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Graphic Design USA - October 2017

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GD
USA
GD
USA
GRAPHIC DESIGN USA
HEALTH +
WELLNESS
DESIGN
AWARDS
SPONSORED BY
OCTOBER 2017
ERICKSON STOCK
RESPONSIBLE
DESIGNERS
TO WATCH
SPONSORED BY
ROLLAND
ANNUAL
STOCK
VISUAL
SURVEY
www.gdusa.com
OCTOB ER 2017
Project36_Layout 1 9/18/17 2:15 PM Page 1
Register for Classes Today—academyart.edu/GDUSA
2017 Top Design School by GDUSA
Study onsite in San Francisco or online
School of Graphic Design | Student design by Corredor Juan Manuel
Academy of Art University | Founded in San Francisco 1929 | 888.680.8691 | academyart.edu/GDUSA | Yellow Ribbon Participant
Visit academyart.edu to learn more about total costs, median student loan debt, potential occupations and other information. Accredited member WSCUC,
NASAD, CIDA (BFA-IAD, MFA-IAD), NAAB (B.ARCH, M.ARCH), CTC (California Teacher Credential).
Project48_Layout 1 9/28/17 11:49 AM Page 1
What’s your bright idea?
Whatever you’re working on, we can help.
Discover fresh images, video clips, and
music tracks — royalty-free and ready
to use.
Get star ted with 15% off.
Use promo code GDUSA15.
shutterstock.com
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Project45_Layout 1 9/27/17 1:53 PM Page 1
SAVE THE DATE!
BOSTON / APRIL 30 - MAY 3 / 2018
REGISTER BY 11/30 AND SAVE UP TO $700
April 30 – May 3, 2018 at the Hynes
Convention Center in Boston
Visit howdesignlive.com for more information.
A NEW CONFERENCE PRODUCED BY HOW EVENTS, CREATORS OF HOW DESIGN LIVE
Project45_Layout 1 9/27/17 1:53 PM Page 2
NOVEMBER 13-14, 2017
SCHOOL OF VISUAL ARTS THEATRE / NYC
W W W . T H E R E A C H C O N F E R E N C E . C O M
October 2017 Pub Letter-Focus Impo_feb news play 10/4/17 11:14 AM Page 4
LETTER FROM THE PUBLISHER | A NATURAL EVOLUTION
As a complement to our perennial and popular special reports — “People To Watch”
(newsmakers) and “Students To Watch” (rising graduates) and “Educators To Watch”
(influential teachers) — we have now added “Responsible Designers To Watch” to the
editorial mix. Growing organically out of our “Green Design” annual feature into something
more inclusive, we are responding to the fact that many designers are embracing responsibility writ large in terms of how, when, why and for whom they work. Being green, I think,
is necessary but not sufficient to capture the spirit of the moment. The common thread
among these “responsible designers” is that they are leading the charge to use design and
communications principles and skills to make the world a better place as they see it. We
invite your help in identifying our next round of responsible designers. And we thank Rolland
for sponsoring this report over the years as it evolves naturally from “green” to “sustainable”
to “responsible” design.
GORDON KAYE IS THE
PUBLISHER OF GDUSA
Comments, suggestions and letters
can be sent to gkaye @ gdusa.com.
One other point. In the current polarized political atmosphere, content we include in the
magazine and on our website is sometimes misinterpreted as purposefully partisan instead
of just plain news. Thus, I am occasionally attacked as a right wing nut and/or left wing nut
depending on the day. The “nut” part of the complaint may well be fair. The political charge
is unfair: I am an old-fashioned centrist realistic but optimistic about our collective future
and GDUSA is a traditional advocate for designers. How does this relate to today’s report?
We invited our honored guests to tell us about themselves and their personal journeys, and
it turns out most are aligned with progressive causes. I respect that but, for me, it not the
main takeaway of the story. GDUSA’s agenda is straightforward: to elevate graphic design
to its rightful place in commerce and culture. No more and no less.
REFUSING TO GO GENTLY
This edition of GDUSA carries our Health + Wellness Design Awards™ showcase of 100
wonderfully timely winning pieces. When we first conceived this competition, I envisioned
imagery of doctors, nurses, pills, and sick rooms, a visual exploration of treating disease and
infirmity. What we are seeing is considerably broader and more aspirational. “Wellness”
is clearly superceding “healthcare” as a way consumers and marketers are approaching this
sector, with a related shift to design and marketing that honors the pursuit of complete
physical and mental well-being. As a subset, we are seeing more projects that address the
intersection of wellness and aging, a growing area of concern as Boomers and their parents
refuse to go gently into that good night, and a particular strength of awards sponsor/
photographer Jim Erickson. There is also an aspirational message here for designers:
industries like healthcare are always morphing and new opportunities are always emerging.
STRANGE BUT TRUE
One pleasure of editing GDUSA is the variety of content that flows across my desk for
possible coverage. Most is newsy, informational, even inspirational. On the flip side, some
fits the “strange but true” category and I submit a few such items for your consideration.
Cheetos has opened a pop-up restaurant featuring Mac N’ Cheetos while Kellogg’s plans
a pop-up venue dubbed the Pop Tart Café. Hello Kitty, the ubiquitous Japanese brand, is
starting a wine collection for adults. Dunkin’ Donuts will likely drop “Donuts” from its
name since coffee has higher margins than fried dough. Cans of high-caffeine coffee brand
Death Wish have been recalled because of potentially dangerous processing. Spanx has
added arm tights to its product line for, yes, arm issues. The NYC hotel industry is running
ads linking Airbnb to terrorists. Time Inc. may jettison its name as it transitions to digital
products. Lowes is introducing Lowebots, moving and talking robots in kiosk form. ESPN
radio host Stephen A. Smith unironically asked his sidekick on what date Cinqo de Mayo
falls in 2018. World Emoji Day, in case you are wondering, is set for July 17. Cheerios has
tried but failed to block other companies from using its familiar yellow color. SCOTUS
finds that The Slants, an Asian-American band, has a First Amendment right to trademark
the name, however offensive. Burger King launches Whoppercoins into Russia, a Bitcoinlike crypto-currency tradeable – so far – for burgers and fries. And I have run out of space
before running out of strange. More next time.
4 G D U SA
Project41_Layout 1 9/25/17 4:13 PM Page 1
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October 2017 TOC Impo_SEPT 07 TOC/Staff 10/4/17 11:13 AM Page 6
CONTENTS | OCTOBER 2017
10 FRESH
PepsiCo’s LIFEWTR celebrates women artists; cannabis
company adds high end branding from Pentagram; online
cosmetics pioneer Birchbox gets Siegel + Gale makeover;
telling personal stories with typography is theme of new
museum show; and more.
24
PEOPLE
Jason Severs joins Droga5's New York headquarters as Chief
Design Officer, a new role at the agency; Sairah Ashman is
first female CEO at Wolff Olins; UCLA’s Rebeca Méndez is
first Latina in The One Club Creative Hall of Fame; Jane
Geraghty will head Landor come the new year; and others.
34
RESPONSIBLE DESIGN
This special report continues our practice of shining the
spotlight on designers who exemplify the values of sustainability
and social responsibility. We’d like to be modest but, in truth,
this is an astonishing grouping of exceptional designers and
thought leaders in one place.
62
STOCK VISUAL SURVEY
In decades of stock visual reader surveys, we’ve documented
stock imagery’s move from marginal to mainstream to an
absolutely essential. This year’s results show that the sourcing,
licensing and use of imagery continues to evolve in the face
of massive technological and societal change.
70
HEALTH + WELLNESS AWARDS
The annual GDUSA Health + Wellness Design Awards™
competition honors first-rate graphic communication in this
fast-growing, hugely important, and high-profile segment of
the economy. The 2017 winners showcase features more than
100 projects by design firms, agencies and departments for
leading traditional and non-traditional healers.
113
FOCUS
Sappi wins PRINT 17 Positively Print award; a new Mohawk
GDUSA - Graphic Design USA Volume 54 / No. 5 September/October 2017
Kaye Publishing Corporation (ISSN0274-7499/USPS227020). Published
6 times a year with combined issues in January/February, March/April,
May/June, July/August, September/October, November/December. Executive,
editorial and advertising offices at 89 Fifth Avenue, Suite 901, New York NY
10003. Phone: 212.696.4380, Fax: 212.696.4564, www.gdusa.com.
SUBSCRIPTION: Domestic, $72 one year. International, $140 one year.
Periodicals postage paid at New York NY and additional mailing office.
POSTMASTER: Send address changes to GDUSA - Graphic Design USA,
PO Box 3072, Langhorne PA 19047. Permit #224.
guide on the powerful role of envelopes; Yupo adds new award
for printers; Artisan’s Bejan Doughery on the design skills
employers want you to have; and The Creative Group’s Diane
Domeyer on how to accelerate your hiring process.
WWW.GDUSA.COM
Project11_Layout 1 5/25/17 3:24 PM Page 1
October 2017 TOC Impo_SEPT 07 TOC/Staff 10/4/17 12:07 PM Page 8
A SPECIAL THANK YOU TO . . .
ERICKSON STOCK
Our annual Health + Wellness Design Awards™ is sponsored by Jim Erickson and Erickson Stock. Jim
Erickson is one of the nation’s preeminent commercial photographers. For over 30 years, he has created
timeless imagery for hundreds of blue chip clients, and won over 100 awards from the most respected
publications and organizations. His ability to capture the truth of the human spirit is reflected in his awardwinning assignment work and in the Erickson Stock collections, which have long been regarded by graphic
designers as some of the finest stock imagery in the world. Erickson’s latest initiative is to shed new light
on seniors and aging through still and video content because he “believes the human connection is the
strongest currency we have, and seniors hold a key to that role in our lives that is often overlooked.”
This includes ready made spots easily customizable to tell your brand story. Contact: Assignment at
GD
USA
GRAPHIC DESIGN USA
Gordon Kaye
Publisher
ART & PRODUCTION
Ilana Greenberg
Creative Director
www.jimerickson.com and Commercial Videos/RF/RM Imagery at www.ericksonstock.com
Rachel Goldberg
Production Director
ROLLAND ENTERPRISES
Sam Peltz
Art/Photo/Multimedia Editor
Headquartered in Saint-Jérôme, Quebec, Rolland is a leading producer of specialty uncoated fine papers
for offset projects like magazines, books, brochures, and annual reports as well as uncoated papers
WILL BURKE
that maximize digital print quality for short-run customized documents or print-on-demand promotional
materials. With an undisputed reputation for environmental stewardship and a longstanding commitment
to maintaining the smallest environmental footprint in the paper industry, Rolland creates premium
products that help designers meet their clients’ communications goals and sustainability standards.
We are honored that Rolland sponsors GDUSA’s responsible/sustainable designer feature each year; the
text of this special edition of GDUSA is printed on Rolland Enviro® Satin, 60 lb., an uncoated hybrid
paper offers a luxuriously smooth satin finish. Contact: Learn more at www.rollandinc.com and Order
Product Samples at www.rollandinc.com/en/environmental-printingpapers/order-samples
ADMINISTRATION &
READER SERVICES
Althea Edwards
Accounts Manager
Rachel Goldberg
Competitions
Jennifer Hoff
Scott Sczcypiorski
Internet Services
Bridget Bellavia
Competitions Assistant
ABOUT THE COVER
Lennie Gray Mowris, the founder of lenspeace, is a social
impact design strategist, letterpress printer and visual artist.
Lennie states: “Sustainability and social responsibility for
me have been a lifestyle for 20 years that led me to my
career in design.” See all our “Responsible Designers To
Watch” starting at PAGE 34.
PHOTOGRAPH: NATE DORN IMAGES
Julia Imershein
Nolan Roth
Circulation
EDITORIAL
Gordon Kaye
Editor
Sasha Kaye-Walsh
E-News Editor
FOUNDER
Milton L. Kaye
(1921-2016)
ADVERTISING
Ron Andriani
Executive VP
201.485.8720
212.696.4380
randriani@ gdusa.com
COVER PAPER CREDIT: The cover of this edition of GDUSA is printed on FSC-certified Kallima Coated Cover C2S, part of the
Kallima Paper family of FSC-certified coated cover paperboard, manufactured by the Tembec Paper Group. A leading advocate
of sustainability, Kallima Paper has a distinct low-density high-bulk construction resulting in less trees used and significant
cost savings to the customer. Contact: http://www.kallimapaper.com
Gordon Kaye
Publisher
212.696.4380
gkaye @ gdusa.com
COPYRIGHT 2017 BY KAYE
PUBLISHING CORPORATION
Project44_Layout 1 9/27/17 1:40 PM Page 1
october 2017 fresh impo_feb news play 10/4/17 11:33 AM Page 10
FRESH | LIFEWTR CELEBRATES WOMEN ARTISTS
PURCHASE NY LIFEWTR is celebrating women in the arts, using
their packaging as a canvas for “bold and abstract designs from all
female artists.” The Pepsi-owned company changes its labels several
times a year, with each series built around a culturally relevant theme.
The first series featured designs from emerging artists in the public art
space, and Series 2 features American and UK artists. “We’re proud that
the LIFEWTR Series 2 labels will feature designs made by some of
today’s most talented emerging female artists,” said Todd Kaplan, vice
president of the water portfolio for PepsiCo North America Beverages.
“We admire the fact that these women are a diverse group of innovative
thinkers — contributing unique and fresh forms to the art world.” Kaplan
notes that while more than half of today’s visual artists are women, their
work makes up a tiny percent of major permanent collections in western
societies.” Among the featured artists: Trudy Benson known for largescale abstract paintings that utilize textures, shapes and bold colors;
Lynnie Z, whose distinctive style involves “mysterious characters;”
and Adrienne Gaither, whose work “explores identity and imagination
through painting and installations” in “attempts to challenge ideologies
that perpetuate hierarchical structures.” lifewtr.com
10 G D U SA
Project38_Layout 1 9/18/17 2:33 PM Page 1
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october 2017 fresh impo_feb news play 10/4/17 11:33 AM Page 12
FRESH | CANNABIS COMPANY GETS HIGH END BRANDING BY PENTAGRAM
AUSTIN TX Harmony Extracts is a new cannabis concentrate company
that uses state-of-the-art extraction technologies to transform marijuana
plants into potent concentrates. Based in Denver CO, Harmony commissioned Pentagram to design the brand identity and packaging for the
initial line of products. Rejecting the head-shop look of the bygone days,
the Pentagram’s DJ Stout and his Austin-based team decided to align
the brand with the growing number of modern, clean, high-end dispensaries “that seemed to be on a mission to become the Starbucks of the
cannabis retail world.” Early in their brand identity explorations, the
designers landed on the idea of using an image of a hummingbird —
“nature’s little extractor” – with marijuana-leaf shaped tail feathers as the
symbol for Harmony. The resulting “Harmony Hummingbird” symbol is
paired with the typeface Verlag to complete the main identity lockup for
the brand. For the launch, Pentagram designed a set of three boxes for
shatters, waxes, budders and sugars — different forms of cannabis
concentrates — that come in small branded glass jars, as well as a
separate set of slider boxes for distillates consumed with vape pens.
The products were then organized into three main strains of cannabis:
“sativa,” “indica,” and “hybrid” and each strain was assigned a color
indicator based on its mood generating profile: a warm, energetic
magenta/orange bird for the sativa strain; a cooler blue/purple range
for indica; and a yellow/green bird for the hybrid strain and the main
color for the overall brand. The hummingbirds are positioned against
a black packaging scheme printed with matte ink and finished with a
“soft-touch” coating. pentagram.com
12 G D U SA
Project39_Layout 1 9/18/17 2:37 PM Page 1
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october 2017 fresh impo_feb news play 10/4/17 11:34 AM Page 14
FRESH | TYPE GETS PERSONAL IN MILLMAN’S ‘TEXT ME’ SHOW
ATLANTA GA Museum of Design Atlanta (MODA) is currently host to “Text Me: How We Live in Language” which runs
through February 4, 2018. Curated by Debbie Millman, the exhibition explores the idea that typographic expression is the
primary means by which we communicate and connect with one another. “As far back as the cave men,” states MODA, “our
ancestors used symbols to document and record experiences. Today, we use typography to visualize our personal stories
across a wide variety of media in nearly every moment of our lives, from social networking to tattoos to way-finding signage
to fine art, fast moving consumer goods, clothing, household goods and decoration.” Almost needless to say, Debbie Millman
is a designer, writer, educator, brand strategist and host of the podcast Design Matters, the first and longest running podcast
on topic. She was president of Sterling Brands for 20 years, where she worked with more than 200 of the world’s largest
brands, and is president emeritus of AIGA, one of five women to hold the position. www.museumofdesign.org/textme
Pictured: TOP ROW: MODA Back Gallery. Work shown includes: Quilt by Comma Workshop, Memories of a Girl I Never Knew wall installation by Timothy Goodman, I Dismantle Suit by Lesley Dill, Vessels by Rodrigo Corral, Photo by Susan Sanders; MODA Hall
Gallery. Work shown includes: What Not to Talk About Napkins by Tucker Nichols, FUCK SEX SHIT plates by James Victore, Dismantle Suit by Lesley Dill, OY/YO by Deborah Kass, Photo by Laura Flusche SECOND ROW: Gemma O’Brien painting You Are Here
mural, Photo by Andria Lavine; Adam J. Kurtz, Feelings, Photo by Susan Sanders; Brian Singer, Defend/Defund, Photo by Wendell Withers THIRD ROW: Bag by CuteCircuit. Wall installation titled Memories of a Girl I Never Knew by Timothy Goodman. Photo by
Laura Flusche; Santiago Carrasquilla, Book used to make stop-motion music video for U2 titled You’re the Best Thing About Me, Photo by Wendell Withers; Back Gallery. Works shown include: Memories of a Girl I Never Knew wall installation by Timothy Goodman,
I Dismantle Suit by Lesley Gill, Bathroom mirror with quote from Betrand Russell, Photo by Susan Sanders FOURTH ROW: MODA Back Gallery. Works shown include: OY/YO by Deborah Kass, Memories of a Girl I Never Knew wall installation by Timothy
Goodman, V.P. by Abbott Miller, Photo by Susan Sanders; MODA Back Gallery. Work shown includes: Paper Cut Out Alphabet Rug for Aram by Alan Fletcher, Ode to Rainbow by Lisa Congdon, Strong by Jessica Hische, End Bad Breath by Seymour Chwast
14 G D U SA
Project43_Layout 1 9/27/17 1:25 PM Page 1
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october 2017 fresh impo_feb news play 10/4/17 11:35 AM Page 16
FRESH | SIEGEL+GALE GIVES BIRCHBOX A FRESH FACE
NEW YORK NY An e-commerce cosmetics pioneer, Birchbox now finds itself
in an increasingly crowded and competitive space. To expand beyond their most
loyal customers — the young beauty enthusiast — Siegel+Gale helped the
company define a larger, underserved audience which it refers to as “The
Beauty Majority”, i.e., the 80% of women who see beauty as a useful part
of their lives but not core to their sense of self. From there, the design firm
developed a visual identity to create a home for these individuals where perfection isn’t idolized and beauty is fun. The look and feel is inspired by photo
outtakes — “not the selects, but playful doodles, not the final blueprints, but
the beautiful imperfections.” This resulted in patterns and graphic elements
employing gestural brushstrokes and other “marks of the hand” to create an
aesthetic that “celebrates what beauty really is.” In the meantime, rumors
are that Birchbox may sell itself to Walmart, as the retailing giant continues
to upgrade its e-commerce presence. siegelgale.com
16 G D U SA
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october 2017 fresh impo_feb news play 10/4/17 11:36 AM Page 18
FRESH | WAYFINDING STRIPES LINK BOSTON NEIGHBORHOODS
BOSTON MA Underground is a new urban park situated beneath
an I-93 expressway overpass, activating what had been a no-man’s
land between Boston’s South End and South Boston neighborhoods.
A public/private partnership initiated by the Massachusetts Department of Transportation, the park was reimagined by architecture firm
Landing Studio as a creative way to link the two neighborhoods which
are changing now that Boston’s “Big Dig” project is complete. Visual
Dialogue, led by principal/design director Fritz Klaetke, developed
the branding, a 170-foot long entrance mural, and 22 miles of
“wayfinding” stripes to lead visitors into and through the heart of the
park. Klaetke elaborates: “National Development, the developer
behind the neighboring Ink Block residential and mixed-use parcel,
became stewards of the project. They hired street artists to bring the
walls to life and an event planner to program the space, but needed
branding and a way to grab people’s attention. So that’s where we
came in. In just a few weeks, we created the branding, mural, interwoven stripes, and various other placemaking elements. The
overall concept combines parallel lines reflecting the angle of the
on-ramp to the elevated expressway with horizontal lines leading
into the space. Together the merged lines give a sense of movement
and energy, reference construction signs with the black and yellow
color scheme, and the path stripes suggest the flow of traffic, people,
water (or a highway striper gone crazy).” visualdialogue.com
18 G D U SA
Project15_Layout 1 3/23/17 12:25 PM Page 1
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october 2017 fresh impo_feb news play 10/4/17 11:37 AM Page 20
FRESH | EXHIBITION UNITES INTERESTS IN LETTERPRESS AND REBUSES
STATE COLLEGE PA Baseman Design Associates and its newly
launched letterpress shop BasePress are currently the subject of
an exhibition at Penn State University, where Creative Director and
Principal Frank Baseman studied graphic design as an undergraduate. The show, called “Rebus Quotes and Other Typographic
Explorations,” runs through October 27. The project brings together
two of Baseman’s favorite long-term interests: letterpress printing and
rebuses, those words and images coming together to make a visual
puzzle. In a playful manner, he has reinterpreted well-known quotes
and phrases using rebuses, and all of the quotes have been printed
by hand with a vintage letterpress. Also on display are several typographic explorations and additional projects from Baseman’s threedecade-plus professional practice. Baseman has been a recipient of
the AIGA Philadelphia Fellows Award, a national board member for
the AIGA, and has been named one of the most influential designers
of the era by GDUSA. He also serves as director of the Graphic
Design Communication program at Jefferson — that’s the recent
combination and rebranding of Philadelphia University + Thomas
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site and introduced a site for his letterpress shop. basepress.co.
20 G D U SA
Project7_Layout 1 5/24/17 11:49 AM Page 1
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Project42_Layout 1 9/25/17 4:19 PM Page 1
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canon ed_feb news play 10/4/17 12:04 PM Page 2
CANON IS ‘EQUALLY OBSESSED’ WITH THE PERFECT PRINT IMAGE
The Canon imagePROGRAF PRO Series Printers Deliver For Designers
Graphic Design USA’s 54th annual print design reader survey, published this spring, reveals that the graphic design community
believes deeply in the power of print, is committed to superior production values, and, above all, is obsessed with sharp,
brilliant and beautiful print imagery.
Who else is equally obsessed with spectacular print quality?
The answer is Canon. A world-leader in digital imaging solutions
from input to output, Canon is uniquely situated to share the
insatiable drive to create, capture and produce the perfect image.
Therein lies the inspiration behind the Canon imagePROGRAF PRO Series.
These large format ink jet printer models — the PRO-1000 (17"),
PRO-2000 (24"), PRO-4000 (44") printers and PRO-6000 (60") —
introduce breakthrough technology that reproduces rich, detailed and
brilliant color, and achieves it efficiently, consistently, and affordably.
SHOWN HERE: The Canon imagePROGRAF PRO-1000
(above) and PRO-4000 (below). They are two of a series
of four large format ink jet printer models that run from
17 inches wide to 60 inches wide.
AMONG THE NOTABLE FEATURES OF THE CANON
IMAGEPROGRAF PRO SERIES FOR GDUSA READERS:
• A remarkable 11-color plus Chroma Optimizer ink system produces
the truest prints possible: stunning black and whites, detailed
graduations, wide color gamuts including the most difficult magentas
and blues, improved gloss uniformity, incredibly accurate color
reproduction, and enhanced detail even in darker areas.
• Advanced anti-clogging technology assures a smooth, even flow of
ink to eliminate white lines and banding, resulting in consistently
high quality prints and improvement of the overall user experience.
• Powerful plug-ins enhance quality and productivity, enabling sharp
Let’s be honest. In 2017, print must be special in
high definition images, soft proofing taking into account specific
order to standout and succeed. To meet the challenge,
paper types, an improved and intuitive UI, seamless integration with
graphic design and production pros eat, sleep and
leading image editing software programs, and 16-bit processing of
breathe image quality. The feature-rich imagePRO-
images to dramatically improve final output.
GRAF PRO Series — “The Printer That’s Equally
Obsessed” — demonstrates that Canon is all in.
• A smarter engine enables both high-resolution and high-speed
printing at the same time. The engine processes massive volumes of
image data, generates printing data quickly, and controls optimal ink
layout for striking color, detail and density.
• The printers are engineered to prevent pages from skewing which
allows precise and accurate color recreation and, extremely important
for graphic designers, provides flexibility to use a broad range of
media types and thicknesses.
Learn more at
usa.canon.com/proprinters
Oct 2017 PEOPLE impo_SEPT 07 People 10/4/17 11:21 AM Page 24
PEOPLE | SEVERS NAMED CHIEF DESIGN OFFICER AT DROGA5
JASON SEVERS
CHIEF DESIGN OFFICER, DROGA5, NEW YORK NY
Jason Severs has joined Droga5's New York headquarters as Chief Design Officer, a new role at the agency. Severs
will lead the agency’s overall design department and help grow existing client relationships with new services,
allowing creative and strategic offerings to feed directly into broader product and service development and innovation. “For this new role at the agency, we needed someone with ambition, compassion and talent to oversee
three of our most crucial departments: Experience Design, Brand Design and Creative Tech,” said Founder and
Creative Chairman David Droga. Severs joins Droga5 with more than 20 years of design and leadership experience.
He was most recently Director of Experience Design & Strategic Initiatives at Verizon, where he led end-to-end
experience teams for the brand’s digital products and services. Prior to that, Severs had an 11-year tenure at
frog design as Executive Creative Director in New York and global experience strategy lead. He has worked on
brands such as American Express, United Nations, Google and Under Armour, among others. Founded in 2006,
Droga5 has won Agency of the Year, from Adweek, 11 times in the last 13 years.
24 G D USA
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Oct 2017 PEOPLE impo_SEPT 07 People 10/4/17 11:22 AM Page 26
PEOPLE | NEW PENTAGRAM ASSOCIATES
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RORY SIMMS
ASSOCIATE | PENTAGRAM | NEW YORK NY
Rory Simms is now an Associate in the New
York office of Pentagram. Simms is a multidisciplinary designer from Dublin, Ireland, where
he studied Visual Communication Design at
IADT. In 2014,he relocated to New York and
joined Pentagram, where he works under the
direction of Paula Scher. Simms has worked on
a broad range of projects for clients such as
The Atlantic Theater, Quad Cinema, Pasadena
Playhouse, Hulu, Planned Parenthood and The
Public Theater, among others.
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PHOTOGRAPH: MATTHEW THOMPSON
JEFF CLOSE
ASSOCIATE | PENTAGRAM | NEW YORK NY
Jeff Close has been named an Associate in the New York office
of Pentagram. A New York City transplant, Close was born and
raised in Toronto. Prior to graduating with honors from the
Graphic Design program at SVA, he studied Economics for four
years. As the reality of the corporate world fast approached, he
explains, a simple cost-benefit analysis made him realize that Economics wasn’t his thing, and he made the switch to design.
Since 2013, Close has been working at Pentagram under the direction of Paula Scher. Leading up to that, he cut his teeth at
the Original Champions of Design (OCD). He has also worked with Seymour Chwast at Pushpin and assisted Debbie Millman
on the Design Matters podcast. At Pentagram, Close has worked identity and branding systems for The New School, Snap
Kitchen, NJPAC and Tender Greens, among others.
26 G D USA
Project35_Layout 1 9/18/17 2:08 PM Page 1
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Oct 2017 PEOPLE impo_SEPT 07 People 10/4/17 11:23 AM Page 28
PEOPLE | PROMOTIONS + HONORS
JANE GERAGHTY
CEO-ELECT, LANDOR, SAN FRANCISCO CA
Landor has named Jane Geraghty CEO effective January 1,
2018. Geraghty has been president of Landor EMEA and a
member of the global executive team since 2012. She
succeeds Lois Jacobs, who remains CEO until the end of
the year. Geraghty has 20 years of client service and global
brand experience, and has worked on both sides of the
Atlantic in top-tier firms including Saatchi & Saatchi,
McCann-Erickson, and Ogilvy New York. During her six years
at Landor, she’s led brand programs for clients such as
SAIRAH ASHMAN
CEO, WOLFF OLINS
Adecco, Bayer, BP, Barclays, BMW, and Intu. She opened
Landor Istanbul and orchestrated the acquisition of
SAN FRANCISCO CA, NEW YORK NY AND LONDON UK
ManvsMachine, a motion design studio in London that has
Wolff Olins has appointed Sairah Ashman as CEO. The first
tenure, Landor enjoyed strong financial growth and expanded
female head of the creative consultancy, she has been with
the depth of its offerings with acquisitions and organic
Wolff Olins for 23 years, seven of them as Global COO. Former
development. Founded by Walter Landor in 1941, the firm
CEO Ije Nwokorie says, “Sairah is one driven leader; privately
and professionally committed to making a positive impact in
the world. She’s an important voice for equality in our industry
and I am excited by our continuing partnership.” Ashman adds,
“We are a business that champions diversity and equality, both
through our hiring and retention practices, as well as through
our creative partnerships with clients. My focus will be to grow
our social and creative impact on the world. We intend to be
evermore ambitious and radically creative.” Wolff Olins, based
in San Francisco, London and New York, has worked with
many famous brands including Google, ZocDoc, Virgin Active,
and Grubhub, among others; it is part of Diversified Agency
Services which, in turn, is a division of Omnicom Group.
28 G D USA
since expanded with an office in Los Angeles. During Jacob’s
today has 26 offices in 19 countries.
Designer DAN SOLOMON has relocated to Framestore’s
Chicago office. A designer and animator with over nine years
of experience working at various VFX studios in NYC, including
Blind, Psyop, and Framestore’s New York office, he graduated
from SVA with a degree in Computer Art, Animation, and Visual
Effects. His skill set includes experience in motion graphics,
3D animation, compositing, photography, web design and web
development. Since opening in May, Framestore’s Chicago
office has been growing staff across all departments.
TO NY WEISMAN has left his role as CEO of DigitasLBi
North America to join client Dunkin’ Donuts as U.S. chief
marketing officer. In the new role, Weisman will serve on the
Dunkin’ Brands Leadership Team and report to the chain’s U.S.
president David Hoffmann. Weisman began his agency career
at Leo Burnett in the 1980s; he joined DigitasLBi as president
in 2007 and was promoted to CEO in 2013. DigitasLBi has
counted Dunkin’ Donuts as a client since winning its loyalty
marketing review several years ago. Hill Holliday has been the
brand’s creative agency for more than a decade.
Project21_Layout 1 7/17/17 2:35 PM Page 1
Oct 2017 PEOPLE impo_SEPT 07 People 10/4/17 11:24 AM Page 30
PEOPLE | PROMOTIONS + HONORS
ALAN ISACSON
MANAGING PARTNER
ABI, A FINN PARTNERS COMPANY, NEW YORK NY
REBECA MENDEZ
HALL OF FAME, ONE CLUB FOR CREATIVITY, NEW YORK NY
Los Angeles-based designer and artist Rebeca Méndez, a
professor at UCLA, Design Media Arts, was one of five legends
recently inducted into The One Club for Creativity’s Creative
Hall of Fame. Méndez, the first Latina inducted into the
Creative Hall of Fame, is director of the university’s CounterForce Lab, a research and fieldwork studio dedicated to using
art and design to develop creative collaborations, new fields of
study, and methods to research, create and execute projects
around the social and ecological impacts of climate change.
Her diverse works photography, 16mm film, book arts, and
architectural scale sound and video installations — have
been exhibited widely at significant institutions and biennials
worldwide. The other inductees in the 2017 Creative Hall of
Fame are Tom Burrell, founder of Burrell Communications;
Diane Cook-Tench, founding director of the VCU Brandcenter
(inducted into Educators Hall of Fame); Susan Hoffman, coCCO at Wieden+Kennedy; and David Lubars, CCO, BBDO
Worldwide, CCO and chairman, BBDO North America.
PHOTO: DONNA ALBERICO/MARGARITA CORPORAN PHOTOGRAPHY
30 G D USA
ABI Marketing Public Relations, a global marketing and PR
firm focused on industrial and trade markets, serving B2B
clients, has been acquired by marketing and communications
firm Finn Partners. Alan Isacson, — the founder and CEO of
ABI — well-known and well-respected in the graphic arts
community among other industries — assumes the title of
Managing Partner, ABI, a Finn Partners Company. Shown here,
left to right, are Isacson with Peter Finn, Founding Partner,
Finn Partners. Comments Finn: “Growing our international
operations is a priority for us, and having Alan and his team
join Finn Partners is a strategic acquisition which takes us up
another step to offer global marketing and PR services to our
current and future clients.” Founded in 1980, Isacson grew
the ABI business to include offices in New York, London,
Frankfurt, Singapore and Shanghai.
Design educator and graphic designer JESSICA WEXLER is
the new chair of the Undergraduate Communications Design
Department within the School of Design at Pratt Institute.
Wexler has a breadth of experience as an educator and professional practitioner. She most recently served as an Assistant
Professor and the Coordinator of the Graphic Design Department
in the School of Art and Design at Purchase College SUNY.
She has taught, designed curricula and coordinated faculty
within diverse public, private and for-profit institutions for more
than a decade. In 2013, Wexler established the collaborative
studio, Workshop Project, and before that she headed the design
partnership Greenblatt-Wexler.
Ken Holsclaw, president and co-founder of PHASE 3
MARKETING AND COMMUNICATION, announces that the
firm had made the Inc. magazine list of America’s 5,000 fastest
growing private companies for the second time. The recognition,
he notes, comes after a year of strategic growth for the company,
including the addition of a brand-new C-level leadership. Phase
3 also has been recognized recently as an industry leader by the
Atlanta Business Chronicle (ranked number 10 on list of largest
Atlanta-area ad and marketing agencies), Charlotte Business
Journal (number 10 on list of largest Charlotte-area ad and
marketing agencies) and Nashville Business Journal (number 9
on list of largest Nashville-area ad agencies).
Project53_Layout 1 10/4/17 10:36 AM Page 1
Apple Inc. has multiple openings for
the following in Cupertino, CA:
Human Interface Designer (REQ#A7GP93)
Determn future dsgn direction of Apple’s
prod dsgn, utlzng Apple OS X,
Photoshop, & Illustrator.
Refer REQ# & mail resume to:
Apple Inc., ATTN: D.W.,
1 Infinite Loop 104-1GM,
Cupertino, CA 95014.
Apple is an EOE/AA m/f/disability/vets.
Apple Inc. has multiple positions
available in Cupertino, CA:
Graphic Designer (Req#9DNPU3)
Conceptualize, resrch, design and prototype
visual usr interface for wide range of
platfrms like iOS, tvOS, watchOS & macOS.
Interested applicants must submit a portfolio
that demonstrates skills required.
Refer to Req# & mail resume & portfolio to
Apple Inc., ATTN: D.W.,
1 Infinite Loop 104-1GM,
Cupertino, CA 95014.
Apple is an EOE/AA m/f/disability/vets.
READ OUR POPULAR
DESIGN BLOGS ON
GRAPHIC DESIGN
PACKAGING
Apple Inc. has multiple positions
available in Cupertino, CA:
HIRING + CAREER TIPS
Technical Artist (Req# 9WXQX6)
Create 3D digital assets for use in
real-time apps. Interested applicants must
submit a portfolio that demonstrates
skills required. Please enclose a
self-addressed stamped envelope if you
wish your portfolio to be returned.
Refer to Req# & mail resume to Apple Inc.,
ATTN: D.W., 1 Infinite Loop 104-1GM,
Cupertino, CA 95014.
NEWS | TRENDS | INSPIRATION
WWW.GDUSA.COM
Apple is an EOE/AA m/f/disability/vets.
Project47_Layout 1 9/27/17 2:31 PM Page 1
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green people impo_Layout 7 10/4/17 11:30 AM Page 34
RESPONSIBLE
DESIGNERS TO WATCH
SPONSORED BY ROLLAND
As a complement to our perennial and popular special reports — “People To Watch” (newsworthy creatives) and “Students
To Watch” (rising graduates of note) and “Educators To Watch” (influential teachers) — we have added a “Responsible
Designers To Watch” to the editorial mix. Growing organically out of our “Green Design” annual feature, we are responding
to the fact that more and more designers are embracing responsibility writ large in terms of how sustainably they create
and produce, yes, but more broadly how, when, why and for whom they work. The common thread is that these are creative
leaders who are using design principles, talents and skills to make the world a better place as they see it. The selection
process in a field this deep tends to be subjective and weighted to those we know, admire and respect. We humbly invite
your help in identifying our next round of sustainable and responsible designers to profile in our more-than-half-century
effort to praise and elevate graphic design as a valuable tool for shaping commerce and culture.
34 G D U SA
green people impo_Layout 7 10/4/17 10:46 AM Page 35
t
GAGE MITCHELL
MODERN SPECIES, SEATTLE WA
ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES IN
PURSUING THESE GOALS IN 2017?
After years of hard work learning to build and operate a responsible
We’re all passionate, hard working, creative problem solvers who,
design studio, we’re pretty proud of what we’ve accomplished.
under the right circumstances, thrive when we’re given a challenge
That said, there’s always room for improvement. Here are some of
that pushes us beyond our current capabilities. However, we’ve
the challenges and opportunities facing our studio now and in the
all also experienced what it’s like to feel unfulfilled after pouring
near future:
our hearts into a project that ultimately supports something that
doesn’t align with our values and interests. That feeling led our
OPERATE MORE EFFICIENTLY
founder, Gage Mitchell, to create Modern Species, and drove the
Because we built this company from scratch with a goal of putting
rest of us here to help build a studio that allows us each to align
our values, passions, and skills.
HOW AND WHY DID YOU BECOME INVOLVED WITH
SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE
PROJECTS, CLIENTS AND CAUSES?
purpose and personal growth over profits, we naively failed to build
efficient systems and processes. This is a challenge we’re working
hard to solve so we can do even more great work for awesome
clients, have less deadline and budget stress, and ultimately build
a sturdy platform for the future.
IMPACT AND MEASUREMENT
The agency began nearly nine years ago, when Gage returned
Designers are inherently good at empathizing and then communi-
after a year of traveling abroad (a long honeymoon in lieu of a big
cating through words and images. However, we need to improve
wedding) and hung up his shingle in Madison WI. It was there
as a profession in envisioning our impact, planning our projects to
that he took a small business course at UW and began searching
influence the change we seek in a sustainable manner, and then
for more meaningful work. Business quickly took off so his wife
Jen joined to help build the studio. After years of research,
learning, trial and error, they developed a unique expertise in
sustainable brand design and chose to focus Modern Species’
core services on brand strategy and sustainable packaging, web,
and print design for mission-centric organic and natural product
companies – both because of the huge impact that industry has
measure the outcomes. This is why Gage is working with a team of
other socially responsible design leaders on the AIGA Design for Good
Task Force to develop and launch the Path To Impact, a workbook
that will help lead designers through the process of envisioning, planning, measuring, and sharing impact-focused work.
BROKEN SYSTEMS
Within our specific niche of consumer packaged goods, there are
on the world (our climate change) and because they love tasty
pervasive problems if we ever want to be a truly sustainable society.
product samples.
One example is the disjointed material recovery system in the U.S.
that has different processes and abilities for recycling and compost-
Today, we are based in Seattle with a core team consisting of two
ing in each city and state, making it nearly impossible to distribute
(soon to be three) designers, a project coordinator, and Gage.
truly sustainable CPG packaging nationally. There’s definitely a lot
About 80% of work still comes from our primary niche, but we
we can do to make packaging more sustainable, but the system
also take on cause-related projects within the mental and physical health, and social and economic impact realms because it
fits our values and we enjoy helping great organizations do
amazing things.
We believe in a holistic approach to responsibility which means
that: we carefully choose which clients and projects we work on; we
needs to be overhauled.
DESIGN A BETTER WORLD
Long story short, we design responsibly because we care enough to
get off the sidelines when we can help make an impact. To do our
best work as designers though, we need to recognize the realities of
the complex, interwoven, and often broken/unjust systems we’re
working within in order to create smarter solutions and a better world
use our expertise to guide that work toward the most impactful and
for future generations. The cards may be stacked against us, but
sustainable outcome possible; we operate our business the way
we choose to believe change is possible and we vow to keep push-
all companies should be run – by making social and environ-
ing ourselves and the industry forward. That is, after all, why we’re
mental impact as important, if not more important, than profit.
called Modern Species.
PICTURED OPPOSITE PAGE (LEFT TO RIGHT): Joshua Yu, Kellie Komorita, Gage Mitchell, Carla Williamson-Britt
G D U SA 35
green people impo_Layout 7 10/4/17 10:50 AM Page 36
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36 G D U SA
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green people impo_Layout 7 10/4/17 10:51 AM Page 38
2017 | RESPONSIBLE DESIGNERS TO WATCH
HOW AND WHY DID YOU BECOME
INVOLVED WITH SOCIALLY RESPONSIBLE
AND/OR SUSTAINABLE PROJECTS,
CLIENTS AND CAUSES?
We started in 1997 when only a handful of designers
were talking about green design and sustainability,
and most were in architecture and industrial design.
We saw huge opportunities for innovation and invention, a chance to develop a new way of thinking about
and doing graphic design, and we aspired to start a
firm that would be a catalyst for social and environmental change.
ARE THERE SPECIAL CHALLENGES OR
OPPORTUNITIES IN PURSUING THESE
GOALS IN 2017?
Our clients are incredibly diverse, so we constantly
have to learn about new industries. This week includes
designing a new sustainable ranching brand, launching a website about recyclable K-Cups for Keurig,
and concepting for a new social entrepreneurship
incubator in France. We also run a retail design shop
in Berkeley and do pop-up events every few months
to spotlight the local creative community. Jumping
between subjects and media can make your head
spin, but I find all the diversity exhilarating.
It seems like the first wave of big-time “green
branding” has subsided, and budgets are a bit more
modest than they were a few years ago, but the need
for sustainable innovation is very much alive. In
many cases, the clients we’re collaborating with are
BRIAN DOUGHERTY
CELERY DESIGN COLLABORATIVE
BERKELEY CA, PORTLAND OR, PARIS
Celery Design Collaborative was founded in 1997 to focus on creating communications that have a positive impact in the world. I manage the California office
at Celery. We also have designers based in Portland and Paris. We use design to
help folks who are trying to have a positive impact in the world. Those folks are
building start-ups, or working within large companies, or founding non-profits.
We help them prototype crazy concepts, spread big ideas, and build brands for
world-changing products. It’s a huge thrill when beautiful form-making comes
together with great content. I co-founded Celery in an effort to scratch both of
those itches simultaneously — good design integrated with good content.
38 G D U SA
successfully transforming their industries. It’s exciting to be part of that and help them grow. But it
does often require patience to see the impact.
We co-founded The Charlie Cart Project and designed
a mobile teaching kitchen three years ago to simplify
hands-on nutrition education. Rolling it out has been
a huge learning curve and has taken a lot longer than
we expected, but we’re now in 40 schools nationwide and it’s finally starting to rapidly scale. This
sort of ambitious design doesn’t always follow the
same timeframe as conventional marketing, but I
think the impact can be a lot more lasting.
green people impo_Layout 7 10/4/17 10:52 AM Page 39
HOW AND WHY DID YOU BECOME
INVOLVED WITH SOCIALLY RESPONSIBLE
AND/OR SUSTAINABLE PROJECTS,
CLIENTS AND CAUSES?
After 15 years of running a traditional graphic
design studio, I was searching for something more.
After a month-long sabbatical to volunteer in
Africa, which included helping set up a school,
meeting with HIV patients, talking with education and awareness publications, and learning
first-hand the impact clean water can have on a
community, I returned home inspired to use the
experience as a springboard to doing more to
help others.
I considered moving to Uganda and working on
the ground but realized that using my skills as a
graphic designer could be a vital way to enable
non-profits to expand their reach and further
engage their supporters.
With that goal in mind, Design for Good to work
was started with individuals and organizations
who take socially and environmentally responsible
action, spreading the message and helping them
achieve their sustainable and humanitarian goals.
ARE THERE SPECIAL CHALLENGES
OR OPPORTUNITIES IN PURSUING
THESE GOALS IN 2017?
2017 is an incredible time and opportunity to use
MARK HAAK
DESIGN FOR GOOD, TORONTO ONT
design for change. There is so much noise in the
marketing world that it takes strong creative to stand
out and be heard. Today, there are so many ways to
Design for Good was started by Mark Haak in 2007. It is a different kind of
increase exposure and accessibility to your messages
company working with charities, non-profits and businesses that believe creativity
of awareness and support and to engage and interact
has enormous power for change, and that strong design can move people and get
through social media, mobile, crowd sourcing or
results. More than just socially conscious and environmentally responsible graphic
designers, they are a community of passionate thinkers and doers who share beliefs
direct engagement with others to build a community
of supporters.
and invest their energies in ethical organizations that are working together to make
a positive and significant impact in our world. They help increase the impact of the
work they are doing but also consider every opportunity to reduce an organization’s
impact on the environment. And they work together to create strong branding,
authentic messages and creative strategies that help organizations around the
world connect with supporters and use that support to further their cause.
G D U SA 39
green people impo_Layout 7 10/4/17 10:52 AM Page 40
2017 | RESPONSIBLE DESIGNERS TO WATCH
HOW AND WHY DID YOU BECOME
INVOLVED WITH SOCIALLY RESPONSIBLE
AND/OR SUSTAINABLE PROJECTS,
CLIENTS AND CAUSES?
I knew early in life that I wanted to use creativity to
solve social challenges. I grew up in rural Mississippi,
and my family and I experienced firsthand the depths
of poverty, racial inequity, division, and educational
injustice, so even in my youth, that was a lens I
carried. As a young artist, I won countless awards
because the content of my work visualized the world
around me and the injustices I saw. As I transitioned
to study design in college, this desire to visualize
injustice expanded into a mandate to address it.
Through efforts like Project M Lab, I was introduced
to social impact and community-based design work,
and after studying social work and community development (specializing in social entrepreneurship) in
grad school, I found my niche. And, with being on
the ground as a designer and strategist during the
uprising in Ferguson that followed soon after, I found
my calling. Because of these experiences, I have
remained unflinching and relentless in partnering
with communities to help actualize ideas that assure
greater equity and justice, and because of the current
strifes within our global socio-economic and political
environment, there is a lot of work I’ve been welcomed to help create.
ARE THERE SPECIAL CHALLENGES OR
OPPORTUNITIES IN PURSUING THESE
GOALS IN 2017?
DE NICHOLS
CIVIC CREATIVES, ST. LOUIS MO
Through a multidisciplinary design practice, I create works and tools that activate
We are in a time where paradigms are shifting across
many industries and ideologies. Because of this,
designers will be constantly challenged to be nimble
and take on new roles in actualizing ideas that can
iterate and grow over time. We are literally creating
changemakers nationwide to address civic, racial, and gender equity challenges
the future, and as we embark upon uncharted paths,
within their communities. As Director & Principal Designer of Civic Creatives, my
we have to embody the humility and grace of not
team and I have helped spark ideas confronting racial inequity, food insecurity,
knowing how things might fully unfold while harness-
youth development, education, civic involvement, and intracultural conflict.
ing the boldness and vision to ensure the greatest
Because of these efforts I travel across the nation as a strategist and coach for
social benefits more equitably. More than ever,
other aspiring social designers and entrepreneurs, and I have served as a judge for
designers will be called to work in tandem with
various opportunities — including the most recent Ideas that Matter Awards by
Sappi — to help highlight the promising work of such efforts.
communities — to lean in and listen to the native
expertise that communities offer. The relationships
will shift from client to comrade. The roles will evolve
to include synthesizing and problem-solving in ways
yet untapped. We will be called to help design policy
and new systems as much as we are called to design
apps, platforms, and campaigns. These are grand
opportunities for designers and the field, and we must
ensure that we are equipped with the knowledge,
connections, and humility to uphold such roles justly.
40 G D U SA
green people impo_Layout 7 10/4/17 10:52 AM Page 41
HOW AND WHY DID YOU BECOME
INVOLVED WITH SOCIALLY RESPONSIBLE
AND/OR SUSTAINABLE PROJECTS,
CLIENTS AND CAUSES?
We merged our passion for the environment and
our passion for graphic design by starting the
agency in 2010. The idea was sparked by a course
at the University of Arizona, titled Critical Issues
in Design, taken by Jonny during his graduate
education. The surprising rarity of sustainabilityfocused graphic design studios inspired us to not
just practice as a sustainable studio, but to focus
efforts into educating other designers with initiatives such as giving lectures around the country
and informing with products such as our Eco
Pocket-Sized Notebook.
ARE THERE SPECIAL CHALLENGES OR
OPPORTUNITIES IN PURSUING THESE
GOALS IN 2017?
A big part of sustainable graphic design is efficiency,
which ends up saving our clients money (an outcome
that they’re usually very happy about). Another part
of it is using greener materials, such as 100% PCW
paper, which are often more expensive than their
conventional counterparts. As one would expect, we
do occasionally get some opposition on this front,
but usually our client is on the same side as us and
simply wants to use a more cost effective, but still
greener, alternative. It’s all about achieving a balance.
To stay productive and efficient, we try to align our-
RICHARD ROCHE +
JONNY BLACK
CAST IRON STUDIO, BOULDER CO
Cast Iron Design is a multi-disciplinary graphic design studio in Boulder CO
selves with likeminded clients who want to make their
business more sustainable, whether it’s because
they want to build their brand value (since being an
eco company often leads to increased trust and loyalty
among consumers), or because they just think it’s
the right thing to do.
primarily focusing on branding. The studio is operated by co-owners Richard
The other challenge is the time necessary to research
Roche and Jonny Black. They have been successful at pairing good design with
various materials and processes, a process we often
positive impact by creating memorable brands, implementing environmentally
liken to investigative journalism. We read MSDS
responsible practices, and helping the design community do the same.
PICTURED ABOVE: Richard Roche, left, and Jonny Black, right. The Cast Iron Studio office is in
the chapel of a former hospital and Al Gore’s portrait hangs cheekily above the pulpit.
sheets, have conference calls with technicians and
chemists, and ask vendors extremely specific questions they’re often annoyed by. The benefit of the
research investment is that it’s a service we offer
that few other agencies offer. This adds to our value,
and clients often come to us specifically because
they’re looking to partner with green businesses or
someone in the same “business as a force for good”
movement they align with.
G D U SA 41
green people impo_Layout 7 10/4/17 10:54 AM Page 42
2017 | RESPONSIBLE DESIGNERS TO WATCH
HOW AND WHY DID YOU BECOME
INVOLVED WITH SOCIALLY RESPONSIBLE
AND/OR SUSTAINABLE PROJECTS,
CLIENTS AND CAUSES?
Since the start of my design career, I’ve always been
an avid do-gooder and advocate for sustainability and
purpose-driven design. I believe design has the power
to lead the way for positive change, to shift consumer
behavior and lifestyle aspirations toward a healthier
and sustainable future. I have an environmental and
social conscience and am passionate in these beliefs.
I strive to reduce the environmental impact of our
work and educate clients about sustainable solutions
and alternatives that elevate their strong brand values
while also contributing to their own growth and sustainability. Whether developing design strategies with
social entrepreneurs or designing sustainable packaging for organic and natural products, my overall
philosophy is to have a passion and a purpose for all
of the work we do, and to work with good people
who do good in the world.
ARE THERE SPECIAL CHALLENGES
OR OPPORTUNITIES IN PURSUING
THESE GOALS IN 2017?
There is always opportunity. Consumers are paying
closer attention to the brands they make purchases
from and are willing to invest in products and services
from those that use business as a force for good.
The most forward-thinking companies of our future
are the ones that put design and sustainability first.
The challenge is to continually push for design and
RACHEL MARTIN
RACHEL MARTIN DESIGN, CHARLOTTE NC
sustainability principles into client's core practices
that improve processes, support healthy living systems, ensure social equity and optimize the holistic
Rachel Martin is the design director of Rachel Martin Design, a sustainable and
approach of people, planet, profit and cultural diver-
socially responsible design studio that works with conscious businesses who are
sity. This drives further demand for responsible design
committed to social value and want to create a better world. Rachel is devoted
to high quality sustainable design, focusing on branding, packaging, print and
web, to innovatively solve problems and create meaningful change. Rachel is
the former AIGA National Director of The Living Principles for Design and helped
launch AIGA’s Design for Good and sustainability initiatives. She serves on the
advisory boards for AIGA, Green Drinks, Piedmont Culinary Guild and Queen City
Forward, is a member of AIGA Charlotte, U.S. Green Building Council and actively
involved in the Charlotte community.
42 G D U SA
and the opportunity as a designer to not just solve
problems but create sustainable solutions and systemic change for the global, social, environmental
and economic challenges we face.
green people impo_Layout 7 10/4/17 10:54 AM Page 43
HOW AND WHY DID YOU BECOME
INVOLVED WITH SOCIALLY RESPONSIBLE
AND/OR SUSTAINABLE PROJECTS,
CLIENTS AND CAUSES?
We live in a culture where social media leads us to
believe that a meaningful life has to be glamorous,
envious and Instagram ready. When we launched
Worldstudio in 1995 — before the social media
revolution — we did it to give meaning to our lives
by integrating our desire to want to give back to our
community with the basic need to earn a living. A
recent article in The New York Times indicated that
people who see their occupations as an opportunity
to serve their immediate community find more meaning in their work. I can attest to this, and while I may
not have reaped financial rewards, I feel fortunate that
I get to work on client projects and socially-minded
initiatives on a daily basis which has given me a
deep sense of satisfaction.
ARE THERE SPECIAL CHALLENGES
OR OPPORTUNITIES IN PURSUING
THESE GOALS IN 2017?
Design has traditionally been a service industry. As
the creative professions evolve in the 21st century
and as the lines between the silos of the profession
blur, the range of what design has to offer is becoming more expansive. As the world seems to devolve
on a daily basis into one grim situation after another,
many creative professionals are looking to incorporate socially-minded activity into the work they do.
PHOTOGRAPH: KELLY CAMPBELL
MARK RANDALL
WORLDSTUDIO, NEW YORK NY
I am the principal and creative director of Worldstudio. We are unique in that
we are a for-profit design and communications firm as well as a non-profit arts
foundation. This structure allows us to work in two ways; serving clients with a
focus on non-profit and civic organizations, as well as entrepreneurially through
Worldstudio Foundation. Creativity holds enormous power to impact positive social
change. As contributors to the material world, we believe that it is critical for
designers to act responsibly. Through a range of initiatives at the foundation we
How we do this can be challenging as there is no
set career path. Pro-bono work, while admirable, is
not sustainable over the long term.
I see this as a wonderful opportunity to re-define
how we as designers contribute to social change. We
can develop new models of working, bringing our
skills as strategic problem solvers to a range of issues.
This means that we often have to make it up as we
go along, finding new ways to engage with potential
clients by demonstrating the value of design or taking
an entrepreneurial approach and creating our own
support creative professionals and college students, who want to use their abilities
projects and programs to address the social issues
to improve the lives of individuals and communities.
we are passionate about.
G D U SA 43
green people impo_Layout 7 10/4/17 10:54 AM Page 44
2017 | RESPONSIBLE DESIGNERS TO WATCH
KIM DOW
KALICO DESIGN, FREDERICK MD
Located in Frederick MD, just a short distance from Baltimore
and Washington DC, Kalico Design is a boutique graphic design
studio. Specializing in print design, we work closely with our
clients to generate fresh and thoughtful solutions for their marketing and design needs. While Kalico works with a large variety
of clients, from start-ups to national associations, our passion
HOW AND WHY DID YOU BECOME INVOLVED WITH
SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE
PROJECTS, CLIENTS AND CAUSES?
Pursuing sustainability continues to get easier as businesses embrace
communicating through technology. Kalico has even been awarded
the Green America’s Business Seal of Approval for their efforts. For
instance, we send project estimates, comps and revisions digitally to
reduce the amount of paper consumption. When we do need to print,
we use scrap paper taken from our in-office recycling bin and/or
print double-sided. In addition, paper office supplies, including job
is to work with those in the health/wellness, pet-related and
jackets, envelopes, and paper are all made of 100% postconsumer
women-oriented industries.
waste. Most meetings are conducted via phone or email, and we use
Business owner Kimberly Dow approaches eco-consciousness
as an ongoing learning experience, so naturally this translated to
her business model as well. “I’m constantly looking for simple,
practical ways for my husband and I to live a greener and healthier lifestyle at home, without drastically changing our routine or
way of life. I strive for this same balance in my business.”
PICTURED ABOVE: Kalico Design team (from l to r): Laura Rennie (admin),
Kim Dow (owner), Andrea Neff (designer), Cecelia Lee (designer)
of sustainable, green-certified printers and web hosts. The bottom
line is this: our sustainable practices are an inherent part of our
business model, not what ultimately defines us.
ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES
IN PURSUING THESE GOALS IN 2017?
We have a special place in our hearts for businesses and initiatives
that promote socially responsible and/or sustainable causes. For
instance, one of our clients, The Izaak Walton League of America,
reached out to us to design a logo for their initiative “Save Our
Streams,” which encourages people to check the water quality of
their local streams and creeks. Another example is Farm to Fork
Frederick, a local initiative pairing farmers with restaurants in our
community of Frederick.
44 G D U SA
Project34_Layout 1 9/18/17 2:02 PM Page 1
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green people impo_Layout 7 10/4/17 10:56 AM Page 46
2017 | RESPONSIBLE DESIGNERS TO WATCH
HOW AND WHY DID YOU BECOME
INVOLVED WITH SOCIALLY RESPONSIBLE
AND/OR SUSTAINABLE PROJECTS,
CLIENTS AND CAUSES?
I am a fervent lover of life and the interconnected
relationships life is constantly negotiating. My work
comes from an understanding that we all share this
planet, it’s not about what is mine or yours, but what
we collectively bring to our shared life experience on
our world. Sustainability and social responsibility for
me have been a lifestyle for 20 years that led me to
my career in design. I realized if I wanted to live in
a sustainable world I had to help create it. I founded
lenspeace as a commercial communications strategy
studio, but over time it evolved into letterpress and
a retail brand seeking to utilize vintage print communications to converse about the human condition
through art and design.
I’ve always been fascinated by our psycho-emotional
and physical connections, starting with the relationship we have to ourselves which I express through art
books and journals, our connections to loved ones
which I express through cards, and our relationship
to the world which I express through poster work. I
chose letterpress because when someone touches
letterpress it creates a moment people feel and
connect to and I wanted to exploit that to deliver
messages with heartfelt meaning. As a result of my
experience and perspective on branding strategy, I
also consult on social impact strategy, empathy facilitation, and the creative process to teach sustainable
PHOTO: NATE DORN IMAGES
LENNIE GRAY MOWRIS
LENSPEACE, ATLANTA GA
Lennie Gray Mowris describes herself as “having been many things: an artist,
arborist, model, project and business manager, farmer, adventurer, strategist,
consultant, and partner. My design career grew out of a desire to create artistic
communications that serve people and their environment.” In 2010, Mowris
and responsible methodologies to other creative professionals through lenspeace and AIGA.
ARE THERE SPECIAL CHALLENGES
OR OPPORTUNITIES IN PURSUING
THESE GOALS IN 2017?
At the start of 2017 all of my clients were social and
environmental justice npo’s. I discovered what happens to my client base when you have an administration that denies the importance of this work, many
founded lenspeace, which is both a commercial design studio, a letterpress printer
get caught in their own funding and litigation battles,
and a retail brand. Lennie states: “We also utilize monoprints, blockprints, and
and therefore don’t need branding help, they needed
mixed media techniques. We play with paper, ink, paint, and ideas to craft com-
broader strategy work. This has brought multiple
munications that support the environment and humanity. Our friends play with
opportunities to pivot my perspective and what I offer,
design, words, video, code, and concepts to bring you the ideas generated here.
while also challenging me to reinvent my workflow. I
Together, we manifest a spectrum of creative ideas.”
have bumped up against budget constraints, but also
a lack of awareness for what a design strategist actually does. It is my hope that over the next few years
the increase in trained social impact design professionals, the increase in perspective in what that
means, also offers new ways of seeing what designers
can bring to organizational and civic resilience.
46 G D U SA
green people impo_Layout 7 10/4/17 10:56 AM Page 47
HOW AND WHY DID YOU BECOME
INVOLVED WITH SOCIALLY RESPONSIBLE
AND/OR SUSTAINABLE PROJECTS,
CLIENTS AND CAUSES?
I have had the opportunity to serve as an advisor to
the nonprofits Lifewater, Life In Abundance and EPIC
(Engaging Philanthropy, Inspiring Creatives). Our work
with LIA and Lifewater has increased awareness and
raised funds to aid people living in the urban and
rural slums of sub-Saharan Africa and Asia. My most
recent project has been to raise awareness and
funds for community water projects in Africa through
Wheels4Water.
Wheels4 Water started when the Rule 29 team
decided that we wanted to do something bigger
than ourselves. How could we use design thinking,
design, social media, web and digital strategy to raise
awareness and activate a community? We wanted to
use our creative skills and partner with some of our
friends and see if we could do things a little differently. We were going to commit to raising money and
be responsible for not just the creative part, but the
actual fundraising as well. And it truly shifted our
perspective and approach as soon as we had “client”
shoes on as well. We have designed a brand that is
refreshed every year and tells a slightly evolved story
on the community we are supporting. The project, led
by our firm and video production studio, Wonderkind
Studios, provides numerous opportunities for the
wider community to meaningfully participate in the
alleviation of the global water crisis.
RULE29, GENEVA IL
ARE THERE SPECIAL CHALLENGES OR
OPPORTUNITIES IN PURSUING THESE
GOALS IN 2017?
Justin Ahrens is founder and principal of Rule29, and he lives the firm’s
At the start of 2017, Wheels4Water has raised over
philosophy of Making Creative Matter®. Like any creative professional, Justin
$200,000 to bring safe water and sanitation to
enjoys digging into a business problem and designing a strategic solution. But
over 5,200 people in Uganda and the Democratic
JUSTIN AHRENS
he gets a bigger charge out of seeing the positive impact that solution can make —
for the client and for the world. Justin speaks the languages of both business and
design, guiding Rule29’s strategic and creative direction on every project. He
fosters the collaborative approach that’s at the heart of the firm’s relationships with
clients ranging from Fortune 500 brands to nonprofits to small startup companies.
Republic of the Congo. And this year, we’re setting
our sights higher by completing one of the biggest
challenges in all of cycling: a transcontinental journey. The Wheels4Water team will ride over 3,000
miles in ten days, from San Diego CA to Jacksonville
FL, with a goal of raising $200,000 to transform the
lives of a community in the Kaliro District of Uganda.
In reaching this mark, our efforts since 2014 will have
given safe water access to over 10,000 people in
Uganda and the Democratic Republic of the Congo.
G D U SA 47
green people impo_Layout 7 10/4/17 10:56 AM Page 48
2017 | RESPONSIBLE DESIGNERS TO WATCH
HOW AND WHY DID YOU BECOME
INVOLVED WITH SOCIALLY RESPONSIBLE
AND/OR SUSTAINABLE PROJECTS,
CLIENTS AND CAUSES?
After Art Center College of Design and a brief stint in
the advertising industry, I opened my own commercial
design firm. Initially, my client list was drawn from
the top ranks of consumer products sold by corporate
clients — companies like The Walt Disney Company,
Wells Fargo, and AT&T. Outside of the office, I was a
committed activist on behalf of peace, civil rights, and
LGTBQ rights. Like many progressive entrepreneurs
in the 1970s, I drew a line between my professional
life and my passion for justice. One day, in my role
as an ad maker, I was approached by a nonprofit
organization seeking to raise money to supply the
Los Angeles Police Department with calming, childfriendly interview rooms for children who had suffered abuse. To help with this fundraising effort, I
designed and wrote an advertisement that ran in
local and national publications. The ad was a hit,
generating enough donations to fund child-friendly
spaces in every LAPD precinct. This was my “light
bulb moment.” That experience convinced me that
my vision of a better and more just world could be
the basis for a business — and not something I only
worked toward in my personal life. From that point
forward, I committed myself to running a firm that
uses “Communications for Good,” an approach that
is the lifeblood of Hershey Cause to this day.
CHRIS HERSHEY
HERSHEY CAUSE COMMUNICATIONS, LOS ANGELES CA
I’ve devoted my career to using my creative skills to help nonprofits, issue-oriented
and other progressive organizations soar. That’s evident from my personal journey
in this industry, as well as from the history of the agency I founded and continue
to lead today: Hershey Cause Communications. Initially a design agency, Hershey
Cause Communications has focused on using design, design thinking, and broader
communications strategies exclusively on purpose-driven projects. In short, we
ARE THERE SPECIAL CHALLENGES
OR OPPORTUNITIES IN PURSUING
THESE GOALS IN 2017?
I believe that in these polarized times, creative people
will provide the bridges, design the innovations,
and reveal our shared humanity that will lead to a
healthier, more peaceful world. As our current political climate drowns out marginalized voices, the need
for clear and powerful storytelling has never been
focus our efforts on using “Communications for Good.” This philosophy and com-
more urgent than it is right now. In heeding this
mitment is both pioneering and enduring. Hershey Cause was the first for-profit/
call to action, we will be connectors and catalysts.
nonprofit “social enterprise” in the space. And earlier this year, we marked our
Although we may not know exactly what the future
40th anniversary. Since 1977, we’ve helped thousands of nonprofits discover
will demand of us, we can be sure it will lean on the
their voices and visual identities, empowering them to become drivers of posi-
shoulders of creative, fearless, and skilled commu-
tive social change. In addition, I‘m proud to be known as “an evangelist for
nicators. It will require authentic leaders and strate-
communications.” It’s a reputation built through decades of championing the
gists. It will be an opportunity for progress and
transformative power of communications. This includes making the power of
good communications more accessible; through our Through our “Cause Clarity”
suite of tools and trainings, we put free resources in the hands of organizations
big and small — all across the world.
PICTURED ABOVE: Chris Hershey (right) with Group Account Director Vanessa Schnaidt (left)
48 G D U SA
purpose. So although this 40th anniversary seems a
natural time to reflect on the past, at Hershey Cause
our hearts are already directed towards the next 40
years — a future informed by the urgency of today.
This is the time for us creatives to lead.
green people impo_Layout 7 10/4/17 10:57 AM Page 51
2017 | RESPONSIBLE DESIGNERS TO WATCH
RUSSELL ESTES
SOUTHERN POVERTY LAW CENTER
MONTGOMERY AL
I’ve been at the Southern Poverty Law Center (SPLC) for 21 years.
My start date was the one-year anniversary of the day Timothy
McVeigh and Terry Nichols detonated a bomb that destroyed the
to young people. Using litigation, education and other forms of
advocacy, the SPLC works toward the day when the ideals of equal
justice and equal opportunity will be a reality.
As the design director, it has been my personal mission to use the
highest quality visuals as a tool to elevate our voice. I came to the role
of design director specializing in print production and typography.
These skills have served me well in a setting where the urgency
Alfred P. Murrah Federal Building in Oklahoma City. There was
of our mission demands swift and pointed communication. The
no social media then; we kept our audience informed through
stakes are high.
print newsletters and magazines. But when we did publish about
the anniversary of the Oklahoma City bombing we had a lot to
say — and show. Tracking hate and extremism has always been
our specialty, and our intelligence team had, in fact, predicted
such an attack. We even sent a letter to Janet Reno identifying
the warning signs.
PICTURED ABOVE: L to R in front of the Civil Rights Memorial, designed by
Maya Lin, at the Southern Poverty Law Center headquarters in Montgomery AL:
Angela Greer, Valerie Downes, Shannon Anderson, Kristina Turner, Russell
Estes, Michelle Leland, Cierra Brinson, Scott Phillips, Sunny Paulk
HOW AND WHY DID YOU BECOME INVOLVED IN
SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE
PROJECTS, CLIENTS AND CAUSES?
These are dark stories to tell, but I’ve been lucky: Under the leader-
ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES
OR DEMANDS IN PURSUING THESE GOALS IN 2017?
The SPLC has changed a lot in 22 years and so has our approach
to design. But, as incidents like the white nationalist rally in
Charlottesville this summer illustrate, the issues at the center of
our work remain the same — and they are more relevant than ever.
When news breaks and the country is looking to us for answers, we
need to be prepared with exactly the right image, the most compelling graphic and a clear understanding of the message. And,
because we regularly engage issues of race, class, ability and sexual
identity, we need to be fluent in the visual language of social justice
so that our respectful treatment of the people at the heart of these
cases can stand as a model.
ship of Morris Dees and Richard Cohen, I’ve had the freedom and
I cannot tell the design story of SPLC without mentioning the con-
support to tell these stories in compelling ways through graphic
tributions of our outstanding in-house design team. Their creativity
design. The SPLC’s mission is to fight hate and bigotry, seek justice
is only matched by their commitment to social justice, and they
for the most vulnerable members of our society, and teach tolerance
keep me honest, focused and inspired.
G D U SA 51
green people impo_Layout 7 10/4/17 10:57 AM Page 52
2017 | RESPONSIBLE DESIGNERS TO WATCH
ERIC BENSON +
YVETTE PERULLO
CO-FOUNDERS + PARTNERS AT RENOURISH.ORG
Eric Benson was born in Arizona and raised in Mid-Michigan
Yvette Perullo is a Boston-based designer and educator. She
where he later received his BFA in graphic and industrial design
received her MFA in visual communications design from Purdue
from the University of Michigan in 1998. His MFA thesis at the
University and her MA degree in graphic design from the New
University of Texas became Re-nourish. This work translated into
England School of Art & Design at Suffolk University where her
an academic career teaching graphic design at the University
research focused on developing tools and resources to encourage
of Illinois at Urbana-Champaign. At Illinois he runs Fresh Press
Agri-Fiber Paper Lab, where he explores sustainable papermaking
using corn stover, soy stalks, prairie grasses, and other waste
fibers from local farms. Eric’s creative work has also garnered
numerous design awards and hung in notable venues like The
Walker Art Center, the Smithsonian Cooper Hewitt National De-
sustainable design practices the foundation of her work with
Re-nourish. She has lectured internationally on sustainable
graphic design and as a design educator, Yvette focuses on integrating sustainability methodology into her courses. Yvette is the
Lead Designer at Bartlett Interactive in Concord MA, an agency
sign Museum, the Hammer Museum, the Contemporary Arts
with a commitment to sustainability and triple bottom line
Museum Houston, and RISD.
business practices.
52 G D U SA
green people impo_Layout 7 10/4/17 10:57 AM Page 53
HOW AND WHY DID YOU BECOME INVOLVED
IN RESPONSIBLE AND/OR SUSTAINABLE
PROJECTS, CLIENTS AND CAUSES?
Around 14 years ago, in our own personal sustainable design
journeys, we each had a similar epiphany about the negative
state of the planet and how that was intertwined with the
design profession. Interestingly both “awakenings” involved
seeing our print work being thrown away. We spent countless
d
e
x
a
l
e
r
e
r
100% mo trees
58% more
hours working on making our design work usable and (dare
we say) gorgeous. It was frustrating to see it carelessly tossed
in the trash, and that made us both start to rethink what and
how we make.
That line of questioning led us to start Re-nourish.org, to
change the path of design away from over-consumption,
waste, and ignoring the natural systems around us. We became
partners and started Re-nourish.org in 2008 after we met a
conference in Baltimore. At the time Eric was an educator at
University of Illinois and Yvette was a Design Director at a
consulting firm in Boston and teaching design courses at
Suffolk University.
In 2015, Renourish.org became a registered 501(c)(3) nonprofit organization. It energized our commitment to our mission
to provide online tools advocating awareness and action for
sustainable systems thinking in the communication design
community. We firmly believe that ‘good design’ values people, the environment, and improves lives. We aim to help the
practicing communication designer, educator and student
make positive sustainable and pragmatic design decisions.
ARE THERE SPECIAL CHALLENGES OR
OPPORTUNITIES IN PURSUING THESE
GOALS IN 2017?
Yes! First off the federal environmental policies have changed
Did you know that ther
erre
e are now 58%
morre
e trrees
ees growing
o
in U.S. forrests
ests than
†
60 years ago.
for the worse with the new administration in Washington
leaving us in a less than favorable political and financial position. Since President Trump pulled the U.S. from the Paris
Climate Accords and denies the reality of climate change,
Paper is made from renewable wood…
good news if you love spending a leisurely
afternoon reading.
it’s an uphill battle to achieve our mission. Relying only on
governmental grants is not in our best interest, so we are look-
†
U.S. Depar tment of Agriculture, 2012
ing to fundraise tax-deductible donations to our 501(c)(3).
We need to increase our fundraising at our Re-nourish.org to
update, enhance, and add to the content, technology, and
offerings on our site.
JOIN NOW!
TTwo
wo Sides
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an
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o
promote
pr
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print
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paper. twosidesna.org/
t wosidesna.org/
how-to-join-two-sides
h
ow-to-join-t wo-sides
G D U SA 53
green people impo_Layout 7 10/4/17 10:58 AM Page 54
2017 | RESPONSIBLE DESIGNERS TO WATCH
HOW AND WHY DID YOU BECOME
INVOLVED WITH SOCIALLY RESPONSIBLE
AND/OR SUSTAINABLE PROJECTS,
CLIENTS AND CAUSES?
The founding of H+W is rooted in Design for Good.
James and Laurel met because of their interest in
making an impact. For many years, they have both
been active locally and nationally with AIGA to expand efforts to use design to tackle bigger social
challenges. After a decade running a traditional firm,
James felt like there had to be more to design. When
they met in 2011, James was in the middle of transitioning his company and career to focus on designing
for social impact. Shortly after, they began working
together to build a business model that would allow
them to thrive by working with companies and on
causes they believe in.
Their workday is nothing if not diverse. In addition
to taking on community challenges, they still do
plenty of branding, communication design and consulting. A typical day could include organizing a
farmer’s market, designing a trailside exhibit, creating
collaboration systems for community organizations,
sketching a logo for a startup, writing a brand story,
designing an annual report or figuring out an economically sustainable model for a community-led
health initiative.
ARE THERE SPECIAL CHALLENGES
OR OPPORTUNITIES IN PURSUING
THESE GOALS IN 2017?
JAMES HERSICK +
LAUREL WEBSTER
HERSICK + WEBSTER CREATIVE PARTNERS, HEDGESVILLE WV
Hersick + Webster is a full service design and brand communications studio with
a mission to add little good to the world through design. James Hersick and Laurel
Webster built H+W with a collaborative approach that combines their passions,
skills and experiences with those of their clients and communities. In these
partnerships, they often find themselves designing strategies, conversations,
With state budget shortages and changing federal
policies, we’re thinking about ways to replace the
potential loss of grant funding for several community
projects and NPO clients that we work with.
In our work, we are always looking to break down
silos and walls between organizations and personalities. Expanding our impact requires us to help folks
imagine how they can build partnerships to get more
accomplished. Additionally, we're working on finding
the right ways to package some of our successful
experiences, and more as people look to them for leadership, guidance and help
regional projects so they can have an expanded
communicating their own efforts to make a difference.
impact at a statewide level — and eventually beyond that too. Sharing is caring!
54 G D U SA
Project54.qxp_Layout 1 10/4/17 10:49 AM Page 1
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green people impo_Layout 7 10/4/17 10:58 AM Page 56
2017 | RESPONSIBLE DESIGNERS TO WATCH
At the same time, we choose our corporate for-profit
clients based on their willingness to support notfor-profit ventures. Eclipse has a strong portfolio of
corporate clients and our selection criteria in accepting business is their willingness to pull alongside
others through their corporate responsibility policies.
Other aspects of our culture: we are willing to reduce
our rates/fees notably as well as to amortize fees over
time regarding not-for-profit clients; we volunteer
and donate to many not-for-profits in order to “live”
the brand and experience; we take budget consciousness to the extreme on behalf of the client;
we connect dots between corporate clients and notfor-profit clients to encourage further impact socially;
and, finally, we integrate ourselves beyond design,
to hear and help in every aspect of the organizational
structure, business model, financial model and
other management models.
ARE THERE SPECIAL CHALLENGES
OR OPPORTUNITIES IN PURSUING
THESE GOALS IN 2017?
There are a great many challenges faced regardless
of the year. For example, it is essential to be culturally relevant in our messaging and specifically in the
tools to execute their brands. We are truly an omnichannel marketing firm. We believe it is the collective
ECLIPSE MARKETING &
ADVERTISING
GREENWOOD IN
PICTURED ABOVE: Dustin Brenton, Creative Director and Jake Stamper, CEO
Eclipse Marketing & Advertising believes social responsibility starts with developing
and maintaining a culture of teamwork with a brand that leads to continuous
support of a socially responsible mindset for the team. The Eclipse brand, from
inception over 11 years ago, is to be a paraklete (individual) or parakletos (team);
a Greek word meaning to be called alongside to help, counsel, advise and advocate.
We dive deep into this meaning by denying self and setting guidelines to define
with whom who we do business and how we conduct ourselves in that business.
HOW AND WHY DID YOU BECOME INVOLVED WITH SOCIALLY RESPONSIBLE
AND/OR SUSTAINABLE PROJECTS, CLIENTS AND CAUSES?
We choose our clients based on how they are called to pull alongside society and help,
counsel, advise and advocate for others. For example, Eclipse currently serves over
35 not-for-profit clients that serve our global community by helping to break the cycle
of poverty, by providing shelter and education to expectant mothers, by providing food
via food pantries/banks, by providing academic, physical, emotional and spiritual help
through community centers, by reaching those incarcerated through prison outreach,
by pulling alongside of those suffering from domestic abuse, and by standing with
churches who provide spiritual guidance to the community.
56 G D U SA
set of tools (digital, social, web, print, traditional
mass media including billboards, newspapers, publications, trade shows, conference and other tools)
that holistically deliver the brand.
One would think politics would play an important
role in determining certain design and messaging.
However, we have found that if we have developed
a strong client brand, politics will not play a role at all.
Our brands are centered in socially responsible work
and can speak for themselves; therefore, politics do
not play a role.
Finally, budgets and technology are always concerns.
When you are serving others in your community, you
want every single dime/dollar to be allocated to that
service; reality calls for some marketing, advertising,
design and business overhead so it behooves us to
be strive to be financially efficient in all design and
production. Similarly, technological advances allow
us to realize greater efficiency by using Social
media and other digital communications to stretch
limited budgets while yielding meaningful results.
And we aspire to make our design even more powerful on these media to capture attention, as there
is less view time from the audience.
Project49_Layout 1 9/28/17 1:28 PM Page 1
5,800 NFL
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Source: USDA Forest Service, 2014
Two Sides is a global initiative promoting the responsible
use of print and paper which, when sourced from
FHUWLåHGRUVXVWDLQDEO\PDQDJHGIRUHVWVLVDXQLTXHO\
powerful and natural communications medium.
Discover
more great
#PaperFacts at
twosidesna.org
green people impo_Layout 7 10/4/17 10:58 AM Page 58
2017 | RESPONSIBLE DESIGNERS TO WATCH
VALERIE KRAMIS +
SUSANA ARELLANO
HOW AND WHY DID YOU BECOME INVOLVED IN
SOCIALLY RESPONSIBLE AND/OR SUSTAINABLE
PROJECTS, CLIENTS AND CAUSES?
AGENDA28
NEW YORK CITY NY AND MEXICO CITY
address the high level of poverty in their home country of Mexico. At
Agenda28 is a design studio specializing in social impact.
Founded by Valerie Kramis and Susana Arellano at the Harvard
Innovation Lab, Agenda28’s mission is to leverage the power of
We met in high school and started to plan a social venture that would
the time, the project seemed too ambitious. Ten years of experience
and successes later, we became aware of the need to introduce design
to social enterprises and non-profits so they could compete with
corporations, improve operability, better address the needs of their
stakeholders and further their missions. In 2015 we launched
design to create social, environmental and economic change.
Agenda28 and, since then, have worked on projects that range from
Employing a combination of social innovation methodologies,
designing a product to reduce maternal and infant mortality in South
they develop design strategies based on the needs, behaviors,
Asia to a Google Chrome Extension that makes it easy for consumers
and attitudes of the people they serve. Recognizing the impor-
to support mission-driven businesses in the USA.
tance of empowering others to use design as a tool for change,
Agenda28 is deeply committed to developing young talent. They
ARE THERE SPECIAL CHALLENGES OR OPPORTUNITIES
IN PURSUING THESE GOALS IN 2017?
created the Impact Design Cha llenge, a free program for students
Working with non-profits and social enterprises presents numerous
from diverse backgrounds to ideate solutions to problems in
challenges, but we consider them opportunities. Two of the most
their communities and around the world. Agenda28 provides
common ones are the lack of understanding about the added value of
the winning team with product design and guidance to prototype
design and the shortage of resources, but these “limitations” have
and implement the solutions they envsioned.
allowed us to create new methodologies and creative solutions that
can work as precedent to make design accessible to social initiatives.
Furthermore, during 2017 we have encountered a political climate
that has created a lot of unexpected challenges especially for those
who are most vulnerable. However, this has also created a sense of
solidarity among those working in the social impact sector, which is
extremely valuable to achieve systemic change.
58 G D U SA
Project37_Layout 1 9/18/17 2:23 PM Page 1
I am
I am In-House
Mike Dorval is Senior Manager of
Creative for the in-house group at
Isagenix International. A good part
of his career has been focused on
building in-house creative teams
and advancing the cause of design
professionalism in the corporate
setting. Mike has worked in the
retail sector as lead Creative for a
Fortune 500 company, and since
2005 has been working in the health
and wellness/direct sales space.
Originally a New England boy, Mike
moved to Phoenix in 2003 with his
future wife Evelyn to escape the
snow. Evelyn and Mike are co-owners
of Evelyn Ford Shoes, an innovative
luxury startup that Evelyn founded
in 2014. They currently reside in
Phoenix, along with their 2 furry
felines, where they have adapted
nicely to the warm winters and really
warm summers.
in-source.org
Designed by Eric Rhinehart, InSource Member | Photo Credit: Kat Randall
October 2017 Stock IMPO_Mar 07 Top Stock BK2/5 10/4/17 11:01 AM Page 62
October 2017 Stock IMPO_Mar 07 Top Stock BK2/5 10/4/17 11:02 AM Page 63
| 31ST ANNUAL |
STOCK
VISUAL
READER
SURVEY
BY GORDON KAYE
AN ESSENTIAL
DESIGNER RESOURCE
RESPONDS TO SOCIAL
AND TECH CHANGE
If forced to summarize the findings of
our 31st annual stock visual survey, I
could do so in one sentence.
“Creative professionals need stock
visuals to feed a visually hungry
media landscape from print to web
to social media, they appreciate
the accessibility and abundance
of stock offerings, but they wish
providers would hurry up with
imagery that better reflects
how America lives, loves, looks,
labors, and links.”
I admit it is a long sentence but, in my
defense, it does have some nice alliteration.
G D U SA 63
October 2017 Stock IMPO_Mar 07 Top Stock BK2/5 10/4/17 11:02 AM Page 64
STOCK VISUAL SURVEY | TEN OBSERVATIONS
For those of you with a bit more time and patience, here are ten takeaways based on the results of
the 2017 survey of GDUSA subscribers who were kind enough to respond to short answer questions
and provide comments when applicable.
1
A RARE CONVERGENCE
Stock visuals remain a vital creative resource for graphic designers, transitioning over decades from marginal to mainstream
to essential. Why? There are a thousand reasons that boil down to a single core explanation. Society and business has
become more visually hungry and more visually sophisticated at the same time that creative businesses are squeezed by
tight budgets, short turnarounds, challenging assignments, multiple media, demanding clients and digital workflow. Stock visuals
offer a solution because the central value proposition
choice, content, accessibility, affordability, convenience and speed
dovetails perfectly with the intense demand for more imagery. There has rarely been such a convergence of a product and its times.
2
BETTER, FASTER, SMARTER
Implicit in the statement above, creatives say that stock imagery has become just plain better in terms of quality, quantity,
selection, subject matter, affordability, search and delivery. This, of course, varies from provider to provider, but the overall
result is an abundance of choices at a wide range of price points delivered by an increasingly dynamic and responsive
infrastructure. Indeed, there is near unanimity on this point: the right image is easier to find, access, license, use and repurpose.
3
ATTITUDE ADJUSTMENT
Conceptually related, stock has achieved legitimacy and acceptance. This may not be news to a new generation of designers,
but it is stunning in the broad historical sweep given the miasma of skepticism that hung over the industry in its early
years. Today stock providers are perceived as a necessary — often desireable — professional partners, collaborators, even
trendsetters. This is not to say that concerns about exclusivity, originality or artistic integrity have evaporated but they are tamped down.
4
IT ALL ADDS UP
In light of the above points, it is no surprise that stock visuals are in vogue. What may be a surprise to the uninitiated are
the absolutely soaring levels of use recorded in our last several annual surveys. This year, for example, more than nine-inten designers use stock visuals in their work; four-in-ten use more than 100 images a year; and the vast majority use over
50 images a year. Directionally speaking, nearly four times more respondents say they are turning to stock imagery “more often”
than those who say “less often.”
5
CREATIVES IN CONTROL
The 2017 survey reaffirms that creative professionals control are the decisionmakers with regard to source, imagery and
method of license. After all, they are creating the content and trying to stay within budget. Thus, virtually everyone is deeply
involved in the decision; a mere two percent disclaim any role. What are the primary reasons for selecting a particular
stock provider? Price, quality, quantity and searchability top of the rankings. By far. And on what devices do designers search and
license? Desktops and laptops still largely hold sway with an uptick in smartphone use. More on how this relates to the growing role
of mobile phones and mobile photography later.
64 G D U SA
October 2017 Stock IMPO_Mar 07 Top Stock BK2/5 10/4/17 11:03 AM Page 65
6
MULTIPLE MEDIA AND CHANNELS
In the beginning, stock visuals were licensed for print. The 2017 survey demonstrates that times have changed. A lot.
Today, it goes without saying that creatives work in and across multiple channels, and more than three-in-four stock
images are licensed for use across media. Interestingly, print is still atop the leaderboard in terms of stock use, and
packaging, point-of-sale and signs are also in the mix. Nevertheless, all the buzz and much of the growth is in image licensing for
internet and interactive design, social media, and motion graphics.
7
PEOPLE WHO NEED PEOPLE
The perennially popular subjects for licensing remain stolidly consistent. For example, “People” and “Business/Industry”
are two top licensed categories for the 31st straight year. At the same time, the general trend continues toward breadth:
in all, more than two dozen identifiable categories register significant activity. There are often interesting shifts to note from
year-to-year which arguably mirror changing tastes and circumstances. For instance, “Health/Wellness” and “Multicultural/Ethnic”
imagery have recently risen into the list of top ten most licensed categories, and are such this year as well. Is this because these
topics are at the epicenter of our national conversation? Similarly, this year’s survey reveals downtick in stock imagery related to
“Retail”. Maybe a sign of a growing “Amazon affect” on brick and mortars stores?
8
DIVERSITY AND INCLUSIVENESS
For years, greater diversity in stock content has topped the wish list of creative professionals. According to survey
respondents, that wish is gradually becoming a reality. Generally, the lodestar for judging “diversity” has been racial, ethnic,
religious, gender and age inclusiveness within stock collections. More recently, the concept of fluidity has also entered
the lexicon, referring to changes in social mores that are reshaping lifestyles, workplaces, institutions, behaviors and traditions as
well as demography. On both accounts, most respondents believe the stock agencies are doing a better job of reflecting real life.
Even the contrarians acknowledge some progress, albeit slow, superficial, and sometimes contrived rather than natural.
9
IMPACT OF SOCIAL MEDIA
The rise of social media is transforming – or should I say disrupting? – the way we communicate. In this year’s survey,
more than half — 53% to be exact — of designers report using stock imagery in social media. However, it is all so need
respondents are still grappling with what this means regarding imagery. An early consensus is that social media is placing
a priority on images that are simple, clear, user-friendly, and that “pop”, i.e., can capture attention in fleeting instant. Finding the right
formats also matter, especially since so much of social media is consumed on small and often vertical screens. Traditionalists among our
readers are worried that these developments are diminishing the quality, craftsmanship and professionalism of photography and design.
10
IMPACT OF SMARTPHONES
Smartphones are revolutionizing photography — and are having an inevitable effect on stock providers and users. For
many stock agencies, mobile photography is growing, enhancing and even reshaping their collections with millions of
uploaded photos. For the creative community, traditional design principles are evolving in response to the informality
and immediacy of mobile photography, and the demands and constraints of mobile web browsing. How this will ultimately transform
visual communication is beyond my pay grade. Two narrower questions relate to today’s survey. One is whether designers are happy to
license stock images shot on an iPhone. The answer is yes and no: purists are aghast but most people are willing to judge quality and
appropriateness on a project-by-project basis. The other narrow question is whether smartphones will become a popular device for
searching and licensing stock imagery. Today’s survey suggests this practice is on the rise but that creatives are still more comfortable searching on the larger screens of their desktop or laptop.
G D U SA 65
October 2017 Stock IMPO_Mar 07 Top Stock BK2/5 10/4/17 11:03 AM Page 66
STOCK VISUAL SURVEY | THE NUMBERS
DO YOU OR OTHERS IN YOUR COMPANY
USE STOCK IMAGERY IN YOUR WORK?
MAIN REASONS INFLUENCING YOUR
USE OF A STOCK VISUAL SITE/PROVIDER?
TOP 10 IN ORDER OF FREQUENCY
92% 72% 41%
STOCK
PHOTOS
STOCK
ILLUSTRATION
|
|
|
|
|
|
|
PRICE
STOCK VIDEO/
FOOTAGE/ANIMATION
4 |
5 |
6 |
7 |
8 |
9 |
10 |
SEARCH CAPABILITY
FRESHNESS
BRAND/REPUTATION
SITE DESIGN
EXCLUSIVITY
SPECIAL PROMOTIONS
ADVICE/TRENDSPOTTING
1
HOW OFTEN DO YOU USE IMAGES OR
FILES DURING THE COURSE OF THE YEAR?
1-5
TIMES
6-10
TIMES
11-20
TIMES
21-50
TIMES
51-99
TIMES
100+
TIMES
5%
5%
10%
23%
17%
40%
QUALITY
QUANTITY
3
2
WHAT SUBJECTS/CATEGORIES
DO YOU USE MOST FREQUENTLY?
TOP 25 IN ORDER OF FREQUENCY
FOR WHICH TYPES OF MEDIA
DO YOU LICENSE STOCK IMAGERY?
PEOPLE
89% 72% 28% 41%
PRINT
DIGITAL,
ONLINE + MOBILE
POP +
PACKAGING
| 4 |
TECHNOLOGY/COMPUTERS
| 5 |
LIFESTYLES
| 6 |
HEALTH/WELLNESS
| 7 |
ETHNIC/MULTICULTURAL
| 8 |
FAMILIES
| 9 |
NATURE
| 10 | FOOD/BEVERAGE
| 11 | ARTS/CULTURE/ENTERTAINMENT
1
TV, FILM +
VIDEO
BUSINESS +
INDUSTRY
| 12 | EDUCATION
CONCEPTS +
IDEAS
| 13 | HOLIDAYS/CELEBRATIONS
| 14 | SPORTS/FITNESS
| 15 | ANIMALS/PETS
| 16 | TRAVEL/TOURISM
WHICH DEVICE DO YOU USE TO SEARCH
FOR STOCK VISUALS?
3
2
| 17 | RETAIL
| 18 | ARCHITECTURE/BUILDINGS
| 19 | BABIES/CHILDREN
| 20 | BEAUTY/FASHION
91%
5
45%
%
| 21 | CARS/TRAINS/PLANESTRANSPORT
11%
| 22 | RELIGION/SPIRITUALITY
| 23 | MILITARY/POLICE/SECURITY
DESKTOP
LAPTOP
TABLET
DO YOU LICENSE?
69%
HAVE A
STOCK VISUAL
SUBSCRIPTION
48%
ONLY
ROYALTY
FREE
5%
ONLY
RIGHTS
MANAGED
49%
| 24 | HOMES/INTERIORS
PHONE
53%
| 25 | HOSPITALITY/HOTELS
DO YOU USE STOCK
VISUALS MORE OR LESS
IN YOUR WORK THAN
IN THE RECENT PAST?
BOTH
KINDS
USE STOCK
IMAGERY IN
SOCIAL MEDIA
39%
MORE
66 G D U SA
WHAT IS YOUR ROLE
IN THE LICENSING/
PURCHASING PROCESS?
10%
51%
LESS
SAME
75%
SOLE/PRIMARY
DECISION
MAKER
23%
SECONDARY
DECISION
MAKER
2%
NO ROLE
IN DECISION
Project51_Layout 1 10/2/17 2:24 PM Page 1
endless creativity
P la s tic E
Plastic
Envelopes
n
at
www. ja
m a p e r .c om
www.j
a mp
October 2017 Stock IMPO_Mar 07 Top Stock BK2/5 10/4/17 11:03 AM Page 68
STOCK VISUAL SURVEY | SELECT COMMENTS
WHY IS THE USE OF STOCK VISUALS SO FREQUENT AND COMMON?
Stock imagery, for the most part, has increased in quality and
Customer budgets drive the usage. Lower budget means fewer
availability.
photo shoots and an never-ending quest for more affordable
There are more choices now than before and more availability.
photos. I hate it.
The content is also becoming more relatable to current user
Social media apps like Instagram are giving more people
needs and trends with certain sites dedicating their offerings
confidence in their photography and based on feedback are
to what is considered contemporary.
learning what makes a strong composition. Digital photography
Above all, the issue is time. When I need an image I need it
now. I don't usually have the luxury to schedule a photo shoot.
The demand is always there. Nine times out of ten client
requests lifestyle imagery over graphics.
Art departments do not have the budgets they used to in order
to commission original photography. We have come to rely on
stock, which has gotten better in terms of quality and variety.
Images translate a message faster than words. In today’s world,
media messages need to be condensed into bite sized chunks.
Stock companies have made it very easy to search and to reuse
or repurpose images.
Stock is distinctly improved in every way. Quality, choice,
price, how it is accessed.
Stock agencies have become more affordable and there is better
choice selection.
Stock video and clips have become much more important to
me in the past year.
equipment has become more accessible, and more artists are
uploading their work for sale.
Stock photography has gotten better for the most part, with
more options and choices.
Choices galore! Especially with the opportunity for anyone to
upload their pictures for sale or distribution on stock sites.
The choices have improved overall. I liken stock photos to AP
stories if you're a journalist. They are an easy solution to empty
space as long as they are not sterile or generic.
There are now too many providers and too many images. It
takes a long time to sort through all the choices and has
become more cumbersome to search for what I want.
The growing need for imagery on all web and social media
platforms, combined with the accessibility and lowered prices
of good cameras, means to supply and demand has increased.
Electronic devices and social media have created more demand
for imagery. You need to capture your audiences attention.
Prices are much more affordable now which is good timing
since clients seem to have smaller budgets.
DO STOCK COLLECTIONS BETTER REFLECT THE AGING OF OUR SOCIETY?
Yes and no. I see more seniors, use more seniors in my print ads,
There are many more images that depict older individuals in
but it's hard to find them doing the things I need them to do.
engaging imagery
Boomers are getting older and the society is accommodating
Because of the overall growth of choice, all the collections
them, as it always has. A few stock agencies have really
seem to be getting better at showing both older people and
responded, though I am sure most eventually will.
younger people.
Aging is the single biggest challenge to individuals, families,
There is still huge room for improvement in showing a broader
communities, society. Only a couple of stock agencies are really
range of ages in stock photos. In general, it still looks as if we
stepping up in this area.
are idealizing the younger age ranges by simply excluding
I think they are getting better at portraying older people but
images of older people.
there is a lot of room for improvement here. The majority of
This is getting better, but we need more activities showing
people are usually younger in the photos.
intergenerational groupings
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DO STOCK COLLECTIONS TODAY REFLECT THE DIVERSITY AND FLUIDITY
OF AMERICAN LIFE, CULTURE, ETHNICITY, FAMILY, WORKPLACE?
Yes. A few years ago when I would do a search for business
For the most part, things have gotten better. It is an industry-
professionals I would get a grid of white guys in suits. Now I
by-industry thing. There are still certain industries where the
find an equal number of men and women from a variety of
lack of diversity is very obvious.
ethnic backgrounds.
One of the hardest struggles we have is finding non-cheesy
We are seeing a very positive transformation especially mirroring
diverse small business images or images of industrial/
how work life and family life are changing.
manufacturing workers.
Yes, better. But still some way to go. For example, images that
Yes, stock collections are getting better with diversity, but are
show ethnic minorities in positions of authority are still relatively
still not good. As a designer, white-washing is a pattern you
scarce in comparison.
notice visually all the time. Even if you Google search images
This is improving but slowly. If I guessed, I'd say 98% of the
stock is White/Caucasian. I'm happy there are sites that offer
diversity, but overall the stock companies really need to evolve.
Yes, I see more Latinos and African Americans in shots, and
even mixed race groups.
for business man, you're gonna get mostly white people in your
results. You still have to specify if you want someone of color
because white is the default.
Many have improved, some have not. Often the quest for diversity
results in images or situations or compositions that feel forced
or contrived.
No. We struggle to find a good mix of ages and cultures in
photos. We need better, diverse images!
Yes, the expansion is really impressive.
Ethnic and racial diversity is increasing, though the offerings
sometimes feel a bit self-conscious, as though the agencies
are trying hard to meet an arbitrary goal or standard.
DOES THE RISE IN SMARTPHONES AND SOCIAL MEDIA CHANGE HOW YOU
THINK ABOUT STOCK VISUALS?
Absolutely! Images have to be strong and to the point for social
I analyze a smartphone stock image the same way I do any
media. If you can't grab there attention in 0.3 seconds, you can
photographic image. Is it right for what I need for a particular
kiss that opportunity goodbye!
project or campaign or client. Sometimes the answer is
In order to stay current and relevant in today's world, springboarding off of social media influences is necessary and crucial.
Most times, I need really professional stock imagery for my
projects. Once in a while, an iPhone image will meet my need
for a casual or spontaneous or even a rough-edged look.
Stock image collections are already rich in choice. By adding
iPhone images, it has only gotten richer.
Smartphones and social media are changing things for the
worse. Expectations are lowered by photographers who don't
know the basics AND by decisionmakers who don’t respect
quality or copyrights.
affirmative, sometimes it is no.
Because of how kids get their social media on smartphones, I
feel as though there is now an emphasis on visuals that show
best in vertical mode
I look for images that will pop on social media or adjust them
as needed to stand out in RGB.
No change. A good image is a good image, and will work
powerfully, no matter the platform.
I would never order a cell phone image. Even though cell p
hones brag higher pixels on their camera, that does not actually
transfer through to a print ready image. A lot of work still needs
The quality of the cameras on our phones have gotten more
to be done to ready the image, which is why we will always use
and more advanced, so I think it's made good photos more
regular SLR cameras. Up until last year, we were still photograph-
accessible — at least for digital uses such as social media.
ing and developing in actual film.
Since an images will crop differently of different platforms
Because of how widespread social media is, I am more likely to
and devices, I need to find images that will work in a number
question my selection from a popular stock photo site because
of formats.
I'm considering how many people may have already seen the
Now I look for images that can be repurposed easily.
image elsewhere online.
G D U SA 69
2017 health + wellness awards_feb news play 10/4/17 9:54 AM Page 70
HEALTH + WELLNESS
DESIGN AWARDS
SPONSORED BY ERICKSON STOCK
70 G D U SA
2017 health + wellness awards_feb news play 10/4/17 9:54 AM Page 71
GDUSA’s American Health + Wellness Design Awards™ honors outstanding
graphic communication by this high-profile segment of the economy. The 2017
winners showcase features 100 projects encompassing the big picture of
health and wellness: traditional medicine and healthcare; holistic and alternative
healing; healthy lifestyles and nutrition; and the aging of our society.
DESIGN FIRMS REPRESENTED
21-13 Impact Graphics
AARP
ABILITY Network
Access TCA
Alight Solutions
Amanda Culver
American Academy of Sleep Medicine (AASM)
American Association of Occupational Health Nurses
(AAOHN)
arithmetic
Back Forty Creative
Barnett Design, Inc.
BC The Magazine
BerkleyMed
BigEyedWish
Blue Star Press, LLC
BrandQuery
CBX
CCI Health & Wellness Services
Centermost Marketing
Cepheid, Inc.
Christiansen Creative
Contrast DesignWorks
Donna Huff Design
Eternal Works
Evolutions By Design
Extra Credit Projects
Florida State Association of Occupational Health Nurses
(FSAOHN)
Garrison Hughes Inc.
Gauger + Associates
Ginevra Design
Haberman
Hudson Valley Graphic Design
i-Health
LAM Design
Lisa Cain Design
Little Big Brands
m0dm0d
Meridian Health Services
Miskowski Design LLC
Nancy Reed Design
Nationwide Children's Hospital
NIH Medical Arts Branch
NJ Designs
Parry Branding Group
Paul Werth Associates
PRESENT e-Learning Systems
Professional Office Services
QNY Creative
Ron Kalstein/RKDK Design
S2 Design Group
Sage Age Strategies
Sarott Design
Smith Design
sparc, inc.
Swimmer Integrated Marketing
Taylor Design
Ted Stoik / Hartford Design / Woz Design
Test Monki
TFI Envision, Inc.
The Barber Gale Group
The Creative Pack LLC
The Morgan Leary Vaughn Fund
The Vivere Design Team
Tortuga Creative Services, LLC
UNC Health Care
Walgreens
Wallace Church & Co.
Warkulwiz Design Associates
WinshipPhillips
[x]cubeLABS
Xue Xia
Zarbee's Naturals
ZDI
G D U SA 71
2017 health + wellness awards_feb news play 10/4/17 9:24 AM Page 72
MESSAGE FROM ERICKSON STOCK
PIONEERING THE ART OF MOTION
FOR HEALTHCARE AND AGING
Thank you GDUSA, contestant entries and
winners for taking a difficult topic like
healthcare and creating a platform to focus
and illuminate this important subject.
We all know someone who is impacted by aging and health
issues. By bringing a focus on these subjects with competent
work and a sense of responsibility, the highest level of professional achievement is obtained.
Healthcare and, particularly, aging are difficult subject to discuss visually, emotionally and strategically. Your contributions to
human insight motivates us all to become more enlightened.
Erickson Stock believes the human connection is the strongest
currency we have, and seniors hold a key to that role in our lives
that is often overlooked. It’s a story that needs to be told. The
legacy seniors pass on is both compelling and informative.
Erickson Stock is pioneering the art of motion as it relates to
commerce and healthcare, and we are proud to be a part of
this program.
See and learn more at . . .
www.jimerickson.com
www.ericksonstock.com
ASSIGNMENT
COMMERCIAL VIDEOS
AND RF/RM IMAGERY
72 G D U SA
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2017 health + wellness awards_feb news play 10/4/17 9:25 AM Page 74
HEALTH + WELLNESS DESIGN AWARDS
Design Firm: 21-13 Impact Graphics, Tustin CA Client: Straight Chiropractic
Title: Straight Chiropractic Brochures Art Director: Jan Miller
Designer: Jan Miller
Design Firm: AARP, Washington DC Client: AARP Advocacy Title: AARP ACA
Limit on Age Rating Flyer Art Director: Mike Hilker Designer: Mike Hilker
Design Firm: AARP, Washington DC Client: AARP Title: AARP Careversations
Direct Mail Campaign Designer: Matt Rosser
Design Firm: AARP, Washington DC Client: AARP Events Title: AARP Block
Party Seattle Art Director: Matthew Hlubny Designer: Matthew Hlubny
74 G D U SA
2017 health + wellness awards_feb news play 10/4/17 9:25 AM Page 75
Design Firm: AARP, Washington DC Client: AARP Family Caregiving
Title: AARP Caregiver Social Graphics Art Director: Matt Rosser
Designer: Matt Rosser
Design Firm: AARP, Washington DC Client: AARP Events
Title: AARP Block Party St. Louis Designer: Mary McElveen
Design Firm: AARP, Washington DC Client: AARP Staying Sharp
Title: AARP Staying Sharp Recipe Cards Art Director: Michelle Moser
Designer: Michelle Moser
Design Firm: ABILITY Network, Minneapolis MN Title: Recruiting Materials
Creative Director: Calvin Buchanan Designer: Julia Taborskaya
G D U SA 75
2017 health + wellness awards_feb news play 10/4/17 9:27 AM Page 76
HEALTH + WELLNESS DESIGN AWARDS
Design Firm: ABILITY Network, Minneapolis MN Title: Star Measures Resources
Page and Nurture Campaign Creative Director: Calvin Buchanan
Designer: Julia Taborskaya
Design Firm: Access TCA, Whitinsville MA Client: Neurocrine Title: Launch of
Ingrezza, Treatment for Tardive Dyskinesia Art Director: Stephen Ross
Designer: Erick Gustafson Photographer: Jamie Padgett
Design Firm: Alight Solutions, Islip NY Client: PepsiCo Title: 2017 Annual
Enrollment Campaign Creative Director/Client Lead: Jill Rafkin Art Directors:
Victoria Cook, Cristine Giannotti Designers: Victoria Cook, Michelle McConnell
Writers: Ken Mastro, David Stuart Production Editor: Randall Van Vynckt
Project Manager: Kristin Peacock
Design Firm: Alight Solutions, Islip NY Client: PepsiCo Title: insight
Magazine - Spring 2017 Creative Director/Client Lead: Jill Rafkin
Art Directors: Victoria Cook, Cristine Giannotti Designers: Victoria Cook,
Michelle McConnell Writer: David Stuart Production Editor: Randall Van Vynckt
Project Manager: Kristin Peacock
76 G D U SA
2017 health + wellness awards_feb news play 10/4/17 9:27 AM Page 77
Design Firm: Alight Solutions, Islip NY Client: PepsiCo Title: Global Healthy
Living Day Logo Creative Director/Client Lead: Jill Rafkin
Art Director: Cristine Giannotti Designer: Coree Chambers
Design Firm: Alight Solutions, Islip NY Client: PepsiCo Title: Global Nutrition
Logo Creative Director/Client Lead: Jill Rafkin Art Director: Victoria Cook
Designer: Victoria Cook
Design Firm: Amanda Culver, Glendale AZ Client: MedMark, LLC Title: Dental
Sleep Practice Patient Education Guide Art Director: Amanda Culver
Design Firm: American Academy of Sleep Medicine, Darien IL Title: American
Academy of Sleep Medicine Branding Creative Director: Laura Nesbitt
Visual Designers: Kaitlyn Freese, Oscar Salgado
G D U SA 77
2017 health + wellness awards_feb news play 10/4/17 9:28 AM Page 78
HEALTH + WELLNESS DESIGN AWARDS
Design Firm: American Association of Occupational Health Nurses,
Washington DC Title: Living Legend Award Logo Designer: David Hazelton
Illustrator: David Hazelton
Design Firm: arithmetic, Vancouver BC Client: Living Alchemy
Title: Living Alchemy Branding & Packaging Design Art Director: Margherita
Porra Designer: Margherita Porra Illustrator: Ellen Tsai Photographer: Makito
Inomata Production: Elizabeth Vegh, Ellen Tsai
Design Firm: Back Forty Creative, St. Louis MO Client: GrowTech Industries
Title: GrowTech Farms Package Labels Creative Director: Miranda Summers
Art Director: Tim Holdmeier Designer: Corey Lee
Digital Director: Amanda Potts
Design Firm: Barnett Design, Inc., Ramsey NJ Client: Holy Name Medical
Center Title: Cancer Support Invitation Art Director: Debra Barnett Sagurton
Designers: Valerie Haymes, Tara Maratea, Jeff Ramos
78 G D U SA
2017 health + wellness awards_feb news play 10/4/17 9:28 AM Page 79
Design Firm: Barnett Design, Inc., Ramsey NJ Client: Holy Name Medical
Center Title: NJ Surgical Logo Art Director: Debra Barnett Sagurton
Designers: Valerie Haymes, Jeff Ramos, Tara Maratea
Design Firm: BC The Magazine, Oradell NJ Title: For The Love Of The Game
Editorial Design Art Director: Jessica LaPlaca-Bruno
Designer: Jessica LaPlaca-Bruno
Design Firm: BerkleyMed, Chesterfield MO Title: Pop Up Appreciation Mailer
Art Director: Lucy McCormac Designer: Lucy McCormac
Illustrator: Lucy McCormac Photographer: Lucy McCormac
Design Firm: BigEyedWish, Brooklyn NY Client: TERRA ORIGIN
Title: TERRA ORIGIN Package Design Art Directors: Lauren Romero,
Ian Wishingrad Designer: Szu-Chen Lin
G D U SA 79
2017 health + wellness awards_feb news play 10/4/17 9:29 AM Page 80
HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Blue Star Press, LLC, Bend OR Client: Maria Shriver, Author
Title: Color Your Mind: A Coloring Book for Those With Alzheimer’s And
The People Who Love Them Art Director: Peter Licalzi Designer: Chris Ramirez
Illustrator: Brita Lynn Thompson
Design Firm: BrandQuery, Mount Vernon WA Client: Skagit Regional Health
Title: Cascade Valley Hospital Window Graphics Art Director: Jacque Beamer
Designer: Sebastian Schoelss Project Management: Sebastian Schoelss
Design Firm: CBX, New York NY Client: First Take
Title: First Take Package Design Design: CBX
Design Firm: CCI Health & Wellness Services, Silver Spring MD
Title: Health Center Environmental & Experiential Branding
Art Director: José Luis Diaz
80 G D U SA
2017 health + wellness awards_feb news play 10/4/17 9:29 AM Page 81
Design Firm: Centermost Marketing, Syracuse NY Client: Farmers Market
Federation of New York Title: 2016 Annual Report
Designer: Lindsay Ott Wilcox
Design Firm: Centermost Marketing, Syracuse NY Client: Cornell Cooperative
Extension Sullivan County and Sullivan County Department of Planning
Title: Spend Ten Campaign Logo Designer: Lindsay Ott Wilcox
Design Firm: Centermost Marketing, Syracuse NY Client: Cornell Cooperative
Extension Sullivan County and Sullivan County Department of Planning
Title: Sullivan Catskills Farmers Markets Facebook Designer: Lindsay Ott Wilcox
Logo Design: Dorene Warner, W Design
Design Firm: Centermost Marketing, Syracuse NY Client: Cornell Cooperative
Extension Sullivan County Title: Sullivan Catskills Farmers Markets Website
Designer: Lindsay Ott Wilcox Logo Design: Dorene Warner, W Design
G D U SA 81
2017 health + wellness awards_feb news play 10/4/17 9:30 AM Page 82
HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Cepheid, Inc., Santa Clara CA Title: Xpert® TV Brochure
Art Director: Jared Tipton Designers: Kristin Bialaszewski, Bijal Patel
Design Firm: Cepheid, Inc., Santa Clara CA Title: Diagnostics First Tradeshow
Exhibit Art Director: Jared Tipton Designers: Kristin Bialaszewski, Bijal Patel
Illustrators: Tessa Faul, Rob McLay Photographer: Kent Clemenco
Design Firm: Cepheid, Inc., Santa Clara CA Title: 2017 Calendar
Art Director: Jared Tipton Designers: Kristin Bialaszewski, Bijal Patel
Photographers: Kent Clemenco, Dan Peak Communications: Darwa Peterson
Design Firm: Christiansen Creative, Hudson WI Client: CentraCare Health
Title: 2016 Report to Community Art Director: Tricia Christiansen
Designer: Sara Erlandson
82 G D U SA
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Design Firm: Christiansen Creative, Hudson WI Client: CentraCare Health
Title: Feeling Good MN Art Director: Tricia Christiansen
Designer: Ellie Alexander
Design Firm: Contrast DesignWorks, Los Altos CA Client: Stanford Biodesign
Title: Stanford Biodesign Website Executive Creative Director: Andrew Cambouris
Associate Creative Director: Courtney Carr Senior Art Director: Allen Aliangan
Designer: John Dixon Director of Strategy: Grady L. Baker Director of Client
Services: Kelley Casino Director of User Experience: Jamie Zirkle
Director of Technology: Martin McGee
Design Firm: Donna Huff Design, Nashville TN Client: Vanderbilt LifeFlight
Title: 2017 Vanderbilt LifeFlight iServe Emergency Care Conference Agenda
Flyers Art Directors: Donna Huff, Jerry Jones Designer: Donna Huff
Illustrator: Donna Huff
Design Firm: Donna Huff Design, Nashville TN Client: Vanderbilt LifeFlight
Title: 2017 Vanderbilt LifeFlight iServe Emergency Care Conference Poster
Art Directors: Donna Huff, Jerry Jones Designer: Donna Huff
Illustrator: Donna Huff
G D U SA 83
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Eternal Works, Virginia Beach VA Client: Support Services of
Virginia (SSVA) Title: Website Redesign Art Director: Tim Jones
Designer: Gigi Moore Project Manager: Ashlie Jones
Design Firm: Evolutions By Design, San Francisco CA Client: Tenet Florida
Physician Services Title: Recruitment Collateral Designer: Ann Schneider
Contributors: TFPS Marketing Team
Design Firm: Extra Credit Projects, Grand Rapids MI Client: Mary Free Bed
Title: We’ll Put You Back Together Tease/Reveal Creative Director: Rob Jackson
Art Directors: Chad Hutchison, Jackie Foss
Design Firm: Florida State Association of Occupational Health Nurses
(FSAOHN), Washington DC Title: FOHC 2017 Social Media Campaign
Designer: David Hazelton
84 G D U SA
2017 health + wellness awards_feb news play 10/4/17 9:31 AM Page 85
Design Firm: Garrison Hughes Inc., Pittsburgh PA Client: UPMC
Title: UPMC Aging Institute Annual Report Designer: Joe Bukovac
Design Firm: Garrison Hughes Inc., Pittsburgh PA Client: UPMC
Title: UPMC Health Beat Blog Design Designer: Nicole Santo
Design Firm: Garrison Hughes Inc., Pittsburgh PA Client: UPMC Title: Magee
Women’s Research Institute and Foundation Magazine Designer: Tia Kalas
Design Firm: Garrison Hughes Inc., Pittsburgh PA Client: UPMC
Title: UPMC Health Beat Blog Running Infographic Designer: Larry Hruska
G D U SA 85
2017 health + wellness awards_feb news play 10/4/17 9:31 AM Page 86
HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Garrison Hughes Inc., Pittsburgh PA Client: UPMC
Title: UPMC Video Holiday Card Designer: Larry Hruska
Design Firm: Gauger + Associates, San Francisco CA Client: The Peninsula
Regent Title: The Peninsula Regent Website Creative Director: David Gauger
Art Director: Lori Murphy
Design Firm: Ginevra Design, Valley Village CA Client: Cedars-Sinai
Title: Healthy Habits 2nd Grade Workbook Art Director: Rebekkah Schaubach
Designer: Jennifer Cogan
Design Firm: Ginevra Design, Valley Village CA Client: Cedars-Sinai
Title: Healthy Habits 3rd Grade Workbook Art Director: Rebekkah Schaubach
Designer: Jennifer Cogan
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2017 health + wellness awards_feb news play 10/4/17 9:32 AM Page 87
Design Firm: Ginevra Design, Valley Village CA Client: Cedars-Sinai
Title: Healthy Habits 4th Grade Workbook Art Director: Rebekkah Schaubach
Designer: Jennifer Cogan
Design Firm: Ginevra Design, Valley Village CA Client: Cedars-Sinai
Title: OBGYN Signs Cards Banner Stickers Series Art Director:
Rebekkah Schaubach Designer: Jennifer Cogan
Design Firm: Ginevra Design, Valley Village CA Client: Cedars-Sinai
Title: Social Media 25,000 Followers Infographic Art Director: Rebekkah
Schaubach Designer: Jennifer Cogan
Design Firm: Ginevra Design, Valley Village CA Client: Cedars-Sinai
Title: Blood Donor Services Twitter Infographics Series
Art Director: Rebekkah Schaubach Designer: Jennifer Cogan
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2017 health + wellness awards_feb news play 10/4/17 9:33 AM Page 88
HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Haberman, Minneapolis MN Client: Maty’s Healthy Products
Title: Maty’s Healthy Products Packaging Design: Haberman Team
Design Firm: Hudson Valley Graphic Design, Croton-on-Hudson NY
Client: Bear Hill Botanicals Title: Bear Hill Botanicals: Aromatherapy Mist
Art Director: Janeen Violante Designer: Janeen Violante
Design Firm: i-Health, Cromwell CT Title: UP4 Probiotics Refresh Packaging
Art Director: Lisa DeSeno Senior Designer: John Feidler
Design Firm: LAM Design, Pleasantville NY Client: Chattem
Title: Allegra Allergy Package Design
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2017 health + wellness awards_feb news play 10/4/17 9:35 AM Page 89
Design Firm: LAM Design, Pleasantville NY Client: Reckitt Benckiser
Title: Lysol Bathroom Cleaner Health-Centric Positioning
Design Firm: LAM Design, Pleasantville NY Client: Chattem
Title: Xyzal Allergy Brand Introduction
Design Firm: Lisa Cain Design, Glenwood IL Client: Organization for Autism
Research Title: Guide Series Art Director: Lisa Cain Designer: Lisa Cain
Design Firm: Lisa Cain Design, Glenwood IL Client: Society of Critical Care
Medicine Title: Membership Branding Art Director: Lisa Cain
Designer: Lisa Cain
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2017 health + wellness awards_feb news play 10/4/17 9:36 AM Page 90
HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Lisa Cain Design, Glenwood IL Client: American Society of
Nephrology Title: Kidney Week 2017 Corporate Support Opportunities Brochure
Art Director: Lisa Cain Designer: Lisa Cain
Design Firm: Little Big Brands, White Plains NY Client: Akorn Consumer
Healthcare Title: Type You Diabetic Care Package Design CCO: John Nunziato
Creative Director: Richard Palmer Senior Designer: Stephanie Simpson
Design Firm: Little Big Brands, White Plains NY Client: Lornamead,
A Li & Fung Company Title: Yardley Massage Bar Package Design
CCO: John Nunziato Designer: Emily Vail
Design Firm: Little Big Brands, White Plains NY Client: Akorn Consumer
Healthcare Title: Zostrix Package Design CCO: John Nunziato
Design: Little Big Brands Design Team
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2017 health + wellness awards_feb news play 10/4/17 9:36 AM Page 91
Design Firm: m0dm0d, Bradford UK West Yorkshire Client: ESKO
Title: Get Set Max Sports Nutrition Packaging Art Director: Mark O’Donnell
Design Firm: Meridian Health Services, Muncie IN Title: You Have to Weather
the Storm Donor Card Art Director: Lynette K. Waters-Whitesell Designer:
Lynette K. Waters-Whitesell Director of Fund Development: Scott Smalstig
Design Firm: Miskowski Design LLC, Hoboken NJ Client: Coventry Body Care
Title: Coventry Logo Design Designer: Justin Miskowski
Design Firm: Nancy Reed Design, Cibolo TX Client: Brenham Women’s Health
Title: Brenham Women’s Health Logo Designer: Nancy Reed
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2017 health + wellness awards_feb news play 10/4/17 9:37 AM Page 92
HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Nationwide Children’s Hospital, Columbus OH Client: Nationwide
Children’s Hospital Foundation Title: Be The Reason Campaign Kickoff Ad
Art Director: Tanya Burgess Bender Designer: Tanya Burgess Bender
Photographer: Dan Smith Project Management: Chris Garbrandt, Donna Teach
Writing: Jan Arthur
Design Firm: Nationwide Children’s Hospital, Columbus OH Client: Nationwide
Children’s Hospital Foundation Title: Foundation Newsletter Art Director: Tanya
Burgess Bender Designer: Tanya Burgess Bender Illustrators: Lindsey Tobin,
Joseph Wayand Photographers: Brad Smith, Dan Smith, Greg Heisler
Project Management: Chris Garbrandt, Erin Souder Writing: Erin Souder
Design Firm: Nationwide Children’s Hospital, Columbus OH Client: Nationwide
Children’s Hospital Foundation Title: Foundation Video Mailer Art Director:
Lindsey Tobin Designer: Lindsey Tobin Illustrator: Lindsey Tobin Photographers:
Brad Smith, Dan Smith Video: Jane Abel, Andy Banks Writing: Karri Schildmeyer,
Niki Shafer Production: Amy Jasperson, Amy Hafen, MediaFast
Design Firm: Nationwide Children’s Hospital, Columbus OH Title: Annual Report
2015-16 Microsite Art Director: John Ordaz Designer: Marcie Richardson
Photographers: Brad Smith, Dan Smith Senior Strategist, Clinical & Research
Communications: Chris Garbrandt Senior Account Manager: Brian Justus
Senior Creative Coordinator: Kiersten Kollins Infographic Icons Designer:
Lindsey Tobin Writers: Brian Justus, Tiasha Letostak Digital Account ManagerInteractive Marketing: Alison Pegg Director-Interactive Marketing: Stephanie
Cannon Senior Marketing Strategist: Laura Taylor Web Design: Basecra
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2017 health + wellness awards_feb news play 10/4/17 9:38 AM Page 93
Design Firm: Nationwide Children’s Hospital, Columbus OH Title: Annual
Report 2015-16 Art Director: John Michael Ordaz Designer: Marcie
Richardson Photographers: Brad Smith, Dan Smith Senior Strategist, Clinical
& Research Communications: Chris Garbrandt Senior Account Manager:
Brian Justus Senior Creative Coordinator: Kiersten Kollins Infographic Icons
Designer: Lindsey Tobin Writers: Brian Justus, Tiasha Letostak
Design Firm: Nationwide Children’s Hospital, Columbus OH Title: Behavioral
Health Pavilion Groundbreaking Collateral Art Director: John Ordaz Photographers:
Brad Smith, Dan Smith Senior Manager Marketing-Creative Services: Chris Garbrandt Director Marketing Services/Corporate Communication: Laurie Starner
Marketing Account Manager-Internal Communications: Daryl Barker
Senior Account Manager-Web/Interactive Marketing: Diane Lang
Design Firm: NIH Medical Arts Branch, Bethesda MD Client: National
Institutes of Health Title: NIH Child & Family Programs Branding
Art Director: Bonnie Hamalainen Designer: Bonnie Hamalainen
Design Firm: NIH Medical Arts Branch, Bethesda MD Client: National Institutes
of Health Title: Division of Population Health Research (DIPHR) 50th
Anniversary Logo Art Director: Martha Blalock Designer: Jeffrey Everett
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2017 health + wellness awards_feb news play 10/4/17 9:39 AM Page 94
HEALTH + WELLNESS DESIGN AWARDS
Design Firm: NIH Medical Arts Branch, Bethesda MD
Client: National Institutes of Health Title: NIH Human Genomes Poster
Art Director: Jessica Jackson Designer: Jessica Jackson
Design Firm: NIH Medical Arts Branch, Bethesda MD Client: National
Institutes of Health Title: Immunohematology & Blood Transfusion 2017
Symposium Poster Art Director: Jessica Jackson Designer: Jessica Jackson
Illustrator: Ethan Tyler
Design Firm: NIH Medical Arts Branch, Bethesda MD Client: National Institutes
of Health Title: Mobile Technologies & Weight Control Seminar Poster
Art Director: Jessica Jackson Designer: Jessica Jackson
Design Firm: NIH Medical Arts Branch, Bethesda MD Client: National
Institutes of Health Title: National Eye Institute 50th Anniversary Logo
Art Director: Jessica Jackson Designer: Jessica Jackson
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Design Firm: NIH Medical Arts Branch, Bethesda MD Client: National
Institutes of Health Title: NHLBI Systems Biology Symposium Art Director:
Martha Blalock Designer: Jeffrey Everett Illustrator: Jeffrey Everett
Design Firm: NIH Medical Arts Branch, Bethesda MD Client: National
Institutes of Health Title: NIH Spring Into Wellness Poster Series Art Director:
Martha Blalock Designer: Jeffrey Everett Illustrator: Jeffrey Everett
Design Firm: NIH Medical Arts Branch, Bethesda MD Client: Discovery Channel
and National Institutes of Health Title: First In Human Documentary NIH
Screening Poster Art Director: Rayne Ann Wood Designer: Rayne Ann Wood
Photographer: Bill Branson
Design Firm: NJ Designs, Sparks NV Client: Washoe County Medical Society
Title: Communicator Bi-Monthly Publication Art Director: Natalie Ede
Designer: Natalie Ede
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2017 health + wellness awards_feb news play 10/4/17 9:40 AM Page 96
HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Parry Branding Group, New York NY Client: Bloomfield Industries
Title: Allayent Medical Marijuana Transdermal Patch Packaging
Chief Creative Officer: Vince Parry Art Director: Tiphaine Guillemet
Designer: Tiphaine Guillemet
Design Firm: Parry Branding Group, New York NY Client: Bloomfield Industries
Title: Allayent Medical Marijuana Capsules Packaging
Chief Creative Officer: Vince Parry Art Director: Tiphaine Guillemet
Designer: Tiphaine Guillemet
Design Firm: Parry Branding Group, New York NY Client: Bloomfield Industries
Title: Allayent Medical Marijuana Website Design Chief Creative Officer:
Vince Parry Art Director: Tiphaine Guillemet Designer: Tiphaine Guillemet
Design Firm: Parry Branding Group, New York NY Client: Neuronetics
Title: NeuroStar Advanced Therapy Website Chief Creative Officer: Vince Parry
Art Director: Tiphaine Guillemet Designer: Tiphaine Guillemet
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2017 health + wellness awards_feb news play 10/4/17 9:40 AM Page 97
Design Firm: Paul Werth Associates, Columbus OH Client: CelebrateOne
Title: CelebrateOne Campaign Posters Art Director: John Predmore
Designer: John Predmore Photographer: George Anderson
Design Firm: PRESENT e-Learning Systems, Boca raton FL
Client: Regenerative Medicine Congress Title: Regenerative Medicine
Congress Welcome Banner Designers: Kurt Pravel, Rich Pintur
Design Firm: Professional Office Services, Waterloo IA Client: Professional
Office Services Title: Breast Cancer One in Eight Brochure
Designer: Tammy Laughlin
Design Firm: Professional Office Services, Waterloo IA Client: Women’s
Care Florida Title: 2016-2017 Value Report Designer: Tina M. Coy
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2017 health + wellness awards_feb news play 10/4/17 9:41 AM Page 98
HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Professional Office Services, Waterloo IA Client: South Jersey
Fertility Center Title: Corporate Branding Redesign Designer: Darren Haley
Design Firm: Professional Office Services, Waterloo IA Client: Professional
Office Services Title: Gender Reveal Card Designer: Tammy Laughlin
Design Firm: Professional Office Services, Waterloo IA Client: Wisconsin Vein
Center & Medispa Title: Promotional Folder with Insert Cards
Designer: Ben Sigmund
Design Firm: QNY Creative, New York NY Client: Zint Nutrition
Title: Zint Nutricosmetics Packaging Art Director: Ezio Burani
Designer: Hsiao-Han Chen Project Manager: James Ferranti
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Design Firm: QNY Creative, New York NY Client: Zint Nutrition
Title: Zint Nutrition Social Media Advertising Art Director: Ezio Burani
Designer: Hsiao-Han Chen
Design Firm: Ron Kalstein/RKDK Design, Southampton PA Client: Einstein
Healthcare Network/MossRehab Title: BlueJean Day Fundraiser Poster
Art Director: Ronald Kalstein Designer: Ronald Kalstein
Illustrator: Ronald Kalstein
Design Firm: S2 Design Group, New York NY Client: Pfizer, Inc.
Title: Emergen-C Hydration+ Package Design Creative Director: Eileen Strauss
Senior Design Director: Anne Simon Designer: Wil Rodriguez
Design Firm: Sage Age Strategies, Montoursville PA
Title: Drive Website
Creative Director: Dean Kistner
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2017 health + wellness awards_feb news play 10/4/17 9:42 AM Page 100
HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Sage Age Strategies, Montoursville PA Title: Drive Logo
Creative Director: Dean Kistner
Design Firm: Sage Age Strategies, Montoursville PA Title: The Highlands
of Wyomissing Annual Report Designer: Nicholas Biddle
Design Firm: Sage Age Strategies, Montoursville PA Title: Tuscan Gardens
Advertising Series Creative Director: Rachel Fox
Design Firm: Sage Age Strategies, Montoursville PA
Title: Waterstone at the Circle Invite Designer: Rhianna Speck
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2017 health + wellness awards_feb news play 10/4/17 9:47 AM Page 101
Design Firm: Sarott Design, Nazareth PA Client: Phoebe Ministries
Title: The Messenger, Summer 2017 Art Director: Peter McConnell
Designer: Sarah Dams Photographers: John Kish IV, Randy Monceaux
Design Firm: Smith Design, Morristown NJ Client: i-Health, Inc.
Title: Culturelle Probiotics Package Design Art Director: Glenn Hagen
Designer: Mike Doyle
Design Firm: sparc, inc., Winnetka IL Client: Center on Halsted
Title: THE NXT LVL HIV Testing Program Art Director: Richard Cassis
Designer: Richard Cassis Illustrators: Ed Paschke, Francoise Neilly,
Chiara Tomati, Chad Sell Writer: Mary Ann Rood
Design Firm: Swimmer Integrated Marketing, Prospect Heights IL
Client: Pathway Client: Victory Center Art Director: Mark Swimmer
Designer: Debra Nemeth
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HEALTH + WELLNESS DESIGN AWARDS
Design Firm: Taylor Design, Stamford CT Client: Brigham and Women’s Hospital
Title: Brigham Health Magazine Creative Directors: Dan Taylor, Stacy Resnikoff
Art Director: Steve Habersang Designer: Steve Habersang
Design Firm: Ted Stoik / Hartford Design / Woz Design, Chicago IL
Client: Abbott Title: Abbott 2016 Annual Report Art Directors: Tim Hartford,
David Wozniak, Ted Stoik Designers: Tim Hartford, David Wozniak, Ted Stoik
Photographer: Tom Maday
Design Firm: Test Monki, The Woodlands TX Client: Hanigan & Johnson
Title: Hanigan & Johnson Brand Identity Art Director: Suzy Simmons
Designer: Gabby Nguyen
Design Firm: Test Monki, The Woodlands TX Client: Local Smile Co.
Title: Local Smile Co. Brand Identity Art Director: Suzy Simmons
Designer: Gabby Nguyen
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2017 health + wellness awards_feb news play 10/6/17 10:49 AM Page 103
Design Firm: Test Monki, The Woodlands TX Client: The Dental Market
Title: The Dental Market Brand Identity Art Director: Suzy Simmons
Designers: Sofi Cruz, Gabby Nguyen Photographer: Jimmy Sarant
Design Firm: Test Monki, The Woodlands TX Client: Camp Smiles
Title: Camp Smiles Brand Identity Art Director: Suzy Simmons
Designers: Gabby Nguyen, Sarah Wright
Design Firm: Test Monki, The Woodlands TX Client: Little White Tooth
Title: Little White Tooth Brand Identity Art Director: Suzy Simmons
Designers: Gabby Nguyen, Sarah Wright, Sofi Cruz
Design Firm: TFI Envision, Inc., Norwalk CT Client: UNILEVER Title: Brummel
& Brown Organic Packaging Art Director: Mary Ellen Butkus Designers: Mary
Ellen Butkus, Clare Zisek Production Artists: Cindy Emmert, Richard Wall
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2017 health + wellness awards_feb news play 10/6/17 10:49 AM Page 104
HEALTH + WELLNESS DESIGN AWARDS
Design Firm: The Barber Gale Group, Exton PA Client: Devereux
Title: 2016 Devereux Annual Report - Advancing Whole Person Health
Art Director: Cynthia Barber Gale Designer: Cynthia Barber Gale
Design Firm: The Creative Pack LLC, Manhattan Beach CA Client: Fresh Thyme
Title: Fresh Thyme Essential Oils Range Art Director: Danielle Beal
Designers: Paola Ip, Heather Storie, Corey Czer, Emma Tung
Project Manager: Fern Serna
Design Firm: The Creative Pack LLC, Manhattan Beach CA Client: Roli Roti
Title: Butcher’s Bone Broth Range Art Director: Danielle Beal
Designer: Paola Ip Project Manager: Fern Serna
Design Firm: The Morgan Leary Vaughn Fund, Naugatuck CT Title: Speaking of
NEC Brochure Designer: Jane Mahoney Copywriter: Nicholas Efstathiou
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2017 health + wellness awards_feb news play 10/6/17 10:50 AM Page 105
Design Firm: The Vivere Design Team, Conifer CO Client: Penscott Management
Title: The APO E Gene Program Art Director: Gayle Vivere
Designer: Gayle Vivere Developer: Jon Paul Vivere Writer: Meryn Callender
Design Firm: Tortuga Creative Services, LLC, Lanoka Harbor NJ
Client: All In The Family Dental Care Title: Oral Cancer Screening Campaign
Art Director: Jess Connors
Design Firm: Tortuga Creative Services, LLC, Lanoka Harbor NJ
Client: All In The Family Dental Care Title: Invisalign Treatment Social Media
Campaign Art Director: Jess Connors
Design Firm: UNC Health Care, Chapel Hill NC Title: Faces of UNC Health Care
Gallery Art Director: Max Englund Photographers: Max Englund, Mark
Derewicz, Lane Deacon Photos Printed/Installed: Bev’s Fine Art
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2017 health + wellness awards_feb news play 10/6/17 10:51 AM Page 106
HEALTH + WELLNESS DESIGN AWARDS
Design Firm: UNC Health Care, Chapel Hill NC Title: Tug Robot Wraps
Designer: Paul Daniel Illustrator: Paul Daniel
Design Firm: UNC Health Care, Chapel Hill NC Title: Tar Heal Paws Trading
Cards Art Director: Max Englund Designers: Max Englund, Christ-Claude
Mowandza-Ndinga Photographer: Lane Deacon
Design Firm: Walgreens, Chicago IL Title: Healthy Heart Poster Series
Art Director: Mike Pruim Designer: Zach Stemerick Photographer: Kip Swehla
Copywriter: Emily Ornberg
Design Firm: Walgreens, Chicago IL Title: Healthy Recipes Poster Series
Art Director: Mike Pruim Designer: Mike Pruim Photographers: Mike Pierce,
Lindsay Roggenbuck Copywriter: Emily Ornberg
106 G D U SA
2017 health + wellness awards_feb news play 10/6/17 10:51 AM Page 107
Company: Wallace Church & Co., New York NY Client: Eli Nutrition, Inc.
Title: Tummy Zen Packaging Executive Creative Director: Stan Church
Art Director: Jodi Lubrich Designer: Jodi Lubrich
Design Firm: Wallace Church & Co., New York NY Client: Nestlé HealthCare
Nutrition Title: BOOST Package Design Executive Creative Director: Stan
Church Art Directors: John Bruno, Jodi Lubrich Designer: Frank Castaldi
Design Firm: Warkulwiz Design Associates, Merion Station PA
Client: GoPhillyGo.org/Clean Air Council Title: GoPhillyGo Advertising
Campaign 2016 Art Director: Bob Warkulwiz Designer: Emily Zuwiala
Design Firm: WinshipPhillips, Santa Fe NM Client: International Society for
Heart & Lung Transplantation Title: ISHLT 36th Annual Meeting and Scientific
Sessions Art Director: Ken Phillips Designer: Becky Phillips
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2017 health + wellness awards_feb news play 10/6/17 10:52 AM Page 108
HEALTH + WELLNESS DESIGN AWARDS
Design Firm: [x]cubeLABS, Dallas TX Client: UnitedHealthcare
Title: UnitedHealthcare On My Way Website Art Director: Alicia Lomas
Designer: Alicia Lomas
Design Firm: Xue Xia, Bellevue WA Title: WE EAT: Designing For Healthy Eating
Habits Project Art Director: Xue Xia Designer: Xue Xia Illustrator: Xue Xia
Design Firm: Zarbee’s Naturals, Greenwich CT Title: Natural Honey Cough
Syrup Art Directors: Kirsten Burgess, Les Mooney Illustrator: Kyle Marcella
Structure: Motiv Design Team
Design Firm: ZDI, Babylon NY Client: Response Crisis Center of Suffolk County
Title: Response Crisis Center Web Design Art Director: Richard Zimmer
Designer: Kevin Bulger
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Project28_Layout 1 7/24/17 2:52 PM Page 1
I am
I am In-House
Trish Olives is the Creative Studio
Manager at YETI, the popular Austinbased manufacturer of premium outdoor
lifestyle products (think coolers, tumblers
and assorted accessories). As a seasoned
creative leader, she spends her days
working with the absolute most badass
creatives and marketers in the outdoor
industry, creating idea-driven, on-brand,
award-winning work so nobody has to
suffer from melted ice ever again. Her work
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been featured as a speaker at the HOW
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Before Trish embarked on her epic
adventure at YETI, she worked as a
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creative departments around the majorly
competitive city of Austin. She loves
creating effective, beautiful communication
that connects with audiences in a big
way, fostering original talent in this
great community and facilitating solid,
unshakable relationships between clients
and creatives, resulting in the very coolest
and most inventive output.
N_\eKi`j_`jeËkjg\e[`e^_\i[XpjkXZbc`e^
those lofty goals, she plays the oboe, works
Xjk_\:i\Xk`m\;`i\Zkfi]fi8ljk`e:`m`Z
Orchestra, travels the world and eats lots
and lots of noodles. So many noodles.
in-source.org
Designed by Eric Rhinehart, InSource Member | Photo Credit: Annie Ray
EVERY TIME WE PLACE TALENT
IT’S LIKE PLANTING A SEED.
Then we carefully nurture them along the way, providing the resources they need to blossom.
We help to plant their roots at leading companies, to begin or continue prolific careers in
the fields of digital, print and marketing.
That’s how we proudly cultivate long-standing relationships with both the talent we represent
and the clients we serve. Join us in growing something extraordinary.
CHICAGO · INDIANAPOLIS · NEW YORK · LOS ANGELES · WASHINGTON, DC · SAN FRANCISCO
artisantalent.com · 800.216.0600
October 2017 Pub Letter-Focus Impo_feb news play 10/4/17 10:15 AM Page 113
SAPPI ‘VERTICALS’ WINS POSITIVELY PRINT AWARD AT PRINT 17
Sappi North America’s publication,
Verticals: The Marketing of Higher
Education is the 2017 winner of
the Positively Print award presented
at the PRINT 17 show now
taking place in Chicago.
publication creatively demonstrates how print effectively
cuts through digital clutter, helping colleges and universities
create a lasting impression to stand out with students and
their families. A direct mail campaign launching the piece
was sent to 2,000 universities, which sparked demand for
additional copies and requests for presentations.
This is the eighth year for the Positively Print award, which
Pursuing the organization’s mission to educate its stake-
recognizes an organization that promotes the power, sustain-
holders, Sappi launched the Verticals series to examine
ability, and effectiveness of print. “Sappi North America’s
individual vertical markets and the unique challenges, tradi-
engaging and informational publication portrays the impact
tions, and idiosyncrasies each faces when communicating
of print through a real-world example and also integrates
with its target audience. This first installment aims to bring
facts about its sustainable production,” said NPES President
colleges and universities across the United States a set of
Thayer Long. Recent past Positively Print winners include:
best practices for attracting new students through indepth
(2016) Rolland Enterprises, Inc. – The Paper Loop magazine;
research and case studies.
(2015) Sappi NA – A Communicator’s Guide to the Neuroscience of Touch; (2014) IKEA – Bookbook Campaign;
The winning piece brings industry statistics to life, busts
(2013) Sappi NA – PRINT & Book; (2012) PrintCity –
myths on marketing to this demographic, and includes a
PRINT! Seen! Lean and Green; and (2011) Domtar –
five-page pullout full of special effects and cross-channel
Paper Because Campaign.
marketing tips. With competition stronger than ever, the
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October 2017 Pub Letter-Focus Impo_feb news play 10/4/17 10:16 AM Page 114
YUPO INTRODUCES FIRST ANNUAL #DOITONYUPO AWARDS
Which printer will take the prize for
creating the most beautifully printed
piece using YUPO Synthetic Paper?
For years Yupo has showcased designers for their stellar
creations using YUPO (aka The Wally Awards), but now
they are extending the glory, fame and cash to printers who
spec and use YUPO.
Officials state: “Are you ready to win $2,500? Next time you
print a Print, Package, Label or Design project using YUPO,
submit a sample to us. An internal panel of esteemed judges
will select the project that exhibits the most impressive
display of print processes. So ink it, varnish it or stamp it
and show us how you #DoitonYUPO.” In addition to the
prize money, the winning project will also be the subject of
a full page in Printing Impressions magazine; and will
receive front and center placement on YUPO’s “Our
Partners” webpage.
Understanding that printers and designers are a team, YUPO
is also offering a $500 award to the designer of the winning
entry. Submissions will be accepted until September 2018
and the winner will be selected in October 2018.
114 G D U SA
Learn more at
yupousa.com/doitonyupo-print-awards
October 2017 Pub Letter-Focus Impo_feb news play 10/4/17 10:16 AM Page 115
DESIGN SKILLS EMPLOYERS WANT YOU TO HAVE
BY BEJAN DOURAGHY
Whether you’re a designer focusing
on graphics, emails, front end, etc.,
there are common skills all employers
want you to have.
Yes, you need to have a killer portfolio, but that’s not all
recruiters and hiring managers want to see. Don’t forget to
highlight your proficiency in software and design skills on
your resume and job application.
Want to make yourself the most desirable candidate for an
upcoming project or new job opportunity? This is what
employers want to see.
TOP SOFTWARE SKILLS EMPLOYERS
WANT TO SEE ON YOUR RESUME
Keep in mind potential employers are just as interested in
• Software program proficiency in the Adobe Creative
culture skills too. Chicago-based Artisan Talent Account
Cloud (Photoshop, InDesign, etc.)
• Content management platforms you can use
(i.e., Drupal and WordPress)
• Programming languages you know
(CSS, HTML, or JavaScript)
Manager Karen Smith explains, “Companies want to know if
talent has worked in and done well in similar environments;
be it polished corporate, or agency cool, start-up, tech, etc. Can
they blend well with the skills of a company’s existing talent?
Have they and can they fit in with the rest of the team?”
• Development applications
• Video and animation tools you are experienced in
THE BOTTOM LINE:
• PowerPoint presentation experience
KEEP POLISHING AND ADDING SKILLS
N O N -SO FTWAR E SK ILLS
EMPLO YER S WAN T TO SEE
It’s important to always be learning when you’re in a digital
career. The Brandford Hall Career Institute offers this advice:
“In this age of rapidly-improving technology, there are always
While software skills often take the #1 spot for deciding to
new tools to help Graphic Designers stay on the cutting edge
pursue a candidate further, there are a host of other things
of design. Throughout your career, it’s a good idea to keep up
that can move you to the top of the list.
with the newest technologies, be willing to try new things,
and to keep learning about your career field.”
• Attention to Detail: Typos are your worst enemy
• Conceptual Ability: It’s so important to have good
conceptual skills to keep ideas fresh
Don’t forget your resume and portfolio are living, breathing
documents, so always be updating them. It’s important to
• Time Management: You’re working on a million projects
keep growing, and if you’ve learned a new skill, show it off.
at once and need to be able to manage them efficiently
It could make the difference between landing that next role
• Broad Best Practices: A good designer needs to
or having to continue combing through job boards.
understand digital as well as print marketing tactics
and best practices
• Infographics and Icons: This trend is here to stay and
BEJAN DOURAGHY is the founder of Artisan Talent, an award
winning staffing agency that has been inspiring better lives and
clients will want to know if you have experience
matching talent since 1988, with offices in Chicago, New York City,
creating them
Indianapolis, Washington D.C., Denver, Los Angeles, and San
• Typography: Are new fonts, combinations, and typefaces
Francisco. For more information, visit artisantalent.com
your jam?
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October 2017 Pub Letter-Focus Impo_feb news play 10/4/17 10:17 AM Page 116
MOHAWK GUIDE EDUCATES ABOUT ENVELOPES
In furtherance of its belief that
“the right material can take your
work from good to great,” Mohawk
has released A Maker’s Field Guide
to Envelopes, the latest in a series
of comprehensive, printed guides
designed to inspire and educate
designers, their clients and printers.
“The new Maker’s Field Guide to Envelopes is the latest
expression of Mohawk’s ongoing commitment to helping
demonstrate the pivotal role materials play in the success of
every print job,” said Chris Harrold, Vice President, Creative
Director, Mohawk. “Envelopes are equal part function and
first impression. An envelope is like a handshake that
simultaneously says ‘hello’ and ‘open me first!’”
Created by Aurora Design to complement Mohawk’s Maker’s
Field Guide to Texture and Color and the Mohawk Maker
Quarterly, A Maker’s Field Guide to Envelopes is organized
around five defining, structural attributes of an envelope:
Texture, Color, Style, Flap and Size. Like the Maker’s Field
Guide to Texture and Color, the envelope guide opens with
a high level introduction stating the case for materials with
a blend of behavioral insight and hands-on demonstration.
This is intended to prove that careful attention to your envelope selection helps elevate any project from good to great.
The 26 page book is organized in to six short, high-impact
sections:
1. INTRODUCTION
This includes background on the impact of materials as
well as a hands-on, interactive introduction to the five
defining envelope attributes to consider in design.
2. TEXTURE
How to use textured envelopes to capture your audience
through touch.
3. COLOR
Using color can transform a simple, common form like a
business envelope to something extra special.
116 G D U SA
4. STYLE
Carefully considering the anatomy of your envelope is crucial
to any project that requires an envelope enclosure.
5. FLAP SHAPE
Unique to envelopes, flaps offer a clue to what’s inside.
From formal invite to business stationery, a flap style can
send a message before it’s even opened.
6. SIZE
From the smallest, attention-getting envelope to the largest
unique forms, the size of an envelope is an obvious, but
powerful choice.
Throughout the book, including the dust jacket, patterns
inspired by envelope security tints are used as a visual,
unifying element, and printed on 25 different combinations
of Mohawk colored and textured papers and envelopes.
Production credits to O’Neil Printing and Roswell Bindery,
both in Phoenix AZ.
www.mohawkconnects.com/makersfieldguidetoenvelopes
October 2017 Pub Letter-Focus Impo_feb news play 10/4/17 10:17 AM Page 117
HOW TO HIRE TOP CREATIVE TALENT, FAST
BY DIANE DOMEYER
After spending weeks reviewing resumes
and portfolios, and interviewing candidates
for an open design position at your company,
the hiring committee finally decides on
a top pick. But when you call to tell the
prospective employee the good news, you
discover she’s already accepted another
job offer — and you’re back to square one
or have to go with your second choice.
Challenges lurk within every step of the recruitment process,
especially in today’s low unemployment climate. And organizations
that don’t move quickly once they identify promising candidates
risk losing them. In a recent Robert Half survey, 69 percent of
workers said they lose interest in a job if they haven’t heard from
an employer within two weeks after the initial interview.
3. ESTABLISH A TIMELINE AND STICK TO IT
Contact all stakeholders — your boss, human resources and
members of the hiring committee — and come up with a timeline that everyone commits to. Decide who is responsible for
what, such as contacting short-listed candidates and signing off
on the top choice. If there is a delay at any point in the process,
figure out how you can expedite next steps.
4. STREAMLINE INTERVIEWS
Speed up the first round of interviews by conducting them over
Skype, FaceTime or other video software. To keep the playing field
level, be consistent and ask all candidates the same interview
questions. Have candidates meet with all stakeholders when
coming in for in-person interviews, whether it be in short, one-onone meetings or group interviews.
5. K EEP CAN D ID ATES IN TH E LO O P
It’s discouraging to apply for a position and never hear from the
employer. To keep job seekers interested in your company, as
This is why you need to accelerate your hiring process to land highly
well as to make a positive impression on top talent, keep the
skilled creative professionals. Here are six tips for tightening
lines of communication open throughout the recruitment process.
your timeline.
If you use an applicant tracking system, set up a cordial automatic
response to those who submit a resume. Follow up with the most
1. IDENTIFY WHAT YOU REALLY NEED
Hiring full-time employees takes time, money and effort. Do you
really need a new designer on staff to work 40 hours a week?
When evaluating job vacancies and project needs, consider faster
alternatives. For example, if you seek an art director, first look
promising candidates via a personal phone call or email to set up
an initial meeting. After interviews, let short-listed candidates
know when you expect to make a decision.
6. MAKE YOUR MOVE
within the organization to see who you could promote. For sea-
While reference and background checks are obviously essential,
sonal initiatives like annual reports and holiday campaigns, bring
they take up valuable time. Once you’ve decided on a top choice,
in interim professionals or assign work to freelancers — two
notify the person immediately and make an offer contingent on
options that maximize talent and flexibility. Specialized staffing
the results of those checks. Be prepared to negotiate salary and
firms can also connect you with project-based creative pros.
perks on the spot.
2. EXPAND YOUR POOL
Hiring the right people is one of the most important decisions a
Recruiting is more efficient when you have several great applicants
to choose from. Besides posting an opening on job boards, spread
the word via your company’s social media channels, including
millennial-friendly platforms like Snapchat. At design conferences
manager can make, and it shouldn’t be rushed. But a long,
drawn-out process comes with the risk that top creative talent
will get away. An accelerated schedule optimizes the chances of
landing your first picks, quickly and efficiently.
and networking events, don’t overlook passive job seekers —
people who are content in their current jobs but are open to the
DIANE DOMEYER is Executive Director
possibility of switching if the right opportunity comes along.
of The Creative Group, a specialized
staffing service placing interactive,
design, marketing, advertising and
public relations professionals with a
variety of firms. For more information,
visit roberthalf.com/creativegroup
G D U SA 117
Oct 2017 reader Page_feb news play 10/4/17 10:42 AM Page 118
FREE INFORMATION
To request product information from advertisers featured in this issue visit:
www.gdusa.com/freestuff.php
You can also contact the advertisers directly as provided below or fax this page back to 212.696.4564
COMPANY NAME
m
1 4over
COMPANY NAME
PAGE
109
m
www.4over.com
m
2 Academy of Art University
3 Admore
IFC
m
4 Adobe Max
27
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5 Artisan
45
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6 Berthold
25
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7 bridgeman images
www.bridgemanimages.com
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8 Canon
7
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9 Choose Print
67
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10 Clearwater Paper
23
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11 Corporate Image
22
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12 Erickson Stock
19
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13 How Design Live
17
m
14 InSource
73
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15 International Paper
2
16 Jam Paper
www.jampaper.com
118 G D U SA
11
24 Shutterstock
1
25 Stocksy
BC
26 The Reach Conference
3
27 TwoSides
57
28 Veritiv
29
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29 Verso
21
www.versopaper.com
61
m
15
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www.internationalpaper.com
m
23 Sappi
www.veritivcorp.com/endurance
30 Visual Connections
31 Yupo
www.yupo.com
67
32
www.visualconnections.com/gdusa
www.in-source.org
m
5
www.twosides.na.org
www.howdesignlive.com
m
22 Rolland
www.thereachconference.com
www.ericksonstock.com
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55
www.stocksy.com
www.corp-image.com
m
21 PackZen
www.shutterstock.com
pandp@clearwaterpaper.com
m
13
www.sappi.com/mccoy
www.chooseprint.org
m
20 Northwestern University
www.rollandinc.com
www.usa.canon.com/proprinters
m
49
www.packzen.com
www.bertholdtypes.com
m
19 Mohawk
www.sps.northwestern.edu/design
www.artisantalent.com
m
IBC
www.mohawkconnects.com
max.adobe.com
m
18 Kallima Paper
www.kallima.com
www.admorefolders.com
m
9
www.jimerickson.com
www.academyart.edu
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17 Jim Erickson
PAGE
59
Project17_Layout 1 5/31/17 12:03 PM Page 1
on a canvas that lets you shine
KALLIMA’S UNPARALLELED PRINT PERFORMANCE
WILL ENHANCE YOUR CREATIVE CONCEPTS
It also uses 30% to 35% fewer trees and has no toxic chemicals
TIME TO MAKE THE RIGHT PAPER CHOICE
Commercial printing
–
Packaging
–
Publishing
kallima.com
Project33_Layout 1 9/18/17 1:54 PM Page 1
Stocksy is an artist-owned
cooperative raising the bar —
and the industry’s expectations
— of stock photo and video.
S T O C K S Y. C O M
C R E AT E D B Y
BY RESPECT
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