The Chung Box Set

CONTENTS

pg 3 PHILOSOPHY

Just like your organization, we have a method of working and a style of doing business that fosters a strong partnership with our clients.

pg 4—8 IDENTITIES

A logo/identity is the most visible component of a brand. Speaking a visual language, it is often the first impression made with your audience.

pg 9—35 COLLATERAL

Whether you call them brochures, reports or pamphlets, a company’s literature speaks long after the meeting or sales call has ended.

pg 36—40 POSTERS

Large enough to be read from a distance, the poster urges us to take notice, then draws us nearer for the details. It’s all about seduction.

pg 41—46 PACKAGING

Consider the walnut, or the watermelon. A package certainly protects what’s inside, but also compels us to open it and enjoy its contents.

pg 47—51 3D

These objects beg to be held and studied from all sides. They extend your message well beyond their 2 dimensional partners.

pg 52—53 ILLUSTRATION

When a photograph simply cannot communicate an idea, we turn to illustration. Once there, the surreal is allowed to occur and often does.

pg 54—56 ADVERTISING

In a sea of competition, advertising needs to grab the viewer in the blink of an eye, then hold their attention long enough to engage them.

pg 57—58 INTERACTIVE

A strong on-line presence allows you to engage your audience in a conversation. Consider it the banter of your brand.

PHILOSOPHY

Chung is passionate about problem solving. We are highly experienced in engaging your audience, telling your story and helping you sell your products and services. We believe that no one knows your business more thoroughly than you. It’s our job to listen, bring a fresh perspective, build a strategic approach, and design a creative vehicle that ensures the results are on schedule and in budget. Simply put, we are your communication partners.

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Our goal is to do our job so well, that we free you to do yours—effectively.

We believe seeing only the solution to a project leaves one without a full understanding of its impact. We hope you’ll take a moment to explore several past assignments. In each case, we will quickly define the challenge, explain how we came to a solution and track the results. If you have any questions or if you would like to speak with one of us directly, please call 901.726.1200. We look forward to the opportunity to meet with you.

PLAZA CLUB IDENTITY / COLLATERAL MEMPHIS REDBIRDS FOUNDATION

CHALLENGE The Memphis Redbirds Foundation, owner of the AAA baseball team located in Memphis, approached us to develop a private dining club located adjacent to the ball park. They wanted a club that could have association with the park but without a baseball theme.

We were asked to brand the club, develop the identity, consult on the interior, and design the menus and marketing tools.

SOLUTION The location of the club was all we had to work with that was not directly associated with baseball. Because it was located in the Toyota Plaza, we incorporated that into the name, giving it a sense of place. The Plaza Club also referred to the walkway on the plaza level that connected the club to the park. The club was positioned as upscale with all the amenities of a country club, but without the exclusionary tone. We developed the tag, “Distinctive. Diverse. Downtown.�

RESULT Within the first season, they were at capacity and membership was at 90 percent. The club grew to offer a spa, fitness area, and a travel concierge.

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STANFORD ST. JUDE CHAMPIONSHIP STANFORD FINANCIAL

CHALLENGE Stanford Financial was offered the opportunity to become title sponsor of the PGA TOUR event in Memphis. Although Stanford had established an office in the Memphis market, it was virtually unknown. FedEx had served as title sponsor for the last 21 years of this 50-year event. We needed to design a mark that would clearly announce this change in title, while optimizing Stanford’s visibility in the Memphis market.

SOLUTION In order to give Stanford maximum exposure in this new venture, we chose to transform the corporate mark into one that would connect with golf. While keeping the iconic eagle shield and logotype of the corporate brand, we carefully added a golf flag element. This simple change allowed both, the corporate brand and the tournament brand, to enjoy a sense of individuality while maintaining a connection as members of one family. It was imperative for the success of both partners that they share a common position.

RESULT This was an unusual case in that it was part branding and part rebranding—building brand awareness for Stanford, establishing a new brand for the tournament. With most brand assignments, tracking success is an exercise in patience. Due to situations outside the bounds of this assignment, the tournament was forced to rebrand itself again after only two years. Regardless of that, attendance and player participation increased by a large margin, ultimately benefiting St. Jude and the tournament.

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Existing Corporate Logomark

EAGLES FOR ST. JUDE ST.JUDE CHILDREN’S RESEARCH HOSPITAL

CHALLENGE Most PGA TOUR events are associated with a philanthropic beneficiary. Over the years, the Memphis event had made a substantial financial contribution to St. Jude. As the only event with the beneficiary as part of the tournament name, we wanted to develop a program that would grow that effort over the course of a year; thus extending the opportunity and awareness beyond tournament week.

SOLUTION After a meeting with St. Jude, the connection of the “eagle” icon of Stanford and “scoring an eagle” in a round of golf was made.

It seemed like a natural way to tie the brands together; offering both an opportunity to grow the donation. Stanford took the lead by donating $1,000 dollars for every eagle made on tour. With the addition of a Stanford event on the LPGA Tour, each eagle the ladies made was included as well. With the support of the Golf Channel, the program allowed for a “grass roots” initiative, offering anyone the opportunity to donate a specific dollar amount for eagles recorded in a year.

RESULT Within the first season, Stanford sponsored player—Vijay Singh donated $50,000 of his earnings to the program, and became the first Eagles ambassador. PGA pro Camillo Villegas, and LPGA pro Morgan Pressel, followed suit.

By the second year an additional $1 million dollars was added to the tournament donation to St.Jude—a success by definition.

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IDENTITY AND LOGOMARKS A SAMPLING OF IDENTITIES, LOGOMARKS AND ICONS CREATED FOR OUR CLIENTS

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LITTLE EAGLES

C I RC O d e S I PA

IDENTITY AND LOGOMARKS A SAMPLING OF IDENTITIES, LOGOMARKS AND ICONS CREATED FOR OUR CLIENTS

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S P E C T A T O R S

C O N F E R E N C E

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W E L C O M E

FINE PAPERS SAMPLE BOOKS AND HOLDER INTERNATIONAL PAPER COMPANY

CHALLENGE When International Paper restructured their Fine Papers division, they combined four separate businesses/brands into one. It was imperative that specifiers understood that all of the brands were now under a single umbrella of products as the existing brand logos were dissolved. We were asked to rethink the sample books from cover to cover. The only requirement was that the set establish a unified look.

SOLUTION Before we actually began the task of rebranding, we decided to take an intelligent look at the books themselves. Compelling covers are only as good as the information available within. We built a strategic and “easy to use� organizational grid that was integral to the way a specifier uses a sample book. Each book had a common procedure-based system that established grade, finish, color, weight and size. We designed each section so charting information was easily accessible while looking at any given swatch of paper. With the brand logos retired, circles were established as the new branding iconography. This was because three of the individual brands, as well as the parent International Paper brand, incorporated a circle element in their logo mark. This consistency allowed us much greater flexibility. A modern color palette was established and carried through all marketing materials. Finally, we designed a stainless steel holder to encourage visual unity at the specifier level. An integrated chip chart followed.

RESULT Change is often painful for a brand. Although many specifiers initially missed the individuality of the previous branding, they soon accepted the new look, due in part to the intelligent organization of these sophisticated books.

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ARCADE BOOK INTERNATIONAL PAPER COMPANY

CHALLENGE International Paper asked us to create a promotion that would reflect their Regalia line of premium papers while also acting as a “coffee table” book. We were directed to show printing demonstrations on each of Regalia’s four colors of paper: Pewter, Pearl, Olde Porcelain and Alpine White.

SOLUTION We chose to create a book portraying the Arcade restaurant, featured in such films as Mystery Train and John Grisham’s The Firm and The Client. This historic Memphis diner also reflected a combination of nostalgic sensibility with a modern agenda, a perfect metaphor for the Regalia line. The Arcade was rich with imagery that would allow for high-end print fidelity demonstrations and allow the four colors of paper to translate seamlessly into the theme. We used an authentic pewter water pitcher for Pewter, a waitress with 38 years of service named Pearl, a porcelain coffee cup for Olde Porcelain and the fluffy meringue of lemon icebox pie for Alpine White. Photographer Huger Foote was selected and set free to explore the rich, untouched environment of this 75-year-old landmark.

RESULT The finished book was a huge success both for its beauty and for the clear representation of the Regalia line. It was so well received that it spawned a second promotion where we were able to further explore this unique space. We still get requests for copies of this book, both from fans of the movies and fans of the paper.

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QUIET COLORS THAT SPEAK VOLUMES / REGALIA INTERNATIONAL PAPER COMPANY

CHALLENGE International Paper approached us with a dual problem. One was that their Regalia brand had become outdated; the other was that it had never established a real position in the market. Our first installment was the Arcade book. Now, we needed to establish a distinct personality for the brand.

SOLUTION Because the Arcade promotion had been such a success, we believed an extension of the original promotion might be the best place to start. After a review of the brand, we determined that one problem was that IP had taken a defensive posture due to the slim color palette of the brand. To counteract this, we created the unapologetic tag, “Quiet Colors That Speak Volumes”. This allowed us to state our position with confidence and draw on our strengths. We developed a four volume set of books reflective of the Arcade promotion. Each book demonstrated that due to Regalia’s value price point, designers could effectively convert their cost savings on paper into the freedom of greater budget dollars for design and/or printing techniques.

RESULT The message was clear for the first time in the marketplace—Regalia was a quality sheet, with a simple color palette, and gave the designer more possibilities due to its value. Sales increased in the quarter following this promotion’s release. It allowed IP to offer a competitive sheet in the value-added segment and redefined Regalia as proud and focused.

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SHHH / REGALIA INTERNATIONAL PAPER COMPANY

CHALLENGE After establishing the new positioning tag, “Quiet Colors That Speak Volumes”, we were asked to build a promotion that would add emphasis to the line. We needed to create a method of showing image reproduction on the subtle array of colors that Regalia offered.

SOLUTION The first plan of action was creating a way to speak about the subtle colors. We decided to use words, that at first glance seem slightly negative, and then re-invent them into positives. We chose words like basic, plain, raw, etc. This allowed us to show metaphorically how Regalia’s colors did not compete with the images printed on them. The promotion was titled “Shhh” and followed with the statement, “you don’t have to shout to be heard”. We then proceeded to show six images, each printed on the four colors of paper to demonstrate the subtle changes to the image.

RESULT Regalia was now on its way to establishing a brand presence. It was clear for the first time what the brand was all about. The new position made Regalia more accessible, and the addition of referenced applications helped designers and printers find a way to incorporate it into their projects. We designed a piece of furniture to feature in the promotion that was made out of a single sheet of plywood. It was the beginning of a series of chairs and other furniture to come.

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ANNUAL REPORT STORY BOOK INTERNATIONAL PAPER COMPANY

CHALLENGE At the time of this promotion, annual reports accounted for an enormous percentage of premium printing paper sales. The competition for mills to secure the paper specification was intense. International Paper asked us to create a vehicle that would demonstrate their understanding and position them as allies in the process.

SOLUTION The creation and development of annual reports is indeed a difficult task, riddled with horror stories and inside jokes. We chose to create a book of scary, yet often funny stories, about annual reports subtitled “amazing tales you’ll be glad happened to someone else”.

We developed four fictional stories and illustrated them with humorous photos. We also decided to showcase portraits of individuals, since this is the primary use of photography in most annual reports. This allowed the promotion to work on two levels—first, as a way to prove our sympathetic understanding of the designer’s challenge; and second, as a way to demonstrate the paper’s strong performance in regard to print fidelity in manufacturing.

RESULT The finished promotion worked on both levels, and even exceeded our expectations. We received letters of congratulations from designers, and CEO’s requested copies to show their board members. The piece offered a light-hearted way for designers to break the ice with their corporate clients and yield more collaboration. When design is handsome, we are pleased—when it creates results, we are successful.

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CONVERSATION INTERNATIONAL PAPER COMPANY

CHALLENGE It’s a fact that designer and printer don’t always see eye-to-eye. We were asked to create a means to foster a more effective partnership between these often opposing groups. In addition to the information, we were asked to promote the Via brand as a way of introduction to both parties.

SOLUTION Our first step was to call printers across the country and investigate the truth behind the myth. Our most important discovery was that although designers and printers often see things differently, it is mainly an issue of perspective. We chose to hold an all day interview to allow for a frank and open discourse between Jim Kohler, noted printing technology guru, and Matt Young, principal of Chung.

We flew Jim to Memphis, chose five successive venues, and held an unscripted “free-for-all” on the issues that troubled each side of the argument. A transcript was recorded and a photographer captured the event as it unfolded.

RESULT The resulting conversation would have filled a book twice the size we had designed. We were careful to faithfully transcribe exact dialogue to create a realistic problem-solving tone. After the book was released, its frank language and clear solutions spawned a ten city speaking tour for Matt and Jim. They continue to make this presentation at events which are sponsored by AIGA (the American Institute of Graphic Arts) as well as many graphic arts businesses. A much larger book on this intriguing subject is now being considered for publishing to speak to this audience hungry for real answers.

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THE GOSPEL ACCORDING TO GLEN INTERNATIONAL PAPER COMPANY

CHALLENGE In the printing world, the person who has the most potential to affect a printed piece is the press operator. Their opinion about the performance of a sheet of paper is often the last word on a printing company’s decision to specify a particular brand of paper. We were asked to create a promotion that celebrated the valuable contributions made by this often overlooked group.

SOLUTION We decided to ask some of the best press operators from across the country to give us their most useful tips for printing on uncoated paper. We approached them as the “experts” with the promise that if their tip was selected, we would feature it, design a spread to demonstrate it, include a portrait of them and then allow them to print their individual section. We got a tremendous response and decided to make this a series of promotions. After the creative and design were finished, each press operator produced their own spread. We then compiled them together in a single bound promotion. The cover features an actual stitched name tag for Glen.

RESULT Needless to say, the promo did its job. The press operators liked their newfound celebrity, both within their respective organizations and among their peers. They appreciated the fact that they were presented as experts. Designers also treasured the invaluable tips demonstrated in the book. After the book was published, we received calls from major printers all over the country stating they would print the job for free if they were included in the next edition.

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TEN / STRATHMORE WRITING INTERNATIONAL PAPER COMPANY

CHALLENGE The Strathmore Writing System is the most recognized brand in writing papers. We were asked to select and house a collection of actual stationery sets printed primarily on Strathmore. Reprinting the samples would encompass a large portion of the budget.

SOLUTION After gathering the most imaginative printed samples from across the country, we set out to develop a vehicle that would best display the stationery sets. We decided that the budget would only support reprinting ten sets and quickly decided to allow that to be the name of the promotion. We designed a flat box with custom inserts to hold the different elements in place. We chose to wrap the box with 24lb. writing paper displaying a Strathmore watermark to make the stationery connection. A simple brochure was included that had the name of each designer and printer involved, along with the paper and production notes for each set. The brochure was then perforated creating the opportunity for recipients to attach helpful notes to each set if they wished.

RESULT Although very minimalist in design, the promotion became one of the most elegant stationery promotions we had created. The recipient was able to quickly review the samples and gather any information about the paper or production notes of each set. The “Ten� promotion made a strong, but understated impression portraying the brand personality of Strathmore as elegant and versatile. Sometimes the best promotions stay out of the way and let the paper speak for itself.

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RELATIVITY 5 INTERNATIONAL PAPER COMPANY

CHALLENGE As the average age and experience of today’s design community continues to become more youthful, their working knowledge of paper continues to diminish. We were asked to create a promotional tool expressly to affect this growing trend. In other words, to educate younger, inexperienced designers on a basic level about paper.

SOLUTION We took a detailed look at the distinguishable attributes of paper. We then developed a list of the five most common ways in which paper was discussed and categorized. The list included: finish, color, weight, brightness and budget. Due to our extensive knowledge of the specification process, we knew that each category was relative to the others. We titled the promotion “Relativity5 “ and set about the task of creating an educational piece that also persuaded designers to spec International Paper brands. The promotion included a tool designed by us to assist in determining what type of paper best solved a designer’s needs. The tool allowed each designer to select several of the most important attributes needed to accomplish their intent and then gave suggested paper brands and grades to spec.

RESULT The promotion ultimately had two lives: first, as an education on paper; and second, as a specification tool for each project. The second component was reprinted and sent out by request. International Paper now had the opportunity to position itself as a partner with designers, and eventually was able to send out over 20,000 additional copies.

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THE ART OF SPECIFICATION INTERNATIONAL PAPER COMPANY

CHALLENGE For a paper mill, persuading designers to specify one of their brands is key. We discovered a larger concern was that many designers were not specifying the paper at all; instead, they were often allowing their production managers or the printer choose the paper for their project. We knew we couldn’t expect designers to specify our papers if they weren’t specifying in the first place. We had to find a way to inspire and educate this audience at the same time.

SOLUTION Instead of directly promoting the specification of IP brands, we decided to focus on the specification process itself. This approach would allow us to regenerate enthusiasm in specification, while simultaneously educating the audience on what our brands had to offer within each application. We titled the promotion “The Art of Specification” and we divided the book into two sections: Theory and Practice. We coined the phrase “sometimes its not how the paper feels, but how it makes you feel”.

RESULT We were pleased to discover that this had been a “buzz topic” within the design community for some time.

However, we knew that both of our objectives had to be met to be successful. The response from experienced designers was that it had “rekindled their desire” to truly consider paper as part of their design process. They also began to use it as an educational tool for the younger designers in their firms. Not only had we inspired designers to specify paper, we had given them a reason to specify International Paper brands.

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THE ART OF SPECIFYING BY BRAND INTERNATIONAL PAPER COMPANY

CHALLENGE Because we had focused on the specification process in the “The Art of Specification”, we decided to follow it up with a series of smaller books. Each identified how individual International Paper brands work within their application subset. We needed to tie this effort visually to the first promotion while drilling down deeper into a specific brand’s product features and benefits.

SOLUTION We decided to create six smaller books, one for each brand represented in the first promotion. Each book related specific brand personality traits, complete product listings, real world applications suited for the brand, as well as unorthodox uses to spark the imagination.

The set was loop stitched, enabling them to fit into a custom binder. The finished product acted as a reference in order to compel designer’s to keep it on their desk as a practical tool.

RESULT The seamless transition between both efforts allowed designers to use them in tandem. The first, to show their clients what the paper could do; the second, to show their printer how to do it. An added bonus was that by separating the brands into individual books, each merchant distributor could customize this promotion to the brands that they housed.

This was a great example of a promotion having legs well beyond its initial introduction.

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IN-HOUSE DESIGN PROMOTION INTERNATIONAL PAPER COMPANY

CHALLENGE International Paper had identified corporate in-house design departments as a new opportunity for growth in specification.

We were asked to create a vehicle that would build awareness and facilitate avenues for future sales.

SOLUTION Before we could compel in-house designers to specify IP papers, we had to convince them that we understood and valued their position in the hierarchy of the design world. We interviewed dozens of in-house design firms, gathered an enormous amount of information and compiled a consensus of common issues faced in this arena. Two things were clear—paper mills all but ignored them, and they were very self-conscious in their belief that they were viewed as second-class designers. We decided the best way to gain their trust was through sympathetic humor, and chose a tone of solidarity, positioning IP as a partner in their everyday struggles. We offered them fun tips on communicating with co-workers, on how to break the monotony and how to develop a thick skin. We even delivered a formal game board for “Lingo Bingo” to keep them entertained in redundant corporate meetings. We signed off with an offer to join the “In-House Designers Circle”, a support group to help them laugh while providing the means to deal with their frustrations.

RESULT We received requests from every conceivable level of in-house designer. We were told that the promotion offered them a funny but poignant way to open up a dialogue between design and management. We believe the positive response was due to this group’s hunger for validation. This positive impact assured us we had done our job.

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IN-HOUSE DESIGNER’S SURVIVAL GUIDE INTERNATIONAL PAPER COMPANY

CHALLENGE Through discovery, we learned that in-house designers choose to work in a corporate workplace for a myriad of reasons, and were looked upon to be creative in an often less-than-creative environment. Managed by the corporate office, they were not given the respect they so earnestly sought. They are also unique in the fact that although they purchase a large amount of paper, these buying decisions are often made at the beginning of the business year by the purchasing department. We were asked to create a promotion that would inspire in-house designers to specify IP brands when they found the opportunity.

SOLUTION After the initial introduction to this audience with the first in-house promotion, IP was now poised to offer a useful tool that would be a fun, but informative survival guide. The guide would combine best practices from their peers with a lighthearted look at their everyday struggle. Through this vehicle, we would be able to speak to them on their level and suggest how IP brands could be incorporated into their project workflow. We even gave them suggestions on how to persuade their internal purchasing departments to buy higher quality papers.

RESULT Because this audience is not often in a position to purchase higher quality papers, they are overlooked by most of the paper mills. This promotion connected with them, garnering a partnership role. International Paper illustrated a knowledge of an in-house designer’s predicament, and gave them practical tips on surviving it. They now had the chance to lead the in-house design community by being the first to recognize and reach them.

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PAPER PEOPLE INTERNATIONAL PAPER COMPANY

CHALLENGE We were asked to develop a promotion that would introduce designers to the Hammermill brand. Hammermill was entering a new market and needed an entry point. We were asked to create an honest positioning line that could act as a theme for their introduction into a market flooded with promotions vying for attention.

SOLUTION Before we could begin to create a solution, we had to clarify the problem. Hammermill is one of the oldest paper brands around but had primarily operated in the consumer office papers arena. We had to be careful not to make outrageous claims due to their lack of awareness in the specification market. At the same time, we did not want to come across as the new kid on the block—so we developed the tag “The Paper People”, a claim we could make with confidence. The next step was to personify the statement through a demonstrative promotion. We developed a book highlighting the transition possibilities, what the brand could offer, and presented demonstrations on different products within the line. The cover represented a literal translation of the phrase, with a paper cutout of a figure coming out of the sheet.

RESULT Merchants were eager to give Hammermill a chance in the new marketplace due to their experience with the office papers line already included in their offering. The promotion convinced both intended markets that Hammermill could offer an economical alternative in specification.

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VIA BASICS / ESTIMATING AND BINDING INTERNATIONAL PAPER COMPANY

CHALLENGE Paper mills often churn out promotion after promotion with little, if any, realistic perspective on the day-to-day exercise of design. We approached International Paper with the idea of an educational tool for designers that might offer a breath of fresh air. We believed it would not be enough to educate through the cliche’ litany of techniques, but rather through more basic information. We developed a list of overlooked topics including estimating, binding, proofing, etc. Via had defined its audience to include both specifiers and printers, so the book would need to have legs in both areas.

SOLUTION The first book in this series addressed the topic of estimating. We explored every angle, providing things to know, things to watch out for and even sample forms to offer consistency in the estimating process. Printers used it as an effective tool they could present in tandem with a sales call to design firms. This way the designer received an informative book, while the printer was able to show themselves as the helpful expert. The overwhelming success of this book led us to choose our next topic: binding.

Although other books had discussed binding, ours gave instruction and suggestions from the point of initiation to the actual binding process itself. We also included a cost comparison along with suggested time tables to accomplish each process.

RESULT Our success was realized when we began receiving inquiries as to when the next Via/ Basics would be published.

Our assessment was correct—provide information on a topic that had not fully been investigated. This audience was hungry for the basics. This basic information successfully supported the Via positioning statement, “It’s so simple”.

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DESIGN BASICS / PREPRESS INTERNATIONAL PAPER COMPANY

CHALLENGE Through the evolution in the brand offerings of International Paper, the Via line was combined with the other premium printing papers in the portfolio. Because of the success of the previous Via Basics tools, we were asked to create an additional installment to the series. Again, the topic needed to be relevant and timely.

SOLUTION The trick to creating an educational promotion is to carefully balance useful information with interesting copy and visuals. Take away either and you are left with a less-than-compelling piece. In researching the audience and reviewing trade publications, we determined that possibly the most integral topic was PrePress. Because all the brands now worked as a unit, we decided that it would make sense to open up the promotional series to all of the brands and changed the name from Via Basics to Design Basics. Prepress is such a broad category, so we chose to divide the book into two sections—a definition of prepress followed by application-based tips. Each major category mentioned in the first portion of the book was represented as a tabbed section in the second portion. We also cross-referenced topics that led to other related applications, so that the reader could use the book as both an educational text and as a constant reference while working on an assignment.

RESULT Once again the book was cited in numerous publications as a quintessential graphic reference tool and praised for its thoroughness and ease of use. It was embraced by designers and production managers and quickly became a favorite promotion of printers in their attempt to forge relationships with designers. We refer to it on a regular basis ourselves.

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MEMENTOS / STRATHMORE INTERNATIONAL PAPER COMPANY

CHALLENGE We were asked to create a new promotion for the Strathmore Writing System. It would be necessary to show a variety of stocks in multiple colors and weights. It would also be important for us to restate, in a fresh way, the brand position in the marketplace.

SOLUTION We reviewed the promotions we had designed in the past, along with promotions developed by competitors in the writing papers business. The bulk of promotional material typically displayed a collection of stationery systems. We believed it was an opportune time to take a new approach. We created a fictional character and designed a collection of letters, cards, and photographs as if they were treasured keepsakes. This would allow us to show a variety of printing techniques on an assortment of papers while re-emphasizing the brand position for Strathmore Writing. We suggested that “the most important documents belong on Strathmore”. The woodgrain cigar box and collection of historic items also afforded us the opportunity to highlight the heritage of this 100-year-old brand.

RESULT “Mementos” unique look and approach was immediately embraced by designers and printers alike. We received positive feedback for its demonstrations and the life stories that made up the character. Both audiences made the connection we intended —Strathmore is the paper that should be used when the document is important enough to keep. The piece received international attention as well. A European paper merchant reprinted ten thousand copies for their own use and a German publication featured an article detailing their exploration of this box of letters and photos. We celebrate when a piece takes on a life of its own.

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PROOF LIBRARY AND TEASER INTERNATIONAL PAPER COMPANY

CHALLENGE Over the past several years it had become evident that specification in the premium papers category was declining at an alarming rate. There were many reasons for this: mills were merging causing confusion, print technologies had made it easier to print color more effectively on commodity papers and a new breed of designers entering the profession had a limited knowledge of paper. We believed another issue to be even more prevalent. All designers want to see what the paper looks like printed before they commit to specification.

It is this fear of the unknown that has compelled so many designers to specify smooth, white paper. They don’t have to guess what it will look like on press because it looks like their comp printed on white, inkjet paper.

SOLUTION The budget dictated that we could not blindly send designers a set including each sample sheet. Instead, we developed a program that would enable a designer to call and request a printed sample with extensive production techniques on the specific colors and finishes they were interested in. By the next day, the designer could have proof of what to expect on press, dispelling the fear of the unknown while presenting IP as a solutions provider. The library also provided IP with a means to drive specification to the alternative finishes and colors of the more profitable sheets.

RESULT Providing proof of a sheets performance is the greatest way to take the mystery out of specifying. Although short-lived due to the sale of Fine Papers, we believe this could have been one of the most powerful promotional tools in the industry.

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SPEAK / VIA INTERNATIONAL PAPER COMPANY

CHALLENGE From time to time International Paper would approach us with an undefined assignment with no specific message or target.

At first glance it would appear that such a project would have no challenge. In fact, just the opposite is true. Acting as designers, we are conditioned to solving specific problems, so creating a problem to solve sometimes actually becomes the challenge. In this case, we were simply instructed to create an entertaining book promoting the Via brand.

SOLUTION We knew we had to consider a topic that could reach across the many customer target groups. We decided that using dogs as our subject matter would allow us to attract a diverse audience, show off the performance of the paper through dynamic visuals, and set a tone of approachable familiarity and fun. We titled the piece “Speak” and made a connection to the act of communication.

We developed multiple spreads offering suggestions of what our dogs would say to us if they could speak. We also chose a variety of printing techniques to offer a more educational tone for those looking for technical instruction.

RESULT Not only was the book a hit, we had a blast in the process. It was amazing to discover all of the metaphors available to us within the chosen subject. A favorite spread poses an elderly woman speaking to a dog on one page and the dog’s interpretation of her words on the facing page. We end the book stating the obvious, “Via—a designer’s best friend.”

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DESIGN BASICS / METALLIC INKS INTERNATIONAL PAPER COMPANY

CHALLENGE What began as an attempt to reach design students evolved into a promotion that designers at all levels could appreciate.

International Paper decided if they were investing in another educational piece, it should be able to cross into the professional arena as well. We were also asked to develop a piece that would explore a production technique not usually sampled on uncoated paper. This was the next evolution in the “Design Basics” series, but on a smaller scale.

SOLUTION Although metallic ink has experienced a renaissance in the past several years, it has remained an element usually associated with the coated paper world. We decided to create a book on metallic inks that not only showcased techniques, but dug deeper, explaining the science behind these inks and offered practical direction on their use. We discussed all issues: the differences in color, the physical properties of leafing and non-leafing inks, the emotional draw, how coating choices determined the final appearance of the printed image and even the relationship to cost. Because metallic inks are opaque, we chose to use darker papers usually seen as “unprintable”.

RESULT We love the marriage of technical education and pure elegance achieved by this book. The design approach, size and clear copy style, allows the reader to obtain a complete understanding of the subject while enjoying the process—defining the highest achievement in this form of promotion. Designers can be the hardest audience to please; their positive response defines some of our greatest accomplishments.

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PRINTING PAPERS SWATCHBOOKS INTERNATIONAL PAPER COMPANY

CHALLENGE IP had recently undergone a radical, organizational branding exercise. We were asked to design a family of swatchbooks, not only embracing the new guidelines, but also presenting them in a purposeful design approach as the standards were being introduced.

SOLUTION The new standards eliminated all individual brand logomarks. Replacing them was a rigid grid and a “parent” brand format. We chose to keep some of the previous brand recognition through the use of color—each brand originally had a color attached to it. The parent brand box would hold both the IP corporate logo and the sub-brand name within a box of the original brand color. This group of products was a mix of utility papers and coated bristol board so the concept, design and imaging of these books needed to be a bit more direct in order to effectively speak to its audience. We chose to focus on the initial letter of each brand to give as much impact as we could to the name. We had dimensional letterforms made and photographed them, white-on-white. We designed a visual grid to make the new brand box logical.

For the inside of the books, we shot surreal photography with a person interacting with the letterform as if it were paper to further the concept. For example, Williamsburg was primarily used in book publishing, so the image is of a businessman seated at a train station bench holding the “W” as if he were reading it. The first line of copy read, “W is for Williamsburg, worthy, wise and willing”.

RESULT We were pleased that we satisfied our client’s need of introducing the new look of the brand, and our need to design an exciting tool within the restraints of such a rigid standard. Good design often solves multiple issues.

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THE NEW LOUPE, “A PRESSMAN'S STORY” PINNACLE PRINTING + KEMMONS WILSON

CHALLENGE A high-end, boutique printing company had just been bought by its corporate partner, Kemmons Wilson. There was a concern that current customer’s perception might change. They asked us to create a piece announcing the new organizational structure in a way that would assure current and prospective clients that the quality they had been known for would not be affected.

SOLUTION Quality. Now there’s a word that strikes fear in any communications effort. However, in this case, it was exactly what they had been successfully selling since their beginning. How could we state this without it sounding like the overused sales term it had become? We decided to use the words of the press operator instead of the sales team. This way the message projected believability and could register a sense of pride in the craftsmanship necessary for this level of printing. The story begins with an explanation of the improvements to come, then raises the questions to the press operator, “Chuck, what can we do today to help you do a better job?”. Chuck answers, “I could use a new loupe”, (a loupe is a basic, yet integral tool the pressman uses every day). The philosophy of quality is then told from Chuck’s “nuts and bolts” perspective. It ends with Chuck stating that he thinks management is serious about the changes, then states, “the loupe is pretty sweet too”.

RESULT It’s amazing how differently the message resonated from Chuck’s perspective. Quality means quality, when you’re listening to the craftsman who cares about his creation. The sales team was satisfied taking a back seat on this one.

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BOYS & GIRLS CLUBS REPORT BOYS & GIRLS CLUBS OF MEMPHIS

CHALLENGE The Boys & Girls Clubs of Memphis approached us to create and design their 1997 annual report. They explained that previous reports had become dull and uninviting. They also stated that in addition to serving as an annual report, the book was used as a recruiting tool for sponsors and government grant requests.

SOLUTION In 1997, the Boys Club became the Boys & Girls Clubs. After reviewing both the financials and activities of the previous year, we chose “Balance” as the theme and title. Because annuals are often used simply as a means of publishing financial information, we purposely designed the book in an unorthodox fashion. The traditional 8.5” x 11” format was converted to a smaller, horizontal size. This allowed the book to immediately break from the norm. We also thought it would make a great story to enlist the boys and girls involved with the clubs to participate in some way to its production. We chose to hot-glue an actual bubble from a level onto the cover and asked the kids to help with the process of attaching them.

RESULT Even before the report was published, we had created a success story. The kids had a great time and felt like they had contributed. They even asked questions in regard to what an annual report was. When the reports were delivered to the members, we got calls thanking us, not for simply creating the report, but for reminding them of why they were participating in this valuable endeavor. They loved to tell the story of the kids and their involvement. It’s terrific to see how creativity can breed excitement.

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MEMPHIS BY THE NUMBERS UNIVERSITY OF MEMPHIS

CHALLENGE The U of M, Bureau of Business and Economic Research approached us to create a vehicle that would communicate to multiple audiences what services they provided to both the University and the community. At first glance the subject matter seemed dry and heavily statistical. Upon further investigation, we found an enormous amount of interesting facts about Memphis that we were unaware of.

Being native Memphians, we believed others would be as surprised and entertained by the information.

SOLUTION We convinced the U of M to allow us to take a non-uniform approach with the information. Instead of making excuses for the huge amount of stats, we had fun with them; creating lists, charts and humorous illustrations to communicate the information. We decided to make the book an unusual horizontal shape, and because the quantity was limited, we printed it on rough, hand-made paper. The cover was printed on a letterpress and embossed. We finished it off by side-stapling the book with copper staples.

RESULT Almost every individual that received it called to get additional copies for their friends and co-workers. For the first time in the history of the Bureau of Business and Economic Research, the University began to take notice and involve the Bureau in its strategic efforts within the community. The editors of Print Magazine included the book in a publication highlighting examples of effective design on a limited budget, proving that great design isn’t always expensive.

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NETRETURN BROCHURE FEDERAL EXPRESS CORPORATION

CHALLENGE As FedEx began to move from a delivery company to a logistics solution model, we were asked to help promote a few of their service-oriented products. Logistics can often be a difficult communication exercise. FedEx NetReturn was developed to close the loop on a shipment once a package was to be returned. This had been a stumbling block for both FedEx and its customers, so clearly explaining its benefits and procedures was paramount.

SOLUTION Typically packages are shipped with a “one-way” mindset. Shippers were comfortable with the process of getting their package to its destination. We needed to find a way to convince them that FedEx was just as concerned and just as able to handle returns. We chose to use a simple logistics model for explanation. The cover copy reads, “physics tells us the quickest way to get from point A to point B”.

Inside, a 3-dimensional cord from A to B has a knot tied in it and admits, “however, they were a little sketchy about getting from point B back to point A”. The promotion went on to explain how NetReturn works, and why it is economical and convenient for the customer. A diagram in the shape of an “N“ explains the problem and the process.

RESULT By taking a somewhat complicated and dry service platform and explaining it in an interesting fashion, we were able to quickly educate the customer in a memorable way. This was the beginning of a range of service extensions to the familiar delivery portion of the FedEx brand. They were now able to present themselves as a logistics company.

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FULLVIEW BROCHURE FEDERAL EXPRESS CORPORATION

CHALLENGE In “hub and spoke” fashion, FedEx developed a program called “FullView”. It enabled its customers to integrate a shipping component into their inventory management systems and view the process throughout the chain. The idea was that both FedEx and their customers could use FullView to manage inventory in a closed-loop system, to shorten fulfillment time and reduce order processing and carrying costs.

SOLUTION First, we developed the line, “we’ve raised the bar on order management”. The cover was printed in metallic silver and a bar code was blind embossed into it representing the scan system. We worked primarily with the signature purple and orange to associate brand and created a clear, informative graph illustration to explain how the program worked. Because order management touches so many aspects of a business, we developed a series of smaller books with information broken down by division. These smaller, more specific books fit into a pocket in the back. Once senior management had reviewed the piece, they could distribute the pertinent information to each division to explain how the program would affect them.

RESULT By building into the design a way to reach the different divisions, we were able to reduce production costs without sacrificing clarity. This is an example of how a simple design device can add impact to the solution, not just the look.

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MEMPHIS WALKING TOUR CENTER CITY COMMISSION

CHALLENGE In partnership with the American Institute of Architects and the Urban Art Commission, the Center City Commission asked us to develop a walking tour of local public art and architecture. This book would be given to tourists, as well as individuals and businesses interested in downtown development.

SOLUTION Titled the “Memphis Walking Tour�, the book outlined two walking tours with the history and related information about the items on view. For the cover we chose to photograph the soles of an old pair of shoes, complete with holes, then commissioned a local artist to hand-write the titles of art and buildings on the tours. The photograph and calligraphy became both art and metaphor. Inside we compiled facts and figures to describe each stop and act as a companion to those participating.

RESULT The Urban Art Commission was in its freshman year, and this piece was a great first step (yes, pun intended).

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ARCADE ARCADE RESTAURANT

CHALLENGE This proved to be more of an opportunity than a challenge. One morning while sharing a cup of coffee with the owner of the Arcade, I came to realize it was the 75th anniversary of the restaurant. Although featured in several Hollywood movies, this historic landmark had primarily been known only to its downtown clientele. Except for a few simple upgrades, the restaurant had gone unchanged throughout its history—the main reason those who became regulars first fell in love with the place. Other than pricing, even the menu offered most of its original items. The place was living history, the stories seasoned with time by its many storytellers.

SOLUTION The solution seemed clear—we needed to recreate the Arcade experience in the form of a poster. We chose classic diner iconography: plate, cup and saucer, original boomerang patterned formica, etc. The design of the type was reminiscent of the period when the restaurant got its start. The colors came directly from the exterior and interior of the space. Lastly, we produced the posters utilizing silkscreeningthe preferred method of printing posters at the turn of the century.

RESULT There are several ways to measure the success of a piece. First, the poster was published in the Communication Arts yearly design annual. Second, the Museum fur Kunst und Gewerbe in Hamburg, holder of the largest graphic design collection in the world, asked if they could include it in their permanent collection. Finally, the Arcade sold both the first and second series of printing—300 in all. Harry Zepatos, second generation owner, loved to tell stories of customers coming to the restaurant to buy a poster, only to be charmed into staying for dinner.

Shipping posters to customers and fans all over the world, the pride in his face was our greatest sense of success. That hasn't changed.

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SPEAKING SERIES INTERNATIONAL PAPER / AIGA

CHALLENGE The success of the promotion, “Conversations—A Designer and Printer Square Off”, resulted in a 10-city speaking tour. We needed to pursue both designer and printer to attend the event. The promotional piece was well received, but left both audiences hungry for more information on how to get the results they wanted to achieve.

SOLUTION The promotional piece featured two boys boxing, so it made perfect sense to continue that theme by creating a boxing poster.

We researched historic boxing posters, and used imaging and verbal references as we announced the speaker’s series. In some cases, both speakers presented their position from a faux boxing ring, complete with ropes and a referee.

RESULT Attendance was limited for the first few events, but as word spread, “we really packed em’ in”. Some audiences really got into the presentation; designers jeering at the printer and printers showing “thumbs down to the designer”. After the laughter died down, a serious debate ensued, with each party “taking jabs and throwing punches” at one another. By the end of the event, the audience was allowed to ask specific questions of either side of the debate and present real scenarios for discussion. The result—the audiences were both entertained and educated.

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SHOW YOUR COLORS INTERNATIONAL PAPER

CHALLENGE This was one of those assignments that started off as a request for some sort of “ad specialty”, and grew into a sales program.

IP wanted to introduce the colors line of Hammermill and Springhill papers into the southeast market. Their idea was to fill a coffee cup with chocolate-covered espresso beans, and send them to the merchant sales group to announce their new offering. We asked the marketing director what the goal was and what they hoped to accomplish. We suggested a sales contest that would not only announce the new offering, but give the sales team motivation to make it successful.

SOLUTION We liked the idea of the coffee beans as it was a trendy new delicacy. We named the program “Rise and Shine”. We designed a logomark for the program and placed it on the coffee cup with a card that gave the details of the competition. We also designed a poster for merchant houses to hang as a means of internal promotion. The poster featured an abstract crowing rooster made of cut paper with the subtitle, “Show Your Colors”.

RESULT The Southeast merchant houses had a reason for a sales call with paper specifiers and printers. The new offering was a huge hit and the sales team had a reason to work even harder. Sometimes, it’s not the product or service that gets people activated, sometimes it’s the way you present it.

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LODIS B. STANFORD MEMORIAL STANFORD FINANCIAL

CHALLENGE The Stanford St.Jude Championship wanted to honor the founder of Stanford Financial by naming one of the ProAm events in his honor. This event was for Stanford employees and their customers, so the promotional materials needed to focus on the man more than the golf outing. The imaging also needed to be suitable for stationery, signage and player gifts.

SOLUTION The early history of Stanford was riddled with folk-lore, some of it authentic, all of it fascinating. One of the most popular stories involved a watch that Mr. Stanford received from an insurance company early in his career. Legend has it that Lodis carried it everyday and then handed it down to his son as a reminder of the hard work philosophy the firm was founded on. Financial advisors romanticized the watch, still in the possession of Stanford today, and elaborated to clients a story that gets better every time it is told. We chose to feature Mr. Stanford in the fashion of his early years, and the watch that both advisors and clients recognized. The poster design also reflected the style typical of its day.

RESULT Business is often conducted as successfully on a golf course as it is in a boardroom. The visual elements featuring Mr. Stanford, allowed the conversations during play to be centered around Stanford Financial and its heritage. The original concept was to present a replica watch to each member in the winning group. Even though the budget wouldn’t allow it, we didn’t stop short on the idea.

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THE TRIAL OF THE BIG BAD WOLF GRACE SAINT-LUKES EPISCOPAL SCHOOL

CHALLENGE The middle school drama instructor asked us to create a poster for their upcoming play. Although this fairy tale was well known, the play presented a sizeable departure. It was our belief that the play had a slightly more diverse theme—a bit of a dark comedy for kids.

SOLUTION After numerous concepts, we chose to focus on the eyes of the wolf. This would reference one of the main lines from the story “what big eyes you have”, and also suggest the idea of lying or telling the truth on the witness stand. We purposely stayed away from the iconic images that come to mind with this old story; and felt the slightly more sophisticated design would encourage children and adults that this was a version they had not yet heard. We created the illustration of the wolf’s eyes in a “painterly” style and crafted the text by hand to pay homage to the story’s history.

RESULT A school play will always be attended by parents and family regardless of how compelling the poster might be. We do like the fact that we got the reaction we had hoped for. Although the play follows the characters from the original story, most audience members stated that they were impacted by the intensity of the poster. The poster made sense of the play rather than explaining it prematurely.

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GOLDCREST IDENTITY & PACKAGING BLUES CITY BREWING COMPANY

CHALLENGE The owner of Blues City Brewing wanted to bring back a beer that had been manufactured in Memphis in the 1940’s and 50’s.

He wanted to keep the brand name, but completely redesign the identity and packaging.

SOLUTION We carefully researched the original Goldcrest brand, its personality, its look and the accompanying advertising. It was obvious that the motivation to keep the same name was that familiarity added a sense of nostalgia. Originally, the brand had the number 51 attached to it, although no one knew precisely why. The client decided to change the modifying number to 61 as an attempt to associate the beer with the famous “blues highway”. The finished design resembled a retro painted metal sign with an aged brick wall behind it. The strategy was to brew the beer in Memphis, so we added the city name to the identity along with the phrase “made in small batches”, to suggest the micro brewery trend.

RESULT The packaging proudly stood out in retail and projected the brand’s nostalgic sensibility. It was quickly embraced, and garnered a great deal of attention. Locals and tourists alike praised Goldcrest as a positive reflection of its Memphis heritage.

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WKNO SPEAKERS SERIES WKNO MEMPHIS

CHALLENGE WKNO, the Public Broadcast affiliate in Memphis, produced a five-part video series on utilizing one’s potential. We were asked to name the series and design how the box set would be packaged for retail.

SOLUTION After viewing the videos, we created the name, “Five Keys To Unlocking Your Potential”. After researching the concept, we discovered an archived photograph of an opened lock featuring the word “hardened” on the clasp. It was perfectly matched with the concept and quickly became the icon needed to hold the series intact. Each box spine was alternated in two colors resulting in a dynamic package. Each video box was designed so that it could be sold together as a set or individually at a speaker’s event.

RESULT With the broadcast of the series and effective packaging, WKNO was able to sell out of the sets. We’re especially proud of the resulting package because after ten years, the design still remains fresh.

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NEW SPECIFICATION MANAGER ANNOUNCEMENT XPEDX PAPER COMPANY

CHALLENGE Xpedx, a local paper merchant, needed help in introducing Tina Smith, a new specification manager. After they had explored the often predictable selection of ad specialty items, they asked us to create a gift that would be valued by its recipient while remaining a good steward of their limited budget.

SOLUTION It is our strong belief that effective promotional items should have a clear tie to the company utilizing them. Paper was the obvious choice since it directly supported their business, and was something that they had in large quantities. Not so obvious was how to package it. We put our ingenuity and knowledge of local resources to work, designing and commissioning a local craftsman to build a simple maple box and a lid mounted with a wooden “X”. We searched the hardware stores and found inexpensive aluminum spacers then mounted them for feet. We designed simple 2/color cards that carried a message built around Tina’s “xperience”, and filled the remainder of the box with stock note cards and envelopes featured by the merchant. The note cards suggested the warmth of a hand-written message. This would not only work as an initial gift, but would allow xpedx the opportunity to make future calls to replenish the box with cards on the brands they chose to promote.

RESULT Not only did it make a powerful first impression, word of mouth referrals enabled xpedx to get in doors they had never entered. The “x box” did its job in all respects—it was powerful, it remained in budget and it enabled the giver greater access to their customer.

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PLAYER GIFT AND VIDEO STANFORD ST.JUDE CHAMPIONSHIP

CHALLENGE We had made changes to the tournament and now needed a vehicle to communicate them to the TOUR pros. The tournament had often attended events prior to their own, to meet with the players and personally invite them to play in Memphis. Small trinkets were handed out with the tournament logo, but unfortunately often ended up in the hotel garbage can. We wanted to give them something that would both inform and impress them enough to take notice. We needed to offer additional reasons to play this event.

SOLUTION Because of the extensive changes that had been made, we needed a means of communicating with the pros that would be engaging. We created a seven minute video to explain these changes, and loaded them onto video iPods that we repackaged with the new look of the tournament. Each player received a personal video message from the tournament director and then were led through a quick tour of the changes and additions. After the players watched the message, they could keep the iPod and enjoy a collection of classic Memphis music.

RESULT Although there were numerous reasons for the improved fields in 2007 and 2008, the first impression we made with each player contributed greatly to their positive response and overall experience to the new tournament.

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THE ORDER OF THE EAGLE STANFORD ST.JUDE CHAMPIONSHIP

CHALLENGE Since Stanford had eliminated sponsor branding at the event site, they wanted to offer a select few individuals and corporations the opportunity to become part of a group that would substantially grow support for St.Jude. “The Eagles For St. Jude” program had taken off quickly and we wanted to continue that success in a more targeted way. Vijay Singh had recently been named as ambassador for this program, so we wanted to leverage his celebrity and encourage a higher level of commitment.

SOLUTION We named the program “Order of the Eagle”. Several key individuals and company heads were invited to a luncheon hosted by Stanford, the Tournament and Vijay Singh. We created a wooden box that contained a brochure explaining the details of the program, and how it would benefit the Tournament and St. Jude. After lunch, the tournament director explained the program, followed by an impassioned urging from Vijay to become involved. At the end of the program, each participant was introduced to Vijay and was offered an opportunity for him to personally autograph their wooden box.

RESULT There was certainly a great deal of enthusiasm at the event, however, as the “Eagles for St. Jude” program grew, the decision was made to simply roll the involvement of this group into the bigger, more recognizable “Eagles” program. We are willing to bet that everyone who attended still cherishes the autographed box.

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SEERSUCKER SUNDAY PITCH BROOKS BROTHERS

CHALLENGE In the course of conversation with St.Jude, we discovered that Brooks Brothers was a substantial supporter of the hospital. This new knowledge corresponded with the generation of a new addition to the tournament experience we had aptly named “Seersucker Sunday”.

Several tournaments already featured something special on the final round played on Sunday, and we chose to develop this new tradition for Memphis. In doing research we discovered that it was Brooks Brothers who had initially introduced seersucker clothing in the late 19th century, so it seemed natural to ask them to partner with the tournament in making Sunday a special day.

SOLUTION We could have simply called Brooks Brothers and discussed it over the phone. Realizing the importance of first impressions, we decided to build a dimensional piece with a “southern” white church on its cover, displaying the “Seersucker Sunday” and Brooks Brothers connection. Upon opening the box, they found an actual seersucker jacket pocket holding a set of cards explaining the concept and the opportunity. Our client received a phone call and had a meeting with the BB marketing team the next week.

RESULT Brooks Brothers not only agreed to sponsor “Seersucker Sunday”, they agreed to make the champion’s jacket and provide volunteers with seersucker uniforms for the final round on Sunday.

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TOURNAMENT TROPHY STANFORD ST.JUDE CHAMPIONSHIP

CHALLENGE Now that the tournament re-branding was underway, we needed to consider every aspect of the tournament experience. For many years the tournament trophy had simply been a crystal vase. It bore no connection to the tournament or its title. The trophy needed to be a symbol that would connect to the brand and immediately become a cherished object for the champion. We needed a sculpture, not an eyesore.

SOLUTION Since the tournament logo itself would not translate into our vision, we chose the iconic eagle. We took great care in marrying both sculpture and trophy. We did not want to end up with something that appeared to come from the “Franklin Mint”, nor did we want to create a trophy shape with an eagle clumsily attached to it. Our eagle needed to communicate the clean, modern approach that could benefit the brand. We created a streamlined eagle form with only enough detail to represent this majestic animal. After designing the trophy, we worked with nationally recognized sculptor, Malcolm DeMille, to cast our vision into rhodium. The sculpture was set on a mahogany base and a plate was designed to hold the tournament logo, dates and champion’s name.

RESULT The trophy became a piece of art. We decided to showcase the trophy for the entire week of play. By tournament end, it had garnered a great deal of attention, including a prominent placement during the Golf Channel’s coverage. At the close of the tournament, the trophy presentation was covered on CBS, solidifying its place as part of the brand. The year two, the trophy made its way around Memphis and the surrounding region as a reminder of the tournament experience, and to engage future local sponsorship participation.

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TOURNAMENT TROPHY STANFORD INTERNATIONAL PRO-AM

CHALLENGE In 2008, Stanford entered the women’s golf arena by sponsoring the Stanford International ProAm, an event in Miami. This was its inaugural year, so a trophy needed to be designed. We had created the identity of this LPGA Tour stop with the same vision we approached the PGA event—keeping the corporate mark and introducing other elements to transform it. The eagle crest would be our glue.

SOLUTION With the success of the SSJC trophy, we decided to keep the eagle theme. Although we explored using the same trophy design as the men’s event, we quickly determined this trophy should have its own look. We wanted to suggest a more feminine look without losing the strength of the icon. We chose to focus on the wing shape and contacted the Waterford Corporation in Ireland. Working in crystal was a challenge, but after several conference calls with the designers at Waterford, we came to a terrific balance between the carving process and etching. The crystal gave us the delicacy we were looking for, and the design gave us the strength. We had a mirrored plate placed under the countersunk sculpture, reflecting light up into the crystal. The light brought out a multitude of organic color.

RESULT Annika Sorenstam was the champion of this inaugural event. The trophy ceremony proved to be a grand stage for the unveiling of the trophy, and as Annika held it over her head, the light danced through it creating an iconic image for the tournament.

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METRO KX2 PAPER CUP INTERNATIONAL PAPER

CHALLENGE The Liquid Packaging division of IP wanted to develop a means of entering into the independent coffeehouse market. Their current assortment of product designs were out-dated and unimpressive. They asked us to develop a cup design that would allow them to get their foot in the door of this unique market segment.

SOLUTION We needed this cup to stand out in a sea of competition. Upon reviewing the offerings of both IP and other suppliers, we made an amazing discovery—none of the available cups were designed to represent an actual cup. The cups were merely canvases for art or patterned designs. Either you liked the art or not—customers were choosing patterns and colors that often conflicted with the interiors of their retail space. We decided to create a paper cup that mimicked the very popular stainless steel tumblers prevalent at the time. The cup had a simulated rubber grip to complete the look. Paper “Cup Buddies” were also designed with a similar rubber look that slipped on to the cup. The design was sophisticated, said coffee cup without “stuck on” coffee imagery, and complimented every coffee shop it entered.

RESULT Upon its introduction, it was a home run. It quickly grew to be one of the best selling products the division had ever offered. Even though by most accounts this assignment was rather simple; it truly demonstrates the power of combining strategic thinking and good design.

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619 south cooper

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901 726 1200

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BRITEHUE PAPER FRAMES INTERNATIONAL PAPER

CHALLENGE Often the greatest challenge facing paper promotions is that once viewed, they can quickly become shelved, and not in the mind share of its recipient. BriteHue was in the office papers category. Its primary use was 1-color quick printing. IP wanted to explore taking the product into the printing paper category, where papers often find their way into larger printing opportunities.

SOLUTION We needed to give designers and other paper specifiers a reason to take another look at the grade, and see it as a way to introduce bright colors into larger collateral pieces. We designed a simple, paper frame that could ship flat and then be easily constructed by the recipient.

The frame consisted of four individual pieces, each die-cut shape was a different paper color. One of four frames was sent out each quarter in a holding piece reflecting the colors of the season. The holding pieces were manufactured utilizing printing techniques not normally associated with BriteHue. We demonstrated embossing, die-cutting and foil-stamping, proving the papers ability to hold up in these advanced production scenarios .

RESULT The frames were fun, they got the attention of the desired audience and stayed in front of them from season to season. In a national publication featuring a design firm’s workspace, we saw several of the frames adorning their shelves. Job well done.

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901 726 1200

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FURNITURE

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© COPYRIGHT CHUNG PATENTS PENDING

JUST INDULGE US—IT’S A PASSION

ILLUSTRATION A SAMPLING OF ILLUSTRATIONS CREATED FOR OUR CLIENTS

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ILLUSTRATION A SAMPLING OF ILLUSTRATIONS CREATED FOR OUR CLIENTS

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BEING COMFORTABLE MEANS—CAMPAIGN COMMERCIAL BANK & TRUST

CHALLENGE Commercial Bank had been in business for over 100 years, and were looking to grow a primarily aging customer base. Upon our initial meeting, we realized immediately what their point of difference was—what made them unique. Simply put, it was the comfortable atmosphere where tellers and loan officers knew their customers personally. Their current customer base was loyal. Our job would be to communicate to prospective customers that sense of comfort. We decided to focus on the experience of banking with CB&T, while other banks were competing over rates.

SOLUTION We determined three areas that we could claim for the bank: the one-on-one relationships, comfortable lobbies that seemed as familiar as home, and mortgages tailored to fit each customer. Each ad message began with the phrase, “being comfortable means”, then was followed by one of the three benefits of banking with CB&T. With regard to the issue of relationship—”headline: . . . We know your name, your first name.” For the aspect of interior space—”headline: . . . A living room instead of a lobby.” And finally, for the custom mortgages— “headline: . . . A mortgage loan that’s tailored to fit you.” Each ad ended with the tagline, “because money isn’t the only thing you’ve earned”.

RESULT Existing customers began telling bank employees that friends and colleagues were asking them if the claims were true. Some prospects, that later became customers, commented on how they had always admired the banks exteriors, but were pleased to find the interiors were not the stereotypical cold, sterile lobbies they were used to. The bank was no longer under the radar screen to the communities they were located in. Now, existing customers weren’t the only ones who recognized how unique their banking experience could be.

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619 south cooper

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901 726 1200

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CB&T EMPLOYEE—CAMPAIGN COMMERCIAL BANK & TRUST

CHALLENGE In the first year of the ad campaign, we focused on what set CB&T apart from other banks. Those points of difference had one thing in common—their employees. In year two, we would focus on those individuals who made banking at CB&T a rewarding experience.

Also at this time, there was an unprecedented number of new banks emerging in the Memphis market. If customers were going to re-evaluate their bank, we wanted to give them a reason to consider CB&T. SOLUTION Since both senior officers were already well-known in the community, we decided to focus on the employees that were primarily known to customers. We identified several places to compare and contrast banking experiences with competitors. In most cases, an individual’s name was called out in the ad, and that employee was in a dominant position in the photo. Here is a sample of a few of these ad headlines: (“Some customers ask us about the newest thing in banking. We offer them the oldest—Experience.”) (“Call their number and hear endless menus and prompts. Call our number and hear Adele.”) (“Most banks ask you for two forms of identification. Ida asks you about your daughter’s wedding.”) (“How many bank officers should it take to get a loan? Our answer’s always been the same—One.”) Each of these ads allowed for calling out a point of difference for the bank while introducing the employees, backing up the “our people make a difference” concept.

RESULT The campaign was successful on two fronts. First, we were able to introduce employees that were not well known, and second, we tied those individuals to specific benefits of banking with CB&T. Banking is an entity that is built on trust. Sometimes that trust is connected to returns, sometimes on how a customer experiences service. The bank was able to recognize where they could achieve the largest mind share, and in this case, it was not in competing on rates. In this case it truly was strategic to state that “our people make a difference”.

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901 726 1200

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DESIRE KNOWS NO BOUNDS STANFORD ST.JUDE CHAMPIONSHIP

CHALLENGE As the new title sponsor of the Memphis PGA TOUR event in its 50th year, Stanford needed to make an impact to gain traction both locally and nationally. Local hero FedEx, had been title sponsor for the last 21 years, blanketing the event site with its signature purple and orange. We needed to find a way to pay homage to the past, while allowing Stanford all the branding opportunities they deserved with this level of sponsorship. The assignment was neither branding or rebranding. It was a mixture of both.

SOLUTION We looked for things that would truly set this event apart from its past and from other PGA TOUR events. We created a central theme that would connect all of the groups associated with the tournament—“Desire”. Stanford’s desire to make a difference in the community, the Tour’s desire to shore up a neglected event, St.Jude’s desire to cure disease, a patients’ desire to be healthy and the PGA pro’s desire to win. We chose to create black and white imagery of golfers playing golf in the streets of Memphis. Neither black and white imagery or Memphis landmarks had been used previously. The “Desire Knows No Bounds” tag was used to open the event to more than simply a one-week tournament at Southwind, but a year-long presence in its host city. We created an event that offered something for golf spectators and for those who did not follow the game. Print, broadcast, collateral and on-site graphics featured this look and feel. It was the first time that the tournament had a cohesive brand, both nationally and locally.

RESULT During the first year’s event, word spread rapidly of the new direction the tournament had taken. For the first time in its history, Memphians saw print ads in national golf magazines and TV spots on CBS and the Golf Channel. The TOUR pros saw them too. The buzz created was recognized by the TOUR itself, and heralded as an example of “best practices” for other tour events in its yearly review in Ponte Vedre. By the second year of its role as title, Stanford was able to make the highest donation to the hospital in event history.

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619 south cooper

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DESIRE ONLINE STANFORD ST.JUDE CHAMPIONSHIP

CHALLENGE The rebranded SSJC tournament was undergoing an enormous amount of change. An online presence would be the best vehicle to communicate this information and would allow us to keep the news current. The tournament had two specific requests: online ticket sales and a portal to allow volunteers and their committee chairs to communicate in a more streamlined fashion.

SOLUTION We knew we wanted to keep the look of the other branding components. We created an architecture for the site that would separate the information into easily accessible categories, making the experience specific to each audience. Whether you were a golf enthusiast or simply wanted to understand more about how the tournament supported St. Jude and Memphis, there was an area to find that information. We were also able to dedicate a large portion of the site to the St.Jude story, including interesting facts about its founder Danny Thomas. As the branding evolved, we added the TV spots, a player commitment list and updated fan information. Because it was the 50th year, we reminded our guests of great stories from the past and created a scrolling graphic that listed each past champion, a photo of them taken the year they won and their winning score.

RESULT In this time of instant information, we created a real-time experience for visitor and volunteers alike. The web presence also allowed the sales force a means to communicate more effectively. Online ticket sales helped increase participation and revenues. The dozens of volunteer groups could dispatch information faster and with less cost. The website proved to be a great ally in this branding exercise.

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619 south cooper

memphis tn 38104

901 726 1200

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JAVASTOCK INTERNATIONAL PAPER COMPANY

CHALLENGE IP wanted to reach an audience with which they had previously been unsuccessful. Small, independent companies are often put off by large corporations and see themselves in an entrepreneurial fashion. We needed to create a boutique feel within the context of their overly corporate web environment—a site within a site.

SOLUTION The IP website was huge, with layer upon layer of companies and divisions. First, we convinced our client that it was necessary to establish an independent URL for this portion of their site. It would still live within the larger site, but would be immediately accessible from their customer’s perspective. Due to IP brand standards, the header would need to stay intact as well as the side bar for product and shipping information. It was important that the home page communicate immediately what JavaStock was all about. We created a “bistro” look, but were careful to clearly illustrate that we sold coffee cups, not coffee. Once a guest left the home page to view the products or to investigate shipping, they found themselves back in the corporate environment. This meant that the look of the home page was crucial—from the logomark to the button design—we had to make an impact.

RESULT Sometimes failure or success is defined not by what happens, but by what does not. The site has been operational for three years without any change in the imaging or brand message. IP continues to hold a significant market share with the independent coffee shops. “If it ain’t broke, don’t fix it.”

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619 south cooper

memphis tn 38104

901 726 1200

chungdesign.com