way around. The ability to learn is the most important quality a leader can have.” – Sheryl Sandberg
“You can’t use up creativity. The more you use the more you have.” – Maya Angelou
26 G D U S A
“You can waste your lives drawing lines. Or you can live your life crossing them.” – Shonda Rhimes
“Sometimes the best thing you can do is to not think, not wonder, not imagine, and not obsess. Just breathe, and have faith that everything will work out for the best” – Hota Kotb
October 2020 Pub Letter-Focus Impo_feb news play 10/13/20 9:06 AM Page 27
SYDNEY ROSENTHAL PUBLIC RELATIONS CHAIR S.I. Newhouse School of Public Communications Class of 2022 Major: Public Relations/Minor: Sociology “Promise me you’ll always remember: You’re braver than you believe, and stronger than you seem, and smarter than you think.” – A.A Milne
GILLIAN FOLLETT CANDICE BINA
WEBSITE CONTENT COORDINATOR
CO-SOCIAL MEDIA CHAIR
S.I. Newhouse School of Public Communications and ISchool Class of 2022 Dual Major: Newspaper and Online Journalism / Information Management and Technology
S.I. Newhouse School of Public Communications Class of 2022 Major: Television, Radio, and Film Minor: Entrepreneurship and Emerging Enterprises “That quality is what makes women great collaborators; we understand it’s a team effort. Even if it comes from society telling us to be polite.” – Rachel Bloom
“If people are doubting how far you’ll go, go so far that you can’t hear them anymore” – Michelle Ruiz
SOPHIA SODERLUND CO-SOCIAL MEDIA DIRECTOR S.I. Newhouse School of Public Communications and ISchool Class of 2023 Major: Television, Radio, and Film “People change people” – Cory Matthews
SARAH GREEN WEBSITE DESIGN COORDINATOR
CLAIRE MERRILL JUNIOR BOARD COORDINATOR S.I. Newhouse School of Public Communications /Class of 2023 Dual Major: Advertising and Psychology “Learn to be quiet enough to hear the genuine within yourself so that you can hear it in others.” – Marian Wright Edelman
S.I. Newhouse School of Public Communications / Class of 2022 Dual Major: Public Relations, Information Management & Technology “The invariable mark of wisdom is to see the miraculous in the common.” – Ralph Waldo Emerson
THANH HA (JESSICA) TRAN PHOTO CHAIR S.I. Newhouse School of Public Communications Class of 2023 Major: Photojournalism “Not fragile like a flower. Fragile like a bomb” – Ruth Bader Ginsburg
LEARN MORE AT
syracusewic.wixsite.com/suwic FOLLOW WIC ON INSTAGRAM
@cusewic G D U S A 27
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RESPONSIBLE DESIGNERS TO WATCH
DESIGNING FOR GOOD SPONSORED BY DOMTAR
28 G D U S A
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As a complement to our perennial and popular special reports — “People To Watch” (newsworthy creatives) and “Students To Watch” (rising graduates of note) and “Educators To Watch” (influential teachers) — we have added an annual “Responsible Designers To Watch” to the editorial mix. Growing organically out of our longtime “green design” coverage, we are responding to the fact that creative professionals are embracing responsibility writ large in terms of how sustainably they create and produce, yes, but more broadly how, when, why and for whom they work. The common thread: these are creative and thought leaders who use design principles, talents and skills to make the world a better place as they see it. And, in 2020, this is especially meaningful since they are working against the backdrop of a transformational pandemic, a societal reckoning with racial and economic inequality, a bruising national political campaign, a turn toward local and grass roots activity, and a crying need to heal a tearing social fabric. For 57 years, GDUSA has argued that graphic design is a valuable tool for shaping commerce, culture and causes, and should be recognized and rewarded as such. Never has this proposition been as true.
GUS GRANGER BRAND DESIGN AND STRATEGY CONSULTANT, DALLAS TX Gus Granger is a Dallas-based brand design and strategy consultant. For 15 years he ran the agency 70kft, which was acquired in 2018 by Cyxtera, a global data center and cybersecurity company. He went on to serve as their Chief Creative Officer for two years. HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOOD AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL FOR THIS GOAL?
team of Yankees and Southerners, native born and immigrants, contemplating the power of history, symbols and what it means to be from the South. The results of our efforts was revealed to an audience of millions over the course of a couple of weeks (the largest design critique I’ve ever participated in!) which led to tremendous attention, mostly positive, but some negative and threatening. All in all, we provoked important conversations that continue today, and I continue to get notes from people citing the impact our team’s work had on them and the national conversation about Confederate symbols.
Early in my career, I became fixated on what it meant to do things that had true significance. For me, significance goes beyond making money or helping clients sell
GIVEN THE CONFLUENCE OF EVENTS
more widgets. Consider the following thought experiment: at end of your life, what did
AND CHALLENGES WE FACE THIS FALL,
you do that had a true impact on the society, leaving the world better than you found it? That’s what I consider truly significant work. As designers, we are uniquely gifted in making communication and experiences compelling, memorable and impactful. For me, most of my energy has gone into combating racial and religious hatred.
DOES 2020 PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD? I think of how people look back on the turbulence
During my agency days, some of our most rewarding and thought-provoking work was
of the 1960s. I’ve asked many people who came of
for the Dallas Holocaust and Human Rights Museum. Every year, we worked with the
age during that time and they feel like this moment
museum’s team in promoting new exhibits to the community. Each exhibit had a
we are in today is worse. The intensifying effect of
uniquely important and tough lesson on the consequences of when intolerance thrives,
social media combined with the awakening people
whether it was exhibitions of children’s artwork made at the Terezín concentration camp,
are going through in understanding suppressed and
many exhibitions about Anne Frank, or the portrait series of 9/11 first responders.
ugly aspects of US history has made the role of
In the wake of the 2015 racist terrorist attack at Charleston’s Emanuel AME Church,
build understanding through inventive, striking and
designers more important than ever. Our ability to my team was selected by the NPR program, Studio 360, to design a symbol to rep-
thought-provoking creations makes the designer a
resent a modern South beyond the Confederate flag. We spent 6 weeks as a diverse
uniquely essential worker in this period of crisis.
PICTURED OPPOSITE LEFT TO RIGHT: RENEE NELSON, JAMES HARRISON, GUS GRANGER, STEFAN REDDICK, BAILEY PARKERSON, JOSH CARROLL AND DANIEL WALLACE PHOTOGRAPH: SEBRON SNYDER
G D U S A 29
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How to Spot a Trustworthy Brand by Ashley Maydak, Domtar Brand & Creative Manager
Especially in challenging times, trust is a critical factor when developing brand loyalty and making a purchasing decision for the company you work for and the brands you represent. For graphic designers in particular, knowing which brands and products to trust can have a significant positive or negative impact on your reputation. Now more than ever, brands are rushing to regroup and present themselves as a trusted partner; but how do you know which brands are worthy of your trust? Below are five traits to look for when searching for a trustworthy brand:
1. They Keep Their Product Quality Promise Purchasing decisions are based on several factors, including emotion, brand loyalty, relationships…even cost. But no matter why you initially made the purchase, you need to be impressed with the way the product works in order to buy it again and ultimately develop trust with that brand. The first step to establishing trust in any relationship is to keep your promise. You should have the same expectation from the brands you choose to purchase—the product or service should consistently deliver on the communicated product quality promise featured on the packaging or in advertising. 2. The Product Is Consistently Available You can’t trust someone who’s not there for you when you need them, and the brands we choose as partners must be held to the same expectation. Trustworthy brands understand this and make the availability of their product or service a top priority. 3. The Brand Is Accessible Beyond the product being available, the brand itself needs to be accessible. Many brands make themselves available on their terms. Trustworthy brands take their approach to service a few steps further. They make you feel like you can reach out to them easily and get an immediate response, whether it’s to have a conversation or get the critical help you need to get started. 4. The Brand Is invested in YOU Accessibility shouldn’t just stop at social media and call centers (although that’s definitely an important part). Trustworthy brands become a part of the community they serve by cultivating a generous spirit of listening, engaging, helping and investing. You should actually feel like they live in, are a part of and are an advocate for the groups of people that depend on their products every day.
5. They Are Responsible and Purpose Driven Trustworthy brands have a purpose above and beyond selling a product or service. Due to their focus on purpose, these brands treat transparency as more than a corporate buzzword. They go above and beyond—talking about how they deliver just as much as what they deliver; focusing on how they can improve in addition to what they do well. Then, they constantly take meaningful action based on the purpose they communicate. In short, brands that deserve your trust operate on clear principles and are consistent in how they articulate their purpose and values. Trust is a by-product of commitment to quality, excellence and purpose. The Cougar® and Lynx® brands from Domtar Paper have built well-earned reputations as trustworthy brands by harnessing these core traits, earning the trust of printers and designers for generations. With quality and availability that consistently exceed expectations and bring creative visions to life, our paper can be trusted to deliver on every promise we communicate. The wealth of resources available at paper.domtar.com are dedicated to helping you on your journey to create a printed piece on Cougar or Lynx, providing an abundance of sources for inspiration, education and staying up-to-date on the latest trends. Additionally our purpose and dedication to sustainability are built on values that can only enhance your reputation. All of the vast array of options in the Cougar and Lynx lines are sourced from sustainably-managed North American forests where endangered species are protected, workers are provided with fair wages and the rights of Indigenous peoples are respected. Cougar and Lynx papers from Domtar offer you, and the brands you represent, expert craftsmanship, reliability and peace of mind. Your reputation is important. Trust Domtar papers to deliver memorable results with quality and values you can trust.
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2020 | RESPONSIBLE DESIGNERS TO WATCH where I currently serve as Treasurer. In last year’s AIGA Leadership Retreat, I met two amazing women: Ximena Vila Ferral and Reina Castellanos. We had only a brief time together at the retreat, but it planted the seed for the birth of what would become AIGA Unidos. Our goal was simple, to share our heritage with everyone in the world. After Covid hit we reconnected, and within six weeks we had launched AIGA Unidos: a multi-chapter collaboration creating a space to empower and celebrate the lives, work, stories, and needs of creatives with a Latinx and Hispanic cultural heritage. In the six weeks after the launch we had thirteen chapters in our AIGA Unidos family ready to host our first event, Hispanic Heritage Talks (HHT): a series of virtual talks featuring Latinx and Hispanic Creatives from different backgrounds and disciplines. HHT2020 had become a reality thanks to people-power: the time, effort, and common vision of our team, our advisors, our chapters, and our speakers. So how can design change the world? Use design to mobilize people, to give voice to those who could
DIO JENSEN
PHOTO: KATE RAY
DIO JENSEN DESIGN, ATLANTA GA Hi! I’m Dio Jensen, I was born in Peru, and have spent most of my adult life in the US. I am a designer, educator, and illustrator. I guess you could say I had an interesting path that led to my creative career. I graduated with a dual BBA degree in Finance and Accounting, and earned my CPA license shortly thereafter. However, after working as an auditor for a few years at a “big four” accounting company, I realized that was not my calling. And so, after some soul searching, I decided to
not be heard before. We used design to create our AIGA Unidos community, and it all came from one belief, that we deserved to be seen and heard. Each voice, each background gives a new perspective and richness that helps create change in the world. GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES WE FACE THIS FALL, DOES 2020 PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?
study graphic design at Portfolio Center. There I found my passion for packaging, typography, website design, branding, publishing, and so many other creative expressions. At last I felt I was surrounded by what I had been searching for my entire life: a family of creatives! After graduation, I worked at a design studio,
2020 has been quite a year, has it not? But we humans learn to evolve and persevere. It brought the opportunity of connecting, sharing, and working without borders. Technology has made it easier, and
but my freelance work was taking most of my time so I created my own company:
with Covid we are all craving connection more than
Dio Jensen Design. Through my company, I provide services to other studios as
ever. It also brought an urgency for empathy. We are
well as companies big and small. Aside from my business, I am also an instructor
all connected, and if we realize how we influence
at Miami Ad School at Portfolio Center, and I am one of the co-founders and
one another, then we will understand how much
organizers for AIGA Unidos.
power we have within ourselves. Design solves problems, and good can come from the smallest things.
HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOOD AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL FOR THIS GOAL? As a child I was encouraged by my parents to always give back to the community. The feeling runs even stronger now. After graduation, I started volunteering at AIGA Atlanta,
32 G D U S A
A smile can make someone’s day better, leading to hope, leading to a more positive mindset, leading to action. And, human actions change the world.
october2020responsible_Layout 7 10/13/20 8:51 AM Page 33
stories like my own, as well as other black designers and creatives about how they got into the business. Season Two will focus on the different avenues of design: from design agencies to streetwear design to retail design. Sharing these stories helps people learn about possible career paths from successful people who look like them. The second endeavor is a line of posters I designed following the murder of George Floyd. In the midst of the protests that followed, I could not be as active in them as I wanted given my responsibilities as a full-time father and designer. To help make a difference, I did what I do best and designed the Black Lives Matter “Ally” Series of posters that friends, family and Instagram followers could download for free from my website. Design was vital to this project in creating a cool and powerful aesthetic, while communicating succinctly and powerfully when there are so many competing messages. GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES WE FACE THIS FALL, DOES 2020 PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES
CORNELL BEARD
TO DESIGNING FOR GOOD?
ASSOCIATE DESIGNER, 10 THOUSAND DESIGN MINNEAPOLIS MN
I think most designers naturally gravitate toward designing for good. We have the ability to motivate people, express shared experiences or inspire posi-
Cornell Beard is an associate designer at Minneapolis design firm 10 Thousand
tivity through design. This year has been a big pivot
Design where he works on numerous accounts including Target. His creative
point for people in every profession. Despite the strug-
interests span brand development, design, photography and content strategy.
gles, we designers should gain clarity about what our
He is passionate about leadership and mentoring, which is why he co-founded
calling is when designing for good and be moved to
and co-hosts @UnderRepresented, a weekly podcast about design and culture from the Black perspective. His varied experience includes six years of serving in
do it. I’ll always be energized and inspired to design and by design when times are tough.
the US Army, which taught him valuable lessons about leadership, perseverance, organization and the value of working as a team. HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOOD AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL FOR THIS GOAL? There are two endeavors that I undertook during the past year that represent designing for good. The first is the podcast @UnderRepresented, which launched in February. While not a visual design project, its purpose is to promote design as a viable career choice to people of color. As a creative, I find that the best projects come from a collaborative and diverse environment. To create these diverse environments we need to attract more people from all backgrounds and experiences. Season One is about sharing
G D U S A 33
october2020responsible_Layout 7 10/13/20 8:51 AM Page 34
2020 | RESPONSIBLE DESIGNERS TO WATCH part of my nature to seek justice and equality in the world, I’m an Aquarius after all! I am really proud of all the social good work we do as a studio. I’m super proud of the work we did for March for Our Lives. It was a very fast turnaround and we were able to deliver some really powerful work which I think just proves our team's commitment to the message. We also recently finished a full motion design strategy and toolkit for Open Society Foundations. It’s great to know that we had a hand in helping an organization like OSF create impactful stories and share those with the world. GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES WE FACE THIS FALL, DOES 2020 PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD? Yes, of course! We are already seeing designers selfinitiate for change. Our designer/animator, Natalie Hawkins took up the torch and started Design for Black Lives, which is a network connecting designers willing to do pro bono work for black organizations and businesses. We’ve seen lots of work relating to getting out to vote, too. I think these are the most urgent causes of the moment: dismantling systemic
KELLI MILLER CO-FOUNDER, AND/OR, BROOKLYN NY
racism and getting people to vote in the election. Once we get past this election we can take it from there — there certainly is no lack of issues that design can help change. Global warming is a ticking
Kelli Miller is the co-founder of creative studio And/Or, a creative production
time bomb that we need to fix immediately. Chal-
studio known for intelligent humor and bold, systematic design in motion. Their
lenges to this work are in creating materials that
work focuses on branded content, show titles and packaging, and entertainment
affect actual change versus using a social cause as a
campaigns. Kelli has worked in motion design and branding for 15 years with
platform to explore formally. Like, nobody needs a
brands like MTV, Netflix, and Amazon. She is a graduate of Cranbrook Academy of Art and has taught and lectured at the College for Creative Studies, Pratt, NYU, SVA, Yale, and RISD. HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOOD AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL FOR THIS GOAL? I have always been interested in how design can be used for social good. My undergrad program at the College for Creative Studies had a good sense of social responsibility built into the curriculum and I was taught early on that ideas matter and design is a powerful way to connect to people. I’ve been inspired by designers and artists who make work that feels really punk rock and activist driven like the work Gran Fury did for ACT UP in the eighties, the work of the Guerilla Girls and Barbera Kruger. It’s
34 G D U S A
poster, we need solutions. I think designers and studios can work harder to partner with clients who see things that way too. It’s about more than a budget or a cool portfolio piece.
october2020responsible_Layout 7 10/13/20 8:51 AM Page 35
access to support student success and lifelong learning. Accountable for the department’s work, growth, and deliverables, Arturo shows up every day with a drive to exceed expectations. In 2017, the Fort Worth Business Press honored him as a top minority leader in business and the community, based on professional achievements, civic contributions, and philanthropy. HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOOD AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL FOR THIS GOAL? Arturo always wanted to make a difference in the world. He has used his infectious passion for creativity to become involved in community endeavors that create positive social impact and address disparities. A lifelong resident of Fort Worth, Arturo has served on the City’s Human Relations Commission, where, among other things, he was lead designer for the “Mujeres Poderosas” Legacy of Strong Latinas in Fort Worth interactive exhibit; on Fort Worth’s Race and Cultural Task Force, where he recommended a strategy that addresses high school dropout rates through civic engagement to improve college, career, and civic readiness; and as an active founding mem-
ARTURO MARTINEZ
ber of the Historians of Latino Americans (HOLA),
DISTRICT DIRECTOR OF CREATIVE SERVICES TARRANT COUNTY COLLEGE, FORT WORTH TX
archives and raises awareness of Latina and Latino
Arturo Martinez is a culturally connected strategist who brings a rich and diverse
Tarrant County, which researches, documents, contributions to the civil, educational, and cultural history of the county.
experience to conceptualize creative ideas through a passion for design thinking,
GIVEN THE CONFLUENCE OF EVENTS
visual design, and an understanding of emerging social, cultural, and industry
AND CHALLENGES WE FACE THIS FALL,
trends. Since 1998, he has been responsible for creative ideation and execution
DOES 2020 PRESENT ANY SPECIAL
of marketing collateral for a diverse range of organizations, including small business
OPPORTUNITIES, URGENCIES, OBSTACLES
startups, large corporations, and non-profits.
TO DESIGNING FOR GOOD?
Arturo had an immediate impact when he joined Tarrant County College’s
The pandemic changed the working landscape over-
Communications, Public Relations & Marketing Department. TCC is a two-year public institution in Texas with six campuses. The institution provides an affordable education and open access to over 98,000+ students annually. For the past decade, as District Director of Creative Services, Arturo has introduced a customer-
night, and we all had to adjust to a new way of life. The opportunity to design for good lies in maintaining a growth mindset, tapping into our skillset and craft, leveraging creativity to problem solve and challenge boundaries. Creatives have the ability to navigate
centric design approach and a willingness to embrace a culture of collaboration
ambiguity — this, combined with curiosity and bold
across the District.
action, can build a culture of belonging not only in our work but the spaces we occupy. Today, cus-
Tactfully bold, Arturo heads a team of 20+ multidisciplinary designers, guiding
tomers choose brands that share and reflect their
and nurturing artistic work that delivers on business value. He champions brand
values, and the need to design at the speed of culture
strategy, graphic identity, and design standards across multiple touchpoints, helps
will require accelerated digital transformation as
support the college’s strategic communication goals through design-driven solu-
well as leadership that reflects the diversity of the
tions, enhances the college experience and academic environment, and promotes
industry’s workforce. G D U S A 35
october2020responsible_Layout 7 10/13/20 8:52 AM Page 36
2020 | RESPONSIBLE DESIGNERS TO WATCH At Children’s Colorado, we designed our brand guidelines to ease the burden for families under a tremendous amount of stress. Through clear, intuitive communications that reflect our pediatric expertise and express the spirit of childhood, we guide our patients and families through their entire journey — from awareness to engagement to loyalty. We want every point of engagement to lead to another, and we work through multiple channels: web, video, advertising, social media and even physical hospital signage. There are endless opportunities. One of the initiatives that’s meant the most to me is our work in diversity, health equity and inclusion, promoting care that recognizes not only the factors that contribute to discrimination in the healthcare system, but also the differences that make us special, no matter who we are. Our small but mighty team of designers, writers and
KACY LAMB ART DIRECTOR, CHILDREN’S HOSPITAL COLORADO, AURORA CO
videographers makes it all possible, and our marketing director and VP of marketing and communications continually advocate for us to keep developing as a best-in-class creative team. I’m inspired every day by the amazing work my team produces.
I’ve spent most of my career on the client side, working for inhouse creative teams spanning industries from digital marketing to finance to wellness and now
GIVEN THE CONFLUENCE OF EVENTS AND
healthcare. I’m also the mother of two spirited boys who fill my heart with joy.
CHALLENGES WE FACE THIS FALL,
I think I’ve always been community-minded. I serve on the board of a small pre-
DOES 2020 PRESENT ANY SPECIAL
school, where I created a brand identity and suite of materials, and I lead the
OPPORTUNITIES, URGENCIES, OBSTACLES
marketing and creative efforts of my church. So, when I started at Children’s
TO DESIGNING FOR GOOD?
Hospital Colorado in 2012 I knew I’d landed my dream job, connecting my love of children with work that matters.
Yes. Definitely. And wow, what a wild year 2020 has been. We’ve designed dozens of urgent communica-
I’m inspired, motivated and challenged by the people in this organization every
tions on everything from new telehealth options to
day. And I continue to be inspired by our mission: to heal every child, no matter
donning and doffing personal protective equipment.
who they are or what their circumstance. As a designer and marketer, it’s my job to make sure they know where to go if and when they need us. HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOOD AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL FOR THIS GOAL?
As a design team at a pediatric hospital, our most important mandate throughout the pandemic has been to help team members and families navigate many sudden changes in healthcare, but also to reassure families that it’s safe and necessary to get care. Kids can’t wait. Our patients needed us before
I’ve always been energized by helping people, whether it’s through volunteerism, serving
COVID-19 and they need us now ⎯— and we’ll be
at my church, or even just helping a friend create beautiful wedding invitations on a
there for them long after COVID-19 is a thing of
tight budget. I love graphic design’s unique ability to make an impact. Design welcomes
the past.
and invites people in.
36 G D U S A
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Andrew W. Mellon Foundation that were presented at a symposium at the New York Historical Society where Anna Deavere Smith, the artist, author, and educator, performed a new show she wrote in honor of the Foundation’s history. Last year we had the honor of designing the graphics and communications for the Annual Gala for The International Rescue Committee’s “Rescue Dinner” held at the New York Hilton. We created a theme around “Human Beings” where we presented Refugees, Migrants, and Asylum Seekers not as just labels, but as people just like us. We transformed the ballroom at the New York Hilton with large portraits of people and placed small mirrors on each of the tables so that all the guests could see themselves as Human Beings who are all in this together. The Rescue Dinner gala raised over $16 million for the International Rescue Committee.
DAVID LANGTON + JIM KELLER
GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES WE FACE THIS FALL, DOES 2020 PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES
LANGTON CREATIVE GROUP, NEW YORK NY
TO DESIGNING FOR GOOD?
Langton Creative Group is a digital branding firm that designs visual and mes-
In March, we were answering client queries about
saging solutions that start with a strategy that addresses these questions: Who
whether to launch a website during a pandemic or
do you want to be? And, how do you want to be presented to your key audiences?
what to do about communications in progress. For
We call this “Progress by Design” because we believe that the most successful companies make design an integral part of their success and use design as a core driver in making a brand that tells a meaningful story. We specialize in creating communications for clients in legacy nonprofits, financial services, and heath and wellness.
websites we found that now IS the time to launch, we’ve launched four in the last few months. More people are home and are paying more attention to websites and online activity. Our nonprofit clients are pivoting. We designed a brand refresh — one that maintained a strong connection to the existing logo — for The Russell Berrie Foundation where we
HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOOD AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL FOR THIS GOAL?
strengthened the typography and introduced new colors. This coincides with their new Covid 19-related loans and relief. The Mellon Foundation recently
We have always been motivated by designing for the greater good. Two of our proj-
announced a transformation of its strategic direction
ects — the annual report for the AIDS prevention pioneer GMHC and a capital campaign
with a new focus on social justice. This opens up
promotion for an outdoor spiritual center — were featured in the book “Designing for
many opportunities for branding.
the Greater Good” (Harper). We won a Sappi Ideas That Matter grant to support our work for the Love Shouldn’t Hurt campaign, a victim’s abuse awareness program for teens.
We are telling our nonprofit clients that now is the
Doing design projects that matter is part of our DNA. We’ve created many projects for
time to communicate more and to reinforce your
nonprofits including annual reports, marketing and development campaigns, and a
messaging and tell your story to your base as you
comprehensive branding program for communications for Children’s Aid. One project
reach out via online and virtual fundraisers to new
that was particularly rewarding was designing new signage for Children’s Aid where
supporters. The online audience tends to be younger
we examined how a new identity could be adapted for a range of diverse buildings in
so this pushes some of the legacy nonprofits that
Harlem and in the Bronx. We also designed the 50th Anniversary graphics for The
we work with to reexamine their marketing efforts.
G D U S A 37
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2020 | RESPONSIBLE DESIGNERS TO WATCH develop solutions that incorporate not just aesthetics, but also experiences. For example, two recent projects from a Graphic Design for Social and Cultural Contexts course resulted in students creating large-scale popup installations to promote voter engagement in the 2018 midterm elections and student participation in the 2020 Census. My motivation for creating these types of projects is twofold. First, I’m able to help students apply a human-centered design approach to topics that reveal inequities in social and civic structures. Second, I’m able to engage that specific class of 20 or so students in the value of civic participation. I have seen, on multiple occasions, students who initially felt apathetic towards voting change their minds after learning about the process and importance of voting. Within a few weeks, they’ve moved from disengagement to registering and voting in their first election. In my own voter engagement work, I’ve focused on sharing information and stories about voting to inspire civic participation. In 2016 I collaborated with my colleague and then AIGA National Board member, Jenn Visocky O’Grady and the studio of Christine Wisknieski to develop content for the AIGA Get Out
SARAH E. RUTHERFORD
the Vote exhibition, hosted in Cleveland during the
ASSOCIATE PROFESSOR CLEVELAND STATE UNIVERSITY, CLEVELAND OH
Republican National Convention. Another favorite project from 2016 was a collaboration between AIGA
I am an Associate Professor of Design at Cleveland State University. I teach a number of courses across the design curriculum, but I have a special interest in classes that incorporate research practices and social impact design. Informed by my own work with the AIGA Design for Democracy initiative since 2016, I have built a number of student projects centered in voter advocacy and civic engagement.
Design + Community project, which paired local
TELL US HOW AND WHY YOU BECAME INVOLVED IN DESIGNING FOR GOOD, ANY THOUGHTS ON WHY DESIGN IS AN ESPECIALLY EFFECTIVE TOOL FOR THIS GOAL?
Cleveland and Purple Films, the Get Out the Vote designers with organizations that serve underrepresented voters to create customized GOTV posters. GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES WE FACE THIS FALL, DOES 2020 PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?
The university where I teach, Cleveland State, is a public, urban research institution
Educators have an opportunity to expand how our
with an underrepresented student population of about 37% and the second highest
students are prepared to practice design in their
number of Pell Grant recipients in the state. When we work on class projects based
careers. The list of design proficiencies students
on topics that disproportionately affect BIPOC communities, the impact is not hypo-
should possess upon graduation is ever expanding.
thetical. Whether projects deal with educational access, housing or food insecurity,
While ensuring that students are exposed to the full
or civic disenfranchisement, there are students sitting in the classroom whose lived
scope of modes of design, educators should also shift
experiences speak to the issue at hand. It is within that context that I have introduced
our attention to consider the attitude and methods
a number of projects centered on civic and voter engagement.
by which students approach design problems, beyond their creative output. We can build assignments and
In the design classroom, there is an opportunity to tackle civic engagement projects
curricula that allow students to incorporate the
that take a unique process to how such problems are identified and addressed. By
principles of equity and inclusion, anti-racism, and
approaching civic engagement within a design context, students are able to evaluate
social impact in their work.
how systems might be designed to include or exclude people. They’re also able to 38 G D U S A
october2020responsible_Layout 7 10/13/20 8:53 AM Page 39
My career has been focused on building brands for underdogs: sustainable businesses, clean technologies, and eco-initiatives. I've worked for start-up solar companies, large organic food brands, ethanol cooperatives, and non-profit social causes. In recent years, I've focused on monetizing my side projects in order to donate to causes. My clothing brand, Local Gems, raised money to support Feeding South Dakota. And recently, my fictional pro soccer club, Sioux Falls FC (featured on GDUSA) raised funds to help people pay rent during the pandemic. GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES WE FACE THIS FALL, DOES 2020 PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD? In 2020, as the world becomes more and more complex, I foresee consumers responding by trying to simplify their lives — weeding out purchases, brands, and activities that are less important in favor of the few that they feel most connected to. Designers will be drafted in that fight for connection. The work that designers do will come into focus as brands
ANDREW BRYNJULSON THE CREATIVE STUDIO OF ANDREW, PRINCIPAL WEB CONCENTRATE, PARTNER SIOUX FALLS SD
try to improve their products, deliver good experiences, demonstrate value, and differentiate from the competition. The stakes are higher than ever as businesses vie to be part of that select few.
Andrew Brynjulson is an award-winning designer, art director, and brand strategist who has spent over 10 years in the marketing world focused on branding, web, and art direction projects that help worthwhile individuals, organizations, and businesses succeed and grow. HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOOD AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL FOR THIS GOAL? I quickly learned in my career that as designers we have a great power to change minds and move people. However, that power can just as easily be used for good as it can for evil. But good is often harder. So much is playing against you and the odds are not in your favor. First, you're asking people to change when change is uncomfortable. You're usually playing catch-up to established incumbents who you have to beat at their own game because everyone plays by the same rules in the free market. And sorry, there are no merit badges or participation medals. Luckily, I love an underdog.
G D U S A 39
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2020 | RESPONSIBLE DESIGNERS TO WATCH Being recognized as a leader in the graphic design world is a terrific honor for our team. A few of the award-winning campaigns: Come In, We’re Awesome/Designer, Carrie Yocum The goal of this campaign was to raise awareness of the many services and products offered by the library and to encourage customers to visit the library either in person or online. Choose Civility Harford County/ Designer, Stephanie Detorie This campaign’s goal was to launch Choose Civility Harford County, a grassroots, countywide campaign designed to uplift the community by promoting respect, restraint and responsibility.
LESLIE GREENLY SMITH
2020 Winter Reading Program/
MARKETING & COMMUNICATIONS DIRECTOR HARFORD COUNTY PUBLIC LIBRARY, BELCAMP MD
This year’s theme of “We Love to Read a Latte” was
Designer, Stephanie Detorie designed for adults and high school students alike. A special element this year was the inclusion of a
As a recognized innovator and leader among the nation’s public libraries, Harford
Coffee Crawl & Tea Tour Passport program to encour-
County Public Library (HCPL) is a catalyst for change while also nurturing the
age customers to visit our local businesses.
love of reading in the community and narrowing the digital divide. GIVEN THE CONFLUENCE OF EVENTS
For over 74 years, Harford County Public Library (HCPL) has provided our com-
AND CHALLENGES WE FACE THIS FALL,
munity with access to ideas that inform, entertain and inspire. Last year, alone
DOES 2020 PRESENT ANY SPECIAL
the library interacted with its residents more than 6.3 million times — borrowing
OPPORTUNITIES, URGENCIES,
free materials, visiting branches and the website, attending classes and events.
OBSTACLES TO DESIGNING FOR GOOD?
TELL US HOW AND WHY YOU BECAME INVOLVED IN DESIGNING FOR GOOD, ANY THOUGHTS ON WHY DESIGN IS AN ESPECIALLY EFFECTIVE TOOL FOR THIS GOAL?
This is a pivotal time for our Library in so many ways. We are looking at this as a wonderful opportunity to be innovative and think “outside the book”. We are striving to reach our customers in new and unique
HCPL is so much more than just checking out books. We are THE place to read, learn,
ways as we promote existing digital resources as
and discover! The Library amazes and delights, redefining the library experience and
well as brand new offerings like expanded Wi-Fi,
this extends to our graphic design efforts, as well.
virtual programs, curbside services, and take-andmake activities.
Graphic design is truly the great communicator. It speaks to all socio-economic levels, it transcends all languages, and it offers information, comfort, and humor. We utilize
Prior to the pandemic, most of our design elements
creative, on-message, and brand specific graphic design across all of our customer
were print-based and now our design focus is almost
touch points to help our customers learn more about Harford County Public Library
purely web-based. This has been a positive outcome
and the many resources, programs and services we offer.
for our team as it affords us a greater opportunity to reach a wider audience in the community and beyond. Any obstacles such as learning new soft-
PICTURED ABOVE: STEPHANIE DETORIE, GRAPHIC DESIGNER; CARRIE YOCUM, GRAPHIC DESIGNER; LESLIE GREENLY SMITH, DIRECTOR OF MARKETING & COMMUNICATIONS; AND MARY HASTLER, LIBRARY CEO ARE PICTURED ON THE PATIO OF COFFEE COFFEE, A LOCAL BUSINESS AND LIBRARY COMMUNITY PARTNER.
ware and adapting to the use of new platforms were quickly overcome by the dedication and perseverance of our team … who truly believe in the mission of Harford County Public Library … both before the
PHOTOGRAPH: MIDATLANTIC PHOTOGRAPHIC, LLC
40 G D U S A
pandemic and most certainly now.
october2020responsible_Layout 7 10/13/20 8:53 AM Page 41
At Design Museum Everywhere, we recently launched a new exhibition called We Design: People. Practice. Progress. The show brings together creatives from a wide range of backgrounds to examine and celebrate the range of career paths, applications, and impact in design. We Design emphasizes the need for more racial and gender diversity in design and highlights the importance of equity and inclusion in generating ideas. Visitors can explore the stories and careers of creatives working across the design industry. The exhibition is available online at designmuseumeverywhere.org. GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES WE FACE THIS FALL, DOES 2020 PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES
SAM AQUILLANO
TO DESIGNING FOR GOOD?
FOUNDER AND EXECUTIVE DIRECTOR DESIGN MUSEUM EVERYWHERE BOSTON MA/PORTLAND OR
The pandemic has hit museums hard, and we’re certainly not immune to the effects, but our innovative model does allow us to continue thriving online. We’re able to build our audience nationally and
Sam Aquillano is the Founder and Executive Director of Design Museum Everywhere,
internationally — since March, we’ve grown our
an online, nomadic museum with the mission of bringing the transformative
membership to include folks from 44 states and 17
power of design everywhere. Design is universal, so the museum has no permanent
countries. Since we had to pause our traveling exhi-
address — instead, Sam and his team turn the museum inside out, making it
bitions and pop-up events, we brought our We Design
accessible to all across many platforms and locations. Sam is also the host of
exhibition online and launched a weekly podcast
Design is Everywhere, a weekly podcast on the impact of design in our lives.
called Design is Everywhere, where we feature stories of people and organizations using design to reshape
HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOOD
and change the world. We also launched multiple
AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL
youth-focused design education programs to help
FOR THIS GOAL?
parents and teachers teach design to kids both in-person and remotely.
I believe that design can be a force for good and that when done well, it has a significant positive impact on people and the planet. In 2009 I started Design Museum Everywhere, where we’ve redefined what and where a museum is — instead of a single museum location, we’re online, nomadic, and accessible to all. Design is everywhere, so are we. All our work at the museum centers on the fact that design is for everyone, we’re all affected by it, and creativity is core to the human experience, so we all have a stake in design. Design is also collaborative, meaning design is better when we all participate and bring our ideas; in fact, design provides many frameworks for people to work together. And design solves problems; it’s a human-centered process that transports us from where we are to where we want to be.
G D U S A 41
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2020 | RESPONSIBLE DESIGNERS TO WATCH In addition, Aruliden Co-founder and CEO, Rinat Aruh, has brought a responsibly-minded design vision to life with a multi-pronged approach which includes working with schools across the country to expose and teach children to understand the value of design as a problem-solving tool. Similarly, we have partnered with The International Rescue Committee, a global humanitarian aid, relief and development nongovernmental organization to provide pro-bono design services to their affiliated entrepreneurs. GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES WE FACE THIS FALL, DOES 2020 PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD? 2020 has been a year nobody could have ever planned for. Our responses to current challenges will pave the way for creative societal innovation, and critical adaptation in upcoming decades. Aruliden
RINAT ARUH CO-FOUNDER & CEO ARULIDEN, NEW YORK NY
believes that it’s more important now than ever before to engage with mission-fueled objectives, brands, and personalities that value the greater good in one way or another. We all have a civic duty to work with companies, and we choose to harness
Aruliden is an award-winning design agency that specializes in purpose-driven
design as our superpower.
product design, branding, and creative strategy from zero to launch. Headquartered in New York, with offices in San Francisco and Amsterdam, Aruliden works with the world’s greatest visionaries to reimagine industries and create businesses that matter. HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOOD AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL FOR THIS GOAL? Designers are inherent problem solvers. Even though we’re living in a time of more universal empathy, we’re still in urgent need of employing creative solutions to solve broader societal challenges. As creatives, it’s easy to get caught up in the day-to-day and forget an important principle: a designer’s work is typically in service to a larger goal and the greater good. Aruliden’s greater mission and passions are rooted in designing for good, specifically introducing design thinking as a methodology for creative problem-solving. We creative purpose-driven brands and products, spanning industries including technology, wellness, beauty, and consumer goods, and partner with the world’s greatest visionary enterprises — from Google, WHOOP, Supergoop!, and Simba (a purpose-led financial services company built to help immigrants, their families, and their communities thrive.)
PICTURED ABOVE LEFT TO RIGHT: SPENCER BAGLEY, MICHAEL GREENBLATT AND RINAT ARUH
42 G D U S A
In this respect, we will continue to partner with motivated clients and employees who share our values. In particular, given the upcoming 2020 November election, we believe in the importance of political engagement and getting out the vote. Voter education is something that we’re taking seriously. We are rallying our workforce to ensure that everyone is registered, and we’re working on a voter education campaign to get the word out there about deadlines and specific hurdles to voting.
october2020responsible_Layout 7 10/13/20 8:55 AM Page 43
world’s problems. Providing open-ended opportunities for exploration and discovery is at the heart of DCM’s mission. Our designs support this by provoking curiosity rather than presenting answers, and allowing children to engage their imagination and create freely. We often design without relying on words, to ensure that preliterate children can understand and gain inspiration. I foster a hands-on, collaborative culture for the team. Our creative process influences everything from exhibit experiences, audience engagement, traffic flow, inquiry, and philanthropy. We strive to conceive the most imaginative and succinct way to illustrate the brand’s personality, purpose, and impact. Through DCM’s mentorship program, several young creatives have been able to launch their design careers from our unique workplace, while benefiting the Museum with a number of different styles and fresh perspectives. As a graduate of the mentorship program, Rebecca
NANCY ABBOTT SENIOR GRAPHIC DESIGNER DUPAGE CHILDREN’S MUSEUM, NAPERVILLE IL
Bootz has blossomed into an award-winning designer in her own right. As Rebecca’s confidence grows, she continues to take risks that result in unique and beautiful products. Jaime Johnson, our Senior Mar-
DuPage Children’s Museum (DCM) is a nonprofit organization where childhood
keting Manager, is an integral contributor to project
is beautiful and joyful — just like the colors of the rainbow that influence our
management and creative concepts. With a clear
palette and point of view. DCM provides a world where all children can reach their
sense of vision and purpose, she thoughtfully crafts
full, unique learning potential through hands-on play. Nancy Abbott, Senior
language to connect with our various audiences.
Graphic Designer, and our inhouse design team have the unique experience of designing something different every single day. Notes Abbott: “The Museum is like no other place I’ve worked in more than 30 years of design experience. A bad day at your desk can be offset by a walk through our exhibits — to see the children playing, living, and learning in your work.”
GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES WE FACE THIS FALL, DOES 2020 PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?
Peter Exley, AIA President-Elect, and Sharon Exley, both of Architecture is Fun, share: “It may say ‘Graphic Designer’ on Nancy Abbott’s business card; however, ‘visual content driving force’ might be more appropriate. In every collaboration, Nancy is inquisitive, constructive, and a persistent advocate for the layering of
Childhood does not stop for a pandemic. Play is as important as ever! Although DCM had to temporarily shut its doors to visitors, we have a tremendous opportunity to support families in their homes. We
meaning in every detail. This insistence on beauty, clarity, rigor, and truth results
shifted gears from being a destination for play and
in outcomes that are accessible, equitable, inclusive, and relevant.”
learning to being a community support during this challenging time. Design efforts that would have
HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOOD
been focused on experiences in our building went
AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE
digital. We’ve continued to design to inspire children
TOOL FOR THIS GOAL?
and families to play together, to laugh together, and
As a children’s museum, we design to inspire creative and critical thinking in the
to learn together.
youngest members of our community, so that they will be empowered to solve the
PICTURED LEFT TO RIGHT: NANCY ABBOTT, REBECCA BOOTZ, JAIME JOHNSON
G D U S A 43
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2020 | RESPONSIBLE DESIGNERS TO WATCH opportunities only reach small audiences; yet other times, my designs are being viewed by an audience of 100,000 plus, which, even after so many years in this business, is still exciting. If I can contribute my expertise as a small portion of a larger effort, why not? My parents taught me it was important to give back to my community, and fortunately, now I am able to do that through a channel that is close to my heart and reflective of my passion — graphic design. Graphic design is an especially successful tool because of its ability to deliver vast and effective results. The aesthetics and organization of a piece can determine whether the audience views, values and takes action on the intended message. To be taken seriously in a competitive and high-end world, sometimes giving an organization a leg up is necessary. During this especially tumultuous time, there are countless opportunities to contribute to designing for good. GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES WE FACE THIS FALL, DOES 2020 PRESENT ANY SPECIAL
HEATHER BARBIS HB DESIGN, MORRO BAY CA
OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD? Undeniably, 2020 has presented various obstacles
A creative problem-solver, Heather Barbis is the founder and lead creative of HB
for all sectors of our economy in light of the COVID-
Design, a design studio based in Morro Bay CA. Celebrating its 10-year anniversary
19 pandemic. Businesses are tasked with re-inventing
in 2020, HB Design enjoys pushing the boundaries of traditional design to deliver
themselves, municipalities are struggling with budget
unique, dynamic graphic design solutions tailored to client needs. As a modern
shortfalls, and nonprofits are having a difficult time
form of art, graphic design can directly impact thoughts, emotions, perceptions
continuing to operate let alone raise funds. Due to
and more. Creating or elevating a client’s brand and their messaging to deliver
these circumstances, numerous pro bono opportu-
the most effective communication in a way that sets them apart is both fulfilling
nities have presented themselves. Leveraging my
and extremely rewarding. Supported by both a BS in Visual Communications and
knowledge and skills, I have aided in the presentation
a BS Journalism from Ohio University, Heather integrates the design and editing
of innovative messaging that is crucial during this
process for clients while maneuvering challenging projects from concept to completion. Heather’s creative efforts have been recognized through numerous awards and client results over the years. HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOOD AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL FOR THIS GOAL? Contributing to initiatives throughout the Central Coast, I have long supported my community, non-profits, and various organizations. Designing for good often means lending your talents to a meaningful cause for reasons with value higher than any financial gain. Through my gifts and experience, my community is better able to present itself in professional, elegant, and efficient ways, which is important. Sometimes these
44 G D U S A
time. While helping businesses achieve results and growth is vastly rewarding, giving back to worthwhile organizations to help them flourish in difficult times is bar none. It’s hard to beat that feeling.
october2020responsible_Layout 7 10/13/20 8:55 AM Page 45
campaign encouraging people to stay home and read more books helping to flatten the curve of the spread of COVID-19. When I thought about creating bookmarks, I was thinking of what I could design that would speak to people who were locked at home. I wanted to create something that could be useful to people. In a time when everyone re-discovered simple pleasures like baking bread with their family, why not remind them of the importance of reading while raising funds for COVID-19? I spent every night for more than 3 weeks designing and painting bookmarks and set up a website to process the orders. It was an extremely fun and fulfilling project. All proceeds went to the NYC COVID-19 Emergency Funds. GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES WE FACE THIS FALL, DOES 2020 PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD? While this year has been marked by unprecedented challenges for all us, this moment in time paradoxically represents an opportunity for designers and creatives of all types to use their skills and talent to raise awareness. People are always in need of tools to communicate their ideologies and the design com-
GIANMARIA SCHONLIEB CREATIVE DIRECTOR LYFT, SAN FRANCISCO CA
munity should be there to create those tools. I have always felt that something as simple as a poster can transport a message as well as any other vehicle. Now even more than ever, designers can use social media
Gianmaria Schonlieb is a Creative Director at Lyft. With extensive experience in advertising and art direction, he has created campaigns for many iconic brands including Coca-Cola, Dodge, Converse, and Google. Previously he has worked for
as a direct path to the minds and hearts of viewers, amplifying the power of their work. Where there’s an obstacle, design offers a powerful solution.
some of the most awarded advertising agencies such as Wieden+Kennedy Portland and Swedish creative agency, B-Reel. Before Lyft, he was the Creative Director of NYC based furniture start-up, Burrow. HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOOD AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL FOR THIS GOAL? Good creative ideas should do three important things: stay in people’s memory, make people think, and generate an emotion. If you accomplish one, the other two will follow. We are constantly influenced by design. We make decisions based on design choices on a daily basis, so why not use design to bring people around an important cause? Some people raise awareness with a song, movie, or with a piece of art, while creatives do it with design. This year more than ever I was moved to work on creative projects for social causes. On World Book Day 2020, I launched “Bookmarks For Good”, a
G D U S A 45
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2020 | RESPONSIBLE DESIGNERS TO WATCH County Executive called “Oakland Together,” which highlighted the importance of working collaboratively to ensure Oakland County’s future success as the economic engine of Michigan while becoming a more diverse, equitable and inclusive county. When COVID-19 arrived in Oakland County early in March 2020, the “Oakland Together” slogan became the rallying cry for our residents and communities. As part of the pandemic emergency operations communication team, we brought the brand to public health education materials related to the pandemic and the economic recovery reopening toolkits. I’m proudest of the collaboration with multiple departments to stand up an entirely new section of the county’s website dedicated to COVID safety guidelines; CARES Act granting opportunities for businesses, residents, schools and organizations; a COVID case statistics dashboard; and resources for reopening of our economy. Besides the website, my days are filled with creating email education campaigns; informa-
PAM TREMBLE
tional brochures for direct mailing to our 1.2 million residents; small business resources like social dis-
GRAPHIC DESIGN LEAD OAKLAND COUNTY, WATERFORD TWP MI
tancing signage and floor decals; billboards; social
I am the lead graphic designer for executive administration at Oakland County,
I’m especially proud that the #OaklandTogether
Michigan. But graphic design is a relatively new career for me. At age 39, I finally
brand was awarded a 2020 American Inhouse Design
decided what I wanted to be when I grew up and went back to college to get my
Award from GDUSA.
degree in Graphic Communication. Two weeks after graduation the graphic designer in my department retired and I found myself in my dream job as part of the Media and Communications Division. Oakland County, located 30 miles north of Detroit, is the second-most populous county in Michigan. It is one of the wealthiest counties in America and a destina-
media; paid ads and PSAs, just to name a few.
GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES WE FACE THIS FALL, DOES 2020 PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?
tion for the global headquarters of health care, automotive and technology firms.
As we move into the fall the ongoing pandemic and
Residents have access to 17 degree-granting colleges and universities, 485
the economic recovery of our small business com-
institutions of art and culture, nearly 90,000 acres of parkland, 65 miles of trails,
munity is top priority. But we’re also heading into flu
and 1,450 lakes, rivers and streams.
season, so finding ways to reimage existing programs in the new social distancing and virtual world. The past
HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOOD
six months of managing siloed and fragmented com-
AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE
munication across departments in the middle of a
TOOL FOR THIS GOAL?
public health emergency has demonstrated the need
As the lead inhouse designer for a large county government, I am responsible for the visual communication for all departments under the leadership of the County Executive. This includes branding new initiatives, events, and special projects as well as designing day-to-day communication materials.
for a formal public communication strategy at Oakland County. Our small inhouse graphic design and media relations team is expanding to a more unified marketing and communications agency model. I’ve been asked to step into a new role as manager of market-
Working as a public servant in local government, I make a difference in the lives of
ing and creative operations. Fall 2020 promises to
residents every day. But never has that been truer than in the past 6 months working
be filled with new opportunities and challenges that
side-by-side with Public Health and Emergency Operations to keep residents educated
I’m excited to get started on (but first I need a little
about coronavirus safety. Early in 2020 I designed a new branding campaign for the
nap and maybe some more coffee.)
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Another favorite project is Kids Above All. Formerly known as Childserv, Kids Above All has supported thousands of disadvantaged kids across Chicagoland for 125 years. From new name to visual identity to brand behavior — we created a dynamic design that united the entire community — encouraging volunteers to step up, donors to stand up and kids to rise up to reach their full potential. The National Diaper Bank Network, supported by our client Kimberly Clark, had an important message to send: One in three families faces diaper-need every day. But nobody talks about it, so nobody knew about it. We changed this narrative with a bold brand identity, messaging framework and visual system that encouraged people to take a closer look. As a creative brand consultancy, we are uniquely positioned to drive awareness for organizations doing incredible work in communities everywhere. It’s an honor to define the purpose of their work — and
VALERIE AURILIO
to make that work accessible to the people who need it most.
GENERAL MANAGER, LANDOR CHICAGO, CHICAGO IL As General Manager for Landor Chicago, Valerie Aurilio drives collaboration,
GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES WE FACE THIS FALL,
consensus, and innovation in service of big — and meaningfully different —
DOES 2020 PRESENT ANY SPECIAL
ideas. With more than 20 years of design and brand-building experience, she
OPPORTUNITIES, URGENCIES, OBSTACLES
brings a rare mix of creative and strategic savvy for content and experiences that
TO DESIGNING FOR GOOD?
are equally stunning and impactful. A true brand native, she uses a global perspective to build brands as a platform for action — as can be seen in her work
In 2020, there are more opportunities to design for
with the biggest names in consumer goods and corporate identity, including
good than ever before. Children who rely on Kids
Kimberly Clark, Kraft-Heinz, PepsiCo, and Microsoft. She is currently leading
Above All’s group homes and foster care have been
the effort for America 250, an initiative of the America 250 Foundation, to create
impacted by the pandemic. Families who rely on
a rich visual identity rooted in unity and an omnichannel experience activated
the National Diaper Bank Network are struggling
digitally, physically and socially. HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOOD AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL FOR THIS GOAL?
even more to get the products they need. As America 250 approaches, people across our country are more divided than ever. These organizations have a dire need for support. The work we do as a creative studio has the power to give them a voice and generate awareness that leads to meaningful impact.
We became involved in designing for good because, as a studio, we believe that creativity can make a difference. While we do this for our clients every day, we’re also always striving to make a difference in our community, our city and our country. For example, for the America 250 brand, we are executing a multi-year campaign that builds awareness for — and educates America about — the nation’s 250th anniversary in 2026. This means bringing to life a brand that leaves our nation more united, inspired and engaged in 2026 than it is today. We are honored to work alongside the U.S. Semiquincentennial Commission to build a brand that inspires unity — providing a platform to the distinct perspectives that shape our nation.
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2020 | RESPONSIBLE DESIGNERS TO WATCH HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOOD AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL FOR THIS GOAL? My parents dedicated their professional lives to helping others. My mother worked in mental health as a Psychotherapist and teacher for 47 years and my father founded five homes in Oaxaca, Mexico for orphaned and abandoned girls while working to feed hundreds of thousands of homeless people each month in the Bay Area. Exposure to drastically contrasting environments from a young age created an awareness of how a single circumstance can change a person’s world, oftentimes with a Sisyphean effect. Witnessing human devaluation had a great effect and influenced how I approach my work and commitment to my clients. I don’t believe today’s designers can be anything other than citizens who are ready to digest and communicate the needs of society to help create better systems for the future. GIVEN THE CONFLUENCE OF EVENTS
ANNABEL MANGOLD PRINCIPAL, MANGOLD DESIGN, NAPA CA
AND CHALLENGES WE FACE THIS FALL, DOES 2020 PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?
Mangold Design is an award-winning boutique design and brand strategy studio located in Napa, California led by Annabel Mangold. Specialities range from
Our world is on fire, people are sick and the divisions
brand analysis and marketplace enhancement, to visual design for spatial, pack-
among us has never been more center stage. I truly
aging, print and digital media. The firm uses “trend analysis and Warm-Tech
believe 2020 offers an opportunity, albeit at the
ideology to enhance the end user's experience.”
expense of many, for us to reexamine faulty and unjust systems while beginning to heal and bridge
Clientele consists of public health organizations, municipalities, agriculture, and wellness lifestyle companies. Recent clients include: Building Healthy Online Communities, San Francisco AIDS Foundation, National Coalition of STD Directors, Palo Alto Junior Museum & Zoo, Oya Organic Farm, Epigenetics Coach Rajkumari Neogy and Valley Medical Center Foundation to name a few.
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deep polarization and my hope is as many people are invited to the table as possible.
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HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOOD AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL FOR THIS GOAL? Jennifer has always been active at supporting causes that are important to her — women’s rights, justice equality, animal protection and climate change, among others. As a natural extension of her values, she formed partnerships with non-profit and educational institutions across the world dedicated to doing good. She has an affinity for projects that increase awareness of social issues, while promoting solutions and directly impacting people’s lives. GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES WE FACE THIS FALL, DOES 2020 PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD? Design is an effective tool because it touches everyone. It is engrained in every aspect of our lives thus providing a unique opportunity of reaching people in myriad ways through critical messaging that can
JENNIFER BERGAMINI
bring change and make people stop and take notice.
PRINCIPAL, ALAMINI CREATIVE GROUP, NEW YORK NY
them by incorporating creative design elements and
It can take complex and dense subjects and transform sound bites to engage the audience and draw them
Jennifer Bergamini founded Alamini Creative Group (ACG), an integrated creative
into conversation.
agency specializing in branding, website development, and marketing communications, in 1997 — shortly after graduating from Parsons School of Design.
In 2017, India and the United Nations formed a
Under her leadership, ACG combines innovative design, smart marketing strategy
strategic partnership — The India-UN development
and leading-edge technology to develop effective solutions that deliver results to
Partnership Fund — dedicated to supporting sustain-
their wide range of clients.
able development projects across the globe that are owned and led by developing countries. The Fund’s
An award-winning agency, ACG has always had a focus on doing work that matters
ambitious agenda aims to advance the Sustainable
to them and working with organizations doing good. Their clients include edu-
Development Goals (SDGs) with a focus on least
cational and world-class financial institutions including New York University and
developed countries and small island developing
Wolters Kluwer, educational publishers and non-profit organizations and foundations
states. To support the launch of the fund, ACG devel-
including the United Nations and the World Bank. By providing clients with fresh
oped a visually compelling logo and brand identity
creative approaches and strategic solutions to their communications needs and
along with promotional materials, including video
telling their stories in powerful and meaningful ways that connect with audiences,
and event signage, to highlight and draw attention
ACG has established many longstanding partnerships.
to the Fund’s aggressive project development plans. To date, the Fund has already supported 59 projects
The agency has also worked with a range of global projects including, but not
in 48 countries, through a $150 million multi-year
limited to: economic empowerment; women’s rights and empowerment; health-
pledge by the Government of India.
care rights and initiatives such as cancer prevention, awareness campaigns and smoking cessation campaigns; mental health initiatives; climate change; disarmament and conflict prevention; explosive remnants of war awareness; economic effects of global tobacco use through the Tobacconomics Project, at the Chicago Institute of Health Research & Policy.
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2020 | RESPONSIBLE DESIGNERS TO WATCH raise money for Feeding America, a non-profit charity organization that is a network for over 200 food banks. Since May, I’ve taken painting requests from New York to Puerto Rico, and have raised money for thousands of meals for families and individuals in need. I have found design to be an especially useful tool for this project for several reasons. First, I found the act of translating a basic CPG product into a work of fine art to be a powerful social commentary on the absurdity of stockpiling household items when others are in need. I also have found that these paintings allow people to pull a positive memory from this difficult time, and in some cases even commemorate a family member that they have lost to the COVID-19 crisis. GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES WE FACE THIS FALL, DOES 2020 PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD? I absolutely see both opportunity and urgency in designing for good this coming year. Now more than ever, I have observed designers and creatives not only
KELLY O’HALLORAN 10 THOUSAND DESIGN MINNEAPOLIS MN Kelly O’Halloran is a Minneapolis-based graphic designer and artist. She currently works as a senior-level designer at agency 10 Thousand Design, and in her free time has found a passion for illustration, gouache painting and pattern design. HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOOD AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL FOR THIS GOAL? When the stay at home order for COVID-19 began, I found myself with some additional time on my hands and looking for a way to provide support amidst the growing pandemic crisis. When I noticed pantry and household basics like toilet paper getting cleaned out of grocery store shelves due to stockpiling and panic-buying, I had the idea to elevate these unlikely CPG heroes as miniature still-life gouache paintings. I found humor in these run-of-the-mill products reaching an elevated celebrity-like status almost overnight. It only made sense for such high-profile products to be commemorated as pieces of art. I began creating tiny still life art pieces of these unlikely heroes to help
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seeing an opportunity, but feeling an obligation to use their talents as a call to action for social and political change. I believe this has a compounding effect by inspiring individuals to create for their own impact for the greater good. I look forward to seeing what types of change and initiatives arise from our current social and political climate in the year to come.
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| 2020 |
HEALTH + WELLNESS DESIGN AWARDS
Our annual GDUSA Health + Wellness Design Awards™ competition honors graphic excellence in this fast-growing, hugely important, and high-profile segment of the economy. The 2020 winners showcase is the largest and most selective yet, featuring projects and campaigns from leading institutions, design firms, agencies and departments running the gamut from traditional medical and healthcare to healthy lifestyles to the acute public health challenge confronting us today. You can see it all here as well as on our website winners gallery and our October digital edition.
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DESIGN FIRMS AND DEPARTMENTS REPRESENTED Acenda Integrated Health Aegis Dental Network Alright Solutions Amanda Culver Argus Augmedix Baptist Memorial Health Care Barnett Design BexBrands BLVR Bonavita Design LLC Burgopak Ltd Cambridge Public Relations and Creative Marketing Cepheid ChristaMorrone.Design Christiansen Creative Cornett Country Life Vitamins DarbyDarby Creative Designcog Diamond Packaging Dorem Ipsum LLC ECKES design Eight Moon Elevate Healthcare Evolutions by Design Extra Credit Projects 5IVE Franke+Fiorella Garrison Hughes GEICO Hartford Design / Woz Design / Ted Stoik HB Design Helen & Gertrude hgDesign NYC Hyperquake ICON Creative Agency ICON plc Jess Glebe Design Julie Chun Design Lentini Design & Marketing LifeHouse Productions, LLC Lisa Cain Design Little Big Brands LLS Creative Services Mangold Design Marine Lane Marvin
Mattel Barbie Packaging Team McCann Erickson Echo / ProAmpac MDMark360 Microaire Surgical Instruments Miskowski Design MJR Creative Group MU Health Care Nancy Reed Design National Institutes of Health Medical Arts Nominee Design NOMS Health Care Marketing Department Open Door Design Studio (ODDS) Pareto Intelligence Pavone Marketing Group PBD Partners Print Giant, LLLC QNY Creative relyntless, llc Rick Simner Design RLD Creative Ron Kalstein / RKDK Design Round Table Companies RTI International Sizewise Marketing Smith Design Sound Family Medicine Inhouse Marketing Southpaw Projects Southwest Research Institute (SwRI) Ssali Media Group Stony Brook Medicine Test Monki The DuPuis Group The Word & Brown Companies Topco Associates, LLC Truly Creative United States Postal Service / Journey Group United States Postal Service / Studio A Untitled Era uppercase P Very Memorable, Inc. Wallace Church & Co. Warkulwiz Design Associates We The Cool Studio Werremeyer Creative Woz Design Zack Group Zoo Valdes
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Access TCA, Whitinsville MA Client: Legend Biotech Title: Legend Biotech at ASH Exhibit Creative Director: Stephen Ross Designer: Tyler Shaw Photographers: Jamie Padgett, Padgett and Company
Design Firm: Acenda Integrated Health, Glassboro NJ Title: Acenda School Based Mental Health Services Creative Director: Mari Considine Art Director: Cassandra Boyce
Design Firm: Aegis Dental Network, Newtown PA Client: Inside Dentistry Title: The Precarious Balance Designer: Jennifer Barlow Group Publisher, Inside Brands: Valerie Berger Group Brand Director, Inside Brands: Jason Mazda Junior Brand Manager: Shannon Thompson Managing Editor: Kevin Taylor
Design Firm: Alight Solutions, Lincolnshire IL Client: PepsiCo Title: Castlight Launch Video Art Directors: Victoria Cook, Cristine Giannotti Designers: Victoria Cook, Cristine Giannotti Creative Director/Client Lead: Jill Rafkin Programmer: Michael Spencer Writer: Maureen Corrigan Project Manager: Kristin Peacock Production Editor: Randall Van Vynckt
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Design Firm: Alight Solutions, Lincolnshire IL Client: PepsiCo Title: insight eMag | Winter 2020 Art Directors: Victoria Cook, Cristine Giannotti Designers: Victoria Cook, Cristine Giannotti Creative Director/Client Lead: Jill Rafkin Writers: Maureen Corrigan, Ken Mastro Project Manager: Kristin Peacock Production Editor: Randall Van Vynckt
Design Firm: Amanda Culver, Glendale AZ Client: MedMark, LLC Title: Dental Sleep Practice, Fall 2019 Edition Creative Director: Amanda Culver
Design Firm: Argus, Oakland CA Client: Metagenomi Title: Metagenomi Website (metagenomi.com) Creative Director: Jeff Breidenbach Art Director: Jeff Breidenbach Designer: Jeff Breidenbach
Design Firm: Argus, Oakland CA Client: SonALAsense Title: SonALAsense Website (sonalasense.com) Creative Director: Jeff Breidenbach Art Director: Jeff Breidenbach Designer: Jeff Breidenbach
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Augmedix, San Francisco CA Title: Augmedix Website (www.augmedix.com) Designer: Justin Vajko Communication Designers: Lutful Alam Amio, Emon Rahman Enterprise Marketing Manager: Kaila Grafeman
Design Firm: Baptist Memorial Health Care Creative, Memphis TN Client: Baptist Women’s Hospital Title: Pink Attic Logo Art Director: Sandy Olita Barron Designer: Sandy Olita Barron
Design Firm: Barnett Design, Inc., Ramsey NJ Client: The Jewish Home Family Title: ‘We Know’ Advertising Campaign Creative Director: Debbie Barnett Sagurton Art Directors: Jefferson Ramos, Valerie Haymes Designer: Tara Maratea Photographer: Glen Teitell
Design Firm: BexBrands, San Diego CA Title: Liveli CBD Product Packaging Creative Directors: Becky Nelson Dahl, Jeremy Dahl
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Design Firm: BLVR, San Diego CA Title: ISLE Branding and Identity Creative Director: Damin Sterling Designer: Damin Sterling
Design Firm: BLVR, San Diego CA Title: ISLE iSUP Package Design Creative Director: Damin Sterling Designer: Katie Murphy
Design Firm: Bonavita Design LLC, Montclair NJ Client: Wolters Kluwer Title: Wolters Kluwer Healthcare Survey Series: Mending Healthcare, Next Generation Nurses + Nurse Executives Creative Director: Donna Bonavita Designers: Donna Bonavita, Rose Valentine VP, Global Communications + Brand: Ann Joyal, Wolters Kluwer, Health Director, Product Marketing, Nursing Segment: Janet Feeney, Wolters Kluwer, Health Marketing + Content Strategist: Lisa Meyer, Jump Marketing VP, Account Services: Eileen Frain, Jump
Design Firm: Bonavita Design LLC, Montclair NJ Client: Corso DDS, Family Dentistry Title: The No Testing Method for Treatment in Dentistry Creative Director: Donna Bonavita Designer: Donna Bonavita Illustration: Eighteenth Century Engraving
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Burgopak Ltd, London UK Client: Headspace Title: Gifting Wellness With Headspace Creative Director: Dane Whitehurst Art Director: Lucy Parker Designer: Dane Whitehurst Photographer: Timothy Cook
Design Firm: Burgopak Ltd, London UK Client: Hims, Inc. Title: Package Design Creates Male Health Confidence Creative Director: Dane Whitehurst Art Director: Lucy Parker Designer: Dane Whitehurst Photographer: Lucy Parker
Design Firm: Burgopak Ltd, London UK Client: Burgopak Title: Thank You Campaign Creative Director: Dane Whitehurst Art Director: Lucy Parker Designer: Dane Whitehurst Photographer: Lucy Parker Illustrator: Lucy Parker Campaign Designer and Communications: Alethea Price
Design Firm: Cambridge Public Relations and Creative Marketing, Fairfield IA Title: Cambridge Stronger COVID-19 Communications Campaign
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Design Firm: Cepheid, Sunnyvale CA Title: Cepheid’s 2020 Sales Meeting Logo Creative Director: Jared Tipton Art Director: Bijal Patel Designer: Kristin Bialaszewski
Design Firm: Cepheid, Sunnyvale CA Title: Cepheid’s New Corporate Website Creative Director: Jared Tipton Art Director: Bijal Patel Designers: Kristin Bialaszewski, Jeff Nielson
Design Firm: Cepheid, Sunnyvale CA Title: Xpert Xpress SARS-CoV-2 Launch Banner Ads Creative Director: Jared Tipton Art Director: Bijal Patel Designer: Kristin Bialaszewski
Design Firm: ChristaMorrone.Design, Herndon VA Title: WellSpring Holistic Remedy Kit for Arthritis Designer: Christa Morrone Photographer: Christa Morrone Illustrator: Christa Morrone
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Christiansen Creative, Hudson WI Client: The Oral Surgery Center Title: The Oral Surgery Center Branding Creative Director: Tricia Christiansen Designers: Kayla Smith, Abby Hill
Design Firm: Christiansen Creative, Hudson WI Client: Hudson Area Chamber of Commerce Title: #WeHeartHudsonWI Creative Director: Tricia Christiansen Designer: Kayla Smith
Design Firm: Cornett, Lexington KY Client: UK HealthCare Title: We Are Proof Video Series Director of Brand Strategy (UK HealthCare): Geoff Blair VP, Director of Brand Management: Jessica Vincent Associate Creative Director: Jason Majewski Sr. Copywriter: Kathy Martinolich Art Director: John Herskind Sr. Account Planner: Lacy Madden Account Planner: Amy Page Director of Digital & Social: Jason Falls Film Composer: AJ Hochhalter Production: Eye Level Films Post Production: Thoughtfly
Design Firm: Country Life Vitamins, Hauppauge NY Title: Gut Connection Kids Packaging Creative Director: Jessica LaMay Designers: Jessica LaMay, Annmarie Marotto
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Design Firm: DarbyDarby Creative, Pembroke Pines FL Client: Darby Darby Creative Title: Please Don’t Let Me Die Creative Director: Keith Darby Art Director: Keith Darby
Design Firm: Designcog, Plainfield IN Client: Plainfield (IN) Police Department Title: Multivalues Are Multiracial Logo Designer: Tom Renk
Design Firm: Diamond Packaging, Rochester NY Title: Diamond Lockbox™ Certified Child-Resistant (CR) Packaging Creative Directors: Dennis M. Bacchetta, Jill Krzemien Designers: T.C. Pellett (Initial Here Creative Services, Blue Carton), Josh Nordeen, (Dwaiter, Blue and White Cartons) Structural Design: Andy Gauvin
Design Firm: Dorem Ipsum LLC, Cary NC Client: Project Data Sphere Title: Project Data Sphere Brand Development Creative Director: Priya Khatri Designer: Priya Khatri
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: ECKES design, Andover MN Client: Nexus Family Healing Title: Nexus Family Healing Manifesto Video Creative Director: Jodi Eckes Designer: Jodi Eckes Illustrator: Anna Godeassi Motion Designer: Steve Bastyr Copywriter: Jodi Eckes
Design Firm: ECKES design, Andover MN Client: Nexus Family Healing Title: Nexus Family Healing Desk Calendar Creative Director: Jodi Eckes Designer: Jodi Eckes Illustrator: Anna Godeassi
Design Firm: Eight Moon™, Minneapolis MN Client: Park Dental Title: Park Dental COVID-19 Protocols Creative Director: Megan Junius Designer: Emily Wettergren
Design Firm: Elevate Healthcare, Blue Bell PA Title: Welcome To The Jungle Branding Creative Director: Tara Powers Art Director: Paul Wesseman Chief Creative Officer: Barry Schmader
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Design Firm: Elevate Healthcare, Blue Bell PA Client: Joerns Title: The Power To Simplify Care Online Design Creative Director: Tara Powers Art Director: Sarah Ward Creative Director, Copy: Steven Goldstein Copy Supervisor: Mike Thomson
Design Firm: Evolutions by Design, San Francisco CA Client: Lonza Title: Carnipure – Purity You Can Trust Creative Director: Juliana Erickson Designer: Ann Schneider
Design Firm: Extra Credit Projects, Grand Rapids MI Client: Michigan State University College of Human Medicine Title: Holiday Advertising Creative Director: Rob Jackson Art Director: Aaron Sullivan
Design Firm: 5IVE, MINNEAPOLIS MN Client: Blue Cross Blue Shield Minnesota Title: 2019 Social Impact Report Creative Director: Boriana Strzok Art Director: Andi Jordt Designer: Allison Rolinger
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: 5IVE, MINNEAPOLIS MN Client: LifeSource Title: LifeSource Website Creative Director: Boriana Strzok Art Director: Andi Jordt Illustrator: Allison Rolinger Developer: Adam Meyers
Design Firm: Franke+Fiorella, Minneapolis MN Client: Children’s Minnesota Title: Children’s Minnesota Annual Report 2019 Creative Director: Craig Franke Art Director: Todd Monge
Design Firm: Garrison Hughes, Pittsburgh PA Client: UPMC Aging Institute Title: 2019 Annual Report Transforming Aging Art Director: Joe Bukovac
Design Firm: Garrison Hughes, Pittsburgh PA Client: UPMC Title: Koala Café Graphics and Branding Designer: Chris Konopack
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Design Firm: Garrison Hughes, Pittsburgh PA Client: UPMC Title: HVI Advanced Heart Failure Brochure Art Director: Larry Hruska
Design Firm: Garrison Hughes, Pittsburgh PA Client: UPMC and University of Pittsburgh Title: Precision Medicine Brochure Art Director: Larry Hruska
Design Firm: Garrison Hughes, Pittsburgh PA Client: UPMC Children’s Hospital of Pittsburgh Title: Website Design (chp.edu) Digital Designer: Carlo M. Leo
Design Firm: Garrison Hughes, Pittsburgh PA Client: Magee-Womens Research Institute and Foundation Title: Magee Magazine, Spring 2019 Edition Art Director: Tia Kalas
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: GEICO, Chevy Chase MD Title: GEICO COVID Return to Office Campaign Designer: Justin Perkins
Design Firm: Hartford Design / Woz Design / Ted Stoik, Chicago IL Client: Abbott Title: Abbott 2019 Annual Report Creative Directors: Tim Hartford, David Wozniak, Ted Stoik Art Directors: Tim Hartford, David Wozniak, Ted Stoik Designers: Tim Hartford, David Wozniak, Ted Stoik Photographers: Tom Maday, Dan Socie
Design Firm: HB Design, Morro Bay CA Client: Alamo Pintado Equine Medical Center Title: Alamo Pintado Advertising Campaign Designer: Heather Barbis
Design Firm: HB Design, Morro Bay CA Client: Platform Performance, Inc. Title: Platinum Summit Branding Designer: Heather Barbis
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Design Firm: HB Design, Morro Bay CA Client: Equine Amnio Solutions Title: RenoVo Branding Designer: Heather Barbis
Design Firm: HB Design, Morro Bay CA Client: Platform Performance, Inc. Title: Feline Brochure Designer: Heather Barbis
Design Firm: HB Design, Morro Bay CA Client: City of Morro Bay Title: Hero Series Signage Designer: Heather Barbis
Design Firm: Helen & Gertrude, Rochester NY Client: Bausch + Lomb LUMIFY – Redness Reliever Eye Drops Title: An Eye-Catching Launch Campaign Creative Director: Kirsten VandenBout Art Director: MacKenzi Martin Designer: Haley Giangreco Photographer: Margo Tsallagova Illustrator: Shaemus Spencer Copywriters: Deb Bawe, Jill Duff Account Director: Becca Bellush
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: hgDesign NYC, Bronxville NY Client: Columbia University Irving Medical Center, Department of Ophthalmology Title: Applied Genetics: Precision Ophthalmology 2020 Creative Director: Hershell George Art Director: Hershell George Designer: Josette Taylor
Design Firm: hgDesign NYC, Bronxville NY Client: Columbia University Irving Medical Center, Department of Obstetrics and Gynecology Title: Frontline Report: COVID-19 & Women’s Health Creative Director: Hershell George Art Director: Hershell George Designer: Josette Taylor Photographer: Lynn Simpson, MD
Design Firm: Hyperquake, Cincinnati OH Title: Nike Sport Campaign Creative Director: Dan Barczak Designers: Brian Simons, Emily Zalla, Emily Esterle Photographer: Emily Zalla
Design Firm: Hyperquake, Cincinnati OH Title: ‘Stay Strong. Stay Home. Stay Cincinnati’ Public Service Campaign Creative Director: Dan Barczak Art Director: Emily Zalla Designer: Hyperquake Team Photographer: Hyperquake Team Collaborators and Contributors: Big Media Creative, Robbie Reider, Whitney Szabo
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Design Firm: ICON Creative Agency, Pasadena CA Client: Nestlé Health Science Title: BOOST Soothe Amazon A+ Page Creative Director: Dan Castro Art Director: Jennifer Butler Designer: Tawny Coston
Design Firm: ICON Creative Agency, Pasadena CA Client: Nestlé Gerber Title: Gerber Probiotics Amazon A+ Pages Creative Director: Dan Castro Art Director: Jennifer Butler Designer: Tawny Coston Photographer: Tony Prince
Design Firm: ICON Creative Agency, Pasadena CA Client: Nestlé Health Science Title: Nestlé Medical Nutrition Amazon A+ Page Creative Director: Dan Castro Art Director: Jennifer Butler Designer: Tawny Coston
Design Firm: ICON Creative Agency, Pasadena CA Client: Z & O Hemp Title: Z & O Hemp Tea Website Creative Director: Dan Castro Art Director: Jennifer Butler Designers: Jose Hurtado, Sose Ohanjanian Photographer: Tony Prince Illustrator: Jose Hurtado Copywriter: Ildy Fekete
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: ICON Creative Agency, Pasadena CA Client: Bonduelle Fresh Americas Title: Bonduelle Sell Sheets Series Creative Director: Dan Castro Art Director: Jennifer Butler Designers: Yvonne Lee, Doris Jew
Design Firm: ICON plc, Yardley PA Client: Regeneron Title: Regeneron EoE Kids Clinical Trial Study Creative Director: Adam Kondos Designer: Joann Klinkner Senior Project Leader: Angela Englesbe Client: Melissa Cabral
Design Firm: ICON plc, Yardley PA Client: Pfizer Title: Scientific Poster Presented by Pfizer at the IDWeek Annual Meeting Creative Director: Amy O’Connell Product Manager: Kimberly Michalski
Design Firm: Jess Glebe Design, Wyncote PA Client: Red Root & Co. Title: Red Root & Co. Rebrand Designer: Jess Glebe Photographer: The Commoneer (Katie Schmid) Botanical Illustrations: Elwood Madison Printer: Labelworx
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Design Firm: Julie Chun Design, Mill Valley CA Client: UCSF San Francisco - Continuing Medical Education Title: FACES Symposium Brochure Designer: Julie Chun
Design Firm: Lentini Design & Marketing, Inc., Los Angeles CA Client: DSLF Love Research Army Title: Website UI Redesign Creative Director: Hilary Lentini Art Director: Hilary Lentini Designer: Leanna Hanson
Design Firm: LifeHouse Productions, LLC, Wallingford CT Client: Spectrum Awakening Title: Spectrum Awakening, Umbrella-Brand Refresh Creative Director: Dena Matthews Designer: Dena Matthews Photographer: Dena Matthews
Design Firm: Lisa Cain Design, Glenwood IL Client: Organization for Autism Research Title: Hire Autism Job Search Guides Designer: Lisa Cain Program Managers: Naina Chernoff, Amanda Rioux
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Lisa Cain Design, Glenwood IL Client: American Society of Nephrology Title: Kidney News COVID Articles Designer: Lisa Cain Executive Editor: Dawn McCoy
Design Firm: Lisa Cain Design, Glenwood IL Client: Hemp Queenz Title: YouTube Channel Art Art Director: Lisa Cain Designer: Lisa Cain Illustrator: Juan Arevalo
Design Firm: Little Big Brands, NY Client: Hyland’s Title: Hyland’s 4 Kids Package Design Creative Director: Richard Palmer Art Director: LBB Design Team Account Director: Adriene Sakumoto Client Services: Pam Long
Design Firm: LLS Creative Services, Pleasantville NY Client: The Leukemia & Lymphoma Society Title: Caring For Kids And Adolescents With Blood Cancer Art Director: Sharon Mahoney Designers: Jennifer Lieber, Jodie Delohery Writers: Elizabeth Kitlas, Abby Singh Printer: Graphic Management Partners
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Design Firm: Mangold Design, Napa CA Client: Building Healthy Online Communities Title: TakeMeHome.co Creative Director: Annabel Mangold Developer: Christie Wood
Design Firm: Mangold Design, Napa CA Client: Valley Medical Center Foundation Title: COVID-19 Impact Report Creative Director: Annabel Mangold Designer: Annabel Mangold Photographer: Photographer: Artem Nazarov
Design Firm: Mangold Design, Napa CA Client: Building Healthy Online Communities Title: TellYourContacts.org Creative Director: Annabel Mangold Developer: Christie Wood
Design Firm: Marine Lane, New York NY Client: Roots Frozen Title: Roots Frozen Branding and Packaging Creative Director: Hannah Hillier Art Director: Megan Flood Designer: Adrienne Hugh Illustrator: Egle Zvirblyte Animator: Amber Lin Web Designer and Developer: Dan Versalov Project Manager: Anna Visintainer
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Design Firm: Marquis Design, Boston MA Client: Fresenius Medical Care North America Title: 2020 Annual Medical Report Creative Director: Julie Vail Art Director: Taylor Luffman Designer: Taylor Luffman Photographer: Ken Richardson Illustrator: Taylor Luffman Copywriter: Mary Ann Zeman Project Manager: Tracy Swyst
Design Firm: Marvin, Eagan MN Title: COVID-19: Stop the Spread Art Directors: Terese Isaacson, Ben Clymer Illustrators: Terese Isaacson, Ben Clymer
Design Firm: Mattel Barbie Packaging Team, El Segundo CA Client: Mattel, Inc. Title: Barbie Wellness Line VP Packaging: Jamie Dunn Director Barbie Packaging: Suzanna Lakatos Mamager Barbie Packaging: Tyler Russell Designer: Michael Sawina Packaging Engineer: Marissa Laver Copywriter: Tamika Cosen Project Manager: Bianca Serle
Design Firm: McCann Echo, North Hampton NH Client: Evofem Biosciences Title: Phexxi Packaging Creative Directors: Danielle Campion, McCann Echo Art Directors: Packaging: Evelina Trzeciak, McCann Echo Photoshoot: Trish Salge, McCann Echo Designers: Julia Saulenas, McCann Echo Photographers: Christine Blackburne, McCann Echo Digitally Reskinned: Norbert Skowyra, McCann Echo Packaging Solutions: ProAmpac
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Design Firm: MDMark360, Portland ME Client: Angel Wings for Veterans Title: Website Rebuild and Brand Messaging Creative Director: Alexandra Heseltine
Design Firm: MicroAire Surgical Instuments, Charlottesville VA Title: PAL Patient Information Online (www.palpatient.com) Creative Director: Elias Jones Lead Designer/Developer: Sarah Martin
Design Firm: MicroAire Surgical Instuments, Charlottesville VA Title: Carpal/Cubital Tunnel Patient Information Online Creative Director: Elias Jones Lead Designer/Developer: Sarah Martin
Design Firm: Miskowski Design, Hoboken NJ Client: City of Hoboken, New Jersey Title: Heal Hoboken Logo Designer: Justin Miskowski
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Design Firm: MJR Creative Group, Fresno CA Client: Valley Children’s Healthcare Title: 2019 Impact Report Creative Director: Mike Rolph Designer: Bekah Hansen Photographer: Jeff Sherman Illustrator: Nico Dondlinger Editors: Lynn Ashbeck, Mike Rolph
Design Firm: MU Health Care, Columbia MO Title: Bariatrics Campaign Creative Director: Ann Ellebracht Designer: Veronica Burgess Photographer: Justin Kelley
Design Firm: MU Health Care, Columbia MO Title: Neurosciences Referring Provider Booklet Creative Director: Ann Ellebracht Designer: Claudia Johnson Photographer: Justin Kelley
Design Firm: MU Health Care, Columbia MO Title: COVID-19: Q&A Instagram Story Creative Director: Ann Ellebracht Designer: Veronica Burgess
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Design Firm: Nancy Reed Design, Cibolo TX Client: I Care San Antonio Title: 2019 Impact Report Designer: Nancy Reed
Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: First Response to B Virus Creative Director: Martha Blalock Art Director: India Taylor Designer: India Taylor Contributor: Ethan Taylor
Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: Clinical Center Pharmacy Brochure Creative Director: Martha Blalock Designer: Faith Williams
Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: NCATS 2020 Patent Guide Creative Director: Martha Blalock Art Director: Jeffrey Everett Designer: Jeffrey Everett
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: NIH Clinical Center Room Service Menu Creative Director: Martha Blalock Art Director: Jessica Jackson Designer: Jessica Jackson
Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: Cultural Lecture: An Afternoon with Diane Rehm Creative Director: Martha Blalock Art Director: Jessica Jackson Designer: Faith Williams
Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: NICHD SPAN Identity Creative Director: Bonnie Hamalainen Designer: Mariann Seriff
Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: NIDDK Precision Nutrition Infographics Creative Director: Martha Blalock Art Director: Jeffrey Everett Designer: Jeffrey Everett
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Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: NIH Dr. Fauci Appreciation Print Creative Director: Martha Blalock Art Director: Jeffrey Everett Designer: Jeffrey Everett
Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: NIH Take the Stairs Creative Director: Martha Blalock Art Director: Jessica Jackson Designer: Jessica Jackson
Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: Immunohematology & Blood Transfusion Symposium Poster Art Director: Jessica Jackson Designer: Jessica Jackson Illustrator: Ethan Tyler
Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: NIMH Director’s Innovation Speaker Series Art Director: Jessica Jackson Designer: Jessica Jackson
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: NIH COVID-19 Information – Distancing Creative Director: Martha Blalock Art Director: Jeffrey Everett Designer: Jeffrey Everett
Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: NIH COVID-19 Information – Mental Health Creative Director: Martha Blalock Art Director: Jeffrey Everett Designer: Jeffrey Everett
Design Firm: Nominee Design, Oklahoma City OK Client: One Therapy Network Title: One Therapy Network Branding Creative Director: Natalie Kent Designer: Christian Robinson
Design Firm: Nominee Design, Oklahoma City OK Client: Rocket Edibles Title: Rocket Edibles Package and Label Design Creative Director: Natalie Kent Designers: Ryan Fuller, Christian Robinson
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Design Firm: NOMS Healthcare Marketing Department, Sandusky OH Client: NOMS Southwest Orthopaedics Title: Big Dogs Advertisement Creative Director: Lisa Nicolella Photographer: Brittany Chandler Illustrators: Jamie Speer, Lindsey Lemons Copywriter: Lisa Nicolella
Design Firm: Open Door Design Studio (ODDS), Muncie IN Client: United Way of Delaware, Henry, and Randolph Counties Title: Mask Up Designer: Shantanu Suman
Design Firm: Pareto Intelligence, Chicago IL Client: GHG Advisors Title: GHG Advisors Brand Identity Designer: Tammy Allen
Design Firm: Pavone Marketing Group, Harrisburg PA Client: Omnipod Insulin Management System Title: Take That, Diabetes Creative Director: Sean Donahue Associate Art Director: Courtney Polidoro Social Media Designer: Courtney Skinner Copywriters: Sam Renner, Michael Deegan Social Media Strategist: Rachel Schoch
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: PBD Partners, Newton MA Client: Franciscan Children’s Title: Annual Report 2019 - At The Forefront of Change Creative Director: Shannon Beer Art Director: Shannon Beer Designer: Mary Reed
Design Firm: PBD Partners, Newton MA Client: Massachusetts General Hospital Title: COVID-19 Newsletter Creative Director: Shannon Beer Art Director: Shannon Beer Designer: Mary Reed
Design Firm: PrintGiant, LLC, Denver CO Client: Cultivated Synergy Title: Cultivated Synergy Leads Group Logo Designer: Janice S. Stoilas Illustrator: Janice S. Stoilas
Design Firm: QNY Creative, New York NY Client: Pomi Title: Pomi Tomato Cookbook Creative Director: Ezio Burani Art Directors: Ana Camero, Dan King Designers: Camille Ortiz, Rowan Lekatompessij, Rebecca Slee Client: Umberto Marconi
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Design Firm: relyntless, llc, Hartford CIty IN Client: Undertaking The Podcast Title: Undertaking The Podcast Logo Identity Creative Director: Lynette K. Whitesell Designer: Lynette K. Whitesell Clients: Brian Waters, Ryan Ballard
Design Firm: Rick Simner Design, Los Angles CA Title: Help Fight COVID-19 Poster Series Creative Director: Rick Simner Art Director: Rick Simner Designer: Rick Simner Illustrator: Rick Simner
Design Firm: RLD Creative, Elgin IL Client: fiiv Title: fiiv Fitness App Creative Director: Rick Lesser Art Director: Brandon Ribbs Designers: Zack Sikat, Julia Bellinger
Design Firm: RLD Creative, Elgin IL Client: Trail Angel Title: Trail Angel Supplements Creative Director: Rick Lesser Art Director: Phil Brictson Designers: Anthony Ashner, Matthew Holley
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Ron Kalstein / RKDK Design, Southampton PA Client: Einstein Healthcare Network / MossRehab Title: BlueJean Day Fundraiser Poster Art Director: Ron Kalstein Designer: Ron Kalstein Illustrator: Ron Kalstein
Design Firm: Round Table Companies, Deerfield IL Client: The Practice of Self-Management Title: Creative Director: Sunny DiMartino Art Director: Sunny DiMartino Authors: Christopher Forman and Bryan Ungard
Design Firm: RTI International, Research Triangle Park NC Client: Austin Police Department Title: COVID-19 Police Resources Customizable PDF Brochures Designer: Ally Elspas Interactive Designer: Shari Lambert Editor: Abby Czeskleba Research Psychologist, Project Director: Jennifer Rineer Research Analyst: Brian Aagaard
Design Firm: Sizewise Marketing, Lenexa KS Title: NPT3 Support Surface Campaign Designers: Stacy Beltz, Frank Myles Vice President of Marketing: Dan Vogt
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Design Firm: Smith Design, Morristown NJ Client: Henkel North America Title: Dial Antibacterial Hand Soap Creative Director: Glenn Hagen Art Director: Tim Williams Designers: Jamie Basile, Mike Doyle Illustrators: Angel Souto, Jamie Basile Production Artist: Mark Errichetti
Design Firm: Smith Design, Morristown NJ Client: GSK Consumer Health Title: Robitussin Naturals Package Design Creative Director: Glenn Hagen Art Director: Jenna Smith Designer: Mike Doyle Photographer: Ken Kiger Illustrator: Angel Souto
Design Firm: Sound Family Medicine In-house Marketing, Puyallup WA Client: Sound Family Medicine Title: New Patient Guide Creative Director: Rhea DeRama-Parayno Art Director: Stuart Gordon Designer: Stuart Gordon Photographer: Ashley Mowreader Copywriter: Chanel Studebaker
Design Firm: Sound Family Medicine In-house Marketing, Puyallup WA Client: Sound Family Medicine Title: New Logo Animation Creative Director: Rhea DeRama-Parayno Art Director: Stuart Gordon Designer: Stuart Gordon Animation: Gstudio
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Southpaw Projects, LLC, Neenah WI Client: Cronus Fit Title: Cronus Fit Brand Identity Creative Director: Seth Pahmeier Designer: Seth Pahmeier
Design Firm: Southwest Research Institute (SwRI), San Antonio TX Title: COVID-19 Infographics Designer: Jessica Vidal Photographer: Larry Walther Editor: Deb Schmid
Design Firm: Southwest Research Institute (SwRI), San Antonio TX Title: COVID-19 Institute Campus Road Signs Art Director: Jessica Vidal Designers: Todd O. Pruetz, Jessica Vidal, Erin Yurk Writer: Barbara Muller Bowen
Design Firm: Ssali Media Group, Milwaukee WI Client: Medical College of Wisconsin Title: Apprenticeship In Medicine 2019 Summer Program Creative Director: Ebony Ssali Photographers: Jean Mallett, MCW Communications
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Design Firm: Stony Brook Medicine, Office of Communications, East Setauket NY Client: Stony Brook Medicine Title: Mamava Breastfeeding Pod Art Director: Gail M. Swedberg Designer: Gail M. Swedberg Senior Director: Rachel Velocci
Design Firm: Test Monki, The Woodlands TX Client: Everyone By One Pediatric Dentistry Title: Everyone By One Brand Creative Director: Suzy Simmons Designers: Sarah Wright, Gaby Quintana, Justice Crisp
Design Firm: Test Monki, The Woodlands TX Client: Octonuts Title: Octonuts Brand Creative Director: Suzy Simmons Designers: Sarah Wright, Gabby Nguyen Illustrator: Yiwen Lu
Design Firm: Test Monki, The Woodlands TX Client: Tooth + Tusk Dental and Ortho Title: Tooth + Tusk Logo Creative Director: Suzy Simmons Designer: Gaby Quintana
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: The DuPuis Group, Chicago IL Client: ME Bar, LLC Title: Level Bar Packaging Development Creative Director: Lindsay Evans Art Director: Lindsay Evans Designer: Hannah Rebernick
Design Firm: The Word & Brown Companies, Orange CA Client: CHOICE Administrators: CaliforniaChoice Title: California Different 2020 Ad Campaign Creative Director: Modera Inc. Marketing Manager: Rikki Nedelkow Marketing Administrator: Noe Villasenor Executive Vice President: Polly Neves
Design Firm: The Word & Brown Companies, Orange CA Client: Word & Brown General Agency Title: 2020 Word & Brown General Agency Ad Campaign Designer: Hugo Miramontes Senior Copywriter: Alex Strautman Marketing Director: Missy Bynon Sr. Marketing Traffic Administrator: Heather Jung Executive Vice President: Polly Neves
Design Firm: The Word & Brown Companies, Orange CA Client: CHOICE Administrators: CaliforniaChoice Title: CalChoice Website Flyer Series Studio Director: Homer Villegas Marketing Manager: Rikki Nedelkow Marketing Administrator: Noe Villasenor Senior Copywriter: Alex Strautman Executive Vice President: Polly Neves
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Design Firm: The Word & Brown Companies, Orange CA Client: Word & Brown General Agency Title: COVID-19 Postcard and Direct Mail Designer: Hugo Miramontes Senior Copywriter: Alex Strautman Marketing Director: Missy Bynon Sr. Marketing Traffic Administrator: Heather Jung Executive Vice President: Polly Neves
Design Firm: Topco Associates, LLC, Elk Grove Village IL Title: TopCare Lavendar and Lemon Verbena Hand Soaps Creative Director: Brian Carron Art Director: Kara Fleming-Ward Designer: Tamara Silver Production Art: Robin Heiser, George Dunlap
Design Firm: Topco Associates, LLC, Title: TopCare Hand Sanitizers – Pumps and Spray Creative Director: Brian Carron Art Director: Kara FlemingWard Designer: Hedy Wong Production Art: Robin Heiser, George Dunlap
Design Firm: Truly Creative, Petaluma CA Client: Innovia Probiotics Title: Innovia Kids Line, Launch Kit & Web Design Creative Director: Carrie Dufour Designers: Carrie Dufour, Andy Yanchunis, Natalie DeGolia
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Design Firm: United States Postal Service/Journey Group, Largo MD Title: Healing PTSD Creative Director: William J. Gicker (USPS) Art Director: Greg Breeding Designer: Greg Breeding Photographer: Mark Laita Typographer: Greg Breeding
Design Firm: United States Postal Service/Studio A, Largo MD Title: Honoring First Responders Creative Director: William J. Gicker (USPS) Art Director: Antonio Alcala Designers: Antonio Alcala, Ricky Altezer Illustrator: Brian Stauffer
Design Firm: Untitled Era, New York NY Client: Beavet Title: Beavet Hemp Oil Supplement Packaging Series Creative Director: Lisa Champ Designer: Lisa Champ Photographer: Mike Banom
Design Firm: uppercaseP, New York NY Client: Marjorie’s Fund Title: How COVID-19 Affects Diabetes Creative Director: Peter Rossetti Designer: Peter Rossetti
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Design Firm: Very Memorable, Inc., Brooklyn NY Client: Children’s Health Fund Title: Healthy and Ready to Learn: Resource & Training Center Creative Director: Michael Pinto
Design Firm: Wallace Church & Co., New York NY Client: OC Botanicals Title: Hi Tide Logo Design Creative Director: John Bruno Art Director: Jodi Lubrich Designer: Diana Luistro Chief Creative Officer: Stan Church
Design Firm: Wallace Church & Co., New York NY Client: NestlĂŠ Health Science Title: Boost Package Design Creative Director: John Bruno Art Director: John Bruno Designers: Su Kwon, Frank Castaldi Chief Creative Officer: Stan Church
Design Firm: Warkulwiz Design Associates, Merion Station PA Client: Geneos Therapeutics Title: Geneos Brand Identity Creative Director: Robert Warkulwiz Art Director: Robert Warkulwiz Designers: Paige Graff, Emily Zuwiala-Rogers Programmer: Andrew Long
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Design Firm: We The Cool Studio, New York City NY Title: Teddy App Creative Director: Amor Diaz Art Director: Adrian Torres
Design Firm: Werremeyer Creative, St. Louis MO Client: Pivtl Health Solutions Title: Pivtl Health Solutions Branding Creative Director: Steve Hartman Art Director: Cheryl Bonnet Designer: Alison Trullinger Writer: Julie Taylor
Design Firm: Werremeyer Creative, St. Louis MO Client: Barnes-Jewish Hospital + Washington University Title: Curiosus Magazine, Vol. V, Spring 2020 Creative Director: Steve Hartman Art Director: Cheryl Bonnet Photographer: Gregg Goldman Illustrator: Abigail Goh Editor: Anne Makeever
Design Firm: Werremeyer Creative, St. Louis MO Client: The Foundation for Barnes-Jewish Hospital Title: Giving Magazine, Covid-19 Special Issue Creative Director: Steve Hartman Art Director: Alison Trullinger
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Design Firm: Woz Design, Chicago IL Client: LivaNova Title: LivaNova 2019 Year In Review Creative Directors: David Wozniak, Ted Stoik Art Directors: David Wozniak, Ted Stoik Designers: David Wozniak, Ted Stoik
Design Firm: Zack Group LLC, Mt Kisco NY Client: NestlĂŠ Health Science Title: Optifast Post Bariatric Package Design Creative Director: Jeff Zack Art Director: Kate Gang Designer: Zack Group Design Team
Design Firm: Zack Group LLC, Mt Kisco NY Client: MediNatura Title: CBD-13 Package Design Creative Director: Jeff Zack Art Director: Lael Porcelli Designer: Zack Group Design Team
Design Firm: Zoo Valdes, Columbia SC Client: Medical University of South Carolina Shawn Jenkins Children’s Hospital Title: Animals of South Carolina Art Installation Creative Director: Marius Valdes Art Director: Marius Valdes Designer: Marius Valdes Illustrator: Marius Valdes
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HIRING FOR 2021? WHAT YOU NEED TO KNOW BY DIANE DOMEYER
From an explosion in online retail to the normalization of remote hiring, the pandemic has permanently changed the business and employment landscape.
● Remote interviews: Many professionals continue to work
from home. If candidates can’t come to the office, hiring managers must (virtually) go to the candidates. Over half (54%) of employers surveyed for the Salary Guide say they’ve carried out remote interviews while 95% feel comfortable conducting a fully remote hiring process.
In our The Creative Group 2021 Salary Guide, we share the latest insights on the surge toward digital, the most sought-after creative skills, and best practices for recruiting and onboarding in the age of social distancing. I’d like to highlight key trends included in the guide that can help you make informed decisions when hiring for your teams. THE REVOLUTION WILL BE DIGITIZED The digital economy has been growing for years, but COVID-19 sent it into hyperdrive. Millions of people are now working from home and relying on the internet for everything from business meetings and skills training to shopping and fitness classes. With many of these changes expected to become permanent, marketing and creative teams are shifting their business models to focus on digital, including improving customer experience and online services and redesigning web and mobile applications.
● A shorter hiring process: Technology is helping to streamline
and speed up recruitment. More interviewers are now using Applicant Tracking Systems (ATS) to access candidate information and give feedback, enabling a more efficient process than in-person discussions and paper-based documentation.
● Remote onboarding: Proper onboarding is always important but especially vital when integrating new hires into a remote
team. Without it, newcomers can easily feel isolated and unsure of their responsibilities. In the absence of in-person contact, new team members are often now introduced by video and paired with a mentor who will guide them during their first few weeks on the job. ● Recruiting remote workers — The shift to remote working means companies are no longer restricted to talent within their geographic area and can look further afield to source
This digital great leap forward is creating new opportunities for
hard-to-find skills. That expands the talent pool significantly.
creative and marketing firms, as they help their companies craft
For fast access to salary ranges for creative and marketing
fresh campaigns to promote revamped offerings and gain a
roles, customized by location, use the The Creative Group
competitive edge. And to do so in our new work environment,
Salary Calculator.
these teams are using new technologies and tools themselves to collaborate and connect remotely to get the work done.
EXPECT THE UNEXPECTED
SKILLS THAT MAKE A DIFFERENCE
As COVID-19 continues, it’s not surprising that firms remain
Despite economic uncertainty, there is still demand for professionals with creative skills, particularly in sectors like healthcare, technology and education. In 2021, the most sought-after skill areas in design will include:
cautious about taking on new full-time staff. Many managers are adopting a flexible staffing model, hiring interim workers to help with high-priority projects.
● Front-end web development
It’s all about staying nimble. The pandemic reminds us that dis-
● User experience (UX) anduser interface (UI) design
and turns will not only keep you sharp but also give you an edge
● Graphic design
ruption can come out of nowhere, and that improvised solutions
● Video production
over less proactive competitors.
● Instructional design
can quickly become the norm. Being prepared for future twists
CREATIVE WAYS TO HIRE CREATIVES
DIANE DOMEYER is Executive Director
The pressures of a challenging economy have slowed recruitment,
of The Creative Group, a specialized
but smart companies are taking advantage of larger talent pools by breaking down geographic boundaries to snap up top candidates who can improve their online presence and move their business forward. To keep up with the times, hiring managers should consider the following:
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