Half Quarterly Vol 2 by Miami Ad School Worldwide @ Portfolio Center

the portfolio center student magazine

If you have an apple and I have an apple and we exchange these apples, then you and I will still each have one apple. But if you have an idea and I have an idea and we exchange these ideas, then each of us will have two ideas. George Bernard Shaw

APPLE ILLUSTRATION: SAM KELLY

2 WHAT IS THE HALF QUARTERLY? Students at Portfolio Center are far from ordinary. So why should our catalog be typical? We decided the best way to showcase what PC is all about is to let our students do the talking. Hence The Half Quarterlyâ&#x20AC;&#x201D; part catalog, part magazine, completely Portfolio Center, created by the students themselves. What you wonâ&#x20AC;&#x2122;t see in these pages are class lists, course requirements, timetables, or maps. What you will see are exciting ideas, tears, chaos, frustration, fights, sleepless nights, sleepless days, breakthroughs, life-long friendships, great ideas, hard work, beautiful craft, collaborations, pride, and passion. Tons and tons of passion. Oh yeah, and that all leads to awesome jobs. For all the other stuff, visit us at www.portfoliocenter.edu.

Published by Portfolio Center Press 125 Bennett Street Atlanta, GA 30309

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HALF STAFF

MC COPPAGE Designer, Mock-up Maker & Whip-Cracker

CAITLAN WERNER Designer, Google Doc Driver & Air Traffic Controller

TAYLER MULHALL Designer, Voice of Reason & Dark Horse

SAM KELLY Designer, Conductor & Golden Boy

MICHELLE BERMAN Writer, Blacksmith & Interview Expert

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4 14 18 30 37 47 54 80

FEATURES

KEN CARBONE

AWARDS

GRAD PROFILES

INSIGHTS

LIVE CLIENTS

STUDENT WORK

ALUM UPDATES

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TE N T N S

Just before his graduation, PC Alum Ryan Wood got the opportunity of a lifetime, designing a book that gained him full access to Atlanta’s legendary Clermont Lounge. words MICHELLE BERMAN

NO LOUNGING AROUND The Clermont Lounge, an Atlanta landmark, is the city’s oldest strip club. When two resourceful Portfolio Center alums were given unprecedented access behind the scenes, their glimpse into the Clermont’s world became “No Cameras,” a fascinating book about the legendary venue and the remarkable women who work there. The book, which took about a year to complete, was published by PC Press and printed by Blanchette Press. Ryan Wood was in his final quarter at Portfolio Center when the client approached the school for help. She had already established relationships with the lounge’s owners and had a vision in mind, but she still needed the skills of visual creatives to make it happen. She requested a designer who specialized in publications and a photographer who could be both professional and sensitive. Ryan was selected to do the design and he brought his friend, recent PC photo graduate Artem Nazarov, on board. The Clermont has always had a strict no-cameras policy, so Ryan and Artem had to gain the trust of the owners and the dancers. “This was my first project where I directed the creative output,” Ryan says. “The client didn’t even have a title for the book yet,

so I started out with a great deal of creative freedom. That was frightening at first, but then I realized that, with the right photography, the design could be edgy but understated—and that we could really tell these women’s stories with their faces and their words. Ryan enjoyed working with Artem, who shot stunning images that captured the spirit of the place and its people. The collaboration was a success on multiple levels; the book has already garnered a Bronze Award from the NY Art Directors Club. “We worked hard, imagining the book as a whole, really giving it a pulse and a flow that works from beginning to end, so you don’t start just flipping pages.” Ryan’s goal was to create a book that was bold but gritty, and not flashy. He says, “If you have ever been to the Clermont Lounge, you know that it is not like other strip clubs; the bar is made of duct tape.” As an Atlanta native and a guy whose first “gentlemen’s club” outing was made to The Clermont, Ryan felt a lot of pressure to get it right.

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“If you have ever been to the Clermont Lounge, you know that it is not like other strip clubs.” “I think there is a point for every student at PC where things just click,” Ryan says. “Luckily, my click was two to three months before this project walked in the door. Whatever happens with this book, we tried our best to express the true experience of the Lounge, to convey its unique magic.” Ryan sums up: “We tried not to give too much or too little--to leave the readers wanting more. Hopefully, they’ll make their own stories at the Clermont.”

“No Cameras” can be purchased on Amazon.com

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Paying homage steven heller fondly remembers paul Rand

Steven Heller is one of the most well-known and influential people in the design world today. He likely knows more about design than anyone you’ll ever meet, as evidenced by the fact that he has written or contributed to over 100 books on design and popular culture. However, it was one of those books in particular that brought Steven Heller to Atlanta in the Fall of 2013: Paul Rand, his comprehensive tribute to the late design icon. The Museum of Design Atlanta was featuring an exhibit, Paul Rand: Defining Design, which celebrated the work of Rand and paid homage to his seven decades of contributions to modern design. Who better than Heller--who had come to know Rand so well while compiling his retrospective—to introduce the exhibit. Portfolio Center had the privilege of hosting Heller, who has been a longtime friend of the school. Besides visiting here multiple times over the years to present seminars, he has featured our

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/ STEVEN HELLER

Below: People file in by the dozen to see Heller’s talk. Lower Left: PC’s Design head, Hank Richardson, chats with Steven Heller. Upper Left: A student takes a look around the Rand exhibit at MODA.

students’ projects, as well as some of our faculty’s and alumni’s essays in books and articles. Students picked him up at the airport, drove him to the events, and went to dinner with him. They’re still talking about the experience, six months later. When word got out that Steven Heller would be speaking in Atlanta, the local design community was abuzz. He spoke to a packed house about the legendary Rand, after which attendees were invited to the Museum of Design Atlanta for a reception and viewing of the exhibit. Heller was as warm as he is smart and as generous as he is busy. It doesn’t matter that he founded a revolutionary design program, where he also lectures; that he writes for every notable design magazine in the country; that he has a new column in Atlantic Magazine; that he is editor for the AIGA Journal of Graphic Design and the AIGA Voice; or that he has curated international exhibits...

/ STEVEN HELLER

Below: Heller makes his way to the church to address deliver his thoughts on Rand. Right: A student admires Paul Rand’s work.

“But he was gracious and genuine to everyone he shook hands with. Hearing him talk was a real treat, and spending time with him, even more so.”

It doesn’t matter that he took an early-morning flight from NYC to Atlanta or that everyone he encountered wanted to ask him a question and snap a photo with him. He is a person who looks you in the eye and shakes your hand with genuine goodwill. He’s someone who gives the answer and leans in for the picture. The entire evening was a lovely tribute to Rand, the designer, art director, painter, and author, who was inducted into the Art Director’s Hall of Fame in 1972, at 58, and continued working and writing for 25 more years. And the occasion seemed to echo into the future, as Steven Heller, who has already garnered the AIGA Medal for Lifetime Achievement and the Art Directors Club Hall of Fame Special Educator’s Award, works diligently, tirelessly and, perhaps unwittingly, on his own legacy, even as he honored the man who set the bar. The Paul Rand exhibit ran from October 27, 2013, until January 30, 2014, and was curated by Portfolio Center alum Daniel Lewandowski, creator of the website Paul-Rand.com.

PHOTOS: SHAWN CUNI & JEFFREY MORGAN

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i s v

/ ANDREW KELLER

n Portfolio Center alum Andrew Keller has had a stellar career, rising to become CEO of Crispin Porter + Bogusky, one of the most well-known advertising agencies in the world.

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/ ANDREW KELLER

Andrew speaks about his journey to where he is today and his thoughts about where the advertising industry is heading. How did you get into advertising?

“It’s better to play a part in lots of great projects than to seek total ownership of one.”

Signs just kept showing up over and over until I couldn’t ignore them anymore. The first was in third grade, at a career day. Then, on a Meyers Briggs Personality test. I met some people that went to PC when I was playing in a band after college, but somehow I still wasn’t sure. Finally, I got a sign from an aptitude test designed to help choose a profession. A month later, I started at PC. I think it was destiny. What was your experience at the Portfolio Center like and how did it help prepare you for working in the industry? I started learning when I applied to PC. I was an English major, so I thought I’d be a copywriter. But I was rejected so I begged them to take me as an art director. I told them they could throw me out if I couldn’t keep up. And then, miraculously, an art director spot opened up, so I jumped at it. To work in advertising is partly about having a great idea, but mainly it’s about having lots of ideas and never giving up. What are some of the biggest challenges you faced starting out? Work is not school. There is no time to finesse and design and think through. I figured we’d show an idea, sell it, and then make it perfect. I was wrong. You really need to have almost all of the answers at the beginning. How did you get the job at Crispin? A friend of mine from Portfolio Center, named Scott Stripling, told me about the shop. The day before they offered him a job, he got a job offer at the Martin agency and took it. So Alex Bogusky asked Scott if he knew anybody else, and he suggested me. I went down and freelanced for

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the weekend and interviewed but didn’t get the job. Two years later, I went back and got hired after sending Alex a photo of me in a Robin from Batman costume, holding a bottle of tequila with the words “whatever it takes.” Did you ever think you would be a CEO of a global agency? No. Ha. I remember a speaker came to PC and asked the audience who wanted to be a creative director. I didn’t raise my hand. I was focused on just wanting to be an art director and create. CEO was never on the radar. What do you think is the smartest career path for an ad person? Do you even need to map out a career path? Put your agency first. Early on, I worked on new biz materials for the agency. It wasn’t going to win me an award or go in my book. But, in the end, I learned so much. That had a huge impact on me and how the agency perceived me. It created a lot of opportunities.

How has the industry changed since you started in it. How have agencies evolved?

What is the thing you are most proud of in business?

We get to make so many things now. From Super Bowl spots to apps to products. We have more opportunities to interact deeply with consumers. We can speak directly to them, in more diverse and relevant voices. We get to create relationships. We get to build and invent real utility for the world. We get to work at the center of what a brand means, helping brands find their purpose and their why in life. It’s very fulfilling.

Launching MINI is probably the accomplishment I’m proudest of as a creative. Working on a great product with even greater people was a wonderful and pure experience. And as a novice CEO, it’s a big deal that last year was our second best year in CP+B history.

What do you love about this industry? As a creative, I’ve always loved that it was just about your portfolio. I was pre-med and I took the MCATs and hated it. In advertising, you are only as good as your last ad. That’s awesome, because no matter how bleak things may look, a great idea can literally save the day. It can save a client’s business and it can change the trajectory of an agency.

You are an accomplished musician. How has music helped shape your career?

CP+B has gotten very involved in product development. How important do you think it is for agencies to have other revenue streams these days?

Music has played probably the largest role in my career. It taught me how to create from scratch and in a box; to perform and present; to blend, sing in harmony, collaborate; and to balance a vision with the needs of a client. I learned discipline and focus and to practice. Music has also taught me how to lead when necessary and to use all the individual gifts of each person in a band or on a team. Music so often literally plays such a big role in much of the work we do.

I think it’s very important. We learn from it, we recruit with it, we feel fulfilled based on it, and it leverages our core strengths to change our business model. Advertising agencies have great ideas and know how to give brands an advantage. Most can even produce it all. That’s huge. Capital, development, and distribution have all been democratized and commoditized. And while some like to say advertising has been commoditized, creativity has not.

Biggest mistake? My biggest mistake has been my reaction to mistakes and hard times. I became very emotional about losing clients and having to let people go, and I would freeze up. I would become depressed and negative. That’s a huge mistake. We all fail. Learn from it. Move on. Don’t dwell on it. Take responsibility, but don’t take it personally. What advice do you have for people starting out in this business? Always tell the truth--to your clients about their problems and what is necessary to solve them, to yourself about the quality of your work and your personal goals, and to consumers. How do you inspire passion in your employees? Give them freedom. Don’t over manage them. Look for ways to say yes to the things that light up their eyes. What is the most important piece of advice you have for Portfolio Students? Be truly collaborative. Ask people for their opinions and their advice. Don’t try to be a hero or do it alone. It’s better to play a part in lots of great projects than to seek total ownership of one.

“We all fail. Learn from it. Move on. Don’t dwell on it. Take responsibility but don’t take it personally.”

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S T OR Y T E L L I NG C O N C E P T

BARRY G R O WI T T H

H O F F M A N

words AMY BARRUS

MA DMA N

Chances are slim that I would be a copywriting student at Portfolio Center if I hadnâ&#x20AC;&#x2122;t met Barry Hoffman. He is not an alumnus of any advertising school. He has never taught a course or guest lectured at PC. However, he did teach literature at Harvard and University of Massachusetts prior to his long career on Madison Avenue, working for accounts like Xerox, IBM, The New Yorker, and People. I used to think people like me werenâ&#x20AC;&#x2122;t cut out for advertising. In 2010 I took a gamble and signed up for an arts and media program that meant I would spend the first semester of my senior year of undergrad living in Manhattan, away from most of my peers down in Durham, North Carolina.

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The August evening of our first program outing, I was nervous and pessimistic about my marketing internship that started on Monday, wondering if I would feel more prepared for life after college if I had focused my studies on statistics instead of English, and visibly less eager than those around me for the musical adaptation of Green Day’s rock opera, American Idiot, that was about to begin at St. James Theatre on Broadway. I struck up a conversation with the well-dressed man sitting next to me, a good friend of one of the program directors. He was sharp and had the kind of honest, irreverent sense of humor that inspires me. Most importantly, he had lots of helpful advice to prepare me for a semester of learning from ad people and other creative types. One observation stayed with me during my time in New York and through the years after graduation: Hoffman said that advertising people are like moths, continuously fluttering to find the brightest light. He explained that I would do well to be a calming force in all the chaos. Hoffman turned out to be a big deal. A couple of months after our introduction, he presented a guest lecture to our group. He discussed some of the themes from his book, The Fine Art of Advertising, and took questions about his career as Managing Partner and Executive Creative Director at Young & Rubicam. From this lecture, I learned that, in the industry, there is certainly a place for pensive intellectual types alongside the bouncier, whimsical art directors and copywriters, who perhaps set the standard. In fact, high culture enthusiasts thrive in the low culture world of advertising, Hoffman said. Hoffman’s lecture and his book ignited my passion for advertising and set me on a track that ultimately led to my enrolling at Portfolio Center. So naturally, I am thrilled to have the opportunity to recap my recent interview with him—now three years after that night on Broadway—for the PC community. In the late seventies, Hoffman found himself at a crossroads. The job market at that time for Ph.D’s, even ones from Harvard, was scarce. He had a job offer at the University of Massachusetts, but the idea of spending his thirties waiting for a tenure decision was not appealing. He explains, “If I can avoid games where the odds are against me, I do.” Hoffman called a friend from high school who worked in advertising.

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He jokingly describes their conversation: “Hey, you could be a convicted felon and, if your portfolio is good enough, someone will hire you while you’re waiting for your appeal to come through.” Concerned more with showing concepts than with technical craft—there may have been stick figures involved—Hoffman assembled a portfolio. Only week before his start date at the University of Massachusetts, he got an offer at Doyle, Dane, Bernbach. Eventually, he climbed the ladder all the way up to Managing Partner followed by Executive Creative Director. Hoffman does not believe that his history in academics impacted his style and strategies as a CD, but academics did serve as a foil to his experiences in advertising. Hoffman compares the personalities and demands of the two fields in this riff during the interview: Academics is high. Advertising is low. Academics portrays itself as a noble profession with low pay. Advertising is a vulgar business with higher pay. In academic life, little matters more than being deliberative and thoughtful. In advertising, being witty, glib and decisive matters more. In academics you are encouraged to search narrow fields and seek their depths. Thoroughness is the first requirement for success. Advertising is comfortable with surface knowledge and always makes room for the accomplished dilettante. Being facile is more valued than knowing everything. Advertising is fast. Academics is slow. Academics admires intelligence and clear reasoning. Advertising thrives on street smarts and creativity. Advertising, at its best, is inhabited by Benjamin Franklins. Academics, by Thomas Jeffersons. In academics, your time is your own. In advertising, your clients own your time. Academics have tenure. And your summers are your own. Advertising has unemployment. And if you can actually take the vacation time you have earned, you are probably not busy enough and should be looking for another job.

“They are both, at heart, about seeing patterns and telling stories that make people understand, reconsider, remember, and, ideally, act differently.” In advertising, you tell stories about products. Instead of writing a witty, learned and entertaining lecture, using the most rigorous reasoning, you write a witty, well-researched and entertaining print ad or TV commercial, using half-truths, hyperbole, borrowed interest, celebrity endorsement, and/or any number of other logical fallacies to help people see a true benefit about the product—a product which, you can hope, can make their life a little more pleasurable or a little easier. Their moral and personal development, however, is not your business. Academics, in short, is about personal growth. Advertising is about sales growth. During his days at Young & Rubicam, Hoffman looked for candidates who were curious and daring when hiring new creative talent. History nerds, psychology majors, novel writers, and people who had driven across the country all grabbed his attention. Advertising is about “guts and guesses” and is a “fly by the seat of your pants” industry, he says. While it is helpful to study the craft at an advertising school, aspiring creatives must also keep up the activities that help generate innovative ideas. The best work balances on the edge between what is familiar as an ad and what has never been done before.

But advertising and academics do have something essential in common. They are both, at heart, about seeing patterns and telling stories that make people understand, reconsider, remember, and, ideally, act differently. If you teach literature, for instance, you tell a story to an ostensibly captive audience. Your lecture, your insights, are designed to lead your audience to recognize the meaning in a work of art; the recognition of a truth, the theory goes, is a lesson that might help guide someone’s moral and personal development and help them become a better person and a better citizen.

YZ Ken Carbone, of Carbone Smolan Agency in New York City, is many thingsâ&#x20AC;&#x201D;a designer, an artist, a teacher. A guitarist, an author, a collector. Ken is also curious. In fact, when you talk to him about design, curiosity and collecting are almost always part of the conversation. From physical objects, which Ken talks about in the following article, to experiences and knowledge, cataloguing collectibles is key. This catalogue becomes a resource that a designer can tap into at any given moment, providing inspiration and leading the way to the unexpected. It is ultimately this collection that differentiates one designer from another. So the next time you stumble upon the unexpected, whether a physical object or an interesting person, open up that filing cabinet and get busy. You never know when that folder may come in handy.

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words KEN CARBONE portrait SHAWN CUNI

Artists and designers are obsessive collectors. We will pick up a discarded piece of scrap metal, finding beauty in its color and texture. We’ll admire typographic elegance in matchbooks from another era. We’ll collect packs of chewing gum from foreign lands to study their graphic idiosyncrasies. This habitual wonder generates a wealth of fascinating “raw material” that we carefully tuck away to be used one day for design. We are nest builders. Over the years I have gathered hundreds of objects that I find intriguing, inspiring and fun. Not everything ends up on my “wall of fame,” but what does “speaks” to me in ways that are mysteriously fulfilling. Here are some of my favorites shown in photographic vignettes.

Both Ken Carbone and Leslie Smolan, the founding partners of Carbone Smolan Agency, are recipients of the 2014 AIGA Medal, the highest honor of the design profession. Awarded since 1920, the Gold Medal awards were given recently at the AIGA Centennial Gala in

New York City. Ken and Leslie were awarded in honor of their significant contributions to the design profession and their enduring efforts in exemplifying the impact and value of design. “I am thrilled and humbled to be included in such an esteemed group of designers, mentors and friends,” shares Co-Founder and Chief Creative Director of CSA, Ken Carbone. “It is a career milestone that recognizes decades of hard work. And, to share this moment with Leslie makes the Medal even more memorable.”

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1. Crayons: This is my vintage box of 32 Crayola crayons. It’s a virgin set. The aroma is still intact, which is integral to the brand. When I close my eyes and take a sniff, I am immediately transported back in time to my childhood. I once met the CEO of Crayola, who claimed that the company never made a “32 Box” set. I sent him a photograph of mine. He in turn sent me a nice letter and a shipment of Crayola products. 2. Orbitz Soft Drink: Everything about this product signals “success.” Fun branding, a cool name and a novel twist on a soft drink. One problem: gross taste. During it’s short life it was voted one of the Top Ten worst beverage ideas by TIME magazine. The failure of this product is an important reminder that what’s in the brand is always more important than the branding. Also, unopened bottles of Orbitz now sell on EBay for twentyfive dollars.

3. Slinky: The “Slinky” is equal parts ingenuity and fun. It’s a great tribute to design simplicity and manufacturing excellence. The pre-compressed helical spring invented by Richard James in 1946 is made today with the same standard of quality nearly seventy years later. As a child I was amazed to watch my Slinky “walk” down a flight of stairs. The Slinky sits on my shelf because it epitomizes left and right brain creativity: it’s precision engineering and artful fancy. 4. Journals: This is a selection from the dozens of journals I’ve kept over the past twenty-five years. These leather bound books are my laboratory for ideas and experimentation. Each cover is hand painted with leather dye. I consider my collection of journals as 5,000 pages of “beginnings.” 5. Pustefix Bubbles: This is bottled fun. The German brand Pustefix claims to make the best bubbles since 1948. I agree, their formula seems to produce uncommonly “sturdy” bubbles. Squeeze the bear’s

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belly and a blowing wand rises from his hat for an easy, no mess toy for kids. This has been around for years and I always have some on hand for a quick fix of pure delight. 6. XX: When my business partner Leslie Smolan and I celebrated the twentieth year of our practice, I designed this sculptural announcement to mark the anniversary, sending it to friends and clients. OMG! It will soon be twenty years old. 7. Graphite Hand and Eye Ware Candle: The artist Agelio Batle sculpted this

small hand out of molded graphite. Cleverly it is also a pencil. I love that this hand becomes an extension of your own when drawing with it. Through design, Agelio elevated a humble material into a truly unique object. I so wish I had thought of this idea. The mug serves as an anthropomorphized object to rest my eyeglasses upon. 8. Monkey Fist and Book Gun: These two objects hold particular interest. On the left is a Monkey Fist, a singularly beautiful knot design use by sailors to weight the end of a line when tossing it from a boat to the dock. The other design is my weapon of choice. It’s a book, laser

cut into the shape of a pistol by an artist named Robert The. The duality of good and evil in this work is curiously disturbing. That’s why I love it. I like to think of it as a symbol of “war & peace.” 9. iPod: This is my original iPod. It stands as a classic symbol of brand courage,innovative thinking and expert design. Like the Beatles, this iPod “digital jukebox” changed everything about music. Introduced in 2001 with an offering of “1000 songs

in your pocket.” It also reminds me how fleeting “awesome” can be. But Apple took an all-important, profitable first step and, well, the rest is history. The lesson this example offers is, sometimes it’s best to re-think everything. 10. Pencil Caddy: I designed this pencil caddy to display tools I use frequently in my work. The stiff bristles of the brush confidently grip a wide range of pens and pencils in an expressively random arrangement. Only my “favorites” are in the caddy. All the others are doomed to my desk drawer.

Awards

Awards recognize the extra time and effort spent getting to that special place in a project. They celebrate quality and professionalism. At Portfolio Center, the education is not just about making things look good; itâ&#x20AC;&#x2122;s about communicating, connecting with an audience. Our students are superlative by this measure. And their continued success as professionals is our most convincing and enduring claim to excellence.

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52nd Illustration West Competition ILLUSTRATION: LAURA WOODDALL End It Movement Poster “Not for sale.” These three little words were the driving force behind this poster concept for the “End It Movement.” In the most prosperous time in history, there are 27 million men, women and children who are in active slavery. I hope that this poster will bring attention to their plight and help give a voice to these people who have no voice. My home city of Atlanta is one of the largest human trafficking hubs in the United States, along with Las Vegas, Houston, and Los Angeles. People should never be bought and sold.

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Awards

ADDY Awards National Finalist Student Gold, Judge’s Choice: Region Student Gold: Atlanta DESIGN: AMANDA BRENNAN Rabbit Run Series Book Covers by John Updike The woman on each cover is an analog to characters in the novel and also to the central struggle in Rabbit’s life: how to cope with desire. The forces that frame and intereact with the legs are elemental in nature—water, fire, earth—and reflect the major themes explored in the novels. The covers were made with cut paper, then painted and photographed, to reference the tactile fragility of his life. Amanda is now working at GO! Experience Design in Atlanta.

Awards

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Atlanta ADDY Awards Student Gold, Best of Show DESIGN: AMANDA BRENNAN Regret Me Not Wine Bottles Amanda Brennan views wine as a panaceaâ&#x20AC;&#x201D;a psychological medicine that can ease any amount of pain and improve your life...at least for one night. Regret Me Not tempts the consumer to forget about tomorrow and to live now and live large.

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Awards 24

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Atlanta ADDY Awards Student Gold ART DIRECTION: JESSICA NOEL Sharpie Ad Campaign The markers of seemingly endless shapes and colors offered by Sharpie work well when compared to the same variation in the people who buy them. Humor, colorful photography, and a nod to individuality work together to make a Sharpie ad campaign that is as fun as it is compelling.

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HOW

TO …

UMBRELLA HITCHHIKE MAGAZINE: The Love Issue

Awards

UMBRELLA HITCHHIKE MAGAZINE: The Love Issue

Society of Publication Designers 6th Place, National Competition DESIGN: MARY DURANT Confess Your Love Publication “How to Confess Your Love” is an article designed for the fictional Umbrella Hitchhike magazine. It was designed for a publications competition, under the How-To category. The illustrations and unconventional typefaces create a quirky, romantic quality appropriate to the article and the personality of the magazine for which is was designed. Mary has accepted a position with People Magazine in NYC.

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1. SELECT AN INTIMATE LOCATION.

fo l l ow t h e se fe w si m p l e st e p s t o b e c om e a m a s ter.

AS YOU MIGHT GUESS, CONFESSING YOUR LOVE IS A CHALLENGE TO MANY, BUT A NECCESSITY IN LIVING A FULL AND HAPPY LIFE. THIS SPECIAL HOW-TO GUIDE WILL GIVE YOU STEP-BY-STEP INSTRUCTIONS SO THAT YOU MAY UNLEASH THE DESIRES OF YOUR HEART. BY F.C. WILLIAMS

Love is sometimes a hard thing to confess. You may go out with the person a few times or go out on a group date,

2. SET THE MOOD.

but your relationship hasn’t technically started until this love confession occurs. The prospect of entering into this kind of relationship is sometimes so overwhelming that people even “confess their love” before the first date, followed by a sheepish invitation to an event with just the two of you. As you might guess, professing your love to

3. BE HONEST.

someone as a precursor to saying hello for the first time might not be the most logical way of getting hitched, but as you’ll see, it often appears to some men as be the best overall option. And after this confession, if you go out with another woman or man, it may be called “cheating” because after the confession you two have officially started being exclusive. At this point, it’s the same as any serious boyfriend/girlfriend relationship in Western culture. So, when I started

5. HAVE NO REGRETS.

seeing my Canadian husband, I met some other girls who were also dating foreigners. One of them warned me that I should be aware of their cheating. She even told me ‘Mami, you know, they are all cheaters!’. Maybe some of them are but I

4. PREPARE FOR THE WORST.

doubt that all of them are cheating. I believe that she thought so because she misunderstood the differences in the initial stages of dating between the two cultures.

UMBRELLA HITCHHIKE MAGAZINE: The Love Issue

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UMBRELLA HITCHHIKE MAGAZINE: The Love Issue

Awards

NY ART DIRECTORâ&#x20AC;&#x2122;S CLUB Bronze Award, Book Design DESIGN: RYAN WOOD PHOTOGRAPHY: ARTEM NAZAROV No Cameras No Cameras is a look inside the legendary Clermont Lounge. Like no other place on earth, The Clermont is a living time capsule, freeze-frame 1970. Itâ&#x20AC;&#x2122;s an alternate universe, where the taste for imports and implants exists in the future, where PBR and real women rule the night. Full of stunning photography and honest insights from the dancers themselves, this book presents The Clermont as it is and always has been--brutally and beautifully raw.

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IOPP 48-HR REPACK COMPETITION First Place, National Competition TEAM: MARY DURANT, MC COPPAGE, ALEC BURCH, BRIE FLORENCE, SOPHIA FARKAS, CAROLINA COLOMBO, DANIELLE MASKERY, ROBERT BIENVENU Stripp’s Bacon Stripp’s bacon packaging is both intriguing and experiential. Current bacon packaging all looks the same and presents problems with portion, storage, and messy cooking. Stripp’s packaging is made of eco-friendly and oven-safe thick stock parchment paper, allowing the customer to easily prepare crisp, oven-cooked bacon in the original packaging without worrying about standing over a hot pan or cleaning up splattered grease. It’s sold in special portioned sizes for single to family-sized meals, and has an array of exciting flavors to choose from to create original dishes. Its bold colors and illustrative style were used to attract fun-loving amateur foodies and experimental chefs as well as to set the brand apart from the crowd. Want to see the video? Visit 48hrrepack.com/past-contests/2014 to see all of PC’s entries in the 2014 IOPP 48-hour Repack.

SPRING / SUMMER 2014

CLAUDIA LOPEZ WHEN CLAUDIA LOPEZ, PHOTOGRAPHER AND PC ALUM, RECEIVED A KODAK 110 FOR HER ELEVENTH BIRTHDAY, IT IMMEDIATELY BECAME AN EXTENSION OF HER OWN THOUGHT PROCESS, A POINT OF VIEW SHE COULD EXERCISE AT WILL. You have a remarkable ability to capture the essence of the individual at the same time you capture what is beautiful about humanity in general. Each image is, in a way, its own place, and timeless. Hokey sounding? These qualities are tough to articulate, and they lead to two questions. How do you do that? I don’t set out to photograph with a plan, strategy, or even a process in mind. I do a lot of research, learn about the places I am going to, prepare myself for the environment, and that is very much the end of the pre-production. Most of the work I create is entirely based in observation and my own personal apprehension of what I am experiencing. After 14 years working in advertising, shooting in studio, I was able to refine my own understanding and use of lighting, color, and space. These technical skills have translated seamlessly into my work on location while producing Cultural and Lyrical documentaries. When I am in the field, those technical elements of photography act as an ingrained second language and, in return, I don’t have to think about them. All I have to do is to be fully present and engaged with the world and the people in front of me. I can delve completely into the process of getting to know my surroundings, the culture I am immersed in, and into photographing what I might find relevant and essential. My work is highly subjective; I have my own internal imperatives, yielding images that are the result of my interactions with the people and my own aesthetics. I pay very close attention to clothing, gestures, physical spaces, or the lack of thereof, and the cultural and emotional nuances that make the people individuals within their own culture. 30

Why are you drawn to the marriage of this nomadic lifestyle and photography? About a year or so ago, when I was preparing to do a TED Talk, I had to look intensely into what my work was becoming. I had to start finding the connective tissue between all the countless portraits in just as many locations. One common denominator is that I am strongly drawn towards displaced and/or hybrid cultures. I’m drawn to groups that had to leave the geographical areas they called home for centuries and to the people whose spiritual and cultural practices had been stripped down by force. I left Colombia in my early 20’s and have been living on the move ever since, no roots, no home, what Pico Iyer calls a Global Soul. My own life has been an amalgamation of the absurd, the terrifying and the uncertain. Creating portraits of the people I encounter is my own way of finding myself in others. They complete the puzzle of my own nomadic persona. At the center of that fascination is the face, which I consider, in our tumultuous electronic times, to be the last and final frontier. I don’t learn by comparison but by interaction, and if a photograph becomes a document of this learning, then it should reflect that one place where we meet, that synergistic moment. My personal work is the result of those steady interactions. And more times than not, I choose not to make their photos, as I don’t think I can rise high enough to capture the nature of their characters. I look closely and experience profoundly the people I engage with, and sometimes the camera becomes the witness of that interaction. My work is nothing else than a scrapbook of mementos and my own longing for a place to call home. the H ALF QUARTERLY

/ CLAUDIA LOPEZ

SPRING / SUMMER 2014

THE ART OF SAYING

“I DO” 32

GENEVIEVE PANUSKA, DEPUTY ART DIRECTOR AT MARTHA STEWART WEDDINGS AND PORTFOLIO CENTER ALUM, SHARES HER MEMORIES OF PC AND THE JOURNEY OF HER CAREER.

FROM CONCEPT SKETCHES to final layouts, Panuska’s process is as elegant as Martha Stewart herself.

What were you doing before Portfolio Center? I was trying to figure out how to be a graphic designer, in the middle of West Texas, where my family lived. How did Portfolio Center help you get to where you are today? It fulfilled my passion for design by training me in the creative process and execution of visionary ideas, which led to a belief that I could be really good at it in the real world. I was granted an internship at Pentagram after a student competition at school. It may have been one of the scariest things I’ve ever done—figuring out a way to move to NYC in 3 weeks time caused me a lot of stress, and tears. It was such a valuable experience and really served my resume. Plus, it was heartening to meet the partners who were still very passionate about design. Martha Stewart was my first job in New York after graduating, and Portfolio Center set up that interview. They assured me that the brand was a good fit with my design sensibility. During my interview, when I came across a picture on the wall of a wedding cake decorated with mushrooms, I thought, “This really isn’t for me.” Then I met my future boss and mentor and felt an immediate connection. Here I am now, back at the same company, having worked here over 7 years. When I left Martha Stewart for a while and did freelance, I connected with friends and alumni, and got job offers from some of them. I’ve done some of the most enjoyable work of my career under a fellow PC alum at Jazz at Lincoln Center.

What is your favorite memory from your time at Portfolio Center?

What skills and qualities do you look for when hiring new creative talent?

In such a brief and intense time, I made some very close friendships and we shared a reliance on each other. That is a precious memory. Specifically, there was a light in the PC parking lot that shined through a tree outside my bedroom window that would form this incredible leafy shadow all over my wall. I would look at it at night and wonder how I could turn that into wallpaper.

A strong portfolio and knowledge of the basic design programs is a must. In terms of the work, I am looking for a personality as well as sophistication in the editing. I look for handcrafted and illustrative qualities. I look for someone who can do something different than me. Martha Stewart is a very collaborative environment. So, personality is as important as the portfolio. I look for someone who is: kind, not too quiet and not too loud, seems like they would offer to help, is excited, and who has good taste.

Is there anything you wish you’d known during or after your time at PC? Yes, for one, that variety in your jobs and in your work make you a better designer and offers you a broader network and better experience. Two, even though print is declining, and over the years at Martha there have been layoffs, I love what I do and am glad I’ve been able to work in the industry. Three, you’re going to have terrible bosses and wonderful bosses and you’ll learn the difference between a boss and a leader. Follow the leaders or become one. Don’t be afraid to change. Leave the bad bosses behind, or learn how to work around them. And finally, working in the middle of the night is a magical time to design. Enjoy it while you’re there. It gets harder to do, as you get older.

What excites you most right now? I am most excited by several personal projects I’ve started and the realization that I have turned into an entrepreneur. In general, I love having a career that allows me to constantly dream about what I could do or make, especially self-starting. Just a piece of advice— Do your dream projects while you’re at Portfolio Center, and put them in your portfolio. If you’ve imagined designing a retail store & experience, do it. If you would love to have your own stationery line, design it. If you really want to do an album cover, even though it’s a dying art, make one. That way your portfolio will reflect your passions. And, you might realize those dreams one day.

Better living through

metamorphosis

words dan monroe

People ask to hear my story sometimes. I think its because my story is about change; and people are amazed by change. They crave it and fear it at the same time. I feared change for the longest time. But, as time goes on, the longest time doesn’t seem to be the longest time. I wish I had figured out change 30 years ago. Because change isn’t something to fear. Life is change. And change is fuel. Introductions are in order. I started out in this business as an AD GUY. That term places me in time. These days, you’re a CONTENT CREATOR. Or a BRAND STRATEGIST. Or an EXPERIENCE FABRICATOR. Or any number of other titles that mark you as a trusted partner in helping your client or product tell its story. But, you most certainly are not an AD GUY unless you just get off on being marginalized. Even so, for almost a century, you could say, “I’m an ad guy” in this country, and people knew what you meant. You were Don Draper, nursing an Old Fashioned (“muddle the fruit, Sally, muddle it”), you were Leo Burnett, lower lip outthrust,

Hitchcock-wise, defying the pundits of ’29 who said the young upstart AD GUY would be in the streets selling apples before long. You were Bill Bernbach, making serious cabbage out of lemons. But today, AD GUY feels old. It smells of attic dust. It feels nostalgic, like an Old Fashioned. The world has changed. I wasn’t always an AD GUY. I started out as just a guy who liked to write – an English major at Vanderbilt. Tortured poet. (Is there any other kind?) Misunderstood. Prufrockian in having accepted an Army ROTC scholarship by letting it happen to me, without so much as a moment’s thought, and therefore, strapped into a career trajectory that could actually have gotten me killed. But a poet nonetheless. I loved our language and crafting it, and that would turn out to be the only thread that remained constant through my life. But, the ROTC scholarship meant that, after Vandyland, I owed four years of my life to the U.S. ARMY (hua) and, just like that, ink still wet on my diploma, my life changed.

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I became a PARTS GUY. Let me explain. When the time came for me to leave the service, I had no clue what sort of job I could get, or how to go about getting it. Being an ARMY GUY, you see, changes you. Your world becomes black and white, and you forget how to operate in a world of Pantones. So, I enlisted the services of a recruiter named Lou Benjamin, who specialized in placing young military officers with all their shit in one sock in companies that wanted organized self-starters cheap. Lou coached us how to tell our story in a way that didn’t scare the piss out of our potential employers,

“But the really significant change happened the day I walked through those glass doors on Bennett Street.”

THE ARMY GUY SPRING / SUMMER 2014

told us what suits to buy, told us NOT to wear our supershiny Corfam military dress shoes—in short, groomed us. Then, one afternoon, he invited us all to a hotel in Atlanta, where, dressed in stiff, dark suits and brand new uncomfortable Johnston Murphys, about twenty of us stood outside the doors of a bunch of rooms on the fourth floor. Each room contained an interviewer. Once you interviewed in that room, you moved to the next. Stood outside—parade rest—until called in. A guest walked by as we lingered in the hall in our dark suits. I stifled the urge to put my hand to my ear and mutter, “Fourth floor clear, bring POTUS in via route Charlie.”

/ DAN MONROE

I became an ARMY GUY. Combat Engineer, to be specific. Yeah, yeah, don’t ask me how that happened. I think the Army saw “ENGL” on the 18-page-carbon-paper-triplicate form I filled out and figured it must be some daggum new-fangled engineering thang, and threw me in with the sappers. I was a poet in uniform. I wore the bottoms of my trousers rolled. But, I have no regrets. I learned some cool stuff along the way. Got to play with explosives. I grew up. Got the shine knocked off my idealism. Learned to be buttoned up; not to sweat the small stuff; and to make a plan, kick it off, and then get the fuck out of its way. After four years, most of them serving in what was then West Germany—fighting the Cold War, hip deep in the mud of places with names like Graf—Enwoer and Hohenfels—it was time to move on. So I changed again.

I got three offers that day, and ended up taking a job as a “Territory Manager” with a company called Federal Mogul, an aftermarket manufacturer of auto parts. My customers were large independent wholesalers who sold inventory to auto parts stores in eight different states. They knew nothing about poetry. I spent ten years as a PARTS GUY. I sold parts for Federal Mogul. Then I took a job with my large distributor and sold parts for them. After a few years of that, I “came inside” as a Distribution Manager, responsible for the operations of a large warehouse in southwest Virginia and satellite warehouses in Richmond and Knoxville. I had about 80 employees, 16 trucks, and was responsible for an operating budget of about 375 grand a month. And the job was sucking my soul out through my nostrils. I was 34 years old, making a little more than $50K, had a house and a brand new baby boy, and I was ten years down the path of a Kafkaesque life I couldn’t even imagine continuing to live. I didn’t just want to change again—I had to. My kid sister, Evelyn, is one of the Grand Dames of the ad business. Ev was a copywriter at Wieden & Kennedy in the late ‘80s and early ‘90s. With her partner, Charlotte Moore, she worked on the Nike account and won all kinds of awards. One day she called me on the phone. The conversation went something like this:

THE PARTS GUY

THE AD GUY 35

/ DAN MONROE

“What are you getting paid?” “I’m doing OK. I make 55.” (I lied up.) “Do you know what I’m paid?” “Do I want to?” “Look, I shouldn’t tell you this, but I’m going to, because maybe, just maybe, it will get you up off your ass. I’m making multiples of what you’re making. Multiples, Dan. Plural. And, compared with some of the New York shops, I’m underpaid. But I like it at Wieden. I get to do really, really great work here, so I don’t care. I could probably move to a different agency and double it, but, what the fuck? I don’t know what to do with what I’m making now—what would I do with twice that much?” She blew me away. It was one of those moments in time when you are standing at the crossed paths and can see that, going forward, you will turn into that thing you never wanted to be. And, that changing into that thing you always did want to become would entail a massive uprooting. A complete life overhaul. “Ok. How do I make the change?” I asked. “Gemma Gatti.” She answered. So, that brings me back to AD GUY. That was 1998. I sold the house. We move to Atlanta into a two-bedroom apartment. My wife had to take a job. My 2-year old had to go to day care. I took a part-time job as the door host at Papadeaux Seafood Kitchen in Marietta. And I spent pretty much everything we had saved to go to Portfolio Center.

A self-promotional holiday gift from Cayenne Creative

“Hey, Bro! How’s it going?” “It goes.” “Got a question for ya.” “Yeah?” “What the fuck are you doing?” Ev uses fuck like people use salt. “Well, I’m sitting here at my desk going through a spreadsheet that will help me figure out if it makes more sense to load parts directly on the delivery trucks, or stage them on skids.” “That’s not what I mean. I mean what the FUCK are you doing?” “I don’t know what the FUCK I’m doing. This business is killing me. I’m running full out—we’re delivering to more territory— which, I might add, I personally grew when I was in sales, goddammit —with fewer warehouse employees, and every time a customer has to shutter his doors—which, thanks to the George H. W. Fucking Bush, is happening more and more these days—we end up settling his debt by taking in a bunch of ratty-assed inventory, which I have to get restocked into my warehouse, with the same fucking number of people… which means…” I paused to breathe... “Which means you’re an idiot.” “What?” “You heard me, you’re an idiot. All our lives, people have seen you as the writer and me as the…fuck, I don’t know what they see me as. The bitch, I guess. Or the weird little sister who was gonna fritter her life away in theatre. Now here we are— you’re in butt fuck Virginia, running an auto parts warehouse and I’m the writer. Tell me how that plot-line gets written?” “I would if I could.” 36

I was one of the two oldest guys there by about a decade. I didn’t have pierced body parts or ink. And, while I may have looked about as out of place as a turd in a punch- bowl, I came out changed. For the better. Life-changed. I had taken a hard left turn in the garden of the forking paths, and felt re-energized—refueled for the first time in, well, in the longest time. (And, in case you’re wondering, there simply aren’t adequate words to express how incredibly supportive my wife was through all of this.) There’ve been other changes along the way. Changed from a big Chicago agency to a little Birmingham boutique. Changed from employee to employer. I’m getting ready to change from family of three to empty nester. My agency changes all the time—as it should—as it has to. But the really significant change happened the day I walked through those glass doors on Bennett Street. You see, for the first time in my life, I was living a life that rewarded me for living a life I liked. No more M-16s and C-4 and slogging around in the mud of Hohenfels, no more throwout bearings and serpentine belts. Just ideas! Intelligent people! Concepts! Solid beautiful work! Life is a funny little engine. You know, you sputter along and you feel like you’re running just peachy. And you’ve forgotten what life lived well feels like (or maybe you never knew). And one day, you wake up and it smells like burning oil and gunpowder, and the road in front of you looks a hell of a lot less exciting than the road in your rearview. And it’s time for change. All of it’s good. In fact it’s energizing. It keeps your head fresh. It keeps fire in your belly. It’s change. And change is fuel. Peace.

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the bacon Portfolio center takes first place in the 2014 Iopp 48-repack competition

Every February, PC students compete against schools across the country in the IOPP 48-hour Repack Competition. In a mere two days, teams must work together to build, brand, and pitch a package that is superior in usability and sustainability.

are about more than just the work, though. The competition brings together students of different levels and disciplines and cultivates the type of camaraderie and respect that PC is all about. That is the true benefit of this competition.

This year, the theme focused around repackaging breakfast foods. The choices were bacon, maple syrup, eggs, and coffee creamer cups. They each came with their own set of challenges, and teams had to weigh the pros and cons to decide with which one to move forward. The students were asked to consider sustainability, ease of use, and visual presentation, while choosing and creating thier packaging. Once the teams decided on their product, it launched them into a 48-hour flurry of sketching, building, debating, and dozens of cups of coffee. They worked through the night to come up with their best possible packaging solution. These long nights

After the competition came to a stressful but celebratory close on Sunday night, the anticipation to find out the results began brewing. A few weeks later, Portfolio Center was proud to receive the news that three of the teams had placed among the top-10 finalists. But the true victory came a few weeks later at the IOPP Nextpack Conference, when one of the teams took home the 1st place grand prize. Although the prize money of $3,000 was glady accepted, the students received something far beyond the value of a check—they had the opportunity to come together as a team to create a solution.

SPRING / SUMMER 2014

/ STUDENT LIFE: IOPP 48-HOUR REPACK

Bringin’ Home

/ STUDENT LIFE: IOPP 48-HOUR REPACK

Top 10 winners

Stripp’s Bacon Mary Durant, MC Coppage, Brie Florence, Alec Burch, Sophia Farkas, Carolina Colombo, Danielle Maskery, Robert Bienvenu

Wanna see the videos? As part of the 48-hour competition, each team created a brief video that showcases their packaging and demonstrates how it functions. You’ll laugh. You’ll cry. You’ll want to participate next year. Visit http://48hrrepack.com/pastcontests/2014 to see all Portfolio Center’s entries in the 2014 IOPP 48-hour Repack.

Blue Collar Bacon Tayler Mulhall Eric Anthony Yann Baguet Melvin Buchanan Alicia Coleman Aimee Boulos Rebecca Blankenship Devan Carter Sidney Vlass

Village Farm Eggs Caitlan Werner Maurice Elmore Paige Hanserd Alice Chaosurawong Erin McGlothlin Zach McClellan Ross Droege Hayley Ivy 38

wanna know what it’s like? Rebecca Blankenship “Repack provided me the opportunity to see how things get done here, learn the steps to making design happen, watch some up-and-coming designers at work, and see what I have to look forward to learning this year.”

SPRING / SUMMER 2014

Yann Baguet “The team spirit was very present, the pressure was there, too, but in a good way. I consider the final product a great team effort: everyone on the team brought their own contribution (concept, pattern, illustration, logo, summary, video) to make a very unique and real product.”

Gael Furbush “This year, my team was much larger and it was exciting to see and hear all the ideas and imagination from my teammates. As an upper-quarter student this year, it was nice to reflect upon how far the school pushes your thinking.”

Sophia Farkas “I saw great packaging created first-hand, and got a glimpse into my next two years at PC. I picked up some valuable skills and made connections with students I might not have interacted with otherwise. It was a great experience and I’m excited to participate again next year!”

Erin McGlothlin “I really loved my group! Even though we all work in different ways, have different aesthetic preferences, and are in different places in our education, we were able to create a well-designed solution to an existing packaging problem AND we are all really proud of the final result!”

The Atlanta Beltline is a sustainable project that, when completed, will connect 45 neighborhoods through trails and greenspace. Lucky for us, the Atlanta Beltline runs right through Portfolio Centerâ&#x20AC;&#x2122;s backyard.

Illustration: Steve Alvarez

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SPRING / SUMMER 2014

Fondly referred to as The Big Table, it’s actually a giant butcher’s block—durable, economical, practical, with a laminate base. It sits in the center of the school’s basement, surrounded by ofﬁces, studios, and work spaces that insure it is always the hub around

BIG

which all downstairs trafﬁc revolves.

the

It is where the know-it-alls have learned to be students and the timid have learned to be teachers. It is where friendships have been forged and families have been envisioned. It is a landmark, a vantage point, a visitor’s station. It is breakfast bar and lunch counter and coffee shop. It is a movie theater and a library. It is cutting mat and drawing board. It is icon, talisman, 42

the H ALF QUARTERLY

monument. It is stage and classroom and battleground. Church. Confessional. Altar. The Big Table is not ideal for dancing or sleeping or kissing, yet all of those things happen here. Ideas are born. The past is buried. The truth is told. News breaks at The Big

TABLE

Table, but The Big Table can also keep a secret.

Most of all, The Big Table is a witness. For 35 years it has remained, still and silent, as the curious, the hopeful, the odd, and the just-plain-scared-shitless have gathered around it to share our stories. It continues to watch as we shed our old skins and beliefs, as we honor the ways we are different and the same, and as we move toward becoming more fully ourselves. SPRING / SUMMER 2014

For the year of 2014, Rachel Hudson is illustrating one song lyric per day. It is a daily activity that gets her creative mind working and allows her to freely explore ideas while listening to the music she loves.

Illustrations: Rachel Hudson

/ STUDENT LIFE: DAILY DRAWINGS

/ STUDENT LIFE: TIM TURNQUIST

Dumb things you could do instead of going to pc words Tim Turnquist

Attending Portfolio Center is an intelligent, rewarding decision. One that will result in quite a few positive life changes: growing previously unrealized skills, building lasting relationships, personal development, a bizarre attachment to the saying “Sleep when you’re dead”... the list goes on. Anyone can and will tell you these things. So, here’s something you don’t usually hear – a few dumb things you could be doing instead of attending Portfolio Center:

1. Taping your eyelids to your forehead and slamming your face into a bowl full of salt. Now, I’m not saying you won’t gain respect from doing this. You will. But it’ll hurt. On a scale of 1–10 of how much it will hurt, I’d say you’re treading on 7, maybe 8 territory (10 being stepping on a stray Lego, barefoot). Quite a dumb thing to do.

2. Literally grabbing a bull by its horns. In case you’ve ever considered doing this to say you’ve done it—and why wouldn’t you ?—think about this: the eyes of an angry bull contain a power, a haunting air of rage so pure and so unadulterated. Eventually you’ll recover from the encounter with the horns, maybe, but what stays with you forever? Those eyes. This is truly a dumb thing to do.

3. Going on vacation with a squirrel. “Why not?” you ask. “What could go wrong?” Listen, I don’t know where you get your opinions on squirrels and their natural inclinations, but there are three things you should know about them. One, they hate toothbrushes. They’ll do horrible things to a toothbrush and not think twice, and then you’re left without a toothbrush. Two, they’ll never agree to your choice of restaurant, having no opinion except for, “No, not that place,” seemingly on principle alone. Finally, better hope you’re going to a destination without trees, because these idiots cannot resist flitting around in the canopy literally all day. Here’s a joke I once heard about squirrels: What did the squirrel say when the beaver waved to him? Nothing, he just climbed a damn tree because he’s a squirrel. Squirrels are super dumb.

4. Knowingly getting olives in your burrito. The only thing these cold, lifeless salt bombs should be going into is the mouth of your absolute worst enemy, with whom you have zero qualms with causing extreme discomfort and sending a clear message that says, “I care for you very little.” Ultra dumb.

Doing literally anything else other than going to Portfolio Center. Like Charles Barkley always says, “Shut up and jam.” He may have never actually said that in his life, ever, but you get the point. Just shut up and do it.

the H ALF QUARTERLY

turning thoughts into

actions words andy stewart

In their final quarter at Portfolio Center, six students had an incredible opportunity to work alongside Atlanta-based design firm Son&Sons to develop a new identity for the Buckminster Fuller Institute. If the job title “comprehensive anticipatory design scientist” sounds confusing, you’re not alone. The penman of said title, R. Buckminster Fuller, is often hailed as one of the greatest minds of our times, for his commitment to leveraging innovative design solutions to confront world issues and work for the betterment of humanity. Fuller was a true Renaissance man—part inventor, part architect, part designer, and part philosopher. He dedicated his life to solving the world’s most pressing problems and to creating a world that works for everyone. But for as much good as he did for society, and for as pure and simple as his ideas truly are, much of Bucky’s legacy has been lost to the world, in large because his method of communicating about himself and his ideas was, well—confusing.

Above: Wade Thompson and Jack Whitman meet with the PC team at the Son&Sons studio. Left: R. Buckminster Fuller dedicated his life to making the world work for all of humanity.

This disconnect—between the universality and approachability of Bucky’s big ideas, and his convoluted and obscure method of teaching—was a problem that the Buckminster Fuller Institute recognized and sought to correct. BFI, the New York-based nonprofit organization working to keep Bucky’s legacy alive through events and initiatives like the Buckminster Fuller Challenge, engaged Son & Sons and Portfolio Center to aid them in developing a way to better honor and celebrate the 47

“Together, this group of students and professionals worked to develop a visual language and identity system that remained faithful to Bucky’s idiosyncratic personality, while communicating his legacy clearly and concisely.”

BUCKMINSTER FULLER INSTITUTE IDENTITY Design: Elizabeth Kelley, Andy Stewart, Amanda Brennan, Kristen Murphy, Meredith Morten, Bailey Andrews

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/ LIVE CLIENT: BFI

life and legacy of Bucky Fuller. This joint project allowed a group of six upper-quarter design students an invaluable opportunity— to work alongside an award-winning global branding firm, to see first hand their strategy and design process, to develop an identity for one of the most influential people of the past century. Together, this group of students and professionals worked to develop a visual language and identity system that remained faithful to Bucky’s idiosyncratic personality, while communicating his legacy clearly and concisely. The team began by extensively researching both Bucky Fuller and the Institute itself, conducting interviews with members of the Institute, engaging Fuller’s legacy through his videos and writings, and working to distill his massive catalogue into a set of simple, universal truths. After more than a few late nights and a handful of Saturday working sessions at Son & Sons headquarters, the team was proud to present the Buckminster Fuller Institute

SPRING / SUMMER 2014

with a complete comprehensive visual identity, including a logo and wordmark, identity suite, merchandise, and various print and web solutions. Every element of the team’s product was carefully injected with Bucky’s spirit and wit, down to a set of “Bucky Bites,” collectible cards that presented Bucky’s life and ideas in an unexpected and approachable medium. For a group of students assembling final portfolios and preparing to enter the work force, the value of being able to work side-by-side with an established design firm, and to conduct client presentations and receive live feedback on their work, is inestimable. The ability to effectively communicate and interact with clients is an essential skill for professional designers, and often becomes the greatest barrier between professional and student design. The more a school can do to prepare its students to bridge that gap before graduating, the better.

Portfolio Center Adds Creativity to Coke Packaging and More words jay moye SENIOR WRITER, COCA-COLA JOURNEY

back to

school

Lauren Childs had just graduated from Atlanta’s Portfolio Center last spring when she landed her dream job. As part of Coke’s Global Content Excellence group, she’s now applying her graphic design skills to the brand’s 2014 FIFA World Cup campaign. Even though it’s her first full-time job, it’s not her first experience working with Coca-Cola. A few months before being hired, she was part of a “live client” class assigned to steer the creative direction of an early-stage packaging innovation. “Once we started that project, I knew I was going to work for Coke,” Childs says. “I absolutely loved the atmosphere. Everyone was proud of the brand, and that really rubbed off on the students. We were excited to be working on something so many people would see and touch.” Lauren is one of more than 50 students from Portfolio Center— one of the country’s top postgraduate creative communication arts schools—who have supported a range of Coca-Cola projects since 2012.

Each quarter, Coke provides classes of six to 10 students with a creative brief. From there, the students conduct research, develop and refine solutions, then present their recommendations to the client. Some of the students’ recommendations end up on the store shelves, while others are integrated into other Coke programs. Scott Biondich leads the development of sparkling beverage packaging and immediate consumption equipment for Coca-Cola North America. His team has enlisted Portfolio Center’s creative braintrust to contribute outside creativity and communication expertise to several key projects, including a cold-activated aluminum can featuring thermochromatic ink technology and a Variety Station, which enables shoppers to customize eight or ten packs of Coke beverages. Several other projects the school has supported are confidential because they have yet to reach the public. “The Portfolio Center students have helped translate complex engineering concepts into visual language that resonates with our internal brand and innovation customers,” Biondich says.

“Coke is getting brilliant thinking and work from people who aren’t baked in the solution; they’re approaching their projects from outside the Coke context.”

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The partnership gives Coke access to outsidethe-norm insights from its core consumer target: Millennials. “In essence, they’re their own audience,” says Hank Richardson, Portfolio Center’s design director. According to Richardson, what sets Portfolio Center students apart is the broad range of creative disciplines they bring to the table—from design and screen-based media, to photography and

illustration, to art direction and copywriting —all coalesced by the school’s integrative approach. “Our curriculum focuses on applying design thinking to solve problems through integrated systems design using a think-plus-do model,” he adds. “With many of these projects, we’re bringing the art of storytelling to the engineering world and helping people who see in black and white see in color.” Wade Thompson, Portfolio Center alum and founder and creative director at the Atlanta-based firm Son & Sons, has taught several of the “live

classes” at Coke. Getting students away from the classroom and the everyday rigors of school and into a real-life business environment helps to create breakthrough learning moments, he says. “It’s a great opportunity to help students grasp what successful design partnerships look like by understanding the Coke business and system, and how design can be used to reach people,” Thompson adds.

/ LIVE CLIENT: COCA-COLA

“They have brought our concepts to life by leveraging our brand positioning and visual identity system. The students have delivered great designs and ideas, and simultaneously gained valuable real-world experience working with the world’s number-one brand. It’s a true win-win.”

For Coke, the collaboration is helping to build a legion of brand advocates and, as Childs proves, a fruitful talent pipeline. And by taking time to work with the students, Thompson insists, Coke leaders are positioning their company as an innovative, design-centric organization.

“Coke is getting brilliant thinking and work from people who aren’t baked in the solution; they’re approaching their projects from outside the Coke context,” Thompson adds. “They’re comfortable making mistakes and going somewhere an agency of record may not have the freedom to go.”

PC graduate and Coca-Cola designer, Lauren Childs flying first-class on the Coca-Cola Jet.

He adds, “When we present to a Coke team, you see an awakening… people get re-energized. The students help them see challenges in a new light and open up new solutions. Their enthusiasm and energy are contagious.” This article first appeared in Coca-Cola Journey on February 8, 2014 (www.coca-colacompany.com).

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One of the many great things about Portfolio Center is its strong ties to the design community in Atlanta. These connections have led to incredible projects and collaborations that PC students have had the opportunity to be involved in. One example of this occurred just a few months ago when the Museum of Design Atlanta (MODA) approached Porfolio Center with the task of designing their annual report—and so begins the story behind the MODA poster... One afternoon, design student Sam Kelly was in a meeting with department heads Hank Richardson and Theo Rudnak, going over his progress on the MODA annual report. He had an idea for a gate-fold spread in the middle of the annual report that would open up to read the acronym “MODA” in big, bold type. This idea sparked another—What if this piece became a collaborative project that celebrated the strength of Atlanta’s design comunity? The project began with a proposal to Wade Thompson of Son&Sons, Stefán Kjartansson at Armchair, and Doug Grimmett with Primal Screen. The objective was for each team to choose and create a unique design for one letter from the acronym MODA.

The letters would be brought together for use in the annual report and a stand-alone promotional poster. Moments after the proposal was sent out, Doug Grimmett of Primal Screen claimed the “D” with the reasoning that “D” stands for Doug. Armchair stepped up next by pitching a “modern Lubalin “M.” Wade and the Son&Sons team took the “O,” leaving the “A” for Portfolio Center. And they were off. A friendly rivalry ensued that motivated each team to think ouside the box and push the limits on what a letter could be. They were on a mission to out-do one another. The first to come back to the table was Primal Screen with their “D”—an intricate and playful design that alludes to the type of work they are best known for. In the meantime, Portfolio Center had been busy cooking up a jacked open Swiss Army knife-inspired “A” that verged on futuristic. When the “D” and “A” were put sideby-side, it was clear changes had to be made. As the PC team was making revisions, an email arrived from Armchair. Their team was so excited about the project, they designed not one, but three “M”s, plus a video documenting their creation. Though

it was diffucult to choose just one, Sam and Hank decided on the “M” that was described as “an extreme contrast wedged serif—it’s Herb Lubalin and Non-Format going Didone.” The last team left was Wade and the Son&Sons team. They had been waiting patiently—standing by to see what they were up against. And when the email from Wade arrived, the competition was blind-sided—literally. A seizure-inducing .gif flashing 30 unique letter “O”s at rapidfire speed sent a clear message of “Beat that!” from Son&Sons. After spending an embarrassing amount of time trying figure out how to extract all 30 images from the .gif file, the choice was an easy one—a plump and sassy donut “O.” The next step was bringing it all together. Though this seems like a simple task, it takes a good eye and lots of practice to take four unique visions and make them one. Slight alterations were made so that the letters could come together to create a cohesive visual. The end product was not only a teriffic poster, but also a prime example of leadership and collaboration. the H ALF QUARTERLY

Above: Here are just a few of the many iterations of characters it took to get to the final product. Left: The final MODA poster.

Armchair Armchair Media, led by Stefán Kjartansson, is an interactive agency that specializes in designing and developing multimedia strategies and campaigns. Their clients include Coca-Cola, PVH, and Georgia Tech. Stefán is also an accomplished type designer and draws inspiration from type heros like Herb Lubalin. Son&Sons Portfolio Center alum Wade Thompson founded the design firm Son&Sons in 2008. Since its opening, Son&Sons has added names like Coca-Cola, Rimidi, and Ekocycle to their porfolio. Wade’s team aims to banish the mundane and replace it with brilliant ideas that people actually care about. Primal Screen Doug Grimmett is founder and creative director of Primal Screen, a full service, one stop design studio with a knack for broadcast design. Their projects include the redesign of Cartoon Network, the launch of Boomerang, Sprout, Nick on CBS, and TeenNick as well as the relaunch of NickJr., Spike TV, and PBS Kids.

Strange characters words Tayler Mulhall

three Local design firms team up with Portfolio center to create a one-of-a-kind poster for the museum of design atlanta

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/ DESIGN: SAM KELLY

Selfishness Chair My chair was inspired by the intersection of Constructivism and my own personal story about selfishness. The form of the chair honors the bold and innovative aesthetic of the period, while the chair stands as a metaphor for the important balance between selfishness and selflessness in my life; the steel representing selfishness and the leather, selflessness. The two work together in harmony to create functionality and comfort.

Design: Sam Kelly

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Pre-Game Application Pre-Game is an app that provides users with an aggregated list of local businesses serving free drinks in your city tonight. Pre-Game aims to enliven cities during inactive hours after dinner time and before going out, and aims to create local business support through millennial engagement. Pre-Game gives compelling incentive for youths to explore and support their cities.

Design: Mary Durant

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/ DESIGN: MARY DURANT

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No One Belongs Here More Than You, by Miranda July A classical series of short stories fused together and written by Miranda July, â&#x20AC;&#x153;More Than Youâ&#x20AC;? creates connections between type and image to highlight an intimate yet proactive nature found within the stories.

Design: Kristen Murphy Photography: Rudolf Bonvie

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/ DESIGN: KRISTEN MURPHY

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New York Football Club Sports Branding at Portfolio Center is like the NFL Scouting Combine: youâ&#x20AC;&#x2122;re pushed to the limit and at the end you have to prove yourself in front of real sports professionals. Students work in pairs for the entire project and end up building a brand identity for the real-life pro franchise assigned to them in the first week of the quarter. After extensive research, in-class presentations (belting out slogans while standing on chairs is not unusual), and countless revisions, the final products tell compelling stories of the teams, cities and fans. This work was done for New York City FC, a Major League Soccer team set to take the field in 2015.

Design: Eric Anthony & Erin Bishop

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/ DESIGN: ERIN BISHOP & ERIC ANTHONY

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/ DESIGN: ELIZABETH KELLEY

A Tall Book of Tales Postage stamps are designed to serve two purposes. One is to represent a countryâ&#x20AC;&#x2122;s currency and the second is to communicate national heritage or history. These stamps tell the story of seven tall tales from American folklore. Tall tales were originally told to inspire and encourage those on the rough American frontier. Each tale communicates a different value that was meant to aid in tough times.

Design: Elizabeth Kelley

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Singer Ad Setting up a tabletop scene akin to those painted by the Flemish masters is no easy task. Creating a setting, curating objects, and finally building and lighting a scene require hard work and careful preparation that in the end creates a photograph that has a life of its own.

Photography: Britney Kidd Copywriter: Michelle Berman

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/ PHOTOGRAPHY: BRITNEY KIDD

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/ PHOTOGRAPHY: ALLIE HINE

Memories of a Faraway Place Portraiture is able to show the important relationship between storytelling, lighting, and tone. The girl has a look of wonderment and mystery about her, she creates a romantic air that speaks to to viewer. This interaction between a photograph and its viewer is only possible when concept and technical skill are seamlessly combined.

Photography: Allie Hine

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/ ART DIRECTION: RAE SALYERS

Mann’s Campaign Mann’s lures are so catching, the fish do the fishing. It’s a simple concept and a simple phrase but getting to that point requires lots of research, thinking, and collaboration. Art directors often work with copywriters to help bring their ideas to life with both words and visuals.

Art Direction: Rae Salyers Copywriting: Katie Anderson

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The Dyslexic Within The Dyslexic Within is a visual interpretation of three fairy tales by one dyslexic. All fairy tales are told with the intention of communicating a moral truth. In this case, that truth is the power of imagination. These interpretations flip traditional storytelling on its head. With no words, only visuals, the reader is forced to rely on imagination and creativity to tell their own story. Imagination and creativity lie at the core of a dyslexic brain, qualities that lead to innovative and new solutions.

Design: Sam Kelly

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/ DESIGN: SAM KELLY

/ ART DIRECTION: WILLIAM CAIN

United Colors of Benetton Campaign This campaign embodies the essence of the Benetton brand, connecting young people across the globe. Young men and women of different races and walks of life join hands to celebrate their differences and showcase what the Benetton brand has always appealed to: the individual.

Art Direction: William Cain

Le Blanc Cert In the class Illustration History and Style, we were told to make a piece that illustrated our idea of home. This is my favorite piece I have ever created. I love it because it became so abstractly personal. The deer represents kindness, love, compassion, strength. The deer represents me. Visually, I focused on surrealism to lend to a concept of what can and what cannot be seen, what grows, changes and comes together, what we can and canâ&#x20AC;&#x2122;t understand. This is life. This is a self portrait, and in a sense, a mark of a new beginning.

Illustration: Danielle Maskery

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/ ILLUSTRATION: DANIELLE MASKERY

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Loneberga Toys On the farm in Loneberga, Sweden, when Michel is punished, his father makes him sit by himself in the toolshed. What his father doesnâ&#x20AC;&#x2122;t know, is that Michel spends his time carving the farm animals instead of reflecting on his behavior

Design: Alexandra Rancier

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/ DESIGN: ALEXANDRA RANCIER

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/ PHOTOGRAPHY: ALLIE HINE

Icelandic Dreams This image was inspired by the country of Iceland, and seeks to capture its essence through fashion photography. I wanted to convey the raw, ethereal beauty of the country through the location and subject. The isolated setting and movement of the skirt captures a free spirit.

Photography: Allie Hine

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/ ILLUSTRATION: DANIELLE MASKERY

King of Cool The concept for this piece was to create a portrait of Burroughs that reflected his lifestyle and writing, that which was shrouded in a dark, messy, drug-induced haze. But the eye is clear and in focus, drawing you into his soul, which was brilliant and deep.

Illustration: Danielle Maskery

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A good ad campaign extends far beyond print materials. Often, the most important piece of a campaign is found on the web or mobile, and PC students are encouraged to explore these types of media in all their projects. In the case of Bulleit Whiskey, an art directorâ&#x20AC;&#x2122;s concept and an illustratorâ&#x20AC;&#x2122;s original character sculptures combined to create a new story for the brand.

/ ART DIRECTION: SARAH PEACOCK

Bulleit Whiskey Campaign

Art Direction: Sarah Peacock Sculptures: Christina Dill

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ALUM UPDATES

Yuri Majic August Designer NYC, NY

Ted Pio Roda TBS Senior Photographer Atlanta, GA

Alexy Akonomou Ashton Design Creative Director of Environmental Graphics Baltimore, MD

Michelle Matthews Lipincott Partner Designer NYC, NY

Asha Pollard Tailfin Designer Atlanta, GA

Michael Di Christina Son&Sons Designer Atlanta, GA

Sarah McClure Razorfish Designer Atlanta, GA

Jamie Prendergast Haute House Senior Designer Atlanta, GA

Alvin Diec Brothers Co-Founder Atlanta, GA

Zack McDonald Anomaly Creative Director Amsterdam

Alicia Prentice Warner Music Group Designer NYC, NY

Robert Alcantar Teach for America Art Director NYC, NY

Patrick Allison Gap Inc./Old Navy Designer NYC, NY Bailey Andrews Sequel Studio Designer NYC, NY Brennan Boblett Tesla Motors UI Manager San Francisco, CA Amanda Brennan Go! Experience Designer Atlanta, GA Buzz Busbee Perkins & Will Environmental Designer Atlanta, GA June Bae Razorfish Creative Director Atlanta, GA

Catherine Campbell Haute House Senior Designer Atlanta, GA Johnny Cardenas Sonos Corporation Global Design Director Santa Barbara, CA Kate Carmack Artagrafik Designer Atlanta, GA Alena Cason Ogilvy Associate Creative Director NYC, NY Lauren Childs The Coca-Cola Co. Designer Atlanta, GA Mia Chubarova Knewton Designer NYC, NY Addie Courington Multiple Inc. Designer Atlanta, GA 80

Dave Decepida Carbone Smolan Agency Designer NYC, NY

Erin Dooney Brooks Brothers Designer NYC, NY Olivia Duvall DDB Art Director San Francisco, CA Jonathan Eshel Nice Limited Creative Director Singapore Kevin Fenton The Hypothesis Group Lead Designer Los Angeles, CA

Abby Hunt Donor Art Director Detroit, MI

Ruta Jamenis Lokus Design Designer Maharashtra, India Paul Janzen Conde Nast Senior Executive Creative Director San Francisco, CA David Jorba VIZRT Americas Operations Senior VP NYC, NY Hartmut Jordan Iconologic Assistant Creative Director Atlanta, GA

Robert Finkle Auburn University Assistant Professor Auburn, AL

Beth McNair Brothers Designer Atlanta, GA Mera Mistery Northwestern University Designer Chicago, IL Eric Montez Helms Workshop Designer Austin, TX Aggie Morawska Farenheit 212 Designer NYC, NY Meredith Morten Landor Designer NYC, NY

Lynnette Galloway Ebony Magazine Deputy Art Director Chicago, IL

Reena Karia CounterPULSE UI/UX/Branding San Francisco, CA

Kristen Murphy Badger & Winters Designer NYC, NY

Carmen Garcia Realm Advertising Creative Director Atlanta, GA

Elizabeth Kelley Carbone Smolan Agency Designer NYC, NY

Charbel Nasser Foote Cone & Belding Global Creative Director NYC, NY

Virginia Green Sterling-Rice Group Art Director/Designer Denver, CO

Mike Kelly HUGE Designer Atlanta, GA

Jille Natalino Uncommon Goods Designer NYC, NY

Katie Grosskopf The Children’s Place Illustrator NYC, NY

Katie Kosma Knewton Senior Art Director NYC, NY

Preston Grubbs Deloitte Design Group Designer Seattle, WA

Ben Krantz Publicis Kaplan Thaler Associate Creative Director NYC, NY

Priscilla Ober Mary Kay Creative Director, Global Packaging Design Dallas, TX

Tiphaine Guillemet Ignite Health Senior Brand Experience Director NYC, NY

Jessica Krier TBG Evironmental Designer Austin, TX

Scott Gunderson Simple Truth Designer Chicago, IL

Allyson Lack Principle Design Co-Founder Houston, TX Witt Langstaff Big Nerd Ranch UX Design Atlanta, GA

Michelle Haft Live Frye Creative Lead San Francisco, CA

Elizabeth Linde Ruby Co. Design Partner Designer NYC, NY

Brian Howard 360i Art Director NYC, NY

Jessie Lutz Recor Turner Duckworth Designer San Francisco, CA

Erin O’Conner Principle Design Brand Strategist Austin, TX Eing Omathikul Leo Burnett Senior Designer Chicago, IL Matt Palizay Illustrator TRCoMarketing NYC, NY Genevieve Panuska Martha Stewart Weddings Deputy Art Director NYC, NY Caroline Petters Anna Wolf Studio Manager NYC, NY

Amber Osborne Rainwater Coffee Bean & Tea Leaf Designer Los Angeles, CA Frank Rauss HUGE UX Designer Atlanta, GA Claudia Renzi Crate & Barrel Senior Art Director Chicago, IL Lana Roulhac Siegel + Gale Design Director Shanghai, China Kristin Sabena Ruby Co. Design Partner Designer NYC, NY Jenny Savage Frog Designer NYC, NY Cameron Searcy Starbucks Designer Seattle, WA Dianna Seeger Denton’s Designer NYC, NY Kathleen Smith Crocs Corporation Designer NYC, NY Rachel Spence Starbucks Designer Seattle, WA Kathryn Spitzberg Big Squirrel Design/Brand Strategy San Diego, CA Andy Stewart Tether Designer Seattle, WA David Tann Carter’s/Oshkosh Senior Art Director Atlanta, GA Christine Taylor Hallmark Cards, Inc. Licensing Creative Account Manager Kansas City, MO

Jessica Tillyer Stone Yamashita Partners Creative Director NYC, NY

Stephanie Toole Brooks Brothers Senior Art Director NYC, NY Megan Treme Momentum Copywriter NYC, NY Tim Turnquist Razorfish Copywriter Atlanta, GA Hasani Tyrus John McNeil Studio Designer Berkeley, CA Mauricio Villareal VML Executive Creative Director Atlanta, GA Casey Walter Jazz Lincoln Center Senior Designer NYC, NY Claire Whitehead HBO/HBO GO/MaxGO Designer NYC, NY Dave Whitling The Bitter Southerner Co-Founder Atlanta, GA

Jack Whitman Son&Sons Senior Designer Atlanta, GA Melissa Withorn GO! Experience Design Designer Atlanta, GA Julianna Wolfe MoMA Designer NYC, NY Roger Wong The Earth Institute, Columbia University Designer Washington DC

Michael Yi 1800flowers Designer NYC, NY Janie Yoon Martha Stewart Living Designer NYC, NY Chris Yoon Catalone Design Co. Designer Washington DC

NEW GRADS Sam Kelly

Mary Durant

Design

Terence Raines

Zachary Rossman

Melissa King

Design

Illustration

Design

Steve Alvarez

Jess Ruiz

William Cain

Design

Illustration

Art Direction

Alexandra Rancier

Rae Salyers

Roy Hinshaw

Design

Art Direction

Copywriting