GDUSA - GRAPHIC DESIGN USA - OCTOBER 2024 by Graphic Design USA

NEW BROOKLYN MUSEUM LOGO

IS AI DESIGN’S FUTURE?

SPAN PLAYS IN THE PARK

SIZZLE’S BACK IN SIZZLER

CARBON REMOVAL CAMPAIGN

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Comments, suggestions and letters can be sent to editorial@ gdusa.com.

The genesis of our ‘Socially Responsible Designers’ annual feature was a phone call from a prescient paper mill executive some 35 years ago asking if I knew what the word “sustainable” referred to. Always a step behind, I did not know — never heard of it — though in fairness neither did anyone else outside academia and a few activists. Soon thereafter, I learned that a handful of graphic designers were asserting their sense of responsibility to society and the planet by buying and specifying recycled papers and soy inks. And thus the progenitor to today’s annual feature was born. ‘Designing With Recycled Papers’ begat ‘Green Designers’ which begat ‘Sustainably Responsible Designers’ which begat ‘Socially Responsible Designers’ — which has now evolved into, simply, ‘Responsible Designers.’ (Next year, who knows!)

With each renaming and reimagining, the scope has become broader and the circle wider to keep pace with the creative community’s ever-expanding deﬁnition of “responsible” design; with the ever-deepening commitment to designing for good in order to make the world better for people and nature; and with the epiphany that graphic design is an exquisitely effective discipline, talent and tool to communicate the message.

In 2024, the topics that our cohort of “Responsible Designers” care about and seek to advance extend far beyond what we could conceive those many decades ago. As you will see, these include herein: accessibility, female leadership and empowerment, health and wellness, urban and neighborhood redevelopment, small business and entrepreneurial promotion, LGBTQ rights, DEI initiatiatives, domestic violence and sexual assault, racial and gender and income equality, support for arts and education, philanthropy and religion, design ethics and data privacy and AI, a bit of partisan politics and, yes, world peace. Sustainability still matters, of course — climate change concerns and environmental activism abound — nestled comfortably within this broader ethos.

Tne range of issues at play are encyclopedic, but there is a common denominator. Each of these creative leaders cites a desire to break through the noise. To get to the heart of the matter. To communicate urgency. To effect and shape change — now — in a way that smart and deliberate graphic design is uniquely suited to do. Please join us in celebrating their exciting and meaningful work. — GK

2024 HEALTH + WELLNESS AWARDS SHOWCASE

Our annual 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

GORDON KAYE AND SASHA KAYE-WALSH ARE EDITORS AT GDUSA

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, this Presidential election year has sharpened the debate. As we move into an uncharted post-pandemic 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 education, prevention, access, delivery and outcomes. We hope that this yearly exercise makes a small contribution to the conversation 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.

— SKW

THE PAST IS NOT DEAD. IT’S NOT EVEN THE PAST.

I am old enough to remember that magazine editors used to enjoy perks — if not quite at the level of the current Mayor of New York City, then at least an occasional press junket, mill tour, cocktail party, Yankee tickets, free products, giftboxes of food, wine or candy. But the times are less frothy in magazine-land, and an occasional complimentary hard copy book sent for review is a high point.

Which is a long way around to saying that I experienced a jolt of pleasure recently when presented with a review copy of Graphic Classics, a large and lavish visual survey of graphic design history as told through 500 iconic projects over 700 years. The gesture by publisher Phaidon was welcomed, and perusing the contents reminded me how very important it is for present day practitioners and students to understand and appreciate design history — how it connects past, present and future and makes some sense of it all. Today’s graphic designers, a book like this reminds us, stand on the shoulders of giants.

I worry that the debt owed to the past is being forgotten. During GDUSA’s 50th anniversary year — 2013 — we conducted a massive reader survey that revealed our community’s deep knowledge of the pantheon of great designers, the iconic symbols, the seminal works. In 2024 not so much. Our recent attempts to probe these matters suggests low information and even less interest. Maybe design heroes and singular projects seem anachronistic in an increasingly diverse, democratized and fragmented media age. Maybe young graphic designers are entering the ﬁeld ignorant or arrogant. Maybe I am not asking the right questions, The truth is probably somewhere between, but no matter how you slice it, the past is being devalued.

Before there was Graphic Classics, there was Meggs’ History of Graphic Design. The latter book is straightforward, comprehensive, deﬁnitive, the standard — I slept with it by my side for years. In the introduction to the ﬁrst edition, Philip B. Meggs observed: “This chronicle of graphic design is written in the belief that if we understand the past, we will be better able to continue a culture legacy of beautiful form and effective communication.” Meggs’ message was always clear and consinstent: by inculcating design history you gain a foundation upon which to build upon and leverage the wisdom of those who came before.

Something important is being lost and I’m not referring (only) to perks. — GK

GDUSA - Graphic Design USA Volume 61 / No. 5 September/October 2024 Kaye Publishing Corporation (ISSN0274-7499/USPS227020). Published 6 times a year with combined issues in January/February, March/April, May/June, July/August, September/October, November/December. Executive, editorial and advertising ofﬁces at 594 Dean Street, Ste. 22, Brooklyn NY 11238. Phone: 201.305.9769 Website: www.gdusa.com. SUBSCRIPTION: Domestic, $72 one year. International, $140 one year. Periodicals postage paid at New York NY and additional mailing ofﬁce. POSTMASTER: Send address changes to GDUSA - Graphic Design USA, PO Box 3072, Langhorne PA 19047. Permit #224.

8 FRESH

Span turns vacant lot into vibrant Chicago park; JDO aces Venus Williams and Dove collaboration; Brooklyn Museum exhibits new logo; SYLVAIN headlines new branding for nonproﬁt community journalists; Lippincott names and elevates carbon removal market-maker; Bruce Mau Design helps National Ballet of Canada tell its story and invite audience in; Brookyn-based Tavern reimagines Sizzler and revives Ribby Ribeye mascot; and Phaidon publishes graphic design history book centuries in the making. Visit gdusa.com for daily design news, people, projects, commentary, showcases and events.

22 RESPONSIBLE DESIGNERS

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 make the world better for people and nature as they see it. This practice is turning into a movement — none-to-soon given this inﬂection point in our politics, economics, technology, culture. A special thanks to exclusive sponsor Domtar® for making this meaningful feature possible year after year.

52 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 2024 winners showcase features projects and campaigns from leading designers and design firms, ad and marketing agencies, corporations and institutions. The lens is large: traditional medicine, healthcare and services; healthy lifestyles and selfcare; public and community health initiatives. It reaffirms that effective design and communication makes a vital contribution — think access, education, prevention, delivery, outcomes — to our personal and collective well-being.

94 HIRING + CAREER TIPS

Lucy Marino of Robert Half explores the challenges of AI and its growing role in graphic design and the creative professions. Ready or not, the future is now and companies are beginning to make the adjustment.

96 AD INDEX

Ads are news! More information and links to this month’s GDUSA print and website advertisers and their offerings.

THANK YOU TO

DOMTAR

Domtar is the exclusive and founding sponsor of GDUSA’s Responsible Designers annual special feature.

Domtar makes products that people around the world rely on every day. As part of the Paper Excellence Group, they design, manufacture, market and distribute a wide variety of communication, specialty and packaging papers, market pulp and airlaid nonwovens. Domtar has the North American market’s largest selection of uncoated papers – from high-quality ofﬁce, printing and digital papers, to innovative converting and specialty papers.

Among the Domtar brands long recognized by printers and creative professionals is Cougar®, renowned for its refined velvety surface, a premium line of paper that amplifies a brand’s passion, personality and purpose. Domtar is making available an award-winning “Paper Trails” series “that is the definition of form meets function, combining traditional education about the basic elements of paper with inspiring insights about how paper empowers you to design without limits.” You can read more about “Paper Trails” later in this edition. To request any of the Cougar Paper Trails volumes, visit info.domtar.com/cougarpapertrails

This October 2024 edition of GDUSA is printed on Cougar® 70 lb. text.

ABOUT THE COVER

Roanne Adams is Chief Creative Director of RoAndCo Studio, a creative agency with clients including Google, Nike and Estee Lauder. A champion of women in leadership, she has worked with non-proﬁts such as Together We Rise and Women Under the Inﬂuence. Our annual ‘Responsible Designers’ report begins at page 22.

Photo by Liz Kuball

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

GD USA

GRAPHIC DESIGN USA

Gordon Kaye PUBLISHER

Ilana Greenberg CREATIVE DIRECTOR

Sasha Kaye-Walsh EDITOR/WEBSITE & SOCIAL MEDIA

Gordon Kaye EDITOR/PRINT

Charlotte Kaye GRAPHIC DESIGNER

Kyle Redﬁeld CHIEF TECHNOLOGY OFFICER

Althea Edwards READER SERVICES

Angelo Abbondante ACCOUNTS MANAGER

Jennifer Hoff Scott Sczcypiorski INTERNET SERVICES

Christina Ukolov DESIGN/SOCIAL MEDIA ASSISTANT

Jay Lewis

Jeff Rosenberg/Virtual 360 NY PHOTOGRAPHY

Ron Andriani ADVERTISING SALES + INTEGRATED MARKETING + BUSINESS DEVELOPMENT

201.669.9884 randriani@ gdusa.com

Milton L. Kaye 1921-2016 FOUNDER

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CHICAGO IL. Through the first half of the 20th century, Bronzeville had a flourishing cultural scene that rivaled that of Harlem. Many iconic American thinkers, artists and activists called Bronzeville home, including Louis Armstrong, Ida B. Wells, Quincy Jones, Nat King Cole, Mahalia Jackson, Richard Wright, and Bessie Coleman, to name a few. After a massive disinvestment in the neighborhood, today Bronzeville is experiencing a renaissance of reinvestment. Awarded funding by Chicago mayor Brandon Johnson’s Public Outdoor Plaza program, and developed by The Nascent Group along with nonprofit Black Girls Shred, the South Side Sanctuary is contributing to this renaissance by transforming a vacant lot into a vibrant public park. With infrastructure for sports and recreation – notably skateboarding – as well as performance, pop-ups and simple silence, the South Side Sanctuary is a critical investment in and a retreat for the people who call Bronzeville home. A spirited visual identity designed by Span reflects the form, expression, and movement in South Side Sanctuary’s inclusive architecture and the diverse activities of its visitors. The logotype showcases custom typography with uniquely crafted letterforms that echo the geometry of the architecture and site plan. Designed for versatility, these letterforms can be oriented vertically for the beacon sign or horizontally for traditional applications. The bespoke stencil letterforms pay homage to Chicago artist Apache Wakefield’s historic Bronzeville bench, while the uppercase letters with descenders underscore the park’s topography. Span’s identity system included fundraising support items, community awareness materials, large environmental signage, and programming collateral – including posters, tents, t-shirts, and the like. span.studio/

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DECATUR IL. JDO’s latest collaboration with Dove and tennis legend Venus Williams is the Dove x Venus #KeepHerConfident Beauty Bar. The limited-edition release marks Dove’s first special edition beauty bar, designed to amplify a shared mission of keeping girls active in sports. JDO was tasked with sparking buzz around Dove’s Body Confident Sport Program and their collaboration with Venus Williams. The result is an exclusive canister housing beauty bars in vibrant tennis ball green, infused with a passionfruit and lemon balm scent chosen by Venus herself. Each bar is stamped with “CONFIDENT,” embodying the campaign’s spirit.” Modeled after a tennis ball canister, the white container features the famous wordmark and a gold dove emblem, with “Venus” prominently rendered in bold typography. The design is completed with the hashtag #KeepHerConfident and Venus Williams’ signature, with the goal of making it a collectible. The launch comes as Dove’s 2023 research reveals that 45% of girls worldwide stop participating in sports by age 14 – twice the rate of boys – primarily due to body confidence issues. The Dove x Venus #KeepHerConfident Beauty Bar supports the Body Confident Sport program, an initiative developed with Nike to boost body confidence in girls aged 11-17 through scientifically validated coaching tools. Comments Ben Oates, Executive Creative Director and Founder of JDO: “Partnering with Unilever and Venus Williams on this project was an exceptional opportunity. We leveraged over a decade of expertise in working with the Dove brand to create a design that not only looks spectacular but also conveys a powerful message of confidence and empowerment.” jdoglobal.com

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NEW YORK NY. Civic News Company is headlining a new brand identity by strategy and design company SYLVAIN. An independent on-the-ground journalistic organization behind some many leading nonprofit newsrooms, Civic seeks to provide and encourage unbiased and community-focused coverage on important issues facing Americans today. The organization came to SYLVAIN to help build a brand foundation. The result: a refined mission, values and identity system that is intended to reflect the optimism and care evident in their journalism. Inspired by the local reporting that Civic does, SYLVAIN says it leaned into the connectedness of neighborhoods and communities, which manifests in the wordmark and symbol. The tight stacking of the letterforms give the impression of clear pathways created between them. The brand’s mission and optimism comes to life in the color palette — bright, tonal greens with supporting blues that convey energy and forward movement while avoiding the political connotations that saturated reds and blues can bring. In addition, a flexible identity system supports Civic’s ambitions for growth. At the center of the system is an ownable holding shape for the sub-brand names and news localities to live in. The shape can also flex to support any new beats that Civic pursues in the future. The identity also takes inspiration from classic Americana and old-school public broadcasting, striking a balance between the familiar and the modern. The resulting identity system communicates a brand that's both trustworthy and forwardthinkingwith regard to civic journalism. SYLAIN has offices in New York, Richmond and Amsterdam; clients include WNBA, Walmart, BlackRock, The New York Times, and American Express. Civic News Company is based in New York. sylvain.co

FRESH

NEW YORK NY. Lippincott has partnered with Drax, a leading UK renewable energy company, to launch Elimini. After being touted for decades, carbon removals are gaining traction in the fight against climate change. The next step? Drax intends to transform carbon removals into a reality by delivering at unprecedented scale. Working together with the client, Lippincott identified a core insight on which the brand would be built: today’s carbon removals customers aren’t just removing carbon, they are creating an inflection point — their investment is scaling technology, moving us down the cost curve, moving humanity forward, protecting nature and biodiversity, creating jobs, and supporting communities. This insight provided the foundation for the brand and its purpose: removing carbon for good. The Lippincott team then distilled this essence into a name: Elimini. The coined word, which combines “eliminate” and “illuminate,” reflects the mission of eliminating carbon while evoking hope for a brighter future.The visual identitycaptures transformation through color, animated graphics, and imagery. In the new logo, cut letters in carbon-black illustrate carbon removal, while a constellation of teal squares symbolizes a coalition and collective action. The visual system comes fully to life in animation, with the teal squares acting as transformers. The color palette is stripped back, using white and carbon black for clarity, and “Transformateal,”along with secondary teal colors, to signify a clean and improved future. Unique typography aligns with this identity, featuring an engineered and precise look. Photography captures collectives in nature, industry, and society to emphasize the strength of unity. lippincott.com

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MISSION VIEJO CA. Sizzler Family Steak House has a new visual and verbal identity. In partnership with Brooklyn NYbased design agency Tavern, the rebrand seeks to reignite a nostalgic heritage within a more contemporary aesthetic. “Tapping into the brand’s history in a meaningful way, the new identity system was built from a selection of heritage assets that were revived from the brand’s archives and refreshed to suit contemporary tastes,” explains Mike Perry, Founder and Creative Director of Tavern. The designers recognized early on that they didn’t need to tweak much regarding the logo – instead, it was about repurposing elements with decades of equity and reimaging their use across the 360-brand experience. The wordmark was turned into an actual cattle brand. The classic sizzlin’ ZZ’s from the logo and the word “sizzle” were repurposed as secondary assets to dial up playfulness and ownability with clever copy and menu item names. A rich burnt maroon color became the hero of the identity’s palette, emphasizing that this is a family steak house and that medium rare is still the proper way to order a New York Strip. A curling heritage Windsor typeface pulled from 60s and 70s in-store ephemera was paired with a more contemporary Block Berthold to add variety. A forgotten cow mascot from the 1950s was revived as Ribby Ribeye and surrounded by an entourage of new Taste Buddies like the Salad Bar-barian. Behind the scenes, Tavern helped Sizzler overhaul their brand strategy, tone of voice, sonic branding, and product innovation and naming strategy. Says Perry: “By combining the best of Sizzler’s heritage with a modern aesthetic, we’ve revitalized a brand that isn’t just nostalgic, it’s joyful and exciting, and it casts the brand in a new, timeless light.” tavern.agency

TORONTO ONT. Bruce Mau Design (BMD) has crafted a new visual identity and expression for The National Ballet of Canada, marking the nearly 75-year-old institution’s first rebrand in decades. Seeking to merge classical and modern/future-embracing aesthetics, the company sought its hometown studio’s talents to develop a brand identity that would herald a more creative, inclusive and bolder organization. “We were tasked to create something that would invite more people in,” BMD Chief Creative Officer Laura Stein recalls. “We created a new wordmark that acts as an invitational narrative.” The wordmark, in fact, serves as a foundational piece of the redesign. “The logo is a wordmark that is also the beginning of a narrative,” Stein explains. “So type needs to flow seamlessly from the logo. We worked with Displaay Type Foundry to develop a glyph that would allow designers to type in the logo with a keystroke and simply continue typing to write the narratives. The tool allows anyone to easily use the logo and write a narrative without fussing with alignment, scale, leading, ensuring that it looks good every time.” In turn, BMD has transformed the wordmark into lowercase using a typeface that feels more open and welcoming. The studio also moved away from an older dark pink gendered palette to a vibrant set of jewel tones. Further, BMD’s efforts include creating art direction for photography, layout principles, motion behaviors, identity and motion assets and guidelines. Perhaps most significant, however, is that the designers had to develop key messages to convey its Storyteller concept and draw audiences in. “Our Storyteller concept helps address ‘‘the uncertainty gap’ — where people are less likely to engage in something if they don’t understand it,” Stein notes. “The wordmark’s narrative can tease some of the story so that people who know nothing about a ballet such as Onegin, understand that it deals with exciting and dramatic themes such as love and betrayal.” As a result, says Stein, BMD has brought to fruition a rebrand that not only respects tradition while shaking off the elitist, highbrow image often associated with ballet, but has helped the client evolve into an organization thatis more future-oriented, flexible and welcoming. www.brucemaudesign.com/

LONDON UK/NEW YORK NY. Phaidon has published Graphic Classics, a visual survey of “graphic design’s long and rich history” and “an unprecedented deep dive into the art of graphic design over 700 years…” A reimagining of the 2017 bestseller Graphic: 500 Designs that Matter, the story is told through 500 iconic projects from the beginnings of mechanical reproduction to the present day and also features 50 new entries from contemporary artists, activists, industry icons, and less known designers. Graphic Classics unfolds in a twopart chronological structure with large images up front and a 300-plus word text for each entry in the back. A color-coded design key adds functionality by classifying designs into different categories, from advertising and typeface, to books, magazines, and logos. With designs dating back to the 14th century, spanning 33 countries and 5 continents, and including the works of more than 400 designers, the book’s breadth testiﬁes to the diversity and rich evolution of graphic design across time. The collection runs the gamut from the Gutenberg Bible to the album art of Joy Division, anonymous creators to industry icons such as Aleksandr Rodchenko, Paul Rand, Alessandro Mendini, Emory Douglas, April Greiman, Stefan Sagmeister, Ahn Sang-soo, and Julia Born. The curated collection presents a selection of newspapers, magazines, advertisements, typefaces, logos, corporate design, record and CD covers, posters, and moving graphics from around the world. Iconic designs include the Nike logo, the Japanese ﬂag, the Times New Roman typeface, the Gutenberg Bible, the crossword puzzle, The Sex Pistols record and CD covers, Shepard Fairey’s Obama Hope poster, the New York City subway map, and the Olympic Rings. phaidon.com

BROOKLYN NY. This year, on the occasion of its bicentennial, the Brooklyn Museum is undergoing an evolution to help better connect with the varied audiences and bring the institution forward two centuries. The visual identity was developed in partnership with Brooklyn NY-based graphic design studio Other Means and seeks to capture the history, diverse perspectives, and dynamism that make the Brooklyn Museum an icon. In every application, the dots appear at least twice — an echo of the two O’s in Brooklyn. They can be activated in motion graphics, used as bullets in text or as functional features in signs, and occasionally replaced with symbols or illustrations to add meaning or a sense of play. The double O’s in Brooklyn are intertwined and the M’s and U’s in Museum merged. Three gray values in the new brand pay homage to their limestone building. But a brighter, more saturated version of a standard color wheel — a full palette with a distinctly Brooklyn vibe — has been embraced. The two dots, overlapping letters, and kaleidoscopic colors all convey the Museums’s identity as more than a single location, a single point in space, or a single perspective. They are a place where a multiplicity of ideas, identities, and points of origin converge. The design elements nod to the array of artworks within their collection, as well as the many interconnected roles they are proud to play for their multifaceted public: art museum, educational center, forum for ideas, and weekend hotspot, to name a few. othermeans.us

RESPONSIBLE DESIGNERS TO WATCH

DESIGNING FOR GOOD

Our annual “Responsible Designers” feature, sponsored by Domtar, recognizes creative professionals who are embracing responsibility writ large in terms of how, when, why and for whom they work. These are indviduals who are using graphic design principles, talents and skills to make the world a better place for people and nature as they see it. In 2024, the topics that our cohort seek to advance extend far beyond what we could imagine when this special report was originally conceived decades ago. Tne range of issues at play are encyclopedic but there is a common denominator. Each of these creative leaders cites a desire to break through the noise. To get to the heart of the matter. To communicate urgency. To effect and shape change — now — in a way that smart and deliberate graphic design is uniquely suited to do. For more than six decades, GDUSA has argued that design is a remarkably valuable tool for shaping commerce, culture and causes, and should be recognized and rewarded as such. Never has this proposition been more true. — The Editors

JIAYAN HE + SHANGNING WANG

SENIOR GRAPHIC DESIGNER, UNICEF + DESIGN PROJECT SPECIALIST, UNDP, NEW YORK NY

Shangning Wang and Jiayan He are socially responsible designers who focus on Sustainable Development Goals and work within United Nations organizations. Their collaboration extends beyond professional work, as they are also life partners, united in their mission to use design as a tool for global impact.

Shangning Wang, with nearly a decade of experience in socially responsible design, uses his expertise in visual design to support UNDP's mission, helping to communicate their goals effectively. Shangning pursued graduate studies at Arizona State University (ASU), focusing on socially responsible design research, where he received strong support from The Design School at ASU.

Jiayan He brings 15 years of experience in publication design and has been a Graphic Design Consultant at UNICEF headquarters in New York since 2019. She is responsible for creating various reports and publications for UNICEF, ensuring alignment with the organization's mission to advocate for children's rights and well-being.

Their work has garnered significant recognition, frequently winning awards and being featured in design magazines. They were featured on Adobe Indesign splash screen image 2020. Their influence in socially responsible design has earned them widespread international attention, and they have served as judges in numerous international design competitions, including the Adobe Government Creative Awards, etc.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE WITH US ANY THOUGHTS ON WHY DESIGN CAN BE AN.ESPECIALLY EFFECTIVE TOOL?

After we graduated from the Central Academy of Fine Arts in China in 2012, our shared interest in socially responsible design brought us together in New York. By the time we joined the United Nations, we had already built extensive experience in visual communication design. Over the past decade, we’ve seen significant improvements in design standards within UN projects.

UN design differs from commercial design primarily in its objectives. Many UN reports are designed to maximize the social impact, such as promoting the 17 Sustainable Development Goals (SDGs) and fostering cooperation to improve local living conditions. Some reports are also cited by international experts, making both impact and practicality crucial.

We continuously learn about SDGs and refine our design methods. We’ve handled numerous SDG-related projects, applying traditional graphic design skills extensively.

Shangning, in particular, has been involved in brand design at UNDP where he helped establish the organization’s first online brand management platform. In addition, he advocates for a designer-driven approach to AI, using AI as a supportive tool rather than the main production tool, and sees AI as a valuable asset.

GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES OUR SOCIETY NOW FACES, DOES THIS MOMENT PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?

In fact, we are witnessing a prime moment for socially responsible design. As awareness has increased, there has been a significant shift towards integrating these values into the design profession. More and more exceptional designers are joining this field, and the impact of socially responsible design continues to expand. Concurrently, thanks to the efforts of the United Nations, a growing number of governments and individuals are recognizing the importance of social responsibility.

Photo by Uncle Chow Photography

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Using an outdoor biking theme, Paper Trails

white and natural paper shades of the Cougar brand, providing visual proof of their ability to elevate the experience of the printed page.

To request any of the Cougar Paper Trails volumes, please visit info.domtar.com/cougarpapertrails.

HOLLY WHEELER

ART DIRECTOR/HEAD OF DESIGN ENTERTAINMENT COMMUNITY FUND, NEW YORK NY

Holly is an experienced Creative Director and Designer specializing in strategic creativity across print, digital, environmental, and experiential design. Passionate about causes close to her heart, including human rights and social justice, Holly finds working with mission-driven organizations to be among the most meaningful experiences of her life. Currently, she’s the head of design at the Entertainment Community Fund, where she guides the brand and creative vision, leading an amazing team dedicated to impactful design. Holly’s work has earned awards from GDUSA, Indigo Design Awards, IDA International Design Awards, C2A Creative Communication Awards, and more.

The Entertainment Community Fund (formerly The Actors Fund) is a national human services organization that addresses the unique needs of people who work in performing arts and entertainment with services focused on health and wellness, career and life, and housing. Since 1882, the Fund has sought to ensure stability, encourage resiliency, and be a safety net. They offer a broad spectrum of programs, workshops, support groups, online resources, and emergency financial assistance. In the past year, they have helped 34,000 individuals and distributed emergency financial assistance to over 8,000.

Photo by Tam Nguyen

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

The passion has always been there. In college, I ran a gallery where I curated art shows that addressed social and political issues and injustices. It was incredibly moving to see the impact of art. That experience set the stage for the work I'd pursue—work that feels meaningful and contributes to society.

At the Entertainment Community Fund, I’m fortunate to be involved in projects that strengthen our community and help those in need. It’s truly rewarding to use design to make a difference beyond aesthetics. I think design is an effective tool because it helps us capture attention, make connections, and influence people. It holds great power. Therefore, as creatives, we must always think outside ourselves, consider multiple perspectives, and be thoughtful about the messages we convey.

A favorite experience was implementing our rebrand across 800+ projects. We even changed our name. It was a huge undertaking. Instead of just converting existing materials, we reimagined and redesigned everything from scratch. Our goal was to create dynamic, diverse, and inclusive materials. We carefully considered many angles with a focus on representing and serving everyone in our community. We're currently building on this experience and exploring new ways to grow.

GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES OUR SOCIETY NOW FACES, DOES THIS MOMENT IN PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?

With pressing issues like climate change, social inequality, and the upcoming election, we’re at a critical juncture where our decisions can have lasting consequences. As designers, we have significant influence over our audiences. This is a time to stand up for social justice, human rights, and the causes we believe in! Just doing our jobs isn’t enough. We need to design with intent and truly represent, include, and serve all communities. If we align our work with the causes we support and design with empathy, integrity, and mindfulness, we can help make the world more equitable and sustainable.

ALBERTO RIGU

DESIGNER, ESTUDIO INTERLÍNEA, SAN JUAN PR

Born and raised in Puerto Rico, Alberto is a seasoned designer based in San Juan. With nearly two decades in the field, his versatile practice spans a wide array of design projects, including branding, publications, exhibits, wayfinding systems, and environmental graphics. It is this work that enables him to engage with initiatives that seek to advance and impact the design discipline.

Alberto is a passionate advocate for design education and community involvement. As a Board Member of Puerto Rico’s Casa del Libro, he promoted the collection’s use for academic research. In his role as Co-Chair of AIGA’s Design Educators Community (AIGA DEC), he collaborated with educators nationwide to create programs and resources that support academic research and teaching in design. Locally, he serves on the steering committee of the Design Dinners community, where he works to strengthen Puerto Rico’s design scene by fostering new connections. Recently, he joined the core team of the People’s Graphic Design Archive, where he aims to support and build specialized design communities.

Beyond his studio practice and volunteer endeavors, Alberto has taught graphic design at several universities in both Puerto Rico and the United States.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

Like any type-A design student from the early 2000’s, my early career focused on making a lot. My practice aimed at growing the portfolio, no matter how many all-nighters it took. Yet, the experiences of collaborating with my father’s architectural practice, undergoing my master’s program at N.C. State’s College of Design, and collaborating with various peers at AIGA’s DEC, shattered my preconceptions of what a career in design can be. I slowly flipped how I worked, using my practice not as the end-result, but rather, as the means to participate in socially conscious causes.

As my practice matured I grounded it in three landscapes: the concept, the context, and the people. By articulating overlaps between the three, I believe one can identify fertile areas where creativity and design thinking strategies can be applied to produce meaningful outcomes that shape a person’s cultural experience, and of course, if done responsibly, it can lead to socially pertinent work.

Socially responsible design can take many forms, but for me, it’s about enhancing the human experience. While I’m proud of work for various clients, a standout project was collaborating with Lectores para el Futuro, an organization focused on supporting struggling readers, especially children with dyslexia. I helped give its efforts a visual presence that amplified its message, reaching broader audiences and fostering community growth through targeted, context-rich communication.

GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES OUR SOCIETY NOW FACES, DOES THIS MOMENT PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?

In an age where the internet can validate every perspective, every point-of-view, this generation of designers must be more mindful than ever about the values and ethical implications of our practice. We have a unique ability to foster deeper cultural connections and contribute to the social relationships of our communities. We have an opportunity — and a responsibility — to engage thoughtfully with the societal narratives we help shape. By championing positive and responsible change, we can influence the cultural development of our society, emphasizing inclusivity, understanding, and ethical design practices that foster a more connected, thoughtful community.

MIKELL FINE ILES

EXECUTIVE DESIGN DIRECTOR, HOOK, LOS ANGELES CA

Mikell is an award-winning design director exploring where technology and art converge, currently serving as Executive Design Director at Hook. As an independent creative content agency, Hook creates high-quality, scalable campaigns that drive growth for many of the world’s leading brands, including Google, YouTube, and Stripe.

Beyond this, Mikell is a public advocate and highly engaged mentor. He’s painted murals and designed multimedia projects examining society and culture, and is deeply passionate about social and environmental issues. For years, he’s facilitated various mentorship initiatives with young, emerging designers, including Sandbox, a program he’s helped spearhead for Hook. Sandbox provides high school and college-age students from underrepresented communities with exposure to creative professions through mentorship and hands-on experience.

Mikell is based in Los Angeles, where he lives with his wife, two daughters, and an ever-growing family of houseplants.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

My journey into socially responsible work began in the heart of the Mission district in San Francisco, where I was born and raised amidst a family deeply committed to social activism. Growing up, I marched alongside them, witnessing firsthand the power of collective voices demanding change. These formative experiences instilled in me the importance of not just speaking out, but also “walking the walk” – staying informed and actively engaged in my community and the world at large.

It was during those marches and demonstrations that I first encountered the visual arts, not in a gallery, but on protest posters. This bold, impactful design work conveyed powerful messages, serving as rallying cries for justice and equality. I realized then that design, with its unique ability to marry image and messaging, is an exceptionally potent tool for social change.

As designers, we possess the incredible gift of communication. We have the power to shape narratives, challenge perceptions, and inspire action. Design amplifies marginalized voices, simplifies complex issues, and fosters empathy. It's a responsibility I embrace.

GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES OUR SOCIETY NOW FACES, DOES THIS MOMENT PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?

Our current moment — marked by climate crisis, global conflict, political upheaval and stark inequality — presents both urgent challenges and unique opportunities for design to drive positive change. Design can help educate and call for action, fostering much-needed dialogue in times of conflict.

During the pandemic and social unrest, I gave an agency-wide presentation showcasing the historical protest art that inspired me. It educated our team about the power of art during turbulent times, and served as a guide others used to jumpstart their own projects. Though challenges persist, designers have the power to envision and spark systemic change. This isn’t just an opportunity; it’s an urgent responsibility...

JACK WATSON

SENIOR

UI/UX DESIGNER, JACK WATSON DESIGN, CHICAGO IL

I’ve been fortunate to have a 15 year career centered around education as a multidisciplinary designer. I started out as a medical illustrator at an agency working in higher education publishing and with hospitals, spent some time as an animator in that space as well, and eventually landed in UI/UX. As a freelancer, I’ve worked with many small to medium-sized businesses, both new and established, to help them tell their story and reach their audience with accessibility as a part of the process — from project discovery, to strategy, to final deliverables. For the past 5 years, my unique skills and experience have helped me to guide and teach other creatives as a community expert, mentor, and moderator in the official Adobe product Discords, through my personal live streams, and as a host on Adobe Live including the Adobe Illustrator Creative Challenges and Pro Tips. Additionally, I’ve been a part of a small group of incredible individuals called the Art Squad, helping to organize weekly virtual meetings and occasional collaborative projects together during the pandemic.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

I became interested during college in patient education and producing content for higher education, and that became my first job. Some of my most memorable projects were infographics, which require distilling complex medical or scientific information using graphics and straightforward text to help put a patient’s mind at ease, or explain a process to students in a way that empowers them. I would move on to work in UI/UX design, and my proudest project in that space has to be Positive Peers, a social app for HIV+ youth, which I had the honor of redesigning from the ground up in conjunction with MetroHealth and the agency I worked with at the time.

Then as a freelancer I worked with the LGBT Center of Cleveland creating product designs they still use today for events. I’m really passionate about storytelling in design, and whether you’re in illustration, graphic design, UI/UX design, you’re always telling the client's story in a way that resonates with their audience. It’s really the ultimate goal, and so in that regard I can’t think of a more effective tool.

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?

There’s certainly a lot of challenges for designers today. I think authenticity is going to be very important as we move forward. I’m of the mindset that AI image generation is here, and it’s not going anywhere. So we have to find a way to navigate that, and one way is through having an authentic and un compromising voice and style. On a more positive note, accessibility is starting to be at the forefront of conversations with clients, where it should always be. There are small steps we can integrate into our process that can make a big difference to opening up our work to a wider audience, such as adding alt text, focusing on color contrast, and limiting text styles and using them intentionally.

DIANA ROSE SMITH

CREATIVE MANAGER

GOODWILL OF CENTRAL TEXAS, AUSTIN TX

As Creative Manager for Goodwill Central Texas, I lead an extremely talented pair of designers and collaborate with a full team of creative minds. Our small but mighty in-house Marketing organization focuses on educating our community on sustainability, access to resources, and breaking barriers to employment.

At Goodwill Central Texas, it is our goal to transform lives through the power of education and work. We encourage our audiences to shop sustainably and leave the world better than we found it. We provide education, job training, certifications, and more, to truly change the lives of individuals and their families. We ensure that our design practices are accessible for all and have been awarded the Non-Profit Standard of Excellence award by the Web Marketing Association, helping to raise the bar for innovative and accessible design across non-profit organizations.

I am grateful to be a designer responsible for sharing this mission. And I am overwhelmingly proud to be part of an organization that does such good for our community.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

Design plays a crucial role in capturing public attention and synthesizing complex ideas. The power of storytelling in influencing perception and behavior is why I became a designer in the first place. Good design can distill vital information into a more accessible and engaging format, and great design evokes emotions and drives action in ways words often cannot.

At Goodwill Central Texas, we want to reengage our community in slow fashion and sustainability by elevating the idea of thrifting, buying second-hand, and recycling. Our team is particularly proud of our seasonal Lookbook project, where we challenge local artists and stylists in Austin to curate sustainable, thrifted looks entirely from our Goodwill stores.

Through editorial photography and layout, we can position thrifted ensembles as high fashion and encourage our community to make second-hand purchases their first choice.

GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES OUR SOCIETY NOW FACES, DOES THIS MOMENT PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?

Goodwill Central Texas is uniquely positioned to address shopping sustainably, recycling to protect our planet, and providing equal access to resources and education. Today, an influx of discussions and arguments surrounding these topics is flooding our media, and it can be difficult to cut through the noise.

With people’s awareness of the challenges of climate change and social inequality heightened, the use of design presents us with an opportunity to capture attention and inspire innovative conversations. Our goal at Goodwill is to engage underserved audiences, and we harness design as a tool for advocacy and education on these issues. We not only strive to create solutions that address immediate concerns, but also empower our local community to take action.

COLLEEN GRATZER

CHIEF CREATIVE OFFICER/ACCESSIBILITY SPECIALIST

GRATZER GRAPHICS LLC, WASHINGTON DC

I’ve been in the design industry for almost 30 years. My consulting business, Gratzer Graphics, provides design and accessibility services to clients.I teach accessibility to designers and developers and host the Design Domination podcast through my second business, Creative Boost, I’ve provided InDesign accessibility training to the U.S. Department of the Interior, at the CreativePro Design + Accessibility Summits, and at several other events.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AN SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

In 2016, I was recruited into accessibility by an industry leader. I had no idea what it was then, so it’s funny that it completely changed everything for me and my business. I’ve specialized in accessibility ever since.

I love that my work reaches more people and is inclusive. It doesn’t alienate users with a disability, which is about 25% of the population. So my work gets better results!

Our work as designers is all about communication. When you don’t design with accessibility in mind, some people may not be able to read it. They may not be able to navigate the document or website. They may not be able to understand data graphics, especially those with color blindness. Those are just a few examples.

Accessibility is a huge part of design. It starts at the branding stage, and it also affects documents, websites and more.

I became so passionate about accessibility and its role in design that I created courses for designers and web developers to teach them how to make their branding, InDesign files and websites accessible. I’ve also since become a speaker in this space to get more designers into accessibility.

GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES OUR SOCIETY NOW FACES, DOES THIS MOMENT PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?

Absolutely! Many countries have had accessibility laws in place for decades, especially for governments but also businesses. But many have ignored the laws or flown under the radar.

In recent years, accessibility lawsuits have been on the rise, giving accessibility much-needed attention. Requests for this work have only been increasing.

Designers need to understand how what they design affects who they design for in terms of that company being perceived as inclusive or not, their branding, their sales. They also need to understand how it impacts end users, who may not be able to read some of it or have trouble understanding it.

HILARY LENTINI

FOUNDER/CREATIVE DIRECTOR

LENTINI DESIGN & MARKETING, INC., LOS ANGELES CA

Lentini Design & Marketing, Inc., (LDM) founded in 1990, is a WBENC-certified woman-owned branding and marketing firm based in Los Angeles. We work with clients in every sector, including government, public, business-to-business, healthcare, and nonprofit. We’re a full service agency, creating all things print and digital. We Message Our Clients’ Magic® — and as messaging experts, we work with high-profile entities to align their branding and marketing, expand their influence, and increase their capacity, outreach, and visibility. We offer a full slate of services that merge the strategic with the creative. Our team’s combined 50+ years of experience provides every element of comprehensive communications, messaging and marketing. While I love my work life, it’s also important for me to give back. I serve as a past president of the National Association of Women Business Owners Los Angeles Chapter (NAWBO-LA) and past president of the statewide NAWBO-CA chapter. In 2018, I was appointed by Governor Brown to the California Workforce Development Board representing the Small Business perspective. In 2023, Governor Newsom appointed me to the State Rehabilitation Council. I’m passionate about women in leadership, and I work to open doors of opportunity for women business owners throughout the state.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

As a mother of two daughters, the next generation and the example we set for them has always been important to me. LDM has always given back by donating a portion of our profits to local, regional, and global charities. Several of our clients Los Angeles County Metropolitan Transportation Authority (LA Metro), Adopt a Charger, Cumming Group, and Harbor Connects are determined to weave socially responsible approaches throughout their efforts, and we’re proud to be their partner through it all.

I’m especially proud of our work with LA Metro on their sustainability efforts. We’ve helped them make an impact not only in the Sustainability space, but also in Environmental Justice (EJ). They’re trailblazers in Sustainability and EJ. We’ve assisted with the design of many of their print and digital materials that educate others about the importance of Sustainability with an EJ lens and how this can impact the broader community for good. For our own part, we’re a corporate partner with Evertreen.com to plant trees as part of the Redwoods Reforestation Revival initiative. The trees LDM plants will offset 10.8 tons of CO2 this year alone.

GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES OUR SOCIETY NOW FACES, DOES THIS MOMENT PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?

I do see an urgency to continue AND to ramp up social responsibility efforts. Important facets to this are accountability and transparency. We need to hold those who are not community-minded to account. In an age where transparency is perhaps not valued or expected, we must demand it, because its absence means that some in our community will suffer. A large part of my work for the statewide commissions I serve on is to advocate for those who are not heard. I’m at the table for key conversations and add to those discussions for those who were not invited to the dialog. I take this work extremely seriously; championing for others is at the heart of social responsibility for me.

JASMINE RAZIUDDIN

CREATIVE COMMUNICATIONS PROGRAM MANAGER

MD ANDERSON CANCER CENTER, HOUSTON TX

I have designed for a variety of industries, including publishing, education, health insurance, health care, technology and government. Brand and strategy campaigns that promote innovation, caring and wellness fuel my creativity and passion for design. I thrive as an in-house creative. Currently, I am a program manager in the Creative Communications department at The University of Texas MD Anderson Cancer Center, where I lead two talented, award-winning designers. Creative Communications provides graphic design, branding, medical illustration, animation, photography and user experience design support for our institution. All of MD Anderson’s 26,000+ employees are dedicated to our mission of eliminating cancer.

MD Anderson is one of the world’s most respected centers devoted exclusively to cancer patient care, research, education and prevention. The main campus is located in Houston’s Texas Medical Center, but additional locations provide cancer care throughout the Greater Houston Area, and we collaborate across the U.S. and around the world to advance our mission. U.S. News & World Report’s “Best Hospitals” survey has ranked MD Anderson the nation’s top hospital for cancer care for the past decade, and the institution has been named one of the top two hospitals for cancer care every year since the survey began in 1990.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

I became involved in socially responsible communications while working my way through college. I had some imaging skills that helped me acquire an entry-level position in the photography department of a national newspaper. I grew my skill set and designed feature pages about philanthropy and its impact on the community. Often, bad news makes the headlines, but I was designing full pages about great things happening in our community. I was hooked.

Later, I realized why I became involved in socially responsible communications. During my orientation at MD Anderson, I had a revelation that someday cancer could be eliminated. Every cell in my body indicated to me that this was possible. I realized any goal can be achieved when people work together. I feel like each project I design represents one step toward reaching the goal of eliminating cancer.

I think what makes design such an effective tool is that it can be used to help more people understand complicated ideas or information more deeply, which results in more people being equipped to visualize solutions. More people making more steps more quickly adds up to giant leaps.

GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES OUR SOCIETY NOW FACES, DOES THIS MOMENT PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?

Never before have we been able share unique perspectives and multiple ideas with such ease and speed. Although the ocean of misinformation is a large hurdle for us to overcome, now is a time for innovation and finding solutions.

To me, designing for good is about improving the quality and volume of accurate and credible information available to everyone, so that better health decisions can be made. The world urgently needs more responsible content creators who uplift and support wellness.

NEETA VERMA

RESEARCHER/DESIGNER/EDUCATOR, SOUTH BEND IN

As a designer, researcher, and educator, I situate myself within the evolving discipline of visual communication design. My work critically uses design as a tool for social equity and justice. It focuses on systemic social issues viewed through the lens of power and privilege, and interrogates power structures embedded within broader social ecologies. My approach to design embraces principles that expand the discipline’s canon to include diverse, pluriversal perspectives in contemporary design discourse. I believe that design practice should not only address “needs,” but more importantly, prioritize “relevance” — responding to its social, cultural, and environmental contexts. In my professional practice, I have collaborated extensively with museums, cultural organizations, not-for-profits, and educational institutions. Clients have included the American Red Cross, Cooper Hewitt Design Museum, Liberty Science Center, New York Botanical Garden, The New York Public Library, MIT Press, Whitney Museum of American Art, and the Wildlife Conservation Society. As a design researcher, my projects have focused on youth violence and designing for the visually impaired. As an educator, I specialize in Social Design, exploring the intersections of social innovation, community engagement, and collaborative practices. My teaching emphasizes cocreation with communities and fostering socially responsive design that catalyzes positive change.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

As a designer, my research has explored how design can be embedded within communities, positioning the designer not as the primary creator, but as a facilitator. Collaborating with diverse partners, I engage in community-driven, participatory practices to address systemic issues in direct partnership with those most affected. I have worked extensively with the community of South Bend to address the systemic issue of youth violenc e— not as a series of individual choices, but as a complex manifestation of a frayed social fabric.

Over the past four years, this work has led to the design, development, and implementation of Audacious Narratives & Enduring Voices, an arts enrichment program designed specifically for at-risk youth ages 14-22 at a local detention facility. The program provides a rich space for self-expression, self-reflection, and engagement. Its goal is to empower young people affected by violence, giving them both a voice and a platform to shape their own narratives and share their perspectives. In addition to enhancing the participants' experiences, the program equips them with transferable skills to support their reintegration into the community upon completing their sentences—enabling them to become agents of change and role models within their communities.

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?

We live in an increasingly globalized world where economies are transcending borders and cultures are converging. As a result, many socio-economicenvironmental challenges are becoming a shared predicament. As designers, our steepest challenges lie in moving beyond the traditional framework to tackle complex, systemic issues.

By addressing these at local, regional, and global scales, designers today are uniquely positioned to work collaboratively with multifaceted partners to instrument socially innovative outcomes, build thriving communities, and create environmentally sustainable futures. At its core, design holds the potential of becoming a force in transforming the way it serves societies and the human condition.

RICHARD A. HOOPER

VICE PRESIDENT OF MARKETING + COMMUNICATIONS PITTSBURGH DOWNTOWN PARTNERSHIP, PITTSBURGH PA

Richard Hooper has served as Vice President of Marketing and Communications for the Pittsburgh Downtown Partnership (PDP) for the past five years, where he spearheads strategic initiatives and campaigns that raise awareness of Downtown Pittsburgh’s events, activities, and programming. His efforts engage and activate public participation on local, regional, and national levels.

Before joining the PDP, Richard co-founded Third Planet Communications, Inc., where he worked as creative director for 12 years, leading the nationally recognized marketing and communications firm. He also founded and served as design director of Reinnov8 Design Group for eight years, both based in the Pittsburgh area. Additionally, he spent several years as Experience Design Manager and Design Principal at ZEFER Pittsburgh, where he led a specialized team in executing large-scale web-based initiatives.

Richard’s work in marketing and communications has earned national recognition for over 30 years from organizations including GDUSA. His companies have consistently ranked among the top five most awarded firms in the country. Originally from the UK, Richard has held design-centric roles in Nottingham, Milton Keynes, Miami, Boca Raton, and now Pittsburgh, where he currently resides.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, ANDSHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

After successfully running two businesses for decades, I felt the need to reenergize my creative spirit and find deeper meaning in my work. I wanted to apply my experience in a way that would have a positive, lasting impact on the community that had supported me for so long. The Pittsburgh Downtown Partnership provided that opportunity, allowing me to engage in a variety of initiatives including event programming, small business support, district development, public art installations, and volunteer programs, among others.

It quickly became evident that this organization truly made things happen. The projects I led had visible, tangible effects on the community, contributing to the vibrancy of Downtown Pittsburgh and elevating its reputation as a progressive and welcoming city.

It’s easy to lose sight of the broader impact your work can have, but seeing the real, measurable difference my team and I have made has been immensely rewarding. In my line of work, design plays a critical role — it can transform spaces, spark conversations, educate, inspire, and create memorable experiences that touch the lives of hundreds of thousands of people.

GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES OUR SOCIETY NOW FACES, DOES THIS MOMENT PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?

Good design will always be in demand, and so will designers committed to using their skills for the greater good. In a society rife with division and distrust, I believe it’s our responsibility to build bridges, adapt, and find innovative ways to educate and contribute to a better world, even within challenging constraints. Designers are uniquely skilled at listening, interpreting, and delivering key messages, and it’s through these abilities that we can move beyond the noise of the moment. Our work has the potential to drive positive change, reduce division, and foster a deeper sense of community.

ROANNE ADAMS

FOUNDER/CHIEF CREATIVE DIRECTOR ROANDCO STUDIO, LOS ANGELES CA

Entrepreneur and visionary, Roanne Adams, is the founder and Chief Creative Director of RoAndCo Studio, a creative agency based in NY and LA known for its artful and strategic approach to branding and design.

Founded in 2006, the studio quickly gained recognition for Roanne’s ability to build successful, scalable brands from the ground up. Roanne and her team have helped launch a myriad of big and small clients, from emerging brands to Fortune 500 companies including Google, Nike, Estée Lauder companies, Kin Euphorics, and many more.

Roanne fosters a collaborative, holistic culture, championing women in leadership. As one of the few female Creative Directors and studio owners in the industry, she prioritizes nurturing opportunities for women, working with non-profits like Together We Rise and Women Under the Influence, and being honored as a UN Women’s Champion for Change.

Roanne has won numerous awards, served on the AIGA New York chapter board, and was named one of New York’s most outstanding design professionals by T Magazine. She continues to lead RoAndCo with a commitment to creativity, fostering innovative design and meaningful brands. Passionate about healing, sustainability, and regeneration, she brings beauty and meaning to every project.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

At RoAndCo, designing meaningful and responsible brands is at the core of what we do. We prioritize working with women- and minority-owned businesses, embracing our role as co-creators and stewards of social and environmental responsibility.

Since founding RoAndCo 18 years ago, I’ve been driven to advocate for female leadership and gender equality in the design industry. The low percentage of women in creative director roles (3%) and those owning agencies (1%) has fueled my passion to support women leaders and founders.

In 2022, inspired by my own challenges of running a business for 15 years, I started leading retreats for women founders to foster clarity, purpose, and inspire regenerative business models. I’ve also designed a curriculum and process called State of Feeling (which will officially launch in November 2024).The program aims to connect women founders with their purpose and power, restore clarity and focus, and inspire environmental and social consciousness.

One project we’re proud of is the brand refresh and web design for The WIE Suite, a leadership community for women founded by Dee Poku. Its mission is to redefine how women leaders achieve success for themselves and their companies by providing community and tools to succeed at the highest levels.

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?

Heading to NYC for Climate Week this year, I’m feeling a strong urgency for designers to address climate change.

My interest in regenerative practices was sparked by a branding project for Butterwood Ranch. I’m excited by the idea that we can potentially mitigate climate change through regenerative farming and apply similar methodologies to business practices. Consequently, I’ve incorporated regenerative business ideas into the State of Feeling curriculum, inspiring founders to consider shifting their business models for the benefit of the environment and our collective health. I hope to create a powerful platform for change, empowering women leaders to drive innovation and sustainability.

Balancing business profits with values is challenging. It’s hard to fully dedicate one’s agency to working solely with sustainable and regenerative brands. My hope is that we will get closer to achieving this goal in the near future.

ROCHELLE RATKAJ MOSER

OWNER/CHIEF CREATIVE OFFICER

RATKAJ DESIGNS, MADISON WI

Rochelle has always held steadfast to her mission: change the world with the power of design. After leaving a corporate position to go out on her own in 2015, Rochelle quickly gained momentum and fame for the quality of her work. By 2023, Rochelle was leading an agency focused on print and digital with a focus on providing changemakers, non-profits, mission driven brands and small businesses with powerful design.

Ratkaj Designs is a key partner to top organizations like Brain Injury Association of America, EdTrust-West, College Track, Renaissance Learning, among others. Ratkaj has led the team in amplifying messages to audiences otherwise excluded by traditional design and driving impactful change through the use of visual art.

Her work hasn’t gone unnoticed. The agency has won prestigious honors: GDUSA American Graphic Design Awards, Silver and Bronze awards at the Indigo Design Awards, AAF Addy Silver Award, and the GDUSA Digital Design Award. Most recently, Ratkaj Designs won the Netty Awards for the Best Agency of the Year and Best Digital Design Campaign.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

I believe in the power of design. We as designers have the ability and responsibility to use our skills to impact the world around us in a positive way.

I’ve seen the power of design in its ability to change the world for one person and also for many. Good design drives people to move into action, to inform, and to educate. Powerful design gives you the ability to either hinder or help. I choose to help. I choose to think about the end user, to fight for their needs. I choose to design for those that get forgotten.

According to estimates from the World Health Organization, 1.3 billion people worldwide suffer from a significant disability. This is where I bridge the gap.

I, alongside my team at Ratkaj Designs, work with the philosophy that accessibility is a must, not an extra. We carefully weigh design options, educate ourselves on the latest in accessibility tools, and advocate with clients and organizations about the value of accessibility in design with each project. What good is a message if not everyone can receive it, after all?

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?

Society focuses on inclusion, a lot. This ought to apply to how we disseminate information as well. Many organizations, though, haven't given it much thought. Even with 508 compliance laws, many organizations are unaware of them or the best practices needed to comply. Here's where it becomes our duty as designers to educate ourselves and produce designs that push the boundaries of narrative while adhering to the highest standards. We seek out methods to support the customer in further enhancing their accessibility for their WHOLE audience, and we educate our partners along the way.

SAI SHRUTHI CHIVUKULA

ASSISTANT PROFESSOR, PRATT INSTITUTE, BROOKLYN NY

COLIN M. GRAY

ASSOCIATE PROFESSOR

INDIANA UNIVERSITY BLOOMINGTON, BLOOMINGTON IN

Colin M. Gray and Sai Shruthi Chivukula are leaders in the field of Human-Computer Interaction and design ethics. Colin is an Associate Professor at Indiana University Bloomington, directing the Human-Computer Interaction design (HCI/d) program and leading the UX Pedagogy and Practice (UXP2) research lab. Shruthi is an Assistant Professor at Pratt Institute, directing the Translate research group.

Together, they have co-authored numerous publications that explore the complexities of ethical design, expanding understandings of designer responsibility, and creating new resources to enable designers to be more ethical in their everyday work. Their groundbreaking work has led to the publication of the Everyday Ethics methods collection and an upcoming book, Universal Methods of Ethical Design, due to be published in March 2025.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

Our work on design ethics and socially responsible design practices stems from a deep commitment to ensuring that designers are equipped to wrangle ethical complexities in their work. We believe that design can play a crucial role in shaping societal norms and values by making ethical considerations and mediating practices visible in the design process.

Through our research, we have identified numerous opportunities for designers to become more ethically aware and active. Our Everyday Ethics collection, which leverages over 60 methods and tools from academic researchers and practitioners, offers actionable insights into how designers can prioritize ethical decisions in their everyday work.

One project we are particularly proud of is our upcoming book, Universal Methods of Ethical Design This book distills 100 methods and theoretical frameworks into a practical guide for designers, ensuring they have the tools necessary to engage in ethical practice. We view design as a powerful tool to enable positive social change, and the resources we have created empower designers to be more engaged with the ethical dimensions of their work.

GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES OUR SOCIETY NOW FACES, DOES THIS MOMENT PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?

The current socio-political landscape presents both opportunities and challenges for designers committed to ethical practices. The rise in awareness of dark patterns, data privacy concerns, and surveillance capitalism has opened new avenues for ethics-focused design resources to gain traction and enable more responsible design outcomes. However, there are significant obstacles, such as the monetization of unethical design practices and limited regulatory frameworks, which need to be shaped by the voices of designers to create sustainable, responsible societal outcomes.

KAITLIN BARCLAY + WILLOW HILL

CO-FOUNDER/CEO + CO-FOUNDER/CCO SCOUT LAB, BROOKLYN NY

At Scout Lab, co-founders Willow Hill and Kaitlyn Barclay lead a purpose-driven agency with a focus on human and planetary health. Rooted in the principles of social responsibility and sustainability, Scout Lab works with clients across industries to create brands that champion change. Willow and Kaitlyn have spearheaded campaigns for companies like Venmo, Hey Jane, Ritual, and Adidas, focusing on impact-driven messaging that resonates with the next generation. Their mission is to build brands that don’t just sell products but drive meaningful, long-lasting culture shifts.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

Scout Lab was founded with a shared belief that socially responsible creative communication can be a catalyst for global change. Design has the unique ability to transcend language barriers, ignite emotion, and inspire action, making it a powerful tool for driving impact. Every project we work on has an impact on human or planetary health.

One project we’re proud of is a voter enablement campaign we’ve created in partnership with People for the American Way (PFAW) called Trunks for Change. Why Trunks for Change? The elephant was first used as the mascot for the Republican Party in the 1870’s, but they no longer want to be associated with political parties. Instead, they’re sharing the updated Elephants Voter Guide, which advocates for voting on three key issues (climate change, gun reform, and bodily autonomy), not party lines.

Along with custom merch and a voter guide, we’re hosting an art auction with all proceeds benefiting PFAW and their work to support the Harris campaign.

GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES OUR SOCIETY NOW FACES, DOES THIS MOMENT PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?

Today, the threats to women’s health have become more urgent than ever. From restricted access to reproductive care to the disproportionate impact of lack of support on mothers, women are facing heightened challenges. This moment presents a critical opportunity for designers to address these inequities.

We have a responsibility to create solutions that not only raise awareness but also provide tangible support for women’s health and well-being. Designing, creating and communicating good now means creating systems that empower women, protect their rights, and prioritize their health in a way that is sustainable for future generations.

NICK ADAM, JOHN POBOJEWSKI + BUD RODECKER

PARTNERS, SPAN, CHICAGO IL

Span specializes in crossing the boundaries of communication design. Our team is driven by collaboration, experimentation, and a commitment to making our work socially conscious. By working with clients in diverse sectors, we create impactful, meaningful design that resonates. We aim to address issues that matter to communities and culture while hopefully inspiring change and challenging perspectives.

Our studio breaks from the conventional model. Each of our three partners leads an independent team, yet collaboration and cross-advising are at the heart of our process. This balance between autonomy and teamwork is enhanced by a unique sense of friendship, grounded in the partners' shared history.

What sets us apart from most design studios is that our partners aren't just business managers; they actively drive the creative process, secure new business, and maintain direct client relationships while being hands-on designers. We believe exceptional design is born from passion, intelligence, and personal commitment.

While each partner brings 20 years of design experience, Span as a studio has rapidly built a diverse and dynamic portfolio since its founding in 2020. Our work spans industries and clients, from community organizations and cultural institutions to globally renowned architects and government bodies. This breadth reflects our dedication to delivering thoughtful, lasting design solutions.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

All design is social, being socially responsible means that we should strive to create positive change. We want to spend our lives collaborating with people and projects that benefit both the planet and society. Our work amplifies the visions, voices, and actions of those committed to making a difference and fostering sustainable growth and positive impact. Projects we are proud of include:

Design and Healing: Creative Responses to Epidemics — Led by partner Bud Rodecker, Span worked with MASS Design Group and the Cooper Hewitt to design the exhibition’s graphics. The design ideas for the physical experience were adapted from our design of The Architecture of Health: Hospital Design and the Construction of Dignity.

Urban Sequoia Now — Led by partner John Pobojewski, Span worked with SOM on a film that proposed how to design buildings that absorb carbon dioxide from the air like trees do. Span led the development of the story, 3D animation, architectural diagrams, and motion graphics.

Slow & Low — Led by associate partner Nick Adam, Span worked with non-profit Slow & Low on the visual identity and environmental graphics for Chicago’s Lowrider Festival. The opportunity to take over Chicago’s largest tourist destination came with the responsibility of placemaking for the community.

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?

Communities today are evolving and changing. People are refocusing on how ALL members of their communities can get around safely and efficiently. I think there is no better time than now to figure out solutions so that everyone, regardless of race, poverty level, disability, etc. have full access all parts of their communities.

Firms are coming up with great solutions to these obstacles, but if the public cannot get on board, nothing will come of it. Designing content that is easily digestible and simplifies the process for the public is the only way we can achieve these goals.

SUMMER COLEMAN

DESIGN DIRECTOR, SUMMER COLEMAN DESIGN, CHICAGO IL

Summer has cultivated a strong track record of collaborating with a wide range of organizations and businesses across the city of Chicago. Her work is both diverse and impactful, whether she’s developing the branding for high-profile events like the Juneteenth Village Fest with Village Leadership Academy or contributing to the branding success of the award-winning Bronzeville Winery.

With expertise that spans multiple creative disciplines, Summer excels in crafting and refining visually compelling designs that resonate with audiences. She is skilled at brainstorming and developing innovative concepts in collaboration with her team, ensuring that every project reflects the unique identity and vision of the client or partner. Her approach is highly strategic, combining creativity with a deep understanding of brand alignment and visual storytelling.

Summer not only delivers high-quality visuals but also brings a deep sense of community-focused collaboration to every project. Her passion for uplifting those around her is evident in her work, where she ensures that each brand she builds reflects the values and needs of the community it serves. With a strong commitment to fostering local connections, Summer’s dedication goes beyond design—it's about creating meaningful impact. Her love for her community drives her to create brands that empower and inspire.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

Summer expresses her love for the community through design by collaborating with local businesses and organizations that directly influence and uplift those around them. By working with businesses like Bronzeville Winery, she had the opportunity to develop a brand that not only inspired local patrons but also reflected the vibrant style and culture of the community. Her goal is to create designs that speak to the heart of the neighborhood, encouraging people to connect with these spaces in meaningful ways.

Projects like Make Love: Healing Blossoms exemplify how Summer uses her design skills to foster a sense of belonging and healing within the community. Through events that bring people together for both enjoyment and personal restoration, she honors the community’s spirit, creating spaces that nurture both body and soul. Summer’s design philosophy is deeply rooted in serving her community, ensuring that her work is not only visually compelling but also impactful, creating lasting connections between businesses and the people they serve.

Through every project, Summer reaffirms her commitment to community-driven design, using her talents to build spaces, brands, and experiences that resonate with authenticity and purpose.

GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES OUR SOCIETY NOW FACES, DOES THIS MOMENT PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?

Summer's goal is to create designs that resonate deeply with the community, encouraging meaningful connections with local spaces. Thoughtful design is crucial in shifting negative narratives, especially in communities often overlooked or misrepresented.

By crafting visuals that reflect the true culture and vibrancy of these neighborhoods, design can challenge ignorance and spark constructive conversations. It has the power to inspire change, fostering understanding and appreciation where there may have been neglect. Through her work, Summer uses design as a tool to reshape perceptions and build a stronger, more united community.

ASHLEY ARGESE

CREATIVE DIRECTOR, CAYUGA CENTERS, SYRACUSE NY

Ashley Argese is an award-winning designer and marketing professional. She is the Creative Director and Assistant Vice President of Communications at Cayuga Centers, a national non-profit with a 172 year history of helping children and families through a combination of foster care services and home and communitybased therapy programs.

Using the power of design, Ashley crafts visually compelling digital and print content that amplifies the organization’s impact, ensuring that Cayuga Centers’ essential services reach and resonate with the families who need them most. Her team works to develop captivating and inspiring campaigns aimed at recruiting compassionate foster parents who can temporarily care for children displaced from their homes until they can be reunited with their biological families. Her work also connects donors and employees to the agency’s mission, elevating the stories of youth and families and increasing funding for family services.

Ashley holds a BFA in Graphic Design, Art History, and Museum Studies from The State University of New York at Fredonia.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?.

Designing for a mission-driven agency is important to me. It is rewarding to come to work every day knowing you are making a difference. I’ve previously worked at for-profit companies, but was drawn to Cayuga Centers for the impact they make in the lives of so many families.

Effective design plays a crucial role in differentiating us from other organizations, particularly since we operate with a limited advertising budget. Our team has to be resourceful and innovative in crafting compelling messages that resonate with our target audiences – those with the compassion and commitment needed to care for children in foster care. Our creative approach ensures that we reach and engage individuals who are willing to make a difference in the lives of vulnerable children and families.

In 2022, we launched a new foster care program in Pittsburgh PA that provides enhanced levels of treatment to youth in foster care. This level of care was not previously provided by other agencies in the area, so it was important to the agency that we meet the needs of this population. Our creative marketing campaign connected us to foster parents who received trauma-informed training to support youth needing advanced levels of care.

GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES OUR SOCIETY NOW FACES, DOES THIS MOMENT PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?

I believe that communication is the key to creating meaningful impact. It's important for designers to reflect on how their work affects the communities around them. Unfortunately, some use design to divide people for personal gain or profit. Choosing to do more mission-driven work fosters connections with individuals committed to positive change. Design plays a key role in identifying and engaging community members – facilitating constructive conversations and collaboration. By focusing on purpose-driven work, designers can align their efforts with broader social good and enhance community impact.

RACHEL B. VAN GORDEN

GRAPHIC

DESIGNER/MARKETING OPERATIONS

COORDINATOR

CHARLES E. SMITH JEWISH DAY SCHOOL, ROCKVILLE MD

Rachel B. Van Gorden is an artist and designer born and raised in Greenville SC. After earning her BFA in Studio Art (Converse University), she began her creative career in Nashville TN and later in Washington DC. As a mission-driven professional, Rachel has sought to collaborate and serve with institutions that value purpose over profit and have a vision greater than themselves. After spending her time in the fine arts/museum, higher education, and government settings, she found her ultimate fit in the community of Charles E. Smith Jewish Day School (CESJDS). CESJDS is one of the largest independent Jewish day schools in North America educating Pre-K through 12th grade students. CESJDS is a values-driven, pluralistic day school with 2 campuses situated less than 10 miles from the Nation’s Capital in Washington, DC.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?.

All I have ever wanted is to make the world around me a little more beautiful – be it with words, ideas, faith, or visuals. In my art and music, I have approached this challenge by asking questions that promote conversation.

But design is different. At its core, design is primarily pragmatic and seeks to solve a problem while communicating a message effectively. But I believe, at its best, design can do that with depth, substance, and a subtle beauty that touches the person who sees it and causes a spark.

Is there a more effective result than being able to stir a human being’s spirit? Design can do that.

My favorite project so far was as the visual architect and sole designer of CESJDS’ 50th Anniversary. This year long celebration encompassed every possible creative/design facet and culminated in a magnificent gala at the Ronald Reagan Building and International Trade Center in Washington DC. It was an absolute honor to be trusted with and I’m still beaming from the results.

GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES OUR SOCIETY NOW FACES, DOES THIS MOMENT PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?

The issues of our world are multi-layered, complex, and fragile. We all have our own journey with the chaos around us and within us. I’m grateful to be able to contribute toward progress with people who care. One of CESJDS’ Core Values is the Jewish tenet of Tikkun Olam/Repairing the World. “Repairing the World” encapsulates everything I aspire to as a designer and a person. I can think of no better charge for one who wishes to live and work for the greater good.

JOHNNY SELMAN

FOUNDER/EXECUTIVE CREATIVE DIRECTOR SELMAN DESIGN, BROOKLYN NY

I’m Johnny Selman, founder and Executive Creative Director at Selman, where I lead a talented team of designers and brand thinkers. Our Brooklynbased studio specializes in brand identities, campaigns, and design systems.

Our approach is super simple and also massively helpful. We meet clients where they’re at. We listen, think ahead, and then over-deliver. We’re focused on recontextualizing global challenges through design. Our work, like the Webby-winning No Web Without Women and BBCX365, raises awareness and cuts through the noise to deliver impactful, purpose-driven messages.

We’ve heard the frustrations clients have had with other agencies, cumbersome processes, and million-dollar PDFs. The industry is changing for the better, paving the way for smaller, more nimble companies with lower operating costs and higher creative output. We’ve found this true working with the Google Brand Studio on a range of high-level branding and campaign projects. Before founding Selman, I worked at Google Creative Lab, Wolff Olins, and Office: Jason Schulte Design, and I taught at the School of Visual Arts.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

I look for ways to keep my team productive with design projects that allow them to use all of their talents beyond client work. I believe that investing energy in something that expands your understanding and empathy for the world around us is a great use of time.

I’m especially proud of our team and their work on our latest project, Peace Post, which just premiered at the nation’s only peace museum. The exhibit is a collection of graphic portraits that highlight peace advocates from every country around the world. This project, which spanned eight years, challenged our team to dig deep, not only in terms of design but also in understanding the cultural and political nuances of each country.

We collaborated with international artists to bring these stories to life, and it pushed us to think about how design can foster empathy and connection across borders.

Design has a unique ability to distill big ideas into something people can immediately connect with. It cuts through the noise and taps into emotion, which is crucial when you're dealing with social and political issues. It’s a tool that can spark conversations, challenge perspectives, and move people to act.

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?

Right now, we’re at a crossroads where design can play a crucial role in addressing the challenges society faces. The urgency is undeniable — social injustice, climate change, political divides—these issues are more pressing than ever.

Design has a massively helpful ability to cut through the noise and bring these topics to the forefront in a way that feels personal and immediate. The biggest obstacle is breaking through the constant stream of information, but that’s where design shines. This moment is an opportunity to create work that not only informs but moves people to act, to engage, and to care.

MICHELLE GARSIDE + ALISON LEIPZIG

FOUNDERS, SOUL CAMP CREATIVE, NEW YORK NY

Soul Camp Creative is a Sacred Strategy House dedicated to fostering ideas that change the world. Soul Camp combines deep personal transformation work with innovative creative design. With Michelle’s background in global pharmaceutical brand development and Alison’s expertise in communication design, and their combined training and passion in personal development, the duo formed Soul Camp Creative in 2012, and their all-women team has been growing ever since.

Their “branding from the inside out” approach offers clients more than just design — it’s a holistic experience encompassing both business and personal growth strategies. Soul Camp Creative also partners with larger teams and organizations, helping them clarify and align their visions, values, and purpose. Their work has been recognized by major media outlets such as TIME, Oprah Magazine, Travel + Leisure, Fitness, Women’s Health, Good Morning America, ABC News, Parents, Fortune, Inc., and Forbes.

Beyond their Strategy House, Michelle and Alison have launched transformative experiences like The Enchantment Experience and Soul Camp’s Adult Sleepaway Camps, extending their mission to inspire personal and professional breakthroughs.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

In 2012, Michelle left the world of big pharma with a clear mission: to bring the same high-level strategy and positioning work I had done for major global brands to those who were making a positive impact but lacked the resources to hire major agencies. I saw an emerging need, especially in the personal brand space, for authentic, distinctive branding to help mission-driven individuals and organizations stand out in an increasingly noisy world.

In 2009, Ali graduated with a degree in Communications Design from Sam Fox School of Design and Visual Arts at Washington University in St. Louis. As she navigated her own launch into the workforce, she found communities of young millennial women navigating the 2008 economic crash by creating their own businesses and/or joining the gig economy. She realized her skillset in design thinking and visual design could support these women. She started her own creative house dedicated to companies supporting human development, philosophical teaching and wellbeing.

One project we are particularly proud of is the creation of the brand, website + messaging for Jane’s Way, an organization dedicated to driving real change through DEBJ (Diversity, Equity, Belonging, and Justice) initiatives. Our challenge was to create a visual system that reflected the gravity and importance of the mission but also conveyed the humanity and shared experience at the core of DEBJ work. We collaborated extensively to ensure that every design element had purpose and meaning.

GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES OUR SOCIETY NOW FACES, DOES THIS MOMENT PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?

As we navigate complex social, environmental, and global challenges, people are yearning for authenticity, connection, and purpose-driven action. Design is not only a way to communicate — it’s a transformational tool that can inspire change, shift perspectives, and foster real-world impact. We approach each project with deep intention, aligning the visual and verbal identities of brands with their core values to amplify their message and mission.

The urgency to design for positive change is clear, but the opportunity to create meaningful work that reflects the best of who we are has never been greater. Soul Camp Creative is committed to being part of that change, helping brands lead with purpose and engage in the work that moves society forward.

DANIELLE KAUFFMAN

CREATIVE DESIGN MANAGER, TPD, POTTSTOWN PA

Founded in 1989, TPD is an ENR 500 Top Design Firm, that delivers transportation engineering projects throughout the eastern United States. I joined TPD back in 2014 as their first graphic designer on staff fresh out of college and no idea where this position would lead me. Over the past decade, I have worked to evolve and expand the brand, while also helping provide top-notch client work.

TPD exists to improve the quality of life for the public, and we are dedicated to Moving Forward Together® with clients and community partners; we continue to realize this mission and our goals by providing tailored, sustainable project solutions, leveraging our diverse backgrounds and experiences.

I have always felt a strong connection to TPD’s mission, and I believe the work we are doing is very important to communities. We aren’t just designing roads, bridges, sidewalks, etc. We are helping connect communities and people. Knowing that I have had a small hand in helping implement those changes is why I stay in this field. Seeing the real-life changes that were suggested in the plans I designed within these communities, is just the icing on the cake!

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

As TPD grew, the opportunities to pursue community transportation plans became available and as confidence in my abilities grew, so did the opportunities to become more involved in these projects. TPD now offers a broad range of services to clients so we can gather input on where there is a need for transportation improvements, and a final plan can be designed.

I never imagined 10 years ago I would be involved in this kind of design work. In fact, I had no idea this was even an option, but it has become my favorite part of my job. Taking technical content and designing it in a way that is easily digestible to the public and brings them on board with the changes being suggested isn’t easy, but it is always rewarding when the community votes to adopt a final plan. There isn’t one project that sticks out to me, because I look at all these communities as special and I try to bring that uniqueness to my deliverables. At the end of the day, I know that these projects really have made a difference in these communities and voices that may not always be heard, were heard.

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?

TING ZHOU

ASSISTANT PROFESSOR OF DIGITAL MEDIA DESIGN

UNIVERSITY OF CONNECTICUT, STORRS CT

I am a mother, designer, and educator, currently serving as an assistant professor of Digital Media Design at the University of Connecticut. My research interests focus on UI/UX design in healthcare, healthcare design thinking and innovation, emerging design practices, and design for social justice. I am deeply committed to using human-centered design and innovative strategies to improve healthcare equity for underserved communities. As a lifelong learner, I continuously explore new approaches to promote healthcare equity through design.

As the Principal Investigator of the mHealth Design Lab at UCONN, I collaborate with faculty across various disciplines to co-design and co-develop mobile applications, websites, and VR games using human-centered design methodology.

As an educator, I bring diverse and impactful topics to the classroom. In my Design Lab 1 course, I discuss designers’ social responsibility with students by working on design-for-social-justice projects. My Interaction Design class has centered on design for mental health, raising awareness among college students and encouraging them to use their designs to support targeted users and foster open discussions around mental health.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

As an immigrant woman and mother of two, I spent years finding my career path. When I had the opportunity to become a design educator at UCONN, I constantly asked myself, “What’s my real role? What can my students truly learn from me?” I introduced the topic of design for social justice to the classroom, and I was fascinated to see my students’ designs and hear the stories behind their work.

The pandemic changed the direction of my career. After losing two family members, I realized that while I am not able to work as a healthcare professional directly supporting patients, I can use my design skills to support patients, caregivers, and healthcare professionals. Through human-centered design, I can help increase access to healthcare and healthcare information, especially for underserved communities.

When visual communication design meets humancentered design, designers can create innovative solutions that meet the needs of different stakeholders, producing designs that are both visually appealing and highly functional.

One of my favorite design projects is Zuri, a mobile health application aimed at cultivating sexual selfefficacy among Black adolescent girls. We created a character named Zuri to lead the learning experience, incorporating illustration, game design, and animation throughout the app.

GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES OUR SOCIETY NOW FACES, DOES THIS MOMENT PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?

Too many people, design is still seen as a simple service, primarily focused on visual design. However, design can play a powerful role in driving innovation. When a designer’s work is based on user research and built with empathy for users, the final design can truly meet the needs of its targeted audience. First and foremost, designers must recognize their social responsibility and actively engage in the entire design process. While everyone seems so small in this vast world, together, we can work to make it a better place—and design can play a meaningful part in that transformation.

ALEX PAINE

PARTNER, LIPPINCOTT, LONDON, ENGLAND

I’m a partner in brand strategy at Lippincott, a global brand consultancy, based in the London office. Since 1943, Lippincott has shaped some of the world’s most iconic brands and experiences, from Coca-Cola to Samsung and Starbucks to Delta. To create, grow and transform brands, we focus on six key areas: growth strategy, brand building, experience design, marketing strategy, creative communications and activation.

We believe that climate change is the key driver of corporate transformation this decade, and my team and I are passionate about working with our clients to create impactful sustainability strategies and campaigns that meaningfully reflect company efforts and resonate with customers. While I also work on a broad range of clients and industries, I lead our sustainability work with brands across the globe.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

For me, focusing on sustainability wasn’t totally a moral decision. I’m drawn to complexity, I love to nerd out on it, and love how great strategy and design can cut through it. Transition is probably the most complex topic out there. Every decision has unintended consequences, every angle has a counter-angle, and within this world we have to create something that is instantly understandable without trivializing the complexity. That’s a fascinating world to work in.

Most recently we helped Drax Group launch a carbon removals business. The removals are based on BECCS, a technology that is incredible on paper (creating negative emissions and renewable energy at the same time) but very complex to do right. Our brand, Elimini, reconciled this by putting coalition at the core. Heroing the vision whilst acknowledging the complexity and calling on others to come together to make sure it’s done right.

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?

For designers and brand-builders, the key is to learn how to design for good, not just for perfect. Transition is messy, but we need customers to buy in to build the case for change. Doing this is hard, but not impossible. A few tricks I’ve learned

1. Good is either the core or an irrelevance: many brands try to make sustainability a ‘pillar’ of their brand. This rarely works. In most customer decisions, sustainability plays no role. You have to force it onto the agenda, and you can’t do that if it’s number three on your list of things to communicate. It’s #1 or nothing.

2. A little humility goes a long way: there is no silver bullet in sustainability. Everything has unintended consequences. And try as you might, there will always be lots you don’t know. Trying to hide from this is a fool’s game. Whether in design, copy or positioning, always remember to temper the bombast with a bit of humility to avoid looking like a lemon.

LIDIA VARESCO RACOMA

OWNER, LIDIA VARESCO DESIGN, CHICAGO IL

Lidia Varesco Racoma of Lidia Varesco Design in Chicago empowers organizations and entrepreneurs to make a change through strategic branding and marketing design. With over two decades of experience, Lidia is known not only for her ability to express a client’s mission and vision, but also for her friendly, approachable working style. She is a blogger and speaker and leads branding and creative marketing workshops for nonprofits, associations, and small businesses worldwide.

Lidia is active in the nonprofit and marketing communities, currently serving on the Communications Committee for AMA Chicago, as well as a Co-chair of the Marketing & Communications Committee for the Association of Consultants to Nonprofits (ACN) with a past position on the ACN board of directors. She has also served on Association Forum’s Content Working Group as a content creator (and currently designs the magazine).

Lidia Varesco Design is a certified woman-owned business (WBE/WOSB) and celebrated 20 years in business in November 2020.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL?

I was inspired to focus on working with mission-driven organizations after my first child was born in 2011. I wanted my work to make a difference both locally in the communities of Chicago where I live, as well as globally. Ultimately, I wanted to help make the world a better place for my children (now 9 and 13 years old). Coincidentally (or not) I had been working with mission-focused organizations from the start of my career — and even before that (I came across a nonprofit annual report design while attending Columbia College Chicago).

I believe in the power of branding for all. It shouldn’t be reserved for large brands with equally large budgets. Even a small or start-up nonprofit organization should have access to brand tools that can help them create a solid foundation to effectively express their mission and engage with their audience. As a result of this, I have developed a range of accessible branding services and tools from DIY branding kits to full-scale brand strategy and development. I work directly with clients, but I can also provide beneficial branding knowledge and tools to organizations with smaller budgets. And branding — and in turn, design — is a powerful tool for change. When I work with clients, we talk about the importance of developing a brand that resonates with and makes an emotional connection to their current and potential supporters. Design is an important tool for expressing this story, creating genuine connections, and fostering ongoing relationships.

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?

There is currently a unique opportunity for organizations to use design as a force for positive change. With growing awareness around social justice and environmental issues—especially among Gen Z and Gen Alpha—design can play a pivotal role in shaping how and where nonprofits communicate their missions and can also inspire their audiences to take action. Through authentic storytelling and visuals, organizations can create deeper connections and empower people to make changes in their communities—and the world.

PEOPLE PEOPLE

SEATTLE WA

People People is a Seattle-based, woman-owned branding and interactive firm specializing in brand thinking, brand identity, websites, print, and packaging design since 1998. Rooted in the Pacific Northwest, our work spans diverse sectors, including non-profits, food and beverage, architecture and design, and consumer goods.

We are comprised of an entirely in-house team of senior-level creatives—no juniors, account managers, or freelancers—enabling us to be flexible and nimble in our approach. Our process is highly collaborative, with a strong emphasis on client engagement and ample opportunities for input. We are skilled at working with a wide range of communication styles, studio structures, and stakeholders, aligning goals, developing strategies, and designing brand experiences that connect companies and products to their audiences.

We believe that the strongest brands are ones where the visual identity, messaging, and print and digital design all communicate the same theme, idea, and personality. We tell our clients that it takes guts to be different in a “sea of sameness” and to approach the branding process with an open mind.

TELL US HOW AND WHY YOU BECAME INVOLVED IN SOCIALLY RESPONSIBLE COMMUNICATIONS, AND SHARE ANY THOUGHTS ON WHY DESIGN CAN BE AN ESPECIALLY EFFECTIVE TOOL.

As a team, we love working on projects that make an impact. While every brand we create is impactful for our individual clients, we especially enjoy and are inspired by projects that have the potential to create positive change for the greater collective. We make an effort to collaborate with a variety of non-profit organizations each year—particularly those with a focus on community, housing, healthcare, and the arts. A few notables include Creative West (a U.S. Regional Arts Organization), Plymouth Housing, Seattle PRIDE, Allen Institute, and the Pike Place Market Foundation (who we’ve worked with for almost a decade!).

Most recently, we launched kamalasrecipes.com to support Kamala and bring awareness to the Harris Walz campaign. The fun, light-hearted website compiles recipes by (and inspired by) Kamala and encourages people to get out and vote. It feels good (and necessary) to use our skills to encourage progress and growth.

A few other non-profit clients we’ve worked with over the years include Bread of Life Mission, Camp Korey, Central Oregon Gives, Chief Seattle Club, King County Sexual Assault Resource Center, NW Kidney Centers, Seattle Children’s Hospital, Seattle Pride, Summer Search, The Whale Trail, Vineyard Havens, WA Farmland Trust, Wolf Haven.

GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES OUR SOCIETY NOW FACES, DOES THIS MOMENT PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?

Our team saw an opportunity to harness our skill set to enact positive change leading up to the 2024 presidential election this November — a critical junction in our country’s future. In a matter of days, we rallied together to create Kamala’s Recipes from scratch, collecting recipes shared by Kamala Harris herself, Tim Walz, celebrity chefs, actors, and musicians, as well as some brand new dishes inspired by Harris’ historic presidential campaign. In a refreshing contrast to today’s political climate (often laden with finger-pointing and name-calling), we designed and developed a website built on kindness, joy, and good humor. Colorful illustrations and playful copy invite visitors into a virtual cookbook inspired by Kamala’s optimistic outlook. Much like a delicious, home-cooked meal, we believe the Kamala Walz ticket is bringing people together, and in turn, building a brighter future.

| 2024 | HEALTH + WELLNESS DESIGN AWARDS

Our annual GDUSA Health+Wellness Design Awards™ competition honors graphic excellence in this fast-growing, hugely important and high-profile area that is, as crystallized by this election cycle, at the very center of the national conversation. The 2024 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. The pieces represented here affirm what we all have learned the hard way during this challenging decade: effective, engaging and intelligent design has a vital role to play in advancing our personal and collective health, wellness and safety.

DESIGN FIRMS, AGENCIES + DEPARTMENTS REPRESENTED

(PRESENTED IN ALPHABETICAL ORDER)

A Great Idea

Access TCA

Alamini Creative Group

Alba Conejero |Gutierrez

Alight Solutions

Aspire Indiana Health

Athletico Physical Therapy

Barnett Design, Inc.

Beardwood&Co. + Hello Products

Bei Hu

Benco Dental

Black Graphics

Bluecap Studio

Clever Creative

COHO Creative

Colgate University

Conran Design Group

CuraLinc Healthcare

Design Hovie Studios

Diamond Packaging

Elissa Von Letkemann Art + Design

Elmwood London

Emma Minyard

Felicity Crush Design

Freshmade

Gauger+Associates

GETVISUAL

Grace Snow

Haejung Choi

HB Design

Health Monitor

ICON, plc

Jacobs&Co

Jill Design Studio

Kaiser Permanente Mid-Atlantic

Kick

Kirk Kerkorian School of Medicine at UNLV

Kraus Marketing

KUDOS Design Collaboratory

Left Right Labs

Lentini Design & Marketing, Inc.

Liying Peng

Lucile Packard Foundation for Children’s Health

Mangold Design

mHealth Design Lab

Michelle Rogers, Inc.

National Roofing Contractors Association (NRCA)

Nationwide Children’s Hospital

NIH Medical Arts Branch

Notion LLC

Odgis + Company

Odonnell Company

Oomph, Inc.

PBD Partners

Pinkergreen

Qingyu Huang

RadNet

Ron Kalstein / RKDK Design

Roxanne Bradley-Tate Design

RTI International

SEKISUI Diagnostics

Shannon Oakley Creative + Production

Shenghan Gao

Smart + Strong

Songs & Smiles

sparq

Stoller Design Group

Street Level Studio

SYS Consulting / 3MC Media, Inc.

Test Monki

The Creative Pack

The University of Texas MD Anderson Cancer Center

The Weaponry

The Word & Brown Companies

Tiara Agency

Topco Associates, LLC

UF Health Creative Services

Werremeyer Creative

Woodse Creative Co.

Woz Design / Hartford Design / Ted Stoik

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: A Great Idea Client: Trans PrEP Coalition Title: PrEP Aware Campaign Art Director: Shane Lukas Designer: Shane Lukas Photographer: Ibai Vigil

Design Firm: A Great Idea Client: Triad Health Project Title: Our Summer of Action Art Director: Shane Lukas Designer: Shane Lukas Writers: Shane Lukas, Daniel W.K. Lee

Design Firm: Access TCA Client: Boehringer Ingelheim Title: Taming the Dragon - The Launch of Spevigo Creative Director: Eric Anderson Designer: Eric Anderson Photographer: Padgett and Company

Design Firm: Alamini Creative Group LLC Client: New York Center for Child Development Title: Pathways to Professional Development Logo Creative Director: Jennifer Bergamini Designers: Jennifer Bergamini, Steven Albarracin

Design Firm: Alba Conejero | Gutierrez Title: A Right, Not a Privilege Creative Director: Alba Conejero I Gutierrez Art Director: Alba Conejero I Gutierrez Designer: Alba Conejero I Gutierrez

Design Firm: Alight Solutions Client: PepsiCo Title: Cancer Support Campaign Creative Director: Cristine Giannotti Designer: Cristine Giannotti Writers: Kevin Clapp, Chelsea Rollins Client Lead: Cathleen Tuttle Production Editor: Randall Van Vynckt Project Manager: Kristin Peacock

Design Firm: Alight Solutions Client: PepsiCo Title: Men’s Health Campaign Creative Director: Cristine Giannotti Designer: Cristine Giannotti Writers: Kevin Clapp, Chelsea Rollins Client Lead: Cathleen Tuttle Production Editor: Randall Van Vynckt Project Manager: Kristin Peacock

Design Firm: Alight Solutions Client: PepsiCo Title: Women’s Health Campaign Creative Director: Cristine Giannotti Art Directors: Cristine Giannotti, Romeo Van Buiten Writers: Kevin Clapp, Chelsea Rollins Client Lead: Cathleen Tuttle Production Editor: Randall Van Vynckt Project Manager: Kristin Peacock

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Alight Solutions Client: PepsiCo Title: Women’s Health Digital Promotion Creative Director: Cristine Giannotti Art Director: Romeo Van Buiten Designer: Romeo Van Buiten Writers: Kevin Clapp, Chelsea Rollins Client Lead: Cathleen Tuttle Production Editor: Randall Van Vynckt Project Manager: Kristin Peacock

Design Firm: Aspire Indiana Health Title: MACY: Get Onboard for Better Health! Creative Director: Christopher Lloyd Designer: Byron Elliott (Elliott and Co Supply) Illustrator: Byron Elliott (Elliott and Co Supply) Writer: Christopher Lloyd Marketing Multimedia Artist: Cheryl Berry

Firm:

Design

Athletico Physical Therapy Title: Athletico’s Partnership with Chicago Bears Video Creative Director: Mandy Halleck Writers: Mandy Halleck, Frank Pilolli, Courtney Wheaton Video Production: Ian Brady

Design Firm: Athletico Physical Therapy Title: Combined Sections Meeting (CSM) Tradeshow Booth Creative Director: Mandy Halleck Art Director: Lyndsey Williamson Designer: Lyndsey Williamson Writer: Mandy Halleck

Design Firm: Athletico Physical Therapy Title: Combined Sections Meeting (CSM) Tradeshow Social Creative Director: Mandy Halleck Art Director: Lyndsey Williamson Designers: Lyndsey Williams, Tony Nigre, Ed McDaniel, Krista Lesjack Writers: Jamie Barnes, Sarah Taylor

Design Firm: Barnett Design, Inc. Client: Family Psychiatry and Therapy

Branding Title: Healing Minds. Restoring Lives. Creative Director: Debbie Barnett Sagurton Art Director: Jeff Ramos Designers: Val Haymes, Tara Farley

Design Firm: Barnett Design, Inc. Client: The MS Center at Holy Name Medical Center Title: MS Links Newsletter Design Creative Director: Debbie Barnett Sagurton Art Director: Jeff Ramos Designers: Tara Farley, Val Haymes

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Beardwood&Co. + Hello Products Title: Hello Brand World BEARDWOOD&CO — Creative Director: Sarah Williams Design Director: Magdalena Travis Account Director: Abigail Kerns Senior Designers: Cullen Whitmore, Saehan Kim, Adrian Lee , Danielle Koplin HELLO PRODUCTS — Creative Director: Denise Delany Head of Brand Growth & Innovation: Jennifer Vasold-Singh Animation: Dylan Steinberg, Dylan Lam, Peter Burghen, Dream Machine Creative Freehand Strategic Branding: Andrew Clark, D’anna Farrar, Katie Corbett Stylists: Kyle Rudd + Charlotte Havelange, Kiara Alexander

Bei

Design Firm: Benco Dental Title: Annual Report 2023 - Driving Dentistry Forward Creative Director: Eric Larsen Designer: Allison Simenkiewicz, Madi Barcelon Photographers: Michael Gentle, June Musto Writers: Keegan Bradford, Edward Kobesky Marketing Project Manager: Katharine Poppe

Design Firm: Benco Dental Title: Incisal Edge Magazine - Fall 2023 Creative Director: Eric Larsen Designer: June Musto Editor: Edward Kobesky

Design Firm:

Hu Title: Bark App - Social Wellness for City Dog Owners Creative Director: Bei Hu Art Director: Bei Hu Designer: Bei Hu Illustrator: Bei Hu

Design Firm: Black Graphics Client: ChangeLab Solutions Title: Disease Surveillance Factsheet Designer: Karen Parry Illustrator: Karen Parry

Design Firm: Black Graphics Client: Milbank-Peterson Title: Milbank-Peterson Case Study Snapshots Designer: Karen Parry Illustrator: Karen Parry

Design Firm: Bluecap Studio Client: DENSO Health Title: DENSO Health Social Campaign Creative Directors: David La Cava, Debra Cassa Designer: David La Cava, Debra Cassa Writer: Ellen Lalier

Design Firm: Bluecap Studio Client: DENSO Health Title: DENSO Health Trade Booth Creative Directors: David La Cava, Debra Cassa Designer: David La Cava, Debra Cassa

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Clever Creative Title: VCA Animal Hospitals Wellness Journal Art Director: Meredith Godwin-Kresge Designer: Kristia Gonzales Writer: Mel Kaspin Blume CCO: Shannon Gabor

Design Firm: COHO Creative Client: Kimberly-Clark EMEA Title: Kotex Period Underwear Creative Director: Monica Alexander Art Director: Monica Campbell Designer: Chris Combs, Kate Raterman, Kevin Bova, Shonda Leen, Tim Kron Strategy: Jennifer Pleva, Gretchen Mahan

Design Firm: Bluecap Studio Client: DENSO Health Title: DENSO Health Website Creative Directors: David La Cava, Debra Cassa Designer: Peter Cannizzaro Writer: Ellen Lalier Web Developer: Matt Miller

Design Firm: Clever Creative Client: VCA Animal Hospitals Title: VCA Animal Hospitals Energy Campaign Art Director: Emily Zarnow Designer: Kristia Gonzales CCO: Shannon Gabor

Design Firm: Colgate University Office of University Communications Client: Colgate Magazine Title: The Health Edition, Spring 2024 Senior Art Director: Karen Luciani Cover Illustrator: Dan Page University Photographer: Mark DiOrio Communications Specialist: Kathy Jipson Vice President for University Communications: Daniel DeVries Director of University Publications: Aleta Mayne Assistant Editor: Rebecca Docter Associate Vice President for University Communications: Mark Walden — and several University Communications team members and freelancers

Design Firm:

Conran Design Group Client: Esai Title: Cognigram Visual Identity Creative Director: Brian Ponto Designer: Sarah Abreu

Design Firm: CuraLinc Healthcare Title: Mindstream™ Product Launch Designers: Shannon Widmer, Taylor Guyton Writer: Christine Koenig

Design Firm: CuraLinc Healthcare Title: Suicide Prevention Month Campaign Designer: Taylor Guyton Writer: Isabelle Johnson

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Design Hovie tudios Client: Blackbird Health Title: Blackbird Health Logo and Brand Identity Creative Director: Hovie Hawk Art Director: Hovie Hawk Designer: Hovie Hawk Illustrator: Hovie Hawk

Design Firm: Elissa Von Letkemann Art + Design Client: Cove Concierge: Senior Care Solutions Title: Brand Extension and Rack Card Creative Director: Elissa Von Letkemann Designer: Elissa Von Letkemann Photographer: Jen Cady Logo: Kim Russo

Design Firm: Diamond Packaging Client: Hedy Cannabis-Infused Chocolate Title: Hedy Chocolate Bar Packaging Creative Director: Riley Mann, The Cannabist Company Structural Designer: Andy Gauvin Photgrapher: Dennis Bacchetta Account Manager: Jill Kremien

Design Firm: Elissa Von Letkemann Art + Design Client: Premier Smile and Implant Center Title: Brand and Identity Program Creative Director: Elissa Von Letkemann Designer: Elissa Von Letkemann

Design Firm: Elmwood London Client: Karo Healthcare Title: E45 Rebranding

Designers: Mika Georgieva, Lauren Ahm Associate Creative Director: Rob Dyer

Executive Creative Director: Kyle Whybrow Senior Account Director: Katrina

Brooks Strategy Director: Christine Lewington Senior Designer: Helen Mak Head of Animation: Oli Minchin

Design Firm: Elmwood London Client: Perrigo Title: Opill® Visual Identity Designer: Alice Letten Associate Creative Director: Rob Dyer Head of Strategy and Provocation: Deborah Stafford-Watson Head of Animation: Oli Minchin Strategy & Provocation Partner: Esther Hastings Senior Designer: Helen Mak Senior Designer: Matt Churchill Account Director: Charley Pickering

Design Firm: Emma Minyard Title: Oasis Smart Ring App Designer: Emma Minyard

Design Firm: Felicity Crush Design Client: Ceres Community Project Title: 2023 Annual Report - Nourish Creative Director: Felicity Crush Art Director: Felicity Crush Designer: Felicity Crush Illustrator: Felicity Crush Photographer: Felicity Crush Writer: Deborah Ramelli

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Freshmade Client: Pure Formulas Title: Pure Formulas Packaging System Creative Director: Russ Martin Art Director: Lisa Murphy Amber Paine, Kaitlyn Mitchell Illustrator: Amber Paine

Design Firm: Gauger + Associates Client: Benchcreek Ranch Title: Promega Feed Website Creative Director: David Gauger Art Director: Jenna Pile

Design Firm: GETVISUAL Client: SEKISUI Diagnostics Title: Meet Our Awesome Family Creative Director: GETVISUAL Writer: Alex Fridgant, SEKISUI Diagnostics Manager: Alex Fridgant

Design Firm: Grace Snow Title: BalanceBuddy App Designer: Grace Snow Writer: Grace Snow

Design Firm: Haejung Choi Title: Sage Health Branding and Identity Creative Director: Haejung Choi Designer: Haejung Choi

Design Firm: HB Design Client: Alamo Pintado Equine Medical Center Title: Alamo Pintado Client Brochure Designer: Heather Barbis Photographers: R Mojo Designs, Elizabeth Hay Photography

Design Firm: HB Design Client: AlphaLogix Title: AlphaFlo Brochure Designer: Heather Barbis

Design Firm: HB Design Client: Equine Amnio Solutions Title: RenoVo Booth Designer: Heather Barbis

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: HB Design Client: Platinum Performance Title: Platinum Veterinary It Starts Within Ad Series Designer: Heather Barbis Photographer: Elizabeth Hay Photography

Design Firm: Health Monitor Title: Health Monitor Clinician Update on MCI and Alzheimer’s Disease Creative Director: Jennifer Webber Designer: Stefanie Fischer Writer: Lori Murray

Design Firm: HB Design Client: Platinum Performance Title: Platinum Catalog Designer: Heather Barbis Photographer: Elizabeth Hay Photography

Design Firm: HB Design Client: Platinum Performance Title: Platinum Direct Dispense Mailer Designer: Heather Barbis Photographer: Elizabeth Hay Photography

Design Firm: Health Monitor Title: Health Monitor Clinician Update on Prostate Cancer Creative Director: Jennifer Webber Art Director: Ashley Pinck Writer: Lori Murray

Design Firm: Health Monitor Title: Health Monitor Endocrinology Digital Screens Creative Director: Erica Kerber Art Directors: Mindy Schultz, Suzanne Augustyn Designer: Sarah Hartstein Writers: Maria Lissandrello, Lindsay Bosslett

Design Firm: Health Monitor Title: Health Monitor Living Metastatic Breast Cancer Guide Creative Director: Erica Kerber Writer: Lori Murray

Design Firm: Health Monitor Title: Shingles Healthcare Professional Poster Creative Director: Jennifer Webber Writer: Lori Murray

Design Firm: Kaiser Permanente Mid-Atlantic Title: Kaiser Permanente Caregiver Campaign Creative Director: Franklin Parrish Art Director: Jason Wennet Designers: Jason Wennet, Jim Robinson Writers: Tim Snead, Pam Golden Video Team: Bryan Litt, Kristian Perry

Design Firm: Kaiser Permanente Mid-Atlantic Title: Kaiser Permanente Women's Health Campaign Creative Director: Franklin Parrish Art Director: Jason Wennet Designers: Jason Wennet, Bobbi LaChance Writers: Tim Snead, Pam Golden Video Team: Bryan Litt, Kristian Perry, Lucas Fedie, Oksana Skrynnik

Creative Director: Stefan

Design Firm: Kirk Kerkorian School of Medicine at UNLV Marketing and Communications Client: Kirk Kerkorian School of Medicine at UNLV Title: Summer 2024 Magazine Creative Directors: Diana Caballero-Galvez, Robin Biffinger Art Directors: Diana Caballero-Galvez, Robin Biffinger Designers: Diana Caballero-Galvez, Robin Biffinger Illustrators: Diana Caballero-Galvez, Robin Biffinger Photographer: Julian Fox Writers: Marc J. Kahn, Wonda Riner, Robin Biffinger, Paul

Design Firm: Kick Client: MaternaHealth — Milli Title: Milli Brand Identity

Hartung

Joncich, Paul Harasim, Nick Barnette

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: ICON, plc Client: Biosion Title: The ADAMANT Study Recruitment Materials Creative Director: Adam Kondos Art Directors: Amy O'Connell, Joann Klinkner Writer: Louis Neipris

Design Firm: ICON, plc Client: Chiesi Title: The TANGO Study Recruitment Materials Creative Director: Adam Kondos Art Director: Joann Klinkner Designers: Matthew Woolfrey, TJ Frias Writer: Louis Neipris

Design Firm: Jacobs&Co Client: Kid Gloves Surgical Specialists Title: Kid Gloves Surgical Specialists Visual Identity Creative Director: Anna Jacobs Art Director: Anna Jacobs Designer: Anna Jacobs

Design Firm: Jill Design Studio Client: Penn Medicine Title: The Transmitter, Spring 2023 Creative Director: Aimee Mercer Designer: Aimee Mercer Writer: Kirsten Campbell

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Kraus Marketing Client: Avalon Health Economics Title: Avalon Health Economics Website Creative Director: Nick Kraus Art Director: Emma O'Keefe Designer: Alyssa DeFilippis

Design Firm: KUDOS Design Collaboratory Client: Medical Inflatables Title: Medical Inflatables Branding Creative Director: John Kudos Art Director: Fay Qiu Designers: Putu Yogiswara, Syamil Haqqoni Illustrator: Inwoo Baek Project Manager: Amanda Knott Motion Designer: Imam Fadhilah

Design Firm: KUDOS Design Collaboratory Client: Emina Cosmetics Title: Glorad Packaging Creative Director: Mellisa Hugo Art Director: Carla Stephano Designers: Nadya Permana, Lisa Nolwen

Design Firm: Kudos Design Collaboratory Client: Wardah Title: Wardah Gel Moisturizer Packaging Creative Director: Mellisa Hugo Art Director: Rysa Adrista Designers: Nauva Alvi, Yusuf Andhika, Denisa Bella

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: KUDOS Design Collaboratory Client: Wardah Title: Amino Micellar Packaging Creative Director: Mellisa Hugo Art Director: Rysa Adrista Designers: Mares Rayestyanm, Moch Ilham, Yusuf Andhika, Denisa Bella

Design Firm: Left Right Labs Title: DesBio Brand & Website Design Creative Director: Trina Fisher Art Director: Trina Fisher Designers: Tammy Ward, Taylor Adkins, Trina Fisher VP, Sales & Marketing: Nicole Willis

Design Firm: Lentini Design & Marketing, Inc. Title: Doheny Eye Institute Advertising Campaign Creative Director: Hilary Lentini Designer: Leanna Hanson Writer: Christine Hauri

Design Firm: Lentini Design & Marketing, Inc. Title: Doheny Eye Institute DM Development Campaign Creative Director: Hilary Lentini Designers: Hilary Lentini, Aria Lentini

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Liying Peng Title: PeaceMeal Healtier Eating App Designer: Liying Peng

Design Firm: Mangold Design Title: Dr. Appleseed Campaign Creative Director: Annabel Mangold Designer: Annabel Mangold Photographers: Artem Nazarov, Mandee Rae

Design Firm: Lucile Packard Foundation for Children's Health In-House Design Team Title: Bass Society 2024 Report Creative Director: Charlotte Jones Art Director: Charlotte Jones Designer: Charlotte Jones Photographer: Various Writer: Leslie Hanna

Design Firm: mHealth Design Lab Client: Zuri: A Sexual Self-Efficacy mHealth Application Title: For Black Adolescent Girls Creative Director: Ting Zhou Art Director: Ting Zhou Designers: Ting Zhou, Roya Movahed Illustrator: Nicole Mata

Design Firm: Michelle Rogers, Inc. Title: Seasonal Wellness Journal Design Designer: Michelle Rogers Writer: Michelle Rogers

Design Firm: Nationwide Children’s Hospital Client: On Our Sleeves Title: 5K

Event Creative Director: Chris Garbrandt Art Director: Emily Mitchell, Senior Design Strategist, The Kids Mental Health Foundation Designer: Jessica Stitts Illustrators: Emily Mitchell, Jessica Stitts Chief Marketing and Communications Officer, Nationwide Children’s Hospital: Donna Teach Director Of Development, The Kids Mental Health Foundation: Morgen Spon Assistant Director of Development, The Kids Mental Health Foundation: Mary McCabe

Senior Vice President, Nationwide Children’s Hospital Foundation: Niki Shafer

Senior Photographer: Bill Tijerina and Photos Courtesy of The Columbus Crew

Design Firm: National Roofing Contractors Association (NRCA) Title: Suicide Prevention Campaign Creative Director: Paul Gerwen Writer: Ambika Reid Project Leader: Cheryl Ambrose

Design Firm: Nationwide Children’s Hospital Client: The Center for Family Safety and Healing Title: 2023 Impact Report Creative Director: Chris Garbrandt Designer: Erin Nussbaum Photographer: NCH Photography Team Account Manager - Consumer Marketing: Nicole Coggins, NCH Digital Communication Specialist :Alena Schuckmann, TCFSH Director of External Affairs: Sheryl Clinger, TCFSH Director of Evaluation & Research: Kathryn Wolf, TCFSH Vice President Operations (Interim President): Nancy Cunningham, TCFSH

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Nationwide Children’s Hospital Title: 2022-2023 Nationwide Children’s Hospital Pediatric Annual Report Creative Director: Chris Garbrandt Art Director: John Ortiz Designer: Barb Brogan Illustrator: John Ordaz Manager, Executive and Public Affairs Communication: Jeb Phillips Manager, Science and Medical Content: Abbie Miller Specialist, Science and Medical Content: Alaina Doklovic Senior Strategist, Research Communication: Madison Storm Senior Photographer: Brad Smith Senior Photographer: Bill Tijerina

Design Firm: Nationwide Children’s Hospital Title: Nationwide Children’s Hospital Regional Mailing Creative Director: Chris Garbrandt Art Director: John Ortiz Designers: Joseph Wayand, Carrie Cartwright Photographer: NCH Photography Team Marketing Account Manager-Physician & Referral: Rob Shepherd Marketing Specialist-Physician & Referral: Kate Nickels

Design Firm: NIH Medical Arts Branch Client: National Institutes of Health Division of International Services Title: Two Decades of Innovation Save The Date Art Director: Jeffrey Everett

Design Firm: NIH Medical Arts Branch Client: National Heart, Blood, and Lung Institute Title: NIBIB BETA Branding Art Director: Jeffrey Everett

Design Firm: NIH Medical Arts Branch Client: National Institute of Biomedical Imaging and Bioengineering Title: Disability, Equity & Mental Health Research

Branding Art Director: Jessica Jackson

Design Firm: NIH Medical Arts Branch Client: National Institute of Biomedical Imaging and Bioengineering Title: From Polices to pTau Conference Poster Art Director: Jeffrey Everett

Design Firm: NIH Medical Arts Branch Client: National Institute of Mental Health - Office of National Autism Coordination Title: Soundtracks - An Artistic Journey to Belonging Film Poster Art Director: Jeffrey Everett

Design Firm: NIH Medical Arts Branch Client: National Institutes of Health Title: Harvey Alter and the Discovery of Hepatitis C: Making Our Blood Supply Safe Exhibit Art Director: Mark ‘Saint’ Riewestahl Contributors: Roger Barrett, Dru Colbert, Michele Lyons, Devon Valera Fabricator: Blair, Inc.

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: NIH Medical Arts Branch Client: National Institutes of Health

Title: NHLBI Administrative Office Murals 2024 Art Directors Bonnie Hamalainen, Doug Dean Designers: Nate Fussner, Emma Seager, Bonnie Hamalainen Fabricator: Dodge Chrome

Design Firm: NIH Medical Arts Branch Client: National Institutes of Health Title: NIH Industry Day 2024 Branding Art Director: Jessica Jackson

Design Firm: NIH Medical Arts Branch Client: National Institutes of Health

Title: SpondyloArthritis Unmet Research Needs Conference Poster Art Director: Bonnie Hamalainen

Design Firm: NIH Medical Arts Branch Client: National Institutes of Health

Title: The 3R’s: Replacement, Reduction, Refinement Poster Art Director: Bonnie Hamalainen Designer: Emma Eggerman

Design Firm: NIH Medical Arts Branch Client: National Institutes of Health Title: The Promise and Perils of AI in Biomedical Research and Health Care Delivery Poster Art Director: Jessica Jackson

Design Firm: NIH Medical Arts Branch Client: Nature, The International Journal of Science Title: SHINING EXAMPLE Cover Design Art Director: Ethan Taylor Illustrator: Ethan Taylor

Design Firm: Notion LLC Client: Casa de Salud Title: Casa de Salud Annual Report Website Creative Director: Stephanie Ely Art Director: Emily Nenninger Designer: Janet Tran Writer: Isabella Schoonover Account Manager: Sarah Jones Account Executive: Megan Hayes

Design Firm: Notion LLC Client: Teladoc Health Title: Teladoc Virtual Nursing Playbook and Campaign Creative Director: Stephanie Ely Art Director: Emily Nenninger Writer: Luke Carroll Account Supervisor: John Garrison Account Executive: Megan Hayes

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Odgis + Company Client: Rockefeller University Title: 2024 Rockefeller University Graduate Program in Bioscience Creative Director: Janet Odgis Janet Odgis Designers: Isaac Leahey-Leow, Jasmine Chan Writer: Eva Kiesler

Design Firm: Odonnell Company Client: CT Department of Public Health Title: Vape Free CT Campaign Creative Director: Eileen O’Donnell Art Director: Anna Rubino Designer: David Nguyen Writers: Julia Fishman, Alison Walkley Production Director: Peter Gartner

Design Firm: Oomph, Inc. Client: Go Ask Alice!, A Program of Alice! Health Promotion Title: Go Ask Alice! Website Redesign Oomph Team - Design & UX: Alyssa Varsanyi, J. Hogue Development: Brian Hogue, Alonzo Tolver, Kathy Beck, Philip Frilling Project & Account Management: Jordan Perkins, Hanna Furey Go Ask Alice! Team: Padma Entsuah, Shaye Samp, Gina Orlando, Nicole Weis, Teshiro Aldonza, Alic Czachowski.

Design Firm: PBD Partners Client: Boston Health Care for the Homeless Program Title: Medicine That Matters Gala 2024 Creative Director: Shannon Beer Designer: Holly Broussard Photographer: Webb Chappell

Design Firm: PBD Partners Client: Brigham & Women’s Hospital Title: Department of Neurology Annual Report 2024 Creative Director: Shannon Beer Designer: Mary Reed Writer: Abigail Jackson Editor: Tracy Batchelor, MD

Design Firm: PBD Partners Client: Labouré College of Healthcare Title: Be A Labouré Nurse Digital Advertising Creative Director: Shannon Beer Designer: Jennifer Whitty Dominguez Photographer: Tom Kates

Design Firm: Pinkergreen Client: Kenai Therapeutics Title: Kenai Therapeutics Branding Creative Director: Kelley Shaw-Wade Art Director: Rachel Suflita McKee Designers: Rachel Suflita McKee, Susanna Rowe Doan Illustrator: Rachel Suflita McKee Writer: Leah Kasell Project Management: Leah Kasell

Design Firm: Qingyu Huang Title: Mommies’ Booth App Designer: Qingyu Huang

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: RadNet, Corporate Marketing & Communications Client: DeepHealth Title: DeepHealth - A RadNet Initiative Trade Show Booth Creative Director: Scott Merriman Art Director: Kirk Littell Writer: Mary O'Neill Director of Marketing & Communications: Brooke Gittings Incontrera

Design Firm: Ron Kalstein / RKDK Design Client: Jefferson Moss-Magee Rehabilitation Title: BlueJean Day Fundraiser Button Creative Director: Ron Kalstein Art Director: Ron Kalstein Designer: Ron Kalstein Illustrator: Ron Kalstein Writer: Ron Kalstein

Design Firm: Roxanne Bradley-Tate Design Client: Heather Johnson Title: Fractally Whole Logo and Brand Identity Creative Director: Roxanne BradleyTate Art Director: Roxanne Bradley-Tate Designer: Roxanne Bradley-Tate

Design Firm: RTI International Client: Centers for Disease Control and Prevention (CDC) Title: Clinician Personas: The Game Creative Director: Maria Ashbaugh Designer: Chelsea Wojciechowski Lead Content Developer: Dustin Kingsmill Content Development Team: Jason Arrol, Mia Switzer, Joe Milazzo Project Director: Jennifer Bitticks Associate Project Director: Sidney Holt

Design Firm: RTI International Client: National Institute of Child Health and Human Development (NICHD) Title: Outcomes of Babies with Opioid Exposure (OBOE) Study Video Illustrator: Dan Russell Research Staff at RTI: Carla Bann, Jamie Newman, Taya McMillan, Lindsay Parlberg

Design Firm: SEKISUI Diagnostics Title: OSOM Flu SARS-CoV-2 Combo Home Test Designer: Patricia O'Hara Manager: Lisa Turner

Design Firm: RTI International Client: UNC Chapel Hill Title: Early Check Participant Recruitment Materials Creative Manager: Shari Lambert Editor: Linda Wilson Designer: Jason Boyte Project Lead: Holly Peay Project Contributors: Sara Andrews, Rebecca Moutrie, Becca Wright

Design Firm: SEKISUI Diagnostics Title: SEKISUI Kent UK Wall Office Art Art Director: Patricia O’Hara Designer: Patricia O’Hara SEKISUI Diagnostics Managers: Paul Bennett, Aurore Laborie

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Shannon Oakley Creative + Production Client: Good Neighbor Pharmacy Title: Good Neighbor Pharmacy Champions Award Videos Creative Director: Shannon Oakley Director of Photography: Tony Stewart Assistant Cameraman: Matt Hamm Sound Mixers: David Rainey, John Gooch Editor: Chris Magliozzo

Design Firm: Shenghan Gao Client: Brook - The Remote Care Company Title: Brook Trade Show Booth Design Creative Director: Shenghan Gao Art Director: Shenghan Gao Designer: Shenghan Gao Writer: Luke O’Brien

Design Firm: Shenghan Gao Title: Prelude Flyer - Sell More, Stock Less Creative Director: Shenghan Gao Art Director: Shenghan Gao Designer: Shenghan Gao Writer: Michael E. Murphy

Design Firm: Smart + Strong Client: POZ - December 2023 Cover Title: The POZ 100: Working Together to End HIV Art Director: Doriot Kim Illustrator: Owen Brozman

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

Design Firm: sparq Client: University of Kentucty and Kentucky Department of Public Health Title: KIRP Social Media Campaign Creative Director: Richard Cassis Art Director: Richard Cassis Designer: Richard Cassis Writer: Mary Ann Road

Design Firm: Stoller Design Group Client: Coalition of Kaiser Permanente

Unions Title: CKPU Union Delegate Conference 2024 Creative Director: Tia Stoller Art Director: Dionne Anciano Designers: Dionne Anciano, Travis Retter

Design Firm: Street Level Studio Client: Medline Industries, LP Title: Fresh Talks: Real Women, Real Stories Creative Director: Brian Fuller Producer: Lexie Markarian

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: SYS Consulting / 3MC Media, Inc. Client: American Nurses Association - Illinois Title: ANA-Illinois Student Nurse Political Action Day Campaign Creative Director: Tien Barnett Illustrator: iStock.com/ajijchan

Design Firm: Test Monki Title: Toothlings Pediatric Dentistry Logo Creative Director: Suzy Simmons Designer: Gaby Quintana Photography: Getty Images

Design Firm: The Creative Pack Client: Earth Fare Title: Earth Fare Organic Coconut Water Creative Director: Danielle Kidney Designers: Heather Storie, Paola Ip, Casey Chui, Emma Tung, Joshua Manalang Illustrator: Joshua Manalang

Design Firm: Test Monki Title: The Ortho House Branding Creative Director: Suzy Simmons Designer: Gaby Quintana Photography: Getty Images

Design Firm: The Creative Pack Client: Mother’s Market Title: Mother’s Market Organic Frozen Fruit Creative Director: Danielle Kidney Designers: Heather Storie, Paola Ip Photographer: Heather Winters Photography

Design Firm: The

Client:

Research Group Title: ARG Rebrand, Identity and Style Guide For Marketers & Designers Creative Director: Adam Emery Art Director: Joe Kayse

Design Firm: The University of Texas MD Anderson Cancer Center Client: MD Anderson Community Alliances Title: MD Anderson Summer Blood Drive Creative Director: Elisa Cisneros Art Director: Jasmine Raziuddin Designer: Daron Bourne Photographer: Mark Mulligan Associate Director: Erin McCormick Designer: Justin Carrier Director: Laura Nathan-Garner Program Manager: Heather Alexander Dahl Program Manager: Sarah Zizinia Program Manager: Shelly Schultz Director: Marisa Mir Executive Director: Stephanie Kim

Design Firm: The Word & Brown Companies Client: CHOICE Administrators Title: CHOICE Administrators Leadership Management Team Summit Swag Creative Directors: Homer Villegas, Studio Director and Jessica Haluck, Events Marketing Director Marketing Director: Rikki Nedelkow

Weaponry

Allergy

HEALTH + WELLNESS DESIGN AWARDS

The

& Brown Companies Client: CHOICE Administrators

CHOICE Administrators Leadership Summit Creative Director: Rikki Nedelkow, Marketing Director Art Director: Homer Villegas, Studio Director

Alex Strautman, Senior Copywriter Events Manager: Heather McDonald Events Marketing Director: Jessica Haluck Front End Web Developer: Jarrell Walker

Design Firm: The Word & Brown Companies Client: CHOICE Administrators: CaliforniaChoice Title: I AM CALIFORNIA DIFFERENT' CalChoice.com Website

Hero Images Creative Director: Homer Villegas, Studio Director Marketing Project Manager: Brandi Daiken Marketing Director: Rikki Nedelkow

Design Firm: The Word & Brown Companies Client: Word & Brown General Agency Title: The Power of [&] Logo Creative Director: Hugo Miramontes, Senior Graphic Design Marketing Director: Missy Bynon Marketing Project Manager: Heather Jung

Design Firm:

Word

Title:

Writer:

Design Firm: The Word & Brown Companies Client: CHOICE Administrators Title: Club CHOICE Feedback Forum Creative Director: Homer Villegas, Studio Director Writer: Rikki Nedelkow, Marketing Director

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Design Firm: The Word & Brown Companies Client: Word & Brown General Agency Title: Word & Brown Sales Team Event Invitation Email Creative Director: Hugo Miramontes, Senior Graphic Designer Marketing Director: Missy Bynon Events Marketing Director: Jessica Haluck Marketing Project Manager: Heather Jung Events Manager: ToniMarie Munoz

Design Firm: The Word & Brown Companies Client: Word & Brown General Agency Title: Word & Brown Top Producer Event Website Creative Directors: Hugo Miramontes, Senior Graphic Designer and Missy Bynon, Marketing Director Events Marketing Director: Jessica Haluck Marketing Project Manager: Heather Jung Events Manager: ToniMarie Munoz Front End Developer: Jarrell Walker

Design Firm: The Word & Brown Companies Title: WBC 2024 Catalina Event Registration Site Creative Director: Hugo Miramontes, Senior Graphic Design Events Marketing Director: Jessica Haluck Marketing Project Manager: Missy Bynon

Design Firm: Tiara Agency Client: University of Central Florida College of Medicine Title: VIBES Public Health Advertising Campaign Creative Director: Laura Rosenberg

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Topco Associates, LLC Client: Topco Member Stores Title: TopCare Honey Flavor DayTime/NiteTime Cold & Flu

Design Firm: Topco Associates, LLC Client: Topco Member Stores Title: TopCare Sport 100 Sunscreen Spray

Design Firm: Topco Associates, LLC Client: Topco Member Stores Title: TopCare Fresh Breath Oral Rinse POP Design: Neil Lorentzen

Design Firm: Topco Associates, LLC Client: Topco Member Stores Title: Full Circle Market Organic Cotton Swabs & Balls

Design Firm: UF Health Creative Services Client: University of Florida Health Title: UF Health National Hospital Week Campaign Creative Director: Selena Carter Art Director: Madelyn Hyder Designer: Madelyn Hyder Photographer: Betsy Brzezinski Writer: Madelyn Hyder Project Manager: Camee Marrow

Design Firm: Werremeyer Creative Client: Avid Health at Home Title: Avid Health at Home 90 Day Marketing Initiative Creative Director: Steve Hartman Art Director: Alison Trullinger Writer: Cordell Jeffries Interactive: Ken Zarecki, Josh Riley

Design Firm: Werremeyer Creative Client: Barnes-Jewish Hospital and Washington University Physicians Title: Curiosus Magazine, Volume XII, 2024 Creative Director: Steve Hartman Art Director: Allison Trullinger Designer: Cheryl Bonnett Illustrators: Abigail Goh, Audry Grant Photographers: Gregg Goldman, Tim Parker, Matt Miller, Katie Gertler Editor: Anne Makeever

Design Firm: Werremeyer Creative Client: Gateway to Hope Title: Gateway to Hope 2023 Impact Report Creative Director: Alison Trullinger Art Director: Alison Trullinger

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Werremeyer Creative Client: Pedal the Cause Title: 15th Anniversary Brand Video Creative Director: Cordell Jeffries Art Director: Steve Hartman Writer: Cordell Jeffries Director: Mark Halski Sound Design/Audio Mix: Tim Gebauer Production/Post: Halski Studio Creative Studio Music: electropolis

Design Firm: Woodse Creative Co. Client: Inimmune Corporation Title: Inimmune Corporation Website Redesign Creative Director: Elissa StanickWoods Designer: Elissa Stanick-Woods

Design Firm: Werremeyer Creative Client: The Gatesworth Title: the scene @ The Gatesworth Creative Director: Steve Hartman Art Director: Cheryl Bonnett Photographer: Gregg Goldman Account Strategist: Libby Wilson Editor: Anne Makeever

Design Firm: Woz Design, Hartford Design, Ted Stoik Client: Abbott Title: Abbott 2023 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 Writers: Joseph Daab, Ted Stoik

IS YOUR CREATIVE TEAM READY FOR THE AI REVOLUTION

By Lucy Marino

What if your graphic design team could double its output without doubling the workload? For many leaders, that’s no longer just wishful thinking — it can be a reality thanks to generative AI.

This exciting technology, which can create new content based on patterns it learns from existing data, helps designers work faster and smarter. From brainstorming to ﬁnal execution, AI tools are enhancing creativity while making the design process more efﬁcient.

Not sure where to start? Don’t worry. Generative AI tools like Adobe Sensei and Midjourney are designed to be user-friendly and intuitive, so you and your team can hit the ground running. Here’s an overview of how these tools are already transforming the creative industry.

AI: The New Design Assistant

Research from Robert Half reveals that 47% of marketing and creative managers are either using or planning to use AI for data analysis and reporting. This approach lets

designers quickly sift through massive amounts of customer data, campaign metrics and market trends, helping them craft more data-driven visual strategies.

But AI’s role goes beyond crunching numbers. In the same survey, 41% of managers said they’re using AI for content creation. For graphic designers, this means AI is helping with tasks like producing visual assets, composing layouts and sparking new ideas.

Imagine a designer working on social media posts for a product launch. Traditionally, they’d spend hours brainstorming, sketching and tweaking concepts. With generative AI, they can input a simple description or rough sketch and instantly receive several design options. These AI-generated concepts give designers a strong starting point, freeing them to focus on ﬁne-tuning and personalizing the ﬁnal product.

Generative AI is also helping brands stay visually consistent. Maintaining a cohesive look is often tricky for companies with multiple team members producing marketing

Lucy Marino is executive director of the marketing and creative practice at global talent solutions ﬁrm Robert Half, which connects employers with skilled marketing, creative, digital, advertising and public relations professionals to meet their specialized recruiting needs. Marino manages strategy and operations for the company’s marketing and creative talent solutions teams across U.S. locations.

materials. AI tools can analyze existing brand assets and recommend color schemes, typography and layouts that align with established guidelines, saving time and ensuring a uniﬁed brand presence across all visuals.

Upskilling: A Key To Developing AI Proficiency

As generative AI becomes increasingly prevalent in graphic design, it’s vital to help your team leverage these tools. Robert Half’s research shows that 52% of marketing and creative managers are getting the message, upskilling employees to bridge skills gaps. For your graphic designers, critical learning areas include:

1. Prompt writing for design generation — how to give AI the right prompt, or instructions, to create designs that match their vision

2. Tool-speciﬁc training for AI design software — how to use speciﬁc AI features built into design tools they already use

3. Ethics and AI in visual communication — how to use AI responsibly by avoiding biased outputs, ensuring originality and respecting copyright laws

Alongside formal training programs, encourage your team to collaborate and share their learnings. You could try fun initiatives like friendly competitions, where team members compete to develop the best prompt or design using generative AI — with a prize for the winner. It’s a great way to motivate the team and spark new ideas while everyone sharpens their skills together.

Hiring For The AI-enhanced Future

As teams continue to integrate AI into their daily tasks, hiring trends are shifting. Robert Half found that 69% of marketing and creative managers are rethinking the skills they need due to advancements in AI and automation. And 30% are bringing in contract or consulting professionals for AI projects. Among the hottest roles right now?

Graphic designers and web designers, both increasingly requiring generative AI proﬁciency. When evaluating candidates for these positions, here are a few things to look for:

• Portfolios that highlight how applicants have integrated AI into their design processes

• Experience using AI-powered tools like Adobe Fireﬂy and DALL-E

• The ability to strike a balance between AI assistance and human creativity

During interviews, ask candidates how they’ve used AI in past projects or plan to incorporate it into their workﬂow. This helps you gauge their speciﬁc technical skills and their ability to adapt to new technologies in general.

Overcoming AI Integration Challenges

While the beneﬁts of generative AI are clear, your team may show some resistance. Some designers might worry about losing their jobs, while others may be reluctant to learn new tools. Here’s how you can smooth the transition:

1. Provide clear “do’s and don’ts” on AI use within your organization

2. Encourage experimentation and learning from AI-assisted “failures”

3. Celebrate successful AI integrations to boost team morale

Above all, make sure your team stays focused on the main goal: using AI to boost creativity and get things done faster.

AI: Your Team’s New Creative Partner

Generative AI isn’t just changing how graphic designers work — it’s opening up new possibilities in visual communication. If you’re a creative leader, showing your team how to put this technology to work can give your company or agency a competitive edge.

Start by taking a look at your team’s current AI proﬁciency and ﬁguring out where they can grow their skills. Invest in training programs and look for new talent with AI expertise. Most important, create a culture that views AI as a tool to boost human creativity, not replace it.

The future of graphic design is here, powered by the perfect mix of human ingenuity and robotic precision. Are you ready to lead your team into this exciting new era?

ADVERTISER INDEX

GDUSA PRINT AND DIGITAL MAGAZINES

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GDUSA - Graphic Design USA is published 6 times a year, February, April, June, August, October and December. Address: 594 Dean Street, Suite 22, Brooklyn NY 11238-9996. Stockholders owning 1 percent or more: Gordon D. Kaye, 550 Vanderbilt Avenue, Apt. 201, Brooklyn NY 11238. Known Bondholders, Mortgages and Other Security Holders: None. Average number of copies for each issue during the preceding 12 months ending October 2024: 7,744. Paid and/or requested circulation a) through dealers and carriers, street vendors and/or counter sales: 0; b) mail subscriptions 6,712; total paid and/or requested circulation: 7,420. Non-requested distribution by mail, carrier or other means, samples, complimentary and other free copies: 235. Copies not distributed: 61. Total: 7,744. Actual number of copies of single issue published nearest the ﬁling date: 7,175. Paid and/or requested circulation a) through dealers and carriers, street vendors and/or counter sales: 0; b) mail subscriptions 5,913; total paid and/or requested circulation: 6,695. Non-requested distribution by mail carrier or other means, samples, complimentary and other free copies: 252. Copies not distributed: 228. Total: 7,175.

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