GDUSA - Graphic Design USA - October 2021 by Graphic Design USA

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GD USA

GD USA GRAPHIC DESIGN USA

AMERICAN WEB DESIGN AWARDS OCTOBER 2021

RESPONSIBLE DESIGNERS TO WATCH SPONSORED BY

DOMTAR COKE GIVES CONSUMERS A HUG SQUAW VALLEY RESORT REBRANDS

www.gdusa.com

PEARLFISHER PUTS MOMS FIRST

OCTOBER 2021

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Irma 298 km/h

Climate change is no accident. That’s why we’re going carbon neutral. Hyundai.com/going-carbon-neutral

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Hurricane in Saint Martin Island, 2017. Photo by Martin Bureau.

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LETTER FROM THE PUBLISHER | A HAPPY CONVERGENCE

This edition of GDUSA features our 21st annual American Web Design Awards showcase of the power of design to enhance online communications and experiences. Selected from more than 2,300 entries, the outstanding work included here has been created by design firms, ad agencies, inhouse departments and more, and encompasses website, microsites, apps, advertising, social media, video and UX/UI Design. The twin worlds of website and digital media design are in a period of ferment and innovation — think new and refined uses of type, colors, dimensionality, interactivity and video integration. But I have learned to approach trendspotting with humility — “a man’s got to know his limitations” says a gender-(and otherwise) insensitive Clint Eastwood in the 1973 cult movie classic Magnum Force — so I defer to the innumerable experts who can dissect the latest tactics of designers and developers, easily found in posts by searching “web design trends.” I will, however, dare one big takeaway. In 2021, we are seeing a confluence of: (1) an GORDON KAYE IS THE PUBLISHER OF GDUSA Comments, suggestions and letters can be sent to gkaye @ gdusa.com.

expansive digital-ﬁrst mentality arising from the crucible of the pandemic (2) the wider availability of richer and more stable tools and technologies (3) a fuller embrace of UX/UI design principles that yield ever more seamless navigation and (4) a rediscovery and renewed emphasis on visual design fundamentals that engage more deeply, communicate more clearly and, in the colloquial, are easy on the eyes. This all adds up to a happy convergence of ability and capability. Leading, I believe, to a new era of more humane, satisfying and useful online experiences based on sound design principles. Our showcase provides many effective examples. HOW, WHY, WHERE AND FOR WHOM This edition also features our annual Responsible Designers To Watch story — aka “designing for good” — which recognizes that creative professionals are taking control and ownership of how, why, where and for whom they work. The common thread in our selection of designers to profile: these are creative and thought leaders who use their design talent and skills to make the world a better place as they see it. “As they see it” is a key phrase for me since the issues and causes these individuals champion cannot be neatly categorized. They run the gamut from traditional non-profit endeavors to personal passions to grassroots community initiatives to the progressive causes that have currently captured the imagination. In 2021, of course, this is all the more meaningful given the backdrop of a transformational pandemic that won’t quit; unprecedented demands for greater diversity, inclusion, equity and climate action; a broadened concept of corporate social responsibility; a polarized and uncompromising political class; and a suffocating social media environment that generates more heat than light. It would be an overstatement to say that our noble though zigzaggy experiment in democracy is in danger. But not too much of an overstatement. And, yes, zigzaggy is a word. Another common thread among those we spotlight today: they share an unshakeable faith that graphic design can be a positive forced to shape commerce, culture and causes since it has the remarkable capacity to facilitate engagement, education, understanding, optimism. It’s a “weird superpower” says one of the cohort. Of course, we all know the truth: designing is not a super power but a blessed talent and a hard-earned discipline. Still, design has real power, and — as in the superhero stories we tell ourselves — that power is manifesting itself in meaningful ways just when we need it most.

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CONTENTS | OCTOBER 2021

8 FRESH Squaw Valley resort rebrands because its the right thing to do; Turner Duckworth updates Campbell’s soup cans for the first time since Warhol era; COLLINS looks back to tough times in small business insurance campaign; San Francisco 49ers draft Latinx artist for Hispanic Heritage Month celebration; Order recreates Brooklyn’s main contribution to civilization; Pearlfisher puts moms first and Beardwood puts fruit first; Weiden+Kennedy performs brand magic for Coca-Cola; and more.

26 RESPONSIBLE DESIGN This special report continues our practice of shining the spotlight on designers who exemplify the values of social responsibility and sustainability. It’s a stunning roundup of people, ﬁrms and organizations motivated to ‘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, a new urgency to climate action, and a political world that can only be called dysfunctional. A special thanks to exclusive sponsor DOMTAR for making this feature possible.

52 WEB DESIGN AWARDS Our 21st annual showcase of the power of design to enhance online communications and experiences. You can view this showcase, selected from more than 2,300 entries, in print, in our digital edition, and on our website. Our one big takeway? We are seeing a happy convergence of more demand, richer tools and technologies, and a more sophisticated appreciation of sound design principles. It’s all leading to a new era of more humane, satisfying and useful online experiences based. The showcase below provides many such examples.

94 COMMENTS Diane Domeyer of Robert Half on the red hot creative job market, the challenges that arise therefrom, and some very informative salary data; and Richard Shear of Invok Brands on a new way to evaluate brand and package design that considers how consumers locate, assess and select categories of projects. GDUSA - Graphic Design USA Volume 58 / No. 5 September/October 2021 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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CMY

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THANK YOU TO DOMTAR Domtar is the exclusive sponsor of GDUSA’s Responsible Designers annual special report. Domtar produces the market’s largest selection of best-in-class uncoated papers. But it’s about more than manufacturing the paper our customers need. It’s also about building partnerships, maintaining a world-class supply chain, innovating and environmental stewardship. Domtar’s Commercial Printing Papers yield superior results for maximum impact. The established Cougar®, Lynx® Opaque Ultra and Husky® Opaque Offset brands are longtrusted by generations of creatives and commercial printers to deliver unmatched performance, consistent quality and outstanding printability time and time again. With options for every project, priority and budget, Domtar papers set the standard for excellence and dependability. This October 2021 edition of GDUSA is printed on Cougar®, a premium paper renowned for it’s rich, velvety feel that ampliﬁes a brand’s passion, personality and purpose. Cougar® gives you the power to transform your best ideas into visually stunning printed pieces with vibrant color, sharp images and consistent press performance. This paper does more than send a message. It consistently delivers — above and beyond, again and again.

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ABOUT THE COVER An avid graphic designer, photographer, and

GD USA GRAPHIC DESIGN USA

Gordon Kaye Publisher

ART + PRODUCTION Ilana Greenberg Creative Director Charlotte Kaye Production Consultant Jay Lewis Jeff Rosenberg Photographer

ADMINISTRATION + READER SERVICES Althea Edwards Circulation + Reader Services Jennifer Hoff Scott Sczcypiorski Internet Services Angelo Abbondante Accounts Manager

superhero aﬁcionado, David Ayllon has worked in the creative industry for 15+ years with clients

EDITORIAL

such as Marriott, Rockstar Games, Todrick Hall,

Gordon Kaye Editor | Print

and RuPaul’s Drag Race winners. He is a 2021 GDUSA Responsible Designer selection. Our special feature on “designing for good” starts on PAGE 26.

Sasha Kaye-Walsh Editor | Website + Social Media Maliya Malik Social Media + Editorial Assistant

FOUNDER Milton L. Kaye (1921-2016)

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FRESH | TURNER DUCKWORTH SERVES REFRESHED CAMPBELL’S LABEL

NEW YORK NY/SAN FRANCISCO CA/LONDON UK. Campbell’s

has made a major update to the design of its flagship soup cans for the first time since Andy Warhol put them on the wall of a gallery in the early 1960s. More than five decades on, the familiar redand-white color palette is still present, but the logo has been updated with a modernized logo scripture, a collaboration between Campbell’s creative team and Turner Duckworth. Turner Duckworth was brought onto the project through a larger creative pitch with Publicis Groupe. According to design director Drew Stocker: “The challenge here was to retain the ‘DNA’ of the original, while contemporizing it for new audiences. The final result, which was developed with typographer Ian Brignell, is ‘less fussy.’” Among other things, the shadow on the script logo has been eliminated and the font, which was originally based on founder Joseph A. Campbell’s signature, slightly changed. “While it’s still a close reference to the original signature, the new script gives us the ability to condense, expand and function in any medium, a nod to the elasticity of condensed soup,” says executive creative director Andy Baron. The word “soup” is in a new font, too, along with a more pronounced C in the fleurs-de-lis and the retention of a slanted “O” in the word soup, both tributes to the lettering from the company’s original labels dating back to the turn of the 20th century. Though the immediate focus was on the packaging itself, Turner Duckworth created a supporting visual identity for agency partners to use, including a food-inspired secondary palette, a friendly illustration style, and the expansion of a typographic voice to further communicate the brand. To celebrate the launch, the company is selling its first ever non-fungible token (NFT) of the new label with proceeds benefiting Feeding America. The collection, titled “AmeriCANa”, were created by street-style artist and illustrator Sophia Chang. turnerduckworth.com

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FRESH | COLLINS CAPTURES SMALL BUSINESS CAN-DO CULTURE

NEW YORK NY . NEXT Insurance, a self-described “digital

insurtech company” with a focus on small businesses, has announced a strategic rebrand inspired by the mission to help entrepreneurs thrive. To better align the brand to its company ethos, NEXT tapped COLLINS to bring to life the mission through a reimagined brand strategy, visual identity, logo, communications and website. “Our vision with the rebrand was to mirror their dedication and inspire the business community we support,” said Daniel Surgeon, Associate Creative Director, NEXT. “We wanted to capture the perspective and sentiment of all small businesses from cleaners to carpenters, to restaurant owners and retailers, with designs and visuals that integrate them into the narrative. We wanted to create a system that radiated optimism.” In light of the impact of COVID-19, the design team looked back to other periods during which people remained optimistic in the face of cultural and economic turmoil — like the Great Depression and the inﬂation and tumult of the 1970s. They came up with a playful, handdrawn style that captures the sincerity, positivity, and gritty can-do ethos of those earlier eras. “We worked to bring to life a new strategy and brand system that would help shift how small businesses see the role of insurance in their lives and show how NEXT can support them to ‘Get Going,’” comments CCO Brian Collins. NEXT worked with creative company BUCK and sound design company Barking Owl to created an animated advertising launch campaign. www.wearecollins.com

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Adobe MAX The Creativity Conference A free virtual event October 26–28

Casey Neistat

Mainstage wit and wisdom.

YouTube Personality, Filmmaker, and Vlogger

You won’t want to miss these inspiring speakers—and more—featured in the mainstage broadcast. Tune in to hear their creative journeys, their sage advice, and some unscripted gems. Learn more at adobe.com/go/maxgdusa

Chloé Zhao Writer, Director, Editor, and Producer

Kenan Thompson Sneaks host, Saturday Night Live star, Executive Producer and Star, Kenan

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FRESH | 49ERS DRAFT LATINX ARTIST

SAN FRANCISCO CA The San Francisco 49ers have just completed a comprehensive campaign to celebrate Latinx Heritage

Month. The celebration includes Latinx fan feature videos, new Spotify playlists with Bay Area Latinx artists, and much more. The NFL franchise’s inhouse marketing and creative team has led much of the effort and, in that spirit, enlisted the help of 49ers employee Emilio Cortez – the catch is, he is ﬁrst and foremost an educator for the 49ers EDU program but is also a talented artist in his spare time. Knowing this and his pride in being Latinx, Emilio was recruited to work directly with the graphic design team to produce artwork for the campaign which will be seen across 49ers platforms all season long. He tells GDUSA: “My main inspiration is the wide array of colors that are seen throughout Latinx art. Growing up I always enjoyed seeing all the vibrant colors and designs that are very prominent not only in my Mexican heritage but throughout the rest of Latinx communities. I wanted to make sure I could represent the Latinx community in a unique way and still connect it back to the game of football. Being able to paint directly on the NFL football gave me the opportunity to showcase Latinx inspired art in a unique way. Although I am an employee in the 49ers EDU department, it feels great to be able to collaborate with the creative and marketing team on fun projects like this. It’s an honor to be able to represent for the Latinx community through my art and the game of Football.” The NFL's theme for the month has been “Por La Cultura” (For the Culture) as teams across the league help amplify the Latinx culture and voices through different programming. www.49ers.com/news/49ers-activation-plan-to-celebrate-latinx-heritage-month

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FRESH | ORDER LETS THE BUILDING DO THE WORK

BROOKLYN NY In line with their enthusiasm for history, design

studio Order embarked on a once-in-a-lifetime project to re-create the brand identity for the revival of Gage & Tollner — an historic 19th-century oyster and chop house that served Brooklyn for 125 years before closing its doors in 2004. Its signiﬁcance to the borough was once equated to what the Statue of Liberty meant to New York Harbor, and a 1930 guidebook heralded the restaurant as “Brooklyn’s main contribution to civilization.” When Gage & Tollner reopened in summer 2021, guests were welcomed into a time machine intended to transport them back to the 19th century. Order delved into the restaurant’s archives, dutifully preserved by the Brooklyn Historical Society and surfaced by restaurant partner St. John Frizell. Comments Hamish Smyth, a founder and partner at Order: “At risk of sounding cliché, Gage & Tollner was one of those projects where you have to ‘let the building do the work’ and get graphic design out of the way. The interior of the space is breathtaking, and the last thing we wanted to do was distract diners with a logo and menus that felt too modern or out of place. For us, that meant diving deep into research, and working with local type designer Jesse Ragan to update and redraw the original logo used in the late 19th century, set in the popular Victorian era typeface, Art Gothic. Think Paris Metro vibes. It’s weird and wonky but, not surprisingly, feels right at home in the ornate Victorian era interior.” order.design

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Apple Inc. has multiple openings for the following in Cupertino, California: Human Interface Designer (REQ#5751478) Cnceive, dsgn & dvlp new typefces, lttrng & icon systms for use in Apple prdcts. Refer REQ# & mail resume to: Apple Inc., ATTN: D.W., 1 Infinite Loop 104-1GM, Cupertino, CA 95014. Apple is an EOE/AA m/f/disability/vets.

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FRESH | BEARDWOOD AND OIKOS GO FRUIT-FORWARD

NEW YORK NY Beardwood&Co and Danone North America’s team

have collaborated to rebrand Oikos blended yogurt so that it better fits with the rest of the line, and more deliberately highlights the ingredients. The initial challenge, notes Julia Beardwood, was that “Oikos Pro and Oikos Triple Zero have a sense of boldness. They’re both black and white brands in an overall white category. And then we had Oikos blended, which was blue, and it just didn’t fit. So we wanted to shake up the category and also bring some unification and boldness to Oikos.” As a result of feedback from consumers, the redesigned packs aim to make consumers hungry by featuring vibrant fruits at the forefront on a background of a yogurt swirl. Explains Beardwood: “When they told us that there was fifty percent more fruit in the product than had been in the blended product before, we knew ‘fruit-forward was definitely part of what we had to do. Then there was also this side of the blended yogurt that’s very thick and creamy, and it’s a product made with love . . . So the product itself is really, really good, and then there’s this proud transparency about how they make it and what goes into it.” Adds Fe Amarante, senior creative director and head of brand design and brand elevation at Danone North America: “I think we all crave authenticity and for brands to drop the bullshit and be straight with us. The photography really heroes the fruit in an unapologetic, front-and-center way. In the CPG world, it’s really refreshing for you to see a product that’s so mindfully created and that has so much substance and texture and fruit that it would be so bold as to give you this experience.” www.beardwood.com 18 G D U S A

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SCHOOL OF DESIGN

admissu@syr.edu 315.443.2769 vpa.syr.edu/cmd2021 @su_commdesign

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FRESH | PEARLFISHER PUTS MOMS FIRST

LONDON UK/NEW YORK NY/SAN FRANCISCO CA. Pearlﬁsher’s

brand and package design for Her.9 — a direct-to-consumer pregnancy nutrition and care brand — aims to reappraise the sector by speaking to a new generation of moms who “seek a closer relationship and transparency with brands to accompany their motherhood journey.” The company is challenging longstanding brands that have largely focused on the physical wellbeing of the baby. Says Partner, Futures & Insight, Sophie Maxwell: “The pregnancy category is stuck in the past, both in how it looks and what it offers. This was an exciting opportunity to approach the category differently and really subvert the limited, synthetic and staged cues where packaging design tends to only focus on the baby or the bump . . . [W]e rooted the brand in putting ‘HER’, the woman and mother-to-be, first and foremost, by creating a package design system and brand world that reflects the emotional needs of moms...” Design Director, Rich Wilson, explains the creative approach: “There is a real sense of duality with the Her.9 brand that represents both mother and baby. The brand identity is an example of how this comes to life, symbolizing the body of a pregnant woman and the shape of the vitamin pills displayed side by side to support the mother’s journey and wellbeing. Responding to the Her.9 team’s desire to keep sustainability front of mind, the understated, apothecary-style, brown glass jars not only protect the contents but can be re-used from the entirely compostable refill pouches while the brand’s product description leaflets are printed on algae paper. The branding is communicated through a subtle brand color palette, inspired by the diversity of different skin tones and is used across print and digital...” Credits include: Jonathan Ford, Founding Partner & Group Creative Director; Mike Branson, Founding Partner & Group Chairman; David Jenkinson, Partner, Design & Experience; Sophie Maxwell, Partner Futures & Insight; Rich Wilson, Design Director; Katherine West, Designer; and Jack Sheehan, Senior Client Manager. www.pearlfisher.com

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FRESH | WEIDEN+KENNEDY GIVES COKE DRINKERS A HUG

ATLANTA GA Coca-Cola’s new global brand philosophy and platform

celebrates “the real magic of humanity.” Dubbed “Real Magic,” the refresh is said to rise from lessons of the pandemic period during which people have pursued harmony and human connection in a virtual and divided world. Comments Chief Marketing Ofﬁcer Manolo Arroyo: “We’re at an inflection point. The last 18 months have disrupted every aspect of life and presented us with a once-in-ageneration choice to go back to a binary, black-and-white way of seeing the world or help make the world a better place. ‘Real Magic’ is about creating a movement to choose a more human way of doing things by embracing our unique perspectives.” The new platform is the ﬁrst for the company since 2016 and encompasses a refreshed visual identity featuring a wraparound “Hug” logo that lifts the curved Coca-Cola trademark on bottle and can labels. Design partners include Wieden+Kennedy London, KnownUnknown and Kenyon Weston, as well as collaboration with many artists, photographers and illustrators to bring the concept alive through the embrace of the Hug logo. “This is the most diverse visual representation of the Coca-Cola brand in our history,” says Rapha Abreu, the beverage company’s Global Vice President of Design. “It is diverse not only in the creatives who helped bring ‘Real Magic’ to life and the people featured in the work, but also in the different photography and illustration styles, colors and treatments used.” First up: a new campaign called “One Coke Away From Each Other” by ad agency BETC London that blends real and virtual worlds, features wellknown gamers, and portrays peace through Coke.

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FRESH | STRUCK REBRANDS SQUAW VALLEY RESORT

SALT LAKE CITY UT Palisades Tahoe has introduced a new name

and logo that honor the resort’s history as a home to freeskiing pioneers, Winter Olympians and cultural icons across more than seven decades. Having considered a change for years, leaders at the resort were ultimately spurred to action in 2020 amid the nationwide push for inclusion and social justice. The new name incorporates ski terrain accessible by the resort’s two base camps, Olympic Valley and Alpine Meadows. After conversations with representatives of the local Washoe Tribe, the resort turned to Salt Lake City UT-based creative agency Struck to lead research, strategy and creative for the rebrand. Struck helped develop a strategy to capture what makes the resort special. “Palisades Tahoe” was eventually identiﬁed as a name that simultaneously honors the venue’s legendary past and looks optimistically towards its future. Once a name was selected, the creative team shaped the brand identity based on the concept “Land of Legends” — an ode to the people, geography and athletes that have contributed to the California region’s rich history. The refresh features an eagle, a symbol vital to the history of the resort and the Washoe people. The scale of the eagle, looking over both valleys, speaks to the legendary nature of the place. Both mountains are represented, but they can also be read as feathers or the waves of Lake Tahoe. Finally, the sweeping nature of the mark speaks to the positive vibes of California surf culture. “It’s contemporary, yet also feels like it has existed for a long time,” says Struck Executive Creative Director Scott Sorenson. “It is timeless. It is a legendary mark for a legendary place.” Adds Tom Feiten, vice president of marketing and business development, Palisades Tahoe: “We knew that making this change was the right thing to do.” Creative credits include: Executive Creative Director Scott Sorenson; Art Directors Michael DeHann and Petar Mijic; Senior Copywriter Parker Dunn; Strategist Lee Banov; and Senior Producer Samantha Browning; and Client Partner Corey Flynn.

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VISIT OUR WEBSITE FOR

DAILY DESIGN NEWS

PEOPLE PROJECTS IDEAS

WWW.GDUSA.COM EVENTS PRODUCTS

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RESPONSIBLE DESIGNERS TO WATCH

DESIGNING FOR GOOD SPONSORED BY DOMTAR As a complement to our perennial and popular special reports — “People To Watch” (newsworthy designers) 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 naturally out of our longtime coverage of “green design,” this pivot recognizes 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 2021, this is especially meaningful since they are working against the backdrop of a transformational pandemic that won’t quit, a reckoning with racial and economic inequality, a political class that cannot find the equanimity to compromise, a new interest by client corporations and institutions in taking public stances, a social media environment that generates more heat than light, and — at bottom — a crying need to heal the fraying social fabric. For nearly six decades, 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 more true.

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How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? Several years ago, I started to really question this notion and oftmentioned phrase that “design can save the world.” I was firmly entrenched as a corporate creative in the Valley and seeking some purpose in my work. I spent some time sitting with this, truly questioning my motivations and what actually brought me joy at work. It became clear to me, having gone through this exercise, that I loved to give back — my time, my knowledge and expertise to people and projects that were challenging the status quo, for the benefit of others. I joined other colleagues at Landor & Fitch who were also seeking this purpose-driven studio practice. We started to have discussions internally about how to fit in pro bono and communityoriented work into our 9-5. Initially we took on some open briefs:

one, in particular for the UN around combatting COVID-19 mis-

CREATIVE DIRECTOR LANDOR & FITCH, SAN FRANCISCO CA

health that came at a critical time.

information which was poignant and imperative design for public

That interest and work garnered more opportunities and folks at

MB (yes, just the letters) is Creative Director at Landor &

Landor & Fitch began to coalesce around bigger themes of sus-

Fitch’s San Francisco studio. She has more than 14 years

tainability and design for inclusion. I joined the Good Squad,

of experience as a senior creative, culturalist and brand

which is the volunteer army of designers, strategists, copywriters

consultant for high profile global brands. In her career,

and account people who devote a percentage of their time to

MB has worked closely with founders and communications

sustainable projects. Fast forward a year and I now sit on the

and marketing executives of some of the most disruptive

Global Innovation Team working towards infusing sustainability

companies, helping to craft their brand strategy and

into every single project through packaging, spaces and experi-

visual identity.

ences, and mentalities (imagery, representation, and behaviors).

Previously, she was the founding designer at OutCast, San

Given the confluence of events and challenges our society now

Francisco, and formed outlier, a creative studio within

faces, does 2021 present any special opportunities, urgencies,

the company, mentoring a diverse team of designers and

obstacles to designing for good?

artists for more a decade. With deep expertise in digitalfirst brands, her clients have included Airbnb, Nest,

The pandemic has truly created space for us to reconsider what we spend our time on and what is meaningful to us. There is

Adobe, Intuit, Facebook, Lyft, HBO, Spotify, Amazon,

a powerful sea-change happening with restorative justice and

Comcast and Cisco.

rethinking historical narratives. This reckoning around race, gen-

MB has worked on end-to-end brand creative, brand systems, social-digital experiences, brand campaigns,

der and colonial attitudes will only bring about greater awareness and understanding — helping us to move forward as a society. In addition, the very real climate consequences that are in play

activations, launches and events for high-tech, digital

around the globe have contributed to a general sense of climate

brands and is well-versed in the unique challenges and

anxiety being felt across borders and generations — driving

opportunities of the space.

urgency for action. All of these cultural shifts are compelling us to account for something bigger, not just the self — to design for the greater good. THAT’S what gets me up in the morning — the sheer potential to truly create change.

G D U SA 27

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Creating Customer Trust With Your Sustainability Design By Nicholas Pearson, Marketing Specialist

ustainability buzzwords surround us as marketers and creatives look to reach consumers that are more environmentally aware than S ever. Consumers care about the environmental impact of products they buy and want to know more about how those products are made and the reputation of the company that makes them. Having an authentic and meaningful sustainability platform is no longer a bonus for companies – it is a must to meet consumer demands. In response, many companies use terms such as ‘ecofriendly,’ ‘sustainable’, ‘green’, ‘carbon-neutral’, ‘environmentally friendly,’ with mixed meanings. Let’s explore the true meaning of these sustainability terms and ways to amplify sustainable messages for your audience and to avoid the pitfalls greenwashing. Speak to What Matters

Consumers welcome clarity. Marketers and creatives can help by choosing a specific claim, defining its benefits and making it clear why the audience should care. Here are some common environmental claims that companies use to advertise their products and services and why they matter: Responsibly Sourced – This is a voluntary commitment by companies

to consider social and environmental factors when managing their supply chain. Environmentally Friendly – The product or actions are doing no

harm to the environment. Environmentally Responsible – The company is doing its best to

minimize any impact it may have on the environment. Cruelty-Free – The creation of a product does not involve any

experimental outcomes on animals. Recycled Product – A product includes content from previously

used material. It was made at least in part from content that was previously recycled. Just because something is made from recycled materials doesn’t mean it is recyclable. Recyclable – The product can go into the recycling bin versus the

landﬁll. It has the potential to be re-processed into a new product. Carbon Neutral – The production of this product leaves a net

neutral effect on greenhouse gas emissions. This may be achieved by actions to reduce or offset these emissions. Emissions may be reduced or offset with hydro, wind, and solar power. These terms may seem general and vague when used without explanation. However, when paired with more details about sourcing, manufacturing processes and the amount of recycled content or types of acceptable recycling, they are valid and meaningful claims. Customers and consumers can often find details on a company’s website to gain a clearer understanding about the products and/or services that are being promoted. Whatever the message, remember that sustainability terms can veer into technical jargon. It is important to share the good works of the business in language that is meaningful and relevant to the audience.

Avoid Greenwashing

Greenwashing is when a business portrays their products or services as environmentally friendly without actions to substantiate these claims. Savvy consumers see through unsupported claims and leaving a feeling of deceit may harm the reputation of an individual business and can damage the overall credibility of sustainable efforts. Here are a few common examples of greenwashing to avoid • Using vague sustainable language, such as ‘all-natural’, ‘100% sustainable’, ‘certified green’, ‘green product.’ While these terms may sound appealing, without more detail, they do not have substance. • Designing with imagery that conveys environmental responsibility even though the product or services were not created with sustainability in mind. • Using logos that look good and may be designed for a specific company but lack credibility or endorsement by a third-party certifying body. • Labeling cost-cutting measures as sustainability efforts. For example, encouraging customers to “go green” by choosing electronic billing over printed bills, which is an effort to reduce costs. Being honest, transparent, and authentic with the audience is key.

Many leaders in the sustainability space communicate well, and it can be helpful to see how those businesses and creatives promote themselves. If you are unsure of where to look, check out the GDUSA list of “Responsible Designers to Watch” or look at companies like Patagonia, REI, HP Inc. and, of course, Domtar. Brushing up on your sustainability know-how will ultimately help you take the message and translate it into relevant terms for your audience.

Interested in more sustainable tips and trends? Subscribe to the Paper Matters Podcast, available on all major platforms and at Paper.Domtar.Com/Paper-Matters-Podcast.

Find us on Facebook, Instagram, Twitter or LinkedIn.

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2021 | RESPONSIBLE DESIGNERS TO WATCH How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? I’ve never been able to separate the causes I care about and the work I do because I believe we have a responsibility to use the privilege and influence we’re given to do good. I’ve been fortunate that I’ve been able to do this across a lot of different issues and campaigns throughout my career. Like writing a song for mental health or creating a new approach to gun violence awareness or, of course, ONE School. I think that, while art and music and film can exist at the extremities of culture, advertising will always be the mainstream. So, when cultural trends and societal issues that were once taboo or fringe start showing up in advertising it sends a message to the world about who we are and what we value as a society. The ability to normalize progressive stances is our greatest tool. So if I’m not trying to do that, I feel like I’m only doing half my job. Given the confluence of events and challenges our society now faces, does 2021 present any special opportunities, urgencies, obstacles to designing for good?

ORIEL DAVIS-LYONS CREATIVE DIRECTOR SPOTIFY, NEW YORK NY

The last year and a half has put an end to the idea that great creative work can’t be done remotely. The big question is will agencies and clients try and impose an old and dated system onto a new and

Once upon a time, I was a chef. But after realizing I much prefer to cook without

changing world? Are we just going to take everything

people screaming at me, I managed to find my way into advertising. A decade

that was toxic about the way we worked and do it

later, I’m a Creative Director who’s worked at Droga5, R/GA and now Spotify.

from home? Or, do we seize this chance to com-

I’m also the founder of ONE School, which is the first, online portfolio school for

pletely reinvent the relationship between creativity

aspiring Black creatives started in partnership with The One Club for Creativity,

and commerce? That possibility is what excites me

the world's leading creative organization for the advertising industry.

most right now and the only thing holding us back are the people with a vested interest in keeping things as they were.

30 G D U S A

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How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? It is essential to design for the good of our community. Period. It is essential for all of us to build and nurture a successful community around us. This design philosophy started at my alma mater Emily Carr University of Art and Design where social consciousness and activism was instilled in everyone. I hold dear every non-profit I’ve had the privilege to support, including the SF-Marin Food Bank, AIDS Legal Referral Panel, YWCA, Glide Memorial Foundation, just to name a few. I understand firsthand, through my own non-profit, the need for fundraising and marketing for these important community organizations to thrive. Design helps tell memorable stories, define and express what organizations stand for, and build momentum that moves people like funders, donors and the community-at-large. At Sköna, I am proud of our initiative Sköna Forward, where our vision is to dedicate 10% of our time to supporting important causes in our community. For more than 7 years, we’ve helped the SF-Marin Food Bank build an authentic brand, a website that con-

ALAN SO EXECUTIVE CREATIVE DIRECTOR SKONA ADVERTISING, SAN FRANCISCO CA

verts, and impactful OOH campaigns that remind the public of the incredible need the Food Bank helps fill. Our ‘Food for All’ campaign expressed how we are all deserving of food, health, and the opportunity to succeed. The campaign expanded over the years

Alan So is the Executive Creative Director of Sköna, a full-service B2B creative

and now ‘Food for All’ is a mantra the San Francisco

agency with offices in San Francisco and Stockholm, Sweden. Our mission is to

Marin Food Bank lives by.

help transform B2B companies into brave brands — brands that stand out, brands that are unabashedly true to who they are, and brands who aren’t afraid

Given the confluence of events and challenges our

to take a stance. In the past few years, Sköna has worked with over 75 technology

society now faces, does 2021 present any special

brands including Snowflake, EMC, and vmware.

opportunities, urgencies, obstacles to designing for good?

Alan has built brands and experiences for impact for more than 20 years. He

Building awareness of the issues facing our commu-

has led, designed and strategized for Silicon valley unicorns, multinational cor-

nity is more important than ever. Design-led thinking

porations, government agencies, and consumer retail, as well as founding the

is aptly positioned to help organizations motivate us

San Francisco-based arts non-profit, Soundwave. Previous to Sköna, Alan has

to do more and do better. In a city of immense wealth

worked with brand and design strategy firm The M-Line, global design consultancy

like San Francisco, 1 in 4 families are still food

frog, iconic graphic design firm Koo Creative (acquired by Cossette) in Vancouver,

insecure. During the pandemic, the need at the SF-

Canada and formed his own studio Alan/So/Studio.

Marin Food Bank doubled. This greater need requires more funding and awareness to support demand. It

Sköna’s creative tenet is to leave your ego at the door. We are a collaborative team where we celebrate the notion that the brightest ideas can come from anyone. We value creative problem solving and dogged curiosity in design thinking and being respective experts in our client partnerships. Through design, we solve

also accelerated organizations’ digital infrastructure, as in-person events ceased and new ways to connect with funders, donors, and participants were needed. These shifts require impactful design to help solve these new challenges organizations face.

business problems and make your audience love you. G D U SA 31

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2021 | RESPONSIBLE DESIGNERS TO WATCH How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? For nearly a decade now I’ve been my own boss and have primarily produced work for resident-led campaigns and charitable organizations. My role within class struggle has been to help create access to complex information. I think of creative ways to break things down for a living. To do so, I use visuals and experimental ways of learning. Outside of my experience and skills with information design as a craft, I’ve grown a rigorous and rich practice which includes, but is not limited to being intentional with the structure of my collaborations; being an active participant in living accountability systems with people; being consistent in taking regular and honest inventories of power dynamics, and so on. Over the years, my work has equipped others to push back against racist and classist policies and practices that displace and dispossess people of their homes. I deeply believe in organizing as a theory of change to address the concerns of poor and workingclass people. Grassroots organizing is the collectivization of individual struggles to strengthen the

JESSICA BELLAMY CO-PRINCIPAL INVESTIGATOR, ROOT CAUSE RESEARCH CENTER JESSICA BELLAMY DESIGN, LOUISVILLE KY

collective political power of the group. No one will champion our problems with as much accuracy and urgency as we can, so we need tools and resources that help us all get on the same page on what’s happened and what is possible.

Internationally recognized data storyteller, experience designer, and data rights advocate, Jessica Bellamy, decolonizes information design, learning experience

Given the confluence of events and challenges our

design, research, and editorial animation in her work. She is an exacting and

society now faces, does 2021 present any special

spiritually whole human, who loves fishing and making things. As a co-founder of the Root Cause Research Center (RCRC), she works alongside and trains tenants

opportunities, urgencies, obstacles to designing for good?

to investigate and build collective power around their community concerns.

There are several new obstacles, some intensified

RCRC equips tenant-led movements with visual and interactive data resources,

urgencies, and a few new opportunities. Logistically

as well as grassroots organizing and research capacity.

meeting with others can be difficult considering the CDC guidelines and the digital divide. Furthermore,

RCRC is currently providing tenant campaigns support in six different counties

so many people are dealing with compounding

in Kentucky, and one in Tennessee. RCRC has launched two training series since

crises — job loss, housing, sickness, or death of a

its founding: 1) the Community Research Incubator & Expo; and 2) the KY Tenants

loved one – and others are still experiencing state

organizing training series. Together, staff and tenants have produced multiple

sanctioned violence from police. During the pandemic

story maps, reports, infographics, editorial videos, and blog posts connecting

and national Uprising for Racial Justice, we’ve seen

tenant struggles with data, to clearly identify root causes, powerholders, and points of intervention within housing systems. In addition to supporting tenant campaigns, RCRC also takes on projects involving radical and liberatory scholarship, planning, and design. Earlier this year, RCRC produced a technician,

a lot of suffering as well as a growth of collective rage and urgency. This combination has made the problems clear but organizing difficult. As new opportunities open up that validate grassroots organizing as a theory of change, this problem is incrementally

heuristic and equitable strategic plan for the Texas Freedom Colonies Project

being addressed on an individual level, which is

3.0 – a social justice initiative happening through Texas A&M University.

something but not near enough, and it does not address root causes.

32 G D U S A

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and organizations who do good around the world. Working alongside these clients, I believe that looking at problems from new angles and coming up with unique ways to accomplish things, no matter how large or small the challenge that we’re trying to solve, pushes us to create with more meaningful impact. Recently, we had the opportunity to develop and publish an online course educating university students about alcohol abuse for Catharsis Productions, a Chicago-based company that produces behavioral programming. “Binge Thinking” needed to challenge stereotypes and cultural attitudes toward alcohol consumption and abuse — a topic prevalent on college campuses – while maintaining a disarming and approachable delivery. With that purpose in mind, we avoided a slick or methodical tone, opting instead for a conversational and down-to-earth approach. The course needed to have elements of fun and lightheartedness while discussing tough topics. To tap into students’ imagination and steer away from stereotypes, photographic cutouts and whimsical hand-drawn doodles helped bring the script and characters to life in a simple and understated way. Because we only reveal our fictional narrator by way of her illustrated hands, the gestural

TRACY WEST

style had an authentic touch of attitude matching

GROUP CREATIVE DIRECTOR 50,000feet, CHICAGO IL/NEW YORK NY

the voice and delivery, making “her” all the more relatable. The interpretive approach felt more engag-

Leading a creative life requires the ability to combine complementary skills

lessons being imparted.

ing and non-disruptive to the critical messages and

drawn from the head and the heart, and Tracy West, 50,000feet’s Group Creative Director, embodies this pursuit. Overseeing creative teams in both Chicago and New York, Tracy works closely with a diverse range of clients and helps to lead the agency’s efforts across every practice and discipline. Her multidisciplinary design expertise includes advertising, brand identity, broadcast, corporate com-

Given the confluence of events and challenges our society now faces, does 2021 present any special opportunities, urgencies, obstacles to designing for good?

munications, environmental systems, retail experience and publication design.

The pandemic accelerated technology development,

She has created award-winning work for major brands including AARP, Abbott,

introducing new ways to work and connect with others.

BMW, Knoll, Mastercard, MINI, Northern Trust, Perkins+Will, Sappi Fine Papers

However, digital acceleration without a focus on

and USG. Tracy has also become an active voice for mentorship and team-building,

accessibility is leaving many at a disadvantage.

helping to support and guide talent in all areas within the organization. In addition,

Digital accessibility — not just usability — is some-

Tracy has served on the board of AIGA Chicago, and she helps to oversee 50,000feet’s work with the Design Museum of Chicago, including management of the agency’s philanthropic efforts. She lives in Chicago with her husband (a fellow creative director) and their exuberant 6-year-old son. How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal?

thing we should all support. Now more than ever, design professionals must balance aesthetic choices with utility to ensure that their work is interpreted and understood by all audiences. We can begin by simply adopting and advocating for a few accessibility design principles set by W3C Web Accessibility Initiative (WAI).

My insatiable curiosity and empathetic disposition draw me to initiatives that aim to address complex social issues. At 50,000feet, we’ve met some pretty incredible people

G D U SA 33

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2021 | RESPONSIBLE DESIGNERS TO WATCH Joe and I moved to Somerville, New Jersey four years ago because it was so diverse and accepting, including when we would film videos in building lobbies and outside — people quickly knew who we were. So, last year, Natalie Pineiro, the executive director of the Downtown Somerville Alliance, asked us if we’d be interested in creating the town’s first Pride celebration online due to the pandemic. When we successfully produced the entire thing in our living room, she hired me and Korn Hynes Advertising to create an outdoor mural featuring queer history and important figures for this year’s Pride month. Because I live two blocks away from the mural — which is still on display — I get to see how all different types of people interact with it: families, kids, even super macho burly dudes will stop to actually read the mural. It’s been a testament to how inclusive this town truly is.” Given the confluence of events and challenges our society now faces, does 2021 present any special opportunities, urgencies, obstacles to designing for good?

DAVID AYLLON ASSOCIATE CREATIVE DIRECTOR KORN HYNES ADVERTISING, MORRISTOWN NJ

With everything being so crazy right now, I often find it difficult to believe anyone could be anything but terrible. However, whenever I complete a project for a social cause it always reminds me there are good people in the world. Whether it’s through their

David Ayllon is the award-winning associate creative director for Korn Hynes

support, positive feedback, or donations, they let

Advertising in Morristown, New Jersey. As an avid graphic designer, photographer,

me know there are people who recognize what’s

and superhero aficionado, Ayllon has worked in the creative industry for 15+

going on, that want to get involved and help.

years with clients such as Marriott, Rockstar Games, Todrick Hall, and RuPaul’s Drag Race winners. Ayllon received his MFA in Graphic Design from Savannah

Of course, these people could at any time donate to

College of Art & Design.

or volunteer with Somerville’s Babs Siperstien PROUD Center or the NILC’s Immigrant Justice Fund, but

How did you become involved in socially responsible communications and why do you

unless its in their face, they often don’t think to.

believe design can be an effective tool for this goal?

Design is this weird superpower that can help remind people to do these things — to think about these

After the 2016 shooting at Pulse, I felt compelled and empowered enough to take

issues. It’s very easy, especially after last year, to

action on my own. So, I created Posters for Pulse, selling prints of drag queens and

feel helpless, but in a very small way particular to

queer performers to donate all profits to the victims’ families.

me and my artistic skills, I can give back.

Then, in 2019, when my husband Joe (a.k.a. Pissi Myles) was asked to cover the first

It may not seem like I’m making a huge impact on

impeachment of Donald Trump, he met DACA students who left a big impression on

the social conversation, but I think my work shows

him. As a drag queen in the Congress building trending on Twitter, we decided to

how influential graphic design can be in drawing

capitalize by creating a tee shirt design with the statement “Grab ‘Em By the Pissi”

people’s eyes to the most important issues we’re

to send donations to the National Immigration Law Center’s Immigrant Justice Fund.

facing. We all have the ability to use our superpowers

Most recently, I sold graphic tee shirts to support the Black Lives Matter movement,

for good.

donating all proceeds to Black transgender people in need. 34 G D U S A

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How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? My involvement in designing for good came from firsthand experience of the impact a nonprofit has on helping others. I realized the magnitude of the role design plays in changing people's lives for the better. Knowing Smile Train’s vision is simple and understandable, I feel my belief in consistent branding is essential to building transparency and trust. People want to align themselves with brands that can really show where their support is going — that they believe the world is changing because of them. I bring that support to life visually, promoting a consistent message through words and visuals. Every year on the first Friday of October, the world celebrates World Smile Day®, a day dedicated to promoting smiles and kind acts. This year, Smile Train is celebrating World Smile Day® by creating a global campaign that will raise awareness about clefts using the thematic “All Smiles Are Beautiful,” which will incorporate cleft-related anti-bullying messaging and the personal experiences of Smile Train’s worldwide cleft community. I am particularly proud of this

DAN CARRIERO CREATIVE DIRECTOR SMILE TRAIN, NEW YORK NY

campaign as it is an opportunity to promote our brand, through various graphic media, truly giving our message global reach. I feel that I am helping to not only raise awareness for clefts and dispel negative stereotypes, but I am also helping to educate and

I am a New York City-based Creative Director with extensive background in leading

share positivity in a time when the world could use

creative vision, ideation, strategy, brand development, and execution for non-

some smiles.

profits. In my current role at Smile Train, I continue to shape the voice of the organization through creative assets –leading the team that is the foundation for

Given the confluence of events and challenges our

our brand worldwide. I have been in the nonprofit sector for over fifteen years and

society now faces, does 2021 present any special

enjoy the challenges of promoting an organization through effective branding and

opportunities, urgencies, obstacles to designing

other outreach initiatives. Smile Train, the world’s largest cleft-focused organization,

for good?

is unique with its sustainable model that empowers local medical professionals

The post-pandemic era has forced the world to rely

globally to treat people with clefts through life-changing surgery and related care,

on technology and digital channels for communica-

including speech therapy, nutritional support, and dental and orthodontic treatment.

tion more heavily now than ever before. By investing

Although Smile Train has a singular focus on sustainable cleft care, promoting

in digital capabilities, you can tell stories that connect

it consistently to account for the many cultural differences across the 70+ countries

with your partners on a more personal level. As an

where we have active programs can be challenging.

organization that was founded by a tech pioneer, Smile Train doesn’t shy away from the technologies of today and tomorrow — we are embracing the use of QR codes, NFT initiatives, and many other digital and social integrations. Through branding and technology, Smile Train boosts trust, builds confidence, and changes the world one smile at a time.

G D U SA 35

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2021 | RESPONSIBLE DESIGNERS TO WATCH began my design career in music and for a long while working in those spaces was mostly about a sense of personal joy from having my work stand for, or in the place of, work created by others. A dialogue between creatives. Joy alone is “good” — if only for a time. Eventually, that target — the feeling of self-content from exercising skills developed over years for other creatives’ work or feeling a sense of pride at my own occasional cleverness when solving a design need for a client — was no longer enough. An increasingly more nuanced understanding of the many inequalities across the human condition have set me on my current trajectory. These are things one might be innately aware of, but only develop a language for over time. As a designer, attempting to make things beautiful or useful or more clear or efficient can be fulfilling, but even more so when that work can help lessen inequities or communicate better pathways to do so. That’s a better “good” for me. Given the confluence of events and challenges our society now faces, does 2021 present any special opportunities, urgencies, obstacles to designing for good?

FRANK WILLIAM MILLER, JR.

Every year, every moment presents special opportu-

DESIGN DIRECTOR MATTER UNLIMITED, NEW YORK NY

a platitude, but there’s no better moment than the

nities, urgencies and obstacles. It probably reads as present to create or at least create space for good to

Frank William Miller, Jr. is the Design Director of New York creative consultancy

happen. I’ve been waiting since the 2000 election for

Matter Unlimited where he applies years of experience in both the corporate and

things to just get better on their own or by someone

entertainment sectors to support clients such as Merck For Mothers, Seth and

else’s hand, and that’s been a special kind of naive.

Lauren Rogen’s Hilarity for Charity, and data.org — organizations committed to building a better world. Over his career, he has served as the Digital Brand Manager and Art Director at NY’s #1 Hip Hop and R&B radio station HOT 97, as an Online Producer for Rockstar Games working on record setting titles such

In that time, we’ve seen recessions, forever wars, Occupy and magnificent wealth hoarding, shrinking of social and civil liberties, disasters man-made and natural, civil protest and unrest and increasingly

as Red Dead Redemption and Grand Theft Auto 5, and as a Marketing Designer

fascist responses to such. As it stands now we’re

for Complex Magazine’s west coast office.

approaching the second year of this pandemic —

Frank also spends his time working on passion projects with music creatives such as A Tribe Called Quest and The Roots, on special projects for apparel brands such as Nike and 10.Deep, for celebrated documentary Summer of Soul, and

there’s no better time than now. Whether that’s 2021, or whether it was 2016, or 2010, or 1965. There will always be new obstacles to deter us, just as

with nonprofits such as University Beyond Bars, through which he’s volunteered

there will be opportunities to meet those challenges.

to teach a graphic design course at the largest state prison in Washington, further-

In a very vast sense, we have to design the world we

ing prisoners’ education.

want, and that includes being thoughtful about the

How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? Designing for “Good” has been a bit of a moving target for me in the 20 plus years I’ve been working as a designer, and even longer that I’ve been creating art at all. I

36 G D U S A

communities we’re fostering, being thoughtful about the governments we form to represent us, and being honest about the justice and opportunity we deny one another while trying to secure that for ourselves.

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How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? I have always thought about what it means to belong and how to contribute to something bigger. For me, the answer was creativity and design. Designers shape the world around us. At our best, we’re not spectators; we’re in the trenches, contributing to the community. It’s why I’m always asking: “Who am I designing for?”, “How can I deliver content to them that will move us forward?” That’s where designing for good comes in. ‘Good’ may have dozens of definitions, but what they all have in common is they’re about what’s positive. Designing with the future in mind, therefore, demands that we strive to imagine ‘good.’ And designing for good challenges us to carefully consider our audience, to come up with a version of ‘good’ that both honors and addresses people’s needs. A recent project I am proud of that speaks to those themes is the visual identity and website ThoughtMatter created for NKG PACE, a world class, one-year, paid training program that offers Black Americans the opportunity to become quality specialists in

JESSIE MCGUIRE

green, or raw and unroasted, coffee. With so few

MANAGING DIRECTOR THOUGHTMATTER, NEW YORK NY

in the US coffee industry, NKG PACE offers them an

Black Americans currently in decision-making jobs entry point that otherwise wouldn’t be there.

Jessie McGuire is the Managing Director at brand design studio ThoughtMatter,

Our goal for the project was to build a sense of

leading a diverse team of artists, writers and strategists to create daring designs

belonging at all levels of the industry through the

and identities for global brands, local communities, art museums and foundations,

design lens of curiosity, openness, and care, cre-

institutions and non-profits. Jessie has been integral in shaping the purpose and

ating a brand identity worthy of the NKG PACE

creative vision of ThoughtMatter, spearheading projects and campaigns that

program’s mission.

reflect the agency’s culture and mission, including a modern redesign of the U.S. Constitution and the For The People docuseries. She has raised awareness and support for socially progressive causes such as March for Our Lives, Girls Write Now and The Joyful Heart Foundation as well as on community-minded efforts for The New-York Historical Society, Downtown Staten Island and The Center for Arts Education.

Given the confluence of events and challenges our society now faces, does 2021 present any special opportunities, urgencies, obstacles to designing for good? The world right now requires all design to be ‘good design’ carried out with purpose and intention. It’s

Jessie holds a BFA in Communications Design and Advertising Art Direction from

the only way to move forward. There’s an urgency to

Pratt Institute and a MPS in Branding from The School of Visual Arts. Before

use our design practice in new ways and ask our-

joining ThoughtMatter, she produced and designed projects for billion-dollar brands owned by Kimberly-Clark, P&G and Colgate Palmolive. In addition, Jessie formerly served as the Advocacy Chair on the board of directors of the New York chapter of AIGA, and is a regular speaker at conferences across NYC.

selves how to design for a world where we care for each other, for our future, for something other than ourselves. Designers have earned a seat at the table. We grow profits, drive growth, create change. So it’s time to cash in. This moment requires courage, resiliency and imagination, and I couldn’t be more excited or up to the task. G D U SA 37

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2021 | RESPONSIBLE DESIGNERS TO WATCH How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? I’ve always been an activist and working on environmental causes but doubled down on this commitment during the Trump presidency after completing the Climate Reality Leadership Corps training with former Vice President Al Gore. Before that, while joining the creative workforce and developing a career in advertising — I started to feel powerless. I got jaded, and stopped showing up for the environment. I saw that capitalism, in the short term, had little to gain by embracing sustainability, and that most CSR initiatives weren’t much more than PR stunts. Through the program, I learned that I had a role to play in incentivizing action, changing consumer habits, and persuading people to care. Design is the communication language of business and the process by which we find creative solutions to business challenges. With 100 companies responsible for 71% of climate change, business needs to change dramatically to solve this crisis. Designers

KATIE KLENCHESKI

are uniquely positioned to find solutions and build

FOUNDER, SMAKK, NEW YORK NY

SMAKK has helped transform brands from problem-

Katie Klencheski is the founder of SMAKK, a branding and growth studio where

consensus behind them. For my part, I’m proud that atic single-use formats to zero-waste packaging with our work for Busy beauty; created plastic-free

she uses her passion, creativity, and experience to help values-led clients build

solutions for Canopy and Otis Dental; and especially

world changing brands. Her mission is to change consumer behavior towards

the work we did for NYC Accelerator — helping

purchasing decisions that are better for people and the planet.

drive change in the city I call home. We’ll also

Katie began her career in advertising working with global brands (Sony, American Express, Cartier and more), but felt a pull to bring that knowledge to companies

continue to push for change with our Mission Plan series where we share our knowledge on sustainability so other brands can adopt solutions for the future.

and organizations working to make a world that is more sustainable, thoughtful, and socially conscious.

Given the confluence of events and challenges our society now faces, does 2021 present any special

At SMAKK, she’s built a team that uses their expertise as a force for good. They

opportunities, urgencies, obstacles to designing

work closely with their clients to craft cohesive, meaningful brands that disrupt

for good?

categories, differentiate products, and build consumer loyalty. Leveraging beautiful creative and technology, the team creates holistic brand experiences that drive multi-channel growth. SMAKK gives brands the strategy and tools to compete with giants.

I think that there is certainly a turning point right now with everyone talking about sustainability. In fact, brands that market themselves as sustainable are actually leading category growth. The danger is that

Since 2011, SMAKK has grown into a 17-person agency with a focus on branding

this can be taken advantage of — marketing a brand

and growth tactics including campaign and content development, ecommerce,

as sustainable and being sustainable are two differ-

social media, marketing, and digital experiences. Serving a wide range of consumer facing brands in beauty, fashion, wellness, lifestyle, as well as benefit corps, nonprofits, and city-led initiatives, their clients include: Harry’s Razors, The Honey Pot Company, Two Blind Brothers, Shiseido, Ellevest, The NYC Mayor's Office for Sustainability, SC Johnson, Simon & Schuster, American Express, Greyston Social Enterprise, and more. 38 G D U S A

ent things. We have a responsibility to hold ourselves accountable to exceptionally high standards.We need to educate ourselves so we can educate consumers and the public to call bullshit on the brands that aren’t doing enough. The stakes in this moment are higher than ever.

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How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? It happened by accident — and necessity. I had transitioned from print design to web design in the wild west days of the mid-1990s. I was immersed in the San Francisco tech startup world for five years until the 2001 crash. There was no work, pinkslip parties were everywhere, and even my agency, who’d found me great gigs, ceased to exist. Everyone was scrambling. I had some friends who worked for nonprofits, and so I switched back to print and started working for all the wonderful causes that mean a lot to me and the community at large. I’ve been immersed in the nonprofit world ever since. My clients are incredible, and collaborating with them is a reward in itself. Together we work on a range of materials — toolkits, infographics, how-tos, reports, logos, brochures, and branding materials — that help everyone, from on-the-ground community advocates to government agencies. I’ve been able to work on issues as interesting and diverse as: food and

KAREN PARRY BLACK GRAPHICS, NEW YORK NY

water equity, livable-walkable communities, land use and urban agriculture, social justice and protecting the environment. Because nonprofits are not selling tangible products, they must explain their mission

I‘m Australian and grew up in a sleepy beach town called Surfer’s Paradise. I was

and purpose and how they are going to succeed to

curious to see life beyond my own country and wanted adventure and challenges

donors, advocates, or volunteers. Stories help accom-

from the world. I had a burning desire to live in a non-English speaking country,

plish this, and design is a very effective tool for

realizing I would learn a lot about people — and myself. And how true that was.

storytelling — a perfect match really.

I’d been living in Berlin for 18 months when the wall fell, an incredible experience. Along the way, I’ve also lived in Sydney, London, San Francisco, and, for the last

Given the confluence of events and challenges our

13 years, in New York.

society now faces, does 2021 present any special opportunities, urgencies, obstacles to designing

My company is Black Graphics. It’s just me. I love working directly with my nonprofit clients to help them achieve their goals. Nonprofits need to use design well to get their messages and stories across — it benefits all of us and our communities. When I started working with the nonprofit sector 20 years ago, it was a very different landscape; today the sector is much more professional in all respects.

for good? Budgets are tighter for some nonprofits now, and, as is true in the for-profit sector, staff can be hard to find. My clients have refocused on their core missions after pivoting to deal with COVID. Equity has been a focus in recent years, and the pandemic has high-

I went to art school in Australia, and I’ve studied user experience and instructional

lighted more than ever the need to view everything

design at SF University Extensions. I also completed the Type@Cooper type design

we do through an equity lens. A lot of people don’t

course in New York. Over the years, I’ve taught photography, design, and advanced

understand the difference between equity and

typography classes. My hobbies are painting and drawing and moonlighting as a DJ.

equality, so more education is needed before we can even hope to achieve a better society for all.

G D U SA 39

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2021 | RESPONSIBLE DESIGNERS TO WATCH How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? As someone born and raised in South Africa, I have always been sensitive to issues of diversity and opportunity, and looked for ways to help make creative fields more equitable. Successful design and marketing truly connects various audiences, and the best way to make that happen is to have creative teams that reflect the culture we live in, and speak with authentic voices in their work. Creatives have a unique role, able to speak to a global audience and effect positive change. One great example is our ONE School. Oriel Davis-Lyons, a talented creative director at Spotify, posted on LinkedIn lamenting about the high cost of portfolio school for aspiring Black designers, and vowed to find a way to offer a free alternative. We saw his post and quickly partnered with Oriel, securing sponsorship support from nearly 60 agencies and brands to provide the resources and infrastructure needed for this free groundbreaking 16-week program. In its first year with two cohorts in New York, Los Angeles, Chicago and Atlanta, taught by dozens of top Black creative professionals, ONE School has 84 graduates, 80% of

KEVIN SWANEPOEL CEO, THE ONE CLUB FOR CREATIVITY, NEW YORK NY

whom have been hired at leading agencies and brands. Given the confluence of events and challenges our society now faces, does 2021 present any special

I have been with The One Club for Creativity (TOCC) for 24 years, the last six as

opportunities, urgencies, obstacles to designing

CEO overseeing all programming and answering to a Board of Directors made up

for good?

of top creatives in advertising and design.

There are many positive takeaways from how — and

The One Club’s mission is to support the global creative community. Revenue

how quickly — creatives have changed and adapted as

generated from our leading global awards shows — The One Show, ADC Annual

a result of the pandemic. The way people work has

Awards, TDC Awards, Young Guns, ONE Asia Creative Awards — is put back into the industry to fund more than three dozen annual programs around the world aligned with our four pillars: Education, Inclusion & Diversity, Gender Equality and Professional Development. Examples of this programming includes ONE School, the free portfolio program for Black creatives; ONE Production free training program to bring greater diversity to the production side; Where Are All The Black People annual diversity conference and career fair now in its 11th year; Creative Boot Camps where students from diverse backgrounds work directly with top creatives; Right The Ratio two-day

been re-engineered. We collaborate with others around the world as never before, place greater importance on work/life balance, and gravitate to jobs that allow greater flexibility. This global collaboration leads to greater diversity of thought and work, a true reflection of our diverse culture. People have also become more empathetic and socially responsible, willing to confront big issues. After the killing of George Floyd, support of Black Lives Matter came from people of all racial, ethnic and economic backgrounds. That spirit surfaced again this year in the “Stop Asian

conference to help advance gender equality in the workplace; Saturday Career

Hate” movement. For creatives, that has led to greater

Workshops to expose high school students to the potential for careers in creative

focus on Design for Good work. I believe the single

fields; and many more.

biggest issue is climate change. The effects of global

The club has also been responsible for revitalizing two of the design world's legacy organizations: the Art Directors Club (ADC), which just celebrated its 100th anniversary, and Type Directors Club (TDC), now in its 75th year. 40 G D U S A

warming get worse every day, and business and governments are not doing enough to address this critical challenge.

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with an American-founded social venture that was working to connect customers around the world to artisanal goods — like yoga straps, jewelry and scarves — made by female artisans in developing regions. The goal was to create opportunities for these women to develop stable incomes for their families beyond the tourism season. This, I saw, required marketing. I put my art skills to work, undertaking web design and marketing projects to showcase the women and their work. It was my first experience designing for good. Compelling and engaging design helped the women present themselves and their work in a polished and professional way. In a world of media clutter, compelling design can truly be the key to capturing attention and turning the tide. One body of work I’m particularly proud of at Media Cause is an effective end-of-year campaign we ran for Pathfinder International focused on driving awareness and support to Rohingya refugees. The organization supports sexual and reproductive health and rights around the world by helping to mobilize local partners in the communities that need them. They wanted a look and feel for their campaign that pushed boundaries and drew new eyes to their mission. We landed on multimedia collage-style ads that wove

ANSLEY LUCE ART DIRECTOR, MEDIA CAUSE I am an Art Director at Media Cause, a mission-focused advertising and marketing agency serving nonprofits. Prior to Media Cause, I worked as a freelance graphic and web designer and creative consultant, helping elevate the aesthetic of purposedriven, heart-connected organizations. In short, my job is to help organizations that do good, look good.

images of the refugee camps into the clothing and hair of Rohingya women. The narrative and deeply emotional nature of the ads drew attention and we ended up raising $250,000 for thee mission, a 40 percent increase over prior year. Given the confluence of events and challenges our society now faces, does 2021 present any special opportunities, urgencies, obstacles to designing

I grew up in rural Virginia, with many artists and doctors in the family. As a kid I

for good?

was always drawing, but I didn’t really see or understand the practical application

Given how pervasive media is in all our lives —

of art and my parents nudged me in the direction of medicine. So when I went

particularly with the advent of shareable social

to college, I took the pre-med path, but eventually drifted over to anthropology.

media — it is more important than ever for design-

I was drawn to learning how people think, and became engrossed in topics like

ers to be forward thinking. They must be able to

the anthropology of capitalism in America; social and economic structures; and

create design that cuts through the clutter while also

in particular, homelessness. And as all of this was going on, I still found myself

realizing what we put out there can have a sizable

pursuing creative art projects on the side – things like developing flyers for the

impact on our children, our families and society. The

resident assistant program and the recreation center. Art was a passion that I just

pandemic, and the resulting internet dependence

could not escape. How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal?

and isolation has played a large role in America’s polarization. Responsible design should help foster inclusive communities and reflect the world we want to live in. During this time of rapid change, designers should think critically about what divisive systems

With my interest in anthropology, I started traveling and ended up in Southeast Asia

they may be perpetuating, and how to help forge a

teaching English and doing volunteer work. I wanted to help the people there succeed

path for something new.

within the structures that exist, using capitalism for good. I also started volunteering

G D U SA 41

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2021 | RESPONSIBLE DESIGNERS TO WATCH How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? Doing work, and hopefully doing good, really has always been about a selfish feeling of contentment. It’s been about how well I sleep at night. My restless brain insists on an unending cycle of: “what is it all for?” As I began my career, I took a winding road. I’ve historically been drawn to jobs and tasks that have had potential to be bigger than myself. Once I entered the branding industry, specifically working with consumer packaged goods, I learned how packaging gets made in its various forms. I began to understand materials and manufacturing, and most importantly I began to understand how materials aren’t everything, and that human behavior and a multidisciplinary, holistic approach to design are the future of sustainability in consumer packaged goods. This is why I created a new role for myself as Head of Sustainability. From the time that I helped start an environmental group in the ’90s in high school, to the advertising and myriad other jobs I’ve had since, the one thing I’ve arrived at is this: design has the power to change the world. Yeah, that’s some hyperbole that is said

BRANDI PARKER

so frequently it’s annoying, but it’s true: design can

HEAD OF SUSTAINABILITY PEARLFISHER, NEW YORK NY

erful than a technological breakthrough. Human

change behavior, which in many ways is more powingenuity is a major contributor to our evolution to

As the Head of Sustainability at Pearlfisher New York, I pride myself on offering

this point. Ironically it’s the same thing that can

innovation and problem-solving, grounded in practicality, which comes from my

lead us to destroy ourselves and the planet. That

many years of experience and expertise in technical realization.

power is what keeps me motivated.

Sustainability is fundamental to how Pearlfisher operates and creates, and is

Given the confluence of events and challenges our

the foundation of the work of all of our teams. I challenge our designers to think

society now faces, does 2021 present any special

about the end game at the start. I challenge our clients not to problem-solve

opportunities, urgencies, obstacles to designing

based on ease, but on brand experience and environmental impact.

for good?

I firmly believe that the future of sustainable design does not just come down to materials — and managing waste — but implementing realistic and incremental change through a multi-disciplinary approach. By understanding changing culture, continuing to innovate with cutting-edge materials and processes, and joining

As I wrote in a recent piece for Print Magazine, the pandemic has done a great job of making us face uncertainty. We’re all still reeling from it, but I think the important takeaway is some of us are ok with uncertainty and some are not. Those of us who are

this with the power of design, we can help change people’s behavior and encourage

will find the opportunities. Also, the pandemic has

more sustainable actions and choices. This is where tangible, positive and long-term

heightened awareness of sustainability for everyday

change will come from.

folks, to be on par with or more important than health. This is a great thing, because now people know they

Outside of the Studio, my passion is music. I play the guitar and I write, perform

have the power to demand companies do more and

and produce my own music across a range of outlets.

do better. Demand creates supply, and there’s no better way than voting with our wallets.

42 G D U S A

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How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? Early in my career I had the great honor of working with the late Rodney Fitch. Rodney had many opinions and provocations; however, a key belief was that “Good design is a useful to society as good money.” This philosophy ran through the veins of every designer and team member in the studio, it wasn’t a tag line, it was a genuine belief that we all had the opportunity to drive positive change through design. Now, 20 years later, I am fortunate to be working at Landor & Fitch which still strives to make a positive difference for our clients, our communities, and the world with extraordinary brand transformation. A recent project that I’m particularly proud of is our work with Answer the Call, the NY Police & Fire Widows’ and Children’s Benefit Fund to support a team fundraiser in honor of the 20th anniversary of 9/11. Our team created the logo design and tagline creation of “20 years since the towers fell and heroes rose up” as well as designed merchandise to help provide financial assistance to the families of FDNY, NYPD, and PAPD heroes killed in the line of duty. As a designer and now a New Yorker, this campaign

ALASDAIR LENNOX GROUP EXECUTIVE CREATIVE DIRECTOR LANDOR & FITCH, NEW YORK NY

and activation was especially powerful for me and fully embodies designing for good. Given the confluence of events and challenges our society now faces, does 2021 present any special

Alasdair Lennox is a designer and the Group Executive Creative Director of

opportunities, urgencies, obstacles to designing

Experience, Americas for Landor & Fitch. Based in New York City, Lennox oversees

for good?

more than 70 employees across North America, comprised of creative directors

2021 has given its fair share of challenges for us as

and designers who will continue to elevate the transformative work of Landor &

people and brands. These types of challenges do pro-

Fitch. He began his career in FITCH London and rose to become Executive

vide a rare opportunity for companies to reevaluate

Creative Director for EMEA in 2014 before moving to the US in 2018. Lennox

priorities and build a culture that is focused on a

now works across all Landor & Fitch studios in North America, integrating Landor’s

sustainable and responsible future. Depending on

brand consulting and strategic design capability and FITCH’s experience design

where the company is on its sustainability journey, it

and retail consultancy. He has extensive experience in both strategic and creative

can always be built to ‘be good’ through the lens of

assignments for a wide variety of global clients including Accenture, adidas,

innovation: whether that’s transforming an existing

apple, Dell, Lego, Lynk&Co, Microsoft, Pfizer and Walmart.

brand or designing new sustainable brands for a select category or business model. Brands can, and should, do good while doing well. The key is to approach sustainability through a brand-led lens. Sustainable design is not only an opportunity, but also an urgency.

G D U SA 43

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2021 | RESPONSIBLE DESIGNERS TO WATCH How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? Communications in general, and design specifically, is simply a tool. Like a hammer. You can use a hammer to build something socially questionable. Like a casino. Or a fast food place. Or you can use it to build something that contributes to the common good. Coming up through the ad business, I've seen plenty of examples of really brilliant, gorgeous, well-executed work that did real harm to people. I first started to think about only taking on work that contributes to the common good when I was CD at Mintz + Hoke in Avon, CT and we were in a focus group for a new bus rapid transit line that we were helping to launch. A woman in the focus group talked about taking three different buses and commuting

GRANT SANDERS

an hour and change each way to get to work. And it

FOUNDER SAND - STRATEGY ART NARRATIVE DESIGN, NANTUCKET MA

with her kids. But the new service we were launch-

I started in this business as an art director, then became a copywriter, then a

was rare that she ever got home for dinner to be ing reduced her commute by over an hour. She cried when she talked about it.

creative director. And today, after founding SAND in 2019, I'm more of a con-

That's when the light bulb went on for me. Helping

ceptual thinker who designs and writes in equal measure. SAND stands for Strategy

people get home at a reasonable hour to help their

Art Narrative Design — the four superpowers we bring to bear for clients in the

kids with homework was a noble thing. A wholly worth-

personal and public transportation space. The goal here is to help organizations

while thing. Reducing GHG emissions is a good thing.

move people. Both from point A to point B, and emotionally, which is critical for

Getting people out of their cars and onto bikes is a

building trust and delight. Past and present clients include bus rapid transit

good thing. Using my skills for anything less just

services, train lines, transit security, fare payment solutions, bike clients, and

feels misplaced at this point in my career.

businesses involved in sustainability and green technologies. After working for hundreds of different clients in dozens of creative environments, when I created SAND I made a promise to myself that we would only work for clients that make the world a better place, which is an enviable position to be in. And we do it on

Given the confluence of events and challenges our society now faces, does 2021 present any special opportunities, urgencies, obstacles to designing f or good?

Nantucket Island, 30 miles off the Massachusetts coast. Enviable squared. Duke Ellington once said: “A problem is a chance for you to do your best.” Yes, COVID is a massive, disruptive problem. But it's also an opportunity. It has taught us something about working together even when we are not together. To be open to new ideas. To seek balance. To promote and persuade on phones. To shoot films with small, safe crews or no crews at all. To design for a two-way digital conversation (and not always an easy one). It's a good thing. Because we are still looking at a few other social mountains to climb. Equity, affordable housing, climate change. COVID has been good training.

44 G D U S A

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After collecting hundreds and hundreds of them, we started Balloon Brigade to bring more awareness to the issue of plastic pollution in our oceans. We chose balloons to be the poster child partly because of the world of design possibilities they open up. Communication and design around many socially responsible causes is very gloom & doom. Balloons provided a natural way to make conservation fun. Good design thrives in tension. The shiny, happy-faced balloons we all love juxtaposed against the horrible consequences they can have, was a rich area for intriguing design we were immediately attracted to. Given the confluence of events and challenges our society now faces, does 2021 present any special opportunities, urgencies, obstacles to designing for good?

LEE WALTERS + SHANE HUTTON

Relevancy and leadership are marketable assets in

CREATIVE DIRECTORS ARCANA ACADEMY, LOS ANGELES CA

the agency world. The speed and scale of social changes in the last 20 years has forced all of us to

Founded in 2011, Arcana Academy is an independent advertising agency in Los

stay relevant at leading agencies within that larger

Angeles, CA helmed by veteran Creative Directors, Lee Walters and Shane Hutton

social context.

adapt, even more so for designers who want to

arguably best known for their work on Jack Daniel’s and Volkswagen respectively. Current clients include BEHR/KILZ paint and primer, Dignity Memorial, and Epic Rights. The agency was honored as Print Magazine’s “Best In The West,” has received multiple Graphis awards and has had work appear in the Communication Arts Design Annual. How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal?

And now, in a world still moving slowly toward a post-pandemic state, design is perhaps more important than ever. Design can help calm fears. Design can promote optimism. Design can educate, entertain, and encourage actions that can help us get there more quickly. From infographics that help make everything easier to understand to posters for a local band’s outdoor show that make you feel like normalcy

We became interested in socially responsible design in the early 2000’s working with

is finally returning. Design can communicate in ways

the Bill & Melinda Gates Foundation. When thinking about social responsibility as

words alone can’t. Right now, clear, concise, sensible,

your job, it just becomes part of your worldview.

well-designed communication is as urgent as it gets.

Design has always been a very powerful tool to change minds and behavior. Perhaps

Looking ahead to 2022, there are obstacles to col-

because it can be so subversive. There are many examples of design being used with

laboration, which is often part of design, but there

ill intent. Propaganda posters immediately spring to mind. So, it makes sense that

are no obstacles to design itself. Even the interface

in today’s social climate that same power can be used to change minds and behav-

on the video chats we use to interact with each

ior in a positive way.

other needs to be designed by someone. The one with

One of the ways we’re using design in a socially responsible context is with our 501(c)3 charity, Balloon Brigade. We truly enjoy the ocean. We surf, we fish, and we love visiting our local dolphin pods. On almost every trip offshore we would notice foil

the best design, will probably be the one that wins. For a planet to be as beautiful as ours, that’s a rule that’s probably always been true.

balloons floating on the water, so naturally we started picking them up. Then we started reading about how dangerous they can be to ocean life, especially seabirds. Pictured above from left to right: The Arcana Academy team: Shane Hutton, Kensy Reissig (back), Emma Goode (front), Dan Petit (between Emma and Kensy), Marshall Detwiler (far back - tallest), Jessica Darke (jean jacket), Mia Germain (grey hoodie), Lee Walters (purple shirt), and Jay Josue

G D U SA 45

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2021 | RESPONSIBLE DESIGNERS TO WATCH I was able to use my design skill sets to translate the dense, jargon-heavy content from the scientific community and shape it into a visually engaging experience that can be more easily understood. 2°C Earth, in turn, became an image-led, multi-sensory project that aims to educate and inspire more people to join the collective fight for our future. With 145k page views after its launch, and the ‘Take Action’ page being the second most visited following the homepage, I’d like to think that it has touched a few people’s hearts while inspiring others to take action. Given the confluence of events and challenges our society now faces, does 2021 present any special opportunities, urgencies, obstacles to designing for good? We’re all in this strange and precarious time, where hope and despair coexist. 2021 has given us a glimpse into the future of our climate — one of compounding disasters and concurrent crises. As designers, we have the obligation to consider the real impact of our work, which is always bigger than ourselves. With the world going more virtual as we speak, designers can reach an even broader audience to amplify messages instilling hope and inspiring

JINGQI FAN ASSOCIATE DESIGNER, COLLINS, NEW YORK NY I’m an Associate Designer at COLLINS — and currently based in New York City. Previously, I interned at Apple and also worked with clients including Square and Nikolas Type. My work spans brand development, art direction and interaction design, and has been recognized by the Type Directors Club and the Webby Awards, among others. How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? I initially came into this profession because I enjoyed making things. As I delved deeper into design and its history, I began to realize it’s a process that touches and affects us all. Being a designer meant that I could expand people’s abilities to discover and understand new perspectives beyond their own. While there’s certainly gratification in creating beautiful things alone, I find it most fulfilling to witness what my work can enable others to do. After a close encounter with a natural disaster in the beginning of 2020, I was moved to create a project that spotlights the urgency and severity of our emerging global reality. The idea came to life in a project titled 2°C Earth — an interactive visual guide that explores destinations around the world whose natural and cultural heritage is threatened by climate change.

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action. At the same time, more companies are confronting their environmental impacts head-on. This momentum presents additional opportunities to incorporate sustainable materials in their design and manufacturing as well as building closed-loop production processes that help us define a clearer path to carbon neutrality, and to that greener planet we all call home.

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as a freelance designer for a little while but felt that the work I was doing wasn’t enough — I had been making steps to reduce my own personal impact on the planet, but my design work was a huge area of neglect. I wasn’t sure how to integrate my sustainable values into my business, and if I did, if my clients would even care. After doing research and finding a dearth of current information, I decided that if I wanted to commit to sustainability, I was going to have to do the research myself and figure out my own path. This launched me into years of research and learning into forestry, climate crisis, carbon and more. Amazingly, switching to being a sustainable studio was met with excitement from our clients and highdemand from new ones: inquiries started reaching out to say how happy they were they found us because we understood their values. Now, our client work emphasizes the use of sustainable best practices in terms of resource use, carbon footprint mitigation, and minimizing impact for design. Our expertise in these areas has attracted sustainable businesses that want credibility and technical support to realize their own environmental goals and communicate their values through design. By being an informed liaison between client and printer, we guide our

EMMA FANNING GREEN DESIGNER + SUSTAINABLE MATERIALS SPECIALIST LITTLE FOX DESIGN, VICTORIA BC

clients through the sustainable sourcing of materials and act as experts and guides to help them navigate confusing, greenwashed spaces. Designers have always had incredible power in picking aesthetics

Little Fox Design has an environmentally focused approach to graphic design.

for paper stocks and materials; it’s time for them to

The studio is run by Emma Fanning and her partner Sastun Phillips and offers

be experts in the environmental impact of those

an array of creative services for businesses including branding and identity design,

materials as well.

website design, packaging design, and print design. Little Fox also provides sustainability consulting for packaging, print design and supports clients in communicating sustainability information to their clients/customers. Their work focuses on choosing eco-friendly packaging and materials, preserving high-value forests, and reducing the impact of their clients. Our green design work is based on years

Given the confluence of events and challenges our society now faces, does 2021 present any special opportunities, urgencies, obstacles to designing for good?

of research into climate, forestry, printing, and how this interacts with branding

Uncertain and chaotic times like those created by

to provide our clients with cutting-edge scientific recommendations for choosing

the pandemic are always unequal in the burden they

the most sustainable option available. We think sustainability should be a priority

place upon people — vulnerable people are made

and that our approach should be normalized within the design industry. We believe

more vulnerable, and the privileged can strengthen

that the often-discussed “sacrifice” between sustainability and beauty is a false

their relative power by better weathering such times.

one and our work centres around purposeful designs that reflect our client’s moral commitment to the future. How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal?

Designing for good demands internalizing these truths and incorporating them into our choices. We need to recognize that the voices of the disempowered are going to be muffled, and so seeking out authentic underprivileged perspectives will be necessary in order to support them.

Around 2016, when the news cycle picked up the idea of climate crisis and it began to be an omnipresent stressor, I knew something had to change. I had been working

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2021 | RESPONSIBLE DESIGNERS TO WATCH How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? I started my career in journalism, believing I could do something to better the world. As I transitioned into design and brand development, I embraced opportunities to do work that would empower women and children. I’ve partnered with organizations including the Girl Scouts and Teach for America and took a year-long sabbatical from agency life to support Planned Parenthood. I believe that design is an incredibly powerful tool for democratizing access to healthcare and education — the things that truly matter in a society. Most recently, our team at Elmwood worked with Summit Health Cares, a nonprofit helping underserved communities in New Jersey and Greater New York City access medical services. The brief was to create a welcoming beacon, telegraphing that Summit Health Cares is a safe, dependable and trustworthy source for health care and education. Our design solution, an open heart embracing its neighbors, says “You are welcome here. We care about you and your family’s health.” Small design actions

MEG BECKUM

can signal access and equity — invite people in.

EXECUTIVE CREATIVE DIRECTOR ELMWOOD DESIGN, NEW YORK NY

Given the confluence of events and challenges our

Meg Beckum helps businesses uncover and cultivate authentic brand narratives

society now faces, does 2021 present any special opportunities, urgencies, obstacles to designing for good?

and expressions through imagination, craft and storytelling. With a MFA in Design from SCAD and BA in Journalism from University of Georgia, Meg has worked in

One of the challenges that designers face today is

publishing and branding for 20 years. She has developed identities, campaigns,

trust. There is so much misinformation in the world —

and experiences for some of the world’s most recognized brands including

often times designed or branded to deceive. There’s

Heineken, Kimberly-Clark, GSK, Danone, American Express, Verizon and Bank

a need for designers to do their due diligence — to

of America. While brand building is her focus, Meg is most proud of her work with

ensure that what they are putting out in the public

organizations empowering women and children — including The Girl Scouts,

is accurate and honest. It’s our responsibility to be

Planned Parenthood and Teach for America. Featured in FastCo, The Drum,

fact-checkers, whistleblowers, and truth seekers.

Digiday, and Creative Boom and a recent AIGANY board member, Meg has been a GDUSA Person to Watch.

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How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? Growing up, I was an “art room kid” with charcoalsmeared clothes who didn’t quite know who I wanted to be. Thankfully, I found graphic design, but even with all the tools for success, finding my way was still bumpy. I thought if that was the case for me (a white, middle-class man) it must be that much harder for inner-city kids, and/or students of color. To me, being involved in socially responsible design means showing the next generation that working in graphic design is a feasible goal, no matter their background. It’s a great way to give back — showing young people ways to allow their passions to fuel their careers. That’s why I’m so proud of Summer Studio, a four-week program my agency recently launched, where high school students learned the basics of graphic design in a college setting. We gave them Microsoft Surface Pros, introduced them to design programs, and had experts in the field guest speak. Our hope is that this sparked a bit of excitement as they started building a portfolio to help them in their future career goals. One hundred percent of our tal-

DJ HADDAD

ented participants graduated this summer, and we

FOUNDER & CREATIVE DIRECTOR HADDAD & PARTNERS, FAIRFIELD CT

from our sponsors, my own amazing team, and a little

couldn’t be prouder, but we’re not done! With help luck, we hope to expand the program to other cities

I graduated from Parsons School of Design back in the dark ages of 1999 when a

in 2022. We’re going bigger, we’re breaking barriers

“cloud” was simply a form of condensation and “working from home” was nothing

for better design, and we’re hoping to diversify the

but a European myth. After consulting in NYC for a few years, I started my own small digital agency with some friends, and we got to work on some awesome brands such as Citigroup, ING Direct and Novartis. That same core team from the early days is still in place today and makes up a part of our remote, full-service creative agency, Haddad & Partners.

creative industry of tomorrow. Given the confluence of events and challenges our society now faces, does 2021 present any special opportunities, urgencies, obstacles to designing for good?

What started out as a small and nimble endeavor has now grown into an award-

2021 has more opportunities to make an impact

winning global creative agency with over 120 designers, copywriters, animators

than any other year I’ve ever experienced. People are

and project managers with diverse mindsets and backgrounds, all scattered

looking for reasons to believe in a common good,

across 15 countries and at least 7 different time zones. We take pride in what we

feel solidarity behind a shared goal, and believe in

do and the majority of our return business and referrals come from past clientele.

something greater than the challenges and divisive-

Our clients are as diverse as our staff, and we work for household names such

ness that seem to permeate every facet of life right

as Microsoft, Amazon and Charter Communications, as well as smaller brands

now. Design is a universal language that knows no

like Eco Style, Harlem Gateway Waterfront Initiative, and Wear Ya Mask!

bounds, and when you use the visual arts in a way that compels people to pay attention, you can get

As a father of four kids under the age of 13, I’ve learned how to juggle and multitask. This skill has proven especially helpful as I’ve also started a SaaS company

your message across in a political and philosophically agnostic way that words alone never could achieve.

in the automotive industry called 321 Ignition.

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2021 | RESPONSIBLE DESIGNERS TO WATCH as soon as I learned how important it is for communication to be clear and meaningful. Design is an effective tool because it can help create accessibility and understanding. Design helps get a message across, change a perception and make an idea real and memorable. Design is the blueprint to create big change from small starts. It’s pure ideation. It’s magic. Combining my own identity with a professional career allows me to find motivation for continuing to design; expanding happiness. Yet, can happiness co-exist when you design for other people? My senior thesis project was “enJOY the resistance: A BLKJOY Subscription Box.” It focused on the movement of Black Joy as an evolving concept in mass media. This came about after the constant influx of traumatic images of the Black community in the media. I had to take a break from social media because of the relentless toll it took on my mental health. While it is important to put out information about Black issues in order to bring awareness, it is not solely the Black community’s job to educate everybody. My senior thesis highlighted an alternative narrative involving radical imagination and cultural

NICOLE COUSINS ASSOCIATE DESIGNER, COLLINS, NEW YORK NY

Black autonomy. After interviewing different Black designers, artists and writers, I created a series of vivid silk scarves packaged in a box with custom wrapping paper made in collaboration with designer

I am a first generation American graphic designer. I was born and raised in

Amanda Barrow. We combined our family images

Brooklyn NY to Jamaican parents.

with dynamic typography. We named it ‘Black Joy is

Painting and drawing has always been in my life. And I was encouraged and supported by my family to explore all of it. Although I attended an art-specific high school, I still went looking for ways to do fine art even outside of school. So I participated in a muralist program, took film and painting classes at Pratt Institute, and was a part of the Parsons’ Scholars Program, earning early college credit. I was lucky to have my paintings featured in art galleries, including the Brooklyn Borough

Resistance.’ The box is a prototype for a subscription service for Black designers of the future. Given the confluence of events and challenges our society now faces, does 2021 present any special opportunities, urgencies, obstacles to designing for good?

Arts Festival and Arts Connections. In the last year of the Parsons program, I

The pandemic left many of us reeling — reflecting

began thinking about design as a career. I became a part of the Graphic Design

within ourselves and thinking about how we connect

team for our senior project and made posters to promote our student-curated art

with others. It put more emphasis on, and forced us

gallery. After that, I was accepted into the COLLINS Internship Program. That expe-

to look more closely at, challenging issues such as

rience solidified my interest in design. I continued my design career at RISD, where I started thinking more like a designer and less as, say, an artist alone.

global inequality and political conflict. As we are (hopefully) moving into a post-pandemic era, it is a perfect time to use design to help communities face

How did you become involved in socially responsible communications and why do you

these unprecedented challenges. One idea we

believe design can be an effective tool for this goal?

discuss at COLLINS is this: “Design is hope made visible.” So we need to think about the accessibility

During my last year at RISD, I reflected about my journey in design and how I can

of creative and design resources within these chal-

push the boundaries of who I can design with — and design for. Identity has been

lenged communities and find ways to support them.

the major essence of my work — in both art and design. My own cultural identity

In the end, I strive towards a society in which we

shapes the way I look at the world. And as my own identity is still expanding, it makes

can thrive freely and unapologetically be ourselves.

me happy. I’ve been creating art for as long as I can remember. But I started designing

That’s the real design work ahead.

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The projects that really light me up are ones where design is given due respect in its power to create impact. Mission-driven organizations often leverage design more wholeheartedly, which is what led me to a passion for the social impact niche. Some of my proudest work has been with nonprofits who champion design’s ability to influence their audiences. At Statement, we believe in an ego-free culture where gratitude and humility are necessary for the collaborative process. It’s a place where good-hearted creatives can influence impact through their work and interactions with peers and clients . . . a place to feel empowered, eager to learn, and grow alongside a diverse set of peers that bring fresh and varied perspectives. This combination of mindset and people are the ingredients that make up a magical mix for amazing work. Given the confluence of events and challenges our society now faces, does 2021 present any special opportunities, urgencies, obstacles to designing for good? Design’s duty is to respond to a changing world. Our

JEN DEPAKAKIBO STATEMENT, HEAD OF DESIGN, OAK PARK IL

current societal challenges have been a catalyst for many organizations to re-think their brand or marketing strategies. They are desiring new ways to better resonate with their audiences, craving more

Jen Depakakibo is the Co-Founder and Head of Design at Statement, an award-

impactful storytelling through messaging and design.

winning creative agency outside of Chicago. Statement is a women-owned and

People need to “feel” more deeply . . . and quickly.

led WBENC certified agency that partners with for-profit and nonprofit clients

With attention spans shrinking and a continued need

working to influence good in finance, health and wellness, technology, education,

for constant digital content, there is a huge opportunity

environment, and human rights. Statement support brands at every step through

for creative ideas to work their magic — to instantly

marketing strategy, brand development, and creative campaigns and production,

attract, delight, and engage audiences. Organizations

with special expertise in running large content marketing programs. Jen’s design

that recognize how strategic design drives business

career spans the gamut from in-house, to agency and solopreneurship before starting Statement in 2016 with her business partner, Lis Martin.

outcomes are better suited for success this year and beyond.

How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? I have always had a passion and drive for helping people (I thank my parents for instilling this value early into my DNA) and admiration for designers and artists that use creativity as a force for good. I’m so grateful to be at a point in my career where I can deliberately partner with other creative minds and organizations that hold similar values. I’ve taken learnings from my varied career experiences to filter the great and not so great into a vision for Statement around the work we do for clients and the internal culture we foster.

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| 2021 |

WEB DESIGN AWARDS THE BEST IN WEB, DIGITAL + UX DESIGN

Our 21st annual showcase of the power of design to enhance online communications and experiences. The outstanding work included here has been created by design firms, ad agencies, inhouse departments and more, and encompasses, website, microsites, apps, online advertising, social media, video and UX/UI Design. You can view this showcase, selected from more than 2,300 entries, in both print, in our digital edition, and on our website at gdusa.com. Our one big takeway? We are seeing a happy convergence of more demand, richer tools and technologies, and a more sophisticated appreciation of sound design principles. It’s all leading to a new era of more humane, satisfying and useful online experiences based. The showcase below provides many effective examples.

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FIRMS REPRESENTED 1HQ USA

Jenny B Kowalski, Interactive Designer + Educator

80east Design

Joba Studio

AARP Publications

KIKKOS KORNER

Alamini Creative Group, LLC

KUDOS Design Collaboratory

Alloy Digital

Leibowitz

Argus

Lentini Design & Marketing, Inc.

Aviate Creative

Litehouse Design Team

Bank of America, Enterprise Creative Solutions

LMI | The Forge

Barnett Design, Inc.

MAUGEDESIGN and House of Nehesi Publishers

Big Human

Max Marketing Communications

Big Pivot Partners

Mermaid, Inc.

Black Bear Design

Metropolis Branding

BNY Mellon AMT UX & Design

Miskowski Design

Bolder & Co. Creative Studios

MTWTF + KUDOS Design Collaboratory

Brandit360

Muse Content Group

bread & Butter

National Organization for Rare Disorders (NORD)

Brent Almond

Neoscape

Canary, a Gould Evans Studio

Patrick Finley/Virginia Tech

Catherine Johnson, Auburn University SI+GD

Pixel Parlor

Chen Design Associates

Principle + KUDOS Design Collaboratory

Christiansen Creative

PrintGiant

Coyote Ridge Marketing

Rapunzel Creative

Creating Digital

Revati Damie, Savannah College of Art & Design (SCAD)

Creative Force

Sessions College

Dark Horse Design

Shift Creative

DDC Public Affairs

Sizewise Marketing

Decker Design

Smith Design

Deep Fried Advertising

Speak Creative

Devarj Design Agency, Inc.

St. John

Devon Ward

Statement Communications

Draper and Kramer Mortgage Corp.

Steers Studios

EH Design Works

Stephen B. Starr Design, Inc.

Eric Tsuchiyama

Studio 165+ | Ball State University

Estro Communications

Studio DBJ

Fontwerk

Test Monki

Fors Marsh Group

The Hatcher Group

GAF Creative Services

The Walker Group

Gary Wong Designs

Third Street Attention Agency

Gauger & Associates

Thrive Creative Group, LLC

GCNY Marketing

TreacyDesign TFX

Gladiator Consulting

University of Pittsburgh, Joseph M. Katz Graduate School

Goldstein Group Branding

of Business

Iconix Inc.

Vortex Digital, Inc.

Ideas On Purpose

We The Creative

Inseego and BlueApple

Will Mokry Creative LLC

Invenio

Yuxi Liu, Parsons School of Design

J2 Design NYC

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AMERICAN WEB DESIGN AWARDS

Design Firm: 1HQ USA, New York NY Client: Bling2o Title: Bling2o Website Redesign Creative Director: Kate Rascoe Designer: Marina Goba, Nancy Brogden Developer: Arctic Grey Photographer: Jennifer Paglino, From the Hip Photo, Shelby Del Vecchio

Design Firm: 80east Design, Poughkeepsie NY Title: Pop Portraits For Instagram and Facebook Creative Director: Trevor Messersmith Designer: Trevor Messersmith Illustrator: Trevor Messersmith

Design Firm: AARP Publications, Washington DC Client: AARP Publications Title: Sisters from AARP Senior Deputy Art Director: Dian Holton Photo Editor: Yodith Dammlash Designer: Paola Sorto

Design Firm: AARP Publications, Washington DC Client: AARP Publications Title: The Girlfriend from AARP Senior Deputy Art Director: Dian Holton Senior Deputy Photo Director: Caitlin DeFlaviis Designer: Paola Sorto

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Design Firm: AARP Publications, Washington DC Title: The Ethel from AARP Design Director: Todd Albertson Art Director: Lesley Q. Palmer Senior Deputy Art Director: Dian Holton Senior Deputy Photo Director: Caitlin DeFlaviis Photo Editor: Katrina Zook

Design Firm: Alamini Creative Group, LLC, New York NY Client: McSilver Institute for Poverty Policy and Research Title: Community Technical Assistance Center (CTAC) Website Creative Director: Jennifer Bergamini Designer: Steven Albarracin, Jennifer Bergamini Developer: Steven Albarracin

Design Firm: Alamini Creative Group, LLC, New York NY Client: University of Illinois at Chicago's Institute for Health Research and Policy Title: Tobacconomics Website Creative Director: Jennifer Bergamini Designer: Steven Albarracin, Jennifer Bergamini Developer: Steven Albarracin

Design Firm: Alloy Digital, Birmingham AL Client: Alabama Tourism Department Title: Alabama Civil Rights Trail App Design + UX: Sean Walsh Development: Jonathan Madison Group Account Director: Katherine Hild Account Director: Claire Barrentine Project Manager: Andrew Davis Directors: Andrew Parsons, Cody Clark

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AMERICAN WEB DESIGN AWARDS

Design Firm: Alloy Digital, Birmingham AL Client: Johns Hopkins University Title: FP Insight UX/UI Design Design: Scott Daniel Development: Stan Wakeﬁeld, Matt Oberlin, Jonathan Madison UX + Accessibility: Sean Walsh Group Account Director: Katherine Hild Directors: Andrew Parsons, Cody Clark Quality Assurance: Luis Marquez

Design Firm: Argus, Emeryville CA Client: Flightpath Biosciences Title: Flightpath Biosciences Website Creative Director: Jeff Breidenbach Art Director: Jeff Breidenbach Designer: Jeff Breidenbach

Design Firm: Argus, Emeryville CA Client: SNAPkids Title: SNAPkids Website Creative Director: Stephanie Wade Art Director: Stephanie Wade Designer: Stephanie Wade

Design Firm: Aviate Creative, Long Valley NJ Client: Norwalt Title: Norwalt Website Design and Development Creative Director: Paul Kiesche Designer: Paul Kiesche Developer: Matthew Dietz Copywriter: Jessica Clark

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Design Firm: Bank of America, Enterprise Creative Solutions, Wilmington DE Title: CashPro API HUB Page Associate Creative Director: Mohamed Beshir Senior Art Buyer: Elise Daher Account Manager: Deanna Czojor Group Account Director and Digital Strategy: Debbie Warburton Executive Director: Charissa Messer Client: Kim Carr

Design Firm: Bank of America, Enterprise Creative Solutions, Wilmington DE Title: Hydrogen Report Social Media Associate Creative Director: Teresa Mraz Group Creative Director: Kevin Anderson Art Buyer: Priscilla Person Account Manager: Tiffany Nash Group Account Director and Digital Strategy: Debbie Warburton Executive Director: Charissa Messer Client: Meaghan Frail

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

Design Firm: Bank of America, Enterprise Creative Solutions, Wilmington DE Title: Mortgage Reﬁnance Creative Refresh Associate Creative Director: Kelvin Valencia Senior Copywriter: Kris Stone Segment & Channel Strategy: Beth Brownholtz Group Creative Director: Ken Tattersall Account Executive: Karen Sterkenburg Group Account Director and Digital Strategy: Stacy Stigelman Executive Director: Charissa Messer Client: Kristin Jenkin

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AMERICAN WEB DESIGN AWARDS

Design Firm: Bank of America, Enterprise Creative Solutions, Wilmington DE Title: Small Business Newsletter, August.CV19 Lead Developer: Mark Lazur Copywriter: Al Andrien Product Owner: Dianne Dolton Group Creative Director: Ken Tattersall Account Manager: Jennifer Murphy Group Account Director and Digital Strategy: Stacy Stigelman Executive Director: Charissa Messer Client: Jessica Perea-Abril

Design Firm: Bank of America, Enterprise Creative Solutions, Wilmington DE Title: Threat Management Video Associate Creative Director: Nouri Elasfari Associate Creative Director: Mohamed Beshir Senior Copywriter: David Anderson Group Creative Director: Ken Tattersall Group Account Director and Digital Strategy: Debbie Warburton Executive Director: Charissa Messer Client: Mary K. Daly

Design Firm: Barnett Design, Inc., Ramsey NJ Client: Eliminate Poverty Now Title: Dov Center Website Photographer: John Craig Copywriter: Bob Devol Creative Director: Debbie Barnett Sagurton Senior Art Director: Jefferson Ramos Creative Team: Valerie Haymes, Tara Maratea Writer: Bob Devol Tech: Rob Healy Imagery: John Craig, Stock

Design Firm: Big Human, Brewster NY Client: Carnegie Hall Title: Carnegie Hall’s Interactive Orchestra Map Designer: Leah Schmidt Developer: Mirza Rahman Product Manager: Haley Danylchuk

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Design Firm: Big Human, Brewster NY Client: Try Quinn Title: Quinn’s Website Refresh Creative Director: Rus Yusupov Art Director: Darren Cummings Designer: Katie Suskin, Jessie Sattler Developer: David Hudson Product Manager: Ali Eisner

Design Firm: Big Pivot Partners, Dana Point CA Client: Aﬂac, Inc. Title: 2020 Business & Responsibility Report | 65 Years of the Aﬂac Way Creative Director: Jason Lein Art Director: Jason Lein Designer: Jason Lein Programmer: Joel Kuehn Developer: Joel Kuehn Project Manager: Marc Seligson

Design Firm: Big Pivot Partners, Dana Point CA Client: Essential Utilities, Inc. Title: 2020 ESG Report | Natural Resources for Life Creative Director: Jason Lein Art Director: Jason Lein Designer: Jason Lein Programmer: Joel Kuehn Developer: Joel Kuehn Project Manager: Marc Seligson

Design Firm: Big Pivot Partners, Dana Point CA Client: Kennedy Wilson Title: 2020 ESG Report Creative Director: Jason Lein Art Director: Jenny Looney Designer: Jenny Looney Programmer: Joel Kuehn Developer: Joel Kuehn Project Manager: Marc Seligson

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AMERICAN WEB DESIGN AWARDS

Design Firm: Black Bear Design, Atlanta GA Client: APN Group Title: APN Group Website Design Programmer: Jessica Lowry Developer: Jessica Lowry

Design Firm: Black Bear Design, Atlanta GA Client: Toyota Material Handling Title: Toyota Forklifts Website Programmer: Marc Hawthorne Developer: Jessica Lowry

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Design Firm: Black Bear Design, Atlanta GA Client: J&J Exotic Rentals Title: J&J Exotic Rentals Website Design Designer: Jessica Lowry Developer: Jessica Lowry

Design Firm: BNY Mellon AMT UX & Design, New York NY Client: Dreyfus Cash Investment Strategies Title: Dreyfus Lion Internet System Creative Director: John Thudium Art Director: Jon Hatch Marketing Team: Tracy A. Hopkins (COO, Dreyfus CIS), Colleen Haddad (Marketing SVP), Christine F. Algozzini, Donna Matarese, Timothy Barrett (SVP, BNY Mellon Securities), David Volpe, Anthony Casso PM/BA/QA/CR: Sundar Balakrishnan Business Analyst: Pat Mazzella Development Team: Prashant Malpure (Lead UI), Narendra Babu Perumal, Saraswathi Murugesan, Prakash Chidambaram, Rameshkumar Subramaniyan, Basker Ammu, Pallavi Deshmukh, Ankita Durgavajula, Allen Yang, Satheesh Mani (Technical Architect)

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Design Firm: Bolder & Co. Creative Studios, Urbana OH Client: VNDLY Title: VNDLY Website Design Creative Director: Ken Kowalski

Design Firm: Brandit360, San Luis Obispo CA Client: Home Builders Association of Chicago Title: Key Awards Microsite and Awards Entry System Creative Director: Chantel Beauregard Designer: Chantel Beauregard Developer: Chantel Beauregard Copywriter: Chantel Beauregard

Design Firm: bread & Butter, Charleston SC Client: Yonder Escalante Title: Yonder Escalante Website Art Director: Brelyn LeCheminant Designer: Kitty Caissy Developer: Hosea Sandstrom

Design Firm: Brent Almond, Kensington MD Title: BrentAlmond.com Website Creative Director: Brent Almond Designer: Brent Almond Programmer: Seahawk Media Developer: Seahawk Media

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AMERICAN WEB DESIGN AWARDS

Design Firm: Canary, a Gould Evans Studio, Phoenix AZ Client: Creative Flagstaff Title: Creative Flagstaff Rebrand Creative Director: Amanda Harper Designer: Nicole Norgren Developer: Nicole Norgren

Design Firm: Catherine Johnson, Auburn University SI+GD, Auburn AL Title: Way V Website Student Project Designer: Catherine Johnson Designer/Student: Catherine Johnson Professor: Courtney Windham

Design Firm: Chen Design Associates, Oakland CA Client: gimMe Snacks Title: gimMe Snacks Back to School Social Campaign 2020 Creative Director: Joshua C. Chen Art Director: Irene Kim Shepherd, Joshua C. Chen Designer: Bernee Briones, Cedrik Ferrer Photographer: Kenny Jong Illustrator: Bernee Briones, Cedrik Ferrer Copywriter: Irene Kim Shepherd, Becky Luoh Motion Graphics: Kenny Jong Social Media Strategist: Irene Kim Shepherd Project Manager: Eric Lo Stylists: Irene Kim Shepherd, Malina Syvoravong Post-Production: Kenny Jong

Design Firm: Chen Design Associates, Oakland CA Client: SB Architects Title: SB Architects Website Redesign Creative Director: Joshua C. Chen Art Director: Joshua C. Chen, Kimberly Low Designer: Kimberly Low (lead), Alan Johnson, Kenny Jong Programmer: Abby Falk (lead), Ethan Chen Developer: Abby Falk Motion Design: Kimberly Low, Kenny Jong, Ethan Chen UX/UI Strategy: Kimberly Low Brand Strategists: Becky Luoh, Casey Flaherty, Irene Shepherd Project Managers: Anna Mumford, Kimberly Low

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Design Firm: Chen Design Associates, Oakland CA Client: Tipping Point Community Title: Tipping Point Impact Report 2020 Creative Director: Joshua C. Chen Art Director: Joshua C. Chen, Kimberly Low Designer: Kimberly Low (lead), Cedrik Ferrer, Kenny Jong Developer: Kimberly Low Illustrator: Cedrik Ferrer UX/UI Strategy: Kimberly Low Motion Graphics: Kenny Jong, Kimberly Low, Cedrik Ferrer Brand Strategist: Casey Flaherty Project Manager: Eric Lo

Design Firm: Christiansen Creative, Hudson WI Client: St. Croix Baking Company Title: St. Croix Baking Company Website

Design Firm: Coyote Ridge Marketing, Burlington WI Client: 1841 Farms & Vineyard Title: 1841 Farms & Vineyard Website Creative Director: Tim Goodman Designer: Sean Baker Developer: Matt Hisamoto Photographer: C.Mae Design Copywriter: McKenna Bryant

Design Firm: Creating Digital, Garﬁeld NJ Client: American Pump Service Title: American Pump Service Website Creative Director: Justin Miskowski Developer: Ubaid Ullah Project Manager: Brian Essig

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AMERICAN WEB DESIGN AWARDS

Design Firm: Creating Digital, Garﬁeld NJ Client: DeBragga – New York’s Butcher Title: DeBragga eCommerce Website Programmer: Asif Somy Developer: Brian Essig Programmer: Adrees Basheer Project Manager: Lori Talarico

Design Firm: Creating Digital, Garﬁeld NJ Client: ei3 Title: ei3 Connected AI Website Designer: Justin Miskowski Programmer: Adrees Basheer Developer: Brian Essig Copywriter: Dayana Mayﬁeld

Design Firm: Creative Force, Winston-Salem NC Client: Crisp & Associates Pediatric Dentistry Title: Crisp & Associates Website Creative Director: Kristie Staton Art Director: Kristie Staton Designer: Kristie Staton Programmer: Kristie Staton Developer: Kristie Staton Copywriter: Brian Watkins Animation: Kristie Staton

Design Firm: Dark Horse Design, Neptune NJ Client: Investment Title Title: Investment Title Instagram (@investmenttitle.com) Creative Director: Christine Rusin Art Director: Ronald Carlucci Photographer: That Werks, Christopher Sztybel Copywriter: Megan Thomas

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Design Firm: DDC Public Affairs, Washington DC Title: DDC Public Affairs Website Creative Director: Jesse Bussey, Brad Whitford Designer: Andrew Becker, Shiqi Cai, Sam Finn, Kyle Ladrech Developer: Andrew Becker, Joey Smith, Denis Song Photographer: Robert Matthews Illustrator: Nickolena Sidler Copywriter: Molly Douglas Project Managers: Marizabel Cabrera, Ryan Coughter

Design Firm: Decker Design, New York NY Client: BronxWorks Title: BronxWorks Website Creative Director: Lynda Decker Designer: Susanne Adrian, Ryan Breeser, Josh Mangleson Developer: MANYFOLD Copywriter: Olivia Rubino-Finn Type Designer: Jesse Ragan

Design Firm: Decker Design, New York NY Client: Mutual of America Title: 2020 Annual Report Creative Director: Lynda Decker Designer: Susanne Adrian, Ryan Breeser Developer: MANYFOLD Photographer: John Madere

Design Firm: Decker Design, New York NY Client: The Waterfront Alliance Title: Rise to Risilience Website Creative Director: Lynda Decker Designer: Susanne Adrian, Jason Mangelson Developer: MANYFOLD

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AMERICAN WEB DESIGN AWARDS

Design Firm: Deep Fried Advertising, New Orleans LA Client: Associated Terminals Title: Associated Terminals Website Creative Director: Jennie Diemont Designer: Kelsey Abbate Developer: Ben Beard, Brandon Cox Account Manager: Val Gibbons Project Manager: Tabor Theriot

Design Firm: Deep Fried Advertising, New Orleans LA Client: Geocent Title: Geocent: We Make You Our Mission Video Creative Director: Jennie Diemont Designer: Meg Heaton Illustrator: Rocket Panda Copywriter: Julian Bustillo Account Manager: Missy Byrd Project Manager: Tabor Theriot Video Production: Rocket Panda

Design Firm: Devarj Design Agency, Inc., Valparaiso IN Client: UNIDA Translation Title: UNIDA Websites + Microsites Creative Director: Shanoor Devarj Art Director: Silva Devarj Designer: Silva Devarj Programmer: Devarj Design Agency Developer: Devarj Design Agency Photographer: Devarj Design Agency Copywriter: Liana Varjabedian

Design Firm: Devon Ward, Muncie IN Client: Weisman Art Museum Title: BioMess Website Creative Director: Devon Ward Designer: Devon Ward

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Design Firm: Draper and Kramer Mortgage Corp., Downers Grove IL Title: Draper and Kramer Recruiting Website Creative Director: Coleen Bogle Front-end Web Developer: Alyssa Kaufman Copywriter: David Wright

Design Firm: EH Design Works, Chester County PA Client: Vinyl Window Wells, LLC. Title: Vinyl Window Wells Website Creative Director and Website Design: Eric Hayes

Design Firm: Eric Tsuchiyama, Miami Beach FL Client: Sockz Theatre Title: Sockz Theatre Website Design Art Director: Eric Tsuchiyama Designer: Eric Tsuchiyama

Design Firm: Estro Communications, Westwood NJ Client: Florida Water Title: Florida Water: For the Body, Mind, and Soul Creative Director: Christian Estrellado Art Director: Justin Ross Designer: Aparna Mulchandani Developer: Mrudhul Suresh Photographer: Mark Asuncion Copywriter: Laura Buoncuore Project Manager: R. Steve Estrellado

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AMERICAN WEB DESIGN AWARDS

Design Firm: Fontwerk, 1045 Berlin Germany Title: Fontwerk Website (Fontwerk.com) Creative Director: Ivo Gabrowitsch Art Director: Jana Kühl Designer: Jana Kühl Programmer: Rob Meek Developer: Rob Meek Copywriter: Ivo Gabrowitsch Translation: Lucy Beckley

Design Firm: Fors Marsh Group, Arlington VA Client: Consumer Financial Protection Bureau (CFPB) Title: CFPB Renters Relief Campaign: Worried and Ashamed Creative Director: Angela Devlin Designer: Jean Naumann Developer: Agency Q Copywriter: Douglas Kim

Design Firm: GAF Creative Services, Parsippany NJ Title: Contractor’s Guide Newsletter Creative Director: Carlos Caicedo Designer: Christopher Gazzo Programmer: Christopher Gazzo Copywriter: Donald Kilcoyne

Design Firm: Gary Wong Designs, East Brunswick NJ Client: Synergy Private Health Title: Synergy Private Health Website Designer: Gary Wong Copywriter: Caitlin Cusack, cc: Words

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Design Firm: Gary Wong Designs, East Brunswick NJ Client: The ISH Food Company Title: ISH Food Website Designer: Gary Wong

Design Firm: Gauger & Associates, San Francisco CA Client: Shea Homes Title: Shea Homes Waterline Pairings Video Art Director: Rob Keil Designer: Rob Keil

Design Firm: Gauger & Associates, San Francisco CA Client: Shea Homes Title: The Enclave at Cypress Grove Digital Brochure Art Director: Isabelle Laporte Designer: Isabelle Laporte

Design Firm: GCNY Marketing, Brooklyn NY Client: Cober Cabinets Title: Cober Cabinets Website Creative Director: Joseph Blumenfeld Art Director: Miri Friedman Designer: Yanky Perl Brand Designer: Shulem Oberlander

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AMERICAN WEB DESIGN AWARDS

Design Firm: GCNY Marketing, Brooklyn NY Client: Montium Title: Montium Real Estate Website Creative Director: Yanky Perl Art Director: Miri Friedman Designer: Yanky Perl Strategy: Joseph Blumenfeld

Design Firm: Gladiator Consulting, Austin TX Client: Fx Lighting Title: FX Lighting Website Creative Director: Nakevia Miller Art Director: Nakevia Miller Designer: Denver Johnston Developer: Denver Johnston Copywriter: Sam Branson, Katie Cline Project Manager: Katie Cline

Design Firm: Gladiator Consulting, Austin TX Client: Isaak Advisory Group (IAG) Title: Isaak Advisory Group Website Creative Director: Nakevia Miller Art Director: Nakevia Miller Developer: Denver Johnson Project Manager: Sam Branson

Design Firm: Goldstein Group Branding, New York NY Title: Goldstein Group Branding Website Redesign Creative Director: Claudia Arisso Art Director: Terri Goldstein Designer: Bobby Bolker Developer: Bobby Bolker

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Design Firm: Iconix Inc., Auburn Hills MI Client: Stellantis Title: Stellantis4Detroit Website Creative Director: Robert Evans Designer: Kristy Galli Programmer: William Young Developer: Vinay Pallegar Copywriter: Stellantis Communications

Design Firm: Ideas On Purpose, New York NY Client: Dominion Energy Title: Dominion Energy 2019 Sustainability & Corporate Responsibility Report Creative Director: John Connolly Art Director: John Connolly Designer: Kara Mason, Victoria Le Programmer: Codrin Pavel Developer: Codrin Pavel

Design Firm: Ideas On Purpose, New York NY Client: Stanley Black & Decker Title: Stanley Black & Decker 2020 ESG Report Creative Director: John Connolly Art Director: John Connolly Designer: James Kwak

Design Firm: Ideas On Purpose, New York NY Client: Tradeweb Title: Tradeweb Corporate Website Creative Director: John Connolly Art Director: John Connolly Designer: Abby Blaine, James Kwak

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AMERICAN WEB DESIGN AWARDS

Design Firm: Inseego and BlueApple, Eugene OR Title: Inseego Corporate Website Creative Director: Don Haugen Art Director: Don Haugen Designer: BlueApple Programmer: Raw Engineering Developer: Raw Engineering Copywriter: Carole Brummage Project Manager: Myriam Ambrosius

Design Firm: Invenio, Austin TX Client: Big Picture Lab Title: Big Picture Lab Website Redesign Creative Director: Keith Manlove Art Director: Emily Barbin Designer: Stefanie McBride, Emily Barbin, Kurt Lawson Developer: Keith Manlove Photographer: Davis James Fabrication: Cara Stewart

Design Firm: J2 Design NYC, New York NY Client: Arise Advising Title: Arise Advising Website Creative Director: Jaclyn Alvarado

Design Firm: Jenny B Kowalski, Interactive Designer + Educator, Philadelphia PA Title: JennyBKowalski.com Portfolio Site Creative Director: Jenny B Kowalski Art Director: Jenny B Kowalski Designer: Jenny B Kowalski Developer: Jenny B Kowalski

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Design Firm: Joba Studio, Christiansburg VA Client: GoPuff Title: Put Me On by GOPUFF Creative Director: Kevin Jones Designer: Patrick Finley Project Manager: Robyn Jones

Design Firm: KIKKOS KORNER, Renton WA Client: Rachel’s Body Shop Title: Rachel’s Body Shop Website Design Creative Director: Edison Lazaga Leonen Art Director: Edison Lazaga Leonen Designer: Edison Lazaga Leonen Photographer: Edison Lazaga Leonen Illustrator: Edison Lazaga Leonen Copywriter: Edison Lazaga Leonen

Design Firm: KIKKOS KORNER, Renton WA Title: KIKKOS KORNER Website Design Creative Director: Edison Lazaga Leonen Art Director: Edison Lazaga Leonen Designer: Edison Lazaga Leonen Photographer: Edison Lazaga Leonen Illustrator: Edison Lazaga Leonen Copywriter: Edison Lazaga Leonen

Design Firm: KUDOS Design Collaboratory, Jackson Heights NY Client: Norvic Shipping Title: Norvic Shipping Website Creative Director: John Kudos Designer: Ashley Wu, Owen Febiandi Developer: Chris Manlapid

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AMERICAN WEB DESIGN AWARDS

Design Firm: Leibowitz, New York NY Client: EngageWell Title: EngageWell Website Creative Director: Jason Wheeler Art Director: Lynn Lin Designer: Gerald Morin Developer: Marc Bugayong Copywriter: Will Shepard

Design Firm: Leibowitz, New York NY Client: Jackson Square Partners Title: Jackson Square Partners Website Creative Director: Ivan Caro Art Director: Gerald Morin Designer: Yu Fu Developer: xforty technologies Copywriter: Kevin Windorf

Design Firm: Leibowitz, New York NY Client: The Invictus Collective, Dynasty Financial Partners Title: The Invictus Collective Website Creative Director: Ivan Caro Art Director: Gerald Morin Designer: Yu Fu Developer: Dan Eckels Copywriter: Kevin Windorf

Design Firm: Leibowitz, New York NY Client: Wasatch Global Investors Title: Wasatch Global Investors Website Creative Director: Jason Wheeler Art Director: Gerald Morin Designer: Batool Akbar Developer: Marc Bugayong Photographer: Kevin Winzeler

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Design Firm: Leibowitz, New York NY Title: Leibowitz Website Creative Director: Batool Akbar Art Director: Ivan Caro Designer: Yu Fu, Pat Glass Programmer: Felix Buchholz Developer: Dan Eckels, John Titus Copywriter: Paul Leibowitz

Design Firm: Lentini Design & Marketing, Inc., Los Angeles CA Client: Acuity Foundation Ireland Title: Website Design & Build Creative Director: Hilary Lentini Designer: Leanna Hanson Programmer: Keith Hollingshead, Hilary Lentini, Alissa Gouveia Developer: Keith Hollingshead, Hilary Lentini, Alissa Gouveia

Design Firm: Lentini Design & Marketing, Inc., Los Angeles CA Client: Alison Rose Jefferson Title: UI Redesign & Website Build Creative Director: Hilary Lentini Designer: Leanna Hanson Programmer: Keith Hollingshead, Hilary Lentini Developer: Keith Hollingshead, Hilary Lentini, Alissa Gouveia, Leanna Hanson

Design Firm: Lentini Design & Marketing, Inc., Los Angeles CA Client: Colacion Studio Title: UI Redesign & Website Rebuild Creative Director: Hilary Lentini Designer: Leanna Hanson Programmer: Keith Hollingshead, Hilary Lentini Developer: Keith Hollingshead, Hilary Lentini, Alissa Gouveia Copywriter: Hilary Lentini

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AMERICAN WEB DESIGN AWARDS

Design Firm: Lentini Design & Marketing, Inc., Los Angeles CA Client: DSA Signage Title: UI Redesign & Website Build Creative Director: Hilary Lentini Designer: Leanna Hanson Programmer: Keith Hollingshead, Hilary Lentini Account Executive: Alissa Gouveia

Design Firm: Lentini Design & Marketing, Inc., Los Angeles CA Client: Grabill Amish Pastries Title: Social Media Creation & Implementation Creative Director: Hilary Lentini Designer: Alissa Gouveia Copywriter: Alissa Gouveia

Design Firm: Litehouse Design Team, Sandpoint ID Client: Litehouse Foodservice & Ingredient Marketing Title: Litehouse Foodservice Website Creative Director: Kathy Weisz Designer: Chris Van Stone Developer: Silverback Marketing Photographer: Silverback Marketing, Lexi Harrison, Litehouse Design Team

Design Firm: Litehouse Design Team, Sandpoint ID Client: Litehouse Marketing Title: Organicville Website Creative Director: Kathy Weisz Art Director: Lindsey Kuhn Designer: Lindsey Kuhn Developer: Silverback Marketing Photographer: Lindsey Kuhn, Lexi Harrison

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Design Firm: LMI | The Forge, Tysons VA Title: Beacon Data Management and Analytics Platform Art Director: Omar Lake, Joseph Marina Designer: Jeff Dickshinski Director: Joseph Norton Product Manager: Omar Lake Agile Coach: Joseph Marina Product & UX Design: Jeff Dickshinski Software Architect: Brad Hecox Software Engineers: Jessica Garcia, Daniel Brandao Test Engineer: Bryan Bagley Cloud & DevOps Engineer: Gregory Briggs

Design Firm: MAUGEDESIGN and House of Nehesi Publishers, Acworth GA Title: MAUGEDESIGN + HNP Website Creative Director: Carole Maugé-Lewis Art Director: Carole Maugé-Lewis Designer: Carole Maugé-Lewis Programmer: Krista Feierabend Developer: Krista Feierabend Photographer: Carole Maugé-Lewis Copywriter: Lasana M. Sekou

Design Firm: Max Marketing Communications, St. Paul MN Client: Greystar Electronics Title: Greystar Company Website Creative Director: Max Allers Art Director: Max Allers Designer: Max Allers Developer: Max Allers Copywriter: Michael Dapper

Design Firm: Mermaid, Inc., NY Client: The Corsair Title: The Corsair Website Creative Director: Sharon Lloyd McLaughlin UI Director: Bart McLaughlin Marketing Director: Lauren Calabria

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AMERICAN WEB DESIGN AWARDS

Design Firm: Mermaid, Inc., NY Client: UNO Assets Title: UNO Assets Website Creative Director: Sharon Lloyd McLaughlin UI Director: Bart McLaughlin Marketing Director: Lauren Calabria

Design Firm: Metropolis Branding, Charlotte NC Client: Grand Living Homes, LLC Title: Grand Living Homes Website Creative Director: Denise Lorraine Davis Designer: Denise Lorraine Davis Programmer: Sehal Raga Developer: Denise Lorraine Davis Copywriter: Denise Lorraine Davis

Design Firm: Miskowski Design, Hoboken NJ Client: ROKU Title: IAB New Fronts Advertising Campaign Creative Director: Justin Miskowski Designer: Justin Miskowski, Julie Chencinski, Chip Mangan

Design Firm: Miskowski Design, Hoboken NJ Client: VYTA Group Title: VYTA App UX/UI Creative Director: Justin Miskowski Designer: Justin Miskowski, Julie Chencinski, Michael Zolla

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Design Firm: MTWTF + KUDOS Design Collaboratory, Jackson Heights NY Client: AIA New York, Center for Architecture and MIT’s Civic Data Design Lab Title: Visualize NYC 2021 Interactive Website Creative Director: Sarah Dunham, Glen Cummings Designer: Joel Kern Developer: Chris Manlapid

Design Firm: Muse Content Group, Cleveland OH Title: Ohio Apples Website Creative Director: Kristen Pokorny Art Director: Kristen Pokorny Designer: Kristen Pokorny Photographer: Paul Lender, Left of Center Photography Copywriter: Megan Factor

Design Firm: National Organization for Rare Disorders (NORD), Danbury CT Title: NORD Breakthrough Summit® 2021 Creative Director: Lisa M. Sencen Designer: Amanda Clark, Alvin Martinez Programmer: Sean Roberts Developer: Sean Roberts Marketing Manager: Valaree DonFrancesco Director of Marketing & Communications: Lesli Nordstrom

Design Firm: Neoscape, Boston MA Client: Honor Code Creative/The DSF Group Title: Halstead Fair Oaks Residential Website

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AMERICAN WEB DESIGN AWARDS

Design Firm: Neoscape, Boston MA Client: HYM Investments Title: The Track at Suffolk Downs Website

Design Firm: Neoscape, Boston MA Title: Neoscape 2021 Pride Campaign

Design Firm: Patrick Finley/Virginia Tech, Christiansburg VA Title: Local Colors of Southwest Virginia Website Creative Director: Patrick Finley

Design Firm: Pixel Parlor, Philadelphia PA Client: Shinemade Title: Shinemade Website Creative Director: Andrew Nicholas Art Director: Andrew Nicholas, Jenn Richey Nicholas Designer: Lou Stuber Developer: Lou Stuber, Andrew Nicholas Copywriter: Clay Nicholas

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Design Firm: Principle + KUDOS Design Collaboratory, Jackson Heights NY Client: Peace Love Dogs Title: Peace Love Dogs Website Creative Director: Ally Lack Designer: Elizabeth Kelley, Katherine Aclin Developer: Chris Manlapid Illustrator: Katherine Aclin Copywriter: Taylor Tokarz

Design Firm: Principle + KUDOS Design Collaboratory, Jackson Heights NY Client: Weingarten Art Group Title: Weingarten Art Group Website Creative Director: Ally Lack Designer: Drake Preston Developer: Chris Manlapid Copywriter: Erin O’Connor

Design Firm: PrintGiant, Denver CO Client: NJ Taco Festival Title: NJ Taco Festival Website Designer: Lou Stoilas

Design Firm: Rapunzel Creative, Ridgewood NJ Client: Production Contracting Title: A Bolder Presence Website Creative Director: Lynn Gregorski Designer: Leah Higgins Developer: Leah Higgins Copywriter: Caryn Starr-Gates

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AMERICAN WEB DESIGN AWARDS

Design Firm: Rapunzel Creative, Ridgewood NJ Client: VamosPay Title: Let’s Get There Together Website Creative Director: Lynn Gregorski Art Director: Bruce Tang Designer: Bruce Tang Developer: Bruce Tang Copywriter: Cindy Grogan, Lynn Gregorski

Design Firm: Revati Damie, Savannah College of Art & Design (SCAD), Atlanta GA Title: New B App Student Project Art Director: Revati Damle Designer: Revati Damle

Design Firm: Sessions College, Tempe AZ Title: Sessions College Overview Video Creative Director: Doris Granatowski Art Director: Doris Granatowski Designer: Maxwell Hunter Programmer: Maxwell Hunter Illustrator: SAAR Copywriter: Doris Granatowski Animation: Maxwell Hunter

Design Firm: Shift Creative, Volcano HI Client: Bobalu Berries Title: Bobalu Berries Website Creative Director: Melissa McDill Art Director: David Padron Designer: David Padron Developer: Jill Anderson

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Design Firm: Shift Creative, Volcano HI Client: Sakata Seed America Title: Sakata Vegetables Website Creative Director: Jodi Bearden, David Padron Designer: Jodi Bearden, David Padron Developer: Jill Anderson

Design Firm: Sizewise Marketing, Lenexa KS Title: Sizewise Updated Product Page Design Designer: Stacy Beltz Developer: Jake Miller Vice President of Marketing: Dan Vogt Director of Marketing Operations: John Blackburn

Design Firm: Smith Design, Morristown NJ Client: Clayton’s Organic Title: Clayton’s Organic Website Redesign Creative Director: Jenna Smith Designer: Miles Hoffman Programmer: Mark Errichetti Photographer: Ken Kiger Illustrator: John Thompson Copywriter: Nichole Anderson

Design Firm: Smith Design, Morristown NJ Client: Clontarf Irish Whiskey Title: Clontarf Irish Whiskey Brand Website Creative Director: Jenna Smith Designer: Miles Hoffman Programmer: Mark Errichetti Photographer: Ken Kiger Copywriter: Nichole Anderson

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AMERICAN WEB DESIGN AWARDS

Design Firm: Speak Creative, Nashville TN Client: Illinois Holocaust Museum Title: Illinois Holocaust Museum Website Senior Designer: Leslie York Funke

Design Firm: St. John, Jacksonville FL Client: Wonderbird Title: Wonderbird Website President: Jeff McCurry Executive Creative Director: Peter Herbst Associate Creative Directors: Jennifer Domaradzki, Kristen Bankert Senior Account Manager: Catherine Nilon Senior Project Manager: Ian DeSousa Senior Art Director: Heather Raines Senior UX Designer: Sabreen Katz Canlas Professional Photography: Garcia Studio, Inc.

Design Firm: Statement Communications, Oak Park IL Client: ENTACT Title: Entact Website Creative Director: Elisabeth Martin, Jen Depakakibo Art Director: Jen Depakakibo Designer: Eric Elliot Developer: Eric Elliot Copywriter: Lindsay McIntyre

Design Firm: Steers Studios, Roxbury CT Client: Alcova Home Title: Alcova Home Website Designer: Jeanne Steers Copywriter: Alex White

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Design Firm: Stephen B. Starr Design, Inc., Evanston IL Client: MATEC – Midwest AIDS Training + Education Center Title: MATEC Website Creative Director: Stephen B. Starr Art Director: Stephen B. Starr Designer: Stephen B. Starr Programmer: Stephen B. Starr Developer: Stephen B. Starr

Design Firm: Studio DBJ, Northridge CA Client: Josie Rodriguez-Bouchier, L.Ac. Title: Intersectional Fertility Branded Website Art Director: Jean Pongsai Designers: Jean Pongsai, Calvin Ly, Joshric Aurea Programmer: Studio DBJ Project Manager: Calvin Ly

Design Firm: Studio 165+ | Ball State University, Muncie IN Client: Ball State University, School of Art Title: 86th Annual Juried Student Art Show Designer: Ashley Allegretti, Hanna Boggs, Jaclyn Grutsch, Jadzia Kelsay, Carlee Mckenzie, Audrey Musal, Ashlyn Sterling, Nikki Vasil, Xander Crawley Illustrator: Jaclyn Grutsch Faculty: Shantanu Suman

Design Firm: Test Monki, The Woodlands TX Client: Hello Ortho Title: Hello Ortho Website Creative Director: Suzy Simmons Designer: Sarah Wright Developer: Sarah Wright

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AMERICAN WEB DESIGN AWARDS

Design Firm: Test Monki, The Woodlands TX Client: The Ortho Barr Title: The Ortho Barr Website Creative Director: Suzy Simmons Designer: Sarah Wright Developer: Sarah Wright

Design Firm: The Hatcher Group, Bethesda MD Client: Aspen Institute’s Sports & Society Program Title: Reimagining School Reports and Social Media Creative Director: Reece Quiñones Art Director: Marzia Motta, Debbie Rappaport, Bailey Gregory

Design Firm: The Hatcher Group, Bethesda MD Client: Baltimore Votes/OSI Title: Baltimore Votes By Mail Motion Graphic Creative Director: Reece Quiñones Designer: Bailey Gregory Producer/Editor: Melissa Rogers Animator: Scott Cooper VO: Shaun Rosa

Design Firm: The Hatcher Group, Bethesda MD Client: DC Pritzker Children’s Initiative Title: Healthy Steps DC Video Creative Director: Reece Quiñones Art Director: Debbie Rappaport Designer: Annette Allen Animator: Scott Cooper VO Director: Shaun Rosa

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Design Firm: The Walker Group, Farmington CT Client: The Southeastern Council on Alcoholism and Drug Dependence (SCADD) Title: SCADD Website Design Art Director: Nicole J. Pierzchalski Developer: Nicole J. Pierzchalski Director of Digital Marketing: Jeff Williams

Design Firm: The Walker Group, Farmington CT Title: The Walker Group OnPoint Booklet Design Art Director: Nicole J. Pierzchalski

Design Firm: Third Street Attention Agency, Chicago IL Client: Edlong Title: Edlong Website Design Director of Digital: Phil Robinson Web Development, UX/UI: Bruce Woodward Creative Director: David T. Jones Art Director: Stephanie Timmons Designer: Amanda Grable Front End Designer: Allie Sims Copy: Erica Reitz, Nate Andrews, Rob Howard President and CEO: Laurette Rondenet (Edlong) CCO: Dale Wytiaz (Edlong) Global Director, Marketing: Lisa Drawer (Edlong) Digital Marketing Manager: Jessica Friedrich (Edlong)

Design Firm: Thrive Creative Group, LLC, Clarksville TN Client: ClarksvilleMontgomery County (TN) Economic Development Council Title: Best Place to Live Website Design Creative Director: Lorilee Rager Designer: Briana MacArthur Developer: John Kreischer Project Managers: Megan Wren, Sam Salkovitz

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AMERICAN WEB DESIGN AWARDS

Design Firm: TreacyDesign TFX, West Haven CT Client: Helium Commerce Platform Title: Launch Branding & Marketing Materials Creative Director: Joe Treacy Art Director: Joe Treacy Designer: Joe Treacy Programmer: TreacyDesign TFX Studio Developer: TreacyDesign TFX Studio Photographer: Joe Treacy/3D artist @itwasleo Illustrator: Joe Treacy/3D artist @itwasleo Copywriter: Joe Treacy Fonts: Treacyfaces

Design Firm: University of Pittsburgh, Joseph M. Katz Graduate School of Business, Pittsburgh PA Title: Business.Pitt.Edu 2021 Website Redesign Creative Director: Robert J. Thompson, MFA Art Director: Robert J. Thompson Designer: Robert J. Thompson Programmer: Robert J. Thompson, Amy Benscoter, Emily Houser Developer: Robert J. Thompson Photographer: Robert J. Thompson Contributors: Erin Noonan, Kenzie Sprague, Emily Houser

Design Firm: Vortex Digital, Inc., Iowa City IA Client: Janeta Fong Tansey, MD, PhD Title: Metis Wisdom Website Creative Director: Jonathan David Sabin Art Director: Molly Reeser Designer: Molly Reeser, Janeta Fong Tansey Programmer: Justin Sines Developer: Vortex Digital Copywriter: Janeta Fong Tansey Portrait Photography: Jonathan David Sabin

Design Firm: Vortex Digital, Inc., Iowa City IA Client: Think Iowa City Title: Fry Fest Website Creative Director: Jonathan David Sabin Art Director: Molly Reeser Designer: Molly Reeser Programmer: Cody Bontrager Developer: Vortex Digital Copywriter: Think Iowa City

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Design Firm: We The Creative, San Juan Capistrano CA Client: Bay Area Air Quality Management District Title: Interactive 2020 Annual Report Creative Director: Joven Orozco

Design Firm: We The Creative, San Juan Capistrano CA Client: John Wayne Airport Title: Interactive 2020 Annual Report Creative Director: Joven Orozco

Design Firm: We The Creative, San Juan Capistrano CA Client: OC Waste & Recycling Title: Interactive 2020 Annual Report Creative Director: Joven Orozco

Design Firm: Will Mokry Creative LLC, Austin TX Client: J&J Stone, Inc. Title: 2021 Lookbook Creative Director: Will Mokry Copywriter: Will Mokry

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AMERICAN WEB DESIGN AWARDS

Design Firm: Yuxi Liu, Parsons School of Design, Queens NY Title: LA Republica Coffee Website Design Student Project Designer: Yuxi Liu Programmer: Yuxi Liu Developer: Yuxi Liu Photographer: Yuxi Liu Illustrator: Yuxi Liu Instructor: Nicholas Cesare

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VISIT OUR WEBSITE FOR

DAILY DESIGN NEWS

PEOPLE PROJECTS IDEAS

WWW.GDUSA.COM EVENTS PRODUCTS

October 2021 Pub Letter-Focus Impo.qxp_feb news play 10/14/21 12:40 PM Page 92

A NEW WAY TO EVALUATE BRANDING AND PACKAGE DESIGN BY RICHARD SHEAR

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

PART 1: LET’S GO BACK Learn How the Familiar Search Pattern Influences Consumer Decisions

LET'S GO BACK: A FAMILIAR SEARCH Imagine you have been camped along a riverbank all winter — you're thirsty — and you know that the river has predictably supplied you with fresh, clean water under

We are in the early stages of the most

the ice. Almost without thinking, and certainly without

dramatic change in branding and package

any hesitation, you go down to the river and drink.

design in over a century. But brands can meet the challenges of a digital lifestyle as

The shopping experience is simple and stress-free

retail/e-tail blended environments grow —

This search pattern is predictable, safe and comfortable,

if they understand the four patterns

and the outcome is reliable. It's similar to buying everyday

consumers use to locate, assess, and

products like milk, paper towels, and toothpaste. In these

select brands. Successful search techniques have always been pivotal

categories, most of us are on autopilot as we fill our baskets. LOYALTY IS HIGH

to the survival of our species, from the ancient skill of divining water to our instant ability to locate and purchase

These categories are characterized by an incredibly high

the newest hard seltzer. Innovation, invention, and evolving

level of trust and brand loyalty, like the baby diaper category,

tools and technologies have reﬁned human search patterns

where 85% of purchasers typically select between one or

over millions of years.

two brands. There is very little search experimentation within this type of product category.

Over a century ago, the self-service grocery store was an innovation that dramatically inﬂuenced how we located,

VISUAL BRAND CHARACTERISTICS

assessed, and selected brands. Ever since, the purpose of

ARE PREDICTABLE

retail package design has been to purposefully inﬂuence consumer choices at the purchase decision point, aka the moment of truth. But branding and package design will need to evolve to meet consumers where they are today. To understand which

The visual characteristics of these brands are incredibly predictable, as they should be when searching for the safety of familiar products. Many brands share overwhelmingly universal imagery. In the baby diaper category, the visual equity of all major brands includes;

consumer search pattern applies to your brand, follow

1. Soft pudgy, baby-like typography for the brand logo,

our articles in the following four issues of GDUSA.

because it naturally supports the warm cuddly nature of product usage.

The ﬁrst consumer search pattern we examine is called the familiar search.

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2. Each brand typically owns one bright primary color,

The brand must look like it belongs to the product category,

which is key in a category where most design architec-

yet it is unique enough to capture interest. The familiar-

tures are pretty similar, and some brand differentiation is

search brand thrives on intentional uniformity and should

necessary.

enhance and encourage that comfortable consumer connection.

3. Package architecture that contains soft, gentle shapes. Again, this is predictable given the product category's

And so be sure your bleary-eyed parent-consumer can

brand experience.

ﬁnd your brand as easily online as they can in the grocer's aisle. Consider the best brand identity and package design

4. Baby photography. Who doesn’t love the image of a cute

elements for both. In the end, you'll beneﬁt from under-

baby? In this instance, one of the key visual elements that

standing how your consumer searches for your brand so

make the brand image safe, comfortable, and expected.

they can ﬁnd you.

ILLUSTRATION DEMONSTRATING THE PREDICTABLE VISUAL

CHART DEMONSTRATING HOW FAMILIAR SEARCH VARIABLES

BRAND CHARACTERISTICS OF THE DIAPER CATEGORY

APPEAR IN DESIGN IN THE DIAPER CATEGORY

What Does It Mean For Your Brand? RICHARD SHEAR is a professor at New York's School of Visual

The challenge is for marketers and brands to sustain the

Arts and teaches in the Masters of Branding program. He is Chief Creative Ofﬁcer at Invok Brands, where he uses his consumer

historical let's-go-back impulse in a blended retail environ-

search pattern framework to help clients get an edge. Invok

ment. They can do so by using all the brand's intrinsic visual

Brands has conceived a new way to evaluate branding and pack-

tools of familiarity, warmth, and ease of connection.

age design that considers how consumers locate, assess, and select categories of products. These four consumer search patterns are universal and based on the history of consumer behavior — even before retail. This is the first in a series of articles that will help you ﬁnd the technique that applies to your brand and use it.

G D U SA 93

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CREATIVE TALENT IS IN SHORT SUPPLY. HERE’S HOW TO FIND IT BY DIANE DOMEYER

At the start of the pandemic, companies needed to reach digital audiences and craft new kinds of messaging in a hurry — often with limited resources and shifting priorities. And they were able to achieve this with help from outstanding creative and design professionals, further emphasizing this ﬁeld’s importance and value to an organization. Today, creative leaders need more of this talent as trends like

who rely on access-anywhere tools like Adobe Creative Cloud.

the boom in e-commerce drive demand for versatile creatives.

By recruiting in areas beyond your region, you can broaden your

However, competition for their services is intense. Research for

pool of available talent with the highly sought skillsets your

the 2022 Salary Guide from Robert Half, a talent solutions ﬁrm

team needs.

that specializes in creative and marketing, shows that 54% of creative and marketing managers plan to recruit in the coming

WE'VE HAD SEVERAL OFFERS

months. But with more vacancies than job seekers, your options

TURNED DOWN BY CANDIDATES

may seem limited.

Competing on salary alone can quickly turn into an arms race. The employer with the deepest pockets will secure the most

Don’t panic. While you can’t control the hiring market, you can

skilled talent, leaving competitors to ﬁght over the rest.

tailor your recruitment strategy to the current landscape and make your ﬁrm attractive to talented candidates. Let’s look at

To illustrate what you’re up against, here are the midpoint salaries

some of the most common challenges facing hiring managers —

for some of the most in-demand positions in the creative and

and how you can address them.

design ﬁeld right now as reported in the 2022 Salary Guide:

WE CAN’T FIND QUALIFIED CANDIDATES IN OUR AREA

Graphic designer — $58,250 Packaging designer — $60,000

Around 60% of creative leaders say they start their recruitment process by looking for local candidates. If they can’t ﬁnd anyone, they begin to cast their net farther aﬁeld.

Web designer — $72,500 Multimedia designer — $74,250 Visual designer — $84,500

But in the era of remote working, there’s no need to restrict

Product designer — $85,000

yourself in this way — particularly when looking for professionals

UX designer — $102,000

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October 2021 Pub Letter-Focus Impo.qxp_feb news play 10/14/21 12:41 PM Page 95

(Note that these are national averages. To adjust salaries for

Another way to streamline the process is to work with a talent

regional cost of living, talent availability and other factors, access

solutions ﬁrm. Tell them what you’re looking for, and they’ll provide

the Salary Calculator at www.roberthalf.com/salary-guide).

you with pre-screened candidates with the appropriate skills.

Fortunately, salary isn’t the only thing that sways great candidates. Consider the fact that 48% of employers plan to give existing

WE ARE CONCERNED ABOUT NEWS OF EMPLOYEES LEAVING THEIR JOBS

workers a title bump as an incentive to stay on. You can incorporate this thinking into your recruitment strategy, giving prospective

You’re right that the pandemic is prompting employees to rethink

hires the chance to instantly improve their resume. Most can-

their work and life priorities, including even making permanent

didates respond positively if the position you’re offering them

job changes. Over one-third of marketing and creative profes-

feels like a step up. Additionally, showcasing your organization’s

sionals in a survey conducted for the 2022 Salary Guide said

career growth and learning opportunities, as well as company

they plan to look for a new job in the next few months.

vision and purpose, can enhance the appeal of joining your team. Much of this relates to concerns about personal wellness and IT'S HARD TO COMPETE WITH LARGER COMPANIES

the recognition that health is wealth. Many professionals are experiencing burnout. Even if you can’t compete with other ﬁrms

Competing on reputation can be as tough as competing on salary. Big-name corporations and agencies are powerful brands in their own right, which appeals to many candidates. Gen Z workers may be especially keen to hitch their wagon to a star, with 66% of this group feeling that the pandemic seriously derailed their career. Training and project experience are two very tempting rewards

on salary, you can still attract talent by showing your commitment to a healthy work-life balance and promoting it heavily in job postings and candidate interviews. Right now, 44% of employers offer wellness-related beneﬁts, while 50% provide employee assistance programs that include mental health support. If you provide any of these popular beneﬁts, don’t keep it a secret.

smaller companies can offer. Most designers need to keep their skills up to date, including working with emerging technology. If

It’s a red-hot job market right now. But if you make sure your

you can provide new hires with education and training as well as

hiring strategy is in touch with the times, building a dream team

continually upgrade your company’s equipment and systems with

could be easier than you think.

investments in new technology, you’ll create an appealing employment proposition. Hands-on project experience is also valuable, so be prepared to give people the chance to prove themselves.

ABOUT ROBERT HALF Know The Creative Group, your source for specialized creative and marketing talent solutions and job opportunities? Then you

THE HIRING PROCESS IS TAKING TOO LONG,

already know Robert Half, The Creative Group’s parent brand.

AND WE'RE LOSING INTEREST FROM CANDIDATES There’s no question that taking too long to get back to applicants

When you see communications or content from the primary

can be risky. Did you know that 62% of candidates lose interest

Robert Half brand, know that they’re from the same creative

if they don’t hear back within two weeks? And don’t think you

and marketing experts you’re familiar with, ready as ever to

can breadcrumb them by padding out the hiring process with

support your contract, temporary and permanent hiring or job

assessments and aptitude tests. Around one-in-four applicants

search needs. Find your next creative hire or career opportunity

will criticize your company on social media if they feel they’ve

at roberthalf.com.

been strung along in this way. You control your hiring process, which means you can take steps to speed it up. Talk to all stakeholders involved in the hiring decision and make sure they’re available for interviews. When you’ve found the right person, move quickly to make them an attractive offer.

DIANE DOMEYER is managing vice president at Robert Half, a global talent solutions ﬁrm. In this role, she oversees the practice that offers strategic project

Technology can help, too, in condensing the time to hire. Con-

solutions to address clients’ marketing,

ducting candidate interviews via video, for example, allows

digital and creative initiatives.

companies to increase the number of people involved and also speed up the time it takes for the interview process.

G D U SA 95

October 2021 Pub Letter-Focus Impo.qxp_feb news play 10/14/21 12:42 PM Page 96

FREE INFORMATION To request free product information from advertisers featured in this issue contact the advertisers directly as provided below or in their advertisements.

COMPANY NAME

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Adobe MAX

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Apple

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Paper.Domtar.Com Paper.Domtar.Com/Paper-Matters-Podcast

FunctionFox

Syracuse University

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vpa.syr.edu/cmd2021

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Graphic Design USA

Verso

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96 G D U S A

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