GDUSA September/October 2014

GD USA GRAPHIC DESIGN USA

28TH ANNUAL

STOCK VISUAL READER SURVEY SPONSORED BY GETTY IMAGES

GREEN DESIGN SPONSORED BY ROLLAND

HEALTH + WELLNESS DESIGN SHOWCASE SPONSORED BY ERICKSON STOCK

DIGITAL PRINT COVER CONTEST SPONSORED BY NEENAH

SEPTEMB ER | O CTO B ER 2014

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LETTER FROM THE PUBLISHER | WEEKEND AT BERNIE’S In an announcement that VIBE magazine was shutting down, a staffer commented that closure was no surprise since working there was like being in the movie “Weekend At Bernie’s.” That’s the film in which Bernie dies but the protagonists dress his cadaver and prop him up to look alive so they can attend a party at his beach house. Dark, but funny.

Most magazines still standing in 2014 are “Weekend At Bernie’s” productions. Lord knows I sympathize with what publishers are going through but, as I tell anyone who will listen — sometimes I get to address an industry group and sometimes I just line up my collection of Yankee bobbleheads — the key to keeping a print publication relevant is not to go limp. Rather, the key is to double down on the strengths and authenticity of print, and to do your darndest to deliver something to our guests (readers) that adds value. At the risk of sounding immodest, we at GDUSA are ever mindful of this goal. Today’s edition bustles with more and richer pages than ever of news, people, projects, ideas, commentary, ample reader participation, and features that shed light on the state of sustainable design, on new opportunities such as designing for health and wellness, on the untapped possibilities of digital print, and why designers use stock imagery and what that reveals GORDON KAYE IS THE PUBLISHER OF GDUSA Comments, suggestions and letters can be sent to gkaye @ gdusa.com.

about creativity today. At one point in the Bernie movie, a character asks: “What kind of guy invites guests to a party and then shows up dead?” We do not want to be that guy and, I am pleased to report, the bobbleheads are nodding in agreement.

MAYBE A SIGN

Needless to say, print publishers — newspapers, books, magazines — are under duress. I follow the publishing trade news closely, and there is nothing to laugh about.

Except last week.

Everyone’s favorite economist joke is credited to Paul Samuelson: “Economists have predicted 9 of the last 5 recessions.” Second favorite: “Why did God create economists?

To make weather forecasters look good.” Predictions about when the U.S. economy will finally break out have been likewise unsteady. (Remember Joe Biden’s 2010 “Summer of Recovery” tour? Remember Joe Biden?) Still, I detected a sign of economic resurgence the other day when Leo Burnett, owned by Publicis Group, acquired the 70-person Turner Duckworth design firm. Turner Duckworth is known for its branding for companies like Coca-Cola, Amazon, Visa, Google, Samsung and more. The motivation for an acquisition like this is simple but profound: graphic design is increasingly valued in business and society, commerce and culture. Pre-recession, that recognition triggered numerous acquisitions of accomplished design firms by larger entities. The process slowed in the bad times but perhaps this new transaction is anecdotal evidence of better times. Meanwhile, Bruce Duckworth’s rationale resonates: “With Leo Burnett, we see eye to eye about the importance of creative excellence, the growing impact of design on the brand communications world, and the desire to have a strong design voice on a global scale.”

HEART SHAPED WORLD In the last edition of our print magazine, I wrote about the challenge of humanizing design — making a human connection — in an era where the dominant media is cool and ephemeral and the audience is skeptical and jaded. I speculated that designers are pushing back by utilizing media that is real, tangible and sensual, and returning to processes that are customized and artisanal. Many of you saw this “pendulum swing” theory as plausible and optimistic, and others as magical thinking or worse. Meanwhile, several new branding projects suggest the opening of another front in the war on cold. I refer to the frequent use of hearts icon to convey a warm brand promise. In this edition, we report on Southwest Airlines’ adoption of a perpetual heart symbol; on Airbnb’s selfproclaimed “belo” symbol which connotes “a sense of belonging;” and CVS Health’s angled heart-shape that helps repositions the company as primarily committed to care.

The heart as an evocative symbol is hardly novel; it probably wasn’t when cave people painted it on walls. That said, at least for a moment, everything old is new again.

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CONTENTS | SEPTEMBER – OCTOBER 2014

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FRESH Lippincott pilots new Southwest look; Milt Glaser right on the button for climate change; Hershey kisses old logo goodbye; Golf Digest links with millennials; CVS Health is timely new name of pharmacy giant; Landor’s World Trade Center logo loaded with meaning; and lots more.

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PEOPLE Kim Brown Irvis joins Lutheran HealthCare; Eric Lindstrom combines veganism with creative communications; Jay Picard strategizes at Hornall Anderson; Kevin Grady goes global at Siegel+Gale; a goodbye to the colorful Deborah Sussman; and more.

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DIGITAL PRINT This summer, to give designers an opportunity to become better acquainted with digital print and papers, GDUSA collaborated with Neenah to conduct this special program.

Several hundred designers submitted proposed covers of GDUSA matched with one of Neenah’s rich variety of digital papers; you can see the judges choices here.

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STOCK SURVEY A rare consensus emerges in our 28th annual stock visual reader survey: society is more visually hungry and more visually sophisticated, and stock imagery grows because it feeds the beast. Getty Images is the exclusive sponsor of this annual event, and its Senior Vice President, Creative Content, weighs in on the meaning of the results.

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GREEN DESIGN This special report continues our practice of shining the spotlight on designers who exemplify the values of sustainability, in process or production or expertise in communicating a green message, or all of the above. This year, we found a more deliberate mindset which may well make green design a more sustainable business practice.

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HEALTH + WELLNESS GDUSA’s American Health + Wellness Design Awards™ competition honors first-rate graphic communication in

GDUSA - Graphic Design USA Volume 51/No. 5 September/October 2014 Kaye Publishing Corporation (ISSN0274-7499/USPS227020). Published 6 times a year with combined issues in January/February, March/April, May/June, July/August, September/October, November/December. Executive, editorial and advertising offices at 89 Fifth Avenue, Suite 901, New York NY 10003. Phone: 212.696.4380, Fax: 212.696.4564, www.gdusa.com. SUBSCRIPTION: Domestic, $72 one year. International, $140 one year. Periodicals postage paid at New York NY and additional mailing office. POSTMASTER: Send address changes to GDUSA - Graphic Design USA, PO Box 3072, Langhorne PA 19047. Permit #224.

this fast-growing and high-profile segment of the economy.

The inaugural winners showcase features 100 projects for traditional and non-traditional healers. Erickson Stock is just the partner the doctor ordered.

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THANK YOU TO THE SPONSORS ERICKSON STOCK Erickson Stock is a premier source for high-quality, emotional lifestyle stock photos and video footage. With collections including healthcare, business, travel, family and many other image libraries, they’ve got more ways to tell your story — through stills or video. Erickson Stock is the work of renowned assignment photographer Jim Erickson. Since its inception in 1993, Erickson Stock has been the vision of one man to capture the truth of the human spirit, moment by moment.

Images and video created out of passion, authenticity, and a high degree of artistic credibility are what set Erickson apart from its competitors. In that spirit, Erickson Stock is sponsor of the inaugural American Health + Wellness Design Awards. To see more, visit www.ericksonstock.com

NEENAH Neenah is recognized as a world-class manufacturer of premium writing, text, cover, specialty and private watermark papers.

Neenah is entirely focused on the premium paper market. The company is committed to producing only superior quality products and developing new technologies that meet the needs of designers, consumers, printers and merchants and ensure that paper remains a vital and vibrant medium of expression. This includes a rich variety of paper colors and textures for digital printing applications, and this helped inspire the 2014 Digital Print Cover Contest. More about this contest can be found on the cover outsert accompanying each copy of the magazine and in a feature story inside. To learn more about Neenah’s digital papers contact, www.neenahpaper.com/digitaloffering

GETTY IMAGES Once again, Getty Images sponsors our annual Stock Visual Survey. Getty Images is the world’s leader in visual communication, with over 170 million assets available through its premium content site www.gettyimages.com and its leading stock content site www.istock.com. With its advanced search and image recognition technology, Getty Images serves business customers in more than 100 countries. Its award-winning photographers and content creators help customers produce inspiring work which appears every day in the world’s most influential newspapers, magazines, advertising campaigns, films, television programs, books and online media. To learn more about how the company is advancing the unique role of digital media in communications and business, and enabling creative ideas to come to life, visit www.gettyimages.com

ROLLAND ENTERPRISES Rolland is back! This proud papermaker of 130 years, 22 with Cascades, is again an independent entity and with a new identity. Headquartered in Saint-Jérôme, Quebec, Rolland is a market leader in the production of specialty uncoated fine papers with the highest standards for environmental sustainability. It makes sense that Rolland is sponsor of this year’s Green Design special report: the Company produces fine papers with biogas energy and up to 100% recycled content for many sectors including the commercial, office, government and education markets. The text of this edition of GDUSA is printed on Rolland Enviro100 Satin, 60 lb. Text, a great choice for printing dazzling and colorful visuals. The paper contains 100% post-consumer fiber, is certified FSC, EcoLogo and Processed Chlorine Free, and is made using biogas energy. To learn more, visit www.rollandinc.com

GD USA GRAPHIC DESIGN USA

Gordon Kaye Publisher

ART & PRODUCTION Ilana Greenberg Creative Director Rachel Goldberg Production Director Jay Lewis Photography Lakshya Bommireddy Media & Design Intern

ADMINISTRATION & READER SERVICES Althea Edwards Accounts Manager Milton L. Kaye Competitions Jennifer Hoff Scott Sczcypiorski Internet Services Robert Kaye-Walsh Circulation

EDITORIAL Gordon Kaye Editor

ABOUT THE COVER Each year GDUSA spotlights designers committed to a “green” message. Aaron Weber has executed projects for Rainforest Alliance, Oxfam America, American Museum of Natural History, and more. Green Design starts on PAGE 56.

Sasha Kaye-Walsh E-News Editor Charlotte Kaye App Editor

ADVERTISING PHOTOGRAPH: ZACK MENNA

Ron Andriani Executive VP, Integrated Marketing + Business Development 201.485.8720 212.696.4380 randriani@ gdusa.com Gordon Kaye Publisher 212.696.4380 gkaye @ gdusa.com

COVER PAPER CREDIT The traditional coated cover of this edition of GDUSA is printed on FSC-certified Kallima Coated Cover C2S 8pt, part of the KALLIMA PAPER family of FSC-certified coated cover paperboard, proudly 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 significant cost savings to the customer.

Kallima’s trusted line of Coated Cover C1S, C1S Plus and C2S are well-known for their bright white surfaces. www.kallimapaper.com

COPYRIGHT 2014

BY KAYE PUBLISHING CORPORATION

FRESH | UNWRAPPING A NEW IDENTITY

HERSHEY PA The Hershey Company, known for its chocolate bars and dozens of other candy products, has refreshed its

corporate brand. A key element of the makeover is a new logo developed by Hershey Global Design, led by Senior Director Global Head of Design Ron Burrage, in collaboration with the Cincinnati-based goDutch design studio. New York’s Alexander Design Associates provided the custom typeface. The logo is built on the recognizable Hershey’s logotype but is a modern update that re-interprets the iconic shape of the Kisses product line. More broadly, the company is implementing a visual identity system inspired by the famous colors of its best known brands, including Hershey’s, Reese’s and Ice Breakers. The branding impacts all visual aspects of how the confectioner presents itself, from consumer communications to websites to office and retail interiors. The reinterpretation of the Kiss icon, stripped of its silver foil, set off a wave of negative reaction on social media by people who believe they see (God forgive us) a poo emojicon. www.thehersheycompany.com/newsroom

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FRESH | BRANDING DEFINES BARNARD BORDERS

NEW YORK NY Since its founding in 1889, Barnard College has been a preeminent liberal arts college for women. Following Poulin + Morris’ branding and graphic identity program for the College’s 120th Commencement, the designers have continued to work with the school on an environmental graphics, donor recognition, and wayfinding sign program for the 4-acre campus located on Manhattan's Upper West Side. The program includes a new crest interpreted in circular bronze and frosted glass prominently situated at the main entrances and secondary gateways. A large-scale bronze version is inlayed in brick pavement at the ceremonial main entrance of the campus while circular crests hang from perimeter gates of the campus perpendicular to the street, easily visible to passersby. Large-scale, two-sided, identification signs are displayed on each of the four corners of the campus, defining and establishing Barnard’s borders. www.poulinmorris.com

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FRESH | MONSTER THAT MAKES THINGS BETTER

NEW YORK NY The high-profile creative collective known

as Safari Sundays has adopted a new logotype and an icon prosaically named “Steve.” Chief Creative Office Damon Gorrie describes “Steve” as “a monster, wrong in all the right ways ... that changes everything it swallows into something better.” The mark takes the place of the original identity dating back to 2005 and is intended to reflect the essence of the firm — culture, collaboration, contradiction, adventure. Adds Gorrie: “Steve captures something truly unique about Safari Sundays – the collective impact that each and every one of us, our partners, our clients, our llamas and our dogs have on who we are as people and the work that we do — he inspires us to continually be better than we thought we could be.” Joint creative directors are Adam Walko and Simone Fabricius. www.safarisundays.com

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Š2014 International Paper Company. All rights reserved. Accent is a registered trademark of International Paper Company.

FRESH | SOUTHWEST LANDS NEW LOOK

DALLAS TX Lippincott, GSD&M, VML and Razorfish have collaborated to rebrand Southwest Airlines.The graphics focus on

a perpetual heart icon and the centrality of customer care. Lippincott led the identity refresh, GSD&M the advertising campaign, Razorfish the new digital experience, and VML the digital advertising. Steve Lawrence, a Senior Partner at Lippincott, and Lara Bridger, Group Creative Director at GSD&M focus on the importance of the heart symbol. States Lawrence: “With the new logo, Southwest has literally put their heart out there.” Adds Bridger: “Every time people see the Southwest heart design, there’s an opportunity to infuse it with meaning.” Helen Limpitlaw, director of brand communications for the company contends that “with this launch, we are celebrating what makes us different and better, and that’s putting our people and customers first.” In addition to printed materials, airport interiors and kiosks, the livery (airline industry speak for the exterior of the planes) will feature a color scheme that intensifies and repositions the blue and red stripes of the old livery and swaps out orange stripes for yellow. http://southwest.investorroom.com

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FRESH | MILT GLASER RIGHT ON THE BUTTON

NEW YORK NY Milton Glaser has turned his considerable attention to climate change with a campaign — It's Not Warming,

It's Dying — intended to convey a sense of urgency and replace euphemisms like global warming or climate change. On the Brian Lehrer Show, Glaser explained: “Either Earth is dying or it’s beginning to grow again. My preference would be that it was beginning to grow again, but for the moment I have no evidence of that ... There is no more significant issue on earth than its survival. The questions is, ‘how can anyone not be involved?’” Campaign posters and buttons feature a green disk representing Earth, with the upper half dark and lifeless. Glaser said that the disappearance of light helps crystallize the nature of the crisis. Buttons can be purchased on the campaign's website in sets of five to encourage sharing. http://itsnotwarming.org

STRIKING BALANCE BETWEEN TECHNOLOGY AND APPETITE APPEAL BROOKLYN NY Eatrageous is a new snack chip aimed at healthconscious Millennials, and is being positioning “as a cleaner, healthier, super crunchy chip.” With a patented Clean Cooking Technology and unusual tubular shape, the challenge for Ceradini Brand Design was to find a name, positioning and branding that could compete with the huge brands that dominate the category. David Ceradini and team sought to disrupt at every consumer touchpoint. This included creating a visual representation for the brand translatable across packaging as well as to all marketing materials and social media. “The package design became the focal point to communicate the brand’s unique perspective and is used as a canvas to tell the brand’s story,” says Ceradini. Eatrageous was selected for both the corporate and product name, while the large, round logo was derived from the tubular-shaped chip. Colored dots enhance the logo and underscore the tagline — “the new spin on chips” — as well as providing flavor color coding. To strike a balance between technical advancements and appetite appeal, Ceradini chose a satin foil metallic substrate with a tone-on-tone circle pattern reminiscent of the chip’s shape. The back of the package informs of a social mission: 5% of profits are donated to charities that fight hunger. http://ceradini.com

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FRESH | GOLF DIGEST LINKS WITH MILLENNIALS

NEW YORK NY Golf Digest’s new format is designed to connect

with millennial golfers, aged 25-34, while remaining relevant to the traditional 50-plus golfing crowd. Designed by Pentagram’s Luke Hayman and Rami Moghadam, the update gives the Condé Nast publication “a contemporary format that captures the excitement, energy and style of the sport.” That includes a heavier editorial emphasis on lifestyle content and a cooler, younger feel embodied by players like Jimmy Fallon and Justin Timberlake. To update the masthead, the designers looked for a font with ball terminals, and discovered Dala Moa — refined slightly for the purpose by the foundry that licenses it, Commercial Type — and which adds a playful touch. Overall, the redesign presents clearer navigation, a simplified front of the book, and greater use of infographics, marginalia and other details to grab attention, lighten the mood, and shake free of the image of golf as an old man’s pastime.

The Pentagram team worked closely with magazine creative director Ken DeLago and editor-in-chief Jerry Tarde on the redesign. http://new.pentagram.com

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FRESH | LOGOS WE LOVE

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1. The World Trade Center has a new logo designed by Landor Associates. It is said to be loaded with symbolism, from the abstract trident that recalls the base of the fallen twin towers, to the “W” letter shape, to the 17.76 degree angle at the top, and more.

2. This new logo for Airbnb is central to a massive redesign of its website and mobile apps. The company describes the symbol as evoking “friendship” and “belonging.” Many on social media see genitalia instead. blog.airbnb.com 3. CVS Health is the timely new corporate name for the national drug store and pharmacy chain. Siegel+Gale developed the identity and BBDO the advertising, which coincides with the ban of tobacco products on its shelves. www.cvshealth.com 4. The Cooper Hewitt, Smithsonian Design Museum re-opens this fall with a graphic identity. “Cooper Hewitt’s new identity plays it straight, with no play on visual or theoretical complexity, no puzzling contradiction or ambiguity, no distracting authorship,” says the logo’s designer Eddie Opara of Pentagram. http://new.pentagram.com 5. Pro bono AccountAbility Minnesota, a non-profit which provides free tax and financial services to low income taxpayers, is now Prepare + Prosper. Creative credits for identity and logo is Zeus Jones of Minneapolis MN. 6. Oxygen breathes life into its brand with a new logo and tagline, “very real.” The rebrand reinforces the network “as the destination for young female viewers.” www.oxygen.com

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PEOPLE | IN MEMORIAM PHOTOGRAPH: JIRO SCHNEIDER

DEBORAH SUSSMAN, who brought environmental graphics to

the forefront of design, died in late summer at the age of 83.

Paul Prejza, her husband and business partner, said the cause was breast cancer. Sussman started her own graphic design firm in the late 1960s, following years working for Charles and Ray Eames.

Already accomplished in traditional print and identity design, she made a distinctive mark working with architects on colorful supergraphics and signage for retail projects, the built environment, and public spaces. Sussman became internationally known after the Sussman/Prejza firm created striking graphics for the 1984 Los Angeles Summer Olympics; that work was included in Time Magazine’s “Best of the Decade” special issue and it proved a prelude to many large outdoor projects including: the identity for The Gas Company of Southern California; identity, exhibits and interiors for Hasbro headquarters; and wayfinding for Walt Disney Resorts and the cities of Philadelphia, and Santa Monica. There were also projects for Apple, Samsung, S.C. Johnson, the U.S. embassies in Berlin and the Hague, and numerous cultural and sports venues including UCLA’s Pauley Pavilion, the Museum of the African Diaspora, the NJ Performing Arts Center, and McCaw Hall opera house in Seattle. Born Deborah Evelyn Sussman in Brooklyn in 1931, she attended Bard College and the Institute of Design in Chicago, and then won a Fulbright to pursue studies in Europe. She and Paul Prejza were married in 1972. Sussman was honored with an AIGA Medal in 2004, named an SEGD Fellow in 2006, and inducted into the ADC Hall of Fame in 2012, and was the first woman to exhibit in the SVA’s Masters Series. (On a personal note, she was a GDUSA “Person to Watch” in 1987.) A popular retrospective of her work — “Deborah Sussman Loves Los Angeles” — was recently shown at the WUHO Gallery in Hollywood.

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PEOPLE | HONORS + PROMOTIONS

KEVIN GRADY is the global head of content and design at Siegel+Gale. He brings more than 20 years of design and innovation experience to the firm, spanning brand building,

RICHARD PALMER

corporate identity, digital, web design, advertising, editorial

CREATIVE DIRECTOR | LITTLE BIG BRANDS | NEW YORK NY

design and journalism. Grady was previously at IDEO, where he

Little Big Brands welcomes Richard Palmer as Creative Director

served as design director of its Boston office. Before that, he

to the New York design firm. He’s an industry veteran, having

worked at Crispin Porter + Bogusky, Mullen and Arnold World-

created work Coca-Cola, Procter & Gamble, Mars Pet Care,

wide. He has led many successful client engagements during

Unilever and SC Johnson, among others. Palmer joins John

his career, including GAP, Grey Goose, FAGE and Benjamin

Nunziato, Chief Creative Officer, in building the design and

Moore. Accolades include the Emmy-nominated “Singing Cow-

branding practice. An honors graduate of Norwich School of

boy” from the anti-smoking Truth campaign. Grady was recently

Art & Design, Palmer began his career at top firms such as

commissioned by the FDA to simplify the Nutrition Facts Label.

Landor, Sterling Brands, Anthem and Clark McDowall. Most

He was invited to the White House by First Lady Michelle Obama

recently, he served as creative director at structural design

for the unveiling, who described the changes as a “huge deal.”

firm Product Ventures, building the graphic design arm of

Grady also founded the award-winning pop-culture magazines,

the business. His work has been recognized by international

Lemon and Gum; through them he has interacted with influ-

design competitions and in major industry publications.

encers like David Bowie, Daft Punk, Jeff Koons, Ray Bradbury, Nancy Sinatra and Buzz Aldrin.

KIM BROWN IRVIS GRAPHIC DESIGN MANAGER | LUTHERAN HEALTHCARE | BROOKLYN NY Lutheran HealthCare names Kim Brown Irvis as its new graphic design manager. Brown Irvis comes to Lutheran from the KBI Design Group where she spent the last six years as freelance art director and graphic designer. Previous positions include art director for corporate projects with The College Board and varied freelance assignments with clients ranging from Fortune 500 companies to nonprofit organizations. In the new position, Brown Irvis provides creative concepts, develop creative ideas, and blend photography, imagery, charts, text, and multimedia elements together to create high impact collateral for Lutheran Medical Center, Lutheran Family Health Centers and the Lutheran Augustana Center for Extended Care and Rehabilitation. She has won numerous awards, including a gold and silver Addy, an Image Award of Distinction, and a GDUSA American Inhouse Design Award. In 2005, she was on GDUSA’s “People to Watch” list. She holds a BA from Pratt Institute and a certificate in advertising design and photography from Pratt-Phoenix School of Design. Lutheran HealthCare is a comprehensive medical and social support system based in Brooklyn.

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PEOPLE | HONORS + PROMOTIONS

ERIC C. LINDSTROM FOUNDER, THANKTANK CREATIVE, ITHACA NY

JAY PICARD VP OF BRAND STRATEGY | HORNALL ANDERSON, SEATTLE WA

Jay Picard has been promoted to VP of Brand Strategy at Hornall Anderson and, in the process, joins the Seattle office executive team. The promotion, says CEO and President John Anicker, is a reflection of his 15 years of agency management experience, through which he’s creatively developed brands and marketing, both locally and globally. Previously Director of Brand Strategy, in his new role Picard is responsible for both client leadership and leading a team of creative strategists with their eye on up-leveling their work. Throughout his career, Picard has worked with a variety of high-profile brands including Microsoft, Frito-Lay, Starbucks, HP, T-Mobile, and University of Washington. Picard says he enjoys understanding what makes people tick — how they live life, to develop impactful brand connections with them — and he is an avid Crossfitter, skier, traveler, and dog lover.

Eric C. Lindstrom has launched ThankTank Creative to provide expert business consulting, graphic design, and market planning for socially just, environmentally-conscious, and vegan companies. “ThankTank Creative ties together my two passions: creative communication with veganism,” Lindstrom said. “With my over two decades of experience in marketing small and mid-sized businesses around the world, ThankTank helps me better target and focus on what I believe in most: helping animals and the environment.” Through the company’s GiveBack8 program, 8% of every project cost is donated back to a participating not-for-profit organization of the client’s choosing including: Catskill Animal Sanctuary, Food Empowerment Project, New York Coalition for Healthy School Food, NutritionFacts.org, Our Hen House, Sistah Vegan Project, Tompkins County SPCA, and A Well Fed World.

DAVE RITTER DISCIPLINE LEAD-DESIGN, VSA PARTNERS, CHICAGO IL Dave Ritter, who joined VSA in 1998 is now Discipline Lead-Design. In the role, he leads VSA’s design team in delivering experiences for some of the most respected brands in the world, including IBM, Harley-Davidson, Caterpillar, Thomson Reuters and GE. He is responsible for the planning and development of projects that range from mobile applications to branded environments, and is said to be a driving force behind the culture, spirit and quality of the design practice and the work it produces. Meanwhile, VSA continues its growth spurt; Ritter is among five new partners. These include two new hires: Andrea Spiegel Partner, Client Engagement and Bob Winter, Executive Creative Director, along with three promotions: Jim Toth, Executive Creative Director; Jonathan Turitz, Partner, Client Engagement and, of course, Ritter.

26 G D U SA

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DIGITAL PRINT COVER CONTEST SPONSORED BY NEENAH

This summer, to give designers an opportunity to become better acquainted with digital printing technology — as well as digital papers that can enhance design projects and solutions — GDUSA conducted a special “Digital Print Cover Competition.”

THE JUDGES (LEFT TO RIGHT): GREG MAZE, ILANA GREENBERG, DAVID CERADINI

Neenah was a natural sponsor given its rich variety of paper colors and textures for digital print applications. Several hundred designers entered the competition, and two winners were selected based on their submission’s success in integrating design, production and papers. A dozen honorable mentions were also designated.

Just after Labor Day, the judges met to make the final selections at the trendy Brooklyn Collective. The three judges were David Ceradini, President, Chief Creative Officer at Ceradini Brand Design; Greg Maze, Neenah’s Senior Brand Manager - Digital; and Ilana Greenberg, GDUSA Creative Director. David Ceradini is a leader in branding and package design, a graduate of Pratt, and his award-winning Brooklyn-based firm has developed intelligent solutions that captivate the heart and motivate consumers on behalf of a world-class roster of clients. Greg Maze has worked in the paper industry since 1986, serving in managerial positions at International Paper and Neenah, and is an expert in marketing and in the use of premium papers. Ilana Greenberg is credited with revamping and reinvigorating the GDUSA brand, where she oversees print, online, app and social media activities. She is much in demand as a design consultant for corporate and non-profit entities.

ABOUT THE SPONSOR Neenah is recognized as a world-class manufacturer of premium writing, text, cover, digital, specialty and private watermark papers. Neenah is entirely focused on the premium paper market. The company is committed to producing only superior quality products and developing new technologies that meet the needs of designers, consumers, printers and merchants and ensure that paper remains a vital and vibrant medium of expression. This includes a rich variety of paper colors and textures for digital printing applications.

To learn more about Neenah’s digital papers contact www.neenahpaper.com/digital

28 G D U SA

THE TWO WINNING SELECTIONS ARE FEATURED AS TIP-ON COVERS ON THIS EDITION OF GDUSA.

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Design Firm: Origin, Houston TX Art Directors: Jim Mousner, Michelle Coffey Designer/Illustrator: Jairo Razo Paper: CLASSIC CREST® Cover SOLAR WHITE 100C (270 g/m2) 13.5pt | Stipple Digital

Design Firm: Barbara Kosoff Design + Illustration, Santa Monica CA

Origin is an interdisciplinary design firm specializing in brand creation and augmentation through a combination of digital and traditional mediums. Through nearly 20 years of service to clients of all types and sizes, Origin has built a reputation as a competitive force, benevolent influence and proud Houston-based studio. And, Origin credits the company's history of consistently maintaining a diverse, cross-cultural design team as key to success.

Regarding the cover design, being headquartered in Houston, which has a fast growing Hispanic population, everyone at Origin has been witness to the merging of Spanish and English speaking cultures, as well as the migration from traditional lithography to digital printing.

The unique ability of digital printing to facilitate cross-cultural communication — literally delivering a custom piece to every recipient “in their own language” — served as the inspiration for the winning entry. Origin designer Jairo Razo drew on his own cross-cultural origins to create the luchador who serves as an icon that is breaking down barriers and showing up in places that he is “not expected” and “doesn’t belong.” “In the process,” explains Associate Design Director Michelle Coffey, “he is taking GDUSA readers to new places they may have never considered before.”

Art Director/Designer/Illustrator: Barbara Kosoff Paper: STARDREAM® Cover QUARTZ 105C (285 g/m2) 14pt | Smooth Digital for HP Barbara Kosoff is an Art Director and Illustrator based in Santa Monica CA. After spending four years living and working in Paris, she sailed from the Seine to the Pacific where she merges a traditional European aesthetic with the sunny Southern California scene.

While she’s a digital diva, her interest in getting back to making art (sans le computer) led her to create the kind of paper assemblage you see in her cover illustration. Her whimsical approach has been featured in The Huffington Post, Los Angeles Times and Scientific American Mind magazine. She also exhibits her work at galleries throughout Southern California. When she’s not lost in color and collage, she can be found wandering the streets of Paris in search of divine inspiration, buttery croissants and dark chocolate. To view Barbara’s mixed-media work, please visit: Altpick.com/Barbarakosoff Kosoff’s inspiration behind the cover design came from a personal exploration of creating one’s own success and abundance. The garden is a lovely metaphor for cultivating that growth. With that idea in mind, she began to explore this through her usual way of working – taking images, found and photographed, and combining them with some oil bars. “Working intuitively,” she says, “I arrange and rearrange these until a story grows organically from it. People ask me if this is a self-portrait and, in some ways, I guess it is. My art is definitely a form of growth for me personally, artistically and spiritually.”

G D U SA 29

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30 G D U SA

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32 G D U SA

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28TH ANNUAL

STOCK VISUAL READER SURVEY BY

GORDON KAYE

36 G D U SA

DESIGNERS TURN TO STOCK TO FEED

VISUAL HUNGER There are many reasons why stock visuals have evolved from marginal to mainstream to essential as a creative resource. GDUSA has documented this phenomenon for nearly three decades. But rarely has there been such a clear articulation by our readers as to why this trend continues. In our 28th annual reader survey, a consensus emerges: society and business have become more visually hungry and more visually sophisticated, and stock imagery provides a vital lifeline for creative professionals who must keep up with this burgeoning demand.

Of course, the increasing dependence on stock visuals also relies on a robust supply: it helps that the great stock visual providers have stepped up their game with more and better offerings, more efficiently searchable and deliverable, and at more price points to help meet this demand. This abundance is not necessarily a positive for individual stock image providers, who face intense competition and the challenge of differentiating themselves. But for creative professionals — the GDUSA audience — rarely has there been such a confluence of a product and its times.

SPONSORED BY Getty Images is among the world’s leading creators and distributors of award-winning still imagery, video, music and multimedia products, as well as other forms of premium digital content, available through its trusted house of brands, including iStock® and Thinkstock®.

With its advanced search and image recognition technology, Getty Images serves business customers in more than 100 countries and is the first place creative and media professionals turn to discover, purchase and manage images and other digital content. Its best-in-class photographers and imagery help customers produce inspiring work which appears every day in the world’s most influential newspapers, magazines, advertising campaigns, films, television programs, books and online media.

Mark Getty and Jonathan Klein founded Getty Images in 1995 with the goal of turning a disjointed and fragmented stock photography market into a thriving, modernized industry able to meet the changing needs of visual communicators. It was the first company to license imagery via the web, moving the entire industry online.

For the stories behind our content and our technology, visit Getty Images InFocus at http://infocus.gettyimages.com/.

Find us on Facebook at www.facebook.com/gettyimages and Twitter at https://twitter.com/GettyImages.

G D U SA 37

STOCK VISUAL SURVEY | EIGHT TAKE-AWAYS

STOCK SATISFIES A HUNGER

SAME PROJECTMULTIPLE CHANNELS

CORNUCOPIA OF CHOICES

ROBUST RISE IN SUBSCRIPTIONS

A POSTSKEPTICAL ERA

DESIRE FOR CONTROL

CAMERA PHONES + CROWDSOURCING

LOSE THE THUMBS UP

The results and commentary generated by our 2014 annual survey can be reduced to a handful of key take-aways about the present and future of stock visuals for design.

Based on more than a quarter century of covering this topic, here are my observations.

1. STOCK SATISFIES A HUNGER In 2014, the world is an image-centric place and stock visual use has evolved into an essential designer resource. You can name the reasons why audiences are more visually demanding — easy access to multiple media comes immediately to mind — though the complete answer is above my pay grade. To call stock visuals “essential” was once controversial. No longer. If you simply look at frequency of stock visual use, it is hard to argue

ing clients and digital workflow that now shape the graphic design business. Throw in all the improvements in how stock is developed, searched, licensed and distributed, and the result is a cornucopia of choices at a broad spectrum of prices delivered by an increasingly fluid and responsive infrastructure.

3. A POST-SKEPTICAL ERA Stock has achieved legitimacy. It is a widely accepted, largely

otherwise. As a practical matter, frequency is at an all-time,

appreciated and often preferred source of imagery. This may not

record-breaking, once-unimaginable level. Nearly every designer

be news to a new generation of designers, but it is stunning in

uses stock visuals in his or her work, and it is not unusual to

the broad historical sweep. For years, stock visuals were the

utilize several images in a project and hundreds over the course

subject of stigma, suspicion and skepticism, even as usage

of a year. This year, for the first time, our survey finds that two-

consistently grew. Now we are in the post-skeptical period.

thirds of designers use stock imagery more than 20 times a

Stock providers are perceived as helpmates who make it possible

year and one-third use stock imagery more than 100 times.

for creatives to work smarter and stay balanced on the tightrope, as gracefully as possible, that is the creative business of today.

2. A CORNUCOPIA OF CHOICES Stock visuals provide a meaningful option for creative professionals because the central value proposition — choice, accessibility, convenience, affordability, breadth and depth of content — dovetails perfectly with the intense demand for more imagery.

This is especially true in the context of the tight budgets, short turnarounds, challenging assignments, multiple media, demand-

38 G D U SA

Indeed, given the current proliferation of amateur photography, some designers now laud stock photography as a defender of the faith. This change in attitude has also tamped down on the once-raging fear of oversaturation and duplication, and what it would do the creative soul. Concerns about exclusivity and originality still exist but, based on the spirit of this year’s survey, not so much. Not everyone loves stock, but everyone gets it.

4. DESIRE FOR CONTROL Given the importance of stock imagery in the creative and budgetary process, it is no surprise that designers want to control the decision as to source, image and method of license. More than eight-in-ten designers say they do so, while a mere three percent disclaim any role. The primary reasons for selecting a particular stock provider? Price, quality and searchability remain at the top of the pyramid. Search methods are a particular area of interest to our readers: improvements in this area get a particularly loud

designers license rights managed as part of the mix because of perceived advantages in originality, distinctiveness, depth and personality. And Creative Commons licensing, in which copyright owners can grant content creators the right to use images for certain purposes and under certain conditions, is an interesting innovation and registers a small but growing number of users.

7. CAMERA PHONES AND CROWDSOURCING This year, the insatiable hunger for images gives rise to a lively

shout out from the survey respondents. So, too, do concerns

debate about the place and value of camera phones and crowd-

that search methods need to be tweaked to keep up with the

sourcing as sources. Let’s be clear: the vast majority of creatives

flood of imagery on the market. From what devices do designers

say that these tools have absolutely no impact on their work

search for imagery? Desktops and laptops largely still hold sway

because they lack the quality, discipline, and deliberateness

versus hand-held devices.

that characterize the professional design process. For most creative professionals, case closed! Still, the survey reveals a

5. SAME PROJECT - MULTIPLE CHANNELS The subjects for which stock is utilized and the media in which imagery appears continues to expand. The perennial subjects — people, business, concepts, lifestyles, technology — remain popular. But many categories are now in demand, reflecting a constantly evolving economy and culture: for example, multicultural/ethnic images, education and healthcare recently joined the top ten most licensed categories. In the 2014 survey, more than two dozen identifiable categories register significant activity.

As for media options, it goes without saying that creatives today work in and across multiple channels. Print remains the number

growing band of contrarians who contend that: the quality is adequate in most cases, especially for social media and blogs; content can be fresh, friendly, democratic and timely; the output represents a new kind of art form; and clients like this approach because it enables them to participate in the process by supplying ideas or images. Will user-generated imagery become a meaningful source of imagery in a professional context? I urge you to read the thought-provoking comments on point later in this special feature.

8. LOSE THE ‘THUMBS UP’

one medium for stock use at 96 percent. At the same time, stock

What more do creatives want from stock visual suppliers? Lower

licensing for online design — websites, digital, mobile — con-

prices, lower prices and lower prices. Duh. Beyond the obvious,

tinues to soar, topping 80 percent for the first time in this

ideas fly fast and furious. At the top of the wish list is greater

year’s poll. Other applications, running the gamut from point-

diversity in collections in terms of race, ethnicity, gender, work-

of-sale and packaging to television and film also make their

place and lifestyle. Conceptually related, creatives also want to

presence felt. Nearly two-thirds of survey respondents say that

see more realistic and edgy people and situations, especially in

the stock images they license are used across multiple channels

lifestyle and workplace shots. That means, they say, fewer “shiny,

for the same project. Licensing an image for single channel use

happy people,” lose the “thumbs up” models, and lighten up

is diminishing.

on sexually suggestive shots. As noted above, better search is on many a mind. Here the suggestions are many and varied,

6. ROBUST RISE IN SUBSCRIPTIONS Considering the various methods of licensing, today’s survey reaffirms that royalty free dominates the creative marketplace.

Fully 94 percent of designers use royalty free images, more than 80 percent tap royalty free microstock, and a majority engage exclusively in royalty free licensing. One business model — subscriptions — seems to resonate this year. Awareness of subscription options is high and those actually purchasing one —

and include better keywording, tagging, filtering, presentation of results, comping options, and the like. But it all boils down to this: the abundance of available images can be overwhelming and users need more help finding the right solution. Can there be too much of a good thing? Perhaps. On the other hand, one designer, when asked what stock providers should do better, spoke for many: “I am thankful. Used to be a desert. Now, it’s a candy store!”

often more — rises to a robust 70 percent. It is important to note that, despite the obvious appeal of the royalty free model, two other licensing methods show life. Rights managed collections remain viable when they add value. More than one-in-three

G D U SA 39

WHY HAS THE USE OF STOCK VISUALS BECOME SO FREQUENT AND COMMON? It is the “norm” that clients want more visual punch for the designs we do for them now, but they are not willing to pay for truly creative design. It seems they want the more dynamic visual

Stock visuals allow us to visually represent ideas better than ever, ideas that we would not easily be able to communicate without the robust offerings that stock agencies offer now. Sometimes it feels like the stock photographers can read our minds and have the visuals of our ideas before we even know what we are looking for!

look of added imagery, but do not value the cost they’d incur if we did the creative work. So we use stock photos and illustrations to bridge that gap. We constantly have to warn clients against just grabbing an image off the internet. There’s a shift in the public’s value for original work. They see so much online, visually, constantly. There’s a perception that it’s very easy to be creative now. Pure imagination is a commodity — and has been devalued by the massive visual electronic onslaught that one is exposed to on a daily basis.

More and more is being put on creative’s plates, a lot of times there is not sufficient time to create icons and illustrations or set-up a photo shoot. That is why stock is so useful. Only on larger scope projects do I have the ability/time to customize one of a kind art.

People expect compelling images in ads, brochures, and documents. You can’t go everywhere to get original photos. I use a lot

RON SANSONE Director of Creative Business, Tru Events

of vector art so I can change it to fit a specific need or combine it with other pieces to create a scene or situation. Photos are the norm now but I think that the public is going back to art

Customers and companies are more savvy and more aware in regard to marketing and design. A brochure built in Word with snapshots won’t work even for the smallest businesses any more.

Stock is a way for anyone to achieve a polished look regardless of resources. More people are familiar with stock sites. Clients will often do searches and suggest images for projects.

(vector and illustrations) for infographics and many ads for the fresh look and ability to meet racial demographic needs.

Imagery is used much more in every communication today so the contemplation of and investment in imagery has changed over the last decade. At the same time, the quality of stock has improved such that larger campaigns can carry imagery that

The immediacy of the industry has made the use of stock imagery practically a necessity; this has, in turn, affected the availability

feels more distinct that was possible in the past. Last comment is that the work I do today is much more global and the feasibility

of imagery since there are now thousands of amateurs and professionals willing to share and/or outsource their photography or vector creations almost instantly.

40 G D U SA

HOW OFTEN DO YOU USE IMAGES OR FILES DURING THE COURSE OF THE YEAR? 1-5 TIMES

6-10 TIMES

11-20 TIMES

21-50 TIMES

51-99 TIMES

100+ TIMES

8%

9%

14%

22%

14%

33%

of shooting custom is lessening, especially for applica-

photography today is better than it was even 10 years ago. Lifestyle,

tions that are more perishable. Having said all that, for

movement, freshness and action are compelling and pleasing to look at. To

really important and major campaigns, we aspire to use

use those types of images within a campaign can really help sell the ideas.

custom imagery of some type.

The quality and availability of stock visuals is really improving. More As the world learns that good design is important, the

providers and more creative photographers makes the field stronger all

use of stock imagery became more of a focus to the

the time.

general public. Also, being a photographer as well, I have found that clients want cost effective alternatives

Stock is just more accessible. The libraries are larger and the images are

and are not usually willing to pay for custom photo ses-

better quality. People are catching the “stock buzz” more rapidly.

sions unless absolutely necessary.

Better for a million reasons. Quickly search for a subject and get 1000s of

It’s the economy stupid!!!

choices. Helps with brainstorming ideas. Quickly give a client multiple

I would not say the rise of stock imagery is due to bet-

them to a stock photo website.

choices. My clients don’t steal images off of the internet once I lead ter quality, I have been doing this for 8 years and the quality seems the same. I would say the rise is due to:

Stock visuals have matured into a source of near-instant gratification due

working conditions, employees expected to do more

to the shear volume of images and resources to search for them.

with less and on a quicker timeline; and the ease of searching and purchasing stock imagery.

Lower budgets and greater demand for visualization has forced art directors to only consider stock over commissioning. Better in selection and accessibility via

The use of stock visuals have become so frequent primarily because of price. Creative projects today not only have tight budgets, but they also must work across multiple channels, but still within the same budget requirements of traditional print or advertising. This forces much of the capital investment to be spent on production and less on creative.

web sites, worse in the swill that you have to wade through to find the right image.

Heavy workload and minimal staff. We never use stock visuals straight from download, they are always altered

DO YOU OR OTHERS IN YOUR COMPANY USE STOCK VISUALS IN YOUR WORK?

in some way. Definitely today’s stock is better than in the past. Much more creative, and more competition keeps the variety high.

Both quality and price has helped. We live in a era of shrinking budgets and expectation of a quick delivery.

The advancement of digital cameras, the internet and the willingness of clients to sacrifice a bit of unique-

96% 84% 27% STOCK PHOTOS

STOCK ILLUSTRATION

STOCK FOOTAGE

ness to deliver their message quickly and cost-effective has created a perfect storm for the rise and demand of stock images.

Photography has ramped up in the last few years. With

FOR WHICH TYPES OF MEDIA DO YOU LICENSE STOCK IMAGERY?

the increase of smart phones applying filters and effects, everyone is a mobile photographer. The photos I look for fit the same look, but that have a higher quality. Stock

94% 81% 53% 14% PRINT

DIGITAL, ONLINE + MOBILE

POP + PACKAGING

TV, FILM + VIDEO

G D U SA 41

WHY HAS THE USE OF STOCK VISUALS BECOME SO FREQUENT AND COMMON? As an inhouse creative department for a nonprofit, we are very

good price it is hard many times to justify the time, effort, and

resourceful in our spending. We do take our own photographs,

money involved in commissioned work.

but it’s a fine balance between our own and stock. Most of our work is high quality, but produced quickly and efficiently. New

The internet has opened the floodgates to designers and has

inexpensive subscription services are perfect for our needs. The

enabled anyone the ability to self publish, Photography is now a

business of stock photography has come a long way since rights-

commodity to be bought and sold like apples and oranges. In the

managed only photos. I’ve been in this business for 25 years and

past (the Jurassic Period), a designer would collaborate with a

where I am currently, it’s a perfect fit.

photographer to develop a concept. Now concepts can be cherry picked off the sale rack like some cheap overstock. Creating

Stock images have provided budget flexibility for my clients and

today is a matter of finding puzzle pieces that fit together.

myself. Although some challenges come with finding a specific

Creating yesterday meant truly starting with a blank sheet of

image, the industry today provides imagery that is more affordable

paper. The industry has changed. Technology makes it easier to

and still creative.

create faster and quality isn't necessarily a goal anymore. Fastest to market is. Sad truths.

The average designer is juggling multiple projects but taking time to take your own photo or draw your own illustration has time

People’s attention spans are getting shorter, need solid visuals

constraints. Stock visuals allow one to meet tight deadlines. Stock

that tell your story fast.

quality is about the same, except there are more illustrations and videos available.

Stock visuals have been a major part of design for several decades now. If there is an increase in frequency it is due to an

The ease of access to photography is why stock has become so

explosion of freelancers and even weekend designers with easy

frequent and common. Everyone has the ability to become a

access to the same bounty of images that might previously been

photographer — whether you have a digital camera, smartphone

difficult to get. The diversity of images has plateau’d in the

or professional camera - and designer. Also, project deadlines

affordable image arena. The trade-off, rightly so, is the more

and budget don’t always allow for a custom photo shoot. The

unique the image the more you pay.

amount of photos has grown, giving us more options, but with the increase in photos, there is a lack of originality.

Today’s stock is much better quality and the quantity of image options is greater. You once had to buy images on stock disks,

The use of stock photography has become so frequent because

have a photographer come in to shoot images, both cost a small

of the rapidly changing trends in design. Stock imagery has def-

fortune. With stock images available via the web, the ease and

initely become better than in the past, mainly because there are

lower cost makes is an affordable option for all business sizes

so many talented people out there who learn from what they see

and types.

and enhance and grow from that.

Digital photography has made the art of photography more attainable to the masses — you don't have to spend a fortune to get decent equipment anymore. More photographers equals more photos. More photos equals more competition. More competition equals lower prices. With copious amounts of stock visuals at a

42 G D U SA

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WHY HAS THE USE OF STOCK VISUALS BECOME SO FREQUENT AND COMMON? Today's stock is definitely more affordable, but I wouldn’t say

In the past stock may have been more consistently high quality,

it's better. More readily available and more to choose from, but

but you were more constrained to the photographer's ‘vision'.

not always better stuff. A lot of it has really “cheesy” qualities.

Now stock can be more responsive to needs and trends. I do

In a word: convenience. Oftentimes it’s a lot easier (and afford-

lot of stock ends up looking the same. A few sites are coming

think there is a bit of a backlash against this, though, since a able) to sit down at the computer, search and find an image than

up to allow clients who want to invest a little more but don't

it is hiring a photographer and preparing for a shoot. But even

have custom-shoot or rights-managed budgets to get a look

with that type of convenience, there are situations and projects

that is more exclusive/fresh.

that call for that type of specialized, almost artisanal, photography. And it’s well-worth the time and effort involved.

The profusion of affordable, high-quality digital cameras has allowed more people to enter into the field without a formal education or an agency to supply equipment. There is far more

WHAT IS YOUR ROLE IN THE LICENSING/PURCHASING PROCESS?

stock available, and you can purchase royalty-free on an imageby-image basis without having to purchase an expensive stock CD that may only have one or two images you can really use.

Even small businesses and individuals can afford quality

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imagery. This also means there’s more poor-quality stock pro-

14

portional to the past, but due to sheer numbers it’s easier to

%

3%

find a good image that hits your price point. Another drawback, though, is that the best microstock images tend to get used

SECONDARY DECISION MAKER

PRIMARY DECISION MAKER

NO ROLE IN DECISION

over and over again. More people are looking for low-cost ways to achieve an individual look.

At our university, we have over 120 areas of study. Our one photographer can’t get pictures of everything.

DO YOU LICENSE . . . ?

Time saver. Honestly, I don't know how they did it before the

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%

internet.

38

%

5%

In these times of tight deadlines the quick access is mostly why we use stock photography, and it has improved over time.

ROYALTY FREE

RIGHTS MANAGED

CREATIVE COMMONS

It’s all about the efficiency of technology. 20 years ago, you received a big thick catalog from Corbis or Getty Images and

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had to request the image to be sent to you on a slide, through the mail. Low res comping images later evolved to CDs. Today, you login, download dozens of comping images within minutes and you can start working right away.

LICENSE VIA A STOCK SUBSCRIPTION

LICENSE VIA MICROPAYMENT

Actually, at our company, the use of stock visuals has declined.

Hiring photographers and videographers has been our M.O. during the past 3 years as it leverages our differentiation from our competitors.

44 G D U SA

Every designer needs a stock image resource. The advances in

The ability to find historic photos and public domain images

photo technology along with affordable pricing for such allows

has become much easier in recent years. Other than nature

for so many varieties of images becoming available on the

photos and historic imagery, I generally find it hard to find

open market.

images to suit projects that I work on. Generally there is no budget for stock images for most of the projects I work on,

For my company's needs, the biggest improvement in today's

other than the occasional film where stock images would be

stock is the ethnic and gender diversity that didn't exist ten

appropriate for set dressing pieces, in those cases the art

years ago.

department usually has a shared stock account for a set amount of downloads per day.

It is easy to convey to a client an image using stock. There is much more stock available, but people are using more stock.

The unfortunate thing about stock is the overuse of particular images and the “cheesy” factor of many of the images.

Like $1 pizza, it's fresher because there is such a fast turnover.

There seems to be more variety of stock. We use more stock photos because of the timing to get our own photography completed and the cost to stage a shoot. We can often get what we

MAIN REASONS INFLUENCING YOUR USE OF A STOCK VISUAL SITE/PROVIDER?

need or close to what we need with work being only to seek, not recreate.

Clients prefer the pricing. It has become more difficult to convince a client to fork over the money for higher quality images, and forget about using a local photographer anymore — unless it is just company head shots.

WHAT SUBJECT/CATEGORY DO YOU USE MOST FREQUENTLY? |1| |2| |3| |4| |5| |6| |7| |8| |9| |10| |11| |12| |13| |14| |15| |16| |17| |18| |19| |20|

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We’re looking at three factors. Budgets are ever tightening which precludes assignment photography for most small-to-medium sized clients and projects. An explosion of royalty-free images is making it easier to find what you need or can adapt, within your budget. Also, the democratization (to put it nicely) of design is a boon, especially for accessible, usually microstock providers.

Computers have enabled “everybody and their brother” to become “designers” and the internet put the stock tool in their hands — whereas years ago, it was primarily those in an agency environment with access to the big books and CDs. The upside (and a downside, with the risk of devaluing photography) to all of this is that, yes, quantity does mean you can find affordable quality.

G D U SA 45

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WEDNESDAY, OCT. 22ND AT THE ALTMAN BUILDING

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WHAT IMPACT ARE CAMERA PHONES AND CROWDSOURCING HAVING ON YOUR USE OF IMAGERY IN PROJECTS FOR CLIENTS? Graphic design is becoming increasingly “commoditized” by

I'm conflicted when it comes to crowdsourcing.

It makes me leery as a creative professional.

It's a slippery slope that endangers us all by possibly lowering the bar, amateur-izing "quality" and creating a new norm where our skills aren't worth paying for. But, conversely, isn't encouraging everyone to express themselves creatively and to see the world as full of compelling images a good thing? That can reveal wheat among the chaff? That said, crowdsourcing is something I'd make use of sparingly and selectively. As for camera phones, digital photography period, we're taking and using more of our own photos.

It's pushing us to learn more about photography and gives us more control within the often frustrating confines of budget.

online printers and consumer-level software that creates simple logos and avatars for small business users. Same with camera phones. I have found that this convergence of low level consumer empowerment with high level tech toys reaches even the "C" Suite of some companies, so that the President is insisting that you use his great vacation shot of Tahiti in their brochure.

It is frustrating to deal with sometimes.

Some impact, mostly for ideas. Camera phone quality is getting better. Lucky shots happen with the every day phonetographers but with experienced photographers and designers, higher chances of quality pics and better results are received.

Camera phone images are rarely of adequate quality for use in professional media.

Reverse quality effect: stock is higher quality in terms of image and composition than what clients self-shoot with camera phones.

TRACY LEVITZ Art Director, Adverteria

It is easier in a digital project to take a smart phone shot, especially for a blog post or something that will have a quick view or turnaround time. Smart phones are set into our daily

Phone photography enables everyone to show you what they

lives and has become part of the design process.

think and image should be — now your client has a tool to snap photos all day and they like to share them. Sometimes this direction is priceless and helps jobs flow rapidly from concept

No impact. I think crowdsourcing is the anathema of design.

to completion.

A good photographer is an artist, and their tools do not have a None, really. I don't care to use most images shot by non-

big impact on what they can produce. Great photographers can

professionals. It's not that they can't get lucky with a great

get great images on camera phones.

shot, I'm more comfortable for our brand with quantifiable, professional level work.

Camera phones should not be allowed to take pictures for design.

They should only be used for social media and personal use.

I always strive to push my clients to provide higher quality imagery as it could compromise their brands standards.

Clients will often send or cite imagery they like from friends or associates that they snapped on their iPhone. It’s hit-or-miss whether they are worthwhile; more miss than hit. It’s my job to

Generally, I do not use these kinds of images, especially for

show them that professionally sourced imagery is better.

high and middle types of projects — ads, brochures, collateral,

Especially when it comes to acquiring rights for images.

websites. If and only if the feel of the client or project is crowdsource-y casual, I may adapt the camera phone look. Very rare.

A lot of the subject matter of our photos requires media releases.

We have not taken the leap into crowdsourcing.

48 G D U SA

Cellphones allow for a different type of image to be available. A

Camera phones have turned everyone into a photographer! If

“street” point of view or what is perceived as a non-staged candid

the client is creative minded and the photos are good, that a

photo helps to convey a more inclusive and welcoming message.

plus. But if they are bad, how to you tell the client tactfully?

That is the main problem with camera phones...

Camera phone = bad quality, should not even be considered.

Our design studio is half print and half web. We need high res I have used phone images for projects, mostly for lifestyle shots.

for print; have not used cell phone imagery for print due to quality/size issues.

Camera phones and crowdsourcing enable creativity to surface.

Some groups have used this method, shared their case study.

With a good strategy, a plan could prove valuable for the specific result needed.

Camera phones have become a vital tool in capturing informa-

Quality of camera phones, though improved, does not improve the quality of the image taken by someone who does not pay attention to lighting and composition. Plus people like to shoot vertical images when the web is primarily horizontal in most cases.

Huge impact. The need for professional-looking imagery has

tion, concepts and ideas quickly that can be shared over a net-

given way to the candid shots that make the products/images

work with a creative team, as well as the client. The images are

look accessible and affordable. Also, many clients don’t want

rarely used for the final execution, but they are critical to the

to pay for professional images and are very happy with having

development process.

photos taken on these devices or by non-professional photographers. The bar has been drastically lowered.

Some photographic apps really deliver some very cool images. I love the surprise aspect of playing with the filters. Have the smartphone with me always, really gives me a chance to snap a decent photo if I happen to see a great opportunity. I don't

Camera phones now are able to take good quality pictures and are also seen as sort of a new “art form.”

always lug the camera around with me. Just a greater opportunity to be creative.

They bring down the overall quality level. Clients often try to supply phone photos whose quality and resolution are often lacking.

There are two areas where I have seen the impact of camera phones. One is during conceptual development. It’s far easier to mock up an intended shot with a camera phone so camera phone shots are a better bridge to custom imagery. Clients today can't read or interpret old fashioned comps so shooting

People want authentic and believable images that speak to what is happening now in the world. Many stock assets look fake, posed and dated. This is why agencies look for User generated content to connect to their audience and be believable.

FPOs enables us to get easier buy in and to help us sell the

I’ve actually been able to use my own photos taken with my

idea of a custom shot. When we use placeholder stock images,

iPhone for some client's projects in the past, which allowed for

more often than not, the client ends up using that whether or

a more creative and budget-friendly option for both the client

not it's the best solution. When it comes to finished work, I

and myself as a designer.

think it affects video more so than print or online. Where I work, the use of amateur footage is pretty much limited to

Only impact is that legal hates these type of photos ending up

internal video needs which makes sense.

on our blog or social media sites. Everything shared has to be approved and monitored.

Camera phones are the sketchpads of today. I can snap something for inspiration and capture it to refer to when developing an

They have not had an impact, yet anyway. Occasionally a client

idea. In some cases the candid nature of personal snaps is the

will offer up an image taken with a phone, but so far I have been

street art that becomes lifestyle and represents the audience

able to show the quality difference — sharpness and noise,

you're aiming at. I've seen it in film too. A different world today.

and have dissuaded usage.

G D U SA 49

HOW CAN STOCK VISUAL SITES/PROVIDERS SERVE YOU BETTER? Stock visual providers are generally doing a great job right now. Of course we can always use more and better kick-ass visuals, but that goes without saying. I’m pleased that most

As long as providers continue to improve the selection and hone the ability to search their stock, I'll be happy!

stock companies are now offering photographers, designers and illustrators a simple way to add their own work to the stock catalog, sort of a symbiotic relationship where we all might get a shot at making a little money.

Keep adding to their inventory.

We’re always looking for something fresh and new.

Price. Always a challenge. That's more a reflection of the client's needs though … truly, there's such a treasure trove of image providers out there, that I am thankful! Used to be a desert! Now, it's a candy store worth of great visuals! Hard to choose sometimes!

Better keywording/tagging of imagery. Of course, great imagery comes first but what good is it if you can't find it? I look at

CHUCK GROTH Groth Graphic Design St. Louis, Missouri

thousands of images a day and I see 20% - 40% properly tagged images that are appropriate to my search.

We look for photos that do not look staged. Also need more diversity in women. It’s really hard to find a good photo of

I’d like to see blanket coverage for every media source. All territories, all media. No legal squabbling over an image that

women in the work field.

book, it can be used on media that hasn't been invented yet.

Stock sites can offer promotions and advertise them more broadly.

Sometimes less is more. While quantity is a good thing, quality

Have more ethnically diverse subject in the photography and

still reigns.

do not have everything look so silly or friendly ... emotions other

I won’t know how it's used in 10 years. If it was bought for a

than humor/mirth do exist. If I need a picture of someone who

Keep doing what they are doing.

I couldn't do my job without them!

is angry, I need a picture of someone angry; or someone just serious and contemplative that what I need … not play acting.

Provide better search engines is by far the number one issue.

There should be more diversity and higher quality shots.

Diversity, diversity, diversity. It is so important now to see a mix of races and cultures interacting in all fields.

DO YOU LICENSE IMAGES FOR USE IN A SINGLE CHANNEL OR ACROSS MULTIPLE CHANNELS FOR THE SAME PROJECT?

50% MOSTLY MULTIPLE CHANNELS

50 G D U SA

31% MOSTLY SINGLE CHANNEL

19% HALF AND HALF

HOW CAN STOCK VISUAL SITES/PROVIDERS SERVE YOU BETTER? I want to see real people portrayed in real environments. We

More diversity and more seniors doing every day things and just

need more selection when it comes to minorities, older individuals

having conversations, looking real not posed, not stock-ish and

and different cultures. Perfect teeth, sexualized glamour shots,

not just yoga in the park.

and smiling 20-year old business executives giving a thumbs up gesture are a waste of everyone's time. Wouldn’t it be great if

Explain usage rights in a more simple way.

images were rated according to their aesthetic and artistic merit.

I get angry at the sites that make you buy credits and the

Stop the thumbs up images. Drives me crazy.

And when you do crowd or group images, diversify the people by gender and ethnicity.

Provide better quality control! I shouldn't have to go through 10 pages of crap to find 1 image. Maybe someone needs to put out the first step and create a designer boutique of micro stock. Low price, but much better quality control. And better image tags.

A site needs to be easy to navigate and flexible to quickly weed out the images you don’t need. Years ago I found that if I asked the stock house to search for me they would find the best images in the library and now I rarely use that service as the quality is worse than what I can find for myself. The researchers should know the images and be able to do a better job than I can.

Serve me better? I don't know. I'm having difficulty answering this one. They all do a great job of tickling my imagination and making it easy for me to search for and find imagery.

Better search. Keeping it fresh. Getting real about the fact that almost everything should really be licensed for unlimited use so the idea of putting a premium on that has run it's course.

Vendors who are still doing this are losing business to those who are more flexible and reasonable in their pricing approach. That is one key criteria that determines where we begin our searching.

More layers more, clipping paths on subjects in photos, more quality vector art.

As a military spouse I have been serving a few clients in the

unused credits have an expiration date on them.

Add more photos that focus on real-life agriculture.

Just keep the new images and fresh talent coming. We in-housers, especially, think of our preferred stock sites as our in-house studios. We appreciate it when they makes us look like we have great studios in-house, giving us great unique shots, without having to dole out the bug bucks.

Better search engines. It is so frustrating to look for a photo of a “teacher” and get hoochy-mama pin-up photos. I don’t want tits. I want teachers.

I like the ease of use between multiple devices — for my work, I bounce between desktop at work, phone/tablet at home when researching images, and it’s great to be able to open my lightbox from multiple spots and pick up where I left off. A great addition would be adding abilities to enhance making contact sheets of images that I've save to my lightboxes.

Anything that speeds up the page loading time. I know it's difficult because the sites are robust. But there has to be some way.

Have more ethnic stock. It’s very hard to find African Americans in many categories.

In our organization, we would like to see more multi-cultural or diversity in the image selections. While we do find some images that relate to our Christian organizations, the selection could be much better.

military industry and I often struggle finding imagery that is to the military standards. For example I often find photos of women in uniform with long hair (past the shoulders) and others where the uniform isn't worn properly. This often limits my options.

WHICH DEVICE DO YOU USE TO SEARCH FOR STOCK VISUALS?

90% DESKTOP

51% LAPTOP

20% TABLET

6% SMARTPHONE

G D U SA 53

THOUGHTS FROM ANDREW SAUNDERS OF GETTY IMAGES

IMAGERY IS THE UNIVERSAL LANGUAGE OF THE 21st CENTURY Getty Images is the world’s leader in visual communication, with over 170 million assets available through its premium content site www.gettyimages.com and its leading stock content site www.istock.com. We asked Andrew Saunders, Senior Vice President, Creative Content, at Getty Images, to comment on selected results of this year’s survey. Andy directs the creation of imagery and footage at Getty Images. Working closely with photographers, filmmakers and art directors globally, he plays a critical role in ensuring that the company is continually evolving and provides fresh relevant content. His foresight into cultural and societal trends that shape visual communications drives the creative offering. Andrew notes: “I’ve been with Getty Images since it’s inception in 1995 and it certainly has been an exciting journey. As the market leader, we’ve experienced, absorbed and then built on the impact of all the changes reflected in your survey. I'd like to think we’ve forced up the quality of the imagery and customer service across the industry. We’ve also made a lot of photographers wealthier along the way. Looking to the future we’ll continue to put the customer’s needs and workflows first. These are inevitably changing so we are developing new business models that anticipate new ways of providing content to our customers.”

GDUSA: To what do you attribute the almost universal use of stock imagery by creative professionals?

SAUNDERS: The combination of the advances in technology and the growth of social media have placed imagery as the universal language of the 21st century. The evolution of digital cameras and now mobile devices has permanently changed the way we communicate with each other. It shouldn’t come as a surprise then that people who want to communicate about their products or services are using more and more imagery to do so. On the availability of content, for the same reasons it’s also now far easier for talented photographers, whether amateur or professional, to make content available for commercial use.

GDUSA: Do you accept the premise that society is more visually hungry, demanding and sophisticated than ever?

SAUNDERS: Absolutely. Our familiarity with imagery means that we are no longer as easily surprised by imagery as we once were.

That is an exciting place to be for creators and customers. The fact that more imagery is being produced means that there is a wider choice of styles, aesthetics and ideas from photographers trying to interpret an idea or a concept.

GDUSA: Are you seeing any major shifts in subjects or content that creatives are licensing?

SAUNDERS: In the past, the stock industry has been criticized by the broader visual community for a lack of authenticity and that is something we are keen to change. This is an area where we’ll see rapid improvement, and that certainly is already the case for Getty Images. We’ve had a huge amount of success with our support of Sheryl Sandberg's Lean-In organization in specifically creating and commissioning imagery that better reflects the 54 G D U SA

roles women are playing in society. These are not images that patronize, but are more reflective in their subject matter and execution of our living reality. We have a team dedicated to researching visual and social trends, their mission is to understand which of these trends are relevant to our customers or understanding ‘what needs to turn into a picture’ We feed that information into our Creative teams and the broader contributor base.

GDUSA: Do you see significant changes in how and where creatives acquire visuals? The numbers seem to suggest a continued preference for desktop and laptop, with some small movement toward tablet and smartphone.

SAUNDERS: That is consistent with what we are seeing, but without getting into a long-winded commentary about changing work habits we believe that offering customers access to our imagery at all times is very important. In fact this summer, we just re-launched our iStock and Getty Images apps that provide vastly improved usability, features and access to our content. If imagery is the language of the 21st century, then ideas and visual solutions to work tasks can be happening at all times.

GDUSA: Do any of the survey results particularly surprise you?

SAUNDERS: I was a little surprised at the overwhelming doubts around crowd sourced and mobile imagery. Admittedly there are issues with quality ... however this imagery does sometimes provide viable alternatives in terms of a more realistic and authentic feel. Obviously the imagery has to be released for commercial use, but we are seeing a gradual raised awareness in the community for those legal issues. For me the addition of crowd-sourced or ‘street‘ imagery to our collections is a positive factor as it can provide amazing one off moments that don't feel over-thought or ‘produced'.

GREEN DESIGN MORE DELIBERATE AND MINDFUL SPONSORED BY

ROLLAND ENTERPRISES

Sustainability continues to exert a powerful impact in design decisions. In our June 2014 Print Design survey, roughly eight-in-ten GDUSA readers specify eco-friendly papers sometimes, and more than a nine-in-ten say that sustainability is a factor in their design assignments and solutions.

At one time, designers identified “green” with the specific attributes of a product — the best example being the recycled content of a paper grade. And, at one time, “greenness” often seemed driven by hot passions and heartfelt zeal. Nothing wrong with that.

But, frankly, what we found in preparing this 2014 report, was that a more holistic concept of sustainability has taken hold.

For most creatives, being “green” still means seeking out sustainable products, services and vendors, which seem to be getting easier to find. However, it also means taking into account concerns such as energy and emissions, forest stewardship and conservation, third party certifications and sourcing, media alternatives and relative footprints, shipping and distribution, internal studio procedures — all now seen as integral factors in responsible and sustainable design. Increasingly, it means aligning sustainable designs with the client’s brand, products, mission, processes in ways that is real, verifiable, transparent, commonsensical. And, finally, it means adopting an ever-widening perspective that goes beyond even lifecycle analysis to embrace responsibility writ large — linking environmental responsibility, fiscal responsibility and social responsibility.

It all feels a bit cooler, more deliberate, more mindful, more matter-of-fact. Which makes “green” design (if you will forgive me) a more sustainable business practice going forward. Meaningful movements, they say, are conceived by fire in the soul but best executed with clinical coolness.

56 G D U SA

WANDER LOS ANGELES CA

“Be David” is a long-form PSA crafted in collaboration with Oxfam America. Wander created an information-rich narrative that blends enthusiasm and a touch of humor to activate viewers to champion for change with Oxfam America. In other words: find their inner David. The “Be David” project highlights the story of Ghana’s Joanna Manu, who attended a training session sponsored by Oxfam America and stood up against land threats and environmental hazards wrought by an open pit gold mining company. The larger message — that we all have inner power to influence and make change — is deftly conveyed using quick cuts, graphic design, and unexpected imagery to punctuate the film’s voice-over narration with warmth and humor. Says Oxfam America’s Creative Director Jane Huber: “Joanna Manu is emblematic of how people can create real change if they have access to information and can exercise their rights. Our hope is that ‘Be David’ will close the distance between Oxfam’s beneficiaries and American viewers and that it will inspire people to join our community to become activists in their own right.” The film can be seen at www.oxfamamerica.org/david

Wander is a creative collective providing concept, production, design and postproduction with additional branding and marketing capabilities. The collective’s Syncopated Storytelling first debuted with the “Rainforest Alliance - Follow The Frog” film that was awarded with a 2013 Cannes Lion, a TED Ads Worth Spreading, AICP Next, and many other honors. The collective has since gone on to create nationally and internationally recognized branded content and PSAs for LinkedIn, Oxfam America, the American Museum of Natural History, the American Heart Association and Coexist. The company was founded by Aaron Weber (pictured left) whose 5-minute short film “Wander” tells the magical story of a young boy who discovers his inspiration on his way to school; it was a hit at international film festivals and won the IFC Media Lab Award. Comments Weber: “Wander operates as a collective. This makes us nimble. We can put a single person on the ground in a remote region of Africa tomorrow or an entire crew in a village in Central America. This scalability and global reach makes us suited for the cause-marketing sector, and our approach allows us to deliver dense and complex narratives in a clear and hopefully entertaining way. We love working on projects that have the potential to make a difference. One topic we are passionate about is sustainability — because, really, all else pales when faced with the basic idea of keeping our planet functioning. But as serious as this and other issues are, it helps to cut through the clutter and sometimes humor is the best way to connect audiences to serious topics. People really identified with Follow The Frog, for example, because they often feel helpless in the face of massive issues. We aren’t going to leave our lives … even our desks … to change the world. And that’s not always a bad thing. Sometimes a click, a social media post, a well-written email and a monetary contribution is the most appropriate action. The thing is to not be complacent — we can all do a little bit to help, and I hope the work we create encourages change and is part of something bigger.”

G D U SA 57

A MESSAGE FROM THE SPONSOR | ROLLAND IS BACK!

After more than 130 years in existence, 22 of them with Cascades, Rolland is back!

ORIGINAL BRAND / GENUINE QUALITY The name of the new business is Rolland Enterprises Inc., which maintains the rich and long history of the St-Jerome, Quebec plant. The name Rolland has a strong reputation in the paper industry as providing the highest quality and driving innovation, and the company will strive to uphold that reputation. The name also reinforces the Quebecheritage which has been key to our success to date and will continue to remain a vital piece of our identity.

The new corporate identity is, therefore, based on the three pillars of Rolland: Performance, Innovation, and

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Environment.

White and green at the same time, the Rolland Enviro100 THE NAME YOU TRUST

family, as well as Rolland Opaque, Rolland Hitech and ReproPlus remain the core commercial grades.

Rolland papers are a bright and sustainable choice. They offer a concrete way to reduce a paper user’s environmental footprint while keeping high standards for quality and performance.

Containing 100% and 30% postconsumer fiber, they are EcoLogo and FSC certified and manufactured using renewable and local biogas energy. All this, without compromising on the quality!

Proud partner of the urban forest — recycling bins — Rolland maximizes the life of the forest resources by recycling papers. It is this type of art that the company chose to develop, coupled with innovative processes such as chlorine-free bleaching and renewable biogas energy usage. How refreshing!

As noted earlier in this edition, Rolland Enterprises is the sponsor of GDUSA’s annual “Green Design” Special Report. Appropriately, the text for this edition of GDUSA is printed on the company’s Rolland Enviro100 Satin, 60 lb. Text, a great choice for printing dazzling and colorful visuals. The paper contains 100% post-consumer fiber, is certified FSC, EcoLogo and Processed Chlorine Free, and is made using biogas energy.

To learn more, visit www.rollandinc.com

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ROLLAND IS BACK!

The name you trust.

After more than 130 years in existence, 22 of them with Cascades, Rolland is back! More than ever, we will strive to offer you the best papers, in terms of performance, innovation and environment.

www.rollandinc.com Printed on Rolland Enviro100 Satin, 60 lb. Text

ROLLAND

GREEN DESIGN

GOODTHREE CO-FOUNDERS MATT HANNIGAN AND JORDAN SITLER

GOODTHREE YORK PA GoodThree is a green branding and design firm with a desire to invest in the client-designer relationship through a “Design Thinking Forward” model. They believe that innovative design requires uncommon creativity, that images and copy must flow seamlessly together to visually tell an audible story, and that the earth offers life worth fighting for — inspiring them to mindfully care for it’s many resources. GoodThree begins with the end and ends with the beginning, ensuring that their first step paves the way for an engaging finish, motivating them to relentlessly review their design process. At times, they believe their forward-thinking philosophy brands them as perfectionists and dreamers. So, how does this “forward-thinking” ideology benefit their clients? It offers a promise to constantly labor until they see flawless design. It shares a commitment to engage in meaningful relationships and to the customer being heard. It guarantees that they meticulously analyze every resource, benefitting the long-term health of the earth.

The world of non-profit organizations is constantly expanding, both in diversity of missions and in the number of groups emerging, This makes it increasingly difficult for them to start up, gain support, and make a difference. When the Annual Report for 2 Seconds Or Less (2SOL) was created, GoodThree not only wanted to create a piece that helped the organization stand out, but also one that would make an impact through sustainability. The report is centered around the organization's achievements through their methods of sustainable agriculture, and is backed up by its design.

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ELEMENTS BRANDFORD CT ELEMENTS TEAM: (PICTURED LEFT TO RIGHT): CHELSEA MAY, AMY GRAVER AND KATHRYN CHASE-LEVIN. NOT PICTURED: TRACY FORBES

Every year, as part of Elements marketing activities, the firm prints a series of monthly postcard mailers on a paper grade that contains 50 percent postconsumer

Elements is an award-winning marketing communications and design agency founded by principal and creative director Amy Graver. The Elements team works closely with clients to develop

recycled waste and is processed chlorine-free. “We always have overruns when the mail house sends out

brand stories that reflect the company’s core values and mission,

our cards, but year over year we use those cards and

positioning them as leaders in their respective fields. A big part

add the extras to the following year’s mailing list —

of this strategy is implementing sustainable design solutions that

which we update continuously throughout the year.

not only save their clients money, but reduce waste by using

There is absolutely no waste. We never have extras and

fewer materials and smarter eco-friendly printing options or online. It may seem like a no-brainer, but when creating a mailer for a client, the first thing Graver asks is how good is

use every single printed card,” Graver says. The cards are printed using vegetable-based inks, which are not

your mailing list. “We want to make sure it’s clean and lean so

harmful when run-off, but also look vibrant and beau-

we’re not needlessly printing and mailing 4,000 cards when

tiful. To maximize the print runs, they print 15 months

only 1,000 of them will be read, responded to and kept. It seems

worth of cards. The images on the cards themselves

like a simple idea, but many companies use the same mailing

are chosen for their timelessness and beauty. We

list for years, which is completely ineffective from a marketing and waste management point of view,” she notes. “We convince clients to only print materials that make sense in the long run to extend their shelf life and stay relevant and effective. We also try to use every part of the sheet on a print run, which can mean

include trackable phone numbers to establish effectiveness. Clients collect and keep the cards. “One client used a few years’ worth of our cards to make a wallpaper border around her office,” says Graver. “Another

printing in the margin. It all adds up.” Packaging is another area

pulled open her file cabinet and fanned out about 25

where Elements helps to steer clients in the right direction.

cards, saying she was waiting a long time to get the

“When working with perishable items, the first packaging con-

go-ahead to hire our agency. Bottom line is we are

cern is how to keep products fresh and retain their flavor, while presenting them in an appealing way,” Graver says. “But, our second goal is helping our clients to see alternative packaging

aware of the trends and stay current to the best, most green technology in paper and printing options. We can

solutions that are recyclable and leave a smaller footprint

be experimental, because the project is for us and not

when disposed — keep it simple vs. making it more than it

a client, and we care more about the overall effects to

needs to be. We help our clients become leaders in sustainability

the environment than the cost difference.”

and set an example in the packaging industry.”

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GREEN DESIGN | ODGIS + COMPANY

ODGIS + CO TEAM: JANET ODGIS, PRESIDENT & CREATIVE DIRECTOR; RHIAN SWIERAT, VICE PRESIDENT & SENIOR DESIGNER; AND MATTHEW KUSINITZ, STRATEGIST & WRITER

NEW YORK NY Janet Odgis writes: Odgis + Co. is an award-winning woman-owned design firm. For over 25 years we have worked with some of the world’s most prestigious corporations and foundations reinventing ways to define and express their brands. By providing our clients with total creative expertise across multiple platforms, we help them to captivate and engage their key stakeholders. As a practice, we work with vendors who use environ-

Vornado Realty Trust has been ecologically minded

mentally-friendly materials and printing practices. We also encourage

for a long time, as evidenced by its ownership and

our clients to choose papers and processes that are environmentally

management of 31.2 million square feet of LEED-

conscious. We recycle paper and toner cartridges in our office, and

certified properties. For their 2013 Sustainability

when we moved recently we donated our leftover materials to Build it

Report — “From The Ground Up” — Odgis +

Green. Our offices are in the heart of midtown Manhattan, an area of

Company tells the story with a floor-by-floor analysis of how the company’s properties are operated and managed in accordance with efficient, earth-friendly practices. The reader journeys through the building from the sub-basement to the roof. The report was printed on FSC certified paper.

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the city known to be more concrete then green. But we hope through our environmental practices, we make the world a little greener.

Sustainable Forestry Initiative There’s a simple way you can ensure healthy forests for generations to come while supporting the people and communities in North America who depend on them.

Look and ask for the Sustainable Forestry InitiativeÂŽ (SFI) label for all your paper and packaging projects. The actions we take today determine the future of our forests.

Learn more at sfiprogram.org.

SFI recognizes that playing a leading role in shaping the forests of tomorrow will require collaborating with a wide range of interests today. SFI brings landowners and brand owners from across the supply chain together with communities, conservation groups and other key interests to tackle the issues that define forests today and will shape the future of forests.

Supporting Scouts and teaching future generations about sustainable forestry.

Working with Habitat for Humanity.

Improving forest habitat management with Conservation Grant Program partnerships.

Partnering with universities to turn forests into a living laboratory for research.

Download the Print Apply App! A mobile app, available for Android and iPhone, that gives print professionals and graphic designers an easy way to find paper certified to the SFI Standard.

GREEN DESIGN | BOUTILIER DESIGN

KENNETT SQUARE PA Shannon Boutilier writes: Boutilier Design offers its clients the power of good design with an earth-friendly approach. We have been designing invitations and branding solutions for clients to tap into the core purpose of their business needs. With two Emmy Award nominations under our belt, and years of corporate design experience, Boutilier Design has a continuing mission is to save trees, reduce waste, and create materials in the most environmentally friendly way. Like a moth to a flame, we have an irresistible attraction to eco-friendly materials. Together, designers and clients have come to realize that sustainable

In branding Chef’s Muse, personal chef services, Boutilier

strategies can increase the bottom line. It is our duty as

Design highlighted the seasonally inspired cuisine served to

designers to have a sustainable mindset for every project. It

their clients. It was an easy fit, since they are committed to

is up to designers like us to use problem-solving designs to

using local and sustainable food from local farms. Chef Mike

provide sustainable change in our field. We ask ourselves and our clients this: does it need to be printed or can we utilize a complete web based marketing strategy? Deciding the

told us that “the foodservice industry has many opportunities to become green but the most difficult part is keeping our

complete cycle of a branding and marketing strategy is the

branding consistent.” We started branding from the top-down.

first step in limiting our footprint while staying within budget.

Our goal was to keep all the marketing materials and paper

Working with printers and suppliers certified by third party

products consistent and green. We needed to rethink the

groups — and who embrace environmental elements such as

marketing strategy to prefer a web-based approach over printed

soy-based inks, tree free, and recycled papers — has made

material since the menu changed so frequently with the

finding the proper materials relatively simple. We are lucky, for example, that right in our own backyard one of our digital printers receives electricity from solar panel usage, helping

seasons. This meant directing and increasing traffic to the site through better branding strategy. When print advertising was

to reduce their own footprint. It is our choice to embrace the

necessary, we used eco-friendly materials and printers. Today

notion that “green” is not a trend but a philosophy to embrace

Chef’s Muse has reduced its footprint while increasing profits

a sustainable future. Designers have the ultimate power to

through smarter branding and design.

make a real difference in today’s environment.

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GREEN DESIGN | SANGER & EBY

CINCINNATI OH With over 25 years in business, strategic design and technology firm Sanger & Eby helps Fortune 1000 companies create effective communications for their associates and stakeholders across a variety of platforms. Founded

by Lisa Sanger and Donna Eby, Sanger & Eby is one of the largest women-owned businesses in Cincinnati. Clients include Macy’s, Twentieth Century Fox, Ohio Department of

Sanger & Eby designed and developed a website for

Education, Fifth Third Bank, Luxottica, and Roto-Rooter. The

Macy’s that provides behind-the-scenes insights into

firm states: “Social responsibility is one of Sanger & Eby’s core values — so we put our money where our mouth is.

Sustainability is worked into all aspects of our work, including

the sustainability efforts of the Fortune 100 retailer.

Macysgreenliving.com is responsive site that works on all

our design, workflow, and office atmosphere. We firmly believe

platforms, with a fresh and intuitive feel. The firm also

in integrated communications. We save resources by creating

worked with Macy’s to enrich the content and provide

solutions that strategically transition well from print to digital.

more interactive features, including a motion graphic

We work from the cloud to enhance our internal and client

video executed inhouse by Sanger & Eby. Previously

workflow, saving on multiple resources, from printing to delivery. And our office is littered with recycling cans, energysaving lighting, and a water cooler equipped for reusable

intended to share information and insights exclusively with Macy’s employees, the redesign makes the site

bottles, to name a few. Specializing in employer branding

available to the public. It came just in time for Earth

and corporate communications, we know that in today’s

Day 2014, and showcases the work that the company

marketplace, corporate social responsibility is not only an

accomplished to reduce its carbon footprint, and

asset — it’s a prerequisite to attracting and retaining top

become a leader in sustainability and corporate social

talent. These values are what job candidates, especially mil-

responsibility. Says partner Lisa Sanger: “Macy’s

lennials, look for in a company. Corporate social responsibility is a win-win situation. Not only does it make good business sense, at the end of the day it’s just the right thing to do. Our clients constantly work to improve sustainable and social business practices — and we work to help them communicate it.”

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understands there is no finish line in corporate social responsibility, and they continue to make great strides in sustainability.”

EVERY TIME WE PLACE TALENT IT’S LIKE PLANTING A SEED. Then we carefully nurture them along the way, providing the resources they need to blossom.

We help to plant their roots at leading companies, to begin or continue prolific careers in the fields of digital, print and marketing.

That’s how we proudly cultivate long-standing relationships with both the talent we represent and the clients we serve. Join us in growing something extraordinary.

CHICAGO · INDIANAPOLIS · NEW YORK · LOS ANGELES · WASHINGTON, DC · SAN FRANCISCO

artisantalent.com · 800.216.0600

GREEN DESIGN | RULE 29

GENEVA IL Rule29 strives to be known for making creative matter. They believe that part of that goal is to see the world differently than most — colors, images, messages, fonts, and people. Principal & Creative Director Justin Ahrens says: “Part of seeing from a unique perspective

JUSTIN AHRENS, BRIAN MACDONALD, AND RYAN CONNARY, A SENIOR CAD ENGINEER AT TIMBERLAND

includes making a positive impact on our world‚ both the environment and the people in it. The bottom line is that we

In an early summer initiative, Ahrens and Brian MacDonald

want to make a difference in both. While we may not spend

of Wonderkind Studios, a visual media production com-

our free time actually hugging trees, we do take our design

pany, rode from Boston Harbor to Lake Michigan for

capabilities and their implications seriously. We realize that

Wheels4Water, with the goal of raising money to provide

our everyday activities, at work and at play, affect our communities, our environment, and our planet‚ and not just today, but for generations to come. As a result, Rule29 is consistently improving our sustainable inhouse recycling process, carbon footprint tracking, employee and client education, and

an entire Ugandan community with safe water and sanitation resources for life. As a “Design For Good” initiative, Ahrens and MacDonald harnessed their respective companies’ creative capabilities to raise funds and raise

our promotion of environmentally friendly printing practices.

awareness about water sanitation problems, while sharing

We strive to not have these as initiatives per se, but a natural

their journey through a variety of media platforms and

and day to day part of our culture and our work. In other

creative means. The Wheels4Water project is in collabo-

words, it is simply a part of our creative matter process.”

ration with Lifewater, a nonprofit working to address the worldwide water epidemic. Says Ahrens: “What started off as a pipe dream last summer ended after 15 days on the road, 1,205 miles, and over $93,000 raised so far to provide safe water and sanitation resources for 2,350 people in Lira, Uganda. It is unbelievable how this journey turned out, and we are so grateful to everyone who made it a success!” For more information, to view recap videos, or to donate, visit www.wheels4water.org

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GREEN DESIGN | EVOLUTION MARKETING

OCONOMOWOC WI Evolution Marketing, llc is a certified Woman-Owned Business Enterprise (WBE) that opened in January of 2008. The design and marketing firm is managed in an environmentally responsible manner and their niche is environmental, socially responsible and sustainable business communications. The Evolution Marketing staff works hard to

The Wisconsin Green Building Alliance (WGBA) contracted with Evolution Marketing on their organization’s rebranding

“lead by example.” As an example, they were the first busi-

efforts. Korinne Haeffel WGBA Executive Director further

ness in Wisconsin to purchase the zero emission Nissan

says, “We really appreciate the holistic approach to sus-

Leaf, and over the last two years members of the team have

tainable design and environmentally responsible project

tracked and monitored energy use data, and shared their

management that members of the Evolution Marketing team

experiences and findings with the public via alternative fleet

have brought to our attention. This ranged from suggestions

vehicle talks throughout Wisconsin. In addition to creative, the team also provides consulting services for sustainability

regarding sustainably sourced Wisconsin-made, third party

strategy development, local food marketing, sustainable event

certified papers, to recommendations on which print house

management and business-to-consumer earth friendly prod-

to use based on the printers sustainability credentials.

uct development. President Lisa Geason-Bauer, is actively

When we tell our sustainable operations story, it is nice

involved in issues of sustainability and corporate social

to be able to share with our members that Evolution

responsibility. She has been an Advisor to the Wisconsin

Marketing (our marketing/design team) and Watertown

Sustainable Business Council (WSBC) for the last four years, and her firm is a business participant in the WSBC’s Green Masters Program. In 2013, Evolution Marketing was the

Budget Print (our printer) both align well with the mission by having embraced sustainable operations within their

first communications firm in Wisconsin to be recognized at

own facilities such as implementing composting programs

the “Master” level, demonstrating exceptional commitment to

at their respective offices. It is wonderful to have found a

sustainability leadership. And in April, Geason-Bauer was the

trustworthy organization that has sustainability interwoven

first recipient of WSBC’s Earth Day Business Sustainability

into everything they do.”

Award, as a 2014 Sustainability Leader for small businesses in the state. In particular, she was recognized for integrating sustainability principles into day-to-day business operations and for being a local sustainability advocate for sharing cutting edge knowledge and best practices in the areas of alternative fuel vehicles, waste management, green buildings and local food. www.evmkting.com

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HEALTH + WELLNESS DESIGN AWARDS SPONSORED BY

ERICKSON STOCK GDUSA’s American Health + Wellness Design Awards™ honors outstanding graphic communication by this fast-growing and high-profile segment of the economy. The inaugural winners showcase features 100 projects encompassing the big picture of health and wellness: traditional medicine and healthcare; holistic and alternative healing; and healthy lifestyles and nutrition.

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DESIGN FIRMS REPRESENTED Access TCA Aetna Customized Communications Group American Health Lawyers Association Aon Hewitt Association Management Group BarberGale Bex Brands BrandQuery Capital BlueCross CBX Central Florida Health Alliance Chandon Nicholas, LLC Chevron Ciampa Creative Cigna City of Hope Cognition Studio, Inc. Design Principles,Inc. Dragon Rouge ENH Media Services/RonKalstein Ellen Bruss Design EMD Millipore, Studio-M Emspace Group eurie creative Evolutions By Design Exceleron Designs Florida State Association of Occupational Health Nurses Flottman Company Gary Wong Designs Gee + Chung Design HealthCare Partners Heart Rhythm Society Huntsman Cancer Institute Jalyne Bassell Kaiser Permanente Kalico Design Lippincott Lisa Cain Design Lisaius Marketing Loyola University Health System MediMedia Managed Markets mkulpdesigns Nationwide Children's Hospital Creative Services Nicte Creative Design Patterson Companies Power Systems Rule29 Creative Shabibi Creative Spohn Design Spring Design Partners Takeda Pharmaceuticals Ted Stoik, Chicago/Woz Design/Hartford Design Test Monki Trampoline Design Truth Boost, LLC Viridian Health Management Water Safety Corporation Woz Design

A MESSAGE FROM THE SPONSOR

The Stock Game Has Changed Introducing ‘Stories: Character-Driven Campaigns’ From Erickson Stock As the advertising industry’s demands for cost-effective creative

hugely successful. “There is a plea out there for the peace of

become more intense, and many of the nation’s top brands

mind that comes with simplicity,” he says.

make fiscal and environmental responsibility a top priority, you might think that the quality and creativity of ad design as a

A statement which has fueled Erickson’s latest, game changing

whole is in grave danger.

concept offering, which is set to release this month: ready-made, customizable, video spots, paired with stills from the same shoot.

Yet, thanks to the groundbreaking vision of Director/Photographer Jim Erickson at Erickson Stock, that theory need not exist. In

“Stories” is a collection of character-driven footage that’s already

contrast to what was once regarded as a last-resort solution for

been curated for you; music, message, and interchangeable

low-budget, low-profile marketing, stock imagery now comes

content, all in a single, easy package.

with an award-winning pedigree.

These stories are 100% customizable for any brand, containing Since its inception in 1993, Erickson Stock has been the vision

all the continuity, beauty, and technical expertise you would

of one man to capture the truth of the human spirit, moment

expect from an assignment project without any of the headaches.

by moment.

Jim’s fans will be happy to know spots vary from 8 to 15, 30, and 60 seconds in length, with some clips shot in 1080p

Images and video created out of passion, authenticity, and a

DSLR and some shot in 4K.

high degree of artistic credibility are what set Erickson apart from its competitors.

The content available at Ericksonstock.com covers Lifestyle, Healthcare, Financial Services, and many other industries do-

Jim’s accessible approach to reality and quality is what adver-

mestic and international.

tising creatives and end consumers today are responding to, making his work for such clients as Wells Fargo and Gentiva

For more about "Stories”, visit www.ericksonstock.com.

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Access TCA, Whitinsville MA Client: HealthSouth Corporation Title: Historical Mural Art Director: Andrea Gagnon Designer: Andrea Gagnon

Design Firm: Aetna Customized Communications Group (CCG), Hartford CT Client: Carmax Title: Welcome To Your Carmax Medical Plan Art Director: Michelle Violette Designer: Marilena Vaccaro

Design Firm: Aetna Customized Communications Group (CCG), Hartford CT Client: CCG Agency Title: Live Well 365 - 2014 Calendar Art Director: Donna Moll Designer: Brendan Sullivan

Design Firm: Aetna Customized Communications Group (CCG), Hartford CT Client: Barnes Title: Benefits 360 Art Director: Donna Moll Designer: Brendan Sullivan

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: American Health Lawyers Association, Washington DC Title: Health Law Curriculum Creative Director: Mary P. Boutsikaris Designer: Ana Tobin Freelance Graphic Designer: Jim Kilian Senior Legal Editor, Member Publications and Resources: Katherine E. Wone Manager of Development and Special Projects: Robert D. Taflinger

Design Firm: American Health Lawyers Association, Washington DC Title: A Guide to Legal Issues In Life Limiting Conditions Creative Director: Mary P. Boutsikaris Designer: Ana Tobin Senior Legal Editor, Member Publications and Resources: Katherine E. Wone Manager of Development and Special Projects: Robert D. Taflinger

Design Firm: American Health Lawyers Association, Washington DC Title: Practice Groups Newsletters Creative Director: Mary P. Boutsikaris Designer: Ana Tobin Senior Manager of Practice Groups: Magdalena Wencel Practice Groups Communications and Publications Manager: Brian Davis Practice Groups Web Communications and Publications Coordinator: Tazeen Dhanani

Design Firm: American Health Lawyers Association, Washington DC Title: Practice Groups Brochure Creative Director: Mary P. Boutsikaris Designer: Ana Tobin Senior Manager of Practice Groups: Magdalena Wencel Practice Groups Communications and Publications Manager: Brian Davis Practice Groups Activity Coordinator: Crystal Taylor G D U SA 75

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: American Health Lawyers Association, Washington DC Title: Health Care Transactions Advertorial Creative Director: Mary P. Boutsikaris Designer: Ana Tobin Vice President of Professional Resources: Cynthia Conners Director of Programs: Valerie Burrows Eshelman

Design Firm: Aon Hewitt, New York NY Client: PepsiCo Title: Insight Magazine Publication Design Art Directors: Jill Rafkin, Cristine Corso Designer: Victoria Cook Writers: David Stuart, Emily Wood Bowron

Design Firm: Association Management Group/Creative Design Studio, McLean VA Client: Pedorthic Footcare Association (PFA) Title: PFA Marketing Brochures Art Director: Teresa Gutsick Designer: Leslie Boppert

Design Firm: BarberGale, Pottstown PA Client: The Foundation for Mount Nittany Medical Center Title: biggER. smartER. bettER. The Campaign for Emergency Medicine at Mount Nittany Designers: Cynthia Barber Gale, Tonda Woodling Photographer: John Sterling Ruth

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: BarberGale, Pottstown PA Client: The Foundation for Mount Nittany Medical Center Title: HealthCare 2013 Annual Report Art Director: Tonda Woodling Designer: Tonda Woodling

Design Firm: BarberGale, Pottstown PA Client: Devereux Title: 2013 Annual Report Embracing Change Art Director: Cynthia Barber Gale Designer: Cynthia Barber Gale

Design Firm: Bex Brands, San Diego CA Client: Suja Juice Title: Suja Business Cards Designers: Jeremy Dahl, Becky Nelson

Design Firm: Bex Brands, San Diego CA Client: Suja Juice Title: Suja Elements Cold Brew Tea Designers: Jeremy Dahl, Becky Nelson, Daniela Anderson

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: BrandQuery, Mount Vernon WA Client: Skagit Regional Health Title: Beat Breast Cancer Art Director: Jacque Beamer Designer: Matt Fisher Production Artist: Amy Ferree

Design Firm: CBX, New York NY Client: Prestige Brands Title: Little Remedies Package Design Design: CBX

Design Firm: Capital BlueCross Creative & Design, Harrisburg PA Client: Capital BlueCross Title: Simply Well Newsletter Designer: Charlie Good Creative Manager: Alissa Stutzman Editor: Brian McDonald

Design Firm: Capital BlueCross Creative & Design, Harrisburg PA Client: Capital BlueCross Title: Health & Wellness University Designer: Kelsey Linn

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Central Florida Health Alliance, Leesburg FL Client: Orthopedic Department Title: Orthopedic Collateral Art Director: David Larrick Designer: Sharon Scialabba Marketing Director: Kathy Houser Project Manager: Andrea Sellers

Design Firm: Chandon Nicholas, LLC, Vero Beach FL Client: Watercrest Senior Living Group Title: Watercrest Senior Living Website Art Director: Marc Vorkapich Designer: Jacqueline Williams Photographer: Jacqueline Williams

Design Firm: Chevron, San Ramon CA Client: Chevron/Operational Excellence Title: Operational Excellence Brochure Art Director: Bill Hughes Designers: Jody Keisling, Kim-Chi Le (Chevron Information Design & Communications) Project Managers: Claire Tom, Krystal Williams Consulting Project Manager: Tracy Pearson Editors: Carla Conrad, Andrea Farr Proofreader: Andrea Farr Design Quality Control: Virginia Yi

Design Firm: Ciampa Creative LLC, Quincy MA Client: Blue Cross Blue Shield of Massachusetts Foundation Title: 2013 Annual Report Website Art Director: Renessa Ciampa Designer: Renessa Ciampa Principal Photographer: Marilyn Humphries Web Developer: Benji Mauer Writer: Alan G. Raymond Video: Maverick Productions LLC G D U SA 79

HEALTH + WELLNESS DESIGN AWARDS

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Design Firm: Cigna, Bloomfield CT Title: IFP Plan Comparison Art Director: Jeff Solak

Design Firm: Cigna, Bloomfield CT Title: IFP Welcome Kit Art Director: Jeff Solak

Design Firm: Cigna, Bloomfield CT Title: Kronos Training Book Art Director: Jeff Solak Designer: Susan Mastrianna

Design Firm: Cigna, Bloomfield CT Title: Select Segment: Sales Story Flip Book Art Director: Amy Pfeffer

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Cigna, Bloomfield CT Title: Senior Momentum Website Art Director: Susan Laires

Design Firm: City of Hope Creative Services, Duarte CA Client: City of Hope Title: What’s in Cigarette Smoke? Infographic Art Director: Stacy Kimmel Designer: Jennifer Cogan

Design Firm: City of Hope Creative Services, Duarte CA Client: City of Hope Title: Hope Sweat & Cures Training Guidebook Art Director: Stacy Kimmel Designer: John Eng Cheng

Design Firm: City of Hope Creative Services, Duarte CA Client: City of Hope Title: Yoga for Hope Poster Art Director: Stacy Kimmel Designer: Kim Hosozawa

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Cognition Studio, Inc., Seattle WA Client: Seattle Children’s Research Institute Title: PEEP: Preventing Environmental Exposurse in Pregnancy Art Director: Kristine Johnson Designer: Amanda Gage Illustrators: David Ehler, CMI

Design Firm: Design Principles, Inc., Marion MA Client: Access Nantucket Title: Access Nantucket Website Design Art Director: Karen Alves Designer: Karen Alves

Design Firm: Design Principles, Inc., Marion MA Client: YMCA Cape Cod Title: YMCA Cape Cod Website Design Art Director: Karen Alves Designer: Karen Alves

Design Firm: Dragon Rouge, New York NY Client: The Vitamin Shoppe Title: Next Step Package Design Art Director: Laurence Bendjenad Designer: Matthew DeGruchy

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: EHN Media Services/Ron Kalstein, Southampton PA Client: Einstein Healthcare Network Title: Get Fit, Stay Fit Wellness Branding Art Director: Ron Kalstein Designer: Ron Kalstein

Design Firm: EHN Media Services/Ron Kalstein, Southampton PA Client: Einstein Healthcare Network Title: Hospital Staff Rewards Identity Art Director: Ron Kalstein Designer: Ron Kalstein

Design Firm: EMD Millipore, Studio-M, Billerica MA Client: EMD Millipore Title: Corporate Responsibility Campaign Art Director: Melleta Marx Designer: Melleta Marx Photographer: Bob Fraher

Design Firm: EMD Millipore, Studio-M, Billerica MA Client: EMD Millipore Title: Sample Preparation Catalog Designer: Liza Benson Illustrator: Liza Benson Photographer: Bob Fraher

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Ellen Bruss Design, Denver CO Client: Pilates Aligned Title: Pilates Aligned Website Creative Director: Ellen Bruss

Design Firm: Emspace Group, Omaha NE Client: CHI Health (formerly Alegent Creighton) Title: Really? Really. Breastfeeding. Know the Facts.

Posters Art Director: Elizebeth Murphy Designer: Lynn Schneider Project Manager: Sarah Lake

Design Firm: Emspace Group, Omaha NE Client: Quality Living, Inc. (QLI) Title: Team QLI Advertising Art Director: Elizebeth Murphy Designer: Lynn Schneider Website Design: Afton Palmer Project Manager: Jo Giles Concept Development: Keelie Haner

Design Firm: Emspace Group, Omaha NE Client: Nebraska Department of Health and Human Services Title: Snack & Go Art Director: Elizebeth Murphy Designer: Heidi Mihelich Copywriter: Jo Giles Production: Donna Welchert

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: eurie creative, Las Vegas NV Client: JT3 Title: JT3 2014 Open Enrollment Guide Art Director: Victor Rodriguez Designer: Alex Frazier Contributors: Nancy Syzdek, Bob Donovan, JT3

Design Firm: Evolutions By Design, San Francisco CA Client: Tenet Florida Physicians Services Title: Physicians Opportunities Brochure Designer: Ann Schneider Copywriters: Michele Shugart, Kate Steurer

Design Firm: Exceleron Designs, Jupiter FL Client: Hard Exercise Works Title: Website Design Art Director: Ryan Kidd Designers: Giovanna Viale, Oliver Ching Illustrator: Giovanna Viale Developers: Crystal Brown, Sean Allen Contributors: Chen Liu, Eduardo Escobar, Pegah Alirezaei, Alyssa Hennessy, Leo Samayoa

Design Firm: Florida State Association of Occupational Health Nurses, Washington DC Client: Florida Occupational Health Conference Title: Series: Conference Promotion for FOHC 2014 Designer: David Hazelton

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Flottman Company, Crestview Hills KY Client: Rxperts Printed Packaging Group Title: Self-Promotion Package Art/Project Leader: Ed McMasters Lead Designer: Nicole Bradford

Design Firm: Gary Wong Designs, East Brunswick NJ Client: Jasyoga Title: Jasyoga Website Design Art Director: Gary Wong

Design Firm: Gee + Chung Design, San Francisco CA Client: Vaxart Title: Vaxart Logo Creative Director: Earl Gee Designers: Earl Gee, Momo Cha Illustrators: Earl Gee, Momo Cha

Design Firm: Gee + Chung Design, San Francisco CA Client: Vaxart Title: Vaxart Stationery Creative Director: Earl Gee Designer: Earl Gee Printer: Fong & Fong Printers and Lithographers

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: HealthCare Partners, Bellflower CA Client: PACIS Division Title: PACIS EMR Brochure Design Art Director: Cynthia Sanko Designer: Monica Manughian Illustrator: Monica Manughian Production: Judy Patterson

Design Firm: Heart Rhythm Society, Washington DC Title: HRS Learning Center Site Team Lead: Tim Gregory Team Members: James Skelly, Laurel Blaydes

Design Firm: Huntsman Cancer Institute, Salt Lake City UT Title: The Healthy Eating Cookbook Art Director: Meredith Vehar Designer: Lisa Anderson

Design Firm: Jalyne Bassell, Brooklyn NY Client: MetroPlus Health Plan Title: MetroPlus Marketplace How Do I Enroll Brochure Art Director: Jalyne Bassell Designer: Jalyne Bassell Copy Editing: Kathryn Knox Soman, Elizabeth Colombo

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Jalyne Bassell, Brooklyn NY Client: MetroPlus Health Plan Title: MetroPlus Marketplace Individual & Small Business Tax Credit Brochures Art Director: Jalyne Bassell Designer: Jalyne Bassell Copy Editing: Kathryn Knox Soman, Elizabeth Colombo

Design Firm: Kaiser Permanente, Burbank CA Title: Kaiser Permanente Flu Campaign Creative Director: John Crane Associate Creative Director: Maggie Soldano Senior Graphic Designer: John Nosek Copy Specialist: Kyle Critchfield Editor: Amanda Barrett

Design Firm: Kaiser Permanente, Burbank CA Title: Kaiser Permanente Holiday Card 2013 Creative Director: John Crane Associate Creative Director: Tom Devine Senior Graphic Designers: Amber Podratz, John Nosek Senior Writer: Michelle Spencer Proofreaders: Nanette McLane, Francisco Acevedo

Design Firm: Kalico Design, Frederick MD Client: U.S. Composting Council Title: COMPOST15 Conference Branding Art Director: Kimberly Dow Designers: Kimberly Dow, Jen Tyler

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Kalico Design, Frederick MD Client: Find It Frederick Magazine Title: The Dish on Gluten Free Editorial Design Art Director: Kimberly Dow Designer: Jen Tyler Publisher: Pulse Publishing Printer: Publishers Press

Design Firm: Kalico Design, Frederick MD Title: Kalico Design: Design for Well-Being Website Art Director: Kimberly Dow Designers: Kimberly Dow, Jen Tyler Programming: New North

Design Firm: Lippincott, New York NY Client: Group Health Title: Group Health Identity Art Director: Jenifer Lehker Designers: Saki Tanaka, Stephen Lim Strategy: Suzanne Hogan, Nital Patel, Andy Meehan Production: Jeremy Darty, Martyna Kalinska

Design Firm: Lippincott, New York NY Client: The Vitamin Shoppe Title: The Vitamin Shoppe Identity Art Director: Connie Birdsall Designers: James Wright, Adam Stringer, Sam Ayling, Bina Kijmedee, Jung Kwon, Kristen Tomlan, Bethany Lesko Strategy: Joey Rippole Production: Jeremy Darty G D U SA 89

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Lippincott, New York NY Client: Zoetis Title: Zoetis Identity Art Director: Connie Birdsall Designers: Jenifer Lehker, Mike Sloan, Jung Kwon, Bina Kijmedee, Caroline Tomlinson Strategy: Allen Gove, Joey Rippole, Emma DeFelice

Design Firm: Lisa Cain Design, Glenwood IL Client: The American Society of Nephrology Title: Kidney Week Collateral Art Director: Lisa Cain Designer: Lisa Cain

Design Firm: Lisa Cain Design, Glenwood IL Client: Organization for Autism Research Title: Brag Book Art Director: Lisa Cain Designer: Lisa Cain

Design Firm: Lisa Cain Design, Glenwood IL Client: Society of Critical Medicine Title: Continuing Education Postcard Art Director: Lisa Cain Designer: Lisa Cain

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Lisaius Marketing, Burlington VT Client: Northwestern Medical Center Title: Urgent Care Ads Art Director: Jennifer Raleigh Designers: Jennifer Raleigh, Kori Batschelet Brand Managers: Mark Crow, Sarah Morrell

Design Firm: Lisaius Marketing, Burlington VT Client: Northwestern Medical Center Title: NMC Viewbook Art Director: Jennifer Raleigh Designers: Jennifer Raleigh, Carissa Quinlan Brand Managers: Mark Crow, Sarah Morrell

Design Firm: Loyola University Health System, Westchester IL Client: Loyola Medicine Title: Baby Friendly: Your Guide to Breast-Feeding Art Director: Laura Passero Designer: Denise Johnson

Design Firm: Loyola University Health System, Westchester IL Client: Loyola Medicine Title: Cardiac Rehabilition Brochure Art Director: Laura Passero Designer: Brad Daleiden-Brugman Photographer: Robert Knapp Photography

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Loyola University Health System, Westchester IL Client: Loyola Medicine Title: myLoyola Patient Portal Art Director: Laura Passero Designer: Laura Passero

Design Firm: Loyola University Health System, Westchester IL Client: Loyola Medicine Title: Weight Loss Serving Guide Flier Art Director: Laura Passero Designer: Amanda Sinclair Photographer: Robert Knapp Photography

Design Firm: MediMedia Managed Markets, Yardley PA Client: Otsuka America Pharmaceutical, Inc. Title: Buy & Bill Video Designers: Karen Onorato, William Courtney, Jon Barthmus

Design Firm: MediMedia Managed Markets, Yardley PA Client: Otsuka America Pharmaceutical, Inc. Title: Patient Advocacy Group Designers: Karen Onorato, Jon Barthmus

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: mkulpdesigns, Douglassville PA Client: Naperville Yoga Title: Nurturing Through Yoga For Wellness and Tranquility Art Director: Michele Kulp Designer: Michele Kulp Photographer: Anna Guziak Photography Website: Kim Marsin

Design Firm: Nationwide Children’s Hospital Creative Services, Columbus OH Client: Nationwide Children’s Hospital Title: 2012-2013 Pediatric Annual Report Art Director: Tanya Bender Designer: Michaela Pride Photographers: Brad Smith, Dan Smith Print Production: Chris Ann Garbrandt Editor: Jan Arthur Senior Writers; Katie Brind’Amour, Kelli Burton

Design Firm: Nicte Creative Design, LLC, Panama City FL Client: Dignity Memorial/Service Corporation International Title: Planning For The Stages of Every Woman’s Life Design: Nicte Creative Design Marketing: Nicole Busch

Design Firm: Patterson Companies Creative Services Client: Patterson Dental Title: CEREC ABCD Box Art Director: Dan Kusz Designer: Dan Kusz Project Manager: May Lim

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Patterson Companies Creative Services Client: Patterson Companies Title: Healthy Returns Campaign Art Directors: Leslie Delzell, Jeff Luethje Designers: Rachel Manz, Eric Johnson Copywriter: Tammy Love Project Manager: Jan Sloan

Design Firm: Power Systems, Knoxville TN Client: Health Magazine Title: We See Fitness Differently Advertising Series Art Directors: Stu Sigrest, Ronnie Hanline, Johnitta Mitchel Designers: Stu Sigrest, Ronnie Hanline, Johnitta Mitchel

Design Firm: Rule29 Creative, Geneva IL Client: YouFit Title: What’s Your Fit? Video Art Director: Justin Ahrens Illustrator: Kerri Liu

Design Firm: Shabibi Creative, Woodbridge VA Client: No Place Like Om Title: No Place Like Om Website Creative Director: Mina Habibi Designer: Mina Habibi Photographer: Mina Habibi

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Shabibi Creative, Woodbridge VA Client: No Place Like Om Title: No Place Like Om Branding Creative Director: Mina Habibi Designer: Mina Habibi Photographer: Mina Habibi

Design Firm: Spohn Design, Redondo Beach CA Client: Just Body Essentials Title: Just Body Essentials Packaging Art Director: Ron Spohn Designer: Melissa Vannucci Copywriter: Martha Cook

Design Firm: Spring Design Partners, New York NY Client: Medicom Title: Medicom Branding and Packaging Art Director: Ron Wong Design: Spring Design Partners Staff

Design Firm: Takeda Pharmaceuticals, Cambridge MA Title: VELCADE Multi-Administration Drug Packaging Art Director: Shawn Goodman Designer: Shawn Goodman Illustrator: Shawn Goodman Photographer: Liz Linder Photography

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HEALTH + WELLNESS DESIGN AWARDS

Design Firms: Ted Stoik, Chicago/Woz Design/Hartford Design Client: Abbott Laboratories Title: Abbott 2013 Annual Report Art Directors: Ted Stoik, David Wozniak, Tim Hartford Designers: David Wozniak, Tim Hartford, Brandon Murray Photographers: Tom Maday, Howard Bjornson, Rob Howard

Design Firm: Test Monki, The Woodlands TX Client: Dental Derby Title: Dental Derby Branding Art Director: Suzy Simmons Designers: Yiwen Lu, Gabby Nguyen Engagement Architect: Brad Petak Contributor: Julie Bruton Pelosi

Design Firm: Test Monki, The Woodlands TX Client: David Epstein DDS Title: David Epstein DDS Branding Art Director: Suzy Simmons Designers: Yiwen Lu, Gabby Nguyen Engagement Architect: Brad Petak Contributor: Julie Bruton Pelosi

Design Firm: Test Monki, The Woodlands TX Client: David Epstein DDS Title: David Epstein DDS Website Art Director: Suzy Simmons Designer: Julie Bruton Pelosi Engagement Architect: Brad Petak

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Test Monki, The Woodlands TX Client: Noblesville Pediatric Dentistry Title: Noblesville Pediatric Dentistry Branding Art Director: Suzy Simmons Designers: Gabby Nguyen, Yiwen Lu, Julie Bruton Pelosi Engagement Architect: Brad Petak

Design Firm: Test Monki, The Woodlands TX Client: Paventy & Brown Orthodontist Title: Paventy & Brown Buttons and Stickers Art Director: Suzy Simmons Engagement Architect: Brad Petak

Design Firm: Trampoline Design, Glens Falls NY Client: Glens Falls Hospital Title: Good Move Art Directors: Derek Slayton, Sean Magee Designers: Will Fowler, Ashley Hooker, John Coleman Account Managers: Paula Slayton, Amanda Magee

Design Firm: Truth Boost, LLC, Glenwood NJ Client: Orange Regional Medical Center Title: 2013 Nursing Annual Report Art Director: Mary-Ann Ellsworth Designer: Mary-Ann Ellsworth

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Viridian Health Management, Phoenix AZ Title: Overcoming Depression with Aerobics Infographic Art Director: Brenda Bryan Designer: Sarah Smith Illustrator: Sarah Smith

Design Firm: Woz Design, Chicago IL Client: ARIAD Pharmaceuticals Title: ARIAD Corporate Brochure Art Directors: David Wozniak, Ted Stoik Designer: David Wozniak Photographer: James Schnepf Copywriter: Ted Stoik

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Design Firm: Water Safety Corporation, Reno NV Client: WaterChef® Title: Website Design Art Director: Susie Dolak-Cook Designer: Susie Dolak-Cook Photographers: Jeff Ross, Frank Haxton Developer: Stu D’Alessandro

FRAVER’S RULE

How One Undergraduate Connected with Broadway’s Iconic Poster Designer

BY DANIEL ACKERMAN “UNTIL YOU RECEIVE YOUR FIRST PAYCHECK

Pratt were crafted by hand, before the advent of computers and

YOU’RE NOT ALLOWED TO PICK UP THE TAB” – FRAVER’S RULE

software programs. In fact, Fraver’s iconic Lion King poster design took shape through hundreds of sketches before a masterpiece was achieved. Most importantly, I left understanding that in order to be a good designer one must be an excellent communicator.

Following my freshman year in college I found myself in the rat-race search for a design internship. I researched many agencies and

I was sincerely moved by the level of generosity, patience, encour-

independent designers and, fueled by my interest in movie and

agement and interest that Fraver showed me throughout our

theatrical posters, I Googled “Broadway poster design.” The first

encounter. He demonstrated that “it is more important to be

hit belonged to Mr. Frank Verlizzo — better known as “Fraver.”

interested than interesting” no matter how much you achieve.

According to Fraver — he is still trying to make it! We now find

Upon viewing his work and learning of his accomplishments, I quickly realized that Fraver was a living legend, having created poster art for over 300 Broadway and Off Broadway productions.

I also realized that I had to meet him. The question was how? I was

ourselves engaged in a meaningful mentor-mentee relationship.

At times I am still astounded that a nine-sentence email shot into the dark four years ago would open the door to such a rich and meaningful opportunity.

reluctant to send Fraver an email, assuming the chance of some-

body so accomplished responding to a college student would be

Fraver is certainly the most notable designer I have been privileged

slim to none. Fortunately, my Dad taught me that “in life half

to have as a teacher. He constantly stresses the importance of

the battle is just showing up.” Recognizing the wisdom in that

having many individuals outside of the art world to learn from

simple piece of advice, I sent Fraver a short email introducing

and emulate. Such relationships enable one to gain a higher level

myself and explaining my interest. To my shock, Fraver responded

of mastery over oneself.

immediately and suggested we meet in person in New York City.

I almost fell off my chair.

Fraver and I met a few weeks later. He treated me to an excellent

Interestingly enough, when Fraver was a student at Pratt he developed a close relationship with his teacher, David Edward Byrd. Byrd is a legendary artist who designed the original 1970’s

lunch that lasted nearly 4 hours but seemed to pass in minutes.

Follies Broadway poster, which Fraver later re-designed for the

Our conversation spanned a multitude of topics and included

2011 Kennedy Center and Broadway revival. Byrd also helped

a helpful critique of my portfolio. More importantly, I learned

Fraver acquire his first job out of Pratt in theatrical advertising

about Fraver’s career path and was offered insight into how he

with Blaine Thompson.

achieved success.

Prior to our meeting I held a misconception about successful individuals, expecting there to be some magic recipe for making it as a designer. Fraver totally shattered that notion by making it clear that there are no such recipes. Another misunderstanding to fly out the window was that being good at Photoshop translates to being a good designer. I learned that Fraver’s initial designs at

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In the same way that Byrd influenced Fraver, Fraver has influenced me. I recognize my responsibility to one day pay it forward and mentor other young designers. Most importantly, now that I just started my new design position at Sagetopia in Leesberg VA, the next time I make it to New York I’ll owe Fraver a nice steak dinner and a sincere thank you.

This time it’s on me!

IGNITE YOUR IMAGINATION! • Engaging Unique New Applications and

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ERRATA | AMERICAN GRAPHIC DESIGN AWARDS The following winning entries were incorrectly represented in the American Graphic Design Awards Annual.

We apologize for the mistake.

Design Firm: CBS-TV2 Graphics Department, St. Thomas VI Client: Innovative Companies Title: Innovative Free For All Creative Director/Motion Designer: Jerry 'Bub' Meersman Innovative, Manager Art/Creative Design: Rebecca Waterfall Innovative, Senior Manager Marketing/Communications: Robyn Thaney youtu.be/9hrnEdG9UEM

Design Firm: CBS-TV2 Graphics Department, St. Thomas VI Client: Innovative Companies Title: inTing Rick Ross New Years Eve Explosion Creative Director/Motion Designer: Jerry 'Bub' Meersman Innovative, Manager Art/Creative Design: Rebecca Waterfall Innovative, Senior Manager Marketing/Communications: Robyn Thaney youtu.be/QlEU4LQW-jA

Design Firm: Gleaner Life Insurance, Adrian MI Title: The Gleaner Life Foundation Series Designer: Salina Richards Photographer: iStock by Getty Images Vice President of Agency and Marketing: Daniel L. Gordon Contributors: Alanna Cook, Kelly Jo Gilmore

Design Firm: John Rivas Publicidad, San Juan PR Client: University of Puerto Rico at Utuado Title: Café CORMO/CORMO Coffee - UPR at Utuado Logo Art Director: John Rivas Designer: John Rivas Illustrator: John Rivas Requested by: Dr. Olgaly Ramos, Dr. Mariangie Ramos, Dr. Marisol Dávila Negrón, Dr. Yaniria Sánchez

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Design Firm: John Rivas Publicidad, San Juan PR Client: AMA-AWA/Alliance of Women in Agroecology Title: AMA-AWA/Alliance of Women in Agroecology Logo Art Director: John Rivas Designer: John Rivas Illustrator: John Rivas Requested by: Dr. Olgaly Ramos, Dr. Mariangie Ramos, Dr. Marisol Dávila Negrón, Dr. Yaniria Sánchez

Design Firm: John Rivas Publicidad, San Juan PR Client: University of Puerto Rico at Utuado Title: Café CORMO Poster - UPR at Utuado Art Director: John Rivas Designer: John Rivas Illustrator: John Rivas Requested by: Dr. Olgaly Ramos, Dr. Mariangie Ramos, Dr. Marisol Dávila Negrón, Dr. Yaniria Sánchez

Design Firm: John Rivas Publicidad, San Juan PR Client: University of Puerto Rico at Utuado Title: Zebra Butterfly Poster - Mariposario Jardín Tanamá UPR at Utuado Art Director: John Rivas Designer: John Rivas Illustrator: John Rivas Photographer: John Rivas Requested by: Dr. Marisol Dávila Negrón, Prof. Eladio Gonzalez

Design Firm: John Rivas Publicidad, San Juan PR Client: University of Puerto Rico at Utuado Title: Poster Promo for Specialty Coffee Institute of the Caribbean/Café CORMO - UPR at Utuado Art Director: John Rivas Designer: John Rivas Illustrator: John Rivas Photographer: John Rivas Requested by: Dr. Olgaly Ramos, Dr. Mariangie Ramos, Dr. Marisol Dávila Negrón, Dr. Yaniria Sánchez

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ERRATA | AMERICAN GRAPHIC DESIGN AWARDS

Design Firm: Warkulwiz Design Associates, Lower Merion PA Client: The Samuel Curtis Johnson Graduate School of Management Title: Cornell Enterprise Spring 2012 - Impact Investing Grows Up Art Director: Bob Warkulwiz Designer: Emily Zuwiala Illustrator: Eva Vasquez

ERRATA | AMERICAN PACKAGE DESIGN AWARDS The following winning entries were incorrectly represented in the American Package Design Awards Annual.

We apologize for the mistake.

Design Firm: dt2 design, Croton-on-Hudson NY Client: CK Title: DO IT IN DUCT TAPE Art Director: David Un, Tree Trapanese-Un Designer: Tree Trapanese-Un Photographer: Brian Pierce

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Design Firm: dt2 design, Croton-on-Hudson NY Client: CK Title: STYLE IT IN NEON Art Director: David Un, Tree Trapanese-Un Designer: Tree Trapanese-Un Photographer: Brian Pierce

ERRATA | AMERICAN PACKAGE DESIGN AWARDS

Design Student: Erin Albright, Auburn University, School of Industrial + Graphic Design, Auburn AL Title: Alpine Market Trail Mix Art Director: Courtney Windham, Assistant Professor of Graphic Design Designer: Erin Albright Illustrator: Erin Albright Photographer: Erin Albright Paper: Printed on ENVIRONMENT® Papers, view on neenahpaper.com

Design Firm: John Rivas Publicidad, San Juan PR Client: University of Puerto Rico at Utuado Title: Café CORMO 100% Organic Coffee Silver Can - UPR at Utuado Art Director: John Rivas Designer: John Rivas Illustrator: John Rivas

Design Firm: Overlook Press, New York NY Title: Island of Second Sight Designer: Anthony Morais

Design Student: Patrick Daugherty, Auburn University, School of Industrial + Graphic Design, Auburn AL Title: English Breakfast Chocolate Company Art Director: Courtney Windham, Assistant Professor of Graphic Design Designer: Patrick Daugherty Illustrator: Patrick Daugherty Paper: Printed on CLASSIC CREST® Papers, view on neenahpaper.com

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ERRATA | AMERICAN INHOUSE DESIGN AWARDS The following winning entries were incorrectly represented in the American Inhouse Design Awards Annual.

We apologize for the mistake.

Company Name: AutoTrader Group, Atlanta GA Client: AutoTrader Classics Title: Kick The Tires Art Director: Kristin Nordby Designer: Kristin Nordby Copywriter: Bruce Behrens

Company Name: Drexel University, Antoinette Westphal College of Media Arts & Design, Philadelphia PA Title: Westphal College Viewbook Art Director/ Designer: Sandy Stewart Cover Photo: Victoria Blithe Editor: Lisa Visco

Company Name: L’Oréal Paris, New York NY Client: L’Oréal Paris Customer Marketing for Walmart Title: Classics We Adore Art Director: Clare Kostow Designer: Peter Rossetti

Company Name: MSA Architects, Cincinnati OH Client: Northern Kentucky University Title: NKU Student Success Center Principal In-Charge: Michael N. Schuster, FAIA LEED AP Environmental Graphic Design Team: Elizabeth Griswold, Hannah Anderson Architecture & Interior Design Team: Dwayne Boso, Kathryn Theobald, Chris Schoonover Rohs Photographers: Joe Harrison, JH Photography, Inc.

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Company Name: MSA Architects, Cincinnati OH Title: Pay It Forward Holiday Promotion Art Director: Michael N. Schuster, FAIA LEED AP Designers: Elizabeth Griswold, Hannah Anderson, Alex Gennett Photographer: MSA Architects

Company Name: Physicians Mutual, Omaha NE Client: Physicians Mutual Agency (Face-to-Face) and Pre-Need Distributions Title: 2014 Sales Convention Stationery & Kit Art Director: Ronda Scripter Designer: Amy Johnson Copywriter: Val Green

Company Name: Physicians Mutual, Omaha NE Client: Physicians Mutual Agency (Face-to-Face) and Pre-Need Distributions Title: 2015 Sales Convention Stationery & Kit Art Directors: Ronda Scripter, Amy Johnson Designer: Scott Piper Copywriter: Val Green

Company Name: Waters Corporation, Milford MA Title: CORTECS Columns Brochure Art Director: Susan Corman Designer: Susan Corman Production: Carrie Ann Stern

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Jeni Herberger and bob Calvano sHare tHeir experienCes and best praCtiCes on managing CHange from tHe Consultant and in-House perspeCtives.

deCember 3, 2014 fashion institute of technology 227 W 27th street nYC 6:00 pm – 9:00 pm

WitH Jeni and bob

Cocktails, networking and idea sharing. get your tickets now at in-source.org

insource is dedicated to bringing together in-house creative business leaders to share best practices, network with colleagues, and elevate the value of in-house creative organizations everywhere.

Join us for the event and sign up for a membership at in-source.org

global sponsors:

event sponsors:

SHARING IN THE PLAY

Observations On The Inaugural Hopscotch Design Festival

BY DAVID BURNEY, CEO & PARTNER, NEW KIND PHOTO: JONATHAN OPP

The childhood game of Hopscotch was surely conceived of by a budding graphic designer.

You begin by laying out a numbered grid. Then players take turns tossing an object onto progressively more difficult targets along the grid before hopping from square to square in an effort to retrieve their treasure and return safely home. Winning and losing takes a second seat to sharing in the play.

Hopscotch is indeed an apt metaphor for this year’s inaugural Hopscotch Design Festival, which took place September 3rd and 4th in downtown Raleigh, NC. For 48 hours, over 400 participants jumped from venue to venue enjoying an international array of 48 speakers and 36 different sessions, gathering nuggets of design inspiration and sharing experiences with one another.

San Francisco designer and artist Elle Luna kicked things off poetically, reminding attendees that participation in the first of anything “is a precious thing.” She then provided the perfect inspirational keynote to set everyone and the event itself on the right course — advising the attendees to choose in life what they ‘must’ do instead of what they ‘should’ do.

CAM RALEIGH WAS AN INSPIRING VENUE FOR MANY HOPSCOTCH SPEAKERS AND LABS. PHOTO: TIM LYTVINENKO

Other highlights included presentations by design rockstar and social movement catalyst Brian Singer of Pinterest, the confessions of Alexander Isley (seems he’s stolen every good idea he ever had), IBM’s Doug Powell, whose mission is to introduce design thinking to the IBM workforce of more than 400 thousand, and ARTIST ELLE LUNA EXPLAINS HOW STEFAN SAGMEISTER'S “JOB, CAREER, CALLING” MESSAGE INSPIRED HER OWN “CHOOSE MUST VS. SHOULD” LIFE PHILOSOPHY. PHOTO: TIM LYTVINENKO

an inside look at graphic design in films by Annie Atkins, graphic designer for Wes Anderson’s The Grand Budapest Hotel.

Other keynotes included Thomas Edison expert Sarah Miller

Overall, the presentations were as diverse as the speakers. From

Caldicott, architect Shohei Shigematsu of Office for Metropolitan

graphic design to social movements to architecture to opera to food

Architecture, and Harper Reed of Modest.

systems to philanthropy to sustainable city planning, Hopscotch jumped from one urgently relevant topic to another. It was impos-

Caldicott’s key theme, that Edison’s successes were the result of his

sible to take it all in. And that was the point. Freed from the

deep understanding of creative culture and collaborative invention,

confines of the conventional single-venue convention, Hopscotch-

resonated in the city well known for design thinking and open

ers met each other in the streets and galleries and restaurants

source. Shigematsu gave a fascinating tour of projects from all

of Raleigh’s intimate downtown, sharing their experiences and

over the world, including his collaborations with Kanye West.

inspirations of a new kind of design event.

Reed gave a hilarious and challenging history of design strategy and an unconventional take on ‘Big Data’ (hint: it’s “a joke”).

Contact: http://hopscotchdesignfest.com

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TWO SIDES MESSAGE SPREADS LOCALLY AND GLOBALLY

Print and Paper Have A Great Environmental Story To Tell

BY PHIL RIEBEL

Two Sides has carved out a presence in North America as a familiar advocate for the sustainability of print on paper. Since our beginning in the UK in 2008, we have grown to be present in five continents and several countries, with recent start-ups in South Africa and Brazil.

In North America, we are now enjoying support from over 120 companies in the print and paper industries including major players such as Boise Paper, Canon, Domtar, Envelope Manufacturers Association, Glatfelter, International Paper, Kodak, Konica Minolta, Lindenmyer/Central National Gottesman, Midland Paper, NewPage, Ricoh, Sappi, UPM, Veritiv and many more.

One of our most important activities is challenging misleading claims that electronic communications are more environmentally friendly than print and paper. As a result of the initiative, over 28 leading Fortune 500 companies have now removed their “antipaper” green claims used to promote e-bills and e-statements.

Our efforts were recently recognized by The Guardian in an article titled “Is Digital Really Greener Than Paper?” published February 24, 2014.

THE MAIN REASONS FOR CHALLENGING THE CLAIMS ARE THE FOLLOWING: • We do not believe that unsubstantiated marketing claims like “Go Paperless, Save Trees” meet guidelines for environmental marketing established by the U.S. FTC. • Print on paper made in North America has unique environmental characteristics compared to other products. It originates from a renewable resource – trees grown in responsibly managed forests, is recyclable and is the most recycled commodity with recovery rates of over 65 percent. Over the last 50 years, the volume of trees growing on U.S. forestland increased 49 percent (Society of American Foresters, 2007).

• The direct impact of our electronic infrastructure and products is far from negligible, and the trade‐off between paper and e-media depends on conditions such as use frequency, source of energy and end‐of‐life management of the products (Arnfalk, P. 2010).

• The claims are damaging to the North American economy and threaten jobs. In the U.S. alone, a total of 8.4 million jobs (6 percent of total jobs) that generate $1.3 trillion in sales revenue (8.6 percent of GDP) depend on the mailing industry, which includes paper production, printing production, related suppliers, graphic design, and the handling and distribution of mail (EMA Job Study, 2012).

“One of the benefits of our relationship with Two Sides has been the opportunity to reflect on how we communicate our efforts. This caused us to review

We are working with companies one-on-one to achieve a resolution and many of them have responded positively to our concerns.

With input from members and others, our list of companies using misleading claims has now grown to more than 100. Our plan is

Sprint’s messaging about electronic media across

to achieve an 80 percent success rate in the cases we take on;

multiple touch points. Having an organization like

a 55% percent success rate has been achieved to date.

Two Sides representing members of the industry is positive for the ongoing dialogue and engagement

Two Sides offers many resources to support print and paper through proven facts, research and data. Please check out “Our

needed to further sustainability and improve the

Most Popular Materials” section which includes a Myths and Facts

perception of industry’s environmental position.”

brochure, fact sheets on several hot topics, our latest infographic,

— Alan Anglyn, Director, IT Care & Billing Services Business Management at Sprint

on social media to be part of the network!

and two videos. Sign up to our e-newsletter and connect with us

Contact: www.twosidesna.org or www.twosides.us

PHIL RIEBEL is the president of Two Sides North America, Inc. and has over 27 years of experience in the field of environmental sustainability related to the forest products industry. He also owns and manages 200 acres of private woodlands.

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VISUAL CONNECTIONS RETURNS TO NEW YORK CITY

Annual Visual Media Expo and Networking Event

BY EDWARD LEIGH

Visual Connections New York returns on Wednesday, October 22nd to the Altman Building in Chelsea, Manhattan.

This year, Visual Connections is delighted to be partnering with GDUSA with the aim of broadening the horizons of creative image buyers. Whereas editorial buyers of necessity search high and low for their images, creative buyers can get by using just one or two agencies, never discovering the wealth of creative inspiration available further afield: photographers who create art; people pictures that are true to life; and production values that shine quality.

This annual education and networking event is for all buyers and researchers of photography, illustration and footage. The one-day program offers a unique opportunity to gain knowledge about sourcing, licensing and using imagery; discover new sources of stock media; meet the people behind the images; learn about the latest trends and pick up tips; network with peers; and enjoy a free lunch, beer or glass of wine.

Starting at 10 am, the two-hour Keynote Q&A Session, 360° view of copyright, trends and technology in visual licensing today, is focused on what’s new in the industry. Our panel includes attorney Nancy Wolff, specialist in copyright and digital media law at Cowan DeBaets Abrahams & Sheppard LLP;

Attendees can enjoy a complimentary lunch, snacks and bev-

Paul Melcher, long time industry guru and innovator; Karen

erages, including beer and wine after 5pm. There is also a free

Beard, founder (in 2013) and creative director of Shestock;

prize drawing sponsored by exhibitors, lots of cool giveaways

Nuno Silva, Director of Content at 500px Prime, launched

and the usual great buzz.

earlier this year.

Entry is free, but restricted to professional image buyers and The Footage Q&A Session at 3pm on Best practices for finding

researchers. Register at visualconnections.com/newyork

& licensing video, sponsored by ACSIL, offers the perfect forum for those making the transition to using video, especially in social media and other online applications.

EDWARD LEIGH, along with Deborah Free, own and run Visual Connections. Leigh has 18 years of experience of IT in the stock photo industry, as Research & Development Manager at Getty Images

The exhibit floor will showcase over sixty image/footage agen-

until 1996, and as a technical consultant to many agencies starting

cies from around the world, many of them new to this year’s

up or making the transition to the digital age. Free has 21 years of

event. Of particular interest to creatives will be 500px Prime,

experience in developing and marketing stock agencies, as President

Aurora Photos, Blend Images, Hero Images, Shestock, and

of Natural Selection until 1998, long-term consultant to Stock-

Wonderful Machine.

Food, and organizer of industry events nationwide since 2003.

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SERVING UP MENU DESIGN IDEAS Restaurant menus have never been more diverse, descriptive or numerous. If you design menus, how do you create a piece that is both decorative and strategic, to entice patrons and help your client’s sales?

To update a previous exploration of this topic, Neenah commissioned Ellie McKenzie of Farmhouse Design and Gregg Rapp of Menu Technologies to team up with Fey Printing.

The resulting demonstration serves up the subject on a very fresh level, marrying menu design and paper.

©2014 StudioAlex

The Contents: Generous Tips Gregg Rapp is a career menu engineer, advising restaurant groups across the country and across the spectrum — from Subway to the Four Seasons — about maximizing profits through menu design. His insights are practical and compelling, from where on a menu to list the most profitable item, to why leaving off the dollar sign makes sense. The way many restaurants list their prices literally drives Rapp dotty. He asserts, “Using a dotted line with an even righthand margin calls attention to the prices. You want the customer to read the entrée description before looking at the cost. And prices should be in the same typeface as the ©2014 StudioAlex

entrée description.”

The resulting spiral-bound book, titled simply Menu Design,

As for how a menu cover sets the mood, Rapp comments,

is a feast for the eyes. It’s tactile and interactive, presenting

“A menu is a welcome to the restaurant experience. It’s your

three detached menus (in handy pockets) amidst 32 pages

impression for the brand. When a restaurant chain wants to

of layout diagrams, cover options, tips, tools, and a trade

put a photo of a slab of ribs or a burger on their menu cover,

secret or two from Rapp. Menu Design illuminates what

I say, ‘Neither! Let the patrons relax into the menu. Don’t

drives patrons’ choices and also includes a refresher of

hard sell before they settle in.’ The paper — its look and its

branding basics, asking the classic questions about the

feel — is a big part of the pacing.”

intended audience.

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THE CLASSIC® COLOR WHEEL AND TIPPED-ON COLOR DOTS

BLACK FOIL STAMPING ON BLACK STOCK. CHEESE

The Printing: Variety + Tactility

DIGITALLY PRINTED ON A SLIVER OF PEARLESCENT LINEN-FINISH STOCK. TWO-COLOR BISTRO MENU WITH HIDDEN-STAPLE BINDING.

Menu Design demonstrates CMYK printing on a broad range of weights and textures, using both traditional offset and

Specialty techniques are showcased as well, with touches

digital presses. Kristopher Gasch, director of marketing at

of foil stamping, a silver-engraved tip-on, and a very large

Fey Printing, points out that digital printing (in Fey’s case, on

registered emboss (7.5 x 10 inches) all catching the light

an HP Indigo) is a great boon for high-quality, low-quantity

and the eye.

menus. “You can run menus and other restaurant collateral on a 12 x 18-inch sheet. For limited quantities, a traditional off-

See It All

set press would be much more costly in terms of make-ready and waste. Digital involves less set up, less spoilage, less time on press.”

Request a copy of Menu Design directly from your Neenah rep or your Neenah paper distributor.

Learn more: www.farmhousedesign.net www.feyprinting.com www.neenahpaper.com www.menutechnologies.net SAMPLE MENU AND POSTCARD FOR THE YUM YUM CLUB

EXCEPT AS NOTED, PHOTOS COURTESY OF ELLIE MCKENZIE, FARMHOUSE DESIGN.

Menu Design also shows off straight spot-color printing, on the menu inserts and on several spreads. McKenzie says, “Paper that provides interest in terms of color or texture, plus simple printing — just one or two ink colors – adds up to a menu that is tactile and engaging. It’s not only an economical approach, but can also enhance a restaurant’s character.”

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PRINT DRIVES ONLINE GIVING

Non-Profits Continue to Reap Benefits

BY GERRY BONETTO

Print is a powerful media and a vital part of the marketing mix for a wide variety of charitable organizations. Not only is print durable, portable and credible, it’s also warm, inviting and highly personalizable. This makes print ideal for delivering emotional and often in-depth messages that help recipients feel and see the difference that their donations can make.

After enduring some difficult years during the recent economic downturn, many non-profits are seeing an upswing in donations. Given the rise in popularity of online bill paying, it’s no surprise that online giving is up as well. People have gotten comfortable with the ease and safety of online payment systems. The 2013 Blackbaud Online Marketing

What does all this mean? It means that at a time when email

Benchmark Study for Nonprofits™, which examined data

marketers are having an increasingly difficult time getting

for more than 500 non-profit organizations in the U.S. and

their messages into recipients’ inboxes and read before

Canada, showed that the median growth rate of online

they’re deleted as spam, print continues to capture people’s

fundraising in 2012 versus 2011 was 11.6 percent.1

attention and motivate them to take action. Couple this with consumers’ increased comfort with online payment

Many industries would like to experience a similar increase

systems, and it’s easy to see how print drives online giving

in sales! This data, of course, raises an important question:

for charities nationwide.

What’s driving people to these charities’ online donation pages in the first place? In many cases the answer is direct mail.

According to a national study conducted by Campbell Rinker on behalf of Dunham+Company in April 2012,2 donors are more than three times more likely to give online in response

NOTES 1. Blackbaud Online Marketing Benchmark Study for NonprofitsTM, May 2013 2. Campbell Rinker Donor Confidence Survey, April 2012, http://www.dunhamandcompany.com/2012/05/dunhamcompanystudy-direct-mail-growing-as-source-for-online-donations/

to a direct mail appeal than in response to an emailed appeal. Interestingly, this engagement ratio was even higher in 2012 than it was in October 2010, when a previous edition of the study found that donors were two times more

GERRY BONETTO is VP Government Affairs for Printing Industries Association, Inc. of Southern California (PIASC) and a Choose Print content provider. PIASC is the trade association for the graphic arts

likely to give online in response to a direct mail appeal

community in Southern California. Founded in 1935 and incorporated in

than from an emailed appeal. In addition 50 percent of

1944, today, PIASC is the largest graphic arts trade association in the

donors surveyed in 2012 said when they receive a letter in the mail from a charity, they prefer to make their donations online. This was an increase from 2010, when just over one-third of donors gave the same response.

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nation. Choose Print is an educational campaign designed to promote the effectiveness of print and to reinforce the fact that print on paper is a recyclable and renewable and thus a sustainable environmental choice.

Choose Print is sponsored by PIASC. Contact: ChoosePrint.org

SHOULD I STAY OR SHOULD I GO: THE RISKS OF ACCEPTING A COUNTEROFFER

BY DIANE DOMEYER On the surface, it sounds like a dream situation: you receive an

Unless the reason is purely financial, know that a raise won’t

exciting new job offer from a cool company and an enticing

address your concerns.

counteroffer from your current employer. Accepting a counteroffer can be very tempting: more money and other shiny new

HOW TO DEAL WITH A COUNTEROFFER

perks, all without having to uproot yourself from a comfortable

Imagine the scenario: You break the news to your boss that

routine. But after finding another opportunity, think twice be-

you’ve accepted another job. He or she is eager to keep you and

fore renewing your workplace vows with your current employer.

asks about the compensation and benefits packages so she can

Accepting a counteroffer can be a bad career move. If you find

meet or beat those terms. What do you do?

yourself being wooed by your current employer after turning in your notice, here are some things you need to know before mak-

Unless you want to play the counteroffer game, don’t disclose

ing a final decision.

details about your new offer. Your only obligation to your present employer is to give two-weeks’ notice. The professional thing

THE DOWNSIDES OF STAYING

to do, however, would be to briefly explain the reasons you’re

According to a recent survey by The Creative Group, 20 percent

leaving — opportunities for advancement, desire for new chal-

of advertising and marketing executives said the number of

lenges, etc. — and to help with the transition. This could include

counteroffers extended by their company has increased in the

wrapping up any projects you’re working on and training a

last six months. It makes sense: Employers don’t want to lose a

replacement, such as an internal candidate or a project employee.

top worker with specialized skills, especially one that they helped

Your current employer will appreciate the effort, and your actions

train. And those opposing bids seem to work: Two-thirds of

will let you leave on a positive note.

executives said it was somewhat or very common for employees to accept them.

SOME FINAL THOUGHTS A counteroffer can be a powerful self-esteem booster, and the

However, 28 percent of respondents admitted they would ques-

prospect of staying with the familiar can be very appealing. But

tion the loyalty of workers who opted to stay. So, accepting a

more often than not, accepting a counteroffer leads to burned

counteroffer can create several problems. One, you’ve already

bridges, continued professional dissatisfaction and, perhaps, even

played your card and signaled to your boss that you’re a flight

another job search in the near future. Unless your reasons for

risk. That can take you out of the running when it comes to

leaving are solely financial, it’s generally best to thank your

earning future promotions, and it may cause your company to

manager for the counteroffer, move on and start the exciting

think twice before investing in you by sending you to conferences

next chapter of your professional career.

or paying for training. Two, it doesn’t look good to commit to a new employer but then go back on your word. You may burn a

Finally, if you like your current company, don’t forget to proactively

bridge and tarnish your reputation.

look for ways to improve your work situation — it may help you avoid this conundrum altogether. Would a bump in pay or job

MORE THAN MONEY

responsibilities make you happier? If so, approach your boss to

Perhaps the most important reason to think twice about a

make your interests known and be specific in asking what you

counteroffer is it often doesn’t address the reasons you want to

can do to merit the raise or greater workload. This approach

leave. A bump in salary might give you an immediate sense of

can save you time and potential hard feelings versus trying to

being appreciated, but chances are that it won’t keep you happy

negotiate once you have another offer in hand.

in that job in the long run.

As you weigh the new offer against the counteroffer, recall what originally compelled you to search for another position. Perhaps you feel your creativity and skills are not being fully utilized in your current job, or the company is moving in a different direction. Maybe the new position affords a more flexible schedule and better opportunities for advancement, or is just a welcome change after working for the same company for so many years.

DIANE DOMEYER is Executive Director of The Creative Group, a specialized staffing service placing interactive, design, marketing, advertising and public relations professionals with a variety of firms. For more information, visit creativegroup.com. See also: http://blog.creativegroup.com/managingcreative-people-and-projects

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FREE INFORMATION To request product information from advertisers featured in this issue visit:

www.gdusa.com/freestuff.php You can also contact the advertisers directly as provided below or fax this page back to 212.696.4564

COMPANY NAME

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1 4over

COMPANY NAME

PAGE

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www.4over.com m

2 Academy of Art University 3 Admore

9

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4 Art Resource

55

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5 Artisan

55

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6 Berthold

67

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7 Choose Print

5

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8 Clearwater Paper

IFC

9 Corporate Image

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19

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10 Dollar Photo Club

17

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IBC

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51

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12 Dynamic Graphics/dynamicX

15

13 Endurance

65

14 Envelopes.com

27

15 Erickson Stock

7, 75

16 Graph Expo 17 Graphics of Americas www.goaexpo.com

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1

26 Rolland

59

27 Shutterstock

BC

28 Sustainable Forestry Initiative

63

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29 UniKeep

69

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30 Verso

71

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31 Visual Connections

46

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32 Young Photographers Alliance

35

youngphotographersalliance.org

103

www.graphexpo.com m

25 Pantone

www.visualconnections.com/gdusa

www.ericksonstock.com m

3

www.versopaper.com www.envelopes.com

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24 Mohawk

www.unikeep.com www.enduranceforprint.com

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43

www.sfiprogram.org

www.dynamicx.co.nz m

23 Kallima Paper

www.shutterstock.com

11 Domtar www.domtar.com

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69

www.rollandinc.com

www.dollarphotoclub.com m

22 Jam Paper

www.pantone.com

www.corp-image.com m

13

www.mohawkconnects.com

pandp@clearwaterpaper.com m

21 International Paper

www.kallima.com

www.chooseprint.org m

25

www.jampaper.com

www.bertholdtypes.com m

20 Imagers

www.internationalpaper.com

www.artisantalent.com m

23

www.imagers.com

www.artres.com m

19 How Design Live www.howdesignlive.com

www.admorefolders.com m

11

www.typography.com

www.academyart.edu m

18 Hoefler & Co.

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33 Yupo www.yupo.com

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