GDUSA September/October 2015

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GD USA

GD USA GRAPHIC DESIGN USA

29TH ANNUAL

SEPTEMBER | OCTOBER 2015

STOCK VISUAL READER SURVEY SPONSORED BY CORBIS

RESPONSIBLE DESIGN SPONSORED BY ROLLAND

HEALTH + WELLNESS AWARDS SPONSORED BY ERICKSON STOCK

www.gdusa.com

SEPTEMBER | OCTOBER 2015

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CONTENTS | JULY/AUGUST

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FRESH Trollbäck brands UN Global Goals for audience of billions; Squat New York helps cereal ‘pop’ off shelves; illustrator visualizes Scholastic’s mission; Richard Wilde’s new book seeks to shake things up; Strick&Williams logo for new book imprint evokes planetary movement; and more.

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PEOPLE Ira Yoffe, who once led Parade, forms new design firm; Rahmin Eslami is named VP of Design at Hornall Anderson; product-focused Tim Allen heads Wolff Olins NA; Molly Rose Walker strategizes for Brunet-Garcia Advertising; and others.

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STOCK VISUAL SURVEY Two points jump out from our 29th annual stock visual reader survey. One is that society is more visually hungry and more visually sophisticated, and stock imagery grows because it feeds the beast. The other is that the imagery increasingly reflects the way America looks and lives today. Corbis is the exclusive sponsor of this annual event.

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SUSTAINABLE DESIGN This special report continues our practice of shining the spotlight on designers who exemplify the values of sustainability.

This year, we found that you can no long put ‘green’ design and ‘socially responsible’ design and ‘good cause’ design in silos; in 2015 they are inextricably linked.

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HEALTH + WELLNESS AWARDS GDUSA’s American Health + Wellness Design Awards™ competition honors first-rate graphic communication in this fast-growing and high-profile segment of the economy. The 2015 winners showcase features 125 projects for traditional and non-traditional healers. Erickson Stock is just the sponsor that the doctor ordered.

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FOCUS ChoosePrint on green packaging in action; SFI on the benefits

GDUSA - Graphic Design USA Volume 52 / No. 5 September/October 2015 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 toe GDUSA - Graphic Design USA, PO Box 3072, Langhorne PA 19047. Permit #224.

of well-managed forests; Visual Connections expands mission to include new content; Neenah invites you to Explore; Diane Domeyer of The Creative Group on avoiding crucial social media mistakes; and many more.

WWW.GDUSA.COM

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LETTER FROM THE PUBLISHER | SOMETIMES I LEARN SOMETHING NEW Regular readers know that I enjoy editing GDUSA magazine. What’s not to like? We show beautiful imagery, interesting projects and innovative people all in service to a community that is increasingly important in commerce and culture. In the process, I sometimes learn something new about the state of graphic design or publishing or myself. If it is okay with you, I’d like to share a few random observations that arose during the making of this magazine. If it is not okay, I really don’t blame you. Sometimes I just want to look at pretty pictures, too, so feel free to turn the page.

LOOKING LIKE AMERICA The results of our 29th annual stock visual reader survey, appearing in this edition, reveal a provocative finding. Stock collections, long criticized for being “whitebread,” are now being praised for better reflecting the demographic diversity of America and the growing fluidity of American society. Stock imagery is quickly coming to “look like America” — think race, ethnicity, gender, age, family, workplace — and that is a remarkable transition.

I hate divisive identity politics. But I love that the industry’s “go-to” visual resource — which more than 90 percent of us use — is more fully inclusive and authentic about GORDON KAYE IS THE PUBLISHER OF GDUSA Comments, suggestions and letters can be sent to gkaye @ gdusa.com.

how we look and live. On a practical level, this development is also a bracing reminder that graphic designers (and their vendors) must have their finger on the pulse of the culture.

SUSTAINABILITY AND SILOS For a long time, GDUSA has produced an annual “Green Design” report that spotlights terrific creative agencies from all over the country who excel in “green” messaging or practices. But I fear that, in 2015, the way we frame this report has become anachronistic.

The attempt to isolate green design, without integrating the much more comprehensive concept of socially responsible design, creates arbitrary lines and artificial silos. More and more creative agencies are silo busting — embracing responsibility writ large in terms of how, why, when and for whom they work. It strikes me that a focus on green design is necessary but no longer sufficient to do justice to the movement to socially responsible and mission-driven design.

FEELING WELL IS GOOD Our annual Health + Wellness Design Awards™ showcase of more than 100 pieces is published inside. The nature of the entries are illuminating. When we first conceived this competition, I envisioned imagery of doctors, nurses, pills, and sick rooms, in short the treatment of disease and infirmity. What you send us is considerably more optimistic.

“Wellness” has superceded “healthcare” as a way to think about this sector, with a shift in communication and aspiration toward the pursuit of complete physical, mental, and social well-being. The explosive growth of this contest also provides an optimistic subtext for graphic designers: industries are always morphing and new opportunities are always emerging that absolutely demand your enduring talents, skills and competencies.

AUDIENCE OF SEVEN BILLION As I write this paragraph, New York City is unwinding from simultaneous visits by the Pope, the President, the United Nations General Assembly and, last but not least, Beyoncé.

I was partly inspired by all the good will in one place, and partly annoyed because my favorite running route was blocked for days. (Sorry, I’m only human.) More to the point, we report in today’s magazine on Jakob Trollbäck's visual branding of the UN Global Goals for Sustainable Development, whose adoption and dissemination was a highlight of the week's activities. Trollbäck's task was to take a complicated document written in dense political language, and turn it into something conversational, shareable, appealing, and above all, comprehensible to a diverse and worldwide audience. The project is a vivid reminder that communication is increasingly cross-border and cross-cultural which, in turn, heightens the need for imagery and iconography that is universally understood.

And for graphic designers who can meet that challenge.

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A SPECIAL THANK YOU TO . . .

CORBIS Corbis® sponsors our 29th annual Stock Visual Survey. Founded in 1989 by Bill Gates, Corbis is a leading digital content and worldwide entertainment rights company. The company empowers agencies, brands, publishers, and other media producers to capture the attention of audiences worldwide by integrating premium and timely content into their communications. From exceptional creative, documentary, and breaking entertainment content, to product and media integration services, Corbis helps elevate projects, amplify brands, and captivate any audience. To see more visit corbisimages.com ROLLAND Headquartered in Saint-Jérôme, Quebec, Rolland is the market leader in the production of specialty uncoated fine papers with the highest standards for environmental sustainability. It makes sense that Rolland sponsors GDUSA’s “Sustainable Design” report each year: 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 Enviro Satin, 60 lb., a great choice for printing dazzling and colorful visuals; it features a very smooth satin finish and excellent foldability for annual reports, promotions, and all documents that require color and detail. The paper contains FSC® certified 100% postconsumer fiber; is certified EcoLogo, Processed Chlorine Free, and FSC recycled; and is manufactured using biogas energy. Visit www.rollandinc.com and www.rollandinc.com/en/environment.php

WILL BURKE

ERICKSON STOCK Erickson Stock is the founding sponsor of our Health + Wellness Design Awards. This 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. Erickson Stock is 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. To see more visit www.ericksonstock.com

GD USA GRAPHIC DESIGN USA

Gordon Kaye Publisher

ART & PRODUCTION Ilana Greenberg Creative Director Rachel Goldberg Production Director Samuel Peltz Art/Photo/Multimedia Editor

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

ABOUT THE COVER The ‘Designing for Health’ interactive infographic from The American Institute of Architects was a winner in the annual GDUSA Health + Wellness Design Awards™.

Winners showcase begins at PAGE 68.

EDITORIAL Gordon Kaye Editor Sasha Kaye-Walsh E-News Editor Charlotte Kaye Assistant Editor

ADVERTISING Ron Andriani Executive VP, Integrated Marketing + Business Development 201.485.8720 212.696.4380 randriani@ gdusa.com

COVER PAPER CREDIT: The cover of this edition of GDUSA is printed on FSC-certified Kallima Coated Cover C2S,

part of the Kallima Paper family of FSC-certified coated cover paperboard, manufactured by Tembec. A leading advocate of sustainability, Kallima Paper has a distinct low-density high-bulk construction resulting in less trees used and significant cost savings to the customer. Kallima’s trusted line of Coated Cover C1S, C1S Plus and C2S are wellknown for their bright white surfaces. Visit www.kallimapaper.com

Gordon Kaye Publisher 212.696.4380 gkaye @ gdusa.com COPYRIGHT 2015 BY KAYE PUBLISHING CORPORATION

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YO U D O N ’ T K N OW U S But you’ve seen our work.

For over 25 years, Corbis has operated behind the scenes to deliver groundbreaking image, entertainment and digital content for the creative industry.

Le a r n m o re a t B L O G . C O R B I S . C O M / B E H I N D - T H E - S C E N E S

© 2 0 1 5 C O R B I S C O R P O R AT I O N

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FRESH | BASE DESIGN FASHIONS NEW COLOR CAMPAIGN

NEW YORK NY Pantone’s latest campaign announces 210

additions to their fashion, home furnishings and interior design color palette. The creative for “Color on Color” seeks to position Pantone as the leader in color and color trends for the international design and fashion communities. Pantone partnered with Base Design — known for global brand identity work for cultural institutions like MoMA and La Foundation Louis Vuitton — on the look, concept and design. Led by Creative Director Min Lew, Base created images that speak both the language of Pantone and fashion. With a headline “On Color,” which echoes the fashion industry’s “On Trend” expression, Base uses dramatic sculptural gestures and aesthetics, generous white space, sharp lines and constructions to create refined imagery that goes beyond the iconic Pantone chip. The mirrors suggest an infinite world of choices while art direction is sculpturally minimal to give the images a degree of abstraction. Colors are coordinated to reflect the latest trends as identified by the client. As for the new colors, which bring the total selection to 2,310, Pantone says it leveraged trend-spotting intelligence along with research from the Pantone Color Institute® to develop an enhanced shade selection. “The colors that are influencing design today have evolved to reflect shifting societal views, new technological innovations and a truly global outlook,” says Leatrice Eiseman, executive director of the Pantone Color Institute®. Fashion photographer Sacha Maric shot the campaign. basedesign.com

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FRESH | DECKER DIVES INTO WATERFRONT CHALLENGES

NEW YORK NY “Suddenly, we realized we were surrounded by water.” So says Lynda Decker whose design firm recently redesigned the brand and launched a responsive website for The Waterfront Alliance. The organization works to protect, transform, and revitalize the New York area harbor and waterfront. If film is a barometer of popular culture, notes Decker, New York City is rarely portrayed as an island; the one film with waterfront in the title, On the Waterfront is a story of 1950s crime and corruption. “With that type of subtext,” she says, “it is no wonder most New Yorkers never gave a thought about the area’s 500 plus miles of coastline until Superstorm Sandy.

Suddenly, we realized we were surrounded by water. Issues of resilience, access and development came to the forefront of conversation.” Although in existence for eight years, the Metropolitan Waterfront Alliance was little known outside of engineering and policy circles. It convenes over 800 partners with diverse interests ranging from recreation to industrial use.

The organization advocates for stronger public policy and greater access. Decker’s challenge was to first create a mark (and, in the process, to simplify the name to Waterfront Alliance) and then a communication program to unify the varied and sometimes conflicting interests of the Alliance partners. The next challenge was to transform a tangled website of 7,000 pages into a coherent communication vehicle. Explains Decker: “We created the concept of shared interest through the phrase ‘Our Waterfront’ and made it a #ourwaterfront for a social media campaign.” The site reinforces the organization’s convener role and serves as a portal to information and events. The work extends the brand across media channels — from internet to letterhead to t-shirts. The interactive program includes the website, email newsletters, a blog and a microsite. MANYFOLD is credited with website development and video. deckerdesign.com and waterfrontalliance.org

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FRESH | RICHARD WILDE BOOK BASED ON ‘JARRING’ SVA COURSE N E W Y O R K N Y Richard Wilde, longtime chair of the

Advertising and Design Departments at the School of Visual Arts, has written a new book. The Process: A New Foundation In Art and Design is based on his acclaimed Visual Literacy course at SVA, and it promises to “reveal Wilde’s one-of-a-kind method for innovation and creativity.” Known as one of the premier teachers of our time, his signature course seeks to “jar artists, innovators and designers” out of preconceived notions and habitual thinking, and create the conditions for risk taking, experimentation, struggle, play, and trusting one’s instincts. The result of this approach speaks for itself: among the creative geniuses he has influenced are former Visual Literacy students such as Broadway ad titan (Chicago, De La Guarda, Rent) Drew Hodges; music video director (Iggy Pop, Steve Winwood) Paula Greif; collage artist (The New Yorker, Time) Hanoch Piven; acclaimed book-cover designer (A Million Little Pieces, Fight Club) Rodrigo Corral; feature film director (Million Dollar Arm, Lars and the Real Girl) Craig Gillespie; graphic designer (Chanel, Nike) Natasha Jen; and HGTV series host (Dear Genevieve) Genevieve Gorder. Wilde has received over 250 awards including Hall of Fame Laureate at the Art Directors Club, and he is a past president of the Art Director's Club and past board member at AIGA and the Type Director's Club. He has chaired the SVA department since 1971 and launched his Visual Literacy course in 1975. The Process is published by Laurence King Publishing, and is co-authored

by Richard’s wife Judith Wilde, Professor Emeritus at Kingsborough Community College and faculty member at SVA. www.laurenceking.com

Richard Wilde, author of The Process: A New Foundation in Art and Design and longtime chair of the Advertising and Design Departments at SVA.

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TOUCH IS THE FINE LINE BETWEEN

read & remembered

There’s a reason the smartest brands choose paper for important messages. Because holding something in our hands can shape how we feel. What we know. And, critically for marketers, what we buy.

See how brilliant brands use haptics—the science of how things we touch shape the way we feel— to create deeper connections with their customers.

Visit sappi.com/haptics to learn more and request your own copy of “A Communicators Guide to the Neuroscience of Touch.”

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FRESH | TROLLBÄCK BRANDS UN GLOBAL GOALS FOR AUDIENCE OF BILLIONS

NEW YORK NY To much fanfare, the United

Nations has adopted The Global Goals for Sustainable Development, a proactive plan through 2030 that hopes to “end poverty, protect the planet, and ensure prosperity.”

Adoption of the goals has been accompanied by a massive marketing campaign led by filmmaker Richard Curtis of Project Everyone, that hopes to spread the message via multiple media of the UN initiative to the world’s 7 billion people. As part of the communications plan, Jakob Trollbäck, CCO of Trollbäck + Co, was asked to develop the visual branding and copywriting, including a logo, icons and posters. His task: to take a complicated document written in dense political language, and turn it into something conversational, shareable, appealing, and above all, comprehensible to a diverse and worldwide audience.

The text, icons, and logo Trollbäck created are on display in ads and related campaigns worldwide, projected on the side of the UN building in New York City, and were featured at the Global Citizen’s Festival in New York’s Central Park late last month featuring Stephen Colbert, Beyoncé, Pearl Jam and Coldplay. In addition, Trollbäck wrote a short manifesto that lays out the critical mandate at the heart of the campaign: “Together we can build a world that we can all be proud to live in.” trollback.com/the-global-goals

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Art That Works Earn a Degree or Take Classes in San Francisco or Online Schools of Graphic Design Student Artwork by Juan Martinez, School of Graphic Design

Academy of Art University | Founded in San Francisco 1929 | 888.680.8691 | academyart.edu | Yellow Ribbon Participant Visit www.academyart.edu to learn more about total costs, median student loan debt, potential occupations and other information. Accredited member WSCUC, NASAD, CIDA (BFA-IAD, MFA-IAD), NAAB (B.ARCH*, M.ARCH), CTC (California Teacher Credential). *B.ARCH is currently in candidacy status.

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FRESH | SQUAT NEW YORK HELPS QUINOA CEREAL ‘POP’

NEW YORK NY Pereg Natural Foods, a 100 year old family business specializing

in gourmet food products, has added to their lineup a heart-healthy cereal — Quinoa Pops — described as a crunchy twist to quinoa available in four flavors. Squat New York was asked to develop packaging graphics for a product that had never existed before which, says Creative Director Shiri Kornowski, presented a particular challenge but also left ample room for creative freedom. “Our process,” explains Kornowski, “started with a strategic approach including the product positioning ... We wanted to design the packaging in such a way that would properly convey the various ways the Pops could be used just by looking at it on the shelf — creating this visceral feeling of interaction with the product before even consuming it. We wanted the package to reflect feeling of joy while eating the cereal; touching upon all five senses especially taste ...” To match the various flavors and crunch, Kornowski focused on colors and patterns that would express Strawberry, Chocolate, Vanilla, and Original, and then combined colors with illustrations to enhance the consumer’s understanding and expectation. As for the logo and typeface, she says, “we used a cursive calligraphy technique to represent movement — something that is always in motion. Using blind embossing and elevated paper texture, we created the font to look three-dimensional so when people touch it, they can feel that it’s raised – a true ‘pop!’ effect. Along with the font, we took things a step further by adding explosive lines and floating polka dots around it to add depth to the overall feel. These finishing touches evoke a playful look that make the Quinoa Pops truly pop out on store shelves.” squatny.com

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FRESH | RANKING THE BEST CITIES FOR GRAPHIC DESIGNERS

THE TOP CITIES FOR GRAPHIC DESIGNERS TO WORK IN ARE:

1. San Francisco CA 2. New York NY 3. Bridgeport CT 4. Framingham MA 5. Los Angeles CA 6. Minneapolis MN 7. San Jose CA 8. Philadelphia PA

1

9. Boulder CO 10. Washington DC 11. Seattle WA 12. Santa Ana, Anaheim, Irvine CA 13. Atlanta GA 14. Oakland CA 15. Bethesda MD 16. Chicago IL 17. Provo UT

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18. Dalton GA 19. Columbus OH

SAN FRANCISCO CA What are the best cities for America’s 200,000

graphic designers to work in? Weighing in on this question with a new study is ValuePenguin a consumer research and finance website. Based on several metrics — most notably median salary, cost of living, and job opportunities —

20. Boston MA 21. Warren MI 22. Portland OR

the study finds that San Francisco, New York and Los Angeles are among the

23. St. Louis MO

top five urban areas in the U.S. The full report ranks up to 30 cities from among

24. Milwaukee WI

nearly 350 candidates. The motivation for the study? A founder, Brian Quinn,

25. West Palm Beach FL

says: “ValuePenguin is all about data and using it to help others make better decisions. To that end, we wanted to take a quantitative look into different

26. Salt Lake City UT

career paths and what cities were best to live in for those respective profes-

27. Kansas City KS

sions.” As you will see, the research focuses on hard data rather than more

28. Trenton NJ

subjective measures of what might be the “best” environment for a creative person. ValuePenguin describes San Francisco, the number one choice, as a “city of extremes. The highest annual average salary and the highest cost of living — and it’s not even close.” www.valuepenguin.com

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FRESH | STRICK&WILLIAMS PROVIDES CONTEXT TO COLUMBIA GLOBAL REPORTS

NEW YORK NY Columbia Global Reports (CGR) is a new publishing imprint with the goal to produce six slim original paperbacks that combine in-depth journalism with on-site reporting to illuminate underreported issues. Publisher Camille McDuffie turned to Charlotte Strick and Claire Williams Martinez of Strick&Williams to brand the venture, part of a wider Columbia University initiative on globalization, in a way that gives the series a unique look but fits comfortably within the larger University, and that underscores the timeliness of the content and its accessibility to general interest readers. The project includes logo, branding, jackets, interiors, and a new website. Of the logo, Charlotte Strick says: “People travel the globe to know it better, and to locate themselves within the larger context of our world. The logo we designed implies this exploration by playing off the natural staggered rhythm provided by the letter “O” inherent in each word within the publisher’s name. The circles evolve through three stages of rotation, referencing the ever-changing nature of our planet.” She notes that while the CGR name must appear on the front of every book in the series, the covers need not conform to a templated design.

“To that end,” says Strick, “we’ve locked the logo to the upper right corner of each cover, and designed unique artwork for each publication. The logotype retains the freedom to respond to the individual cover designs through color or orientation.”

Strick&Williams also designed the website — it was built by Jason Yovanoff at Enabled Labs — to make it easy to find the books, to access the community through author events, and to leave open the possibility that the site may be leveraged as an additional channel to tell stories. The site design references the role of journalism at CGR through a classic broadside layout. Individually, Strick and Williams have extensive experience working for publishers and design agencies. Among her creative posts, Strick served as art director at Farrar, Straus & Giroux. Claire designed for Studio Blue and VSA Partners, and is former president of AIGA Chicago. In 2014, the two formed their multidisciplinary design firm which serves clients in education, the arts, books, non-profits and more. The inaugural CGR publication, Shaky Ground, was introduced last month; shown here are more titles now in the cue. globalreports.columbia.edu

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FRESH | SCHOLASTIC ARTIST CAPTURES THE JOY OF READING

NEW YORK NY Artist Moonsub Shin, under the direction of Scholastic’s

corporate design team, has created whimsical artwork that has become the foundation of visual branding for Scholastic’s current companywide mission statement and reading initiative. “Open a World of Possible” encourages parents, teachers and schools to let children choose their own books to discover the power and joy of independent reading. Despite the challenges of illustrating the abstract concept of how reading the right books opens a world of great understanding, self-motivation and joy, Moonsub’s dynamic illustrations have become instrumental to help Scholastic’s audiences, including families, children and educators, visualize the power of a child discovering the perfect book. Moonsub’s pen and pencil technique and integration of color in illustrations, captures the campaign’s main messages of “playfulness,” “joy” and “discovery.” Shin’s sketches portray diverse characters in various situations, demonstrating all children have the opportunity to discover a world of possible through reading. Billy DiMichele, Scholastic VP Creative Development says, “Moonsub’s illustrations perfectly capture the spirit of ‘Open a World of Possible’ and how imagination and discovery empower children to become lifelong readers and learners.”

Scholastic has also commissioned Shin to illustrate its annual Scholastic Summer Reading Challenge, the Annual Report cover, company holiday card and other corporate divisions. www.scholastic.com/worldofpossible

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PEOPLE | 'NONTRADITIONAL' TIM ALLEN HEADS WOLFF OLINS NA

TIM ALLEN PRESIDENT, WOLFF OLINS NORTH AMERICA, NEW YORK NY | SAN FRANCISCO

Tim Allen, former head of Amazon's product design studio, has joined Wolff Olins as its first North American President. Best described has having a non-traditional career in branding and design, Allen previously served as Executive Creative Director at Amazon, where he led a team of technologists and designers to create humancentered and experience-led digital products and design. Before that, he led Experience Design at both R/GA and Sapient Nitro, amassing a collection of awards for his innovative work including Nike Training Club, Nike’s first iOS app, Nike+ Active, which was highlighted by Steve Jobs at the 2009 Macworld Keynote, and Nike+, which Adweek named “Campaign of the Decade.” Allen says his day-to-day responsibilities in the newly created post — initiated to oversee growth in the firm's New York and San Francisco offices — will be “a combination of people, projects and purpose.” In a recent blogpost on the Wolff Olins site, Allen argues, in part, that “Customers demand control from the products and services they love. They want to co-create and collaborate. They want to feel a part in deciding what gets produced and how it gets delivered. They’re willing and definitely able to participate in product development, marketing and distribution. When brands match their promise to their delivery, associated tribes voluntarily create and promote a message of empowerment, satisfaction and love . . . .”

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September 2015 PEOPLE impo_SEPT 07 People 10/7/15 11:35 AM Page 28

PEOPLE | PROMOTIONS + HONORS

RAHMIN ESLAMI VP OF DESIGN, HORNALL ANDERSON, SEATTLE WA

Hornall Anderson hires Rahmin Eslami as a VP of Design — partnering with current VP of Design, Michael Connors — to help lead the agency’s design efforts. Eslami oversees an inter-disciplinary design team working on national and global branding for clients; duties include mentoring and inspiring staff, and promoting a culture of creative excellence. Rahmin has made an impact on a number of brands, including previous projects for Abbott, Bank of Nova Scotia, Ethicon Endo-Surgery, GE, Johnson & Johnson, Michelin brands, PepsiCo, Kraft Foods, and Procter & Gamble. “My goal is to make people feel things through branding,” said Rahmin. “I believe conceptual ideas drive better design and

I R A Y O F FE

that emotion is a powerful vehicle for impact. To me, true

MANAGING PARTNER/CCO, BRAND 2 CREATIVE, SKILLMAN NJ

communication comes about at a deeper level than what

Ira Joffe has formed Brand 2 Creative.The new company offers

is sometimes readily seen or heard — and I’ve been known to keep digging until that level is reached.”

marketing, branding, graphic design, web development, social media, event management and exhibit design. Brand 2 Creative grows out of The HealthWorks Group, where Joffe was COO and CCO, and which needed to expand because of its rapid attraction of clients outside of the healthcare sector. Yoffe spent much of his career at PARADE magazine as its Vice President/Creative Director, where he guided creative direction of all of Parade’s editorial products and its award-winning inhouse advertising agency. At its peak, the magazine’s readership grew to 80 million. He also held posts at Times Mirror Magazines and the Boston Herald-American.

During his career, Joffe has been honored with hundreds of awards, and was presented with the 1995 Distinguished Alumni Award in Visual Arts from Boston University. He has served on several boards during his career, is President Emeritus of the Board of Trustees at the Waldorf School of Princeton, and is a former instructor at SVA in New York.

28 G D U S A

Spring Design Partners has appointed JOE RUIZ as Director of Implementation, reporting directly to Creative Director Daniel Andersson. Ruiz is responsible for leading the newly developed Implementation department, representing a more holistic approach to bringing brands to market. The shift in focus came about in response to change happening in design industry in the discipline of production where execution has become commoditized. Explains Ruiz: “As design agencies, we are being called on to provide more value than just our part of the project. Starting with a whole brand approach in mind at the onset of a brand project allows us bring the latest tools as well as the latest production innovations to the table up front and optimize the brand presentation as it flows from packaging into the various forms of communication with the consumer.”

Brunet-García Advertising names MOLLY ROSE WALKER as Vice President/Chief Strategist. Walker directs strategic planning, marketing and business development for the agency — with offices in Jacksonville, Atlanta and Washington DC — which provides multilingual services for private sector, government and non-profit clients. She has 22 years of experience, including having served as creative director in global marketing for FIS, a top-ranked technology provider for the banking industry, where she oversaw hundreds of design projects in seven languages.

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September 2015 Stock IMPO_Mar 07 Top Stock BK2/5 10/7/15 11:10 AM Page 30

| 29TH ANNUAL |

STOCK VISUAL READER SURVEY SPONSORED BY CORBIS 速

STOCK LOOKS AND FEELS

MORE LIKE AMERICA 30 G D U SA

September 2015 Stock IMPO_Mar 07 Top Stock BK2/5 10/7/15 11:11 AM Page 31

TWO MAJOR THEMES EMERGE FROM OUR 2015 STOCK VISUAL SURVEY OF GDUSA READERS. One is that stock visuals remain an essential creative resource for graphic designers. For nearly three decades we have tracked the evolution of stock imagery from marginal to mainstream to essential, and in 2015 our readers reaffirm the reason for this trend: society and business have become more visually hungry and more visually sophisticated, and stock imagery provides a vital lifeline in the face of time and budget constraints for creative professionals who must keep up with this burgeoning demand. As we have said before, there has rarely been such a convergence of a product and its times.

The other major theme is that stock visual offerings increasingly reflect the way contemporary Americans look and live. A consistent critique of stock imagery has been that it lags behind, and often glosses over, the diversity and fluidity that characterizes 21st century society. Now, a majority of designers acknowledge that stock collections are more inclusive with regard to race, creed, color, gender, age, work, family and lifestyles. There is more work to be done, they say, but the industry is definitely on the right track.

SPONSORED BY Founded in 1989 by Bill Gates, Corbis速 is a leading digital content and worldwide entertainment rights company. Corbis empowers agencies, brands, publishers, and other media producers to capture the attention of audiences worldwide by integrating premium and timely content into their communications. From exceptional creative, documentary, and breaking entertainment content, to product and media integration services, Corbis helps elevate projects, amplify brands, and captivate any audience.

TO SEE MORE VISIT CORBISIMAGES.COM

G D U SA 31

September 2015 Stock IMPO_Mar 07 Top Stock BK2/5 10/7/15 11:18 AM Page 32

STOCK VISUAL SURVEY | SIX TAKE-AWAYS The results and commentary generated by our 2015 annual survey can be reduced to a handful of key take-aways about the present and future of stock visuals for design. Based on nearly three decades of covering this topic, here are our observations.

1

STOCK FEEDS A VISUAL HUNGER In 2015, 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 otherwise. As a practical matter, frequency remains an all-time, record-breaking, once-unimaginable level. Nearly every designer uses stock visuals in his or her work, and it is not unusual to utilize several images in a project and hundreds over the course of a year. For the first time, our survey finds that roughly three quarters of designers use stock more than 20 times a year, half use stock imagery more than 50 times a year, and nearly one-third use stock imagery more than 100 times.

2

A BAZILLION 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, demanding 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, the result is an abundance of choices at a broad spectrum of prices delivered by an increasingly dynamic and responsive infrastructure. As one survey respondent wrote: “Stock offers a bazillion choices at your fingertips.” Three choicerelated asides: first, subscriptions continue as a popular way to access large numbers of images; second, royalty free licensing continues to dominate the marketplace but a surprising number of designers still sometimes turn to rights managed options; and, third, unwanted side-effects of abundance are uneven quality and more challenging searches.

3

THE END OF SKEPTICISM Stock has achieved legitimacy. It is a widely accepted, largely appreciated and often preferred source of imagery.

This may not be news to a new generation of designers, but it is stunning in the broad historical sweep. For years, stock visuals were the subject of stigma, suspicion and skepticism, even as usage consistently grew. As I observed last year, “now we are in the post-skeptical period.” Stock providers are perceived as helpmates who make it possible for creatives to work smarter and stay balanced on the tightrope, as gracefully as possible, that is the creative business of today. 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.

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

93% 75% 31% STOCK PHOTOS

32 G D U SA

STOCK ILLUSTRATION

STOCK VIDEO/ FOOTAGE

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

7%

9%

11%

23%

19%

31%

September 2015 Stock IMPO_Mar 07 Top Stock BK2/5 10/7/15 11:19 AM Page 33

4

STOCK LOOKS AND FEELS (MORE) LIKE AMERICA For years, greater stock diversity has topped the wish list of creative professionals. That wish is becoming a reality.

According to survey respondents, the stock visual industry is on the right track. Generally, the lodestar for judging “diversity” has been racial, ethnic, religious, gender and age inclusiveness within stock collections. Most readers say this is being achieved. I am intrigued by the related concept of “fluidity” — a term borrowed from our sponsor Corbis and its visual trend experts – which encompasses the sea changes buffeting our lifestyles, workplaces, institutions, behaviors and traditions as well as demography. In this sense, too, the stock agencies are making headway. As one survey taker put it: “While it is hard for any industry to keep up with the dramatic changes in American life, stock visuals are doing a great job at trying. More and more, they reflect the 'face' of the country today.” Another comment: “We're a big, open, energetic, multicultural country and the stock photo companies finally seem to understand it.” Before we get giddy, a contrarian view: “Little progress. Most of the pictures of ethnic groups look like they were made either in California or Florida, and the individuals shown seem to have taken large doses of lithium.” Even those who want faster progress, or point out that is uneven as among specific agencies, acknowledge that the times they are a’changin.

5

CREATIVES CRAVE CONTROL Given the importance of stock imagery to 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 five 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 is a special area of interest to our readers: designers feel good about improvements in this area and give a particularly loud shout out to stock providers. Robust search, they say, is crucial in their effort to keep up with the flood of imagery and to separate wheat from chaff.

On what devices do designers search for imagery? Desktops and laptops largely hold sway versus hand-held devices. Size, apparently, still matters, at least when it comes to screens.

6

SUBJECTS, MEDIA AND CHANNELS MULTIPLY The subjects for which stock is utilized and the media in which imagery appears continues to expand. The perennial go-to subjects ? people, business, concepts, lifestyles, technology — remain popular. But many other 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 2015 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 one medium for stock use at 93 percent. At the same time, stock licensing for online design — websites, digital, mobile, what-have-you — continues to soar, topping 85 percent for the first time in this year’s poll. Other types of projects, running the gamut from point-ofsale and packaging to television and film are also in the mix. Nearly two-thirds of survey respondents say that the stock images they license are used across multiple channels for the same project. Licensing an image for single channel use is diminishing.

WHICH DEVICES DO YOU USE TO SEARCH FOR STOCK VISUALS?

FOR WHICH TYPES OF MEDIA DO YOU LICENSE STOCK IMAGERY?

94% 86% 43% 24% PRINT

DIGITAL, ONLINE + MOBILE

POP + PACKAGING

TV, FILM + VIDEO

82% 51% 21% 11% DESKTOP

LAPTOP

TABLET

SMARTPHONE

G D U SA 33

September 2015 Stock IMPO_Mar 07 Top Stock BK2/5 10/7/15 11:20 AM Page 34

STOCK VISUAL SURVEY | SELECT COMMENTS

WHY HAS THE USE OF STOCK VISUALS BECOME SO FREQUENT AND COMMON? Availability + Quality = Usage. It's a simple equation. As more high-quality images have become available, they have a better chance of filling the needs of designers.

CHUCK GROTH, OWNER Groth Graphic Design, St. Louis MO

DO YOU LICENSE...?

95%

48%

ROYALTY FREE

RIGHTS MANAGED

51%

4%

ONLY ROYALTY FREE

ONLY RIGHTS MANAGED

44% BOTH KINDS

63% HAVE A STOCK SUBSCRIPTION

It is like night and day from the past. Stock visuals today are high quality, easy to access, lots of choices.

The content of today's stock imagery is improving every day.

That means higher quality and more realistic images.

WHAT IS YOUR ROLE IN THE LICENSING/PURCHASING PROCESS?

I use stock for photos that I absolutely can't take myself.

Stock has gotten easier to find, has better tools to search, and has become more diverse.

Stock imagery continues to improve in both selection and quality. With greater choices, it's easier to find images that fit

75% PRIMARY DECISION MAKER

18% SECONDARY DECISION MAKER

5% NO ROLE IN DECISION

particular projects.

Stock is popular because it offers a bazillion choices/options at your fingertips.

If you can't find a stock image for 99% of your work, you're shooting product specific.

DO YOU NEED TO SELECT IMAGES THAT ARE USED IN A SINGLE CHANNEL OR ACROSS MULTIPLE CHANNELS FOR THE SAME PROJECT?

Faster turn around time. Price and selection keeps getting better. Photography keeps getting better.

50%

26%

24%

Stock is easy to search and can be quickly accessed.

With budgets slimming and deadlines quickening, the price

MOSTLY MULTIPLE CHANNELS

MOSTLY SINGLE CHANNEL

HALF AND HALF

and access that stock provides fit our clients needs better There is definitely better quality and variety as opposed to ten

The quality of stock photography has improved. A big plus:

years ago. Stock imagery is a quick and easy way to get what I

there is less paperwork on our end when we buy a subscription.

need for a project.

Prices have come down significantly in the past years. This Several reasons why stock visuals are popular: Access to

combined with the ease of search has made stock imagery

stock images has never been easier (no more CDs and

more cost effective.

books!); images are often more affordable than in the past; limited time and budget to complete projects.

Stock is over-used and has a stale style which makes it easy to spot and makes the user look cheap.

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September 2015 Stock IMPO_Mar 07 Top Stock BK2/5 10/7/15 11:21 AM Page 36

STOCK VISUAL SURVEY | SELECT COMMENTS

WHY HAS THE USE OF STOCK VISUALS BECOME SO FREQUENT AND COMMON?

MAIN REASONS INFLUENCING YOUR USE OF A STOCK VISUAL SITE/PROVIDER? | 4 | FRESHNESS | 5 | QUANTITY

Overall, stock image quality and composition is better, but

| 6 | SPECIAL PROMOTIONS

PRICE

there are more poor images to sort through. You have to be

| 7 | SITE DESIGN

creative with your key word searches and explore more to pull

| 8 | BRAND

the right images.

| 9 | EXCLUSIVITY 1

It’s all about the efficiency of technology. 20 years ago, you

| 10 | RECOMMENDATION

QUALITY

SEARCH

2

3

received a big thick catalog from Corbis or Getty Images and 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.

I'm actually using less than I previously did because of an increasing need for client specific images. Despite that I have

Demands of the industry has made the use of stock imagery

noticed more of my clients are searching stock sites themselves.

practically a necessity; this has, in turn, affected the availability

The ease of these sites has reached a broader audience.

of imagery since there are now thousands of amateurs and professionals willing to share and/or outsource their photogra-

In comparison with setting up a shoot, stock offers

phy or vector creations almost instantly.

convenience, affordability and variety.

More and more is being put on the creative’s plate, a lot of

Turnaround times and the effort required to set up a photo

times there is not sufficient time to create icons and illustrations

shoot and hire talent is not worth it in situations where all we

or photos. That is why stock is so useful.

need is a simple visual.

There is nice stock imagery, and with a subscription it's very

Stock has become better and more diverse. Plus some clients

cost effective and provides an excellent alternative

will not simply not pay for original photos.

The content of today's stock imagery is improving every day.

That means higher quality and more realistic images.

A better quality and quantity of stock imagery exists today.

Affordable, high-quality digital cameras has allowed more

Stock photography offers a fresh look and stylized options for

people to enter into the field without a formal education or an

those of us who don't have a photographer on staff.

agency to supply equipment. There is far more stock available ...

Even small businesses and individuals can afford quality

Stock is more in demand because people finally realize that

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

imagery is not just a pretty picture, but a way to convey concept

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

and direct the readers attention.

to find a good image that hits your price point.

Turnaround times keep getting shorter and shorter. There is Delivery and convenience has changed for the better.

no time to schedule and execute a full photo shoot, and clients less willing to pay for full photo shoot.

The internet has made access to stock quantity and quality fast and easy.

Stock is popular because good quality is available and for a lower cost. It is more accessible to use for projects that would

A lot of my decisions about how to use stock imagery relates

not have had the budget for stock imagery in the past.

to my own growth as a designer. Where I used to search for pictures, I now tend to look for visual metaphors, and I

Stock options are better; I work for an organization in which

frequently customize vector images to suit client needs.

we do not have access to real people/situations in which to take real photos.

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September 2015 Stock IMPO_Mar 07 Top Stock BK2/5 10/7/15 11:21 AM Page 38

STOCK VISUAL SURVEY | SELECT COMMENTS

WHY HAS THE USE OF STOCK VISUALS BECOME SO FREQUENT AND COMMON?

Stock is getting better and better because it is easier to search for the right image. The search engine in the stock is well elaborated.

every consumer’s need.

Better selection and more specific searches make using stock easier to find exactly what I need.

Several reasons why stock visuals are popular: Access to

Stock is getting better and better because it is easier to

stock images has never been easier (no more CDs and books!);

search for the right image. The search engine in the stock is

images are often more affordable than in the past; limited

well elaborated.

Stock is common because everyone is on a PC, so everyone's a designer. And it is available at a range of price points for

time and budget to complete projects.

Here is a dichotomy resulting from so much content. There is Prices have come down significantly in the past years. This

better quality out there but also more junk.

combined with the ease of search has made stock imagery more cost effective.

Stock imagery has become affordable enough to charge my clients the actual price of the image, or to encourage them to

The content of today's stock imagery is improving every day.

purchase the rights themselves.

That means higher quality and more realistic images.

Clients are demanding more frequent image change outs for The quality of stock photography has improved. A big plus:

social media; stock visuals are a lifesaver for that reason.

there is less paperwork on our end when we buy a subscription.

The use of stock imagery has become so popular because it can We live in a visual world and dominance of websites.

save a lot of time. Stock imagery is always getting better with

The demand for images in design work is skyrocketing.

larger offerings. Just make sure to use good sites to lessen time spent sorting through the clutter that also builds with time.

In general, there is much better variety in stock collections.

Less photo shoots or freelance is needed.

Today's stock is better in the sense that it is more natural looking and the search function is more accurate.

There is better access to better images, due to the growing number of sites, which also allows for a greater difference in prices. There are also more photographers who seem to be

The search is better, quantity has exploded and the quality/value proposition is better.

selling or offering their images as long as they are recognized for their work.

There is, quite simply, easier access these days to stock visuals through online website searches.

Stock is popular because it is more affordable, thorough, and the online search engines have helped make it accessible.

There is a real drive to present unconventional stock that is more relatable, so there is less of a staged feel than in the past.

Stock prices are definitely lower and more competitive than ever.

Stock visuals are the same, but the demand is greater because more people are realizing that good imagery is critical

I find stock images useful because clients are quicker to buy

in today’s visual world.

into a concept or project when they see it Stock is better than years ago for sure and really good Demands of the industry has made the use of stock imagery

photographers have had to make the adjustment. Clients want

practically a necessity; this has, in turn, affected the availability

images cheaper, faster, plus they have the ability to search

of imagery since there are now thousands of amateurs and

and find images. Don't think that's a good thing, but it is a

professionals willing to share and/or outsource their photography

factor in the process today.

or vector creations almost instantly.

38 G D U SA

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September 2015 Stock IMPO_Mar 07 Top Stock BK2/5 10/7/15 11:22 AM Page 40

STOCK VISUAL SURVEY | SELECT COMMENTS DOES STOCK IMAGERY REFLECT THE DIVERSITY AND FLUIDITY THAT INCREASINGLY CHARACTERIZES AMERICAN LIFE, BUSINESS, SOCIETY, CULTURE?

WHAT SUBJECT/CATEGORY DO YOU USE MOST FREQUENTLY?

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

ethnic and gender diversity that didn't exist ten years ago.

We're a big open, energetic, multicultural country and the stock photo companies seem to understand that.

1

While it is hard for any industry to keep up with the dramatic changes in American life, stock visuals are doing a great job at trying to keep up. More and more, they reflect the 'face' of the country today.

BUSINESS/ INDUSTRY

CONCEPTS/ IDEAS

2

3

| 4 | LIFESTYLE

There is some progress here though I think there is still room for improvement.

| 5 | TECHNOLOGY/COMPUTERS

I struggle to find realistic-looking women in business imagery. I do find more

| 6 | HEALTH/WELLNESS

same-sex couples and same-sex parent images.

| 7 | ETHNIC/MULTICULTURAL | 8 | FAMILIES

There is absolutely more diversity in lifestyles and cultures.

Of course, it is better. Stock imagery adapts. They would quickly become irrelevant and overrun if they let it slide.

| 9 |

NATURE

| 10 | FOOD/BEVERAGE | 11 | ARTS/CULTURE/ENTERTAINMENT | 12 | RETAIL | 13 | HOLIDAYS/CELEBRATIONS | 14 | ANIMALS/PETS

I'm seeing more diversity in stock images than even a few years ago when

| 15 | TRAVEL/TRANSPORTATION

I was in school.

| 16 | EDUCATION | 17 | SPORTS/FITNESS

I work with freelance clients who request images of diverse populations.

| 18 | ARCHITECTURE/BUILDINGS

I find these images increasingly easy to find.

| 19 | BABIES/CHILDREN | 20 | BEAUTY/FASHION

Yes, stock visuals are changing even faster than society is really moving;

| 21 | DIY

they are actually ahead of the curve.

| 22 | HOSPITALITY/HOTELS | 23 | HOMES/INTERIORS

There is not enough multi-racial or multi-ethnic choice and that is a source

| 24 | RELIGION/SPIRTUALITY

of immense frustration for me. 1) Too often, a search for “diversity” brings up only African Americans. 2) Business images for senior levels are way too young and often improperly dressed or posed. 3) 50-somethings are NOT senior citizens!

Yes, choices, especially for concepts of diversity, have improved and allow for more creative compositions. Although there are still many posed shots,

I find stock art files to be more inclusive of various cultures.

Stock collections are still not diverse enough; the way women are depicted is pretty archaic.

natural facial expressions and lighting are key to a first-rate image.

We can always use more/better photos showing Yes, of course. Stock always changes to reflect society. It always has.

It always will. Creatives always feel the pulse of society and culture.

diversity. Anything new and different. I am gradually seeing more cultures being shown in stock, but this is an area that can still use some work.

The American family has changed. We come in all shapes, sizes, colors and make-up. The stock industry is lagging behind in terms of marriage equality and the fabric of the American family.

Stock imagery has kept pace with societal changes. In an effort to be PC, however, many images look artificial.

40 G D U SA

September 2015 Stock IMPO_Mar 07 Top Stock BK2/5 10/7/15 2:17 PM Page 43

STOCK VISUAL SURVEY | SELECT COMMENTS DOES STOCK IMAGERY REFLECT THE DIVERSITY AND FLUIDITY THAT INCREASINGLY

I believe that stock agencies are adapting, and we really value that as we look for multi-cultural representation in images.

CHARACTERIZES AMERICAN LIFE, BUSINESS,

There is some improvement ... I still think the diversity could

SOCIETY, CULTURE?

be ramped up ... a little too white bread overall. I could also use more older adults of all backgrounds

Diversity in race and gender and lifestyle, yes. But stagnant

want more candid natural looking shots.

We do have a lot more options for diversity than in the past but we still have room for improvement, especially in the beauty space.

What growing diversity? Things don't change that much,

There is definitely more diversity, however still find some photos

despite what you see in the news.

to be too staged. In my experience, I find that the depiction of

smiling posed meeting images are still so pervasive that they have now become a parody of good stock imagery. My clients

certain medical areas (particularly mental health) are not as

More diverse yet in an unforced way.

well portrayed.

We need more diversity in professional settings and more people

It depends on the stock library is used. Some are limited

who aren't necessarily pretty or thin. I am really getting tired of

in a conservative manner while others have moved to

“canned” looking people.

reflect the times.

In our organization, we would like to see more multi-cultural or

It is getting better, but we still need more diversity in women.

diversity in the image selections. While we do find some

It’s really hard to find a good photo of women in the work field.

images that relate to our Christian organizations, the selection could be much better.

To some extent, yes, there is more selection. However, tapping into these kinds of photos is still challenging.

Change is coming but not always fast enough to meet the needs. There are very few Native Americans. Not quite enough Hispanics. We need vector art to reflect diversity also.

The stock industry is a bit behind the trend but not by much.

Yes, of course. Stock always changes to reflect society. It

Especially on crowdsourced and budget sites, diversity takes a

always has. It always will. Creatives always feel the pulse of

hit. It is better on larger sites which cast models and try to

society and culture.

address the issue head-on.

Yes and no. There is more demand for diversity in stock but I

Stock stock sites are getting better at diversity. I wish stock

still have a hard time finding the right shots, e.g., a half Asian

sites would periodically go through and remove dated or cheesy

half, African American female, chef in a proper chef’s uniform.

imagery so that we don't have to wade through it to find what

Or multiple shots of the same people/environment so it does

we're looking for.

not look like stock photography. I know I am being quite specific but sometimes that is what the project demands.

Yes, the stock companies are offering more alternatives.

Competition has generated within the stock photo market to

Yes, choices, especially for concepts of diversity, have

keep up with novices with all types of cameras.

improved and allow for more creative compositions. Although there are still many posed shots, natural facial expressions and

We still need more diversity in models and lifestyle images.

lighting are key to a first-rate image.

There are more options then ten years ago but it can be challenging to find quality images that reflect the diversity

We can always use more/better photos showing diversity.

I'm often searching for.

Anything new and different. I am gradually seeing more cultures being shown in stock, but this is an area that can still use some work.

In my opinion it is still difficult to find images of different races or, more to the point, those of indeterminate race.

Yes, there are a lot of options for the same picture with different ethnicity in the picture.

Some stock houses have gotten better, but I hate the ones that still show primarily white people smiling at the camera.

G D U SA 43

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MEDIA EXPO new york city WEDNESDAY, OCTOBER 28TH, 2015

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Info & registration for free admission: visualconnections.com/gdusa IMAGE EXPO*

noon–7:30pm Discover new sources for distinctive, creative and editorial images/footage from a wide range of stock agencies, artist reps and production companies.

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September 2015 Green IMPO_Mar 07 Top Stock BK2/5 10/7/15 10:40 AM Page 46

RESPONSIBLE DESIGN THE CIRCLE EXPANDS SUSTAINABLE + SOCIALLY RESPONSIBLE DESIGN SPONSORED BY

ROLLAND ENTERPRISES INC. Several years ago, GDUSA began to spotlight the good works of design firms active in “green” design. In the early days, the focus was well-meaning but narrow: how designers used and sourced specific products or services — good examples being recycled papers or vegetable inks — to reduce waste.

Then, over time, a more holistic notion of “sustainability” arose that encompassed papers, products and services, yes, but also took into account broader 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 sustainable design.

Then the circle expanded even further. Designers moved beyond asking questions about their specific area of design and production expertise, and sought to align sustainability with the client’s brand, products, mission, processes, and practices in ways that are real, verifiable, transparent, commonsensical.

In 2015, we note yet another widening of perspective. In what seems like a tipping point moment, more and more designers are embracing the notion of responsibility writ large — linking environmental responsibility and social responsibility, designing for good and for positive social change — and in the process blurring or erasing the lines between these concepts.

Frankly, this time around it felt anachronistic to invite design firms to participate in our traditional “green” issue because sustainable design and socially responsible design are so intertwined. I struggled with how to frame this special report but, luckily for me, the creatives we spotlight this year got the point. Designing responsibly matters no matter how you label it.

46 G D U SA

September 2015 Green IMPO_Mar 07 Top Stock BK2/5 10/7/15 10:40 AM Page 47

WINK MINNEAPOLIS MN Scott Thares of Wink says: “Wink is a design firm that crafts brands with wit PHOTOGRAPH: LAUREN KRYSTI

that inspire and impact commerce and culture. Since our start in 2000, we have made it our mission to donate our design services and thinking to a nonprofit entity or organization with causes that we believe in each year. We jokingly referred to it as our ‘get out of hell free card.’ Since then, we have helped out food shelters, religious institutions, LGBT causes, at risk youth and disaster relief organizations.”

Ready, Set, Smile is a nonprofit founded to improve the oral health of Minneapolis children. The belief is that with preventive services and a caring environment, all children can be free of dental disease. The Wink designers sought to make the branding simple, fun and accessible, especially to school age children where English may not be their first language.

G D U SA 47

September 2015 Green IMPO_Mar 07 Top Stock BK2/5 10/7/15 12:44 PM Page 48

A MESSAGE FROM THE SPONSOR | ROLLAND ENTERPRISES INC.

Rolland Enterprises Inc., sponsor of this special report on sustainable design and a leading independent producer of fine recycled paper, has announced a commitment to advance the protection of endangered forests, engage in R&D of alternatives to tree fiber and avoid all controversial forest fiber sources. With this policy, developed in cooperation with international environmental not-for-profit Canopy, Rolland sets a new standard for the North American paper industry.

“Rolland has a track record of setting the pace for ecopaper

Canopy has worked closely with Rolland’s St-Jérôme mill

development and post-consumer recycling,” says Nicole

over the past 13 years to advance solutions, including the

Rycroft, Canopy's Executive Director. “By expanding their

development of its very successful 100% post-consumer

vision to avoid controversial fiber and sourcing from

recycled paper to print the Canadian edition of Harry

endangered forests such as the Boreal, Rolland stands out

Potter in 2003 and 2005. In 2011, Canopy and Rolland

as a sustainability leader at the vanguard of change in the

again collaborated in another ground-breaking initiative —

North American pulp and paper industry.”

the production of straw paper made from agricultural residues. This limited edition paper was used to print a

The company’s new policy commits to: end the use of

special edition of Margaret Atwood's book, In Other Worlds,

wood fiber sourced from endangered forests and contro-

and Alice Munro's, Dear Life. It was a North American first!

versial suppliers; avoid fiber sourced from Intact Forest Landscapes, such as the intact forests of the Boreal; play

Canopy’s collaborative work with companies such as

an active role in the research, development and commer-

Rolland helps advance solutions for businesses reliant on

cial scale production of pulp and paper from alternative

forest products while simultaneously securing a brighter

fiber sources such as straw; support visionary solutions

future for ancient and endangered forests and the species

that protect endangered forests in the Coastal Temperate

and communities dependent on them.

Rainforests of Vancouver Island and North America’s Great Bear Rainforest, Canada’s Boreal Forests, and Indonesia’s

The text of this edition of GDUSA is printed on Rolland

Rainforests; and continue producing papers with 30-100%

Enviro Satin, 60 lb., a great choice for printing dazzling

post-consumer waste recycled content.

and colorful visuals; it features a very smooth satin finish and excellent foldability for annual reports, promotions,

“These commitments are an integral part of Rolland’s plans

and all documents that require color and detail. The paper

to remain a competitive player in the challenging North

contains FSC® certified 100% post-consumer fiber; is

American paper industry,” says Rolland CEO, Philip C.

certified EcoLogo, Processed Chlorine Free, and FSC®

Rundle. “Rolland is excited to remain at the forefront of

recycled; and manufactured using biogas-energy.

meeting customers’ growing needs for sustainable products into the future.”

48 G D U SA

To learn more visit www.rollandinc.com and www.rollandinc.com/en/environment.php

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BIOGAS.

IT’S THE WAY WE ROLL.

Printed on Rolland Enviro Satin, 60 lb Text.

At Rolland, we produce our fine papers using biogas energy, a gas that results from the decomposition of waste buried in a landfill site. It's renewable, abundant and 21 times less harmful to the atmosphere.

See the full video here

ROLLAND

Rolland Enterprises Inc.

www.rollandinc.com

September 2015 Green IMPO_Mar 07 Top Stock BK2/5 10/7/15 10:41 AM Page 50

RESPONSIBLE DESIGN

OXIDE DESIGN CO. OMAHA NE

PICTURED LEFT TO RIGHT: ADAM TORPIN, MANDY MOWERS, DREW DAVIES, JOSH SCHWIEGER, CHRIS WALKER

Drew Davies, Owner, Oxide Design Co., and National President Emeritus, AIGA writes: “We believe strongly in using our design powers for good, to support worthy and valuable efforts in our community and our world. Part of this drive is explained by our manifesto: We design to solve problems, realize meaningful change, help people, and make sense of the world. In that vein, over half of our work is donated or discounted for nonprofits and charitable organizations, and we seek to work with organizations we could be most valuable to — where we can do the most good. One branch of our socially responsible work is civic design. We work toward the goal of making the election process smoother for all and including more folks in the democratic process by using plain language. We also partner with a wide variety of nonprofits that we believe are doing good out in the world — from local arts organizations to international initiatives dedicated to helping women leave the sex trade.”

Oxide Design Co. regularly partners with the Nebraska chapter of The Nature Conservancy. Recently, this has included creating an identity and collateral pieces for one of their programs called Western Nebraska Irrigation Project (WNIP).

Nebraska irrigates more acres of farmland than any other state. WNIP is an entirely new program to study irrigation patterns and allow scientists, professors, and ag producers to work together to conserve water. The technology involved in this project includes an electroconductivity map, soil moisture probes, and mobile-accessible pivot tracking. The Nature Conservancy is cost-sharing this technology with the farmers, as well as educating them on its use. The technology should pay for itself if not within the first year, for sure by year three. With hopefully thousands of acres to study this year, WNIP should gain valuable information about where the water goes, how the watershed is affected, and how to improve conservation. In the future, this research could lead the state to incentivize conservation among producers — which would be a big win for conservation.

50 G D U SA

September 2015 Green IMPO_Mar 07 Top Stock BK2/5 10/7/15 10:41 AM Page 51

Another way Thinkso works toward sustainability is by partnering with like-minded clients. Before the company had a name, and

THINKSO CREATIVE

well before its first water bottle took its industry by storm,

NEW YORK NY

Thinkso helped S’well founder, Sarah Kauss, on her mission to decrease plastic water bottle pollution and improve hygiene,

Senior Partners Brett Traylor and Elizabeth Amorose state:

sanitation, and access to safe water in developing countries.

“As a content-driven creative agency, Thinkso prioritizes

Thinkso was asked to name and brand the start-up as well as

figuring out clever, impactful ways to craft, package, and

design the look of the first bottle ever sold at retail. They pro-

deliver the perfect message for a broad group of clients.

posed the name “S’well,” inspired by the idea of “a gathering

“While we’re not even close to attaining zero-impact status,

force” — as a wave in water and also as an activist movement.

we’ve found that adopting an overall ‘green’ mindset results

To make it more distinctive, a droplet-shaped apostrophe was

in small changes that add up to a better way of doing business — for Thinkso, for our clients, and for the planet.

Our office operations incorporate things like: installing a filtered tap water system (to eliminate plastic bottles); printing internal documents double-sided (or not at all); stocking

used to form a conjunction that helps express the organization’s core beliefs: “Sip well. Serve well. Sleep well.” Since then, the company and the vision have appeared all over the world to great acclaim, and the name S’well has become synonymous

our kitchen with proper dishes and utensils rather than

with the global clean water movement, eliminating millions of

plastic; and instituting a well-enforced recycling program.

plastic bottles in landfills.

(Unfortunately, we had to retire our composting regime after an … unfortunate vermin incident.) For client projects, sustainability is integral to our strategic approach. We analyze clients’ business and communications goals, and then make recommendations that serve them in the most efficient way.

While it's tough for some designers to forego the super-fancy, tricked-out brochure that would be fun to create and look great in the portfolio, we face it head-on, assessing whether a print project's contribution to our client's business outweighs the impact it has on the environment—and our client’s budget. On the surface, keeping project scopes lean might seem like a bad business practice, but in reality, it shows our clients that we’re conscientious and focused on their best interests, which in turn breeds longer, more stable relationships — and a cumulatively greener planet.

G D U SA 51

September 2015 Green IMPO_Mar 07 Top Stock BK2/5 10/7/15 10:42 AM Page 52

RESPONSIBLE DESIGN

Raising A Reader is a nonprofit organization specializing in early childhood literacy. Their methodology involves setting up “affiliates” around the country — they, in turn, help families develop book-sharing routines, using signature red or blue tote bags given to students with their first set of books. In existence

DESIGN NUT, LLC KENSINGTON MD

since 1999, Raising A Reader had fallen behind the times, in terms of the branding and modes of communication. While the existing logo had a childlike friendliness to it, it lacked

Design Nut is headed by Creative Director Brent Almond.

the professionalism to give it cachet with sponsors and donors,

Noting that he’s “nuts about design,” Almond describes

and the respect and trust of potential affiliates, educators and

the firm as creatively curious, getting to know clients and

parents. Design Nut developed a new identity that kept the

their needs deeply, and creatively connected, often relying

warmth of the original, but added strength, color and boldness.

on partnerships with a network of experienced creatives

While the audience for Raising A Reader’s website was primarily

to form the best team possible for each project. Social

affiliates, partners, and donors, the organization also wanted

responsibility is a big part of the practice, particularly in

to enhance it to serve as an informational hub for the public.

how it relates to children and education. Recent projects have included a logo and conference materials for Accion, which furthers financial inclusion for third world countries; a logo for the Million Mom March for gun safety and control; a logo for the National Research Center on Hispanic Children & Families; posters for Creative With Kids; and the annual report for Fight for Children, which helps needy schools in the Washington DC area. Adds Almond: “In addition, I write a parenting blog (designerdaddy.com), which supports various causes, including LGBT marriage/ parenting/equality, adoption/foster care, men’s health issues, and anti-bullying . . . I also have a shop on Etsy where I sell superhero-themed lunch notes, based on ones that I give my son every morning, with 10% of the profits benefiting Food & Friends, a DC-area food bank that focuses on families and children affected by HIV/AIDS.”

52 G D U SA

The new site strikes a balance between being visually warm and friendly — using elements of books and bookmarks to underline their mission —while also being highly professional and content-rich, with easy sight points to donate and interact on every page.

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SFI STANDS FOR FUTURE FORESTS 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 Initiative® label for all your paper and packaging projects.

As we celebrate 20 years of leadership and growth, we know that the actions we take today determine the future of our forests.

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BILLION

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GROWING OUR FUTURE

Project1:Layout 1

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(%$

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September 2015 Green IMPO_Mar 07 Top Stock BK2/5 10/7/15 10:43 AM Page 55

RESPONSIBLE DESIGN

KEN FRIBERG

Designing Change recently completed a project in collaboration with The Common Table and Linda Henneman of ThinkDesign Group. Together, they engaged twenty-five designers, writers,

SANDRA WOLFE WOOD/ DESIGNING CHANGE MINNEAPOLIS MN

and local food partners to create an interactive exhibit about sustainable food systems at the 2015 Minnesota State Fair.

The core leadership team developed the problem statement for the entire exhibit — People don’t understand where their food comes from — and two key takeaways — People

Sandra Wolfe Wood on the values behind her practice:

should leave this exhibit with 1) more knowledge about

“I was motivated to become a graphic designer because the

where their food comes from, and 2) inspired to take one or

clever work of legends like Herb Lubalin and Milton Glaser

more actions that can ultimately lead to a sustainable food

prompted people to see the world differently. Over the course

system. The team then divided participants — designers,

of 25 years, I grew increasingly interested in the intersection

food experts, writers — into groups organized around six

between design and social change. How can design contribute

specific actions laid out by the Common Table: buy local;

to the social good? In 2011, I launched Minnesota’s component of Design for Good, the AIGA initiative devoted to raising awareness for social impact design. At the same time, I pursued and completed a Master of Public Affairs at the Humphrey School of Public Affairs, University of Minnesota.

Building on Design for Good — and determined to demon-

eat local; grow your own food; nurture healthy soil, reduce food waste, and promote food justice. Over the course of 7 months, each group went through an intense design process that began by putting themselves in the shoes of average Minnesotans and asking questions like, “Why don’t I buy

strate that social impact design can be a sustainable (i.e.

my food from local sources?” They answered this question

paid) career choice — I created Designing Change, a for-profit

through research, ideation, prototyping, and testing. The

practice. I am interested in developing a constituency for

exhibit ran August 27-September 7.

good design and design thinking in the social sector, particularly in the areas of environment and energy, electoral reform and voting rights, literacy, and food justice. Design thinking opens the door to creative problem-solving by 1) stressing simple ‘why?’ questions which strip out underlying assumptions, and 2) never losing sight of the human needs at the center of the problem.”

G D U SA 55

September 2015 Green IMPO_Mar 07 Top Stock BK2/5 10/7/15 10:44 AM Page 56

RESPONSIBLE DESIGN

The Boys & Girls Clubs change young people’s lives. It’s as simple as that. Whether it’s a place for after school activities or help with homework, or a place to learn the critical skill of swimming, the Boys & Girls Clubs transform lives. Our Boys &

GILL FISHMAN ASSOCIATES

Girls Clubs of Boston help young people build strong character

BOSTON MA

and realize their potential as responsible citizens and leaders.

Our work has created an integrated program for this com-

Gill Fishman writes:

pelling message — from Campaign Branding and Fundraising

As a Design and Branding firm our clients are diverse and

Brochures, to Website, Annual Reports and Digital Media – and

range from high tech and biotech, to academic, to not-for-

has brought the personality, vision and mission of Boys & Girls

profits; from large and established ones, to young and

Clubs of Boston into the homes and hearts of tens of thousands

early start-ups through our unique BrandStart™ program.

of New England donors and supporters. Our Annual Reports

While identity and branding for corporate clients is a

focus on a new theme each year . . . but revolve around the

specialty, the non-profit world has always been a special concern. We all have — or should have — a strong sense of social responsibility — and as designers and communicators, we have a unique opportunity to effect change in perceptions and attitudes in a more impactful and positive way. Our clients try to make a true difference in people’s

ongoing theme of opening doors, creating opportunities and transforming lives. Each year we create a unique invitation for the wonderful annual House Party — perhaps Boston’s best event of the year — where each year a major donor invites 750 donors into their home for a warm, surprisingly intimate

lives – and we try to make a difference in their ability to

fundraising dinner featuring young Club members as our

do so. Whether it’s the Boys & Girls Clubs of Boston, the

hosts and speakers. In some ways the design challenge has

Girl Scouts of Eastern Mass, The Possible Project or the

been an easier task given the wonderful young people we’re

Technion, it’s the positive impact on young people’s lives

able to highlight in each piece.

to which we’re committed by donating our time, energy and support. We feel that in our role as designers/communicators our challenge is to make that positive impact felt more effectively.

56 G D U SA

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Color, Extended.

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GDUSA SeptOct15_ExtendedGamut.indd 1

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September 2015 Green IMPO_Mar 07 Top Stock BK2/5 10/7/15 10:44 AM Page 58

RESPONSIBLE DESIGN

Jeremiah Program is a nonprofit client that PLDG has worked with for nine years. The mission is to move families from poverty to prosperity, two generations at a time. More than 18 million children live in poverty with single mothers in the U.S., and these young women face nearly insurmountable

PLDG

barriers. Poverty is a growing national conversation, which is

MINNEAPOLIS MN

why Jeremiah Program is expanding nationally with its proven, holistic model for transforming lives. PLDG has won awards

PLDG is an award-winning design firm located in the historic

for Jeremiah Program annual reports since 2006, elevating

Northeast Minneapolis Arts District, voted best Arts District

the brand identity. Explains Lauritsen: “Key to our success

in America by USA Today. PLDG works with the world’s most

has been creating strategic, engaging messages, impactful

recognizable brands, from Fortune 500 companies to small

professional photos and infographics. In 2011, we did an

businesses and nonprofits. Peggy Lauritsen, Chief Executive

entirely new brand identity in print and digital. The annual

Artist states: “We’re passionate about helping organizations

report is now engineered to be a customizable pocket folder,

in our community create lasting change. Each year, we do more than 700 client projects — donating 3-5% of our billable time to helping nonprofits that empower women and children, create workplace readiness and supporting end-oflife care. We know what the power of design is capable of and we see that power create transformations for our clients.

We want to be part of solutions that empower others in our community. It feels good! And it’s the right thing to do.

Since the majority of our work is with Fortune 500 companies, adding variety in problem solving makes us better at what we do. Regularly, we see organizations with integrity and substance of mission but a poor brand delivery of messaging and identity. That’s when we know we can help. It’s nothing short of magic, seeing the impact it makes and the elevated results these organizations get.”

58 G D U SA

the keystone piece for local and national donor relations.

The financial annual report is separate, inserted into the outer jacket. This allows the report to have a two-year shelf life, saving costs and providing more flexibility for its use.”

GROWTH In-house is on the rise and so is your

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September 2015 Green IMPO_Mar 07 Top Stock BK2/5 10/7/15 10:45 AM Page 62

RESPONSIBLE DESIGN

PeopleFund, which provides small business loans, business assistance and education to underserved members of community, partnered with Graphic Granola on rebranding to provide better visual cohesion. A multifunctional, modular media kit was created to eliminate waste and get the most bang for their

GRAPHIC GRANOLA AUSTIN TX

budgetary buck. Each kit can be customized to their core audiences: donors, investors or clients. In addition to slits and pockets holding relevant materials, the brochures were designed

Kelly Blanscet writes:

to fold out into posters showing their process via hand-sketched

“Graphic Granola is a print + web design firm committed

infographics. This iconography throughout the collateral conveys

to design for the common good. The quest for meaningful

the grassroots nature of PeopleFund’s locally-focused service.

work inspired me to start Graphic Granola 18 years ago,

All pieces were printed on recycled stock with an eco-friendly

the name being a tribute to my crunchy counterculture

printer. As Graphic Granola continues to articulate PeopleFund’s

upbringing. The shift in our original focus from all-purpose

visual branding, Annual Report production has evolved from

design to do-gooder design evolved organically, as bleeding

printing and mailing hundreds of reports, to reducing the

heart organizations recognized a like-minded ally. Thanks

number of reports printed, and ultimately bringing the reports

to word of mouth and a perpetually high-ranking website, non-profits now represent 90% of our client base.

Sympathetic to the budgetary constraints faced by most NPOs, we give them a 15% discount. In addition to considering what our design is promoting, we also encourage environmentally conscious methods of production. We advocate eco-friendly printing practices (recycled material, soy based inks, maximizing press sheets, choosing ecofriendly vendors), and encourage digital over print whenever appropriate. We're just trying to use our design skills to help organizations that are working to create a better world.

Putting people, planet, and purpose above profits. Is that too much to ask?”

62 G D U SA

online in an interactive PDF format, thus utilizing their website and social media as an economical and environmentally responsible way of getting PeopleFund’s message out.

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September 2015 Green IMPO_Mar 07 Top Stock BK2/5 10/7/15 10:48 AM Page 64

RESPONSIBLE DESIGN

In 2009, Newman founded the non-profit Frogs Are Green to raise awareness that frog populations are in decline around the world, and how this will impact upon the Earth — and ALYSSA BREDIN

SUSAN NEWMAN DESIGN, INC./ FROGS ARE GREEN, INC. JERSEY CITY NJ

us — if they disappear. Not only do frogs play an important role in the global food chain and in keeping us safer from disease. Close to 30-45% of all frogs on Earth are threatened with extinction due to habitat loss, climate change, pollution and disease. She explains: “Learning about sustainability issues and community action were important to my efforts.

I also became certified through the New Jersey Learns program. Frogs Are Green works hard to get people of all ages

Susan Newman Design, Inc., is a well-established branding,

thinking creatively through self-expression. Each fall, we

graphic and web design firm. With regard to her commit-

host two contests: Our Kids’ Art Contest and the Photography

ment to cause design, Newman says: “Since I was a young

Contest. The Kid’s Art Contest has gained momentum over

girl catching frogs at an upstate New York camp and caring

the past six years, however, in 2013, even though we

for pet turtles, I have always had a deep affection and con-

received hundreds of entries, few were from the U.S.

cern for the environment and wildlife in it. Over the years,

Worried that American children are not receiving art instruc-

my favorite projects have always been for organizations on a mission to impact upon people’s lives. Designing for these causes is incredibly rewarding. The Jersey City Parks Coalition and JC Reservoir event series, Wild Jazz Adventure, and Pershing Field Garden Friends’ seasonal

tion, I wrote a six-week teaching curriculum that combines amphibian science and art to address this problem. I met with the Jersey City Public School curriculum directors, and my program was added to the schedule citywide as a project.

poetry, prose and song series Spring Bouquets, Summer

By December 2014, our contest received 1,000 entries from

Wind, and forthcoming Falling Leaves, are fundraisers to

32 countries and, locally, 17 schools responded with 200

benefit our local environmental community.”

student entrants. This year, we are adding a new category, Student-Elder collaboration, designed to bring young and old together to learn and create. Every year around Earth Day, we curate gallery exhibitions to showcase contest winners.

So far we’ve shown in three gallery spaces, including Jersey City’s City Hall Rotunda. Finally, we are developing two new books, a volume of beautifully illustrated haiku poetry titled Rainforest Frogs, and a children’s coloring book.”

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Digital Papers

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September 2015 Green IMPO_Mar 07 Top Stock BK2/5 10/7/15 10:49 AM Page 66

RESPONSIBLE DESIGN Autodesk Sustainability Solutions: Rapid Energy Modeling (REM) for existing buildings

Scaling energy assessments with REM for existing buildings Asset managers can now quickly screen a building portfolio to identify the best candidates for retrofits, remotely Autodesk® Sustainability Solutions: AutoCASE® for infrastructure and buildings Highlights

Benefits

Performs virtual building energy and carbon assessments Calculates EUI1 range with minimal building data input Identifies energy conservation measures (ECMs) Usable by non-experts and design consultants alike

SSecure ecure fi financing nancing and and ccommunity ommunity rojects b buy-in uy-in ffor or sustainable sustainable p projects

Quickly determine retrofit priorities, without site visits Predict electricity use to within 20% of actual Discover which strategies to investigate for best return Complete capture-to-report in less than an hour

Shadow wage benefit

A tall order: Recreational use Recrea Retrofit the built environment

labor-intensive and require high technical expertise. In short, these methods are not scalable. To avoid that cost and time, Recurring subsidies Energy efficiency retrofits are the only owners often do nothing or resort to a measure that building owners can take to mitigated Flood risk quick statistical benchmarking that is not simultaneously lower operating costs, raise Water quality Water grounded in building science and doesn’t asset values, and achieve critical energy account for the building’s shape and reduction goals. Recognizing this, every construction. This often leads to faulty major government around the world has A sample stakeholdeconclusions r costand courses of action that set disclosure or retrofit mandates for benefit breakdown generated do not necessarily offer a good return on A u to C A S E public buildings, and commercialbybuilding investment. owners in many markets are now required

Cost-benefit Cost-benefit analysis analysis combined combined with with 3D 3D design design software software reports reports triple triple bottombottom* line line vvalue rojects, o nd emand alue o off p projects, on demand

KOLLAR DESIGN | EcoCreative® SAN FRANCISCO CA This small virtual agency focuses on serving clients in the

to report their annual energy use publicly.

Introducing Rapid Energy Modeling – a big win for the environment, and

Highlights

Benefits

Translate economic, social, and environmental value to financial metrics Inform analysis and design iterations with rich data from 3D models View full costs and benefits by stakeholder group Bring economists’ exper tise in house with transparent data sources Compare the value of various design options and dif ferent projec ts

Understand TBL* values without costly economic consulting the bottom line Achieve morewhere sustainand able, how profitto ableinvest resultsresources in less timefor Reduce pushbupgrades ack and cois stlay dcomplex elays by achallenge ddressing cothat mmucan nit y conceRapid rns Energy Modeling (REM) from Autodesk Present your case with confidence backed by credible data leave owners exposed to considerable is a streamlined method for energy analysis Prioritize competing projec ts for financing based on societal value

Making the case for project value Ever y infrastructure and major building project today competes for scarce financing. Teams that convince stakeholders of maximum financial and sustainable returns achieve more wins. But the true scope of valuation is complex. Significant elements of public value are of ten discounted, not quantified, or overlooked.

For example, improved water quality and increased recreational and proper ty value, the natural outcomes of green stormwater infrastructure projects, are of ten not factored in or are lef t to subjective evaluation. This makes comprehensive comparisons of sustainability-driven projects to traditional projects difficult.

Custom economic and risk-assessment studies that are meant to resolve this complexity are too costly for ongoing use.

They tend to be one-of f ef for ts that end up having little relationship to what is ultimately built.

Although the benefits seem clear, deciding

financial risks. A building’s energy use depends on a number of interrelated The solution is to have analysis and factors including its location (local Get in touch. social, orientation, building geometry repor ting of TBL values – economic,weather), Contac t your Autodesk Sustainabilit y ts – construction, and environmental costs and benefiand and Solutiinternal ons team systems, today. built into the design process. operational uses. Traditional methods Introducing AutoC ASE

that provides quick, useful results using building data that can be collected remotely and a simplified simulation process that a non-expert can perform.

REM is not meant to replace investmentsustainabilit y.solutions@autodesk.com grade audits but rather to make better of energy assessments w w w.autodare esk.expensive, com /sustainabilit ysolutiuse ons of audit dollars by identifying and

A joint solution by Impact Infrastructure and Autodesk, AutoC A SE and its plug-in for Autodesk design sof tware assesses the triple bottom-line costs and benefits of proposed infrastructure and building projects from within the design environment. Because AutoC ASE generates TBL business cases quickly, when changes occur, teams can assess the impact immediately and use this information to favorably increase their chances to win financing and buy-in from the community.

How does it work?

AutoC A SE has two integrated components: Impact Infrastructure’s AutoC A SE application and Autodesk ’s infrastructure and building design solutions.

Project data is integrated via Autodesk ’s design sof tware. Additional information can be added via an intuitive AutoC A SE inter face initially, and updated as more

Fast and easy to perform, REM informs decisions on the highest value steps to take when tackling an energy efficiency upgrade for a single or group of buildings.

Get in touch.

Contact your Autodesk Sustainability Solutions team today. sustainability.solutions@autodesk.com www.autodesk.com/sustainabilitysolutions

imagery and Autodesk software’s built-in energy simulator and climatic data, within a couple hours one can see the energy and carbon footprint of the building, peak loads, and potential for energy conservation measures. The results point to the highest-

Capture

Satellite, aerial, and site photos

Simulate

Report

Conceptual energy model

Energy efficiency recommendations

A basic REM analysis can be accomplished in Autodesk Vasari, a free, easy-to-use tool. The same model can then be exported to Autodesk Revit and Green Building Studio for a more detailed analysis.

directing efforts toward those buildings with the highest potential for energy AutoC A SE delivers cost /benefit ansavings. alysis, Using only photographs or satellite including: › CO2 and pollutants avoided › Flood risk mitigation › Reduced heat stress mor tality › Recreational value added › Increased proper ty values › Protection of water quality and ecosystem ser vices › Links to the Envision™ Sustainable Infrastructure Rating System

information becomes available. With a simple command, you can run a detailed, comprehensive analysis with AutoC A SE and obtain the project ’s TBL business case within seconds.

green building and energy efficiency markets. Says Principal Candice Kollar: “We used to think of ourselves as graphic designers. Then design strategists. Then we realized we are, in fact, future designers. As future designers we create com-

Autodesk Sustainability Solutions group asked the agency to

munication strategies and use graphic design and a diverse

work on a series of briefs to introduce new high-impact soft-

range of skills to bolster our clients’ bottom lines and create

ware solutions. Sustainability is central to the Autodesk

a better future.” Sustainability is the lens through which the

mission. The goal is to make sustainability a no-brainer by

firm views business, and life; it defines the direction and

building it into their software tools and services. As these new

client base. This positioning was cemented when Kollar

tools penetrate the market, best practices will automatically

became a LEED Accredited Professional in 2004 and when

be embedded into the design of buildings, infrastructure

we became one of San Francisco’s first ever Certified Green

and manufacturing regardless of one’s level of commitment

Businesses in 2005. Adds Kollar: “We’ve been deeply

to sustainability. Given Autodesk’s expansive global reach,

immersed in the green building market and have studied it’s constantly evolving technologies for over a decade. This gives our clients in this market the reason they need to choose us. Some of our favorite projects include introducing disruptive green building products to the marketplace —

this is big. Key messages focused on an impressive array of economic, environmental and social benefits, backed up with current, verifiable data, case study examples and digital illustrations. The Sustainability Solutions briefs were designed

products such as cement that sequesters CO2, and brick

for digital distribution via the web and desktop viewing, and

that is 40% recycled and takes 80% less energy to produce

delivered as PDF documents via email and templates via

than conventional brick. Currently, we are gravitating toward

Dropbox. Kollar states: “For us, the profound capacity of

projects where strategic communications directly support

these products to accelerate change quickly took precedence

energy efficiency and behavior change goals. And, because

over traditional considerations like creative leeway and inno-

of our specialized expertise, our services have expanded into

vative design. The end goal, of course, is to save money,

Community Based Social Marketing and sustainability con-

energy, and water, lower CO2 emissions and slow the effects

sulting. Current projects include green building teaching

of global warming. Or, simply put, to create a better future.”

tours, serious games, and implementing energy and tenant satisfaction measurement tools including the recently launched LEED Dynamic Plaque.”

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PROFESSIONAL PRO OFESSIO ONAL MA MATCHMAKING ATCHMA AKING IS WHAT W AT WE WHA W DO Allthough we’ve Although we’ve been doing doin ng this since since 1988, we’re we’re just just as excited excited now now as we we w were ere when wh hen we we fir first st sstarted. tarted. Ourr cr creative eative rrecruiters ecruiters ttake ak ke digit digital, al, cr creative eative and marketing mark m eting opportunities pp and mat match tch them with the p perf perfect ecct ttalent. alent. The Theyy also intr introduce o oduc e like-minded lik e-minded clientss and ttalent alent tto o one anoth another—the her—the rrest est is chemis chemistry. t . try Maybe that’s that’s why the the people people we we work work with hav h have e cconsistently onsistently rranked anked d us in the nation’ nation’ss ttop op 2% of sstaffing taffing agencies.*

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* All Best Best of Staffing® Staffing® award awa ard winners winners went went thr through ough a rigor rigorous ouss surv survey ey process process with Inavero, Inavero, the world’s world’s lleading eading provider provider of o client and job candidate candidate satisfaction satisfaction surveys surveys for for staffing staffing agencies.

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2015 health + wellness awards_feb news play 10/7/15 9:54 AM Page 68

HEALTH + WELLNESS DESIGN AWARDS SPONSORED BY

ERICKSON STOCK

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GDUSA’s American Health + Wellness Design Awards™ honors outstanding graphic communication by this fast-growing and high-profile segment of the economy. The 2015 winners showcase features 125 projects encompassing the big picture of health and wellness: traditional medicine and healthcare; holistic and alternative healing; and healthy lifestyles and nutrition.

DESIGN FIRMS REPRESENTED Access TCA

Evolutions By Design

Nurtur

Aesthetics, Inc.

Extra Credit Projects

Openbox

Aetna CCG

Gauger + Associates

PTS Diagnostics

Alive Hospice

Gee + Chung Design

S2 Design Group

American Health Lawyers Association

Hartford Design

Sack Lunch Marketing, LLC

American Hearing Aid Associates

Hartford HealthCare

Sanger & Eby

American Heart Association

HealthCare Partners

Scott Strategic

Aon Hewitt

Jalyne Bassell

Sightpath Medical

Arithmetic Creative

Jarden Consumer Solutions

Smith Design Co.

ArtHouse Design

Kaiser Permanente

St. Dominic’s

Bailey Brand Consulting

Keenan-Nagle Advertising

Stephen Foster Design

BexBrands

Laura Coe Design Associates

Taylor Design

Brand 2 Creative

Laurel Black Design

Ted Stoik/Woz Design/Hartford Design

Chase Design Group

Lentini Design & Marketing

Test Monki

Child Mind Institute

The American Institute of Architects

Children’s Hospital Colorado

Life Time Fitness/ 3e-The Life Time Agency

Christiansen Creative

Lisa Cain Design

Cigna

Little Big Brands

Clorox Creative

m.e. puff design

Conair Corporation

MetLife Creative Services

CorporateHistory.net

MetroStar Systems

Designer and Gentleman

MicroAire Surgical Instruments

Donna Huff Design

Mix Creative

Dragon Rouge

mkulpdesigns

DSI Marketing

MU Health Care

EHN Media Services

Nationwide Children’s Hospital

EMD Millipore

Nonin Medical

The Kitchen Collaborative Tminus1 Creative Truth Boost Tufts Medical Center Ultravirgo US Family Health Plan Warkulwiz Design Associates We The Creative WhyteSpyder Woz Design

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2015 health + wellness awards_feb news play 10/7/15 9:26 AM Page 72

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Access TCA, Whittensville MA Client: Foundation Medicine Title: Foundation Medicine at ASC0 Art Director: Stephen Ross Designers: Meghan Laverdiere, Dawn Vaughan Photographer: James Padgett, Padgett & Company

Design Firm: Aesthetics, Inc., San Diego CA Client: La Jolla Institute of Allergy and Immunology Title: Donor Recognition Interpretive Display Art Director: Kortney Nosakowski Designer: Peggy McCartney

Design Firm: Aetna CCG, Hartford CT Client: Aetna Title: Live Well 365 2016 Calendar Art Director: Marilena Vaccaro Illustrator: Marilena Vaccaro Production: Teresa Curley Printer: Allied Printing

Design Firm: Alive Hospice, Nashville TN Title: Corporate Sponsorship Packet Designer: Christine Johnson Photographers: Don Claussen, Michael Shumate, Jared Porter Development Manager: Ben Love Communications Manager: Jared Porter

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Design Firm: American Health Lawyers Association, Washington DC Title: AHLA Website Redesign Creative Director: Mary Boutsikaris Art Director: Ana Tobin Director of Information Technology: Maurice Harris Jr. Web Manager: Katie Zhang VP/COO: Wayne Miller

Design Firm: American Health Lawyers Association, Washington DC Title: AHLA Public Interest Silent Auction Creative Director: Mary Boutsikaris Art Director: Ana Tobin Manager of Development and Special Projects: Robert Taflinger Marketing and Community Engagement Coordinator: Andrea Santos

Design Firm: American Health Lawyers Association, Washington DC Title: AHLA Connections December 2014 Creative Director: Mary Boutsikaris Art Director: Ana Tobin Senior Manager, Communications, Social Media, and Community Engagement: Allison Beard

Design Firm: American Health Lawyers Association, Washington DC Title: AHLA Connections February 2014 Creative Director: Mary Boutsikaris Art Director: Ana Tobin Senior Manager, Communications, Social Media, and Community Engagement: Allison Beard

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: American Health Lawyers Association, Washington DC Title: AHLA Guide for People With Disabilities Creative Director: Mary Boutsikaris Art Director: Ana Tobin Senior Legal Editor, Member Publications and Resources: Katherine E. Wone

Design Firm: American Hearing Aid Associates, Chadds Ford PA Title: Better Hearing Health Art Director: Jerry DeRosa Designer: Rolando Corpus

Design Firm: American Heart Association, Dallas TX Client: Healthy Living Title: Getting To Know Fruits and Vegetables Art Director: Stephanie Dahlman

Design Firm: American Heart Association, Dallas TX Client: Simple Cooking With Heart Title: Life Is Sweet ‌ Infographic Art Director: Sherri Misner

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Design Firm: American Heart Association, Dallas TX Client: Simple Cooking With Heart Title: Sip Smarter Infographic and Social Media Post Art Director: Sherri Misner

Design Firm: American Heart Association, Dallas TX Client: CEO Office Administration Title: Workplace Wellness Infographic Art Director: Stephanie Dahlman

Design Firm: American Heart Association, Dallas TX Client: Healthy Living Title: Get Fresh Infographic Art Director: Grant Schirpik

Design Firm: American Heart Association, Dallas TX Client: Healthy Living Title: Seasons of Eating Infographic Art Director: Grant Schirpik

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: American Heart Association, Dallas TX Client: Healthy Living Title: Budget Shopping Infographic Art Director: Stephanie Dahlman

Design Firm: American Heart Association, Dallas TX Client: Mission Engagement Forum Title: Mission Engagement Forum Invitation Art Director: Grant Schirpik

Design Firm: American Heart Association, Dallas TX Client: American Heart Association National Center Title: Heartwalk Logo Art Director: Grant Schirpik

Design Firm: Aon Hewitt, New York NY Client: PepsiCo Title: Wellness Guide Creative Director: Jill Rafkin Art Directors: Victoria Cook, Cristine Giannotti Designers: Victoria Cook, Cristine Giannotti Writer: David Stuart Production Editor: Randall Van Vynckt Project Manager: Kristin Peacock

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Design Firm: Aon Hewitt, New York NY Client: PepsiCo Title: my Health Hub Website Creative Director: Jill Rafkin Art Directors: Victoria Cook, Cristine Giannotti Designers: Victoria Cook, Cristine Giannotti Writer: David Stuart Production Editor: Randall Van Vynckt Project Manager: Kristin Peacock

Design Firm: Arithmetic Creative, Vancouver BC Client: Grand Health Title: Grand Health Vitamin Rebranding & Packaging Design Art Director: Margherita Porra Designer: Margherita Porra Illustrators: Margareta Porra, Robert Queton, Netto Lins Production: Elizabeth Vegh, Brendon Glyn-Jones, Brittany Mahe

Design Firm: ArtHouse Design, Denver CO Client: Children’s Hospital Colorado Title: South Campus Comprehensive Signage, Wayfinding and Environmental Graphic Design Art Director: Marty Gregg Designers: Clara Carpenter, Megan Charles, Zach Kotel, Beth Rosa Illustrators: Clara Carpenter, Megan Charles, Zach Kotel, Willie Petersen, Beth Rosa Photographer: Jackie Schumaker Architects: FKP Architects, Davis Partnership Architects

Design Firm: Bailey Brand Consulting, Plymouth Meeting PA Client: InFirst Healthcare Ltd Title: Dr. Cocoa Packaging Art Director: Steve Perry Designer: Gary LaCroix Illustrator: Russell Benfanti

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: BexBrands, San Diego CA Client: NewRoad Title: NewRoad Logo Art Directors: Jeremy Dahl, Becky Nelson Designer: Daniela Anderson

Design Firm: Brand 2 Creative, Skillman NJ Client: The HealthWorks Group Title: The HealthWorks Group Advertising Art Director: Ira Yoffe Designer: Ira Yoffe Illustrator: Ira Yoffe

Design Firm: Brand 2 Creative, Skillman NJ Client: Florida Comprehensive Autism Center Title: Florida Comprehensive Autism Center Branding Art Director: Ira Yoffe Designer: Ira Yoffe Illustrator: Ira Yoffe

Design Firm: Brand 2 Creative, Skillman NJ Client: Strength For Our Daughters Title: Strength For Our Daughters Logo Art Director: Ira Yoffe Designer: Ira Yoffe Illustrator: Ira Yoffe

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Design Firm: Brand 2 Creative, Skillman NJ Client: Synap Health Title: Synap Health Logo Art Director: Ira Yoffe Designer: Ira Yoffe Illustrator: Ira Yoffe

Design Firm: Chase Design Group, South Pasadena CA Client: Zen Monkey Title: Zen Monkey Packaging Art Director: Jon Arriaza Designers: Jon Arriaza, Stephanie Kuga Photographer: Ryan Beck

Design Firm: Child Mind Institute, New York NY Title: Child Mind Institute Speak Up For Kids Website Art Director: Stacey Ascher Designer: Stacey Ascher Developer: Curt White Editor and Writer: Harry Kimball Strategy Lead: Bruce Grover

Design Firm: Children’s Hospital Colorado, Aurora CO Title: Courage Unfolding Art Director: Kacy Lamb Designer: Kacy Lamb Photographer: Scott Dressel-Martin Copywriter: Michael Tully VP, Marketing: Charlotte Isoline Marketing Manager: Nicole Hebert Project Manager: Kristina Warwick

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Children’s Hospital Colorado, Aurora CO Title: A Peek Inside One of America’s Best Hospitals For Kids Art Director: Kacy Lamb Designer: Kacy Lamb Photographers: Tia Brayman, Scott Dressel-Martin Copywriter: Lizzie Costello VP, Marketing: Charlotte Isoline Marketing Manager: Nicole Hebert Project Managers: Angie Flack, Dessiree Paoli

Design Firm: Children’s Hospital Colorado, Aurora CO Client: Corporate and Community Relations Title: Healthy Eating for Families Art Director: Emma Brooks Designer: Emma Brooks Project Manager: Katherine Collins

Design Firm: Children’s Hospital Colorado, Aurora CO Client: Pastoral Care Title: The Colors of Healing Bereavement Packet Art Director: Elizabeth Fowler Designer: Elizabeth Fowler Copywriter: Lizzie Costello

Design Firm: Children’s Hospital Colorado, Aurora CO Client: Breathing Institute Title: What You Need To Know About Asthma Brochure Art Director: Emma Brooks Designer: Emma Brooks Photographer: Scott Dressel-Martin Copywriter: Lizzie Costello Project Manager: Dessiree Paoli

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Design Firm: Children’s Hospital Colorado, Aurora CO Client: Heart Institute Title: Meet Juniper, Our 400th Heart Transplant Art Director: Kacy Lamb Designer: Kacy Lamb Photographer: Joni Schranz Marketing Manager: Nicole Hebert

Design Firm: Children’s Hospital Colorado, Aurora CO Client: Human Resources Title: You Mean The World To Us Card Art Director: Emma Brooks Designer: Emma Brooks Copywriter: Michael Tully Marketing Manager: Nicole Hebert Project Manager: Kristina Warwick

Design Firm: Children’s Hospital Colorado, Aurora CO Client: Multidisciplinary Clinic Title: Patient Room Wallscapes and Activity Books Art Director: Nicole Herbert Designer: Emma Brooks Illustrator: Emma Brooks Photographers: Denver Zoo, Denver Botanic Gardens, Denver Museum of Nature and Science Copywriter: Michael Tully

Design Firm: Christiansen Creative, Hudson WI Client: Boston Scientific Title: What About Bob? Designer: Tricia Christiansen

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Christiansen Creative, Hudson WI Client: Osceola Medical Center Title: Newsletter Redesign Art Director: Tricia Christiansen Designer: Dave MacDonald

Design Firm: Cigna, Bloomfield CT Client: Cigna Title: 2014 Annual Report - Creating Meaningful Connections Art Director: Jeff Solak Designer: Susan Mastrianna Copywriter: Alison Bloom

Design Firm: Cigna, Bloomfield CT Client: Cigna Title: Behavioral Health Workbooks Art Director: Monika Bensen Copywriter: Alison Bloom

Design Firm: Cigna, Bloomfield CT Client: Cigna Title: Second Sale Web Page and Brainshark Art Director: Amy Pfeffer Copywriter: Nansi Hall

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Design Firm: Cigna, Bloomfield CT Client: Cigna Title: IFP Segment Year In Review Poster Art Director: Amy Pfeffner Copywriter: Melanie Petro

Design Firm: Cigna, Bloomfield CT Client: Cigna Title: Customer Experience Video Art Director: Boris Margolin Copywriter: Allison Bloom

Design Firm: Clorox Creative, Oakland CA Client: The Clorox Company, Professional Products Division Title: Clorox Healthcare Germicidal Bleach Campaign Creative Director: Bruce Willardson Art Director: Kean Hiroshima Designers: Angela Bucchino, Isis Lopez, Jose Rodriguez Copywriter: Perry Portugal

Design Firm: Clorox Creative, Oakland CA Client: The Clorox Company, Professional Products Division Title: Zero Tolerance Advertising Creative Director: Bruce Willardson Art Director: Kean Hiroshima Designers: Angela Bucchino, Isis Lopez, Jose Rodriguez Photographer: Ron Essex Copywriter: Perry Portugal G D U SA 83

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Conair Corporation, Stamford CT Client: Weight Watchers Scales by Conair Title: Feature Icons Art Director: Cindy Cheung Designers: Cori Burke, Michael Tierney Illustrators: Cori Burke, Michael Tierney Account Executive: Alex Cranstoun

Design Firm: CorporateHistory.net, Hasbrouck Hts. NJ Client: BAYADA Home Health Care, Inc. Title: BAYADA: 40 Years of Compassion, Excellence, and Reliability Art Director and Production Manager: Christine Reynolds, Reynolds Design & Management Editor and Project Manager: Marian Calabro Author: Christine McLaughlin

Design Firm: Designer and Gentleman, Chicago IL Title: Heart Plate Promotion Art Director: Nikola Vucicevic Designer: Nikola Vucicevic Illustrator: Nikola Vucicevic Photographer: Jelena Vucicevic for Elly Elite 3D Model Visualization: Ivan Apostolski

Design Firm: Donna Huff Design, Nashville TN Client: Tennessee Ambulance Service Association (TASA) Title: 2015 TASA Mid-Winter Conference Art Director: Donna Huff Designer: Donna Huff

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Donna Huff Design, Nashville TN Client: Vanderbilt LifeFlight Title: 2015 EMS Week Emergency Exercise & Training Art Director: Donna Huff Designer: Donna Huff

Design Firm: Dragon Rouge, New York NY Client: CVS Health Title: Natural Face Masks Creative Director: Lawrence Bendjenad Designer: Matthew DeGruchy

Design Firm: DSI Marketing, Littleton MA Title: New England Tennis Center Brochure Art Director: Brett Gifford Designer: Brett Gifford Illustrator: Brett Gifford

Design Firm: EHN Media Services, Southampton PA Client: Einstein Healthcare Network Title: Einstein Higher Education Logo Art Director: Ron Kalstein Designer: Ron Kalstein Illustrator: Ron Kalstein

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: EHN Media Services, Southampton PA Client: Einstein Healthcare Network Title: Hospital Patient Safety Logo Art Director: Ron Kalstein Designer: Ron Kalstein Illustrator: Ron Kalstein

Design Firm: EHN Media Services, Southampton PA Client: Einstein Healthcare Network Title: OSD-Staff Learning Opportunities Catalog Art Director: Ron Kalstein Designer: Ron Kalstein Illustrator: Ron Kalstein

Design Firm: EMD Millipore, Billerica MA Title: Cell Culture Brochure Art Director: Melleta Marx Designer: Melleta Marx Photographer: Bob Fraher

Design Firm: EMD Millipore, Billerica MA Title: Community Engagement Poster Art Director: Melleta Marx Designer: Melleta Marx

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Design Firm: EMD Millipore, Temecula CA Client: EMD Millipore Bioscience Title: Neuroscience Awareness 2015 Calendar Art Director: Liza Benson Designer: Liza Benson

Design Firm: Evolutions By Design, San Francisco CA Client: Tenet Florida Physicians Services Title: DBS Collateral Art Director: Ann Schneider Contributors: Lisa Schmitt, Millicent Hunter

Design Firm: Extra Credit Projects, Grand Rapids MI Client: Mary Free Bed Rehabilitation Hospital Title: Mary Free Bed 2015 Trauma Outdoor Creative Director: Rob Jackson Art Director: Chad Hutchinson

Design Firm: Gauger + Associates, San Francisco CA Client: Soho Flordis International Title: Calorease Advertisement Creative Director: David Gauger Designer: Isabelle La Porte

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Gauger + Associates, San Francisco CA Client: Soho Flordis International Title: Calorease Brochure Creative Director: David Gauger Designer: Isabelle La Porte

Design Firm: Gauger + Associates, San Francisco CA Client: Soho Flordis International Title: Calorease Logo Creative Director: David Gauger Designer: Isabelle La Porte

Design Firm: Gee + Chung Design, San Francisco CA Client: Iconic Therapeutics Title: Iconic Therapeutics Logo Art Director: Earl Gee Designers: Earl Gee, Breon Waters II Illustrators: Earl Gee, Breon Waters II

Design Firm: Hartford HealthCare, Newington CT Client: Hartford HealthCare Title: Community Benefits Report Art Director: Karen Defelice Designer: Karen Defelice Senior Director, Marketing and Branding: Helayne Lightstone

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Design Firm: Hartford HealthCare, Newington CT Client: Hartford HealthCare at Home Title: Annual Report - Your Home. Our Care.

Art Director: Kieran Curtis Designer: Kieran Curtis Senior Director, Marketing and Branding: Helayne Lightstone

Design Firm: Hartford HealthCare, Newington CT Client: Hartford Hospital Title: Life Star 30th Anniversary Booklet Art Director: Sal DiNino Designer: Sal DeNino Senior Director, Marketing and Branding: Helayne Lightstone

Design Firm: Hartford HealthCare, Newington CT Client: Hartford Hospital Title: Hartford Hospital - Then and Now Art Director: Sal DeNino Designer: Sal DiNino Senior Director, Marketing and Branding: Helayne Lightstone

Design Firm: Hartford HealthCare, Newington CT Client: Hartford HealthCare Title: State of the System 2014 Art Director: Karen Defelice Designer: Karen Defelice Senior Director, Marketing and Branding: Helayne Lightstone

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: HealthCare Partners, Torrance CA Title: Patient Guide To Prepare For Surgery Creative Director: Cynthia Sanko Art Director: Moni Manughian Photographer: Cynthia Sanko Production Manager: Judy Patterson

Design Firm: HealthCare Partners, Torrance CA Title: 12-Month Patient Calendar Creative Director: Cynthia Sanko Art Director: Moni Manughian Production Manager: Judy Patterson

Design Firm: Jalyne Bassell, Brooklyn NY Client: MetroPlus Health Plan Title: MetroPlus Seamless Medicare Enrollment Birthday Card Art Director: Jalyne Bassell Designer: Jalyne Bassell Copywriter: Kathryn Knox Soman

Design Firm: Jarden Consumer Solutions, Boca Raton FL Client: Health-o-meter nuyu Title: Website Design Art Director: Anabella Gordon Designer: Brandon Russ Contributor: Renee Kollar

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Design Firm: Kaiser Permanente, Burbank CA Title: Kaiser Permanente New Member Book Designer: John Nosek Writer: Anatasia Savvina Editor: Dominique Dibbell Production Artists: Reese Healy, Dan Gatto Proofreaders: Nanette McLane, Brooke Kaiser

Design Firm: Kaiser Permanente, Burbank CA Title: 2015 Thrive Calendar Designer: John Nosek Associate Creative Director: Maggie Saldano Writer: Anastasia Savvina Editor: Amanda Barrett Production Artist: Reese Healy Proofreaders: Nanette McLane, David Landau

Design Firm: Kaiser Permanente, Burbank CA Title: Kaiser Permanente San Leandro Medical Center Farmers Market Designer: Tony Dajnowicz Writer: Anastasia Savvina Production Artist: Andy Paolella Proofreader: Nanette McLane

Design Firm: Keenan-Nagle Advertising, Allentown PA Client: Populytics Title: Populytics Website Design Art Director: Zachary R. Hoppes Designer: James Nicnick

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Laura Coe Design Associates, San Diego CA Client: Oasis Medical Title: Oasis Tears Packaging Series Art Director: Laura Coe Wright Designer: Tracy Castle

Design Firm: Laurel Black Design, Port Angeles WA Client: Whole Body Lifestyle Solutions Title: Logo Design Designer: Laurel Black

Design Firm: Lentini Design & Marketing, Los Angeles CA Client: M&O Perry Industries Title: M&O Perry Pharma Machinery Website Design & Build Art Directors: Hilary Lentini, Tory Black-Smithe, Sean Mullowney Designers: Leanna Hanson, Hilary Lentini Programmers: Hilary Lentini, Sean Mullowney, Alan Altur

Design Firm: Lentini Design & Marketing, Los Angeles CA Client: Doheny Eye Institute Title: Doheny Eye Institute Exhibit Banners Art Directors: Hilary Lentini, Sean Mullowney Designer: Leanna Hanson

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Design Firm: Life Time Fitness/3e-The Life Time Agency, Chanhassen MN Client: Life Time Athletic Events Title: Life Time Commemorative Leadville Trail 100 Poster Creative Director: Dustin Schiltz Art Director: Dustin Schiltz Illustrator: Martin Schmetzer Marketing Planner: John Sellinger Project Manager: Erika Reed Studio Artist: David Herwig

Design Firm: Lisa Cain Design, Glenwood IL Client: American Health Information Management Association Title: Foundation Brochure Art Director: Lisa Cain Designer: Lisa Cain

Design Firm: Lisa Cain Design, Glenwood IL Client: American Society of Nephrology Title: Nephrology Workforce Report Art Director: Lisa Cain Designer: Lisa Cain Editor/Production: Kurtis Pivert

Design Firm: Lisa Cain Design, Glenwood IL Client: A.J. Drexel Autism Institute Title: Life Course Outcomes Research Program Branding Art Director: Lisa Cain Designer: Lisa Cain Lead Author: Anne Roux Program Director: Paul Shattuck

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Lisa Cain Design, Glenwood IL Client: Women in Nephrology Title: Women in Nephorology Logo Art Director: Lisa Cain Designer: Lisa Cain

Design Firm: Little Big Brands, White Plains NY Client: Prestige Brands Title: PediaCare Chief Creative Officer: John Nunziato Design: Little Big Design Team

Design Firm: Little Big Brands, White Plains NY Client: Akorn Consumer Health Title: Theratears Chief Creative Officer: John Nunziato Design: Little Big Design Team

Design Firm: m.e. puff design, Maumee OH Client: pure VS processed Title: pure VS processed Advertising Art Director: Margo Puffenberger Designer: Margo Puffenberger Photographer: Margo Puffenberger

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Design Firm: MetLife Creative Services, Washington DC Client: MetLife GVWB Title: MetLife FEDVIP Dental Campaign Creative Director: Jeremy Stevens Senior Designer/Associate Creative Director: Alison Chess Ruiz Copywriter: Geneva Kellam Assistant VP: Tim Holmes Account Manager: Sam Atkinson

Design Firm: MetroStar Systems, Reston VA Client: Woozy Labs Title: Woozy Labs Website and Branding Art Director: Jason Stoner Designer: Allie Kohr Illustrator: Allie Kohr UX Architects: Kristy Markin QA Lead: Joseph Martinez PM: Kevin Brown Front-End Developer: Richard Blake iOS Developer: Stiti Kamaluddin Android Developer: Jesse Hyde Back-End Developers: Ajay Marnik, Michael Tea Content Writer: Debbie Peterson

Design Firm: MicroAire Surgical Instruments, Charlottesville VA Client: Endoscopic Carpal Tunnel Release Title: MyCarpalTunnel.org Art Director: Elias Jones Designer: Sarah Martin Illustrator: Sarah Martin Front-end Developer: Dalton States

Design Firm: Mix Creative, White Bear Township MN Client: HealthSource of Hugo Title: Newspaper Advertising Campaign Art Director: Katrina Hase Copywriter: Katrina Hase

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: mkulpdesigns, Douglassville PA Client: Fewell 4 Fitness/Dylan Fewell Title: Get Fit. Stay Fit. Perfect Fit. Art Director: Michele Kulp Designer: Michele Kulp

Design Firm: MU Health Care, Columbia MD Title: MU Ellis Fischel Cancer Center - A World Without Cancer Magazine Advertising Series Art Director: Ann Ellebracht Designer: Sara Osman Marketing Coordinator: Stephanie Kubas

Design Firm: MU Health Care, Columbia MD Title: Diversity & Inclusion Hotline Brochure Set Designer: Ann Ellebracht Publications Coordinator: Anne Kettenbrink

Design Firm: MU Health Care, Columbia MD Title: MU School of Medicine Class of 2019 Infographic Art Director: Ann Ellebracht Designer: Veronica Burgess

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Design Firm: Nationwide Children’s Hospital Creative Services, Columbus OH Client: Nationwide Children’s Hospital Foundation Title: The Promise of Genomics Art Director/Designer: Tanya Bender Illustrator/Designer: Lindsey Tobin Writer: Ann FitzSimons Project Manager: Katie Rausch Print Production: Chris Ann Garbrandt

Design Firm: Nationwide Children’s Hospital Creative Services, Columbus OH Client: Nationwide Children’s Hospital Urgent Care Title: Urgent Care Summer Fun Guide Photographers: Brad Smith, Dan Smith Art Director/Illustrator: Lindsey Tobin Writers: Jan Arthur, Scott McKenzie Project Manager: DonnaTeach

Design Firm: Nationwide Children’s Hospital Creative Services, Columbus OH Client: Nationwide Children’s Hospital Foundation Title: Woodmark Event STD Art Director/Designer: Tanya Bender Project Manager/Writer: Matt Piede Print Production: Chris Ann Garbrandt

Design Firm: Nonin Medical, Inc., Plymouth MN Title: COPD STEP Plan Brochure Designer: Bonnie Lindenfelser

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Nurtur, Farmington CT Title: Raising Well Logo Art Director: Lisa Gibson Designer: Lisa Gibson

Design Firm: Openbox, New York NY Client: Kupona Foundation Title: 2015 Direct Mail Kit Art Directors: Brenda Natoli, Petter Ringbom Designers: Angela Han, Petter Ringbom

Design Firm: PTS Diagnostics, Indianapolis IN Title: PTS Detect Cotinine Faux Magazine Cover Art Director: Cameron Dobson Designer: Cameron Dobson

Design Firm: PTS Diagnostics, Indianapolis IN Title: PTS Connect Wellness Solution Brochure Art Director: Cameron Dobson Designer: Cameron Dobson

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Design Firm: S2 Design Group, New York NY Client: Global Brands Title: X2 Performance All Natural Energy Drink Art Director: Eileen Strauss Design Director: Anne Simon Designer: Oscar Gonzalez

Design Firm: Sack Lunch Marketing, LLC, Delray Beach FL Client: Addiction Recovery Management Services Title: ARMS Collateral Materials Art Director: Gladiola Quintanilla Designer: Elena Scheiner Illustrator: Kara Clapp

Design Firm: Sanger & Eby, Cincinnati OH Client: Shattles Communications Title: ECHELON FLEX GST System Product Launch Creative Director: Lisa Sanger Art Director: Nadine R. Parris Designer: Nadine R. Parris Illustrator: MMG Multi Media Group

Design Firm: Scott Strategic, Grosse Pointe Farms MI Client: Smile On Chicago Title: Sleep Apnea Facebook Campaign Art Director: Jim Kosmerick Partner: Bill Scott

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Sightpath Medical, Bloomington MN Title: We Believe Kit Art Director: Rachel Rickert Designer: Jeffrey Martin

Design Firm: Smith Design Co., Evanston IL Client: Loyola Medicine Title: Loyola Transplant Center Presentation Folder Art Director: Olivia Samson Presentation Materials: Corporate Image, Des Moines IA

Design Firm: Playworld Systems Inc., Lewisburg, PA Title: Playworld Binders and Tabs Art Directors: Brad Breneisen, Robyn Gordner Designer: Brad Breneisen Photographer: Clark Vandergrift Presentation Materials: Corporate Image, Des Moines IA

Design Firm: St. Dominic’s, Jackson MS Client: St. Dominic’s Joint Center Title: Reclaim Life Advertising Art Directors: Margaret Mays, Andy North Designer: Mingo Thames II

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Design Firm: St. Dominic’s, Jackson MS Client: St. Dominic’s Health Services Foundation Title: Grateful Patient Brochure Art Directors: Julia Morgan Sandifer, Andy North Designer: Mingo Thames II

Design Firm: Stephen Foster Design, Flushing NY Client: EB Brands Title: Stayin’ Alive Fitness Solutions Logo Design Creative Director: Mark Huntoon Designer: Stephen Foster

Design Firm: Taylor Design, Stamford CT Client: Connecticut South West Regional Mental Health Board Title: TurningPointCT Website Art Director: Daniel Taylor Designer: Steve Habersang

Design Firm: Ted Stoik / Woz Design / Hartford Design, Chicago IL Client: Abbott Laboratories Title: Abbott 2014 Annual Report Art Directors: Ted Stoik, David Wozniak, Tim Hartford Designers: Ted Stoik, David Wozniak, Tim Hartford, Laura Ritchie Photographer: Tom Maday

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Test Monki, The Woodlands TX Client: Paventy & Brown Orthodontics Title: Office Brochure Art Director: Suzy Simmons Designer: Gabby Nguyen

Design Firm: Test Monki, The Woodlands TX Client: Paventy & Brown Orthodontics Title: Brand Identity Art Director: Suzy Simmons Designers: Gabby Nguyen, Yiwen Lu, Julie Pelosi

Design Firm: Test Monki, The Woodlands TX Client: Lake Jackson Orthodontics Title: Brand Identity Art Director: Suzy Simmons Designers: Gabby Nguyen, Julie Pelosi

Design Firm: Test Monki, The Woodlands TX Client: Todd Hughes Orthodontics Title: Houston Rodeo Promotion Poster Art Director: Suzy Simmons Designer: Gabby Nguyen

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Design Firm: The American Institute of Architects, Washington DC Client: AIA Strategic Alliances Title: Designing for Health Interactive Infographic Art Director: Jelena Schulz Designer: Jelena Schulz Illustrator: Michael Kirkham, Heart Agency Programmer: Link Studio Publishing Director: William Richards Project Manager: Jelena Schulz Research: Matthew Welker, Assoc. AIA

Design Firm: The Kitchen Collaborative, Burbank CA Client: Seachrome Title: Seachrome Brochure Art Director: Aniko Hill Designer: Doris Jew Photographer: Jesse Hill

Design Firm: Tminus1 Creative, Exton PA Client: Penn Medicine Title: Simply Because, A 2015 Community Benefit Report Art Director: Terry Scullin Designer: Terry Scullin Photographer: Peggy Peterson Photography

Design Firm: Truth Boost, Glenwood NJ Title: Mender Medical Folders, Brochures and Graphic Materials Designer: Mary-Ann Ellsworth Illustrator: Mary-Ann Ellsworth

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HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Tufts Medical Center/Office of Public Affairs and Communications, Boston MA Client: Tufts Medical Center Title: Working Together Newsletter Art Director: Marcia Ciro Designer: Angelique Markowski

Design Firm: Ultravirgo, Brooklyn NY Client: National Parkinson Foundation Title: Caring and Coping Art Director: Patrick Durgin-Bruce

Design Firm: US Family Health Plan, Boston MA Title: U Member Magazine Summer 2015 Art Director: Jill Parker Designer: Jill Parker Photographer: Jill Parker

Design Firm: Warkulwiz Design Associates, Merion Station PA Client: GoPhillyGo/Clean Air Council Title: GoPhillyGo Advertising Campaign Art Director: Bob Warkulwiz Designer: Emily Zuwiala Illustrator: Michael Rogalski Animator: Geoffrey Beady

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Design Firm: We The Creative, Newport Beach CA Client: City of Santa Monica Title: The Wellbeing Project Art Director: Joven Orozco Designers: Betty Ko, Kristin Hinkley Account Services: Kenneth Lim, Alyson Yarberry

Design Firm: WhyteSpyder, Fayetteville AR Client: Boston Mountain Eyecare Title: Brand Identity and Logo Design Art Director: Wylie McIntyre

Design Firm: Woz Design, Chicago IL Client: Genzyme Title: Genzyme Community Brochure Art Director: David Wozniak Designer: David Wozniak Photographers: David Parnes, Mim Adkins

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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: Callison, Seattle WA Title: Callison’s University Outreach Campaign Art Director: Mary Kim Harmon Designers: Shayla Hufana, Marissa Pirog

Design Firm: Digital Arts & Design, Jackson MI Client: Countryside Retirement Title: Countryside Marketing Packet Art Director: Susie Mulvaney Designer: Susie Mulvaney Photographer: Susie Mulvaney

TM

Design Firm: MotivAction, Minneapolis MN Client: Apple Title: AppleCare Rewards : campaign Chief Creative Officer: Stephanie Teig Designer: Samuel Gross Project Manager: Katie Huiras

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Design Firm: Townahallic U, LLC Tallahasse FL Title:Townahallic U Logo Lead Art Director: Enrique Morgan Art Director: Daniel Ackerman Designers: Enrique Morgan, Daniel Ackerman Illustrators: Enrique Morgan, Daniel Ackerman CEO: Dominick Ard’is

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Company Name: Type 2 Designs, Tampa FL Client: Sym-a-four Title: Sym-a-four Website Creative Director: Anthony Guagliardo Art Director: Anthony Guagliardo Designers: Anthony Guagliardo, Phillip Eliis Web Designer/Developer: Lloyd Saulpaugh

AMERICAN INHOUSE DESIGN AWARDS The following winning entry was incorrectly represented in the American Inhouse Design Awards Annual.

We apologize for the mistake.

Design Firm: Associations International, Lexington KY Client: International Coach Federation Title: ICF Marketing Flyers Designer: Stephanie WrightCompany Name: Dando Projects, New York, NY Client: KOVAL Distillery Title: KOVAL Dry Gin 750ml Art Director: Oona Hart Designer: Oona Hart Photographer: Vitas Zebraitis

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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: Dando Projects, New York, NY Client: KOVAL Distillery Title: KOVAL Dry Gin 200ml Art Director: Oona Hart Designer: Oona Hart Photographer: Vitas Zebraitis

Design Firm: Dando Projects, New York, NY Client: KOVAL Distillery Title: KOVAL Dry Gin 750ml Art Director: Oona Hart Designer: Oona Hart Photographer: Vitas Zebraitis

Design Firm: Fuhu, Inc., El Segundo CA Client: nabi Title: nabi DreamTab HD8 Art Director: Dan Miyahara Designers: Kristina Chung, Kimiyo Nishio Illustrator: Joshua Lee Photographer: Steve Bitanga Contributors: River Rodibaugh, Armer Amante, Richard Yu

Design Firm: Lady M Confections, New York, NY Title: The Tea Collection Platinum Flush Fit Designer: Lester Echem Packaging: Chicago Paper Tube & Can Company

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

We apologize for the mistake.

Design Firm: Product 360 Creative, Los Angeles CA Client: Marula by John Paul Selects Title: Lip 2 Lines - EcoPush Creative Director: Kate Scherer Designer: Katy O. Packaging: Chicago Paper Tube & Can Company Company Name: Safari Sundays, New York Client: dapple Title: dapple Redesign Art Director: Simone Fabricius

Design Firm: Team Horner Marketing, Fort Lauderdale FL Client: Lo-Chlor Chemicals Title: MiraClear Swimming Pool Clarifier Art Director: Jeannine Santini Designer: Jeannine Santini Marketing Director: Marylynn DeGesero

AMERICAN WEB DESIGN AWARDS The following winning entries were incorrectly represented in the American Web Design Awards Annual.

We apologize for the mistake.

Design Firm: Creative Mellen, Iowa City IA Client: CIMBA Italy Title: CIMBA Italy Study Abroad Website Designer: Kevin Mellen Web Developer: Nick Bushman Copywriter: Melinda Pradarelli Project Consultant: Cassie Cooper, CIMBA www.cimbaitaly.com

Design Firm: Peter Hill Design & Neuger Communications Group, Minneapolis, MN Client: District 600 Title: District 600 Website Art Director: Megan Junius Designer: Allison Krogstad Copywriter: Christine Tsang Account Lead: Joanne Henry www.district600.com

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NEENAH ‘EXPLORES’ DIGITAL PRINT POSSIBILITIES AND OFFERS FREE DIELINES

EXPLORE 3 is a portfolio full of steal-worthy ideas, featuring state of the art printing on a range of digital presses including the HP Indigo® 7000, HP Indigo®10000, Konica Minolta’s Biz Hub Pro C6500, Xante Impressia, Xerox® iGen4™, Ricoh Pro C651EX, Kodak NexPress®.

The dielines from all of the samples presented are free to download at www.neenahpaper.com/Resources/ Dielines/ShortRunDielines.

Continuing its mission to make it easier for designers and printers to be more creative, productive, and efficient with digital printing, Neenah Paper presents EXPLORE 3.

to any business that wants to make a memorable impression on a

This is the third tool in the series, designed to provide simple

known for. The array of printed samples demonstrates the oppor-

solutions for short-run printing. As with EXPLORE 1 and

tunity for versioning and personalization, areas where digital

EXPLORE 2, the dielines used to create the samples in this

print truly excels over conventional.

piece are available for free download.

EXPLORE 3 is about “making events in both work and life more memorable, personal, and thoughtful.” The folder contains an eclectic mix of creatively designed pieces including an ingenious way to celebrate the purchase of a new home, a birth announcement, a save the date, custom bottle labels, and a versioned seasonal menu for a food truck event.

“Each of the samples in EXPLORE 3 is a readily transferable marketing idea. For instance, we show how a realtor can take

customer in any industry,” says Greg Maze, Senior Brand Manager, Digital at Neenah.

The promotion, a folder with multiple inserts, incorporates 15 different papers and the unique colors and textures Neenah is

Neenah’s goal is to help make short-run printing projects even more efficient. “If a designer or printer sees something they like, we are giving them a starting point. Download a file, tweak it, play with it, and add your own design to the template, and it’s free,” says Maze.

Neenah offers solutions for most digital press platform on the market. With a broad and extensive portfolio of colored and textured papers, Neenah has made an ongoing commitment to show ways that these papers can be creatively used by printers and customers.

advantage of the unique properties of digital printing to create

EXPLORE 3 is valued at $9.99 and is available free through

a custom piece to thank a customer for the sale of a new home.

Neenah merchants and sales reps.

The goal is to create repeat business. This idea is really applicable

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WHY DESIGNERS CHOOSE PRINT, REASON #5 – PRINT PROVIDES GREEN OPTIONS Based On An Interview With Jeff Salisbury of Label Impressions

BY GERRY BONETTO

You’ve designed a fabulous product package. It’s absolutely gorgeous, made of eco-friendly materials and fully recyclable.

Or at least you think it’s fully recyclable.

As Jeff Salisbury points out, if the package will have a label, the choices you make can determine whether or not this is the case. Salisbury is President and CEO of Label Impressions.

KEEPING YOUR PACKAGING GREEN “Most label adhesives will either gum up the works at recycling plants or render a component completely unrecyclable, while other products such as compostable PLA labels can contaminate the recycling stream altogether,” Salisbury explains. “So the question isn’t ‘is the product recyclable?’ It’s ‘is the product recyclable with the label on it?’ Although a printed label often makes up just a small portion of a product, it can have a huge impact on recyclability.”

GREEN PRINTING IN ACTION Salisbury gives a great example of a company that used a sus-

The good news is, print doesn’t just provide green options for

tainability initiative for good things as well as for marketing

publications and collateral pieces. Print also provides green

purposes.

options for labels and packaging – including eco-friendly substrates, adhesives, coatings and inks.

“We produced a shampoo and conditioner gift pack for a leading brand sold through Whole Foods,” Salisbury relates. “What

MEETING YOUR ECO-VISION As the head of a company that’s at the leading edge of sustainability in print, Salisbury spends a lot of time educating customers about these green options. “The first question you have to ask,” he states, “is what does sustainability mean to your organization? Does sustainability mean designing for recyclability, using recycled products, water conservation, waste reduction or the use of sustainable materials? Once you set your eco-vision, you can tailor what you’re doing to meet that vision.”

For example, when designing a recyclable product that will have

sustainability meant to this brand was water conservation. So we produced a box out of water-saving FiberStone®, which has a very luxurious look and feel. This unit box made the cover of Packaging Design magazine, got them an end cap at Whole Foods and sold out in record time.”

Not that long ago, Salisbury adds, “people thought that print would go away because it wasn’t green and cost effective. But we know that in many ways it is very green and becoming more competitive in price. Once you know what you want to achieve, there are a lot of ways that print can help you get there.”

a label – including, in many cases, direct mail pieces — you can specify a label made with recycling compatible adhesives

GERRY BONETTO is VP Government Affairs for Printing Industries

(RCAs). But that’s not your only “green” option. You can also

Association, Inc. of Southern California (PIASC) and a Choose Print

work with a printer who uses vegetable-based inks, water-

content provider. PIASC is the trade association for the graphic arts

based coatings and energy-efficient production methods. You can have the label printed on recycled paper. Or you can choose

community in Southern California. Founded in 1935 and incorporated in 1944, today, PIASC is the largest graphic arts trade association in the nation. Choose Print is an educational campaign designed to promote the

a synthetic paper such as Label Impressions’ proprietary lime-

effectiveness of print and to reinforce the fact that print on paper is a

stone-based FiberStone® paper, which is produced using

recyclable and renewable and thus a sustainable environmental choice.

substantially less water and energy than wood-based paper.

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

All while meeting your design standards.

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VISUAL CONNECTIONS NEW YORK: IT’S NOT JUST ABOUT STOCK

Workbook Adds New Dimension To A Leading Networking Event

After four years at the Altman Building,

varied sessions program, and the opportunity to network

Visual Connections New York is returning on

with other creatives from advertising, design, publishing,

Wednesday, October 28 to the Metropolitan Pavilion, where there will be more space for sessions, exhibitors and networking.

But that’s not all that’s changing this year: Workbook, the leading resource for finding commercial photographers and illustrators, will be the Principal Sponsor. Their involvement means the exhibit floor will be home to artist reps and production companies, complementing the traditionally strong presence of editorial and creative stock agencies. “Workbook is proud to sponsor Visual Connections in the hope that we

and TV production.

The day will start with the popular Keynote Q&A Session, 360° view of visual media copyright, trends and technology, with IP attorney Nancy Wolff and other industry experts ready to address current issues around copyright, clearances/ permissions, crowd-sourced images and video, social media, and options for bespoke content. The afternoon includes a session on trends in footage licensing, and tips to make the processes go more smoothly. The final session of the day will be a stimulating conversation, led by David Newhoff, on the price of creativity.

can further cultivate the relationships that result in stunning

Attendees can enjoy a complimentary lunch, snacks and

visual campaigns,” says Bill Daniels, Owner of Workbook.

beverages, including beer and wine after 5pm. There is also a free prize drawing, with a top prize worth $2,000, lots of

Already established as a leading marketing, learning and

cool giveaways and the usual great buzz. Visual Connections

networking event for buyers of stock photography, footage

is a marketing services company focused on connecting

and illustration, Visual Connections New York 2015 will offer

buyers with suppliers of photography, footage, illustration

the same opportunities to commissioners of new content.

and other media. The company owners, Deborah Free and Edward Leigh, have over 40 years combined experience in

“This new relationship is a key part of Visual Connections’

the industry and have run trade fairs, for Picturehouse then

strategy to become the meeting place for all visual creatives,

Visual Connections, since 2003.

using stock or commissioning new content,” says Deborah Free, Co-President of Visual Connections. Creative directors,

Entry is free, but restricted to professional image-footage-

designers, editors and producers will all find plenty of

art buyers and researchers. Full details may be found at

creative inspiration, from the wide range of exhibitors, the

visualconnections.com/newyork

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TOP 10 WAYS WELL-MANAGED FORESTS AND CERTIFICATION MAKE A DIFFERENCE

BY JASON METNICK, SUSTAINABLE FORESTRY INITIATIVE

Brand owners and brand managers are using on-product certification labels and including forest certification in their environmental policies in growing numbers.

6. CLEANING THE AIR WE BREATHE

As an example, almost twenty percent of Fortune 100 companies

200,000 trees planted in one hour.

Trees take carbon dioxide out of the atmosphere and release oxygen back into it. In addition to conserving working forests and their future, SFI funds tree planting programs. SFI also spearheaded a Guinness world record that saw more than

use the Sustainable Forestry Initiative (SFI) on-product label. In 2014, more than 6,500 SFI on-product label use requests were

7. PROVIDING A CULTURAL LINK TO

approved. The SFI logo is recognized – and what it stands for

INDIGENOUS PEOPLES

understood — by more people than any other forest certification

SFI works with indigenous communities to cultivate and maintain

logo, according to a 2015 Natural Marketing Institute survey.

healthy forests so cultural, spiritual, and economic needs can be met.

What SFI represents when you see the label is something we are celebrating as we mark SFI’s 20th anniversary this year.

8. GETTING KIDS OUTSIDE

We have seen lots of progress in forest certification since

SFI is helping kids switch from screen time to tree time by

1995. Take a look at areas that SFI has supported that helps

bringing young people outdoors to reconnect with nature. SFI

keep our forests and communities healthy and beautiful.

works with Girl Guides of Canada and Boy Scouts of America and Scouts Canada.

1. PROVIDING PLACES FOR OUTDOOR ADVENTURES Of the more than 270 million acres of responsibly managed

9. PROVIDING QUALITY PRODUCTS FROM

forests certified to the SFI Standard, 97% are available for

RESPONSIBLY MANAGED FORESTS

outdoor recreation.

When you choose paper, packaging, or any forest product with an SFI label, you’re supporting everything that sustainable

2. A GROWING BASE OF SCIENTIFIC STUDY

forestry stands for: clear air and water, healthy wildlife habitats,

SFI is the only forest certification standard in North America that

conservation research and more.

requires participants to support and engage in forest research to improve forest health. Since 1995, SFI program participants

10. MAKING CONSERVATION WORK

have invested more than $1.5 billion in forest research activities.

Projects in forests certified to SFI standards range from restoring the longleaf pine ecosystem in the Southeast US to

3. BRINGING COMMUNITIES TOGETHER

helping bats, bees and bears.

SFI supports local communities through landowner outreach, community-building projects and logger training. SFI partners with Habitat for Humanity to help families build homes. And

JASON METNICK, Senior Vice-President of Customer Affairs at the

more than 150,000 loggers have completed SFI-sponsored

Sustainable Forestry Initiative. SFI® Inc. is an independent, non-profit

professional training programs.

organization that is solely responsible for maintaining, overseeing and improving the internationally recognized SFI program. SFI works col-

4. IMPROVING WATER QUALITY The National Association of State Foresters cites SFI’s best

laboratively with organizations and individuals who share its passion for and commitment to healthy forests, responsible purchasing and sustainable communities. In addition, sustainable forestry is promoted

management practices for water quality as a model for land

through the SFI Fiber Sourcing Standard and the SFI Chain-of-Custody

owners to follow.

Standard. SFI on-product labels help consumers make responsible purchasing decisions. SFI Inc. is governed by a three chamber board

5. HELPING PROTECT FISH AND WILDLIFE

of directors representing environmental, social and economic sectors

Forests provide critical habitat for a variety of species, in the

equally. Contact: www.sfiprogram.org and www.sfiprogram.org/Buy-SFI

water, on the ground and in the air. In Maine, a local SFI Implementation Committee is improving stream crossings for Atlantic salmon and native brook trout.

G D U SA 117

Sep 2015 Pub Letter-Focus Impo_feb news play 10/7/15 10:20 AM Page 118

NEW OFFERING FROM THE NICHE CONTENT SPECIALISTS AT STOCKFOOD

Photo Agency Focuses on Beauty Photography Martin Skultety. seasons.agency is available in English and German, visitors will automatically be directed to the language and content available in their home country. Further languages will follow soon.

EXCELLENT NICHE AGENCIES

seasons.agency, a new boutique photo agency, has just opened its doors to the professional stock photography market. The collection introduces an exclusive portfolio of European beauty photography which is set to make a difference. seasons.agency is a corporate division of StockFood with headEmerging from assigned productions of a variety of premium

quarters in Munich, Germany. StockFood is the leading food

European publishers, the collection presents distinctive images

specialist among international photo agencies and one of the

with a focus on professional beauty photography. At the start

largest German photo agencies. The company, established in

seasons.agency includes around 100,000 rights-managed

Germany in 1979, supplies creative professionals from the

images. In addition to lifestyle productions by leading magazines,

media, marketing and advertising industries with images for

the collection also showcases the work of selected individual

their projects. The company is represented in more than 60

high-end photographers. Invitations to further independent

countries, on all continents, by a worldwide network of partner

beauty photographers have already been extended.

agencies and offices.

Martin Skultety, Managing Director of seasons, emphasizes the difference with other lifestyle portfolios: “There are millions of lifestyle images already available on the global picture market. However, most models are made to look interchangeable and the images are often digitally enhanced. In the case of seasons.agency, all our models are distinctive professionals with a strong character and an authentic, recognizable personality.”

Other subjects in the collection include cover shots, food, home and travel. seasons.agency is another boutique collection created by the team of StockFood, a renowned photo agency based in Munich, Germany. Besides StockFood, the world’s leading food media agency, the company is successfully oper-

In addition to www.stockfood.com the Munich-based specialist

ating living4media, a premium supplier of images and features

for niche content also operates www.living4media.com, the

depicting interiors and decoration.

leading agency for the themes such as living and decorating.

StockFood belongs to the corporate group CulinArts Holding,

“We love professional photography and see room for plenty of

which bundles several media companies with the focus on food

growth in the high-end peak of the market. With seasons.agency

and lifestyle in the three areas of production, distribution and

we are aiming at becoming a leading destination for producers

publishing (www.culinarts.com).

and professional users of high-end beauty photography” said

118 G D U SA

Sep 2015 Pub Letter-Focus Impo_feb news play 10/7/15 9:19 AM Page 119

LOOKING FOR A JOB? AVOID THESE 4 SOCIAL MEDIA MISTAKES

BY DIANE DOMEYER

You’ve applied for creative jobs at some cool

Facebook can make you seem just as offensive in a different

companies, and now you’re doing research

way. Complaining about your job, coworkers, boss or company

to see what they’re like. But you may not be

can also give a bad impression, even if you don’t name names.

To avoid social media mistakes like this one, practice self-

the only one. The hiring manager may also be

censorship and reconsider your statements from a potential

busy finding out all about you.

employer’s point of view.

In a recent survey by The Creative Group, 86 percent of

3. POSTING EXCESSIVELY

advertising and marketing executives said they’re likely to search online for information about potential hires. Their leading methods are to look at a job seeker’s LinkedIn profile (68 percent) and carry out a general web search using the applicant’s name (65 percent). Other websites are under scrutiny, too: 46 percent of respondents check out applicants’ Facebook pages, 33 percent look at Twitter, and 29 percent peruse candidates’ blog posts.

You know about TMI (too much information). On social media, this means sharing too often and at the wrong times. While you want hiring managers to see how savvy and up to date you are, avoid spamming others or posting when you’re supposed to be working. Tweets, comments and status updates all come with very precise time stamps. A potential employer may not care how witty or clever you are if it’s clear you can’t take your mind off social media for a minute (unless, of

What will potential employers see when they do their research

course, you’re applying for a social media position).

on you? Check out these four common social media mistakes that could jeopardize your job prospects.

4. OVERLOOKING USEFUL TOOLS Don’t get stuck in a rut by limiting yourself to the same

1. SHARING ONLY YOUR PROFESSIONAL STORY

social media features. If you want to have an impactful online

Sharing only your professional story. Your LinkedIn profile

presence, become a power user. For example, LinkedIn is

should focus on your work history and education, but it’s

more than just a place to display your resume. There are

also important to come across as a well-rounded individual,

groups to join, portfolio tools to take advantage of, and SEO

especially for creative jobs. Hiring managers want to get a

options that help you stand out to recruiters and potential

sense of your personality and whether you’d be a good fit

employers. Twitter offers lists as a way to organize who you

with the company culture. Avoid posting anything that could

follow, and giving a hashtag shout during a design conference

put off hiring managers. No matter what your privacy settings

is a great way to be in the know and grow your network.

are, anything you publish — even content you later delete — can be seen by others thanks to the power of screen captures and cached pages.

2. BAD-MOUTHING YOUR CURRENT OR PAST EMPLOYER

Grousing about your professional experiences will give potential employers the impression that you’re not a team player or, worse, that you’re a gossip. Sitting next to a loud talker at work may not be fun, but griping about it on Twitter or

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

G D U SA 119

September 2015 Reader Page Impo_feb news play 10/7/15 9:22 AM Page 120

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