GDUSA - Graphic Design USA - October 2023 by Graphic Design USA

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GD USA

GRAPHIC DESIGN USA

RESPONSIBLE DESIGNERS TO WATCH SPONSORED BY OCTOBER 2023

DOMTAR

HEALTH + WELLNESS DESIGN AWARDS KESSLER DESIGNS RBG STAMP CRYPTO BRANDING RISES ABOVE THE VARIABLE TALENT APPROACH

www.gdusa.com

OCTOBER 2023

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LETTER FROM THE EDITORS | INSPIRATION IN THE TIME OF UNEASE This October 2023 edition features our annual ‘Responsible Designers To Watch’ special report aka “Designing for Good.” Participants run the gamut from The Ford Foundation to the Environmental Defense Fund to the Prison Fellowship to the Orange County Sanitation District to the Not Entirely Dead organization. As usual, I ﬁnd this roundup of creative people doing socially impactful work to be both soothing and inspirational in the face of global headlines, political polarization, social disruption and a general, yet persistent, feeling of uneasiness. While the range of issues they are tackling is wide, there is a common denominator. Whether ﬁghting for social justice, simplifying complex healthcare systems, guiding clients towards sustainable design solution, or supporting arts and education and philanthropy, each of these designers cites a desire to break through the noise. To get to the heart of the matter. To communicate urgency. To effect and shape change — GORDON KAYE AND SASHA KAYE-WALSH ARE EDITORS AT GDUSA Comments, suggestions and letters can be sent to editorial@ gdusa.com.

now — in a way that smart and deliberate graphic design is uniquely suited to do. Please join me in celebrating their exciting and meaningful work. — SKW HEALTH + WELLNESS AWARDS SHOWCASE Our 2023 Health+Wellness Awards competition recognizes graphic design excellence in a transcendently important and ever-expanding segment of our economy and society. This year’s competition is large and selective, with winners chosen from a broad array of design firms, creative agencies, and inhouse and institutional departments. Honored projects run the gamut from traditional medicine and healthcare to healthy lifestyles and personal wellness to public and community health initiatives. How healthcare is resourced, distributed and delivered has been an epicenter of national conversation for decades and, if anything, the debate is sharpening. As we move into an uncharted postpandemic era, the creative work represented in this very select showcase reaffirms that engaging, effective, informative and impactful graphic communications can make a meaningful difference in our personal and collective health and well-being. We hope that this yearly exercise makes a small contribution to the discussion about what it means to be a healthy and well society — but we know for sure that exceptional visual communicators like those represented here are driving the discussion forward. — GDK TRICK OR TREAT Masklophobia is on the rise along with other anxiety disorders. That’s a fear of masks, costumes and clowns, and it becomes acute when Halloween looms. As a public service, we thought we’d get out in front and let the masklophobes among you know what to expect. Forearmed is forewarned, and all that. Luckily, Kourtney Kardashian and her Boohoo fashion company have sent us a forecast of the most popular costumes this Fall and we share it with you now. Based on Boohoo’s analysis of Google Trends in the USA, Barbie will be the most popular character to dress up as, topping the search list in 14 states. Other favored pop-culture costumes in order: Wednesday Addams of the Addams Family, Princess Peach from Super Mario Bros., comicbook/tv star Harley Quinn, Weird Barbie, Cruella de Vil and, of course, Wonder Women. Fun facts: Pennsylvania is the only state where Catwoman tops the search list; Arizona is alone in seeking Gwen Stac of Spider-Man, and Louisiana is singular in its desire for Poison Ivy. Among traditional costumes, the Skeleton ranks a first and the fashion experts note that, over the years, celebrities often embrace skeleton imagery during Halloween, with Kourtney recently posting a photo posing in a skeleton-themed onesie with matching earrings. And, finally, if there is a God in heaven, we’d expect Washington DC’s preferred costume to be the Clown. Alas, there is no DC data reported. — GDK

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CONTENTS | OCTOBER 2023

6 FRESH The Denver Housing Authority turns to graphic design to help revive an historically underserved neighborhood; an uplifting brand vision for the world’s largest crypto asset manager; Cooper Hewitt honors legends Seymour Chwast, Arem Duplessis, and Clement Mok; new dating app campaign plays off the concept of ‘gold diggers’; Rockstar Energy Drinks brings Dia de la Muertos to life; the USPS releases Ruth Bader Ginsburg stamp; and a Michigan airport embraces a 60’s vibe. Visit gdusa.com for daily design news, people, projects, events.

20 RESPONSIBLE DESIGN This special report continues our practice of shining the spotlight on creative professionals who exemplify the interwoven values of social responsibility and sustainability. It’s a look at people, ﬁrms and organizations motivated to ‘design for good’ as they see it. And it’s especially timely and relevant given this pivotal moment for America and the world as we emerge into a new era of challenge and change. A special thanks to exclusive sponsor Domtar® for making this meaningful feature possible year after year.

44 HEALTH + WELLNESS AWARDS Our annual GDUSA Health+Wellness Design Awards™ competition honors graphic excellence in this fast-growing, hugely important and high-profile segment of the economy. The 2023 winners showcase features projects and campaigns from leading institutions, design firms, agencies and departments encompassing traditional medicine and healthcare, healthy lifestyles and nutrition, and public and community health initiatives. It reaffirms that effective communication makes a vital contribution to our personal and collective well-being.

92 CANNABIS GRAPHICS Graphic design, branding and packaging are proving to be key elements in differentiating products and services, educating and protecting consumers, and generally elevating this emerging marketplace. Here are two dozen award-winning examples.

GDUSA - Graphic Design USA Volume 60 / No. 5 September/October 2023 Kaye Publishing Corporation (ISSN0274-7499/USPS227020). Published 6 times a year with combined issues in January/February, March/April,

100 HIRING + CAREER TIPS Lucy Marino of Robert Half explores the advantages for creative

May/June, July/August, September/October, November/December. Executive,

hiring managers of adopting a variable talent model. It comes as

editorial and advertising ofﬁces at 89 Fifth Avenue, Suite 901, New York NY

the global talent solutions ﬁrm releases its highly anticipated

10003. Phone: 212.696.4380, Fax: 212.696.4564, www.gdusa.com.

2024 Salary Guide.

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.

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THANK YOU TO DOMTAR Domtar is the exclusive and founding sponsor of GDUSA’s Responsible Designers annual special report. The company, celebrating 175 years, is the largest integrated manufacturer of uncoated

GD USA GRAPHIC DESIGN USA

freesheet paper in North America, and a leading manufacturer of papergrade, fluff and airlaid nonwoven materials. Domtar states: “Your reputation is important. Your business depends on it. Our well-known brands give you the confidence of quality and consistency that your reputation is built on. Our brands offer you and your customers unmatched print results, reliability and peace of mind. No matter the need, we offer a brand that’s right for you.” Among the Domtar brands well-known to the graphic arts community: Cougar®, renowned for its refined velvety surface, a premium line of paper that amplifies a brand’s passion, personality

Gordon Kaye PUBLISHER Ilana Greenberg CREATIVE DIRECTOR

Sasha Kaye-Walsh EDITOR/WEBSITE & SOCIAL MEDIA

and purpose; Lynx®, with impressive runnability, rich color reproduction and excellent image quality at an uncompromising value; and Husky®, an economical offset that can still outpace the competition. This special October 2023 edition of GDUSA is printed on Cougar® 70 lb. text. To learn more about Domtar and its papers, pulp and packaging materials, visit domtar.com

Gordon Kaye EDITOR/PRINT

Althea Edwards READER SERVICES

Angelo Abbondante ACCOUNTS MANAGER

ABOUT THE COVER Christina Baute is Director, Content Creative for the Environmental Defense Fund. She has more than 20 years of design and branding expertise, and has

Jennifer Hoff Scott Sczcypiorski INTERNET SERVICES

served at the EDF for more than 15 years. Christina is one of our inspiring Responsible Designers To

Maliya Malik DESIGN/SOCIAL MEDIA INTERN

Watch. The section begins at PAGE 20. Jay Lewis Jeffrey Rosenberg PHOTOGRAPHY

Ron Andriani ADVERTISING SALES + INTEGRATED MARKETING + BUSINESS DEVELOPMENT 201.669.9884 212.696.4380 randriani@ gdusa.com

COVER PAPER CREDIT: The cover of this special edition of GDUSA is printed on FSC-certiﬁed Kallima Coated

Cover C2S, part of the Kallima Paper family of FSC-certiﬁed coated cover paperboard, manufactured by the

Milton L. Kaye 1921-2016 FOUNDER

Tembec Paper Group. A leading advocate of sustainability, Kallima has a distinct low-density high-bulk construction resulting in less trees used and signﬁcant cost savings to the customer. Contact: kallimapaper.com and 1.800.411.7011

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FRESH | CRYPTO IDENTITY SEEKS TO RISE ABOVE

STAMFORD CT Grayscale Investments, the world’s largest crypto asset

manager, and an advocate for transparent regulated access to crypto, has unveiled a new brand identity. Created by IPG creative company Elephant, the rebrand coincides with the 10th anniversary of both the firm and its flagship fund, Grayscale Bitcoin Trust (BTC). To that end, Elephant set out to define an ownable brand that celebrates core values of legacy, expertise and transparency. Chris Hayes, VP Product Design at Elephant, explains that the design firm articulated the brand vision as “creating a share of the future for everyone,” i.e., rising above the dark web of crypto companies and the exclusivity of other asset management firms. Among the elements intended to visualize this: a new Grayscale wordmark rooted in strength and modernism with negative spaces inside the letters to create a sense of forward motion; a flexible color system grounded in the world of finance; graphical elements integral to and ownable by the brand such as the “G” and the “ticker” and the “shares;” and a modern verbal identity and tone of voice that “abandons both the stiffness of the traditional financial institutions and the platitudes of crypto start-ups.” Comments Seres Lu, Grayscale VP Marketing: “In an industry that evolves as quickly as crypto, we are focused on ensuring that our company and our brand is recognizable and lasting.” elephant.is

6 GDUSA

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FRESH | DESIGN SERVES UNDERSERVED DENVER NEIGHBORHOOD

DENVER CO Design studio Wunder Werkz is using design tactics and branding to help revive a poor and historically

underserved neighborhood and “give it back to the immigrants that made it a home.” By way of background, Sun Valley’s 1925 zoning law turned the area into an industrial zone, leaving behind immigrant families who, over the decades, have dealt with many challenges including nearly 80% of residents falling below the poverty line. However, recent efforts by the Denver Housing Authority (DHA) have looked to bring residents back with new developments, improved policies and better support. The DHA partnered with the design studio to create a new identity that seeks to embody a storied past and hopeful future. The team developed the identity which, beyond the logo, includes: designs for painting large swatches of asphalt to fight the urban heatwell effect; a monument, using a rammed earth base, packing gravel, sand, silt and a small amount of clay into place between flat panels; a tile icon system built from various heritage motifs — flags, textiles, tiles and patterns from a number of cultural groups to create a non-linguistic visual system; a custom font translatable into 12 languages for a new supermarket to address the ‘food desert’; and various wayfinding solutions, posters and easy-to-use templates. Wunder Werkz is known for an eclectic mix of hospitality, residential/commercial development and other clients. iheartwunderwerkz.com

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FRESH | AIRPORT ANNIVERSARY INSPIRED BY 1960 IMAGERY

GRAND RAPIDS MI Advertising and design agency Extra

Credit Projects (ECP), pulled out all the (non)stops as client Gerald R. Ford International Airport (GFIA) celebrated a major milestone in 2023, helping them launch an anniversary campaign to mark the occasion. The 60th anniversary campaign for Michigan’s second largest airport is running across a variety of tactics, including digital, social, radio, streaming tv, out of home and more. The theme “Nonstop Peace of Mind Since 1963” evokes the ease and convenience of travel to numerous nonstop destinations, with ads connecting the 1963 anniversary to today’s facility. “We were inspired by the 1960s for our campaign design, colors and concept,” said Eric Lowe, Senior Art Director at Extra Credit Projects. “The look and messaging are meant to be fun, colorful reminders of the anniversary, while still promoting their 30+ nonstop destinations and modern amenities.” The campaign has generated an online store featuring limited time branded anniversary apparel and other items. Additionally, the anniversary was commemorated with a community celebration event attracting thousands with aircraft landings, food trucks, live music, free swag and more. The Airport is reported to generate $3.1 billion in economic output to the region, supporting 2,000+ jobs, and is currently undergoing a major capital expansion program. extracreditprojects.com

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FRESH | CHWAST, MOK, DUPLESSIS HONORED BY COOPER-HEWITT

NEW YORK NY Cooper Hewitt, Smithsonian Design Museum has named the

winners of the 2023 National Design Awards, recognizing design innovation and impact in 10 categories. Established in 2000 as a project of the White House Millennium Council, the program brings national recognition to the ways in which design enriches everyday life. Award recipients are selected by a multidisciplinary jury of practitioners, educators and leaders from a wide range of design ﬁelds. Among those of particular note to the graphic design community honored this year are legends Seymour Chwast (Design Visionary), Arem Duplessis (Communications Design), Clement Mok (Digital Design as well as Beatriz Lozano (Emerging Designer). Other recipients: Biocement Tiles by Biomason, Climate Action; nARCHITECTS, Architecture; Naeem Khan, Fashion Design; The Archers, Interior Design; Kongjian Yu, Landscape Architecture; and Atlason, Product Design. Says Dung Ngo, chair of the awards jury: “This year’s winners are a highly diverse group — from a handcraftfocused fashion designer to one of the early pioneers of digital design — but they share many common traits: a highly rigorous process to their discipline, a truly collaborative approach and putting people front and center in their practice. These are design core values worth celebrating.” Maria Nicanor is the museum’s executive director. You can read more about the awards and the winners on our website at gdusa.com. Pictured Top to Bottom: Seymour Chwast, Arem Duplessis, Beatriz Lozano and Clement Mok

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SCHOOL OF DESIGN

admissu@syr.edu 315.443.2769 vpa.syr.edu/cmd2023 @su_commdesign

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FRESH | STAMP DESIGN HONORS RUTH BADER GINSBURG

WASHINGTON DC The United States Postal Service has released

a new Forever stamp honoring the late Supreme Court Justice Ruth Bader Ginsburg. The stamp’s unveiling took place at the Smithsonian’s National Portrait Gallery during a first-day-of-issue dedication ceremony that was open to the public. Designed by art director Ethel Kessler, with a Michael J. Deas oil painting based on a photograph by Philip Bermingham, the stamp captures the 107th US Supreme Court justice in her black judicial robe and favorite white-lace collar. Ginsburg, who died in September of 2020, is the first Supreme Court justice to get a solo US stamp since 2003, when Thurgood Marshall was honored. “For me, this was the stamp project of a lifetime,” Kessler told NPR, calling Ginsburg “a true pioneer for equal justice.” Comments USPS Board of Governors Chairman Roman Martinez IV: “Justice Ginsburg was an iconic figure who dedicated her life to public service and the pursuit of justice. She was a true pioneer, and it is our honor to celebrate her incredible legacy in this way.” Chief Justice John Roberts noted: “The Post Office knows an icon when it sees one.” Ethel Kessler has been recognized by Communication Arts, Graphis, Print, and received multiple awards for postage stamp design in the 2022 GDUSA Design Annual. The Ginsburg stamp is available in panes of 20 at select Post Office locations and on the USPS website. usps.com/shopstamps

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FRESH | MEXICAN ARTIST BRINGS DIA DE LA MUERTOS TO LIFE

PURCHASE NY As millions prepare to celebrate Día de los Muertos

in early November, creating ofrendas (altars) and planning memorial feasts, Rockstar Energy Drink launches “Proud Hasta Los Huesos” (Proud to the Bones). The national campaign kicked off with the release of a limited-edition collection of Día de los Muertos-themed cans designed by Mexican artist and illustrator Joaquín Nava. The collection is inspired iconic images of La Catrina, a central symbol of the Día de los Muertos, and includes Rockstar Pure Zero, Brisk, Crush and Manzanita Sol beverages. Each can features artistic nods to Mexican culture and community. Design elements feature La Catrina in the signature colors of each beverage surrounded by customary ofrendas, the alebrije icons (spiritual guides), the Xolo dog, the feathered serpent, and other distinct decorative cues like marigold ﬂowers and papel picado (paper banners). Joaquín Nava’s message: live life with unapologetic enjoyment while embracing the legacy of those who came before you. The artist says: “Collaborating with Rockstar Energy to infuse my passion into these can designs has been an extraordinary journey — it underscores the universal language of art and culture, serving as a reminder that when creativity and tradition intersect, the result can be truly exceptional. This partnership not only pays homage to our heritage but also amplifies it...” Esperanza Teasdale, VP & GM, Hispanic Business Unit at PepsiCo, states that the “campaign was created to honor our heritage while giving a platform for Hispanic artists to shine and share their talents with the world. Through this new, limited-edition Día de los Muertos can collection, we honor our roots, while infusing culture and creativity into every sip.” The campaign also has a strong follow up social media component. rockstarenergy.com

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FRESH | DATING APP CAMPAIGN WELCOMES ‘GOALDIGGERS’

CHATTANOOGA TN Creative agency Humanaut was tapped to create the ﬁrst national out-of-home campaign for The League,

a dating app from the company that owns Match and OkCupid. Devoted to creating power couples from a curated community of singles, The League urges individuals to “Be a Goaldigger.” Bold designs and provocative headlines double down on what the Tennessee-based agency see as humorous and disruptive work that is anything but subtle. “The League has always prided itself on being a dating app for high-achieving individuals. In this relaunch, we wanted to dial that up to 11,” said Bethany Maxfield, Creative Director at Humanaut. “We knew that borrowing the cringy, familiar equity of ‘gold digger’ and flipping it on its head would help ‘Goaldigger’ plant roots in people’s brains.” The campaign encourages members to match based on their life goals, in addition to more conventional filters. Humanaut crafted 100-plus unique goals that users can select to bring them one step closer to finding their forever goalmate — ranging from “Get a PHD in something I know nothing about,” “Become less terrible at surfing,” or “Run a marathon. Okay, maybe a half marathon.” Included are 140 creative pieces appearing this Fall in three NYC subway station dominations, the Financial District, wild posting and also placements throughout Los Angeles International Airport (LAX). humanaut.is

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RESPONSIBLE DESIGNERS TO WATCH DESIGNING FOR GOOD

SPONSORED BY

DOMTAR 20 G D U S A

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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 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. In 2023, it’s especially relevant, meaningful and poignant given this pivotal moment for America and the world as we emerge into a new era of fallout and fault lines, challenges and change, and the need to repair a 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.

SHANE LUKAS

Tell us how and why you became involved in socially respon-

OWNER/CREATIVE STRATEGIST

an especially effective tool for this goal, and, if you wish,

A GREAT IDEA, DURHAM, NC

give us an example of a project of which you are proud.

A Great Idea (AGI) is a queer-run, values-led graphic design and brand agency, which I started in 2015 to provide our clients with empathyfueled creative solutions. My background in award-winning design activism informs and inspires our approach to business. I founded A

sible communications, any thoughts on why design can be

My journey toward socially-responsible communications was a natural fusion of my design skills and lifelong commitment to social justice. I have over 30 years of experience working in queer liberation and harm reduction activism and came to creative strategy as a result of this work. I wanted

Great Idea as a vessel to share and grow my creative skillset, respond-

to combine my two decades’ worth of design experience —

ing to a need for design support I saw in some of the organizations

for companies like Monster, AirTran Always, drugstore.com,

with whom I was already working.

and Verizon Wireless — with my commitment to equity. Design can be a powerful tool for spreading important

AGI’s team of expert creatives works to produce content strategies

messages and building deep human connections.

and designs for organizations, initiatives, and companies that share our unwavering commitment to equity, inclusion, and diversity. Our work promotes education, inclusion, and advocacy for our clients across many fields, including healthcare, entertainment, and grassroots organiza-

In other words, good design helps us connect with people, and community work relies on people power! Our amazing partners’ work connects with and uplifts people across the spectrum of identities, and it is our honor to work with

tions. We specialize in partnering with clients to produce original,

them. A Great Idea’s design work and creative partnerships

heartfelt content that centers human connection, intending to spark

help increase the availability of information, resources, and

engagement and awareness.

education to our clients’ networks, sparking engagement and awareness.

We are proud and intentional about the fact that many of our clients are minority, women, and LGBTQ+-led businesses and organizations. As a small but mighty team, we work on an individual and attentive basis with our community partners while staying committed to supporting just initiatives throughout Central North Carolina. AGI is a proud member of the National Lesbian and Gay Chamber of Commerce and is public about supporting queer-liberation and Pride initiatives as well as equity-centered work.

Given the confluence of events and challenges our society now faces, does this moment in time present any special opportunities, urgencies, obstacles to designing for good? A Great Idea sees this moment as a call to action! In the face of deepening global crises and political repression, our partner organizations provide folks with needed support and resources. We work tirelessly to boost their reach and impact with exceptional design and creative strategy that is easy, accessible, and human. Closer to home, we devote our creativity to action-oriented solutions that ignite our communities to create change, like “Every Day, Say ‘Gay’” (everydaysaygay.com) and Out.Vote (out.vote). These initiatives inspire queer communities and allies throughout North Carolina. Great design for good causes sparks engagement, understanding, and inclusion when it is needed most! G D U SA 21

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HOW W TO READ D A SWA WATCHBOOK 1. HOW DO YO YOU U USE A SW WA AT A TCHBOOK? A swatchbook is a valuable tool for both print newco omers and industry veterans that n not only displays a paper line’s entire offering, but also namic printed piece. provides the right information to solidify your paper decision. They are the ideal starting point in the creation of any dyn A swatchbook has several components: printed samples, unprinted samples and tabs.. Each section has a different role iin informing your '&%$#$"! " & " & " #& $ & #& & # ! $! "' % $"! " & $ # !'# " & $! # !' # &%$ %% $"!# # % "" # also allow custome ers to grow more familiar with paper over time. The more that you usse your swatchbook, the more knowledgeable you will become about you ur paper options. 2. PRINTED SAMPLES Printed samples are a series of images printed on various paper offerings. They help you determine the impact differentt papers will have on " & # &%$ % ! $ & # '& " & & # # % & % # '& " " % # " $! &' $&%& # % # " ! $ & $ & "! sheet allows. When reviewing the printed samples, look for elements like: - Even solids and rich blacks - Lifelike skin tones and vibrant color - Excellent detail reproduction on, brightness and These elements can help you evaluate paper formatio shade, which are all indicators of a paper’’ss quality and d can afffect the overall mood and message from one printed sample tto the next. 3. UNPRINTED SAMPLES While printed samples showcase how the paper will enhance or complement an image, tthe unprinted samples (waterfall) se erve as an easily accessible look at an entire grade line’’ss offffering. The waterfall w is the standout feature of a swatchbook. Without the distraction of a printed image, it displays the range of an offering and focusess on its components image components—such such as brigh brightness, htness shade shade, formation and weigh ht making ht—making consistencies and comparisons across lines easy to no otice. " $! &' !' ! $! &' # &# & $ " ! &## &%$ &! % ""#$! $ & !%" &' & " & ""

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no two white, uncoated paper lines are alike. Difffferentt mills produce slightly difffferent shades, at difffferent brightnesses with different formations and these variations produce unique results once ink is i added to paper. 4. TABS % "" # #" & & #& & # & &' ' # "! ! &$ $ &# '& !& ' & $" # $ #&% $"!# $ " & # % "" # !$# $ " # &# &' & $ &! # & " $ " & % &# &% $ & " !" $%& $# $# & & & # "% $! % # & & & &'

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5. PA PAPER QUALITIES DEFINED D Basis Weight Refers to the weight in poun nds per ream (500 sheets) h ) off paper cut to its basic or standard size.

GE Brightness Measures the ability of a sheet " & " & &% % "! & $ a scale of 0-100. T The higher the numberr, the brigh hter the sheet.

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Smoothness The measure of th he evenness of a pap per’’s surface. Smoothness is important for ink absorption.

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"% $! % # " $'& & # &%$ % $"!# " $" # #$# &$ # !' %"! $! $! " $"! $! & & # #& & & ' " & $! " &' '&%$#$"!# " & " " '& " # &%$ % " ! " & # % "" & # &%$ % $"! % & &# $ $&# " & & " & % #$# weight listed. Some basis weights w offfer more size options than others, so check stocking charts fo or varying sizes across difffferent basis weights beforehand and after any changes c to ensure your chosen basis weight matches the needed shee et size. 6. ASK AN EXPERT Your printer is your best ressource (next to swatchbooks) for your print projects, so include them in n the conversation. Their knowledge is extensive, and they can pro ovide advice and guidance on whether an option is suitable for your ne eeds and goals based on their experience. When working on budget-cconscious projects, coordinate with your printer to plan your printed piece around what’s ’ available to get the most out of your sheet and maximize e potential cost savings without compromising print quality. Remembe err, swatchbooks only represent paper mill plans, !" "% & % ! # "% " " & &! " &% '& # " &'&#$ !# %" " & $ " $! & " %"! & $ $ $ " & & $ &' # && size in your chosen basis we eight, meeting project timeline requirements. e up-to-date. Visit paper.domtar.com to request Suppliers will update their sswatchbooks every few years, so be sure that your swatch cabinets are the most recent Cougar®, Lynx L ® or Husky® swatchbooks.

Scan to req quest the latest editions of our swatchbooks Learn more a at paper.domtar.com

10/6/2023 3:51:30 PM

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2023 | RESPONSIBLE DESIGNERS TO WATCH Tell us how and why you became involved in socially responsible communications, any thoughts on why design can be an especially effective tool for this goal, and, if you wish, give us an example of a project of which you are proud. As mentioned, I started my career in the for-profit agency world, where environmental concerns were not at the forefront of my focus. It was at the EDF I discovered the profound role of design in addressing socially responsible issues. Good design has the remarkable ability to distill complicated concepts into accessible, compelling messages. It bridges the gap between complex ideas and broad audiences, fostering empathy and motivation for action. Through our in-house materials like EDF’s quarterly magazine ‘Solutions,’ we establish a meaningful connection with our members, sharing the inspiring stories of our mission's impact. Notably, we executed a bold out-of-home campaign in New York City during Climate Week, strategically placing visuals at bus stops, charging kiosks, taxi tops, and large window displays at Grand Central Terminal. These creative interventions converted everyday urban spaces into potent platforms for climate awareness.

CHRISTINA BAUTE DIRECTOR OF CONTENT CREATIVE ENVIRONMENTAL DEFENSE FUND, NEW YORK NY

Designers, in this era of global challenges, bear a unique responsibility. Our craft enables us to ignite positive change, shape behaviors, and contribute to a more socially responsible and sustainable future.

I've been lucky enough to have a fulfilling career spanning over two decades, kicking off in a small boutique design studio/agency where I specialized in graphic design, art direction, and branding, working on a diverse array of design projects — from print materials to comprehensive branding systems, product packaging, pointof-sale materials, interior design, and advertising campaigns. During this time,

Given the confluence of events and challenges our society now faces, does this moment in time present any special opportunities, urgencies, obstacles to designing for good? Nowadays, creative professionals find themselves

I had the privilege of collaborating with clients such as Mattel, American Red Cross,

navigating a multitude of challenges. They must adapt

Cadbury Schweppes/Snapple, Kiss My Face, Panama Jack, Colgate Palmolive,

to the evolving dynamics of remote collaboration,

Old Navy, Toyota, Jeep, American Express, and many other notable brands.

contend with the constant deluge of information in our digital age, and even grapple with the impact of

For the past 15 years, I've been in the marketing and communications department

distressing global issues like extreme weather events

at EDF (Environmental Defense Fund). EDF's mission is to build a vital Earth,

and even worse, geopolitical instability. They’re not

for everyone. We use our expertise in science and economics to deliver bold,

only tasked with creating effective designs but may

game-changing solutions to address the biggest challenge of our time — climate

also have to contend with mental health and burnout

change. Our work spans over 30 countries in areas where we can make the

concerns themselves. In this demanding environment,

biggest impact, with a focus on stabilizing the climate, strengthening the ability of people and nature to thrive, and supporting people's health. EDF's core values — Results, Respect, Innovation, Optimism, and Integrity — allow us to

creatives can inspire us all by reminding us that, resilience is an invaluable asset. If we can support one another whenever pos-sible, we can harness the power of community, in the creative world or otherwise.

experiment courageously in our work, while staying true to who we've been as an

Together, we can cultivate and nurture an environ-

organization for more than 50 years.

ment of innovation, empathy, and positive change.

24 G D U S A

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Tell us how and why you became involved in socially responsible communications, any thoughts on why design can be an especially effective tool for this goal, and, if you wish, give us an example of a project of which you are proud. At Ford Foundation, our ideas of justice are shaped by design, from the words we read to the images we see and the sounds we hear. These are the core tools of any good designer, and for a kid whose “career” started making takeout menus for my parent’s Chinese restaurant and went on to work in tech, political campaigns, newsrooms, and now philanthropy, translating the complex to the accessible came naturally. At Ford, we recognized that the world has forever changed. And it became clear to me that the foundation needed a visual identity that reflected this moment. Our new visual identity, launched in 2023, drew on a rich visual history of social justice movements, the complexity of our world today, and the future we — together with our grantees — are building: a future grounded in justice and brimming with hope and opportunity. Given the confluence of events and challenges our

VICTOR NG

society now faces, does this moment in time present any special opportunities, urgencies, obstacles to

CREATIVE DIRECTOR, FORD FOUNDATION, BROOKLYN NY

designing for good?

I’m a designer, educator, and community organizer based in Brooklyn, New York.

Designing is simply using your imagination to solve

I’ve led design and brand work for non-profits, news organizations, political cam-

problems, and many of the biggest challenges we're

paigns, and technology startups. Today, I serve as the creative director at the Ford

facing today exist because of a lack of imagination.

Foundation, overseeing brand strategy, multimedia, editorial, and design work across the foundation’s global communications.

And the areas where Ford works are ever more complex and intersectional, requiring skilled translators to bring these ideas to the mainstream. Design, and the tools to design, have never been more accessible.

The Ford Foundation is an independent organization working to address inequality

That means it’s all the more essential that we use

and build a future grounded in justice. For more than 85 years, it has supported

these skills to direct attention toward the ideas, indi-

visionaries on the frontlines of social change worldwide, guided by its mission to

viduals, and institutions fighting for a better world.

strengthen democratic values, reduce poverty and injustice, promote international cooperation, and advance human achievement. Today, the foundation has headquarters in New York and 10 regional offices across Africa, Asia, Latin America, and the Middle East.

G D U SA 25

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2023 | RESPONSIBLE DESIGNERS TO WATCH Tell us how and why you became involved in socially responsible communications, any thoughts on why design can be an especially effective tool for this goal, and, if you wish, give us an example of a project of which you are proud. I became involved in socially responsible communication back in New York when, right after college, I was asked to teach a graphic design class at Bronx Community College to children ages 8-12. I had to teach these young children how to analyze and solve a problem by communicating their messages visually and showing them how their visuals can impact a community. It was a concept I was slowly learning then, but I understood the importance of it. I am the Communications Manager for the Center for Leadership in Disability (CLD) at Georgia State University. CLD is a University Center for Excellence in Developmental Disabilities, one of 67 programs in the country funded by the Administration on Intellectual and Developmental Disabilities of the U.S. Department of Health and Human Services. CLD's mission is to translate research into sustainable community practices that contribute to independent, inclusive, and productive lives for people with disabilities and their families. My role involves design,

GAIL RODRIGUEZ COMMUNICATIONS MANAGER CENTER FOR LEADERSHIP IN DISABILITY, GEORGIA STATE UNIVERSITY, ATLANTA GA

marketing, and public relations for the various projects within CLD and our partners. My design and marketing projects at CLD are in the areas of Mental Health, Equity, Diversity and Inclusion, Autism, Advocacy, Leadership, and Early

Originally from New York, I started in fashion illustration at the High School of

Intervention and Positive Behavior Support, along

Fashion Industries — a public school focused on a range of fashion careers —

with collaborations with organizations like the

and discovered the creative and challenging world of graphic design. I went on to

Georgia Department of Public Health’s Babies Can’t

attend the School of Visual Arts in New York. After graduation, I ventured into the

Wait program, the Georgia Association for Infant

world of advertising agencies and magazines. It was initially exciting working on 7th Avenue, but it slowly lost its glamour and did not fulfill the creativity I craved. I entered the non-profit world over 20 years ago, working with hospitals like Jamaica and Brookdale, designing community programs and hospital services. When I moved to Atlanta, my clients included Children’s Healthcare of Atlanta, Georgia

Mental Health: Birth to Five, the Association of University Centers on Disability (AUCD), and more. Given the confluence of events and challenges our society now faces, does this moment in time present any special opportunities, urgencies, obstacles to designing for good?

Institute of Technology, Atlanta Area School for the Deaf, and the Georgia State

One in four Americans has a disability. Individuals

University School of Music. There is a considerable difference between a com-

with disabilities have less access to health, education,

mercial design job and a non-profit design job; when talking to my clients in the

and other essential resources. Years of advocacy and

non-profit world, there is a sense of passion for their organizations. Ultimately, we are all advocates for the common goal of improving lives and seeing a change in the communities we serve.

awareness building have increased accessibility for people with disabilities, but we still have a long way to go. There has also been an increase in product designers improving accessibility for people with disabilities. As a socially conscious designer, you must design something that is beautiful, powerful, communicates your information, and, most importantly, is accessible.

26 G D U S A

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Design can be especially effective in socially responsible communications by providing a larger platform or greater attention for a group/program/organization's message, potentially giving them a refresh to better represent their mission and goals. Design can be used to streamline and educate. Design can bridge the gaps in communication, in understanding, and bring us closer together. Given the confluence of events and challenges our society now faces, does this moment in time present any special opportunities, urgencies, obstacles to designing for good? The opportunity is there to roll your sleeves up and do the work. The work may be providing creative services for an organization or cause that needs that extra boost or literally ladling soup to help care for those in need. Or maybe use the last line in a paragraph to drop the donation information for your local community center/soup kitchen in an attempt to hopefully do a little good and help feed a few more people, joycommunitycenter.org/donate

JOSHUA VAUGHAN GRAPHIC DESIGNER/CREATIVE BLUE BARN DESIGN CO., GREENVILLE NC Joshua Vaughan is a graphic designer/creative at Blue Barn Design Co., with 16 years of design experience in city/local government, higher education/academics, agencies, volunteer, and freelance. Tell us how and why you became involved in socially responsible communications, any thoughts on why design can be an especially effective tool for this goal, and, if you wish, give us an example of a project of which you are proud. No person is an island, and if we want our communities to thrive and continue to grow, it is up to us to take the opportunity to engage and do what we can. I have had the good fortune and opportunity in my career to work with and learn from Dawn & Brian Crawford of BC/DC Ideas, a non-profit communications agency based out of Cary, NC; with the late Tom Douglass through the East Carolina University English Dept. to help Veterans tell their stories with the Veterans Writing Workshop, to fundraising to aid in recovery efforts for Ocracoke Island when Hurricane Dorian devastated the island and it's community, and most recently donating my services and time with the JOY Community Center & Soup Kitchen as a volunteer and volunteer designer.

G D U SA 27

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2023 | RESPONSIBLE DESIGNERS TO WATCH Like everything else, brands must adapt (or die). Co-creating with brand communities, and fluid innovation is a must. The “top down” approach is no longer viable. Beyond that I’ve had the honor to work with some incredible organizations that are true champions of social responsibility. Enterprise Community Partners is the nation’s largest non-profit working to solve the crisis of affordable housing. We dove deep with them to relaunch their identity. In order to succeed, the expression needed to be emotional and speak to systemic barriers. We created the brand idea “Home is where life happens, where plans are made and futures begin.” In my work as Vice President of Programming with AIGA New York, our mission is to “Champion the Future of Design for All” and ensure we are creating a platform and space for elevating new voices in our industry, and advocating for transparency. Given the confluence of events and challenges our society now faces, does this moment in time present any special opportunities, urgencies, obstacles to

SARAH WILLIAMS

designing for good?

PARTNER/CHIEF CREATIVE OFFICER BEARDWOOD&CO., BROOKLYN NY

The clock is ticking, and the world of consumer

Outside of running an agency, my other passion is running in the woods. When you are out there it gives you time to absorb the beauty of our world, and realize

brands has cracked open, creating the opportunity to re-examine everything from the messaging, imagery, and the materials used. From our work with global brands including Danone, Colgate, and Hyatt — we

our fragile place in it. A few weeks ago I came face to face with a bear, alone.

see there is a greater sense of urgency to tackle

One “mama bear” to another. Having an existential moment like this is a powerful

big challenges. When companies of this scale make

reminder that we have one life and one chance to make in impact.

investments in being socially responsible, it moves the needle forward significantly — paving the way

One thing that I’ve always found to be true is that big creative ideas come from

and putting pressure on their peers to do the same.

defining big challenges. This is how we illuminate the possibilities, and how

It requires us all to keep asking the tough questions,

transformative design takes root. Start from a place of listening, empathy and

and defining challenges to be solved, that keeps the

collaboration to build together — then “go big” and make it real.

momentum going forward.

How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? Step inside the “Invisible Worlds” exhibit at American Museum of Natural History, and you are immersed in the interconnectedness of all biological life. As humans we all share 99.9% of the same DNA. Zoom out from all the design deadlines, products, and profits — and there is a clear “WHY” — we all depend on each other to survive and thrive.

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airline's visual language, and, in the years following, created many campaigns and stunts. His work has been published in Comm Arts, Condé Nast Traveler, Graphis, The New York Times and Wallpaper*, and has received top honors from Creativity, D&AD, FWA and The One Show. How did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? With the wide range of problems we face today, opportunities for designers to get involved are everywhere. At B/H we recently completed two bodies of work that did just that. The first was with the California Coastal Commission to help raise awareness around their annual coastal cleanup event. The visual approach was brought to life through a bright summer collage palette–pulling images from disparate sources and a new event-specific logo. The takeaway: “You are bigger than you think.” The other was a project where we helped perpetuate positive change for the DTC meat company, GrassRoots Farmer's Co-op. Their whole model is a challenge to the system — a radically old idea that

TED BLUEY

positively impacts the planet's health, and ultimately

HEAD OF DESIGN BARRETT HOFHERR (B/H), SAN FRANCISCO CA

redesigned their brand identity, and created a cam-

Ted reluctantly moved around a lot as a kid. Seeing the world was great and all but, being the perpetual new guy every two years was the worst! Looking back all that forced change and flexibility was probably good for Lil Teddy as the shy, quiet artist kid. The need to embrace newness and adapt was real — a learned skill just as critical today. Ted has a desire to design and build great brands and be a co-conspirator to clients with big ambitions. He thrives on digging in with creative teams to make the best work of their careers — he's a natural teacher and champion of talent. He’s won

ours. We helped them build their brand strategy, paign with a fresh new visual language and a frank, witty tone of voice. Given the confluence of events and challenges our society now faces, does this moment in time present any special opportunities, urgencies, obstacles to designing for good? The challenges we face as a society are complex, multi-faceted, and ever more alarming. Solutions need to rise above the noise and rhetoric, and design is a powerful, universal tool that can be used to

awards for art direction and design, and others have described him as a fastidious,

simplify messaging and introduce new ideas. The

hands-on type of nerd. He’s worked in both design and advertising creating

opportunity for design is this: The world is hungry —

award-winning brand identities, packaging, digital and global campaigns for brands

hungry for new thinking and optimistic proposals

big and small. He’s a T-shaped, left and right-brain thinker, and hates sleeping.

and tired of the relentless and repetitive sound bites. The job I see for designers working for good is no

Ted is currently Head of Design at B/H. Prior to that he co-ran DIG, the Design

different than it ever was: creating work that breaks

and Innovation Group at Eleven in San Francisco. He was an Associate Partner

through the noise and builds an audience.

and Creative Director at Eleven beginning in 2003. He’s had the opportunity to work with a wide range of clients including: Barclay’s, Gallo, Getaround, Google, JSX, Pella, Treasury Wine Estates and Visa. And, for nearly a decade, he worked with Virgin America. During that time, he and his team established the then new

G D U SA 29

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2023 | RESPONSIBLE DESIGNERS TO WATCH Tell us how and why you became involved in socially responsible communications, any thoughts on why design can be an especially effective tool for this goal, and, if you wish, give us an example of a project of which you are proud. “Thus all art is propaganda and ever must be, despite the wailing of the purists. I stand in utter shamelessness and say that whatever art I have for writing has been used always for propaganda for gaining the right of black folk to love and enjoy. I do not care a damn for any art that is not used for propaganda. But I do care when propaganda is confined to one side while the other is stripped and silent.” — W.E.B. DuBois “The Crisis” of October 1926 “Criteria of Negro Art” As a young adult, I was fortunate enough to study my history at the Amistad Center in New Orleans. I found sayings like the above W.E.B. DuBois quote to be riveting and vital to the progression of Black identity. The time for cultural design and cultural engineering is now. It might be the only thing that saves us. We are all now cognizant of the intricately designed systems of oppression and the carelessness of an American society that cannot grasp climate change, school shootings, racism, and the inequalities of capitalism. Using

TERRENCE MOLINE

our creativity to solve these issues will be far more

FOUNDER/GRAPHIC DESIGNER AFRICAN AMERICAN GRAPHIC DESIGNERS (AAGD), AUSTIN TX

ucts for consumerism.

beneficial to our future than continuing to create prod-

Given the confluence of events and challenges our

I have always been a curious kid from New Orleans looking to connect with more creatives like me. After Hurricane Katrina in 2005, I made a point to rebuild the dispersed creative community. I connected with national design superstars through social media. When we met at the Hue Design conference in 2018, we decided to work together to advance our work and focus our energy on moving the industry forward for marginalized designers and clients. Our crew started with educators, artists, and producers. My main man is Dave McClinton. He is a nationally collected artist, and our forever memorialized core team included Jordon Moses, Russell Toynes, Nakita Pope, and Terresa Moses. We worked together and nurtured a community of Black designers where legends like Cheryl Miller, Juan Roberts, Ron Tinsely, Richard Manigault, Monna Morton, Craig Brimm, Derek Walker, and Alan Bell made themselves available to guide us along the paths of being polished creatives. They also warned us of the perils ahead as we learn how to balance money and community.

society now faces, does this moment in time present any special opportunities, urgencies, obstacles to designing for good? Our work has had a transformative impact on sensitive subjects and overlooked communities. When we worked with the Death Penalty Information Center, we made starkly serious subjects elegant and illustrative as opposed to using tropes associated with the spectacle of Black Death. When we work with Alex Wright of Learn Level, we collage letters from incarcerated people into visual messages that convey their humanity and willingness to work their way back into society. While working with Omari Sousa and the State of Black Design, we’re assisting with messaging, visual communication, and building mechanisms to unite our community. When we worked with our partners, Rising Communities, in South LA, we flew down to the opening of a community program

Through our collective efforts, we’ve hired several designers in our community, like Derrick Whitfield, Denishia Macon, Jakia Fuller, and Gabi Zuniga. And we have invested over a million dollars back into designers who are passionate about their careers.

30 G D U S A

and art show we created to ensure they connected with their art community respectfully and openly.

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How and why did you become involved in socially responsible communications and why do you believe design can be an effective tool for this goal? Navigating the intricate world of healthcare can be like attempting a maze blindfolded. At our startup agency, we took on the challenge with our first client, aiming to untangle the complexities and bring clarity to healthcare decisions. We created a graphic inspired by the very essence of an ‘ecosystem.’ Imagine a person at the core, encircled by teams of unwavering support. The circular design symbolizes perpetual assistance, an unbroken loop of support ready to guide you back to the life you envision. In a healthcare landscape filled with overwhelming details, our graphic became the Rosetta Stone. It transformed a convoluted mission into an understandable journey. We believe in the power of simplification, especially in healthcare, where complexity can be paralyzing. Breaking down a complex idea into a visually digestible format became our forte.

KRYSTAL PRATT EXECUTIVE CREATIVE DIRECTOR, B360, EDISON NJ I am an award-winning designer and creative director with over 16-years’ experience in editorial design. Throughout my career, I've navigated various roles, from in-house positions to agency collaborations and freelance engagements. My portfolio includes collaborations with industry leaders such as Ritz Carlton, Porcelanosa, Calvin Klein, Christopher Guy, and Kathy Ireland. Notably, I transitioned into the healthcare sector at the height of the pandemic. Beyond my professional collaborations, I devote a portion of my expertise pro bono to meaningful causes. Organizations like Behind the Book and Unusual Suspects, dedicated to education and creative outlets in underserved areas, align with my commitment to social impact. Currently, I serve as the leader of a creative team at a startup agency. Our inaugural project is dedicated to revolutionizing healthcare, emphasizing a patient-centric approach through an ecosystem of partnerships and support.

Given the confluence of events and challenges our society now faces, does this moment in time present any special opportunities, urgencies, obstacles to designing for good? The design landscape is saturated, and the real challenge is breaking free from the shackles of conformity. Now is not the time to tiptoe around; it's the perfect moment to throw caution to the wind, engage in those uncomfortable conversations, and be unapologetically bold. But it's not just about creating eye-catching visuals; it’s about becoming a design maestro, an educator who weaves narratives that transcend mere advertising. The shift is from self-promotion to advocacy, from “look at us” to “join us in a cause.” In this era of information overload, it's the educator who emerges as a leader because it's less about them and more about the bigger picture.

In addition to design, my passion lies in leadership, teaching, and inspiring others in the field. Collaboration, shared objectives, and a collective commitment to success are integral to my professional aspirations. Fueled by inspiration, trust, and a dedication to facilitating the success of others, each triumph is viewed as a collective achievement. My overarching purpose is clear — to forge innovative brands while imparting knowledge, inspiration, and mentorship to those within and beyond my immediate professional sphere. As I continue forward, I carry the responsibility of fostering support and mentorship for the next generation of designers.

So, fellow designers, let's not just create visuals; let's craft experiences. It's time to be the provocateurs, the educators, and the champions of causes. In a world drowning in designs, let's be the ones who make waves, not just ride them. This is our call to arms, our moment to design not just for aesthetics but for a greater good, and do it with a touch of cheeky brilliance. G D U SA 31

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2023 | RESPONSIBLE DESIGNERS TO WATCH Sustainability has become a core principle in my work, leading to a complete shift towards digital practices to minimize my environmental footprint. Design is an extraordinary tool for addressing complex social issues; it transcends boundaries and has the power to inspire action like no other. It's a universal language that connects deeply with people. One project I hold dear is my ongoing work with Impact and Environment. These digital platforms are dedicated to engaging young changemakers. Through creative visuals, we demystify intricate topics like politics and social justice, making them accessible and inspiring the next generation to get involved. In my role, I focus on crafting visuals that resonate with young people, encouraging them to care about these critical issues. It's an ongoing journey of finding innovative ways to communicate, educate, and instigate change. Given the confluence of events and challenges our society now faces, does this moment in time present any special opportunities, urgencies, obstacles to

ANDREI DOMINIQ

designing for good?

GRAPHIC DESIGNER, JAMES JUNK, LOS ANGELES CA

Absolutely, this moment feels deeply personal in terms of designing for good. The intersection of press-

For years, Andrei Dominiq’s creative practice, James Junk, has fused his design

ing global challenges, from climate crises to social

powers with brands that lead with openness, social impact, and breaking the

inequities, has made it abundantly clear that design

binary. Hailing from Los Angeles, Andrei, a queer Filipino designer, draws inspi-

can be a driving force for positive change.

ration from his diverse life experiences. This rich tapestry of influences has shaped his unconventional approach to design, resulting in mind-bending and

However, obstacles also exist, such as information

delightfully off-kilter creations. His daring designs have earned him global recog-

overload and growing cynicism. Cutting through the

nition, having been featured in publications and productions the likes of Adobe

noise and spurring action can be challenging. Yet,

and It's Nice That, and earning him prestigious awards such as the Webbys and Shortys through his work at Impact and its climate-centric platform Environment, where he is known for creating social action and climate justice content that effectively engages an audience of 3+ million individuals. With his knack for not

the urgency of our times compels us to find ways to overcome these hurdles. It’s a call for designers, including myself, to leverage our creative abilities to exact change, nurture empathy, and ignite actionable conversations.

thinking outside of the box but rather thinking like there is no box, Andrei is just getting started.

In this defining moment, it's not just a professional endeavor; it's a personal commitment to jockey

Tell us how and why you became involved in socially responsible communications, any

design as a tool for driving real, tangible progress

thoughts on why design can be an especially effective tool for this goal, and, if you

toward a more compassionate and sustainable world.

wish, give us an example of a project of which you are proud. I ventured into socially responsible communication because I recognized design’s immense potential for driving positive change. My passion for sustainable design, particularly the reduction of paper and ink usage to nearly zero, was ignited when I witnessed the significant waste within our industry.

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Tell us how and why you became involved in socially responsible communications, any thoughts on why design can be an especially effective tool for this goal, and, if you wish, give us an example of a project of which you are proud. I became involved in the work of disrupting, dismantling, and destroying systems of oppression most intentionally during my graduate studies while earning my MFA. I became heavily engaged in the Black natural hair community and understanding the systems that work against Black women in the societies and communities we exist in and influencing these oppressive realities using community-engaged design practices and methodologies. After moving to Minnesota, I co-founded Blackbird Revolt in order to combat oppression and anti-Blackness more intentionally and directly. Since its inception, we’ve worked with community partners and grassroots organizations looking to center abolition, anti-racism, and Black liberation in their work furthering positive community impact. While we are excited about the work we’ve accomplished with partners, one work that we are particularly proud of is one of our self-initiated projects:

TERRESA MOSES

Stop Killing Black People. After the murder of George

ASSISTANT PROFESSOR OF GRAPHIC DESIGN/ DIRECTOR OF DESIGN JUSTICE, UNIVERSITY OF MINNESOTA CREATIVE DIRECTOR, BLACKBIRD REVOLT, MINNEAPOLIS MN

raphy inspired by the movement to create messaging

Floyd and soon after Daunte Wright, I created typogto unify our protests. My work exists on tee shirts, hoodies, posters, and pins that I organized to be distributed for free within my community. This design

Terresa Moses is a proud Black queer woman dedicated to the liberation of Black

work is important to the Black movement — unifying

and brown people through art and design. She uses creativity as tools of commu-

our message and us as a people.

nity activism like her exhibition, Umbra, and community distro project, Stop Killing Black People. She created Project Naptural and co-created Racism Untaught. She has two books releasing in October 2023, Racism Untaught and An Anthology of Blackness. Terresa is an Assistant Professor of Graphic Design

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

and the Director of Design Justice at the University of Minnesota. She is currently a PhD candidate in Social Justice Education at the University of Toronto and

Engaging in liberatory and abolitionist-based work

serves on the board of Black Liberation Lab.

requires us to increase our understanding of how systems of oppression and White Supremacy Culture

Additionally, Terresa is the Creative Director at Blackbird Revolt — an abolitionist design studio — influenced by artists, activists, and educators. Blackbird Revolt was founded in January 2017 to actively combat the lack of Black representation that still exists in the design industry. Furthermore, even where there is repre-

continue to strategically influence our design outcomes. Now is not the time to shy away from conversations about racism, sexism, ableism, and the like — let alone actions that actively combat these isms. It is, in fact, an opportunity to lean into discom-

sentation oftentimes liberation, abolition, and community are not centered, inten-

fort, to be strategic about how we are positioned in

tionally excluding Black and racially diverse voices from the dominant narrative.

these systems, and use our power and circles of

Blackbird Revolt is an alternative to that exclusion — a platform for conscious

influence for social change and good. Ask the

creatives looking to transform our communities — breaking the social and political

question: how might design work support our collec-

barriers that keep us caged.

tive liberation?

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2023 | RESPONSIBLE DESIGNERS TO WATCH Tell us how and why you became involved in socially responsible communications, any thoughts on why design can be an especially effective tool for this goal, and, if you wish, give us an example of a project of which you are proud. Prior to the arrival of Covid in 2020, I had been contemplating how I might reinvent myself professionally. I was fortunate to enjoy a very long and rewarding career as a creative, but I wanted to try something different. At the time, I had a number of educational clients, and was consulting for an affiliate of an international non-profit. I began to realize that I very much enjoyed communicating information and promoting goods and services that served the public but not for financial profit in the capitalistic sense. When the pandemic arrived, it felt like the perfect opportunity to leverage my creative skills into a project for good. I decided to take myself on as a client and with input from friends and relatives we decided we would like to better understand our nonbinary friends and loved ones. A personal project turned into PracticePronouns.com, a website-based campaign to help others respect the importance of using an individual’s choice of pronouns. Now that I find myself in a university environment, I am particularly proud

SUSAN KELLEY

of this campaign and how it helps me understand

PROPRIETOR KELLEY | FORTUNO MARKETING DESIGN, FAIRFIELD COUNTY CT

and relate to people of various generations.

I have been professionally involved in advertising, marketing, and communications for over four decades. My first job after college was as a technical illustrator for a

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

minicomputer firm at a time when minicomputers were the size of refrigerators. In the nineteen-eighties I was a founding partner and senior art director of an advertising agency where we were early adopters of the fax machine, the Macintosh Classic, QuarkXpress, Photoshop, galley waxers instead of rubber cement, and the flatbed scanner. I have spec’d and ordered type for 6:00 p.m. pickups so type galleys could be delivered first thing next morning by the NY type house.

I do believe we are living in very challenging times filled with loudness, misinformation and misunderstanding. The mission of PracticePronouns.com is to educate and promote understanding using a whisper instead of a shout. I can’t say that we have encountered major obstacles, but our greatest communication challenge is to get noticed without yelling.

Since 2001, I have been the proprietor of kelley|fortuno marketing design, providing

We chose to communicate using grace, beauty, and

creative marketing and communication solutions for small businesses, non-profit

understated elegance combined with the power of

organizations and educational institutions who want to connect with their customers

color and simplicity.

and constituency on a human level.

This moment in time has presented a special opportunity for us. We very much appreciate being recog-

More recently, as I sunset professional activities, I have pivoted to a new career.

nized as a leading ‘Designer for Good’ by GDUSA

After years of working with educational institutions, I am now working for a public

and Robert Half. This recognition has encouraged,

university, providing administrative support to a school of visual and performing

motivated and energized us to move forward and

arts. I continue to feed my creative soul through personal projects, particularly

continue our objective.

in the area of diversity, equality and inclusion.

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Tell us how and why you became involved in socially responsible communications, any thoughts on why design can be an especially effective tool for this goal, and, if you wish, give us an example of a project of which you are proud. In all my design work, whether in a for-profit or nonprofit context, I strive to build relationships based on empathy. I want to use my creative skillset to help amplify the voices of those who need to be heard. That’s true whether it’s a small business that wants to contribute something useful or beautiful to its local community, or a nonprofit that is making a positive impact on the world. I joined Prison Fellowship in 2021. The pandemic was still having a big impact on all of our lives, but it was especially difficult for prisoners, who lost out on rehabilitative programming, and their families, who often had to spend months without visits. One of my favorite internal design clients is Prison Fellowship Angel Tree, a program that helps restore relationships between incarcerated parents and their children, allowing them to feel connected despite the distance. It’s a joy to participate in this meaningful work by devising creative solutions that help more parents

MONIQUE MALONEY DIRECTOR OF GRAPHIC DESIGN PRISON FELLOWSHIP, LYNCHBURG VA Monique Maloney is the director of graphic design at Prison Fellowship, a nonprofit organization that helps to transform the lives of people in prison and their families and advocate for a more restorative criminal justice system.

and volunteers participate. Given the confluence of events and challenges our society now faces, does this moment in time present any special opportunities, urgencies, obstacles to designing for good? Design is more than aesthetics; it’s creative problem-solving. When I look at the world around me, I

Monique considers herself a lifelong artist. A member of a creative family, she

continually see both beauty and problems that can

fondly recalls Saturday mornings spent painting watercolors at the side of her

be addressed. The past few years have been espe-

grandfather. After studying graphic design, she developed into an award-winning

cially challenging and heavy. Mr. Rogers famously

designer and illustrator. She later earned an MFA from Marywood University and became a design educator, helping students hone their skills and develop their passion. Since 2004, Monique has worked to bring clients’ core creative goals and brand stories to life. With a wide range of industry experience in corporate communications, brand development, and publishing.

said, “When I was a boy and I would see scary things in the news, my mother would say to me, “Look for the helpers. You will always find people who are helping.” Helpers are needed, and if design can motivate, persuade, and affect behavior, why wouldn’t we try to use those skills to better the world around us and overcome those challenges?

A Virginia resident, she finds additional outlets in tackling home improvement projects, learning how to use power tools, color coding her bookshelves, hoarding art supplies, and attempting pickleball with her family and friends. Her favorite personal design projects feature floral themes and bold colors that add beauty to the world.

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2023 | RESPONSIBLE DESIGNERS TO WATCH told by prospective employers that I was not hirable anymore, and my best years were behind me. That directly contradicted what I knew about myself and other survivors — our hard-won competitiveness, determination, strength in crisis, grit, resilience, tenacity, and empathy make us more valuable employees. I willed my way into design entrepreneurship and social innovation — I went back to graduate school and started the organization NED (Not Entirely Dead) to hack the inherently biased systems against cancer survivors, fill employment gaps, fight the “damaged goods” stigma in the workplace, and create inclusive career pathways. Now, NotEntirelyDead.org provides free coaching service for cancer survivors on life and work transitioning, so everybody will be even more hirable than before. Given the confluence of events and challenges our society now faces, does this moment in time present any special opportunities, urgencies, or obstacles to designing for good?

EASON YANG FOUNDER/DESIGN DIRECTOR NOT ENTIRELY DEAD, NEW YORK NY I’m a designer, creative director, and educator. I founded Not Entirely Dead, a social enterprise championing cancer survivors, named both 2023 Innovation by Design Award and 2023 World Changing Ideas Award by Fast Company, and

Workplace development topics have never been so relevant to everybody as today. Companies are building and rebuilding cultures, employees are looking for communities, everyone is finding their belonging. As the industries are working on the Future of Work, disrupting the old ideas of work and life is timely, so that we can design the workplace that everyone feels we belong to.

2022 Winner of Social Design by AIGA. For example, a career gap isn’t just affiliated with

Today, I lecture at universities and global companies on how to design for social

people who have dealt with severe diseases. Most of

change and innovation. I’ve also spoken on international platforms, including

us have faced a gap on our resumes, whether due to

NPR, TEDx and CreativeMornings addressing workplace belonging issues.

maternity or paternity leave, sabbatical, or any life transition. Some gaps aren’t by choice.

I earned my Master of Design degree at the University of Washington, and taught and mentored the next generation of creatives.

I will quote Benjamin Franklin — 'Justice will not be served until those who are unaffected are as

I’ve also trained myself to run marathons ever since I defeated cancer. Tell us how and why you became involved in socially responsible communications, any thoughts on why design can be an especially effective tool for this goal, and, if you wish, give us an example of a project of which you are proud. I was a rising creative leader in Silicon Valley when a cancer diagnosis shattered my life and took my social existence. At age 35, after a long fight against cancer, I was

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outraged as those who are.' That’s how formidable any social problem always is.

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I have worked for many different types of industries from tourism, publishing, ad agencies, city government and higher education. Working for OC San has been very rewarding. Their mission statement says it all “To protect public health and the environment by providing effective wastewater collection, treatment, and recycling.” I believe design is important to all types of businesses. Good design helps tell your story and the importance of what you do. Wastewater is not a glamorous industry, but it is a crucial and important one to public health and the environment. Good design can help get your important message out to the public. The projects I have been able to work on have earned numerous design awards for OC San. I have had wonderful experiences and work with an amazing team of public affairs professionals who support my vision of creating things that will stand the test of time. One of my favorite projects I have worked on is the History Wall in the lobby of the Administration building. I was given the opportunity to create a museum style wall showcasing photos, artifacts, 3D display boxes and a timeline of OC San. I also rebranded the agency by creating a new agency logo and style guide.

GREGG DETERDING GRAPHIC DESIGNER ORANGE COUNTY SANITATION DISTRICT, FOUNTAIN VALLEY CA My name is Gregg Deterding, and I am the graphic designer for the Orange

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

County Sanitation District (OC San) in Fountain Valley, California. OC San is

I do believe in the importance of giving back. I have

responsible for safely collecting, treating, and disposing the wastewater generated

used my design talents to help non-profit agencies,

by 2.6 million people living in a 479-square-mile area of central and northwest

cities, schools, and youth sports. As designers, we

Orange County.

must stress the importance of how design contributes to society and all businesses. We can and do make

Tell us how and why you became involved in socially responsible communications, any

an impact.

thoughts on why design can be an especially effective tool for this goal, and, if you wish, give us an example of a project of which you are proud. As the lone creative in the Public Affairs Department, I have worn many hats over the last 11 years. In my position, acquaintances have asked me “What creative projects can you be working on at a wastewater agency?” Well, I touch every possible creative project from collateral, annual reports, newsletters, advertisements, environmental design, interior design, and special events.

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2023 | RESPONSIBLE DESIGNERS TO WATCH Tell us how and why you became involved in socially responsible communications, any thoughts on why design can be an especially effective tool for this goal, and, if you wish, give us an example of a project of which you are proud. In 2012, I founded a company that used appcentered interactive modules, breathing techniques and visualizations to improve mental health. At the time, the idea of using smartphones to center and focus was not commonplace. I quickly learned that designing for controversial issues or for groups that experience stigma, requires a very different approach. I became obsessed with learning more effective ways to communicate while championing causes and people whose insights and innovations are often overlooked. One project I am most proud of is TakeMeHome, a free HIV self-testing program. I was one of the first people brought on to conceive how TakeMeHome would function from user experience to real-world logistical requirements. With limited resources, the TakeMeHome platform

ANNABEL MANGOLD OWNER, MANGOLD DESIGN, NAPA CA

provides jurisdictions a way to offer free HIV and STI tests to their constituents, while providing a private and secure testing results portal. The program was such a success, the model has since gone

Annabel Mangold (she/her) is an award-winning designer and strategist who

national, expanding access to HIV self-testing

partners with mission-driven clients and causes. She's the Owner of Mangold

throughout the U.S., including Puerto Rico, for

Design, a boutique design studio located in Napa, California.

everyone ages 17 and older.

Typically brought on early in the conception phase, Annabel contributes by

Given the confluence of events and challenges our

formulating brand identity with stakeholder input, crafting creative messaging

society now faces, does this moment in time present

campaigns and producing digital solutions. She helps clients define their vision,

any special opportunities, urgencies, obstacles to

articulate their values, and connect with their audiences in meaningful and

designing for good?

successful ways.

Global devastations are leading more people to prioritize cause over profit, and it's exciting to see

Annabel's clients include a variety of organizations such as Building Healthy Online

corporations reexamine their systems to include

Communities, Springboard HealthLab, National Coalitions of STD Directors, Palo

more diversity, equity, and inclusion.

Alto Junior Museum & Zoo and Valley Health Foundation. All designers have the ability to alter and shape

Annabel is also a proud design graduate of the Portfolio Center in Atlanta.

perceptions. Whether that influence is used to amplify or to harm, is nothing to take lightly. We must think of how our work will live in the world while painstakingly and repeatedly question and audit our choices.

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contributing to the issue by designing wasteful packaging and encouraging unnecessary consumerism. This realization prompted a shift in my perspective. I recognized that designers wield significant influence in either perpetuating problems or driving positive change. Thus, I chose to focus on purpose-driven design aimed at effecting social change and combating climate change. My design approach centers on sustainability and social responsibility, addressing real-world problems. After reading "Cradle to Cradle: Remaking the Way We Make Things" by William McDonough and Michael Braungart, I began integrating their philosophy into my design process. I meticulously consider the entire life cycle of each design, emphasizing recyclability, biodegradability, minimized material usage, incorporation of recycled and non-toxic components, and design for reusability within the circular economy framework. My work involves guiding clients towards sustainable design solutions across their supply chains, operational processes, and choice of printing and packaging materials. This approach prioritizes the well-being of both people and the planet, ensuring that design

RACHEL MARTIN FOUNDER/DESIGN DIRECTOR MINDFUL & GOOD, CHARLOTTE NC

plays a pivotal role in fostering positive societal and environmental changes. Given the confluence of events and challenges our society now faces, does this moment in time

Rachel Martin is an award-winning designer, founder and entrepreneur passionate

present any special opportunities, urgencies, or

about sustainability and using the power of design to solve problems to shape our

obstacles to designing for good?

world and culture for the greater good. This moment in time presents both unique opportu-

She is the Founder & Design Director of Mindful & Good, a B Corp Certified design studio dedicated to creating impactful brands that ignite positive change. They

nities and urgent imperatives for designing for good. With pressing global challenges such as climate change, social inequality and public health crises,

work with natural, organic and purpose-driven businesses in food & beverage,

designers have a crucial role to play. The urgency

health & wellness and sustainable living. From start-up ventures to Fortune 500

lies in the need for sustainable solutions that can

companies, they design compelling brands that draw attention, open minds and

mitigate these challenges. Designers must overcome

drive purpose and prosperity.

obstacles like resource constraints, cultural barriers and resistance to change. However, the opportunities

Founded in 2000, Mindful & Good has served as both design partner and thought

are equally significant. Advancements in technology,

leader for conversations about sustainability and the environment. The studio is

increased awareness of social and environmental

well-recognized for their unique approach to sustainable design and their strategies

issues, and a growing demand for responsible prod-

that help clients improve their own social and environmental impact. They practice

ucts and services create a favorable landscape for

what they preach and are dedicated to using business as a force for good.

designers to innovate and make a positive impact on society and the planet.

How and why did you become involved in socially responsible communications, any thoughts on why design can be an especially effective tool for this goal? I became involved in socially responsible communications early in my career in New York City while designing for globally renowned brands. It became evident that I was

G D U SA 39

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2023 | RESPONSIBLE DESIGNERS TO WATCH Today, everything is designed. And every day, the world gets crowded with more — images, forms, messages. We believe mission driven endeavors should be bold, optimistic, and modern to inspire big change now. We’re in need of massive cultural shifts to meet this moment of division. We believe that we can inspire action and increase hope in the world by helping our clients tell bold stories that move the masses to engage and take action. We were honored to support the historic initiative of Meyer Memorial Trust: Justice Oregon for Black Lives. As a leader in the field of philanthropy, Meyer had already moved toward a justice and equity framework in their grantmaking when George Floyd was murdered. We collaborated with their team to design a new brand identity, including social templates, presentation materials, and a place on their website, to help launch the initiative.

SCOTT SMITH TALIE SMITH BECCA CONNORS

Given the confluence of events and challenges our

PARTNERS, SMITH & CONNORS, PORTLAND OR

we can also sense the rise of compassion, inclusion,

society now faces, does 2021 present any special opportunities, urgencies, obstacles to designing for good? As we see the meteoric rise of division and hatred, and love. People are desperate for messages that

Smith & Connors is a brand and digital agency that accelerates growth and trans-

return us to simple but potent ideas of community,

formation for organizations on a mission. We work with a wide variety of companies,

connection, and hope.

nonprofits and philanthropies, government agencies, educational institutions, and more. What binds us together is that we’re all working to create a better world,

Let’s amplify the voices and missions of people taking

have an inclusive mindset, and are aligned with our values of honesty, transparency,

brave leaps into the unknown to create something

and directness. S&C is WBENC certified, a B Corp, and a founding member of

new and different. It’s not about perfecting the

Zebras Unite, a global network of companies working for both profit and purpose.

landing, but honoring the courage to do something big. I think our best contribution to a better world

We amplify the voices that are creating a better world by designing brand identities, strategic brand platforms, websites, and marketing and communications that come alive at the intersection of organizational goals and audience needs. mittee, Americares, Save the Chimps, FINCA, African Wildlife Foundation, Greenpeace, Defenders of Wildlife and White Coat Waste Project, to name a few. I am also a fine art printmaker, specializing in relief and screen printing. Tell us how and why you became involved in socially responsible communications, any thoughts on why design can be an especially effective tool for this goal, and, if you wish, give us an example of a project of which you are proud. In 2013, we partners founded Smith & Connors after becoming disillusioned with lining the pockets of corporate shareholders. We decided to apply our expertise and passion to projects that aim for the betterment of all.

40 G D U S A

is to offer our love in the face of fear.

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Someone who had never donated before made a single $10,000 contribution after receiving my piece. This wasn’t my most notable project, but it was a turning point for me. While I would never meet the women who benefited from that donation and all the money raised, I learned that my creativity and talents could be used to help others. From that point on, I focused on socially responsible communications that use design to tell a story and connect with the audience. I am most proud of the rebranding of PA Giving Day — the biggest fundraising event of the year at Phillips Academy. The new brand was launched with a fun and energetic multichannel marketing campaign, including the “Support What You Love” tagline, which prompted donors to reflect on what matters most to them. PA Giving Day 2022 was the most successful giving day effort yet, raising more than $2.4 million.

ANNE MARINO

Given the confluence of events and challenges our

SENIOR GRAPHIC DESIGNER PHILLIPS ACADEMY, ANDOVER MA

any special opportunities, urgencies, obstacles to

Anne Marino is a seasoned freelance art director and strategic storyteller whose award-winning work spans the profit and nonprofit sectors. After years as a print

society now faces, does this moment in time present designing for good? t’s not enough to design for good causes. It needs to have meaningful impact.

designer, Anne earned her master’s degree in communications and new media to expand her strategic communication skills. She is currently the senior graphic

Society is inundated with constant news and com-

designer at Phillips Academy, an independent secondary school in Massachusetts,

munications, and we are exposed to about 10,000

where she focuses on advancement communications. In addition, Anne serves

ads every day. Great, effective communications

on the Board of Directors at the Windham Endowment for Community Advancement,

should be strategic and innovative to differentiate

where she is the marketing and communications chair and a member of the executive committee.

and break through the nonstop noise. It needs to tell a story that resonates with the audience and inspires their involvement. This is especially chal-

Specializing in brand development and integrated visual marketing solutions,

lenging for cause-related work, because often non-

Anne’s work supports organizations of all sizes — from small grass roots non-

profit organizations have limited resources.

profits to large fundraising campaigns. Anne is passionate about connecting

Changing the world will not come from one designer

donors to the causes they care about and is most involved with education access,

or one big project — it’s collective and collaborative.

community building, youth leadership, environmental restoration, community

If we each elevate the quality and effectiveness of

arts, and recreation.

our cause marketing, our communications will have the impact that we need to make a true difference.

Tell us how and why you became involved in socially responsible communications, any thoughts on why design can be an especially effective tool for this goal, and, if you wish, give us an example of a project of which you are proud. Designing for mission-driven projects can be fulfilling and rewarding in ways that commercial work simply isn’t. My pivotal moment happened after years of designing for business-to-business clients. An agency hired me to design a direct mail package to raise money to provide prenatal care to women in remote villages in the West Bank.

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2023 | RESPONSIBLE DESIGNERS TO WATCH Tell us how and why you became involved in socially responsible communications, any thoughts on why design can be an especially effective tool for this goal, and, if you wish, give us an example of a project of which you are proud. As members of society I think we all have a relationship to the way communication is shaped. It’s a collective project and unfortunately one that is inclined toward the drab influence of the homogenous majority. It feels, to me, that the project of responsible design is to offer something that sparks aspiration outside those limiting confines. We can work with resident scholars, channeling the structural roots of Hip-Hop to codify programming that encourages viable and collaborative pathways through creative inspiration. We can choose to advocate for the pleasure of post-menopausal bodies across wellness categories that hardly dared to whisper the subject. We can use the visual roots of protest and radical Black joy as an entrypoint for luxury in aisles that have never celebrated textured hair. We can open the door for the exalting effect of varied gender expression — the list goes on.

OLLIE ENNIS SENIOR CREATIVE, SMAKK, NEW YORK NY Ollie Ennis is the Senior Creative at SMAKK, a branding and marketing agency focused on wellbeing. Over a creative career spanning furniture making, publishing, studio art, web design and branding, Ollie has applied their voice and talent toward

There is a universality to the medium of communication that invites inclusion. By espousing a commitment to responsibility alongside mission-driven organizers and founders, we are able to sew disruption into the ordinary tapestry of experience.

championing powerful ideas. Merging an interest in culture and the ways people

Given the confluence of events and challenges our

think with design, their creative process involves truly understanding the needs

society now faces, does this moment in time present

of people and communities. At SMAKK, this has resulted in category-redefining

any special opportunities, urgencies, obstacles to

work, from independent sexual wellness newcomers to multinational brands like

designing for good?

Burt’s Bees, Bioré and Shiseido. This includes work for Barb, a LGBTQIA+

I think there is a tremendous urgency for responsible

founded haircare brand for women and non-binary people with short hair and

motivation within our industry. We have come to

branding for Brooklyn arts org BRIC and its celebration of 50 years of Hip-Hop.

experience our environment through a dizzying degree of material saturation, such that it is hardly

Outside of SMAKK, Ollie remains a mentor, creating space for those that don’t

dramatic to say most people contend with their

otherwise see themselves represented in the cultural tapestry. Beyond providing

world through the veil of design’s influence. Within

pro-bono design services for queer initiatives, they volunteer for local grass-roots

that, there is an agency afforded to those willing to

organizations and events and run a monthly crafting club dedicated to fostering

wrestle with the realities of our condition — choosing

connection within the queer creative community. They have also spoken at the

to influence the course of its momentum rather than

Shillington School of Graphic Design on how to carve out a space as a trans and

succumbing to denial, relinquishing our pathway to

neurodivergent person within the design industry.

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a more ethical future.

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Tell us how and why you became involved in socially responsible communications, any thoughts on why design can be an especially effective tool for this goal, and, if you wish, give us an example of a project of which you are proud. Like many fresh graduates who enter the creative industry, I was excited to work on any and all brands, to get my hands dirty and pitch in on any creative brief that came my way. For a while, that fulfilled me and I was grateful for the experiences I had to guide my career development. However, I hit a point, where despite the big brand names, those briefs no longer fueled my fire. The brief that broke the camel's back, or whatever equivalent of a metaphor for a designer would be, was when I was asked to make a feminine care product appear 30% more expensive through pack decoration, even though the product was exactly the same. Mislead women to pay 30% more for a product which, at the time, they already wrongfully paid taxes for — pencil down. As an individual, my opinions and values were shifting along with the world around me. That's where ThoughtMatter came in, a studio focused on Work

SAM BARBAGIOVANNI DESIGN DIRECTOR, THOUGHTMATTER, NEW YORK NY Sam Barbagiovanni is the Design Director at brand design studio ThoughtMatter,

Worth Doing. Today, I work with a range of renowned brands, business districts, and startups, all of which share ThoughtMatter's values and are equally committed to influencing and affecting positive change in the world.

a strategic creative leader whose skills and perspectives have made her an invaluable mentor and brand partner. Even before her career in design, Sam was drawn to the world of visual expression, intrigued by the myriad ways in which art and design can shape perceptions,

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

emotions, and ultimately, the way people interact with the world around them. After working on branding and packaging projects for a range of leading CPG brands — including Colgate, Mars, Kimberly-Clark, and more — she transitioned to more purpose-driven projects with ThoughtMatter, channeling her expertise into work that aligns with her values and makes a tangible difference. With her team, Sam has built brand identities for sustainability stewards like grocery brand Misfits Market and P&G, as well as organizations like Reia Health, the Coffee Coalition for Racial Equality and S’Cool Sounds. Along the way, she has always fostered an air of positivity and inclusivity with the goal of uplifting diverse voices within the design community. Sam’s creative work has earned awards and recognition from GDUSA, Velocity,

This moment in time requires every generation within our industry to tap into what it means to be human. If you look at the emotions chart, a visual aid that helps identify and express emotions, and take a look at powerful, what stems from that is creative and courageous. We are in a position of power to make real and lasting change in a world that desperately needs it. Take the human and high-road approach to tackling ethical, environmental and societal factors in your work. Any opportunity you have to design for good, I encourage you to do so. I encourage you to be courageous, to be creative.

Communication Arts, Type Directors Club, and Dieline.

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| 2023 |

HEALTH + WELLNESS DESIGN AWARDS

The annual GDUSA Health+Wellness Design Awards™ competition honors graphic excellence in this fast-growing, hugely important and high-proﬁle arena. Our 2023 showcase is large and highly selective, featuring work by design ﬁrms, agencies and institutions encompassing traditional medicine and healthcare, healthy lifestyles and choices, and public and community health initiatives. As we pivot to a post-pandemic era, the winning pieces represented here lead to a breathtaking insight: effective, engaging and intelligent design has a vital role to play in our personal and collective healthy, wellness and safety. Just when we need it the most.

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DESIGN FIRMS, AGENCIES + DEPARTMENTS REPRESENTED (PRESENTED IN ALPHABETICAL ORDER) A Great Idea A LINE Studio AARP Publications Acenda Integrated Health Adler Branding & Marketing Aegis Dental Network AKASA Alamini Creative Group Alight Solutions Amanda Culver Artifact LLC Athletico Physical Therapy Baby360 Barnett Design, Inc. Black Graphics BLVR Burness Cargill Creative Studios CBX Center for Ecoliteracy ConceptShell Cool 7 Design Design On Edge Doximity Eight Moon™ Ellie LLC Find Your Anchor Fors Marsh FutureBrand GH Advertising Godspeed Creative Studios Goldstein Group Branding Howerton+White ICON, plc Invok Brands jekyll & hyde John Snow Inc. (JSI) Langton Creative Group, Ltd. Lentini Design & Marketing, Inc. LifeBridge Health Little Big Brands LLM Design Lost In Print Mangold Design Memorial Sloan Kettering Cancer Center (MSK)

Meyocks Branding and Marketing Agency Modern Art Pictures Motif Brands NIH Medical Arts Branch Nimble Works Notion LLC OCHIN, Inc. Paradigm Marketing and Design PBD Partners Plus972 QNY Creative Rivet Ron Kalstein / RKDK Design RTI International Sally Morrow Creative Second Language Design Seedhouse Siegel+Gale SMAKK Studios Smith Design Songs & Smiles Stoller Design Group Street Level Studio Test Monki The Creative Pack, LLC The University of Texas MD Anderson Cancer Center The Word & Brown Companies Tiara Agency Tien Bui Topco Associates, LLC and The Tennis Channel Tripment, Inc. University of Pittsburgh Health Sciences UNLV Integrated Graphic Services UNLV / Kirk Kerkorian School of Medicine at UNLV US GPO / Creative Services Waltz Creative Washington University in St. Louis Welldoc In-House Agency Werremeyer Creative Woodbury School of Media : Culture : Design Woodse Creative Co LLC Woz Design Woz Design / Hartford Design / Ted Stoik Xhilarate, Inc. Zoo Valdes

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: A Great Idea Client: Women of Color in Pharma Title: We are PHARMA! Premiere Issue Creative Director: Shane Lukas Art Director: Joseph Caserto Tony Valadez, Oliver Collier Copywriter and Editor: Erin Perkins

Design Firm: A Great Idea Client: Amida Care Title: HIV Special Needs Plans Creative Director: Shane Lukas Designer: Shane Lukas Copywriters: Naomi Seiler, Paige Organick-Lee, Claire Heyison, Helen Stoll, Alexis Osei, Katie Horton

Design Firm: A Great Idea Client: North Carolina Coalition Against Domestic Violence Title: Selena’s Story: Making the Case for Safe Leave Creative Director: Shane Lukas Illustrator: CarcPro (Bogota, Colombia) Copywriters: Shane Lukas, Ruhani Amin

Design Firm: A LINE Studio Client: Pelago Health Title: Pelago Health 2023 Rebrand Creative Director: James Trump Art Director: Brandi Steele Designer: Mackenzie Pringle Illustrator: Jay Cover Designer: Grace Cai Copywriter: Laura Kelley Animator: Barney Fagan Project Lead: Tess Lenk Client Lead: Nick Monkhouse

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Design Firm: AARP Publications Client: AARP Bulletin Title: America’s War Against Heart Disease Creative Director: Scott A. Davis

Design Firm: AARP Publications Client: AARP Bulletin Title: Can You Hear Me Now? Creative Director: Scott A. Davis Art Director: Jenny Rosenberg Illustrator: Ryan Johnson

Design Firm: AARP Publications Client: AARP Bulletin Title: Health Truths You Can Ignore Creative Director: Scott A. Davis Art Director: Jenny Rosenberg Illustrator: Remie Geoffroi

Design Firm: AARP Publications Client: AARP Bulletin Title: How to Stay Safe This Summer Creative Director: Scott A. Davis Photo Director: Michael Wichita

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: AARP Publications Client: The Arrow from AARP Title: How to Trick Yourself into Living Longer Art Director: Todd Albertson Illustrator: Paul Spella

Design Firm: AARP Publications Client: The Arrow from AARP Title: Lose Your Gut, Heal Your Back Art Director: Todd Albertson Illustrator: Paul Spella

Design Firm: AARP Publications Client: The Ethel from AARP Title: Could THIS Be Behind the Recent Loss of Your Libido? Art Director: Lesley Q. Palmer Illustrator: Valero Doval

Design Firm: AARP Publications Client: The Ethel from AARP Title: Navigating the Many Challenges of Caregiving Art Director: Lesley Q. Palmer Illustrator: Elia Barbieri

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Design Firm: AARP Publications Client: The Girlfriend from AARP Title: My Anxiety And Depression Are Coming On Strong Art Director: Dian Holton Illustrator: Marta Monteiro

Design Firm: AARP Publications Client: AARP Bulletin Title: How The Pros Fall Safely Creative Director: Scott A. Davis Art Director: Jenny Rosenberg Photographer: Roger Kisby Photo Director: Michael Wichita

Design Firm: Acenda Integrated Health Title: Minority Mental Health Awareness Campaign Creative Director: Mari Considine Art Director: Cari Burke Designer: Zachary Ruhl Communications Manager: Stephanie Taylor Communications Coordinator: Mariana Heyel

Design Firm: Adler Branding & Marketing Client: Melanoma Research Foundation Title: 2022 VISION Registry Data Report Creative Director: Stan Adler Art Director: Adrienne Metzinger Designers: Chris Manna, Alison Sundheim Account Director: Danit Cohen

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Design Firm: Aegis Dental Network Powered by Broadcastmed Client: Inside Dental Hygiene Title: Probiotics and Oral Health, Vol. 18, No. 12, Special Issue 6 Designer: Jennifer Barlow Editorial Director: Jason Mazda Senior Project Editor: Fred Michmershuizen Brand Manager: Shannon Thompson Associate Editor: Colleen Johnson

Design Firm: AKASA Title: AKASA’s eBook on Self-Care in Healthcare: Prioritizing Mental Health Creative Director: Janae Newman Designer: Janae Newman Writer: John Shieldsmith

Design Firm: Alamini Creative Group Client: NYU McSilver Institute for Poverty Policy and Research Title: Center for Workforce Excellence in EBPs Microsite Creative Director: Jennifer Bergamini Designers: Steven Albarracin, Jennifer Bergamini

Design Firm: Alight Solutions Client: PepsiCo Title: Healthy Living Grant Logo Creative Director: Cristine Giannotti Art Director: Victoria Cook Designers: Victoria Cook, Cristine Giannotti

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Design Firm: Alight Solutions Client: PepsiCo Title: LGBTQ+ Benefits Guide Creative Director: Cristine Giannotti Designer: Cristine Giannotti Writers: Kevin Clapp, Ken Mastro Production Editor: Randall Van Vynckt Project Manager: Kristin Peacock

Design Firm: Alight Solutions Client: PepsiCo Title: Move for Good Logo Creative Director: Cristine Giannotti Designer: Cristine Giannotti

Design Firm: Amanda Culver Client: MedMark Media Title: Dental Sleep Practice Magazine Design Creative Director: Amanda Culver

Design Firm: Artifact LLC Client: Advanced Comfort Title: Advanced Comfort Brochure and Materials Art Director and Designer: Kimberly Mitchell UX Designer and Illustrator: Jason Mitchell

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Design Firm: Artifact LLC Client: Healthy Connections Knoxville Title: Feeding The Family Healthy Recipes Art Director and Designer: Kimberly Mitchell Designer: Jua Im

Design Firm: Athletico Physical Therapy Client: Mesa Gateway Clinic in Arizona Title: New Clinic Opening Direct Mail Creative Director: Tom Robaczewski Designers: Lyndsey Williamson, Tony Nigre Brand and Content Director: Mandy Halleck

Design Firm: Baby360 Title: Baby360 Maternity Education VP of Creative: Paula Rusk VP of Content Development: Angie Noder Designers: Briana Jackson, Stephanie Mollet, Chelsie Thomas Senior Production Designer: Ann Preiss Photography: Elaine Baca, Carmen Bridgewater Copywriter: Nansi Hall Researcher: Becky Law, MA, BSN, RN

Design Firm: Baby360 Title: Baby360 Maternity Education Books VP of Creative: Paula Rusk VP of Content Development: Angie Noder Designer: Briana Jackson Photography: Elaine Baca, Carmen Bridgewater Senior Production Designer: Ann Preiss Copywriter: Nansi Hall Researcher: Becky Law, MA, BSN, RN

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Design Firm: Barnett Design, Inc. Client: Holy Name Medical Center Title: Healthy Living Minazine Design Creative Director: Debbie Barnett Sagurton Art Director: Jeff Ramos Designers: Tara Maratea, Val Haymes

Design Firm: Black Graphics Client: Centers for Disease Control & Prevention (CDC) Title: CDC HIV Criminalization Legal & Policy Assessment Tool Designer: Karen Parry Illustrator: Karen Parry

Design Firm: Black Graphics Client: The Network for Public Health Law Title: Disaggregation of Public Health Data by Race & Ethnicity: A Legal Handbook Designer: Karen Parry

Design Firm: BLVR Client: Aeroflow Health Title: Aeroflow Health Branding and Identity Creative Director: Austin Lane Designer: Drew Sutterfield Design Director: Damin Sterling

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Design Firm: BLVR Client: PUSH for Empowered Pregnancy Title: Stillbirth Prevention Campaign Creative Director: Austin Lane Art Director: Katie Murphy Design Director: Damin Sterling

Design Firm: Burness Client: American Heart Association Title: Child Nutrition Advertising Campaign Creative Director: David Spears Art Director: Ash Trowel Motion Designer: Kasia Burns

Design Firm: Burness Client: CDC Foundation Title: Playful Activities Social Media Creative Director: David Spears Art Director: Todd Hilgert Designer: David Spears Illustrator: Todd Hilgert Copy Writers: Elizabeth Wenk, Alexis Glears, Megha Fernandes

Design Firm: Burness Client: RESPND-MI & Prep4All Title: MPX NYC Survey Campaign Creative Director: Nick Dean Art Director: Todd Hilgert Designer: Todd Hilgert Illustrator: Todd Hilgert

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Design Firm: Cargill Creative Studios Client: Zoonivet App Title: Branding and Identity Creative Director: Adithya Kote Shashidhar Designer: Pandiya Rajan Parthasarathy

Design Firm: CBX Client: Church & Dwight Title: Trojan Man Boost Package Design Creative Director: Audra Nebolini Senior Designer: Tim Bayon Design Manager: Brian Hauck

Design Firm: CBX Client: Motive Health Title: Motive Health Branding Creative Director: Chris Cook Senior Designers: Lizzie Kelner, Jamie Connell Design Manager: Brendan Reilly

Design Firm: CBX Client: Reckitt Title: Lysol Pro Solutions COVID Communications Creative Director: Chris Cook Senior Designer: Lizzie Kelner

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Design Firm: Center for Ecoliteracy Title: Eating, Learning, Growing Environmental Graphics Creative Director: Karen Brown Art Director: Karen Brown Designer: Karen Brown

Design Firm: ConceptShell Client: Queer Running Society Title: Queer Running Society 2023 Logo Design Creative Director: Shayla Hufana Designer: Shayla Hufana Executive Director: Jake Fedorowski

Design Firm: ConceptShell Title: Mycelia Therapy Collective Brand Identity Creative Director: Shayla Hufana Designer: Shayla Hufana Founding Collaborator & Licensed Psychologist: Meghann Gerber

Design Firm: Cool 7 Design Client: PharmaCircle Title: PharmaCircle Advertising Campaign Creative Director: Natasha Grant Art Director: Natasha Grant Designer: Natasha Grant

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Design Firm: Design On Edge Client: Shasta Regional Medical Center Title: Choose Shasta Campaign Creative Director: Courtney Meredith Designer: Ericha Eberhart Marketing and Communications Director, Shasta Regional Medical Center: Lynnann Foster

Design Firm: Doximity Title: Clinical Case Challenge Library Instagram Carousel Designer: Chloe Chan Illustrator: Andrei Latvis

Design Firm: Doximity Title: Medical Advisory Board Presentation Creative Director: Ronnie Shapiro Art Director: Hannah Gambino

Design Firm: Eight Moon™ Title: ALD Connect 2022 Annual Report Creative Director: Megan Junius Designer: Emily Wettergren

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Eight Moon™ Title: OMS National Insurance Annual Report 2022 Creative Director: Megan Junius Art Director: Stephanie Manternach Designer: Emily Wettergren

Design Firm: Eight Moon™ Title: Park Dental Tradeshow Graphics 2023 Creative Director: Megan Junius Designer: Emmi Brytowski

Design Firm: Ellie LLC Client: Lancaster LGBTQ+ Coalition Title: Queer the Vax Campaign Creative Director: Ellie Cochran Designer: Ellie Cochran

Design Firm: Ellie LLC Client: Lancaster LGBTQ+ Coalition Title: SLAY: 2023 ‘Gayla’ Promotional Campaign Creative Director: Ellie Cochran Designer: Ellie Cochran

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Design Firm: Find Your Anchor Title: Find Your Anchor 2023 Impact Report Designer: Ali Borowsky

Design Firm: Fors Marsh Client: National Institute of Neurological Disorders and Stroke Title: Mind Your Risks Advertising Senior Creative Director: Ally Hummel Creative Director: Angela Devlin Copywriter: Meredith Light Design: Kieran Mitchell Photography: Brandon T. Brown Account Leads: Ashley Sever, Natalie Adler Producer: Dana Cole

Design Firm: Fors Marsh Client: HHS Office of Infectious Disease and HIV/AIDS Policy Title: Giving Equals Living Campaign Executive Creative Director: Russell Hayer Senior Creative Director: Ally Hummel Creative Director: Angela Devlin Copywriter: Meredith Light Art Director: Annie Deleo Design: Linn Ruiz-Goubert Typography: Michelle Delabrer Photography: Cade Martin Director: Tarik Karam Account Leads: Elizabeth Osborn, Veronica Junghahn Producers: Dana Cole, Shey White

Design Firm: FutureBrand Client: Intermountain Health Title: Health For You, With You Branding and Identity FUTUREBRAND - Creative Director/Art Director: Christina Vasquez Senior Designer: Alice Sunaryo Associate Creative Director: Paula Saito Chief Creative Officer: Daniel Andersson Strategy Director: Joey Rippole Head of Strategy: Lynne Field Client Director: James O’Shaughnessy Production Director: Kristopher Pelletier Senior Implementation Specialist: Jamahl Umar Account Manager: Sammy Wolfe Director, Verbal Identity: Sam Emrich INTERMOUNTAIN - Chief Marketing & Communications Officer: Megan Mahncke VP, Brand and Corporate Partnerships: Anne Robertson Brand Marketing: Nathan Alexander Brand Strategy: Amanda Gold VP, Enterprise Marketing: Tim Shonsey

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Design Firm: GH Advertising Client: UPMC Clinical Marketing Title: UPMC Rehabilitation Institute Brand Campaign Creative Director: Tia Kalas Art Director: Scott Westgate Chief Creative Officer: Mike Giunta Copywriter: Lindsey Fischer

Design Firm: GH Advertising Client: UPMC Department of Neurological Surgery Title: Chiari Malformation Motion Graphics Creative Director: Larry Hruska Designer: Chelsea Jones Design Director: Bob Brown

Design Firm: GH Advertising Client: UPMC Digital Marketing Title: Rest Repeat Sleep Social Media Creative Director: Larry Hruska Designer: Mike D’Angelo Design Director: Bob Brown

Design Firm: GH Advertising Client: UPMC Nursing Title: UPMC Nursing Rebrand Creative Director: Larry Hruska Designers: Chris Konopack, Inbal Blumenfeld Photographer: Mark Bolster Design Director: Bob Brown

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Design Firm: GH Advertising Client: UPMC Senior Communities Title: UPMC Senior Communities Brand Refresh Creative Director: Larry Hruska Designer: Scott Rudy Design Director: Bob Brown

Design Firm: GH Advertising Client: UPMC/Donate Life America Title: Donate Life Motion Graphics Creative Director: Larry Hruska Designer: Alyssa Neff Design Director: Bob Brown

Design Firm: GH Advertising Title: Minutes Matter Website Redesign Designer: Carlo Leo Design Director: Bob Brown

Design Firm: GH Advertising Title: Straight From the Heart Newsletter Creative Director: Larry Hruska Designer: Gordie Dunlap Design Director: Bob Brown

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Design Firm: Godspeed Creative Studios Client: 1nHealth Title: 1nHealth Client Proposal 2023 Designer: John David Harris

Design Firm: Godspeed Creative Studios Client: 1nHealth Title: Bipolar Depression Clinical Research Patient Recruitment Campaign Art Director: Jerry Hunley Designer: Alyssa Weyland

Design Firm: Goldstein Group Branding Client: Harm Reduction Therapeutics Title: RiVive Package Design Creative Director: Claudia Arisso Art Director: Joe Cuticone

Design Firm: Howerton+White Title: Hunter Health Branding and Identity Creative Director: Nicole Howerton Art Director: Craig Tomson Designer: Craig Tomson, Daniel Rogers

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Design Firm: Howerton+White Title: Hunter Health Collateral Creative Director: Nicole Howerton Art Director: Craig Tomson Designer: Craig Tomson, Daniel Rogers Copywriter: Barry Owens

Design Firm: Howerton+White Title: Hunter Health HIV Community Health Campaign Creative Director: Nicole Howerton Art Director: Craig Tomson Designer: Craig Tomson, Daniel Rogers Copywriter: Barry Owens

Design Firm: ICON, plc Client: Cara Therapeutics Title: KICK Study Materials Creative Director: Adam Kondos Art Director: Amy O'Connell Designer: Matthew Woolfrey

Design Firm: ICON, plc Client: Orion Title: UNITAS Study Materials Creative Director: Adam Kondos Art Director: Dana Matas Designer: Tracy Frias

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Design Firm: ICON, plc Client: The International PNH Interest Group (IPIG) Title: IPIG PNH Registry Logo Creative Director: Jandrea Chau Designer: Matthew Woolfrey Designers: Matthew Woolfrey, Sujith Abraham, Tracy Frias

Design Firm: Invok Brands Client: Church & Dwight Title: Willa by Trojan Creative Directors: Pam Shear, Richard Shear Art Director: Devon Luxmore Designer: Christine Ferrante

Design Firm: Invok Brands Client: The Better Chocolate Title: The Better Chocolate Packaging Creative Director: Devon Luxmore, Tim McLaughlin Designers: Devon Luxmore, Tim McLaughlin, Carolina Blomberg, Becky Caunce

Design Firm: jekyll & hyde Title: Alcor Brand Identity Creative Directors: Marco Molteni, Margherita Monguzzi Designers: Elena Bonanomi, Giorgia Tonolo, Mattia Tomasi, Cecilia Della Longa Strategist: Emanuele Iovine

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Design Firm: John Snow Inc. (JSI) Client: Child Health Task Force Title: School Feeding: It's More Than a Meal Animation Creative Director: Matthew J. Baek Designer: Matthew J. Baek Illustrator: Matthew J. Baek Animator: Matthew J. Baek

Design Firm: Langton Creative Group, Ltd. Client: The Chemotherapy+ Foundation Title: Chemotherapy+ Foundation Website Creative Director: David Langton Art Director: Jim Keller Designer: Jim Keller Writer: Deborah Brozina

Design Firm: Langton Creative Group, Ltd. Client: TREO Foundation Title: TREO Treatment, Research, and Education to End Obesity Website Creative Director: David Langton Art Director: Jim Keller Designer: Jim Keller

Design Firm: Lentini Design & Marketing, Inc. Client: Doheny Eye Institute Title: Doheny Eye Institute ARVO Booth Design Creative Director: Hilary Lentini Designer: Leanna Hanson

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Design Firm: Lentini Design & Marketing, Inc. Client: Dr. Susan Love Foundation for Breast Cancer Research Title: Dr. Susan Love's Breast Book Promotion Campaign Creative Director: Hilary Lentini Designer: Leanna Hanson

Design Firm: LifeBridge Health Title: LifeBridge Health Brochures Creative Director: Sarah Hepworth Designers: Megan Dusenberry, Kris Jogi, Erin Gormley, Sarah Hepworth, Taylor Cernak

Design Firm: Little Big Brands (LBB) Client: Dimetapp Title: Dimetapp Social Media and Campaign 2023 Creative Director: Ben Glotzer Senior Designer: Marissa Loiodice Designer: LBB Design Team

Design Firm: Little Big Brands (LBB) Client: Dr. Scholl’s Title: Dr. Scholl’s Package Redesign Creative Director: Richard Palmer Designer: Hyobin Kim and LBB Design Team

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Design Firm: Little Big Brands (LBB) Client: Lornamead Title: Yardley London Packaging 2023 Creative Director: Richard Palmer Designer: Emily White

Design Firm: LLM Design Client: Rockhill Management Title: Flowing Lines Inspire Fitness At 75 State Creative Director: Leila Mitchell Designers: Genesis Gonzalez, Michael Suazo Photography: LLM Design

Design Firm: Lost In Print Client: Viktor Michael Title: Viktor Michael Package Design Art Director: Brendan Shanley Photographer: Alex Kapustin

Design Firm: Mangold Design Client: ibelong Title: ibelong Brand Identity Designer: Annabel Mangold

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Design Firm: Memorial Sloan Kettering Cancer Center (MSK) Title: Cycle for Survival 2023 Registration Campaign Creative Director: Robert Dodd Designer: Barbra Mockus Writer: Asia Coladner Campaign Strategy: Janet Fusco Social Media Manager: Megan Reilly

Design Firm: Memorial Sloan Kettering Cancer Center (MSK) Title: Cycle for Survival World Cancer Day Match Campaign Creative Director: Robert Dodd Designer: Ashley Price Writer: Asia Coladner Campaign Strategy: Janet Fusco Social Media Manager: Megan Reilly

Design Firm: Meyocks Branding and Marketing Agency Client: Topco Associates, LLC Title: TopCare Cold, Cough & Flu Integrated Marketing Campaign

Design Firm: Modern Art Pictures on behalf of CHOICE Administrators and the Word & Brown Companies Client: CHOICE Administrators: CaliforniaChoice Title: CaliforniaChoice Brand Videos Creative Directors: Polly Neves, Executive Vice President and Rikki Nedelkow, Senior Marketing Manager, The Word & Brown Companies

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Design Firm: Motif Brands Client: Caycucos Pharmacies Title: Cayucos Pharmacies Branding and Logo Design

Design Firm: NIH Medical Arts Branch Client: National Eye Institute Title: Emerging Horizons in Retinal Genetics, Biology and Disease Poster Art Director: Bonnie Hamalainen Designers: Bonnie Hamalainen, Alan Hoofring

Design Firm: NIH Medical Arts Branch Client: National Heart, Lung, and Blood Institute Title: National Heart, Lung, and Blood Institute Workplace Environmental Graphics Art Director: Bonnie Hamalainen Designers: Bonnie Hamalainen, Doug Dean, Nate Fussner, Emma Saeger

Design Firm: NIH Medical Arts Branch Client: National Institute of Allergy and Infectious Diseases Title: Biovisualization Lab and Customer Service Workplace Environmental Graphics Art Director: Bonnie Hamalainen Designers: Nate Fussner, Emma Saeger, Doug Dean of Wall-to-Wall Studios

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Design Firm: NIH Medical Arts Branch Client: National Institute of Allergy and Infectious Diseases Title: NIAID M-Pox Campaign Assets Art Director: Jeffrey Everett Designer: Jeffrey Everett

Design Firm: NIH Medical Arts Branch Client: National Institutes of Health Title: A Call to Action - NIAAA Conference Art Director: Jeffrey Everett Designer: Jeffrey Everett Illustrator: Jeffrey Everett

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Design Firm: NIH Medical Arts Branch Client: National Institute of Mental Health Title: Suicide Prevention for LGBTQ+ Youth Art Director: Jessica Jackson Designer: Jessica Jackson

Design Firm: NIH Medical Arts Branch Client: National Institutes of Health Title: All of Us Campaign Art Director: Jessica Jackson Designer: Jessica Jackson Illustrators: Danielle Mastrion, Portrait of Kay (Harlem NY); Hubert Massey, Detroit’s Faces of Diversity (Detroit MI); Julius DC Bautista, A More Colorful Tomorrow (Chicago IL); Consuelo Soto Murphy, Northwest Fresh (Pasco WA); Vania Soto, In Lak’ech Ala K’in (Kansas City MO); Liz Landgren, Addie Cecilia and the Dandelion (Birmingham AL); Doris Wasserman, Latkes and Apple Sauce (Nashville TN)

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Design Firm: NIH Medical Arts Branch Client: National Institutes of Health Title: NIH Women Scientists Advisors Banners Art Director: Bonnie Hamalainen Designer: Bonnie Hamalainen

Design Firm: NIH Medical Arts Branch Client: National Institutes of Health Office of The Director and Dr. Anthony Fauci Title: Dr. Fauci Retirement Ceremony Art Director: Jeffrey Everett Designer: Jeffrey Everett Illustrator: Jeffrey Everett

Design Firm: NIH Medical Arts Branch Client: NIH Clinical Center, Department of Transfusion Medicine & The American Red Cross Title: Immunohematology & Blood Transfusion 2023 Symposium Poster Art Director: Jessica Jackson Designer: Jessica Jackson Illustrator: Ethan Tyler

Design Firm: NIH Medical Arts Branch Client: UNITE Initiative at NIH Title: UNITE Initiative - MLK Jr. Art Director: Jeffrey Everett Designer: Jeffrey Everett Illustrator: Jeffrey Everett

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Design Firm: Nimble Works Client: DayTwo Title: Food as Medicine: Harnessing the Microbiome for Better Health Creative Director: Lisa Reid Art Director: Lisa Calanni Illustrator: Christopher Romano Strategy Director: Barbara Pantuso Animator: Christopher Romano Producer: Jen Gotliffe Client Services Director: Kristy Caraballo

Design Firm: Nimble Works Client: Philips Healthcare Title: Stronger Care Educational Series To Help Hospitals Close The ‘Capacity Gap’ During and After The Pandemic Creative Directors: Sean Bumgarner, Lisa Reid Art Director: Dan McGorry Designer: Lisa Calanni Illustrator: Barbara Pantuso Chief Strategist: Barbara Pantuso Content Strategy: Steve Bryant Client Services Director: Lauren Nook Account Manager: Karen Kohl Producer: Deb Podalsky

Design Firm: Notion LLC Client: CuraLinc Healthcare Title: Rebrand, Visual Identity and Logo Creative Director: John Senseney Art Director: Felicia Acton, Justin Grillo Account Director: Ruko Senseney Account Executive: Nish Gorczyca

Design Firm: OCHIN, Inc. Title: OCHIN Annual Report 2022 Creative Director: Ariel Surowidjojo Art Director: Celeste Eizaguirre Designer: Celeste Eizaguirre Editor: Anna Crosetti Data Editor: Kelsey Butz Brand Strategy: Reid Horton Data Contributor: Ryan James Executive Sponsor: Laura Hastings-Brooks

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Design Firm: OCHIN, Inc. Title: OCHIN Learning Forum: Illuminate What’s Possible 2023 Creative Director: Reid Horton Art Director: Celeste Eizaguirre Designer: Celeste Eizaguirre Strategy & Content Lead: Ryan James Social Media: Amie McChrystal Digital Content Management: Skye Camalari Executive Sponsors: Laura Hastings-Brooks, Kevin Geoffroy

Design Firm: Paradigm Marketing and Design Client: Vantage MedTech Title: Vantage MedTech Logo and Branding Creative Director: Kristen Hines Art Director: Kristen Hines Designer: Harrison Alvarez

Design Firm: PBD Partners Client: Brigham and Women’s Hospital Title: The Gene Lay Institute of Immunology and Inflammation Logo Art Director: Shannon Beer Designer: Mary Reed

Design Firm: PBD Partners Client: Franciscan Children’s Title: Franciscan Children’s Report - Striving For Excellence Art Director: Shannon Beer Designer: Jennifer Whitty Dominguez

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Plus972 Client: InCare Home Healthcare Title: InCare Home Healthcare Campaign Creative Director: Djiun Wang Art Director: Djiun Wang Designer: Djiun Wang Photographer: Rachel Gibbons Videographer: Justin Oppus Video Editor: Genya Shkolnyi Storyboarding: Puriya Mirza, Michele Voit

Design Firm: QNY Creative Client: RamBam Cosmetics LLC - MAKARI Title: Sel:pH Beauty Packaging Design Creative Director: Ezio Burani Art Directors: Ana Camero, Samantha Clemente-Galbo Designer: Ilya Volgin Brand Strategy: Anna Urban Project Manager: Marijke Thielen

Design Firm: Rivet Client: Dragon Master Initiative Title: CureQuest Dragon Master Initiative Creative Director/Designer: Kellie Bambach Brand Director: Wendy Payton Brand Associate: Emily Reed Digital Designer: Victor Simonelli Copywriter: Ed Castro

Design Firm: Rivet Client: Bridge To A Cure Title: Transform: Bridge To A Cure Annual Report 2022 Creative Director/Designer: Kellie Bambach Brand Director: Wendy Payton Copywriter: Ed Castro

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Design Firm: Ron Kalstein / RKDK Design Client: MossRehab Hospital Title: BlueJean Day Fundraiser Button Creative Director: Ron Kalstein Art Director: Ron Kalstein Designer: Ron Kalstein Illustrator: Ron Kalstein

Design Firm: RTI International Client: National Institutes of Health (NIH) All of Us Research Program Title: Nutrition for Precision Health Branding and Identity Creative Director: MaryBeth Branigan Designer: Astrid Flores All of Us Research Program Design Partner: Wondros

Design Firm: RTI International Client: National Heart Lung and Blood Institute Title: Hemophilia A Research Program (HARP) Brand Package and Collateral Website Development, RTI International: Veronica Romero, Graphic Design Lead; Shari Lambert, Creative Director; Sean Hanlon, Project Website Lead; Joey Hoellerich, Web Developer; Jeff Novey, Plain Language Editor Lead; Emily Callot and Thien Lam, Editors. Data Coordinating Center, RTI International: Maryanne Ardini, Project Manager and Coordination Core; Stephen Erickson, RTI Alternate PI; Emily Smith, Electronic Data Capture Lead; Eric Early, Research Portal Lead; Marian Sullivan, Regulatory Lead. Investigator Leadership: Grier Page, PhD, RTI International, HARP Principal Investigator (MPI); Jill Johnsen, MD, University of Washington, HARP Contact Principal Investigator (MPI); Shannon Meeks, MD, Emory University, HARP Principal Investigator (MPI); Bhavya Doshi, MD, University of Penn CHOP, HARP Co-Investigator; Lynn Malec, MD MsC, Versiti, Clinical Consortium Director; Angela Weyand, MD, University of Michigan, Clinical Consortium Co-Director.

Design Firm: Sally Morrow Creative Client: SkinTē Sparkling Wellness Soda Title: SkinTē Package Design Creative Director: Sally Morrow Designer: Sally Morrow

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Second Language Design Client: Westchester Birth Title: Westchester Birth Web Design and Development Creative Director: Darcy Briks Designer: Darcy Briks Camila Montanhani Contributor: Britt Novakowski

Design Firm: Seedhouse Title: Go Brewing Packaging & Brand Design Creative Director: Bryan Vanderwarker Art Director: Krissy Vanderwarker Designer: Ash Miyagawa Print Production: John Steiger

Design Firm: Seedhouse Title: Jackson’s Chips Packaging Creative Director: Bryan Vanderwarker Art Director: Krissy Vanderwarker Designers: Ash Miyagawa, Laurea McLeland Print Production: John Steiger

Design Firm: Siegel+Gale Title: Glanbia Title: A People-Centered Nutrition Brand Experience Creative Director: Douglas Sellers Designer: Sam Houle Director of Corporate Affairs, Glanbia: Martha Kavanagh Chief ESG & Corporate Affairs Officer, Glanbia: Michael Patten Creative Director, Glanbia: Anthony Slevin Motion Designer: Boris Poletaev Senior Production Designer: Sean King Creative Services Specialist: Claw Huie Senior Account Manager: Caroline Kreul Senior Strategist, Brand Communications: Shannon Gallagher

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Design Firm: SMAKK Studios Client: Tabu Title: Tabu Branding and Identity Creative Director: Katie Klencheski Art Director: Gabriella Searles Designers: Raquel Benedict (packaging), Sabrina Polanco (identity and web) Writer: Anna Kavaliunas

Design Firm: SMAKK Studios Client: FLOOF Title: FLOOF Branding and Identity and Logos Creative Director: Katie Klencheski Art Director: Gabriella Searles Designers: Danielle Dutile (identity and packaging), Ollie Ennis (web) Writer: Anna Kavaliunas

Design Firm: SMAKK Studios Client: Day+West Title: Day+West Website Creative Director: Katie Klencheski Art Director: Gabriella Searles Designers: Raquel Benedict (packaging), Sabrina Polanco (identity and web) Writer: Anna Kavaliunas

Design Firm: Smith Design Client: Aiya America Title: Aiya Matcha+ Packaging Creative Director: Allen Gaoiran Designer: Julianne Brown Production Designer: Brian Greenhalgh

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Smith Design Client: American Pet Nutrition Title: Nextrition: Welcome to the Future of Dog Food Packaging Creative Director: Jenna Smith Art Director: Allen Gaoiran Designer: Miles Hoffman Production Designer: Tricia Trozzi

Design Firm: Smith Design Client: Childhelp Child Abuse Hotline Title: Childhelp Website Design Creative Director: Jenna Smith Art Director: Allen Gaoiran Designer: Marissa Cook Production Director: Mark Errichetti

Design Firm: Songs & Smiles Title: Joyful Memories, A Dementia-Friendly Magazine Designer: Eric Kolb Illustrator: Lori Cusick

Design Firm: Stoller Design Group Client: Healthy Workforce (Kaiser Permanente) Title: Thrive Like a Boss Cards and Cardbox Creative Director: Tia Stoller Art Director: Dionne Anciano Designer: Dionne Anciano

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Design Firm: Stoller Design Group Client: Labor Management Partnership (Kaiser Permanente) Title: Hank Magazine Design - VAX To The Future Creative Director: Tia Stoller Art Director: Dionne Anciano Designer: Travis Retter

Design Firm: Street Level Studio Client: Medline Industries Title: FitRight Fresh Start Newsletters

Design Firm: Street Level Studio Client: Medline Industries Title: FitRight Fresh Start Social Media Campaign

Design Firm: Street Level Studio Client: Medline Industries Title: Fresh Strategies: Six Signs You Should Talk To A Doctor Infographic

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Test Monki Client: Howdy Pediatric Dental Studio Title: Howdy Pediatric Dental Studio Brand Identity Creative Director: Suzy Simmons Designer: Gaby Quintana

Design Firm: Test Monki Client: The Tooth Co. Title: The Tooth Co. Brand Identity Creative Director: Suzy Simmons Designer: Gaby Quintana

Design Firm: The Creative Pack, LLC Client: Gopuff Title: Goodnow Packaging Creative Director: Danielle Kidney Designers: Heather Storie, Casey Chui, Paola Ip, Emma Tung, Joshua Manalang Brand Identity: Strand Studio Gopuff Head of Brand Design: Andrew Guirguis Gopuff Head of Brand Marketing: Jessica Lauria Gopuff GM of Private Label: Jessica Glendenning Goodnow Director of Merchandising Private Label: Sonia Waldoch Gopuff Packaging Project Manager Private Label: Ali Tobin

Design Firm: The Creative Pack, LLC Client: Tenoverten Title: Tenoverten Nail & Cuticle Oil Packaging Creative Director: Danielle Kidney Designers: Emma Tung, Paola Ip, Heather Storie

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Design Firm: The Creative Pack, LLC Client: Mother’s Market Title: Alkaline Water Packaging Designers: Heather Storie, Casey Chui, Paola Ip, Emma Tung, Joshua Manalang

Design Firm: The Word & Brown Companies Client: CHOICE Administrators Title: CHOICE Administrators “That California Different Feeling” Social Media Campaign Designer: Modera, Inc. and Homer Villegas, Studio Director, The Word & Brown Companies Senior Marketing Manager: Rikki Nedelkow Marketing Project Manager: Brandi Daiken Senior Digital Marketing Specialist: Noe Villasenor

Design Firm: The University of Texas MD Anderson Cancer Center Title: MD Anderson Research: Breakthroughs in Cancer Treatment Video Art Director: Kellye Sanford Animator: Stephanie Schaffler Video Director: Glenn Challenger Producer/Writer: Lauren Lea Director of Photographer: Mike Giannaccio Associate Producer: Alex King Associate Producer: Christy Kitchen Videographer/Editor: James McEnelly Videographers: Tavarius Eberhart, Anton Blender

Design Firm: The Word & Brown Companies Client: CHOICE Administrators Title: CHOICE Administrators Broker Appreciation Event Microsite Creative Director: Homer Villegas, Studio Director Senior Marketing Manager: Rikki Nedelkow Marketing Project Manager: Brandi Daiken Senior Copywriter: Alex Strautman Digital Director: Kalup Alexander Digital Manager: Vidah Quirante Front-End Developer: Jarrell Walker Events Marketing Manager: Jessica Haluck Marketing Events Manager: Heather McDonald

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: The Word & Brown Companies Client: CHOICE Administrators Title: CHOICE Administrators Broker Appreciation Event Save the Date + Invitation Creative Director: Homer Villegas, Studio Director Senior Marketing Manager: Rikki Nedelkow Marketing Project Manager: Brandi Daiken

Design Firm: The Word & Brown Companies Client: CHOICE Administrators: CaliforniaChoice Title: CaliforniaChoice Ancillary Benefits Flyers Creative Director: Homer Villegas, Studio Director Senior Marketing Manager: Rikki Nedelkow Marketing Project Manager: Brandi Daiken Senior Copywriter: Alex Strautman

Design Firm: The Word & Brown Companies Client: CHOICE Administrators: CaliforniaChoice Title: CaliforniaChoice Employer Newsletter Creative Director: Homer Villegas, Studio Director Senior Marketing Manager: Rikki Nedelkow Marketing Project Manager: Brandi Daiken Senior Copywriter: Alex Strautman

Design Firm: The Word & Brown Companies Client: Word & Brown General Agency Title: Word & Brown Ampersand Effect Video Creative Director: Missy Bynon, Marketing Director Designer: Hugo Miramontes, Sr. Graphic Designer Executive Vice President: Polly Neves Marketing Project Manager: Heather Jung

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Design Firm: The Word & Brown Companies Client: Word & Brown General Agency Title: Word & Brown General Agency 2023 Calendar Creative Director: Missy Bynon, Marketing Director Designer: Hugo Miramontes, Sr. Graphic Designer Marketing Project Manager: Heather Jung

Design Firm: The Word & Brown Companies Client: Word & Brown General Agency Title: Word & Brown General Agency New Broker Blog Art Director: Hugo Miramontes, Senior Graphic Designer Marketing Director: Missy Bynon Marketing Project Manager: Heather Jung Digital Director: Kalup Alexander Digital Manager: Vidah Quirante Front-End Developer: Jarrell Walker Senior Copywriter: Alex Strautman

Design Firm: The Word & Brown Companies Client: Word & Brown General Agency Title: Word & Brown Salary Guide (2023 Update) Creative Director: Missy Bynon, Marketing Director Designer: Hugo Miramontes, Sr. Graphic Designer Marketing Project Manager: Heather Jung Senior Copywriter: Alex Strautman

Design Firm: The Word & Brown Companies Client: Word & Brown General Agency Title: Word & Brown Top Producer Agenda & Activity Card Creative Director: Missy Bynon, Marketing Director Art Director: Hugo Miramontes, Sr. Graphic Designer Marketing Director: Missy Bynon Marketing Project Manager: Heather Jung Events Marketing Manager: Jessica Haluck Marketing Events Manager: ToniMarie Munoz

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: The Word & Brown Companies Title: The Word & Brown Companies Brand Refresh Creative Directors: Polly Neves, Executive Vice President and Missy Bynon, Marketing Director Designers: Hugo Miramontes, Sr. Graphic Designer and Homer Villegas, Studio Director Marketing Project Manager: Heather Jung

Design Firm: The Word & Brown Companies Client: Word & Brown General Agency Title: 2023 Word & Brown Ad Campaign ([&] Effect) Creative Directors: Polly Neves, Executive Vice President and Missy Bynon, Marketing Director Designer: Hugo Miramontes, Senior Graphic Designer Writers: Polly Neves, Executive Vice President and Missy Bynon, Marketing Director

Design Firm: Tiara Agency Client: Florida State University College of Medicine Title: ‘Be Heard’ Public Health Advertising Campaign Creative Director: Laura Rosenberg

Design Firm: Tiara Agency Client: National Institutes of Health (NIH) and University of Central Florida College of Medicine Title: Gender Diverse Public Health Advertising Campaign Creative Director: Laura Rosenberg

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Design Firm: Tien Bui Title: Heart Disease Awareness for Youth Follow Your Heart Designer: Tien Bui

Design Firm: Topco Associates, LLC and The Tennis Channel Title: Basket & Bushel and The Tennis Channel Integrated Marketing Campaign

Design Firm: Tripment, Inc. Title: Tripment Health Website Design Designer: Maksim Litvinenko

Design Firm: University of Pittsburgh Health Sciences Client: University of Pittsburgh School of Medicine Title: Pitt Med Magazine, Summer 2023 Creative Director: Erica Lloyd Art Director: Elena Gialamas Cerri Cover Artist: Robert J. Thompson

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: UNLV Integrated Graphic Services Client: Kirk Kerkorian School of Medicine at UNLV Title: Kirk Kerkorian Medical Education Building Grand Opening Brochure Creative Director: Robin Biffinger Designer: Craig Granger Photography: Josh Hawkins, UNLV Writers: Paul Harasim, Robin Biffinger

Design Firm: UNLV | Kirk Kerkorian School of Medicine at UNLV Title: Kirk Kerkorian School of Medicine at UNLV Magazine Summer 2023 Creative Director: Robin Biffinger Designer: Diana Caballero-Galvez Photography: Josh Hawkins, UNLV Writers: Paul Harasim, Paul Joncich, Robin Biffinger, Nick Barnette

Design Firm: US Government Publishing Office/US GPO Creative Services Client: VA Long Beach Healthcare System Title: Health & Heroes Magazine, Spring 2023 Designer: Carl Medley

Design Firm: Waltz Creative Client: Elucid Title: ElucidVivo Brochure See Beyond The Lumen Creative Director: Zack Rovella Designer: Sara Frey Account Manager: Yuko Pierso

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Design Firm: Waltz Creative Client: Lookout Health Title: Lookout Health Flu and COVID Booster Clinic Campaign Creative Director: Allison Arno Art Director: Cheryl Lovejoy Designers: Diane McGirr, Cristina Cachux Account Manager: Nicole Arduini Client Services Director: Heidi Ash Developer: Diane McGirr

Design Firm: Washington University in St. Louis Client: Health Communication Research Lab Title: iHeard STL Campaign: Sharing Timely Local Health Information to St. Louisana Creative Director: Penina Laker Art Directors: Christine Watridge, Alex Koehl Designers: Alex Koehl, Michaela Kroner, Matt Grossman, Sydney Tran Content Development/Message Writing: Health Communication Research Lab

Design Firm: Welldoc In-House Agency Client: Welldoc/BabyScripts/Xealth Title: Welldoc Brand Awareness + Conference Offsite Cocktail Reception Creative Director: Kaitlin Mackie Art Director: Kaitlin Mackie Designers: Lyudmil Iliev, Brooke Latour Illustrators: Lyudmil Iliev, Brooke Latour Copywriting: Tory Cordero Copywriting, Social Media: Danielle Kosko Digital Strategy: Kelsey Holden

Design Firm: Werremeyer Creative Client: Barnes-Jewish Hospital and Washington University Physicians Title: Curiosus Magazine, Volume XI, 2023 Creative Director: Steve Hartman Art Director: Cheryl Bonnett Photographer: Greg Goldman. Illustrator: Abigail Goh Editor: Anne Makeever

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Werremeyer Creative Client: Barnes-Jewish Hospital and Washington University Physicians Title: Curiosus Social Media Campaign Creative Director: Steve Hartman Art Director: Steve Hartman Designer: Cheryl Bonnett Photography: Jennifer Silverberg Writer: Anne Makeever

Design Firm: Werremeyer Creative Client: Esse Health Pediatrics Title: Pediatric Housecalls Podcast Social Media Creative Director: Steve Hartman Art Director: Alison Trullinger Designer: Alison Trullinger Photograpy: Jennifer Silverberg

Design Firm: Werremeyer Creative Client: Foundation for Barnes-Jewish Hospital Title: Giving Magazine, Issues 1 and 2 Creative Director: Steve Hartman Art Director: Alison Trullinger Designer: Alison Trullinger Illustrator: Abigail Goh

Design Firm: Werremeyer Creative Client: Gateway to Hope Title: Be Your Own Breast Friend Campaign Creative Director: Steve Hartman Art Director: Alison Trullinger Designer: Alison Trullinger

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Design Firm: Werremeyer Creative Client: The Gatesworth Title: Discover Senior Living Your Way Campaign Art Director: Cheryl Bonnett Photography: Gregg Goldman Account Manager: Libby Wilson

Design Firm: Woodbury School of Media : Culture : Design Title: Chapcare Branding and Identity Student Project Designer: Angela Chiarelli Professor: Jerri Hemsworth

Design Firm: Woodbury School of Media : Culture : Design Title: Chapcare Branding and Identity Student Project Designer: Narek Mkrtchyan Professor: Jerri Hemsworth

Design Firm: Woodse Creative Co LLC Client: FYR Diagnostics Title: FYR Diagnostics 2023 Corporate Rebrand Creative Director: Elissa StanickWoods Art Director: Elissa Stanick-Woods Designer: Elissa Stanick-Woods Illustrator: Elissa Stanick-Woods

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Woz Design / Hartford Design / Ted Stoik Client: Abbott Title: Abbott 2022 Annual Report Creative Directors: David Wozniak, Tim Hartford, Ted Stoik Art Directors: David Wozniak, Tim Hartford, Ted Stoik Designers: David Wozniak, Tim Hartford, Ted Stoik Photographers: Tom Maday, Dan Socie

Design Firm: Woz Design Client: uniQure Title: uniQure Website Design Creative Director: David Wozniak Designers: David Wozniak, Larry Kozial, Ted Stoik Photographers: Tom Maday, Jon Chomitz Writing: Ted Stoik

Design Firm: Xhilarate, Inc. Client: Meadowood Title: Meadowood Brand Refresh Creative Director: Michael McDonald Designer: Ryan Schlegel Photography: Zave Smith Copywriting, Editing: Darcy Grabenstein Client Services Director: Lainie Zwecher

Design Firm: Zoo Valdes Client: MUSC Shawn Jenkins Children’s Hospital Title: Patient’s Activity Kit For Children Creative Director: Marius Valdes Designer: Marius Valdes Illustrator: Marius Valdes

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| 2023 |

AMERICAN CANNABIS GRAPHICS AWARDS

With the cannabis marketplace broadening — 23 states and the District of Columbia have now legalized cannabis consumption — graphic, brand, package and retail design have a vital role to play in differentiating products and services, educating consumers, burnishing brands and elevating the entire industry. Our American Cannabis Graphics Awards™ generated several hundred entries. Here are some standout selections that showcase the power and the potential of graphic design to be a game-changer.

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Design Firm: Bud’s Goods & Provisions Title: Bud’s Goods Instagram Creative Director: Jessica Fimbel Willis Designer: Kaleigh King CEO: Alexander Mazin

Design Firm: Bud’s Goods & Provisions Title: Bud’s Goods Watertown Dispensary Creative Director: Jessica Fimbel Willis Designer: Jessica Fimbel Willis, Kaleigh King Andrew Scott Willis Environmental Design: Brand Bureau CEO: Alexander Mazin

Design Firm: Bud’s Goods & Provisions / Hand LLC / Double Solitaire Title: Bud’s Goods Abington Dispensary Creative Director: Jessica Fimbel Willis Photographer: Andrew Scott Willis Illustrator: Jessica Fimbel Willis CEO: Alexander Mazin

Design Firm: Felhö Title: Felhö Look Book and Package Design Creative Director: Kenny Luu Art Director: Ian Li Designer: Ian Li Photographer: Claudia Chu See: www.felho.com

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CANNABIS GRAPHICS AWARDS

Design Firm: Felhö Title: Raise Your Vibe With Felhö Creative Director: Kenny Luu Art Director: Ian Li Designer: Ian Li Photographer: Claudia Chu See: www.felho.com

Design Student: HLYSTUDIO/Haley Griffith Client: High Standards Ohio Public Awareness Campaign Title: Bowling Green State Univeristy BFA Senior Thesis Exhibition 2023 Creative Director: Haley Griffith Designer: Haley Griffith

Design Firm: Hugh McCormick Design Company Client: Cured Cannabis Title: Cured Cannabis Edibles Packaging Creative Director: Hugh McCormick Art Director: Hugh McCormick Designer: Hugh McCormick

Design Firm: Hugh McCormick Design Company Client: Corporal Cannabis Title: Corporal Cannabis Flower Packaging Creative Director: Hugh McCormick Art Director: Hugh McCormick Designer: Hugh McCormick

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Design Firm: Hugh McCormick Design Company Client: Stigma & Pistil Cannabis Company Title: Stigma & Pistil Cannabis Company Branding Creative Director: Hugh McCormick Art Director: Hugh McCormick Designer: Hugh McCormick

Design Firm: Hugh McCormick Design Company Client: Maine Cannabis Builders Title: Maine Cannabis Builders Branding Creative Director: Hugh McCormick Art Director: Hugh McCormick Designer: Hugh McCormick

Design Firm: Hugh McCormick Design Company Client: Litty Bitty’s Edibles & Delectables Title: Litty Bitty’s Edibles & Delectables Packaging Creative Director: Hugh McCormick Art Director: Hugh McCormick Designer: Hugh McCormick

Design Firm: Hugh McCormick Design Company Client: High Mind Exotics Title: High Mind Exotics Cannabis Branding Creative Director: Hugh McCormick Art Director: Hugh McCormick Designer: Hugh McCormick

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CANNABIS INDUSTRY GRAPHICS AWARDS

Design Firm: Hugh McCormick Design Company Client: Flying Fish Cannabis Company Title: Flying Fish Cannabis Company Flower Packaging Creative Director: Hugh McCormick Art Director: Hugh McCormick Designer: Hugh McCormick

Design Firm: Hugh McCormick Design Company Client: Greenlife Cannabis Title: Greenlife Cannabis Flower Packaging Creative Director: Hugh McCormick Art Director: Hugh McCormick Designer: Hugh McCormick

Design Firm: Jorel Dray Design Client: Door County Cannabis Co. Title: Door County Cannabis Co. Grand Opening Poster Creative Director: Jorel Dray Designer: Jorel Dray

Design Firm: Jorel Dray Design Client: Door County Cannabis Co. Title: Door County Cannabis Co. Packaging Creative Director: Jorel Dray Designer: Jorel Dray Photographer: Chris Malchow

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Design Firm: Mangold Design Client: Nimbus Title: Nimbus Cannabis Logo Design Designer: Annabel Mangold

Design Firm: Nelson Schmidt Client: Nectar Brands Title: Nectar Brands Website Design Creative Director: Mike Fredrick Art Director: Sarah Hand Designer: Anna Ward

Design Firm: Nelson Schmidt Client: Nectar Brands Title: HiPuma Brand Identity Creative Director: Mike Fredrick Art Director: Sarah Hand Designer: Anna Ward

Design Firm: Nelson Schmidt Client: Nectar Brands Title: Hummingbird Package Design Creative Director: Mike Fredrick Art Director: Sarah Hand Designer: Anna Ward

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CANNABIS INDUSTRY GRAPHICS AWARDS

Design Firm: OneTwo Media Client: Origins51 Title: Origin51 Logo Design Creative Director: Berry Winn Designer: Nate Gulledge

Design Firm: Puff Bar Title: Puff Delta 8 Disposable Packaging and Marketing Graphic Design Creative Director: Cris de Guzman Designer: Vela Wang

Design Firm: Seedhouse Client: Carden Labs Title: Fixie Packaging and Brand Design Creative Director: Bryan Vanderwarker Art Director: Krissy Vanderwarker Designer: Ash Miyagawa Illustrator: Ash Miyagawa Print Production: John Steiger

Design Firm: Seedhouse Client: Cannawerks Title: Cannawerks Packaging and Brand Design Creative Director: Bryan Vanderwarker Art Director: Krissy Vanderwarker Designer: Ash Miyagawa

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Design Firm: Test Monki Client: TX Cann MD Title: TX Cann MD Branding and Identity Creative Director: Suzy Simmons Designer: Gaby Quintana

Design Firm: Winter Holben Architecture & Design Client: East Coast Cannabis Title: East Coast Cannabis Environmental Branding Creative Director: Elisa Winter Holben Designer: George Brown Architect: Brandon Holben Interior Design: Genevieve Rickon Architectural Designer: Justen Frechette

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STREET LEVEL STUDIO IS... Teddy Roosevelt once called Highwood IL “the

The approach is clearly working well for SLS. Step into their

toughest town in America.” That may have been

wide-open, eclectic work space (decorated with vintage neon

a veiled reference to its abundance of taverns back

signs, an antique phone booth, local architectural cast-offs, and an intriguing display of Apple computer evolution) and you’re

then, but it also reﬂected the town’s reputation

also bound to notice the long wall of awards the team has col-

as a bastion of hard-working reliability tucked

lected over the years for excellence in digital, print, and video

into Chicago’s North Shore. How ﬁtting that today,

marketing. Recent honors include several GDUSA American

Highwood is home to Street Level Studio (SLS),

Design Awards, as well as two GDUSA Digital Design Awards for an interactive website experience created for Canon Solutions

a full-service marketing and design agency that

America’s Production Print Solutions division and a robust e-com-

combines a “roll up your sleeves” work ethic

merce website developed to launch Medline Industries’ FitRight

with a creative drive and depth of experience

Fresh Start retail brand of feminine healthcare products.

that matches anything a Michigan Avenue agency might offer. Finding and maintaining that balance between achieving big agency results and delivering small ﬁrm service has been Street Level Studio’s mission for almost four decades. Now under the direction of CEO Tanya Fretheim, the 100 percent womenowned agency has a well-earned reputation for a wide range of creative capabilities underpinned by solid strategy. It also offers clients ranging from global brands to regional businesses an exceptional level of attentive service and agile project execution that has become its hallmark. Talk to anyone on the Street Level team and you’ll immediately sense their dedication to getting the job done and going beyond client expectations with a no-

An interactive website experience created for Canon Solutions America’s Production Print Solutions division won a 2022 GDUSA Digital Design Award.

nonsense energy President Roosevelt would doubtless approve. Fretheim is appropriately straightforward in describing Street Level Studio’s work ethic. “Don’t expect just a bunch of ordertakers when you hire us,” she says. “We’re solution driven. We’re results driven. We want to help clients identify and address real pain points, whether we’re developing a complex website, producing an award-winning video, or elevating a traditional direct mail piece to trigger omnichannel response.” Fretheim likes to say, “Street Level Studio is a team of subject matter experts.” And that depth of knowledge is especially evident in the SLS leadership team comprising Creative Director Brian Fuller, Content Director Diane Landsman, Strategy Director Cathy Lindner, Director of Sales Lexie Markarian, and

Developed to launch Medline Industries’ FitRight Fresh Start retail brand of feminine healthcare products, this website was a 2023 GDUSA Digital Design Award winner.

Fretheim. Collectively, they represent decades of strategic marketing and communication experience with enterprises ranging from Fortune 500 companies and leading creative agencies to entrepreneurial businesses and associations. Supporting them is a proliﬁc team of graphic designers, content creators, web developers, and video producers who possess both the speciﬁc creative expertise and business savvy to provide exactly what the agency’s diverse clients demand.

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Like Highwood itself, which is currently enjoying a boom in residential and commercial development, Street Level Studio is an incubator for innovative thinking and nimble execution wrapped in traditional values like long-standing client relationships, exceeding expectations, and bringing projects in on time and on budget.

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Street Level Studio CEO Tanya Fretheim’s experience in strategic marketing and communication design has led from the drawing board to the boardroom.

Described as a team of “subject matter experts,” the SLS staff represents an impressive range of industry experience, proficiency, and leadership.

Collaboration is a Street Level Studio strong point, contributing strategy, analytics, and creative insights to the success of each client project.

A physical representation of the agency’s agility, the space is designed to facilitate fast response and execution.

Street Level Studio’s unique and eclectic workspace inspires both creativity and camaraderie.

Street Level Studio’s Leadership Team (l. to r.) Diane Landman, Lexie Markarian, Tanya Fretheim, Cathy Lindner, and Brian Fuller

So don’t let the tough address intimidate you. And don’t let the imaginative office space fool you. When it comes to getting the job done and delivering award-winning solutions for its clients, Street Level Studio is a place that’s all business and creativity. That mindset is at the cornerstone of everything the team tackles and the reason why the agency confidently makes good on its promise to deliver big agency results with small firm service.

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THE ADVANTAGES OF A VARIABLE TALENT APPROACH FOR YOUR WORKFORCE BY LUCY MARINO

Ninety-four percent of creative and marketing

Here are the key ways a variable talent model can

managers struggle to ﬁnd the talent they

help you bridge the talent gap and contribute to your

need today, according to the 2024 Salary

creative team's success:

Guide from Robert Half. Left to itself, this difﬁculty can create a vicious cycle: Open positions pile more work on your current team, increasing the chances of burnout and employees’ likeliness to quit, leaving even more open seats while falling further behind on projects and work. So, how can you break this cycle and swiftly address talent gaps?

1. Rapid Infusion of Targeted Skills You may sometimes ﬁnd that your in-house team lacks the specialized expertise needed for particular initiatives. Perhaps you've just secured a branding project from a client in an unfamiliar industry or need to launch an immersive digital marketing campaign while your lead web designer is on extended leave. Utilizing contract talent lets you quickly onboard professionals — or even a whole team of profes-

The answer may lie in adopting a variable talent model. This approach involves adding contract professionals when, and for only as long as, you need them. It reduces strain on your primary team, gives you immediate access to expertise you may not have internally and ensures project deadlines are met. Our research also found that over two-thirds (67%) of managers in the creative sector are planning to hire more contract professionals in the second half of 2023, aligning well with the 40% of creative and marketing professionals who are open to interim roles.

102 G D U S A

sionals — with the specific knowledge and experience required to complement your core team’s existing capabilities. Since contract professionals can typically hit the ground running, they can offer immediate insights, share industry best practices and even act as informal mentors for your team.

October 2023 Pub Letter Focus.qxp_feb news play 10/17/23 7:00 PM Page 103

2. Workload Balance For Your Core Team

6. Fewer Costs, More Agility

Whenever there’s a sudden inﬂux of projects while some

By bringing in only the talent you need, as you need it, you

team members are on vacation or already assigned to other

transform ﬁxed stafﬁng costs into more manageable, variable

initiatives, your other employees often shoulder an unsus-

expenses. Contract hires also often require less investment in

tainable workload. This imbalance doesn’t just stress them

onboarding, training and professional development, meaning

out; it can also diminish the quality of their work, potentially

lower upfront costs compared to permanent employees.

leading to errors that could jeopardize client relationships. Bringing in contract professionals provides a safety valve,

Your business becomes nimbler, too. With a variable talent

allowing you to redistribute the workload more evenly. This

model, you can adapt more easily and quickly to whatever

helps prevent burnout and allows your permanent team to

the industry, or economy, throws at you. This is crucial in the

take the time off they need to recharge, improving overall

fast-paced creative world, allowing for quicker adjustments

well-being and morale.

in headcount levels, usually with far less bureaucracy than hiring for full-time roles.

3. Your Current Employees Can Focus on High-Value Work Contract talent can also help with day-to-day team respon-

7. Project Continuity

sibilities, like getting project deliverables in order, testing

You can also bring in contract professionals for your long-

graphics across various media or researching industry trends.

term projects where you’d like to keep the same people

This frees up your core staff to tackle more complex chal-

engaged if possible, because the last thing a critical project

lenges, such as honing the overall direction of marketing

needs is turnover. Using this feature of the variable talent

campaigns. The result? Increased engagement and job

model, you’ll also have the option to call on the same person

satisfaction for your permanent team, who are no longer

repeatedly for recurring projects by working with a resource

bogged down in routine tasks and have the opportunity to

who continuously recruits and maintains a deep bench of

expand their skills.

talent ready to move your project forward.

4. New Perspectives and Global Talent

These professionals are highly skilled and have deep expe-

Many contract professionals work remotely today, so they may live in a neighboring city to your business, across the country or across the world. That means you’ll be introducing your team to different creative cultures, styles and

rience across a range of industries and practices. Over the course of their careers, they’ve tackled complex engagements for companies of all sizes, in a wide range of industries. They thrive on the change that project work provides.

problem-solving approaches. This geographic diversity not only enriches your project with a global ﬂair but can also help

***

in understanding and catering to international markets,

Revamping how you hire creative talent allows you to seize

giving your creative team a competitive edge.

new opportunities. A variable stafﬁng approach lets you pivot rapidly, add fresh perspectives and manage costs

5. Reduced Risk of a Costly Bad Hire

more efﬁciently. It’s not just a ﬁx but an upgrade for today’s

Making what turns out to be a poor hiring choice isn’t just

complex and ever-changing creative industry.

expensive. It can sap team morale. Although every effort should be made to streamline your hiring process to avoid

LUCY MARINO is executive director of the marketing and creative

missing out on top candidates in today’s tight market, rush-

practice at global talent solutions ﬁrm Robert Half, which connects

ing things too much could end up in a new hire that doesn’t

employers with skilled marketing, creative, digital, advertising and pub-

work out. Bringing in contract talent gives you the breathing

lic relations professionals to meet their specialized recruiting needs.

room you need to search for an excellent permanent hire

Marino manages strategy and operations for the company’s marketing

without compromising productivity or quality in the mean-

and creative talent solutions teams across U.S. locations.

time. In fact, these contract professionals could turn out to be ideal candidates for your full-time openings, minimizing the risk of a bad hire. G D U SA 103

Oct 2023 reader Page.qxp_feb news play 10/17/23 7:02 PM Page 104

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