COMMUNICATION ARTS DESIGN ANNUAL 57

COMMUNICATION ARTS DESIGN ANNUAL 57

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�� FEATURES 38 Gloria Pizzilli

by Bonnie Smetts The Italian illustrator’s complex work plays with the opposing forces of beauty and ugliness.

46 BOHAN

by Matthew Porter The secret behind this Nashville-based ad agency’s work? Imbuing it with collaboration.

COVER Source images

(clockwise from top left): Environmental graphics for City of Dallas, p. 158; poster series for The Steppenwolf Theatre, p. 114; exhibit design for Target Too, p. 172; integrated branding for My Kingdom for a Horse, p. 100; packaging for Oslo Håndverksdestilleri, p. 83.

54 ioulex

by Dzana Tsomondo This powerful duo transcends the solitary nature of photography with a dreamy style all their own.

62 Stimulant

by Sam McMillan The San Francisco–based experiential studio brings dreams to life through digital interactions.

70 Exhibit

by Jean A. Coyne The latest and best in visual communication from here and abroad.

DESIGN ANNUAL 79 91 95 112 115 131 136 143 144 146 150 152 159 167 171 175 187

Packaging Miscellaneous Company Literature Integrated Branding Programs Trademarks Posters Books Public Service Catalogs Product Service Brochures Annual Reports Letterheads Editorial Environmental Graphics Motion Graphics Miscellaneous Self-Promotion Student Work

FRESH Editor/Designer Patrick Coyne Executive Editor Jean A. Coyne Managing Editor Michael Coyne

200

Aitch This Romanian artist infuses wanderlust and folk art into her illustrations.

202

Ryan Koopmans An interest in architecture informs this Amsterdam-based photographer’s work.

Associate Editor Esther Oh

204

Oddds This long-distance design duo breaks boundaries as they cross international borders.

12

Design Culture You might have started your next project without realizing it, Wendy Richmond says.

24

Business Rebecca Huval uncovers how coworking spaces help the design community flourish.

14

Advertising Ernie Schenck calls for more awe-inspiring concepts in advertising.

28

Emerging Media Sam McMillan discovers what to expect in the new wave of gestural interface design.

Print Producer Daniel Sambrano

21

Design Details Ellen Shapiro discusses with four avid collectors the importance of starting a design library.

Design/Production Associate Joni Rivas

32

Production Assistant/Customer Service Representative Khader Yanni

Insights It’s time to get digital interactions off the screen, Josh Goldblum of Bluecadet says.

Administrative/Production Associate Stacey Meisner

Archivist Nancy Clark Lewis Software Engineers Jiping Hu Srividhya Gopalakrishnan

34

Education Want to copyright your design? Linda Joy Kattwinkel and Shel Perkins show how.

Technology Administrator Michael Hoyt Advertising Director Valerie Pippin Circulation Director Perry Fotos

DEPARTMENTS

Accounting Lois Vega

Editor’s Column Contributors Web Watch Favorites Book Reviews Index to Design Annual 57 Directory Overheard

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EDITOR’S COLUMN

Patrick Coyne

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e experienced a 3.5 percent increase in entries to this year’s design competition. The packaging, environmental graphics and integrated branding categories saw the most significant increases; brochures, catalogs and annual reports registered declines. The surprising increase in book submissions reflects general market reports indicating a rise in printed book sales in 2015—the first growth in the last four years.

“I was not surprised to see so many quality submissions,” juror Billy Chen says. “I only wish I’d had more time to appreciate them.” “The strongest designs bubbled quickly to the surface,” juror Jennifer Sonderby says. “Not surprisingly, work with a solid concept and thoughtful execution stood out.” “I loved entries with an eye on details, print craft, aesthetic surprises and especially humor,” says juror Sally Morrow. “I was surprised at the high quality and wide breadth of work in the spirits packaging category and some of the integrated branding examples,” juror John Swieter says. “The integrated and environmental graphics categories brought in the most interesting work,” says juror Larry Pipitone. “More creatives are getting their hands on that type of work and producing interesting results.” While noting such positive trends in the entries, the jurors also expressed a few disappointments. “The pervasive use of distressed wood-cut typefaces numbed me after the first day,” Sonderby says. “I was aghast to find one singular approach to typography becoming so viral.” “The abundance of entries in the style of the modern craft movement disappointed me most,” says Pipitone. “It’s hard to do well, and just a handful of people were really able to nail it.” “There is always a tendency for designers to decorate rather than 8

Design Annual 2016

communicate,” Swieter says. “There were a few instances of well-crafted and appropriate design, but in other instances, the design served as decoration and didn’t lend itself to really solving the problem.” In addition to asking the jury about this year’s entries, I asked them for their thoughts on how the industry is evolving. “More clients are looking to us as providers of strategic design services crucial to the success of their businesses,” Chen says. “These services include not just the end product, but also the design processes and thinking that influence the way they do business.” “Brands are asking us to solve rather complex business problems across their many touch points,” Swieter says, “which goes way beyond doing just creative work.” “Today, designers and advertisers can measure results in ways they’ve never been able to before,” Pipitone says. “The people who value design the most care a lot about measuring how it works.” I also asked how designers can increase their influence with business clients.

BILLY CHEN is cofounder and design director of Seattle-based design firm Studio SC. With a background in graphic design, typography and architecture, Chen strategically integrates graphics into the built environment. He has led design teams on projects for the Seattle Children’s Hospital, the US Army Corps of Engineers Federal Center South, Nintendo, the Allen Institute and the Seattle-Tacoma International Airport. His work has been awarded by Communication Arts, HOW, Print, SEGD Global Design Awards and the Type Directors Club. Chen holds a BFA in visual communications from the University of Kansas and previously worked at architecture firms NBBJ and Callison.

SALLY MORROW is the creative director of Portland, Oregon–based Sally Morrow Creative (SMC). Her work includes identity, packaging, point of purchase, print, retail environments, mobile units, Web and social media. After decades at such notable shops as Coleman Souter, Cole & Weber and Sandstrom Partners, she opened SMC in 2013 with her strategist, logistician and partner David Morrow. Her projects have appeared in most major award shows, including AIGA, Communication Arts, Graphis, the London International Awards and the One Show, and her work was recently honored in the 2015 Lürzer’s Archive 200 Best Packaging Designs Worldwide.

Photographs by Steve Castillo

“In order for designers

“We need to master and

to move beyond the

innovate digital communication

role of visual stylists,

and experiences without

they need to take

forgetting that personal, tactile

responsibility for the

and thought-driven solutions

content—every last

are just as relevant in many

word of it—and understand that their role includes being a content

areas of design,” Morrow says.

producer,” Sonderby says.

“The opportunity definitely exists for cross-platform innovations that

“Just as many business schools are embracing design thinking in

blur the edge of technology and the human experience,” adds Chen.

their curriculum, design schools need to embrace business thinking to prepare future designers with better knowledge of business management,” Chen advises.

“The future designer is an expert storyteller and strategist who contributes insights during the early stages of project development— serving as a catalyst that brings clarity and form to complex

Lastly, I asked the jurors where design might be headed.

ideas,” says Sonderby.

“The field of design will become increasingly diffuse across a range

A minimum of three out of five votes was required for a project

of disciplines,” Pipitone says. “Designers will operate more like

to be awarded in this year’s competition. I would like to extend our

advertisers, and advertisers will look to hire more designers to keep

grateful appreciation to our jurors for their conscientious efforts in

up the quality of their work.”

selecting our 57th Design Annual. ca

LARRY PIPITONE is one of the founders of GrandArmy, a New York City–based agency specializing in creative direction, branding, strategy and advertising. Formally trained in a mix of art and design disciplines, the principals were simultaneously acting as creative directors at Euro, FCB and Wieden+Kennedy New York while running GrandArmy as a niche design studio. Over the last few years, GrandArmy has rebranded KFC and the United States Postal Service, launched a furniture brand and an art magazine, branded two public schools, written and directed short films, worked in fashion, music and art, and blown up several race cars.

JENNIFER SONDERBY is the design director of the recently reopened San Francisco Museum of Modern Art. She provides creative and strategic direction and leads the in-house design team responsible for the museum’s new visual identity, architectural signage and wayfinding, publications, exhibition graphics, marketing campaigns, exhibition identities, digital initiatives, and print ephemera. She has taught design courses at the California College of the Arts and design workshops in Harare, Zimbabwe, and Nagoya, Japan. Her work is in the San Francisco Museum of Modern Art’s permanent collection.

JOHN SWEITER is the founder and design director of Range, a Dallas, Texas–based multidisciplinary design firm founded in 2000, with regional offices in Coeur d’Alene, Idaho, and Seattle, Washington. Prior to Range, he founded Swieter Design in 1985. At Range, Swieter leads a diverse team of highly skilled and experienced creative specialists to solve complex business problems through designcentric thinking. His work has been recognized by the AIGA, the Art Directors Club of Los Angeles, the Art Directors Club of New York, the CLIOs, Communication Arts, the Dallas Society of Visual Communications, Graphis, HOW, Novum and Print.

Communication Arts | commarts.com

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CONTRIBUTORS Features Sam McMillan (wordstrong.com) is a San Francisco Bay Area–based writer, brand strategist, and regular contributor to Communication Arts’ Web Watch and Book Review departments. In this issue, McMillan takes us to new frontiers in the digital world, pioneered by interactive studio Stimulant. Matthew Porter (porterwrite.com) is an Atlanta-based independent writer and creative director with more than sixteen years of experience in advertising. He currently serves as the president of Good Thinking Atlanta, an organization that donates time and creative talent to nonprofits working toward social welfare and justice in Georgia. In this issue, Porter discovers how ad agency BOHAN contributes to Nashville’s growing creative climate. Bonnie Smetts (bonniesmetts.com) is a designer and writer whose essays on Italian culture, art and artists have appeared in magazines, anthologies, newspaper travel sections and online guides. In this issue, Smetts enters the floating world of ukiyoe–inspired illustrator Gloria Pizzilli. Dzana Tsomondo (dzanatsomondo@gmail. com) is a freelance writer living and working in New York City. Tsomondo is passionate about music, art and politics, and his work has appeared in a variety of publications, from Photo District News to Cool’eh Magazine. In this issue, Tsomondo captures the incredible synergy of the photography duo ioulex.

Columns Rebecca Huval ([email protected]) writes about design and the many ways it intersects with our world, from technology

to business to food. Her byline has appeared in print and online publications, including the Awl, GOOD and Sactown Magazine. Now a journalist and copywriter in Sacramento, she formerly served as the managing editor of Communication Arts. In this issue’s Business column, Huval explores how coworking spaces might be the ideal platform for freelance creative workers to find a community—and commissions. Linda Joy Kattwinkel ([email protected]) is a painter and former graphic artist. For more than 20 years, she has also been an attorney and a mediator for the arts community. As a member of the small firm Owen, Wickersham & Erickson, P.C., in San Francisco, she represents clients in intellectual property and arts law issues, such as copyright and trademark protection and infringement, licensing, and gallery contracts. In this issue, Kattwinkel and Shel Perkins teach us about the importance of copyrighting graphic design and how to do it. Shel Perkins ([email protected]) is a graphic designer, management consultant and educator. The revised and expanded third edition of his book Talent Is Not Enough: Business Secrets for Designers is published by New Riders. Perkins and Kattwinkel coauthored the most recent version of AIGA’s Standard Form of Agreement for Design Services. Wendy Richmond (wendyrichmond.com) is a visual artist, writer and educator whose work explores public privacy, personal technology and creativity. Richmond has taught at Harvard University, the International Center of Photography and the Rhode Island School of Design, and she serves on BRIC’s Artists Advisory Council and the MacDowell Fellows Executive

Committee. Her latest book is Art without Compromise*. In this issue’s Design Culture column, Richmond encourages artists to let inspiration find them in unexpected ways. Ernie Schenck (ernieschenckcreative. prosite.com) is a freelance writer, creative director and regular contributor to Communication Arts’ Advertising column. Schenck is an Emmy finalist, a three-time Kelly nominee and a perennial award winner at the One Show, the CLIOs, D&AD, the FWAs and Cannes. As a freelancer, an executive creative director at Hill Holliday/Boston, and a cofounder of Pagano Schenck & Kay, he has worked on campaigns for some of the most prestigious brands in the world. In this issue’s Advertising column, Schenck inspires us to consider the wonderment behind advertising. Ellen Shapiro (visualanguage.net) is a graphic designer and writer based in Irvington, New York. Author of The Graphic Designer’s Guide to Clients (Allworth Press) and more than 200 magazine articles and posts about design, illustration, photography and visual culture around the world, Shapiro has been contributing to Communication Arts since 1991. In this issue’s Design Details column, Shapiro interviews four designers about their personal collections of inspirational resources and why it’s important to collect them.

Book Reviews Ruth Hagopian ([email protected]) is a freelance writer and editor whose profiles of designers, photographers and artists have appeared in Print, Create and Sign & Digital Graphics magazines. She also was a publisher of Online Design magazine and a partner of Visual Strategies, a San Francisco–based design firm.

Pictured contributors wrote features and columns: Sam McMillan, Matthew Porter, Bonnie Smetts, Dzana Tsomondo, Rebecca Huval, Linda Joy Kattwinkel, Shel Perkins, Wendy Richmond, Ernie Schenck and Ellen Shapiro. 10

Design Annual 2016

discover the world’s best illustrators VIEW PORTFOLIOS

IVAN CANU

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DESIGN CULTURE

Wendy Richmond

You’re Already Working

Y

ears ago, during an unhappy stretch away from home, I developed a routine to counteract my unsteady moods. Each day I walked a mile along the beach to the pier, a huge symmetrical structure that loomed above me. I would stand between the pier’s columns until I felt a literal centering. When the tide was low, the water was far away from me, and the sand was dry. At high tide, waves came up to my feet. One morning, I brought along my new digital camera, adding to my practice: walk to the pier, center myself and shoot from the same spot. A week passed before I looked at the digital files. Each photo

working. What started as phrases from an urban soundscape grew into an extensive multimedia installation. During a summer in Maine, I bicycled early each morning along the rocky seashore of a national park. Tourists came and went, often leaving behind a plethora of rock “sculptures.” One day, feeling mischievous, I got off my bike and knocked a few piles down. I did it again the next day, and the next. I set my camera on a tripod and shot brief videos of my escapades. One morning in August, I saw a National Park Service ranger get out of her truck, survey the scene and kick over a cluster. She told me that these structures were a blight overrunning the park’s natural environment. After that conversation, I realized that I had been setting up my camera to capture the beauty of the landscape, which was revealed only after I swept the rock piles away. As with previous projects, what I had considered to be a fleeting diversion was actually the basis for new work.

What I had considered to be a fleeting diversion was actually the basis for new work. recorded not only the view, but also the date and time I had shot it. I downloaded a tide chart and made a list, pairing each photo’s time with the corresponding tide: November 24, 2003, 10:24 a.m., tide .57 feet rising. December 16, 2003, 12:36 p.m., tide 3.98 feet falling. December 17, 2003, 7:48 a.m., tide 1.91 feet rising. Up, down, up. It read like a diary of my moods. During that month, I thought I had not been making any art. But I was wrong. Without knowing it, I was already deep into a body of work. It’s often only in hindsight that we can identify the invisible, but crucial, period of gestation. Think back to an artwork that you created. Now think further back—before you were consciously making that art—to an activity or curiosity that seemed like a passing distraction, but stuck with you and refused to disappear. Was that so-called distraction actually the work’s foundation?

listen to it, we find it fascinating.” The quote showed me that my

I have become more aware of my process. When something holds my attention, I watch to see if and how my curiosity will grow. Last year, I wrote a column about a family member’s cancer, describing my attempt to balance medical research with my frail emotions. When I saw the bullet’s proof mark, I realized that I see armor as a metaphor for protection—its effort, optimism, success and futility. Now when I go to the Met, Arms and Armor is my first stop. I don’t know yet how this exploration will manifest itself in my art making, but I’m sure that it is part of the foundation. I’m already working. ca

routine of collecting these fragments was not frivolous: I had been

©2016 W. Richmond

When I first moved to New York, I experienced the classic love/hate relationship with the city. The overwhelming barrage of sights and sounds both repelled and attracted me. I was especially drawn to mundane and absurd one-sided cell phone conversations. I got into the habit of eavesdropping and jotting down phrases, then I read a quote by composer John Cage: “Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we

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I often go to the Metropolitan Museum of Art to take in its wide spectrum of collections. I’m no fan of war paraphernalia, so the Arms and Armor Department was never on my list. But recently, instead of running through it on my way to the café, I stopped to look at a display of Cuirassier armor made in Italy between 1610 and 1630. I marveled at its exquisite craftsmanship, but what really held my attention was a small indentation in the chest area. The museum label described this easily overlooked detail: “Before an armor of this type was finished,” the text stated, “it was fired at with a pistol to test its effectiveness against bullets.” It explained that the bullet dents, known as proof marks, were left as a guarantee of the strength and quality of the armor’s steel.

Design Annual 2016

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ADVERTISING

Ernie Schenck

They Don’t Give Lions for Inspiring the World “Well, space is there, and we’re going to climb it, and the moon and the planets are there, and new hopes for knowledge and peace are there. And, therefore, as we set sail, we ask God’s blessing on the most hazardous and dangerous and greatest adventure on which man has ever embarked.” —John F. Kennedy

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e should thank our lucky stars that President Kennedy went into politics instead of advertising. I can only imagine where we’d all be now if he had gotten his knickers in a twist laboring over one ponderous creative brief after another, instead of inspiring us to go to the moon. I shudder to think what might have been if, somewhere in the fog of history,

you today, brothers and sisters, is this: What about us? Yes, our work can be brilliant. Yes, it can pull Pencils and Lions and CA mentions to us like galaxies into a black hole. But is it enough? Or do we have an even greater responsibility than that which we ask of our creative briefs? As creatives, we need to be inspired. But the world needs to be inspired, too. Maybe you remember a BBC spot from 2008 to promote its iPlayer. Filmmaker and writer Terry Jones discovers a colony of penguins unlike any other penguins in the world. We see the penguins waddling about in the snow, as we have seen so many penguins before. Nothing unusual. Until the birds begin to run down an icy slope, flapping their tiny wings, and the whole flock suddenly lifts off into the Antarctic sky. As the end title says, “When amazing things happen on the BBC, you never have to miss them.” Yes, all right. But the bigger message is wonderment. Maybe the things that we’ve always believed were true really aren’t. Maybe it’s OK to reexamine what we think we know. I don’t have a clue how many people were persuaded to try the iPlayer. But I’m pretty sure more than a few of us were personally inspired by those penguins doing what penguins aren’t supposed to do.

The bigger message is wonderment. Maybe the things that we’ve always believed were true really aren’t. Maybe it’s OK to reexamine what we think we know. a young Martin Luther King Jr. had gotten lost in an endless sea of marketing babble instead of appealing to our better angels. The sad majority of creative briefs are long on information and horrendously short on setting fire to our imaginations. By now, you would think we would understand that creatives don’t respond to information. We just don’t. But hoo-boy, show us something that gets our neurons on high alert, and you’d better cover your eyes because the flash is going to be white hot. “The creative brief’s singular goal is to inspire your creative team to come up with great ideas. That’s it,” says founder of Ideasicle and Forbes contributor Will Burns. “Think of the things in your life that have inspired you. A sermon, or a lecture from a certain professor, or a particularly fantastic musical performance. What do these things have in common? They share in what they lack: excessive information. Every instance of true, memorable inspiration is the result of a person, or group, making important decisions as to what not to include, thereby leaving what’s most inspiring.” But here’s the thing. Although creatives can’t be expected to rise to our best creative selves without inspiring briefs, my thought for 14

Design Annual 2016

Deb Morrison would understand. A professor at the University of Oregon School of Journalism and Communication, Morrison is one of the most outspoken people I know on advertising’s rise to a greater sense of purpose. “As an industry,” she says, “we know how to craft and strategize for brands. But shouldn’t we be doing more with this great set of skills and talent?” Maybe you remember an iPhone holiday spot from a couple of years ago, featuring a rude, insensitive teenager, his nose so glued to his damn phone that he’s completely oblivious to the festivities going on around him. But wait! Turns out, the kid is making a family video. Did the spot inspire us to get an iPhone? I have no doubt. Did it inspire us to be better people? Did it leave us thinking we could all get a little better at giving people the benefit of the doubt? I’d like to think so. If you want to lift this business up to someplace north of Cannes, maybe you should think so, too. ca

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Eephus League Home runs, batting averages and strikeouts—it’s no secret that baseball fans are obsessed with recordkeeping. The sports ephemera brand Eephus League—which takes its name from the “eephus pitch,” a low-speed pitch meant to throw batters off their rhythm—encourages this habit by offering handsomely designed scorebooks that help fans record game statistics. The brand’s website (eephusleague.com) functions as an online love letter to baseball. It features a scrollable tile feed of vintage photos and baseball minutiae on its homepage, as well as an elegant e-commerce platform. “The most defining feature of the site is the number of premium web typefaces it uses,” says Eephus League’s designer and owner, Bethany Heck. “There are seven in total— highly unusual in an age where few sites use even three. I wanted the site to properly reflect the brand’s aesthetic, which is influenced by vintage designs with typefaces that were often cobbled together haphazardly.” Each category in the homepage’s feed features

its own style that makes it stand out, but whether a tile shares a player’s bio or a baseball term, universal design elements—such as a crisp diamond icon—tie the page together with a cohesive look. Heck and developer Phil Moody knock this site right out of the park. —Michael Coyne Phil Moody, developer; Bethany Heck, designer/client.

A Life in Pictures

Heavy Metal

Who’s the coolest, most influential designer you’ve never heard of? Try Robert Brownjohn. Known as BJ, he hung out with Andy Warhol and Miles Davis. He stole Steve McQueen’s high-school girlfriend. He created the titles for the James Bond film Goldfinger. Although American, he did his most creative work in England, where he indelibly stamped the 1960s London advertising scene. A prodigious drinker, smoker and creator, his life and work are archived at robertbrownjohn.com.

Essential viewing if you love type. Old documentary and promotional films from the 1950s through the 1980s capture the uneasy transition from hot metal Linotype machines—replacing handset printing presses—to the cold hard photographic processes that preceded digital typesetting. Lovingly collected at printingfilms.com, these movies present an invaluable look at a lost technology. —Sam McMillan

Logo Library There must be millions of logos in use, all trying to communicate something unique, memorable and valuable at a glance. Logo Nature (logonature.com) does an amazing job of gathering many of them in a searchable visual library. Organized into categories that group logos by letterforms (logotypes), symbols (logopictures), and renderings that combine letterforms and imagery (logotype-pictures), the online database can be filtered by agency, designer and company.

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Design Annual 2016

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DESIGN DETAILS

Ellen Shapiro

Buy What You Love! Designer Libraries and Archives

I

have a book problem.” “Books are taking over my house.” So say designers who’ve been spending decades building personal libraries in their homes and studios. Why not just do research online—everything’s there, isn’t it? Not for these collectors. They love to surround themselves with beautiful, inspirational books, but the reasons for their “problem” go deeper than that. Listen to what these designers have to say about what and why they collect, how they arrange their materials, and how the books and artifacts on their shelves help them do their work in ways beyond what online resources can provide.

SEAN ADAMS Los Angeles, California After 22 years of partnership with Noreen Morioka, this former AIGA president is now heading the graduate graphic design program at ArtCenter College of Design in Pasadena, California. He’s also creating new online courses, writing two books on color and working on various projects from his Los Feliz home studio, Burning Settlers Cabin. He says he’s constantly inspired by his library of 1,600 volumes—and admits that books have taken over many other corners of the house.

beautiful, smart books; Jessica Helfand’s Design: The Invention of Desire; Michael Bierut’s How To; the amazing NASA Graphics Standards Manual, whose design director was Richard Danne; and a gang of books on Palm Springs. I bought a second house out there—room for more books!

How have books recently inspired you? Graphis annuals from 1955 through 1975 inspired my design of the annual report for a group that helps underprivileged high school students enter college. And just yesterday, I used a passage from Joan Didion’s Play It as It Lays for an article about the odd magic of Southern California.

So you are also a reader of novels and essays. Yes. I’m related to a large group of US presidents, senators and governors. This has inspired me to collect books on American and British history—if John Adams is your great-great-great grandfather, history is actually interesting. I just finished reading The Plantagenets, by Dan Jones, and I’m in the middle of the sublime Battleborn, by Claire Vaye Watkins. They sound very erudite, so I must admit it takes long airplane flights to actually finish such books.

What motivated you to start this collection and keep it going?

JACKSON CAVANAUGH

I started collecting during my first year at Cal Arts in 1982, when my teacher, Lou Danziger, said, “Buy books every chance you can, rather than drugs.” I took his words to heart. My studio contains design, architecture, art and photography books. In my home library, bookcases hold family, history and fiction books. I sometimes buy books simply because their grid is wonderful.

Chicago, Illinois

You might have the most precisely organized library ever. What are some recent titles you’ve added? I just received TD 63–73 from Unit Editions, which publishes

In a hundred-year-old house in Chicago’s Logan Square neighborhood, Jackson Cavanaugh runs Okay Type, where he designs custom and retail typefaces and “occasionally, logos and bits of type.” He estimates that on 150 feet of shelving, he has amassed a collection of more than 2,000 items: books, type samples, catalogs, magazines, historical objects and ephemera.

I bet every designer would love to browse those shelves, sit in your Eames chair and read. How do you have things arranged and how do you use them? Communication Arts | commarts.com

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DESIGN DETAILS

Above: A display shelf from Sean Adams’s library, including a prized selection of Graphis annuals (left), which have provided him with inspiration for numerous projects. Jackson Cavanaugh’s library (right) also supplies him with an endless supply of information, complete with an Eames chair to help him peruse his collection.

I wish I had more time to spend in that chair. But things are roughly grouped by topic and size. There are sections with American and European type specimens, contemporary type specimens, and phototype catalogs. There’s a type-drawing reference section— lettering and calligraphy manuals. And a section with random, cool design books, annuals, periodicals and midcentury design inspiration. Then there’s the Chicago design history section. And, of course, I’ve got samples of Okay Type fonts in use.

What motivates you to buy a new book or artifact? Most things I’m interested in are extremely rare, like old printing catalogs and lettering manuals. I’m always doing research to learn what to keep an eye open for and what price it should cost. Some stuff comes up so seldom that I might be getting the only one of its kind, like my 1936 Caslon type specimen book and the epic 1925 Stempel specimen book.

How does owning that kind of material help with your work? Drawing letters involves reinventing the wheel, so I want to see all the different wheels people have already made—in their historical, technological and cultural contexts. A recent masthead redesign required serious digging to find historic examples and ideas. Because I have so much material, I can pull a ton of things in minutes and cover a table with resources. That helps me see the ideas that are worth revisiting. I like to move things around to create nonlinear relationships between disparate things, which is impossible to do if you’re confined to looking at things on a screen or even in a library.

Any advice to young designers about creating a design library? It’s easy to fetishize objects, like an elaborately engraved souvenir piece of type I recently acquired. And that’s part of the fun. But the important thing is, get all the knowledge and inspiration you 22

Design Annual 2016

can from those objects. Read every book you buy. Read the books you wanted to buy, but couldn’t afford. Read everything. 

BRYONY GOMEZ-PALACIO Austin, Texas “Something magical happens when a book turns your brain on or makes your heart skip,” says this ultimate multitasker—mom to two active daughters, designer, conference organizer and blogger. GomezPalacio lives with her husband Armin Vit in Austin, Texas, where their 2,000-square-foot house is also home to UnderConsideration, a design firm; Brand New, a website and design conference; many kids’ activities; and a design library of more than 2,000 books.

You recently posted that you were cleansing your design library. What was that like? We sold 700 books that were utilizing valuable shelf space. We’ve done library cleanups before every move: from Mexico City to Atlanta, to Chicago, to Brooklyn and, finally, to Austin. A purge is always cleansing, but my main motivation is to see books we’re no longer opening get a second life with someone who will give them the attention they deserve.

Your library looks both family friendly and like it has an interesting history. This is puny compared with my parents’ collection. When Armin and I started our university studies in Mexico, we slowly began gathering books on art and architecture, apart from our textbooks, but by 2002, we were getting in trouble. We collect books on typography, branding, designer monographs and essays, followed by psychology, cooking, sports and novels. There are so many vertical stacks intersecting our shelves, it’s a challenge to figure out what we have.

Byrony Gomez-Palacio’s collection of books and design ephemera (left) inspires her and her husband Armin Vit to plan events for their Brand New Conference. Recently, their daughters have discovered it as an incredible resource for school projects. Alexander Isley’s extensive treasury (right) helps him show clients how design can work. For a library’s annual report, he sold his clients on an accordion-foldout with pop-up sections by sharing a similarly designed book from his collection with them.

With so much care being taken to keep the collection under control, what motivates you to buy a new book? I buy books that are written or designed by friends; about topics I’m researching; or about something or someone I admire, like Unit Editions’ monograph on Lance Wyman. Luckily, I get to order books for the Brand New Conference bookstore—and keep the ones that were opened and handled at the event.

Do those books help you plan the next conference? Armin and I graze the shelves when we’re thinking about speakers— that gets the ball rolling. But my favorite bookworms are my kids. My third grader uses our design books as references for school projects. Never mind that anything can be found online. Sitting down with a child to look at a book together is how I cherish books the most.

ALEXANDER ISLEY Redding, Connecticut “I like books.” So says Isley about his 7,000-volume library that features vintage design annuals, reference books, type books and designer monographs. Twenty-one years ago, Isley moved his seven-person studio from Manhattan to “the country,” 60 miles north, which affords space for a library with 550 running feet of shelf space. How to best use all those books? “The worst thing is to flip through an annual and copy,” he advises. “The best thing is to pull a book off the shelf to demonstrate an example of a concept that really works.”

This is the largest private collection I’ve found. How did it all begin? My parents are big readers, so it always felt natural to have lots of books around. When I was eight, I discovered Vision in Motion, by

Laszlo Moholy-Nagy, who made no distinction between architecture, painting, sculpture, photography and commercial art. The message I got was, if you’re a designer, don’t be constrained by a category. That was exciting. And things really got going when I was fourteen. My father gave me A History of Architecture on the Comparative Method, by Banister Fletcher. It was an out-of-print 1931 edition with a tattered binding that my mother sent out for repair. At that moment, I saw books as having value and character.

What are your collecting passions now? Besides design-related books, I collect things like old precisioninstrument catalogs and photography books. I have several editions of The Family of Man catalog, which beautifully documents the 1955 exhibition at the Museum of Modern Art in New York. I’ve just acquired Tom Vanderbilt’s Survival City, a Cold War road trip examining icons of atomic America; In His Own Write, by John Lennon, which lives on my dedicated Beatles shelf; and Ann Marie Sabath’s Business Etiquette, which taught me that if you promptly respond to client e-mails in complete sentences, you can have your way with them—for a while.

Tell me about the shelf design. I randomly assigned widths and stuck to them. The narrowest is three inches. Different vertical spaces between the shelves create a haphazard effect. I like haphazard. Over time, things change. The music section is gone. No need for CD storage; more room for books!

Can you add to the advice about how to begin an equally impressive library? Here’s how not to—when my wife worked for an interior designer, her clients would ask her to buy books by the yard for their libraries. It didn’t matter what they were as long as the spines looked good. That’s a horrifying idea. Buy what you love! ca Communication Arts | commarts.com

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BUSINESS

Rebecca Huval

Shared Space

Coworking spaces offer freelance creative workers an oasis of connections and community.

Inside Portland’s Studio Co/Create’s spacious, shared office, several independent designers and creative workers give each other moral support.

A

fter working as a freelance designer in Portland, Oregon, for three years, Maria Guerriero was lonely. “I would work at home all day, but I needed other people around me, whether for taking an occasional break or talking about what I was working on,” she says. “I felt trapped in my house.” Then she attended a networking event at Studio Co/Create, a coworking space for designers. “I walked in, and I was like, ‘Holy cow, these people are awesome, and I want to be like them,’” she remembers. Guerriero was in awe of their high-profile clients— such as National Geographic, the Smithsonian Institution and Nike—and their creative courage. “With my insecurities and being wet behind the ears, I was like, ‘I’ll never be like that.’” A year later, Guerriero became a fully integrated member of the eight-person office. With their help, she has found the gumption to charge a client 50 percent more for her native files. She has learned from her peers’ creative habits. “There’s this one woman who draws a lot, and the other day, she said to me, ‘Most of the time, I don’t know what I’m doing—but I do it anyway.’ And I thought, ‘She feels this way? Then I’m going to do it, too.’ She helped me draw more, create more and share it with the world.” Since joining Studio Co/Create, Guerriero has started illustrating and sharing daily drawings on Instagram. Meanwhile, she continues to find more clients for her identity and web design work. She says her office has helped her grow creatively and professionally. In coworking offices, a member may rent a private desk or simply pay for use of a shared space, generally month to month. More and

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Design Annual 2016

more freelance creatives are joining coworking spaces, not only to cure their cabin fever, but also to inspire their visionary spark, push their work to new heights and build their network—a must for independent businesses. In late 2015, coworking spaces reported an average of 76 members. That’s 50 percent more than two years before, according to Deskmag’s Global Coworking Survey. The market has responded to the demand. In 2016, more than 10,000 coworking spaces are slated to open worldwide. For designers, illustrators, photographers and the like, the options seem endless. They can choose a space that caters to their kind or an office teeming with potential clients—like a coworking space tailored to software developers and startups, rife with opportunity for an interactive designer. MakerHive in Hong Kong is expressly for designers, with a laser cutter, a sewing machine and a 3-D printer. BIG Oakland recently raised more than $20,000 on Kickstarter to launch a coworking space in the East Bay for architects and other workers in the building industry—environmental graphic designers are also welcome! Then there are more traditional studios, such as the Pencil Factory in Brooklyn, which supports many illustrators. Despite the growing excitement around coworking spaces, there are some drawbacks. For one, they can be costly—up to hundreds of dollars a month. If an independent worker rents out the common area, instead of a private dedicated desk, he or she can be prone to the distractions of an open office layout. “If you’re a social butterfly, you might not get any work done,” says Ilise Benun, a programming partner for the HOW Design Live podcast and a marketing mentor

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COMPETITION DEADLINE: SEPTEMBER 30, 2016 Judged by the who’s who in interactive media, the competition winners will be published in the 2017 Interactive Annual, both in print and digital editions, and on the Communication Arts website, assuring a prominent place on the industry’s premier stage. Each winning entrant will also receive a personalized Award of Excellence, milled from solid aluminum.

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Projects shown from Communication Arts Interactive Annual 22

BUSINESS

Some coworking spaces tailor their offerings for a specific community. In San Francisco, the Makeshift Society offers art and maker workshops, as well as thoughtful details that designers would appreciate.

to many freelance workers. “It all depends on how you work best and what you need.”

the word “MAKE” in dangling letterforms made of bright piñatas.

But the benefits can far outweigh the costs. When asked to measure how well they thrive on a seven-point scale, coworking members rate themselves near a six, as reported by the Harvard Business Review. With regular events, private social media groups and happy hours, coworking members have ample chance to connect with others. They often find community, helping each other clear business hurdles and land clients. As a result, corporate offices are mimicking the architecture and social tissue of coworking, says Steve King of Emergent Research, which studies the future of small businesses. “We study coworking as a window into the future of work,” King says.

their workday. Rena Tom, a founder of the San Francisco boutique gift shop Rare Device, started Makeshift as a way to support other small businesses and creatives. She had toured other coworking spaces and felt alienated by the large contingents of programmers. “I want Makeshift to stay small, to stay like a family,” Tom says. “I’m rooting for the underdog. I want to keep that layer alive in San Francisco and help out that person who not only has a printmaking business and does headshots, but also puts on creative art shows on the side.” Tom thinks artists and designers seek out their kind in coworking spaces because the creative process requires vulnerability and

Every freelance designer should try it for a day, Benun argues. “In coworking, there’s a built-in community, and that solves one of the biggest problems of working independently.”

communal understanding. “If you work in a creative discipline,”

A space for like minds

need to feel that comfort.” The space, which opened in 2012,

In San Francisco’s posh Hayes Valley neighborhood, near a smallbatch ice creamery and a park bustling with toddlers and French bulldogs, the Makeshift Society welcomes artists and designers of all kinds. Soft sunlight illuminates shelves stuffed with design books, from a manual on pinhole cameras to Pantone: The 20th Century in Color, by Leatrice Eiseman and Keith Recker, to the crafting memoir Crochet Saved My Life: The Mental and Physical Health Benefits of Crochet, by Kathryn Vercillo. A motivating wall installation offers 26

Large wooden tables and a well-loved couch ease creatives into

Design Annual 2016

she says, “you feel like, ‘These people are weird like me and obsess over the same details that I do!’ This happens with designers. They currently has around 260 members. When she joined Makeshift in 2012, April Walters faced a crossroads. She had managed social media for the app Foodspotting, and though she still adored food, she wanted to try a new career. After taking a watercolor class at Makeshift, something clicked. She posted a watercolor donut on Instagram, and friends clamored to commission more donuts—and pay for them. Since then, through her Etsy shop, she has sold more than 500 Donuts of the Bay Area Calendars.

Although many coworking spaces give members only enough space for a laptop and a mouse, other offices are leading the charge to invite different forms of work. To make up for the lack of manufacturing spaces in San Francisco’s SOMA district, SHARED offers an industrial sewing machine and woodworking tools.

“I wouldn’t be where I am today were it not for the influence Makeshift and its members have had on me, whether it’s a watercolor class or the life coach who helped me transition at a pivotal point in my life,” says Walters, who now works as a full-time freelance illustrator and artist. “When you’re unsure of your direction, [coworking spaces] are awesome because you can see all these different ways you can show up in the world, outside the traditional nine-to-five desk job.”

Making the most of it If you’re interested in coworking, shop around for the best cultural fit, Tom says. “Visit as many spaces as possible,” she says. “Be in a location you love because everyone is lazy and doesn’t want to leave their neighborhood. If it’s too far, you’re not going to go!” Your coworking spot might spell the difference between a full client roster and an empty one, King says. “I would look for a space where there are a lot of people interested in your line of work,” he says. “But if I wanted help on my creative journey, I would choose a specialty place where I could be exposed to different types of artists.” Benun says you should look critically at a space by showing up to a few events. “I know a lot of places have a calendar of events, but are people actually attending? Is it the same people over and over? How active is that community?” Once you’re committed, truly commit, Benun says. Show up regularly and integrate yourself. Start by chatting with people in the kitchen. “One of the myths about self-promotion is that it’s

about tooting your own horn or bragging,” Benun says. “But to me, curiosity is the most potent ingredient of networking. All you have to do is start conversations about what others are doing.” Then take advantage of the social calendar. “By far, the people who tell us they’re getting the most out of coworking participate in events,” King says. “Help others. And get help yourself. Those are the folks who are most successful at a coworking space.” Leif Parsons, an illustrator and artist who has worked out of the Pencil Factory, has found professional motivation and collaborators for creative projects at his Brooklyn-based studio. The environment helped him structure his work life more efficiently. There, he started a group drawing project with artists Josh Cochran, Mike Perry, Damien Correll and Jim Stoten. They took turns contributing to the same drawing every few minutes, and Parsons says the project helped him gain more flexibility as an illustrator. Regarding coworking, Parson says, “‘Just do it’ would be my advice for a young illustrator. It’s an unquestionably positive move for most people. For young people, coworking forces you into professionalization.” But he understands why budding freelance creative workers might hesitate for financial reasons. Guerriero herself was unsure if she could afford Studio Co/Create in Portland, Oregon. “My business at the time was still starting up, trying to get more clients and consistent work,” she says. She fretted, “Do I have the budget to do this?” In the end, she’s glad she bit the bullet. “One of the best business decisions I’ve made—ever. Easily.” ca Communication Arts | commarts.com

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EMERGING MEDIA

Sam McMillan

Wave Hello to Gestural Design A wink is as good as a nod.

Above: Wearing HTC Vive headsets, an artist (left) and a fashion designer (right) use Google’s Tilt Brush to paint and illustrate in a 3-D space. Tilt Brush enables its users to transform any space into an interactive, 360-degree canvas. Artists can also share their work with others using the HTC Vive interface or as an animated GIF.

I

f you like science fiction, this is an exciting time to be an interaction designer. It’s taken a while, but technology has finally caught up with films like Minority Report and Iron Man. Most of us remember Minority Report for its images of Tom Cruise manipulating transparent, floating screens full of information simply by moving his arms around. Those scenes indelibly influenced a generation of interaction designers, who saw Cruise access information by wiggling his fingers and thought, “That would be cool.” Today, all that arm waving is no longer the province of science fiction. We are seeing gestural design incorporated in interface design as readable body gestures and brought to life in consumer products like the Oculus Rift, augmented reality (AR) games—think virtual air hockey—and, for better or worse, instrument screens of car dashboards.

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creations. And Stockholm-based Tobii bypasses controllers altogether by developing eye-tracking tools that can manipulate desktop computers, provide input to self-driving cars and enable natural game play. Thanks to micromechanical motion control sensors, head-mounted optics, gyroscopes, depth sensors and time-of-flight cameras, almost anything filmed in a big-budget Hollywood special effects movie can be brought to life in, well, real life with gestural design.

Science fiction meets computer science Chris Noessel, coauthor of Make It So: Interface Design Lessons from Science Fiction, points out that gestural design encompasses many motions. The first thing people think of, he says, are the hand-andarm gestures popularized in movies like Minority Report and Iron

All the products currently on the market are, indeed, awesome. Holograms and “holo-portation”—conceptualized in Star Wars circa 1977—are now part of the immersive reality product Meta 2, from AR developers Meta Company. Virtual reality (VR) and AR hardware design company Leap Motion makes handheld controllers that enable wearers to interact with immersive VR content using movements that feel natural and instinctive.

Man. On top of that, gestural design also includes the touch gestures

Some products might even render Cruise’s character in Minority Report speechless. Leave it to Google to create one of the most breathtaking gestural VR experiences out there: Tilt Brush. Wearing an HTC Vive head-mounted display and handheld controllers, users can virtually paint in 3-D space to actually step inside their

One real-world constraint designers must work through, according

Design Annual 2016

that drive smartphone and tablet interactions. “Tapping, twisting, pinching and swiping on these screens are all recognizable, and devices respond accordingly,” Noessel says. “Of course, some devices have gesture recognition built in. Shake your phone while using Google Maps, and the system, assuming you are frustrated, asks what’s wrong.” to Noessel, is the rarely precise nature of the hand-and-arm gestures. “People are horrible at midair precision,” Noessel says. For a computer system to detect and act on these kinds of gestures, they must be “large, gross motor movements, which can feel odd and tiring.” It

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A user explores an interactive map brought to life by Exipple’s Gestoos Z (left), an application that lets companies develop installations based on gestural interaction. Gestural interaction also enhances the VR experience; with Leap Motion, users can interact with fantastic environments, such as the cockpit of a spaceship (right).

turns out that the gestures required to control the screens in

cameras, Vogiazou evolves the language of gestural design. That

Minority Report fatigued Cruise so badly that he had to take

involves brainstorming, prototyping and sketching interaction

frequent breaks during filming—as anyone who has ever worked

schemes for developers. As Vogiazou puts it, “There is a shared

with their arms above their heart will understand. If interaction

visual understanding of different interaction proposals.” While

designers deploy this mode, Noessel suggests limiting interactions

Exipple’s designers brainstorm and draw visuals for the user inter-

to short bursts of activity or to activities that keep the hands

face, developers record hand gesture movements into a machine

below the heart.

that uses them to learn algorithms. Together, they stand in front

Noessel predicts that VR gaming, followed by social interface agents, harbors the next push in gestural computing. But it will be a complicated process. “I think that air gestures won’t catch on, and that—like for humans—gestures will be incorporated as a tertiary

and user interface design works best. Finally, they bring in users one by one to run through a number of natural interactions, like grabbing an object, to test how intuitive their controls are.

channel of information, one that supports natural language and

Designing human interactions, which requires computer science

recognition of expression.” Coming technologies that meld gesture

tinged with the art of understanding people, calls for designers

and eye-control into VR, AR and artificial intelligence can expect a lot

who can bring a range of experiences to the field. Vogiazou, who

of action. Done right, Noessel says, “computers will know us as

has a PhD in human-computer interaction, believes that because

well as another person could.”

designers are creating new knowledge, the field accepts designers

At Exipple, gesture is a language

from backgrounds in gaming, mobile and web-connected apps. The ability to code is not required for Exipple’s new hires. Vogiazou

To see the future of gestural interface design come to life, take

says, “Developers are your best friends. All you need to bring to

a look at applications like Exipple Studio’s Gestoos Z, which turns

your work is a process-driven mind—that means you need the

flat-panel screens into gesture-ready experiences. For Yanna

vision, the internal guidance and the perseverance to create

Vogiazou, user experience (UX) director at Exipple, a Barcelona-based

innovative products.”

studio that combines human interaction with technology, gesture opens up an entirely new language for designers. Whereas designers were formerly limited to buttons and screens, Vogiazou and her team at Exipple can now explore a new dimension. This “z-axis” literally adds depth to her work while forcing her to think of new ways when it comes to designing for human computer interaction. “With gestural interfaces, we have depth,” Vogiazou says. “User experiences are embedded in the physical environment; we can move creatively through it.”

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of cameras and screens to check which combination of gesture

In the near future, Exipple plans to launch Gestoos Z, a software tool for designers and creatives that turns a flat-panel screen or projection into an interactive video wall. “The content is immersive,” Vogiazou explains. “There are no buttons. When people approach, a 3-D sensor camera wakes the system, which responds to their proximity and movement by revealing information progressively. People can engage with different areas of the content using natural gestures, like pointing and swiping. Gestoos Z enables several people to interact at the same time, each having their own space

Working with Exipple’s developers in an office surrounded by

in front of the screen.” It is digital signage that adapts to users

body-sized flat-panel screens and festooned with 3-D sensor

who speak a universal language: natural human gestures.

Design Annual 2016

The disappearing screen Jody Medich, who formerly served as the principal experience designer for the Microsoft HoloLens and as a UX designer at Leap Motion, doesn’t like screens. In fact, she thinks screens should disappear. Instead of cramming things into a screen, Medich believes we should interact with space. That means gesture. But gesture, for interaction designers, is tricky. To explain, Medich introduces a little thought experiment. Imagine placing your hand underwater, Medich suggests. Now move it right to left. So far, so good. Now what? Getting your hand back into position means sweeping it left to right. But what does that mean? Did you cancel your previous action? Initiate a new action? Or did you just return your hand to its starting place? Questions like these keep gestural designers up at night.

Adobe MAX The Creativity Conference November 2–4, 2016, San Diego, CA

“In terms of computer recognition, each gesture can be dramatically different,” Medich says. Dan Saffer, who cofounded design consultancy Kicker Studio with Medich and wrote the field’s bible,

Check out the inspiring speakers

Designing Gestural Interfaces, details no less than 103 recognizable

coming to MAX, including Lynsey

gestures in a section of the book’s Appendix titled “Gestures for Free-Form Systems.” But this complex problem has an answer, Medich believes: augmented reality. “Combining gesture with AR means that physical space simplifies the whole problem of virtual space,” she says. With gear like the Microsoft HoloLens, a head-mounted system of onboard

Addario, Gemma O’Brien, Timothy Goodman, and Debbie Millman. They will change the way you think, work, and create.

cameras and AR software—now shipping in a $3,000 developers kit—that sees what users see and learns their environments over time, the digital world can now interpret gestural patterns. “With HoloLens,” Medich says, “we can map existing space to our own spatial memories to help process information in the real world.” The mix of computational power, physical space and AR is nothing short of magical, Medich says. Watching the Microsoft HoloLens demos and proof-of-concept videos reveals the outlines of a world in which NASA scientists can walk around in their office and be virtually present on Mars; architects can take their plans and bring them to

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draw on their screen and place a hologram into your workspace. It’s the future, and it’s coming soon. For Medich, the dream scenario is holo-portation. “Imagine projecting myself into your real space, where we can collaborate in VR space. Suddenly we have superpowers.” As AR systems mature and meld with VR headsets, artificial intelligence and optical trackers, the field of gestural design will come into its own. Combined with voice input, we’ll develop smart homes and intelligent offices that respond to our every command. It’s not a jetpack, but as far as superpowers go, gestural design gets a

* See terms at max.adobe.com/terms. © 2016 Adobe Systems Incorporated. All rights reserved. Adobe and the Adobe logo are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries.

big thumbs-up. ca Communication Arts | commarts.com

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INSIGHTS Josh Goldblum

Digitizing Beyond the Screen Josh Goldblum literally fell into design. When the ski slopes rewarded him with a bad knee, Goldblum taught himself Micromedia Director in the early days of Flash and joined the Smithsonian American Art Museum as a new media specialist. Today, he still climbs summits, but those that rise above imagined landscapes of technology. As the CEO and founder of Philadelphia-based agency Bluecadet, Goldblum and his team of cadets empower visitors to delve into rich stories at the nation’s leading museums. They produced an interactive website for the Diego Rivera: Murals for the Museum of Modern Art exhibition, through which visitors could click on a map of New York City to discover the areas that inspired Rivera. Recently, for the Art Institute of Chicago’s Van Gogh’s Bedrooms exhibition, Bluecadet animated quotes from the painter’s personal letters and journals. So go ahead, call Bluecadet a digital design firm. But only if you, like Goldblum, believe that the future of digital design moves freely outside glossy screens to meet the physical landscape. —Esther Oh

What do you and your colleagues create at Bluecadet?  We help experts, like museum curators, reinterpret the most interesting content they have for audiences with digital devices. Our projects tell stories, but they also remix other people’s stories. Take Vincent van Gogh. Everyone knows van Gogh’s story—mentally unstable, never sold any paintings—but that’s the simplified version. Once we started talking to the Art Institute of Chicago’s curators about its Van Gogh’s Bedrooms exhibition and reading the artist’s writing, we discovered richness and depth in his unedited story. The exhibition featured three distinct paintings of his bedroom in Arles, France, from 1888 through 1889, and we worked with the museum to identify places where digital could tell his story beyond the story told through traditional means, like videos and wall labels. The curators had amazing letters and journals from van Gogh that practically spoke in his voice, so we animated quotes from them to project onto a life-sized re-creation of his Arles bedroom. When visitors read that van Gogh had written, “The solidity of the 32

Design Annual 2016

furniture should also now express unshakeable repose,” they got a truer sense of the humanity behind them. The museum conservators had also examined van Gogh’s paintings through X-rays and lights, so visitors could compare the three bedroom paintings by pinching or zooming in on a touch-screen interface. Instead of blasting people with information, the touch screen empowered visitors to discover what made these paintings cool. When people discover things themselves, they process much more information. 

How do you create emotional responses that fit what your client is looking for?  Many museums have robust evaluation teams that look at not just the analytics, like the number of people going to the show, but also how people respond to the work—whether they’re smiling, if they’re in groups or what conversations about the exhibition look like. Bluecadet always works with clients postlaunch to make sure the work does what it should do. We also prototype and test early to make sure that the elements we build in the studio hold up to our assumptions. When we recently made a series of digital orientation kiosks for the Field Museum of Natural History in Chicago, we found that it

was very tricky to get people to engage with the kiosks for the first time. So we went back and refined encouragement of the initial engagement. If someone doesn’t want to engage with an experience, it doesn’t matter how good it is.

What excites you about interactive/digital design right now?  The broadening vocabulary of interactive design, especially in physical spaces. A lot of smart spaces are now incredibly interactive without using a screen. They respond to your presence transparently by using sensors, Kinects and camera systems. I love Sleep No More by the British theater company Punchdrunk. You explore a multistory warehouse in the Chelsea neighborhood of New York City while all these actors stage Macbeth around you. There’s a ton of experience design and digital technology—sensors, lights and sounds move the visitor along—but nothing feels screen based, so you can get lost in the experience. That’s when technology becomes magical. What is the role of the screen? What is the depth of interaction that’s appropriate for the screen? We’re still trying to figure this out. We don’t want to put information on screens as a default or rehash the same old responsive templates, a tried-and-true solution that can be applied to all the things. Screens are very pragmatic and good at delivering a lot of content, but they’re not the only way. They’re certainly not the best way.

What are your thoughts on today’s web design?  These days, it’s not good enough to create a singular website experience. You have to think about how your content exists across all the different spaces; your website is one great part of facilitating a larger conversation through content. For example, BuzzFeed charts the impact of some of its conversations across different social media platforms. Even the choreography between physical and digital spaces is important. I’m interested in what makes a great city—particularly because I live in an evolving city like Philadelphia. Cities can use spaces like museums, visitor centers and retail locations to create a sense of community. We should refine the choreography of users moving though mobile, Web and physical spaces.

Do you have any advice for people who are just entering the field of interaction design?  Research a lot. Who’s doing the best work? Who’s following whom on social media? Who’s speaking at the cool conferences? What kind of work are they talking about? Make sure you’re in the right conversations and thinking in the most current way. And I’d rather see a handful of portfolio projects that are really well thought through than a giant list of half-baked notions. ca

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33

EDUCATION

Linda Joy Kattwinkel and Shel Perkins

Is It True That Copyright Doesn’t Protect Graphic Design? “Copyright doesn’t protect graphic design.” We’ve heard this persistent urban legend from academics, lawyers and even some employees in the United States Copyright Office. But is this really true? Fortunately, the answer is no. US copyright law protects a type of work called a “compilation.” Graphic and web design often fit this category.

A

compilation is defined as a selection and arrangement of materials or data. Because copyright focuses on “original works of authorship,” the selection and arrangement must have some degree of originality. Simple grids or commonplace layouts are not considered original. Copyright for the compilation will be separate from copyrights for the content. However, if your work includes both layout design, such as a web page, and some individual elements, such as logos, photos, text or illustrations, you will own copyright in the layout and the elements you created.

Compilation content and permissions Compilations can include a variety of content from different sources: 1. Some elements don’t have enough creative expression to qualify for copyright protection. This includes facts, lists of data, blank forms, and common geometric shapes or symbols, such as circles, squares, hearts and smiley faces. You don’t need permission to include them in your compilation. 2. Some elements qualify as creative expression, but their copyright protection has expired. Generally, anything created before 1923 is now in the public domain, and you don’t need permission to include them. Contrary to the popular misconception, “public domain” does not mean “publicly available” in terms of being easy to find online. Some works created after 1923 also may be in the public domain, but the analysis is complicated, so check with the source or a copyright attorney. US government works—for example, WPA artwork and photos taken by government satellites—are also in the public domain. You can use individual elements from collections of public domain works, such as vintage clip art and Dover Books’ collections. However, to avoid infringement of collection publishers’ compilation copyrights, don’t reproduce entire pages or a lot of elements from just one source. 3. If your compilation includes elements that were created after 1923, they are most likely protected by copyright, and you need permission to include them. Examples include brochures and websites with content licensed from third parties or owned by your client. As designers, we’re used to negotiating licenses from photographers, 34

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illustrators, and writers—all called “authors” in copyright parlance. Keep in mind that US law requires a signed written agreement to transfer copyright ownership or exclusive usage rights. Otherwise, permission covers nonexclusive usage rights only, and all copyrights, including rights to use the same elements in competitive works, remain with the original authors. 4. If you create some of the content as well as the overall selection and arrangement, then your copyright will be for a collective work. Your copyright includes your compilation authorship plus the individual elements you created. For the other elements, you will need permission from their authors. One example would be a website incorporating client or licensed content with new content, such as a logo. Another would be a magazine whose art director both designed the publication and created the masthead and editorial illustrations. 5. You might design a compilation for which you create all of the content, for example, a personal project or an in-house promotional piece. You—or your employer—will own copyright for the entire collective work. If you are assembling an anthology of past work, such as turning your portfolio into a coffee-table book, be clear about whether you retained the copyrights in those preexisting works. On projects such as logos, websites and corporate branding systems, you probably assigned all rights to the client. Although you generally have a fair use right to show your work, your client contract may have restricted that right, especially if the work hasn’t been published.

Copyright ownership and registration If you’re an in-house designer, your employer owns the compilation copyright. If you’re an independent contractor or an outside agency, you own the compilation copyright—and any content you created— unless you assign it to your client. Your initial ownership of the copyright can be important in the unfortunate event that your client refuses to pay you. If your client contract specifies that copyright transfers only on condition that the client has paid for your work, then your client will be infringing your copyright if it uses your work without paying. This gives you better enforcement leverage than just a breach of contract claim. Your compilation is protected by copyright as soon as you create it. However, you—or your client—need a copyright registration to enforce your rights, and early registration is particularly important if a dispute is likely. That’s because you can only get attorneys’ fees and statutory damages—a deterrent amount a court can order an infringer to pay you, regardless of actual profits or losses—if you register your copyright before an infringement happens.

Clarify for your client that rights to the compilation are different from rights to the content and ensure that appropriate permissions have been obtained for the various elements in your design. A helpful resource is AIGA’s model contract (aiga.org/standard-agreement), which addresses ownership and usage issues. You may also want to discuss registration. “Talking to clients about registering their compilation copyright is a great way to affirm our collaborative relationship and the uniqueness of our work product,” says Steve Barretto, principal of Oakland, California–based branding and design firm Barretto-Co. “It enhances their confidence in the value of our work as designers.”

REGISTERING YOUR COMPILATION COPYRIGHT

Copyright does protect graphic design! Designers need to know about compilation copyright so that we can make smart decisions for our own firms and provide our clients with proper guidance. When in doubt, consult a knowledgeable copyright attorney—preferably one who works regularly with designers. Understanding these issues and making good decisions up front prevents costly mistakes later on. ca © 2016 Linda Joy Kattwinkel and Shel Perkins. Disclaimer: Legal information is not the same as legal advice, which evaluates the legal significance of an individual’s specific circumstances. Consult a lawyer for professional assurance that this information, and your interpretation of it, is appropriate to your particular situation.

• When you get to the “Limitation of Claim” field, you will see the same

checklists repeated twice. This is where you need to differentiate between elements you created and elements from your client or other sources. In

The Copyright Office’s online registration process is called eCO (copyright.gov/eco). However, eCO guidelines are not clear for registering copyright in graphic design, and there are some pitfalls to avoid: • Never use the words “graphic design,” “format” or “layout” in the

title of your work or to describe your authorship. The Copyright Office conflates these words with the concept of a blank template, which is not copyrightable. Instead, use the terminology described below. • The first screen you encounter will ask you to answer three questions.

the first column, “Material Excluded,” check the boxes that describe the elements from your client or other sources, and use “Other” to include any types of works that aren’t covered by the checklist. In the second column, “New Material Included,” repeat exactly what you did for the “Author” field. Again, you will need to use the “Other” box to describe your compilation authorship. Sometimes the same box will apply in both columns. For example, if you created some graphics and also incorporated some of your client’s pre-existing illustrations, check “2-D Artwork” in both columns.

First: Are you registering one work? Check “No,” even if your only

Additional issues for websites

authorship is for the compilation. The next question asks if you are the

If you place content into a template instead of creating an original layout,

only author and owner of the work. Generally, you will check “Yes,”

your site will not be eligible for compilation copyright. Also, if you create

because you will be registering only the compilation authorship and any

a site using software like Adobe Muse, you won’t own copyright in the

elements you created, and you won’t be listing any other authors. The

website code.

last question asks if the work includes material only authored by the same

While the Copyright Office acknowledges the dynamic nature of websites,

persons. While this seems to be the same as the second question, this

the registration process does not accommodate changing content. Your

one is about what’s in the entire work, not just your authorship. So the

copyright registration for a website will cover only the content that you

answer is “No,” unless this project includes only elements you created.

claimed as your authorship and that existed at the time you submitted the

• Next, to identify the “Type of Work,” check “Work of the Visual Arts.”

application. If you are registering your work on a client’s website, the

• When you get to the field for “Author,” you will see a checklist for indicating the nature of your authorship. Check “Other” and describe your graphic design there as “compilation authorship, namely, the selection and

static form of your compilation when you finished it should be sufficient, assuming your client will be responsible for creating and adding new content after that.

arrangement of _________”, and fill in the blank with descriptors for the

If you are registering your portfolio site, it’s best to adopt a regular timeline

elements included in your layout: e.g., “2-D Artwork” for illustrations,

for adding new content, and file new registrations for each update. In your

logos, and other graphic elements, ”Text,” “Photographs,” “Map,”

registrations, use the “Limitation of Claim / Material Excluded” field to

“Animations,” “Sound Recordings” for music, “Audio-Visual Works” for

indicate that some of your compilation authorship was preexisting, and use

videos or interactive games, etc. If you’ve also created any of those individual

the “New Material Included” field to indicate what types of new content

elements, check the appropriate boxes for those, or if there’s no box, add

you have added. Alternatively, you can file your individual works separately,

it as a separate description in “Other.” If you wrote original software code,

or as collections of individual works, apart from the compilation authorship.

include it here, call it a “Computer Program” and follow the special

This might be a good strategy if the basic design of your website is not

instructions for submitting appropriate deposit specimens for the code.

changing. See copyright.gov/circs/circ40.pdf for additional guidance.

Communication Arts | commarts.com

35

Five Designers Share Their Treasured Finds ASTRID STAVRO

Atlas Palma de Mallorca, Spain

The Design Office of Matt Stevens Charlotte, NC

Under-the-radar resources: My brain— sorry, it’s available only under special request. But seriously, I’d say anything that is not online is underutilized. Speaking to other designers, writers, photographers and editors. Asking the right questions.

Online archive: In my research for a 1950s monster movie–related project, I found this old movie poster archive called the Wrong Side of the Art (wrongsideoftheart.com). With high-resolution views, it’s amazing to see the type and illustrations in detail.

Empathetic design: Calgary-based design firm WAX created an annual report for the Calgary Society for Persons with Disabilities. Printed only in black and white, the report is held together by a single staple placed in the center of the page, making it incredibly difficult to read—hence demonstrating the challenges of having a disability.

Mental indulgence: When I work, I have to have something going on a second screen. This year, it was a lot of It’s Always Sunny in Philadelphia or old Mystery Science Theater 3000 episodes. I listen to a lot of true crime or sports podcasts, and I love documentaries about odd or unusual things. Every time I try to have something constructive on, I lose focus. For some reason, I work best with mental junk food.

Library heavyweights: I’m currently reading Usefulness in Small Things, by Sam Hecht and Kim Colin (retailfacility.co.uk); the new edition of A Smile in the Mind, by Beryl McAlhone, David Stuart, Greg Quinton and Nick Asbury; and the latest issues of Eye magazine and Works That Work. For must-reads, I’m going back to classics such as John Berger’s Ways of Seeing, Norman Potter’s What Is a Designer: Things, Places, Messages and books by Bruno Munari. Organizational strategy: Don’t ask. If I sent you an image of my desktop right now, you would understand why.

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MATT STEVENS

Design Annual 2016

Illustrated banter: I love Tim Lahan’s work, which is a bit more illustration than design. His work juxtaposes a playful style with biting wit. It looks tame on the surface, but is very subversive. It feels like I’m getting an inside joke.

© Margaret Jacobsen

© Ian Allen

CLAUDIA DE ALMEIDA

SCOTT HILL

ADAM R. GARCIA

o Banquinho San Francisco, CA, and New York, NY

Original Champions of Design New York, NY

The Pressure Portland, OR

Timekeeper: I am a devoted fan of Harvest. The app tracks each minute spent on a project and bills to the correct one. This enables us to monitor not only our workflow, but also what’s needed for each project.

Convicting realization: Catching myself designing for other designers. When we publish work, designers are the people who trumpet it. My preoccupation with how my work would land with designers kept me from finding the best solution for my client. Feedback from other designers can be helpful, but now I keep it within a tight circle of trusted friends. We bounce ideas off each other with clients in mind.

Oldie, but goodie: I’ve kept a Micron 02 in the same place in my right pocket for about fifteen years now. Also a fan of the Tombow brush pens for stream-ofconsciousness script.

Analog tools: Scissors—I love cutting things up. I will also rip designs into pieces to paste over other designs. It’s a quick way of problem solving that unearths endless discoveries. Lately, I’ve also been obsessed with Midori Brass Ballpoint Pens. I love how finely they write and how pretty they are. I usually clip them to my outfit so I can quickly grab my pen to make notes or revisions. You can also put a chain on it to wear around your neck. I love them so much that I have about ten of them! Canine companion: Coming home to my French bulldog, Alfonso, gives me a few hours to relax after work and focus on this little creature that loves attention and scratches behind the ears. Being a designer 24/7 doesn’t mean you have to work all the time.

Real talk: I caught a presentation that New York City–based branding studio Gretel gave in 2015 about how today’s brands need more than just a logo, typography and definitive color. To me, that is definitely a big push for our industry. Technology has taken us to the age of brand movements, like Gretel’s perfect, thoughtful Netflix rebrand.

Brain fuel: Since we’re relatively new—only two years old—and still very much learning how to be a business, “splurge worthy” for the team means group lunches and dinners. They get us out of the office and regularly serve as brainstorming sessions. Engaging read: I recently finished William Gibson’s The Peripheral, which offers a futurist look at drones, politics, cults and so much more. It also includes time travel and moving tattoos. And it takes place in two different futures, which is pretty dang cool. Fresh work: I’m a big fan of the work of Zack Dougherty, aka Hateplow. His 3-D animations play with ideas of death and technology while absurdly looking at the history of art through a contemporary— and temporary—lens.

Communication Arts | commarts.com

37

GLORIA

PIZZILLI By Bonnie Smetts

I

talian illustrator Gloria Pizzilli is a mixmaster at play. Darkness teases light, fluidity pushes geometry, innocence hides danger. She unleashes her ideas on a cast of characters and blames the complex results on her chaotic mind. “I am a very chaotic woman,” she says, “I’m not so good at doing calm things.” That same energy bursts from her images. Born in 1983 in the Tuscan city of Prato near Florence, Pizzilli was introduced to drawing by her father, who had worked as a cartoonist before she was born. Never losing his interest in fumetti (comic books), he took her to cartoon exhibitions when she was young, although she hardly needed encouragement. Early on, she had found her passion for drawing and defined her aesthetic. “I did not want to draw Barbie. I always tried to distort or put some exaggerations in the faces.” Today the faces she draws appear vaguely Asian. She explains her family’s influence: “I have mixed cousins—half German, half Chinese. I love my melting pot family.” Her mother is German, and her aunt married a Chinese Indonesian. She credits her cousins with igniting her fascination and love of all things Asian. Her client Daniela Sanziani, formerly illustrations curator at WIRED Italia, now talent manager at Visionar agency in Milan, talks about Pizzilli’s work. “When I got in touch with Gloria for the first time, she was using an illustration style which reminded me of Ukiyo-e, but revisited in a futuristic key.” Sanziani found the right project for the illustrator when a WIRED Italia article about a female manga enthusiast surfaced. Manga, or Japanese comic art, has its roots in Ukiyo-e, the block prints of stylized courtesans and Kabuki actors popular during Japan’s Edo period. Ironically, Pizzilli only recently visited Japan for a five-week residency in woodblock printing near Mt. Fuji, a popular Ukiyo-e subject.

Right: “Crystalline is a limited edition print for Italian decorative lighting company Masiero Group, produced in collaboration with Gusto Robusto.” David Sossella, art director; Gusto Robusto, publisher; Masiero Group, client. 38

Design Annual 2016

Communication Arts | commarts.com

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GLORIA PIZZILLI

© Emiliano Vizzi

When asked about other influences, Pizzilli shakes her head and laughs. “I have my father to thank for this. I grew up differently from other artists, not drawing with them. I just made up my own style.” In Italy, fourteen-years-olds must select a subject-focused high school that sets their course for university and their career. Families agonize over the decision, and the art high school is often not a parent’s first pick. Pizzilli’s mother, a recognized expert in the very geometric art of chiacchierino, or tatting, had passed her mathematical mind onto her daughter. Pizzilli loved geometry and math, so her father encouraged her to attend the liceo scientifico, or science high school. They’d met renowned Italian Disney artist Giovan Battista Carpi at a comics festival and he’d given them advice about Pizzilli’s education. “Culture is the first thing. If she really wants to draw, she will draw on her own.” The young illustrator did draw. Three days a week after high school classes, she took the train alone to Florence’s Scuola Internazionale di Comics. However, teenage angst gradually set in, and her dislike of polynomials and quadratics grew. Her malaise seeped into her drawings as well, and she stopped. For seven years, she did not pick up a drawing pen. During that time, she fell in love, studied design voraciously at ISIA Design Firenze and had two children. Then one day, her long dormant talent stood up and demanded attention. “I didn’t just want to only be feeding and caring for my children. And that’s when I decided to try to do illustration again.” Her first commercial success was a brochure for La Scala, Milan’s famous opera house, in which she illustrated Puccini’s Turandot for a family-friendly performance. Another kidoriented piece about Peppino, or Guiseppe Verdi, followed. Today her client list includes The New Yorker, the New York Times, the Boston Globe, GQ USA, WIRED Italia, La Stampa, L’Espresso, Feltrinelli, Mondadori, Eli, Éditions du Seuil and Éditions Milan, where her projects range from editorial to books to fine art prints. Her first New Yorker job came by

way of an e-mail she sent to them that included links to her work. She only recently signed with the agency Illozoo. She also collaborates with Gusto Robusto, a limited editions publisher who prints and exhibits a select group of vector artists. One of the exhibit sponsors, Italian lighting company Masiero, commissioned her to create a special gift print for their clients. In Crystalline, a beautiful woman with dark lips and flowing locks spins glowing orbs into creatures of light. But is it a woman? A human? Almost hidden on the left side of the painting, her feet are those of an animal. A classic Pizzilli mash-up. Animals—especially big cats and reptiles— are often her favorite messengers for surprise. Gusto Robusto shot a fast motion video of her drawing this piece with digital pen and tablet, which can be viewed on Vimeo. While she’s never made peace with pixels, she’s at home with Adobe Illustrator. “I feel very good with vectors because I love geometry. I am comfortable with shapes and grids. In Illustrator, I use a freehand gesture, and then I can put limits and calculate.” She reserves hand drawing for personal work. Her characters, both human and animal, painted with Japanese calligraphy brushes dipped in India ink and watercolor, fill her sketchbooks. “I hate pencils!” She stops to laugh at her outburst, and continues, “I don’t like to erase. In Illustrator, I can go back, but when I draw by hand, I make mistakes—they are all there.” Initially too shy to promote her hand drawings to clients (although she may in the future), she has conquered her nerves about drawing at live events. At Vinitaly, a wine and spirits festival, she painted a mural for beer company Birrificio Angelo Poretti incorporating hops into the flowing hair of an angel (a reference to the company’s name) before an enthusiastic crowd. Italy abounds in festivals, not just for wine and food, but also for music and art. One festival promoting contemporary Italian culture, Italianism, included Pizzilli in its show 50x50x50—50 artists creating works of art in 50x50 centimeters. She explains the inspiration for her piece: “The theme was 50, so I thought: the 1950s. The idea of an American 1950s movie poster came to mind, then one for a science fiction movie.” Entitled Alien Attack, a female astronaut with long eyelashes and red lips fights a monster whose threatening tentacles are reflected in the geometric precision of her space helmet. A damsel in distress—but not exactly. Her heroines— with their tousled locks, intense eyes and pouty lips—can be as easily innocent as menacing. She often blurs not only the line between human and animal, but also male and female, always playing with the opposing forces of bellezza (beauty) and bruttezza (ugliness), an idea she discovered as a child.

Right: “Alien Attack is artwork created for an Associazione Illustri collective exhibition, held in Rome at creative conference Italianism in October 2015.” Ale Giorgini, art director; Italianism, client. “For Spectrum, an illustration for an article on using an enzyme to modify the DNA structure of patients with genetic disorders.” Ingrid Wickelgren, art director; Spectrum News, client. 40

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Design Annual 2016

GLORIA PIZZILLI As complex as her compositions are, she chooses a limited palette. “I am not so good with colors, so I use only three.” But she pushes those hues up and down their chromatic scales. Color was one of the things that attracted editor Flore Negroni to hire the artist for a book aimed at teens coming out later this year. “Éditions Milan wanted to work with Gloria Pizzilli as we liked her universe, which we discovered on the Internet. Her beautiful color palette delighted us!” Negroni describes the project as perfect for Pizzilli—a little “girly” and in “Japanese style.” Speaking in English via Skype from Toulouse, France, where she’s lived for three years, she talks about leaving Italy. “I am not here for work. I wanted my children to speak another language, to be bilingual. Now they are like little French children. I am so proud.” Her mother spoke only Italian at home, and while Pizzilli can understand German, she regrets that she can’t speak it. Her own skill with English came from watching films, playing video games and reading online. “I also watch a lot of tutorials about drawing and anatomy in English. I am curious and am still learning so much. Because I did not attend liceo artistico or Accademia di Belle Arti, I now fill in the gaps.” In our second Skype conversation, this time in Italian, she gives me a tour around her living room where she works. While some artists require a calm and pristine studio, Pizzilli shares her space with her artist husband and their three kids, ages 11, 9 and 4. “You can’t keep them separate. We are all working together. I have a corner of the table and they are everywhere else.” She shows me several long tables covered with drawing paper and jars of pens and brushes—and the giant coloring crayons of her children. She gestures to her shoulders as if she’s holding the straps of a backpack. “Often, the little one is hanging on here while I work.”

Left: “Wall tattoo, 10½ by 9⅓ feet, for the Kai Sushi restaurant in Zürich.” Andrea Ringli, art director; Factory Design Labs, design firm; Kai Sushi Restaurant Zürich, client. “Cover for Tor Seidler’s Il principe dei lupi (Prince of wolves), a children’s book about an unlikely friendship between a magpie and a wolf pup.” Fernando Ambrosi, art director; Mondadori, publisher. “Postcard for Libretto postale, animali in viaggio (Book of postcards, animals on the road), a collective exhibition held in Bologna in March 2013 and organized through illustration and art historian Anna Castagnoli’s blog, Le figure dei libri, and publishing company Vànvere Edizioni.” Anna Castagnoli, art director; Le figure dei libri/Vànvere Edizioni, clients. This page: “Two illustrations from Le petit théâtre de La Fontaine: 8 fables à jouer masqués (The small theater of La Fontaine: 8 fables to act out with masks), a children’s book written by Agnès de Lestrade with updated versions of classic French storyteller Jean de La Fontaine’s fables, encouraging children to perform the stories with removable masks.” Chloé Samain, art director; Editions Seuil Jeunesse, publisher. Communication Arts | commarts.com

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Design Annual 2016

GLORIA PIZZILLI When asked what’s next for her, she says books. She’s illustrated several for publishers but now wants to create both image and word. Children’s books, of course. And she quickly adds, “A graphic novel. I want to do that.” In fact, she’s busy with one now, but won’t reveal any details. She’s arrived full circle, back to her roots in comics and her love of manga. However, her enthusiastic clients won’t allow her to retreat from collaborations any time soon. Daniela Sanziani says, “I would like to work with artists like Gloria every day, because if you give them the freedom to suggest their own vision, they’ll surprise you and leave you breathless.” With fans like that and her curious mind and restless spirit, who knows what she will mix up next. ca Left: “For WIRED Italia’s March 2015 issue, an illustration for a monthly column by Tea Hacic-Vlahovic.” Daniela Sanziani, art director; WIRED Italia, client. “Seta is a limited edition, 18-by-28-inch print produced in collaboration with Gusto Robusto.” David Sossella, art director; Gusto Robusto, publisher. “Illustration for an article in the New York Times’ Sunday Business section by Jennifer L. Hollis, ‘Providing the Soundtrack for Life’s Last Moments.’ Hollis describes her career as a musician who holds musical vigils for hospice patients.” Minh Uong, art director; New York Times, client. This page: “Two images from a personal project, exhibited at BUM (Berga Urban Museum) in Vicenza, Italy.”

Communication Arts | commarts.com

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BOHAN E RR T T II SS II NN GG AA DD VVBY EMATTHEW PORTER

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I believe that is the culture—we That is the basis for basis the of tour fewwhat makefuels it tomost the Grand Old Opry; manyis the quality manyguide. don’t.ABut newcomers’ desires the quality and effectiveness of our product.” and effectiveness of our product.” don’t. But what fuels most newcomers’few desires the in possibility that Nashville affords—like otheriscities Transparency andhonesty honestyare areBOHAN BOHANcornerstones. cornerstones.The The Transparency and possibility Nashville affords—like few other cities in the the Unitedthat States. agency distributes an annual report to every employee agency distributes an annual report to every employee United States. Nashville is part of David Bohan’s DNA. Unlike the aforedetailingevery everydime dimethe theagency agencytakes takesininand andspends. spends.ItIt detailing Nashville is part of DavidBohan Bohan’s DNA.arrive UnlikebyDolly, and mentioned musicians, didn’t bus. Garth He was does not keep time sheets. If an account manager decides does not keep time sheets. If an account manager decides others, Bohan arriveGarth by bus.and Heothers, was born While born here. Butdidn’t like Dolly, hehere. started with to dine at an expensive restaurant, everyone knows to dine at an expensive restaurant, everyone knows it.it.If If he with few professionalHowever, connections, he could fewstarted professional connections. he could identify productioncosts costsdouble doubledue duetotobad badweather, weather,allallare areprivy. privy. production identify talent andhow knew build creative In 1990, All are accountable. All share profits. talent and knew tohow buildtocreative teams.teams. In 1990, at All are accountable. All share profits. at age formedBOHAN BOHANAdvertising. Advertising. thethe age ofof41,41,heheformed ClientDavid DavidEllis Ellis,ofO’Charley’s Client O’Charley’sRestaurants, Restaurants says this kind of “Nashville’s spirit can be characterized as ‘Let’s build this transparency is what attracted his company to “When BOHAN:we “Nashville’s spirit can be characterized as ‘Let’s build this of transparency attracted his company to BOHAN: together,’” explains Bohan. “My early career was helped along “When we went searching for a partner two years together,’” explains Bohan. “My early career was helped went searching for a partner two years ago, we said,ago, ‘We by others. BOHAN has evolved with help from others. So we we said, knowwewho wesomeone are; we need someone to bring along by others. I believe BOHAN has evolved with help from know who‘We we are; need to bring that identity define by the roles by they andthey theplay contributions life.’ofThere’s a lotworld of fake in the others.people We define people theplay roles and the tothat life.’identity There’sto a lot fake in the today, andworld people they make, not by their rank, tenure or level of experience. today, and people want a place that’s real. That’s what contributions they make, not by their rank, tenure or level want a place that’s real. That’s what we wanted to convey We built this agency together.” we wanted to convey from the start—that we were of experience. We built this agency together.” from the start—that we were born in a kitchen, not inborn in a kitchen, not in a conference room. People are looking for BOHAN BOHAN isis aa big bigpart partofofNashville’s Nashville’sgrowing growingcreative creativereputation, reputation, a conference room. People are looking for authenticity—in authenticity—in relationships each the other and and their relationships their with each other andwith also with brands and of of that, that, its its founder founder is is proud. proud. He He hasn’t hasn’t forgotten forgotten his his also with the brands that they buy, and BOHAN has delivered Nashville they buy, and BOHAN has delivered that for us.” Nashville roots rootsor orhis hisobligation obligationtotohelp helpnewcomers newcomerspursue pursue that for us.” their dreams. He created a culture of respect, sharing, their ambitions and dreams. He created a culture of Red-hot Nashville caring and, abovecaring all else, valuing thethe soloband respect, sharing, and, abovethe all band else, over valuing Red-hot Nashville Outside the country music community, Nashville was once performer. “This agency’s“The bestassets assetsof leave day on over the solo performer. this every agency leave Outside the country backwater. music community, Nashville was once considered a cultural Not today. As national an elevator. It’s my job to make sure those who work every day on an elevator. It’s my job to make sure those considered a cultural backwater. Not today. As national attention has focused on its rapid growth, low cost of living, here fulfilled. That’s the That’s only way can who feel workrespected here feel and respected and fulfilled. theI only attention has focused onreal its rapid growth, cost of living, cultural riches, booming estate, hipsterlow neighborhoods ensure that those who leave here Tuesday night will be way I can ensure that those who leave here Tuesday night cultural riches, booming real estate, hipster neighborhoods back Wednesday will be back here morning.” Wednesday morning.” and culinary bounty, Nashville has become Captions supplied by BOHAN. Right: “The Standard, one of Nashville’s most exclusive social clubs, asked us to increase its memberships in 2012, but we provided a whole lot more. We Right: oneidentity, of Nashville’s exclusive clubs, ads, askedand us we to increase itson memberships in 2012, ballroom but we provided whole lot more. We started“The withStandard, a branding menumost redesigns andsocial restaurant continued with event invites, bannersaand nontraditional started withthat a branding identity, and restaurant ads, art anddirector; we continued with event invites, ballroom banners and nontraditional executions executions gave the privatemenu club aredesigns sense of mystery.” Josh Ford, Kerryon Graham, writer; Jon Arnold, creative director; The Standard, client. that infused the private club with a sense of mystery.” Josh Ford, art director; Kerry Graham, writer; Jon Arnold, creative director; The Standard, client.

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© Connor Carroll

and culinary bounty, Nashville has become a destination. BOHAN is benefiting from the good news, attracting new talent from as far away as San Francisco, New York, Chicago and Minneapolis. “Most come here from somewhere else,” observes Jon Arnold, agency executive creative director and Ohio native. “But we’re cohesive. We share pride in craft and value family life. And those of us who’ve moved here now consider Nashville home, and we practice this city’s tradition of embracing newcomers who bring new ideas and talent.” BOHAN’s vetting process helps ensure new hires become solid band members. Says Arnold, “To get hired here, you have to ‘run the gauntlet,’ meeting with staff members at every level of the organization. A prospect might meet as many as ten people. If we see that a person will fit into our culture, it’s just a matter of working the numbers to get him or her here.”

Pulling down silos BOHAN institutionalizes cross-disciplinary collaboration and open communication by mixing together writers, art directors, planners and account managers to work and share in “villages”. The villages represent the agency’s three principal client industries: health care, tourism and retail. Every client has an office they can visit, day or night. There’s no media department. No creative department. No planning department. Just villages populated by individuals with a collaborative work ethic. Go ahead, roll your eyes. But in BOHAN’s capacious brickwalled offices inside an old warehouse in the middle of Nashville’s Gulch district, this arrangement is more than physical: it’s philosophical. Ellis agrees. “Our village setup drives creative thinking. Lots of places talk about breaking down silos, but we live it. This gives us tremendous influence and connection. That’s powerful stuff. Much more so than just ‘making ads.’”

Brian Gilpatrick, senior vice president of account management, has been with BOHAN for more than 20 years. He describes himself as “a cross between a librarian and a mechanic”—a “nerd” who gets along with others because, he says, “I listen more than I talk, and I’m always digging around to learn as much as I can.” Gilpatrick is paid to poke holes in others’ assumptions. “Not for fun,” he cautions, “but to provide better solutions.” During his tenure, he’s seen BOHAN grow up. “We’re doing the best work in our history, and I attribute this to a few characteristics. First, everyone who works here must devote time to understand their client’s business. Clients depend on us to see trends and adapt to change. Second, we don’t let our egos get in the way of good work. Assholes—whether clients or employees—are unwelcome. Finally, we know our strengths, and we encourage clients to define theirs. This requires soul-searching and, sometimes, painful honesty.”

Pigeon Forge, forever

If you’ve ever been to Pigeon Forge, Tennessee, or wanted to visit, thank BOHAN’s campaigns for piquing your interest. It’s a heck of place to have a whole lot fun for not a whole lot of money. Designed for families and people with modest incomes, the town attracts those who love go-cart racing, miniature golf, zombie rooms, waterslides, goats on the roof, zip lines and, of course, Dolly Parton. Pigeon Forge is also big on loyalty—it’s had the same city manager, tourism director and marketing manager for almost 30 years. The current mayor and city commissioners who approve and fund the tourism department have served more than 20 years. BOHAN is no exception to the rule: it’s been the town’s agency of record since 1990. Leon Downey, executive director of the Pigeon Forge Department of Tourism since 1989, explains why this relationship has endured nearly three decades. “They’ve recommended and executed marketing programs that have helped us attract new guests, the lifeline of our tourism economy. There’s rarely a workday that we don’t interact with them on multiple projects. Because the marketing programs they’ve recommended have worked well, there’s great trust between us. And while BOHAN has larger accounts today than Pigeon Forge, David Bohan remains involved in our account, and other BOHAN folks have served us for more than fifteen years. They know our staff, our guests and our business community. We rely on them to share fresh insights on many things besides marketing. We consider David and his BOHAN team part of our extended staff.”

This page: From left: Gayle Fuson, chief financial officer; Brian Gilpatrick, account manager; David Bohan, chairman; Shari Day, chief executive officer; Cristina Goodenough, executive engagement director; and Jon Arnold, vice president and executive creative director. Right: “East Nashville has experienced incredible gentrification, and it is also home to some of the worst poverty in our state. The Martha O’Bryan Center works to break the cycle of city poverty with services that include early childhood and adult education, after-school mentoring, and recreational activities. We helped the organization raise awareness and donations with a citywide campaign entitled ‘Break the Line,’ which encouraged East Nashville to take care of its own by supporting these highly effective community programs.” Mary Rauzi, art director; Jason Postelwait, writer; Jon Arnold, creative director; Martha O’Bryan Center, client. 48

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BOHAN Eagle Steve soars When Erica Brister learned that her father wanted to retire and close his decades-old Nashville pest control business, she wondered if she would be able to carry her father’s torch. In the end, loyalty to her father, her hometown and the people of U.S. Pest Protection convinced her to keep the business open. She left Boston, gave up her dream career in broadcast journalism and moved home. But she had some conditions. She wanted to grow the company. She wanted a marketing program that would shake up the local market. She needed to get folks talking about her family business, and she wanted BOHAN to help her do it. And all on a limited budget. Brister and BOHAN made a deal: she would get what she wanted at the price she could afford, but she had to learn to trust BOHAN to define what it was she thought she wanted. It had to be groundbreaking, unusual and all or nothing. The solution for U.S. Pest Protection? Eagle Steve, a peculiar puppet mascot accompanied by a zany theme song. “The pest control industry’s comfort zone is narrow, but I’m drawn to creative risks,” says Brister. “My inner rebel said, ‘Trust them. Pull the trigger.’” Eagle Steve soared on YouTube. In just a few weeks, 115,000 visitors have viewed this odd spot. Will it become a cult classic that propels U.S. Pest Protection to national prominence? Who knows? It’s certainly weird enough. But it now drives the company’s hometown brand recognition. Eagle Steve, BOHAN’s brainchild, has made it likely that U.S. Pest Protection will be around for at least one more generation of Bristers.

Left: “Dueling Grounds Distillery in Franklin, Kentucky, is located in one of the last places in America where it was actually legal for gentlemen to settle their differences the old-fashioned way: 20 paces, turn and fire. This insight formed the basis for the complete branding and design project we undertook to launch Kentucky Clear, Dueling Grounds’ small-batch craft moonshine. We developed the bottle design and the name of the product. Then we built the brand story, sourced bottles, designed the logo and bottle labels, and created and hand-produced promotional boxes in which the company’s Kentucky Clear moonshine spirits would be presented to distributors—and to key influencers, like the South’s best bartenders and clubs.” Josh Ford, art director; John Sharpe, writer; Dueling Grounds Distillery, client. Print ad for the Land Trust for Tennessee. “The trust protects our natural and historic landscapes, both public and private, to make our state a better place to live, work and play.” Jon Arnold, art director/ creative director; Dave Smith, writer; Ben Fink, photographer; Land Trust for Tennessee, client. This page: Campaign for Saint Thomas Health. “Based on Luke 1:37: For with God nothing shall be impossible.” Jon Arnold/Jeff Parson/Joe Weaver, art directors; Jon Arnold, creative director; Jeremy Cowart, photographer; Saint Thomas Health, client. Communication Arts | commarts.com

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BOHAN Get on the bus “I once heard someone say, ‘It’s not hard to make advertising that is distinctive—it’s hard to make advertising that is effective,’” says Bohan. “I believe effective advertising is the product of effective people. When you trust people, good things happen. We trust people here. It’s liberating and refreshing. People want to be a part of this.” Those one-way tickets to Music City aren’t just for guitar players and songbirds these days. There are others on that bus: advertising dreamers of Atlanta, Chicago, San Francisco, New York, Seattle and Minneapolis. The undervalued, overlooked, disempowered and rent-impoverished are heading to Nashville. BOHAN will welcome them with open arms. It’s the Nashville way. ca Left: “When Smallwood Nickle Architects, a well-respected architectural firm in Nashville, asked for our help, we jumped in and launched a new website and portfolio lookbook to show off its very personal projects. The result had to be as beautiful and refined as the commercial buildings and homes the firm creates.” Mary Rauzi, art director; Kerry Graham, writer; Jon Arnold, creative director; Smallwood Nickle Architects, client. “When U.S. Pest Protection approached us, it had a straightforward problem to solve on a shoestring budget. Even though it’s a local, family-owned company that has been serving central Tennessee for more than 30 years, its brand awareness was low. Our task was twofold. We had to increase visibility in a market with plenty of big-name competition and get the phone to ring. We overhauled its brand and created Eagle Steve, a campy superhero sidekick that embraced pest-control-mascot kitsch in a way that was disruptive, memorable and funny. Fans of U.S. Pest Protection’s new Chief Protection Officer sent e-mails to our client from around the country. The phone rang. And, most important, customer leads doubled.” Tim Delger, art director; Bridget Deenihan, writer; Jon Arnold, creative director; Mike Quinn Jr., editor; Marco Cordero, photography director; John Deeb, director; Mike Fiorentino, music; Tighe Arnold, producer; Penny Rahe, agency producer; Deeb Studios, production company; U.S. Pest Protection, client. This page: Poster and menu for O’Charley’s restaurants. “O’Charley’s wasn’t born in a boardroom. It was born in Nashville, Tennessee, in 1971. Classic American food with Southern roots.” Josh Ford, art director; Jon Arnold, creative director; Michael Rutherford, photographer; O’Charley’s, client.

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EXPOSURE EXPOSURE By Dzana Tsomondo

By Dzana Tsomondo

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hotography is commonly thought of as a solitary endeavor, the province of the individual. Only one person can operate a camera at a time, and the very act of taking a picture sets photographers apart from their In explaining their work that takes in subjects. Talk with photojournalists about theplace dangerous dangerousthey situations, often describe the situations work in,photojournalists and they often describe the camera camera kind of emotional shield, separating them as a kindasofa emotional shield, separating them from thefrom the world. Walk streets with a working photographerand and world. Walk the the streets with a working photographer, you will invariably find yourself walking alone, backtracking although only to find him or her lost in the viewfinder. And although media has has had had some some impact impact on on the the culture, culture, photo­ photosocial media still have have aa reputation reputation for for being being reluctant reluctantto toshare share graphers still ideas and techniques. Conventional wisdom, as always, nevernever tells the story. But conventional wisdom, as always, tellswhole the whole Photography has a history of collaborative duos atduos the at forestory. Photography has a history of collaborative frontforefront of the art icons like Bernd Hillaand Becher the of form, the artfrom form, from icons likeand Bernd Hilla to contemporary artists Robert Shana Becher to contemporary artists and Robert andParkeHarrison. Shana Parke­ Working together as ioulex—pronounced yoo-leeks—Julia Harrison. Working together as ioulex—pronounced yoo­leeks Koteliansky and Alexander Kerr’s powerful imagesimages are part —Julia Koteliansky and Alexander Kerr’s powerful areof that of same “Sometimes there there is a misconception part thattradition. same tradition. “Sometimes is a misconcep­ aboutabout photography that as it isthe thesimple simpleproduct productofofa amachine, machine tion photography and that the machine depicts the perception of a single that the machine depicts the perception of a single operator,” operator,” Koteliansky “We have always there Koteliansky muses. “Wemuses. have always found therefound is so much is so much to think about around taking pictures, from to think about around taking pictures, from conceptualizing conceptualizing your initial out ideaa or figuring out a specific your initial idea or figuring specific approach for an approachassignment to an editorial assignment to planning the editing actual editorial to planning the actual shoot and shoot and editing theispictures …, keep theretwo is plenty keep the pictures …, there plenty to peopletobusy.” two people busy.” There is an elusiveness to the duo’s work, an aesthetic so Therethat is an elusiveness to the duo’sthe work, an aesthetic so fluid it becomes unrecognizable moment you attempt fluid it is recognizable until the moment you attempt to pinthat it down. Black­and­white, color, multiple exposures, to pin itphotography down. Black-and-white, multiple candid and stylized color, portraiture mixexposures, and mingle

candid and stylized portraiture mix and mingle in their photography portfolio, evading categorical lassos like nimble goats, in their portfolio, evading categorical likesome nimble sure­footed on the trickiest terrain. lassos Perhaps of goats, that is sure-footed the duality, trickiestbut terrain. of that of is a function ofon their it alsoPerhaps reflectssome the breadth atheir function of backgrounds their duality, and but influences. it also reflects the breadth of artistic their artistic backgrounds and influences. We discussed that and more over wedges of Koteliansky’s We discussed that and more overlight­filled wedges ofWashington Koteliansky’s sublime quiche, savored in their sublime quiche, in their light-filled Heights apartment in New York City.Washington When askedHeights to describe apartment New York City. WhenKoteliansky asked to describe each other’sincreative sensibilities, pointedeach to other’s creative sensibilities, Koteliansky to Kerr’s Kerr’s gift for composition and structure;pointed in response, he gift for composition andelements he singled her singled out her abilityand to structure, turn chaotic intoout some­ ability to turn chaotic elements to thing cohesive, to create an eye ininto thesomething storm. Shecohesive, notes, slyly, create an eye in the She notes, slyly, that sometimes that sometimes she storm. subverts that by “pretending to be him.” she subverts that by “pretending to be him.” While Kerr put their ebullient young daughter to bed, While Kerr put their ebullient young daughter to and bed,raised Koteliansky talked about her own childhood. Born Koteliansky talked about her own childhood. Born and in Moscow, her life changed quickly after the collapseraised of in her life quickly aftereleven, the collapse of the theMoscow, Soviet Union in changed 1991. When she was her family Soviet in 1991. Whenofshe wasopportunities. eleven, the family movedUnion to Paris in search better Themoved child to Paris in search of better opportunities. The child of two of two scientists, Koteliansky—by her own admission— scientists, Koteliansky—by heraptitude own admission—inherited inherited none of her parents’ for science and math. none of her parents’ aptitude for science and math. “I was always painting and drawing. My parents brought “Ime was paintingKoteliansky and drawing. My parents brought me toalways art exhibits,” remembers. “When I was to art exhibits,” Koteliansky remembers. “When I was sixteen, sixteen, I got interested in cinema and would skip school Itogot in cinema andThen wouldI got skipmy school golast watch gointerested watch films by myself. firstto and films by myself. Then I got my first and only summer job to summer job to make money for a camera and tried to teach make money for a camera and tried to teach myself to use it.” myself to use it.” Artistic a fixture Kerr’s life. He Artistic expression expression was also also defined Kerr’sofearly life.early He grew grew in Salem, Massachusetts. His father a public up in up Salem, Massachusetts. His father was awas public school school his mother, visualHis artist. His paternal teacher,teacher, and hisand mother, a visualaartist. paternal grand­ grandfather a darkroom technician in York New City, York and City,his father was awas darkroom technician in New and his maternal grandfather was anpainter. abstractKerr painter. Kerr maternal grandfather was an abstract attended

Right: “In “In this this fashion fashion story story for for Flaunt Flaunt magazine, magazine, we we wanted wanted to to evoke evoke Jessye Jessye Norman Right: Norman and and Leontyne Leontyne Price, Price, our our favorites favorites among among the the great great opera opera divas. divas. We We collaborated with with costume costume designer—and designer—and friend—Christian friend—Christian Joy, Joy, who who styled styled the the shoot. collaborated shoot. Joy Joy has has aa brilliant brilliant way way of of mixing mixing high high and and low low artisanal artisanal details details and and do-it-yourself elements elements to to mimic mimic stage stage design design and and costumes. costumes. We We loved loved how how she do-it-yourself she wrapped wrapped the the model—who model—who wore wore aa fantastic fantastic red red gown gown by by designer designer Thom Thom Browne—in strips strips of of red red paper paper that that she she had had cut cut out out of of our our seamless seamless backdrop. backdrop. This Browne—in This was was our our first first shoot shoot using using aa Leica Leica S; S; it it did did well.” well.” Christian Christian Joy, Joy, stylist; stylist; Flaviana Matata, Matata, model; model; Flaunt, Flaunt, client. client. Flaviana 2 54

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IOULEX progressive “open schools,” where his creative instincts were given free reign—so much so that as graduation approached, he balked at going to college. “I had this idea that I was going to buy a van and drive across the country, so by the time I got started on my trip, my friends were starting college,” Kerr says, chuckling ruefully. “I came to New York City to visit some of them. Driving around by myself, it didn’t take very long to decide I would rather be in New York.” Kerr ended up studying illustration at Parsons School of Design, and, in 1997, during a year abroad in Paris, he met Koteliansky. They have been together ever since. From the beginning, their connection was an artistic one; they worked together on assignments and shared ideas long before they started taking pictures together. In 1998, after a year in France, Koteliansky and Kerr returned to New York to finish school. “No one told us that when you go to school for design, you end up working in advertising,” Kerr says with a laugh. They both landed art director positions at good agencies, but neither felt very fulfilled. Simultaneously, they became more and more serious about their own photo­ graphy. They were spending their workdays looking at images and their free time shooting their own, and the pull to change course became irresistible. Eventually, encouraged by art buyers’ responses to their work, they took the leap. “I first saw their work in the T Magazine blog or in The New Yorker,” says Sarah Filippi, photography director at Fast Company. “I was drawn in by their distinctive photographic style; they have a very abstract perspective and unique approach to photography. They make you see what is in front of you with an altered perception. Sometimes I feel spoiled to work with them because I know that I’m always going to get something unexpected and remarkable.” ioulex takes pride in its flexibility, starting each project ready to push boundaries and make new discoveries. A relentless curiosity underpins the duo’s work, whether commissioned or personal. Kerr and Koteliansky are always seeking, unafraid

to follow an idea into the unknown. First, they find a spark of inspiration. Each project is like a mountain: before attempting to climb, they have to determine the right approach. Film, painting, dance, fine art and fashion are the muses that provide the foothold from which Kerr and Koteliansky begin their conceptual ascent. Siobhan Bohnacker, senior photo editor at The New Yorker, has watched their close artistic kinship for years. “Artistic inspiration is something that needs to be replenished often, and two people working together inherently speeds this process up. Just recently, we worked together on a portrait shoot for which they referenced a painting as a point of inspiration. It’s never just about photography for ioulex,” she says. All the research and conceptualization ioulex does in prepar­ ation for every assignment enables the team to work intuitiv­ ely once the shoot starts. Surrendering control in order to make room for spontaneity and respond to their subjects on the fly is an integral part of the couple’s philosophy. They scoff at any redundancy on set. One might engage the subject while another shoots, only to switch roles a moment later. Like a cagey vaudeville duo, they are constantly setting each other up. One client described the depth they were able to bring to a specific shoot as “three­dimensional”—indepen­ dently moving in complement like the hands of a clock. In regards to the division of labor, Koteliansky and Kerr describe a fluid partnership that precludes any fixed roles. “There’s no part of the process that only one of us could do. It’s kind of like parenting—there isn’t any part of raising the kid that only she can do or only I can do,” Kerr explains. “And the best thing is for both of us to be able to do everything, then we can shake things up if we have to.” They favor Leicas with a variety of old lenses and strive to make effects happen in­camera rather than in postproduction. As part of this naturalistic approach, Kerr and Koteliansky avoid “big setups,” preferring to stay “lightweight” and relying on their synergy to get the shots they want. They rarely use an assistant, but they do work with some trusted collaborators, like costume designer and artist Christian Joy. For her part, Joy sees the atmosphere that ioulex creates on set as an integral part of their success. “They’re very easy to work with,” she explains, “They’re kind of like bumblebees buzzing around a flower. They’re taking photos, and you hardly know it, so it’s easy to feel natural and less posed.”

This page: “We took this picture on our phone. It’s hard to get both of us in front of somebody else’s camera.” Right: “A portrait of dancer Matthew Rushing, rehearsal director at Alvin Ailey American Dance Theater, for his profile in The New Yorker. Like all our multiple exposures, this was done in-camera. Rushing is incredible. He must have done 30 perfect jumps for us, and they appeared so effortless that it wasn’t until he said, ‘I’ve got another one left in me,’ that we realized: ‘Oh, right, he does get tired.’” Siobhan Bohnacker, photo editor; The New Yorker, client. “From Revenge of Amphitrite, a photo novella starring Hannelore Knuts and Jason P. Grisell. We shot it on a dreamy day at Fort Tilden, on the Rockaway Peninsula in New York City, for Rockaway Summer magazine. Hannelore was seven months pregnant, and Jason wore a real Russian submariner’s shirt. The guy who sold it to him said, ‘Wash only in salt water.’” Jason P. Grisell/Hannelore Knuts, models; Rockaway Summer, client. 56

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IOULEX The couple’s willingness to eschew any particular style in favor of new ideas and approaches sets them apart from other photographers Joy has collaborated with. “We’re all clearly on the same page and trust one another’s visions. I have never questioned their ideas. They always come up with something I would never expect, which helps me to see my own work in a different light,” she says. Although they never publicly discuss who took which pictures, Kerr and Koteliansky say that when it comes to editing, they inevitably end up with an even split. And this artistic kismet isn’t confined only to when it’s Kerr and Koteliansky looking at the work. “When we send work to editors, we always submit a lot of material so they have options,” Koteliansky says. “They don’t know who shot what, but the published work still ends up 50-50.”

Left: “Portrait of Israeli actress and model Odeya Rush for Flaunt magazine. You might not know of Odeya, but you will! She was just sixteen when we photographed her. Young performers are mature beyond their years and exceptionally professional, being deeply proud of what they do.” Flaunt, client. “Editing photographs from a great actor’s shoot is really amazing because, unlike mortals, they somehow look good in every picture with a great range of expression. In this shot for The New Yorker, actors Julia Stiles and James Wirt were reciting their lines from Scott Organ’s play Phoenix, performed at the Cherry Lane Theatre in New York City. We remember feeling guilty that we had to take pictures and couldn’t devote the full attention that their performance deserved. It’s too bad that we can’t stop and absorb what happens in front of us while we’re shooting.” Whitney Johnson, photography director; The New Yorker, client. “Actor Christian Bale, photographed in Los Angeles for an interview in Variety magazine. We went to Los Angeles for literally just a few hours— we were eager for a quick return because our daughter was only two weeks old at the time. In an otherwise pristine garden at the Four Seasons Hotel in Beverly Hills, we used this bizarre, gritty corner as a setting for photographing Bale. It was behind a hedge with a giant ventilation grid and discarded Plexiglas. Bale was very cool and accommodating, joking, ‘Are you guys really from Variety? Why do I feel like five minutes after you leave, the real photographers are going to show up?’” Bailey Franklin, photography director; Variety, client. This page: “Portrait of fashion journalist Diane Pernet in Paris, published in i-D magazine. Pernet is a magical person, not only in how she dresses, but also in how she talks. We met in Paris, in the garden of the Musée du quai Branly, which is separated from the street by a wall of soundproof glass. Inside, a looped recording of bird noises plays on hidden speakers. We felt like we were capturing Pernet as a rare creature in her natural habitat.” i-D, client. “Actor Daniel Radcliffe, photographed in his apartment in New York City for an interview in Variety magazine. Radcliffe was a lot of fun and very easygoing—to capture these shots, we joked with him by saying that we were taking pictures of a dog’s portrait that was on the wall behind him.” Bailey Franklin, photography director; Variety, client. “Actor Tilda Swinton, photographed in New York City for an interview in Variety magazine. On set at the wine bar Von, we explained to Swinton that for the portrait, we imagined her playing the role of a French surrealist artist at a bar in Berlin. She replied: ‘How about a Scottish actress at a bar in New York?’” Bailey Franklin, photography director; Variety, client. Communication Arts | commarts.com

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IOULEX The ioulex moniker likewise combines the couple’s first names. “A friend from Parsons was leaving New York, and as a goodbye gift, we shot a double exposure Polaroid of the two of us. It looked a little eerie, and we called it ioulex,” Koteliansky explains. The German word Künstlerpaare roughly translates as “artist couple,” and when you spend time around ioulex, it’s an apt description in more ways than one. In tran­ scribing our conversations, I realized how often they finish each other’s sentences—or start them, depending on how you look at it. Kerr is soft­spoken and given to thoughtful pauses, whereas Koteliansky jumps off the tape, vacillating between bold declarations and mischievous peals of laughter. But sometimes, as in a photo shoot, they seem to switch places. I’m reminded of how Kerr compared their collaboration to the raising of a child and can’t help but wonder what ioulex will become. ca Left: “From a fashion story published in Big magazine, featuring a haute couture collection by Dutch designer Iris van Herpen. We first met van Herpen in New York City for a commissioned portrait when she was starting out. It was her first trip to New York; the Met had just acquired one of her couture dresses. We connected with her again in Amsterdam and collaborated on a fashion story and video, featuring designs from her archive. We shot the story at Le Sentier des Halles, a small club in Paris that offers musical and comedy acts for its clientele.” Suzie Bird, model; Big, client. “Elizabeth Ammerman in a costume by designer Christian Joy, published in The Block magazine. This was our first shoot—of many to follow— with Joy. Everything about this simple shoot made all the sense in the world: the studio’s beautiful light; Joy’s textiles serving as backdrops; Ammerman—Joy’s assistant who later became a designer in her own right—modeling, with Joy doing her makeup. We had to come back for more. Joy is now a regular collaborator and our muse: we always try to support her projects and document her designs.” Elizabeth Ammerman, model; The Block, client. This page: “Actor Adam Driver, photographed in a penthouse at the Tribeca Grand Hotel, now the Roxy Hotel Tribeca, in New York City for an interview in Flaunt magazine. There was a giant flat-screen TV in the hotel lobby, so we photographed Driver in its reflection. The styling was based on Pierre Clémenti’s character in Luis Buñuel’s film Belle de Jour, with which we were infatuated. From the moment we mentioned commedia dell’arte to Adam, we were just trying to keep up with him.” Flaunt, client. “From a series illustrating an article on the structure of Tinder for Fast Company magazine. Even though we aren’t necessarily believers in Tinder, staring at the models through sweat, oil and a half-inch of Plexiglas was a mind-altering experience. We have to thank the genius of artist Marilyn Minter for setting an unbeatable precedent.” Sarah Filippi, photography director; Koki Tomlinson, model; Fast Company, client.

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STIMULANT

STIMULANT STIMULANT By Sam McMillan

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e’ve all had dreams about flying above a city, hotspot links to CenturyLink Field, the home stadium of the e’ve all had past dreams about flying aboveinto a city, the Sounders net in a you-are-there experience. It’s a room, magical Seattle FC. Visitors can tour the locker join zooming skyscrapers, peering windows inside combination of delight, superpowers and high tech thatthe net zooming past skyscrapers, peering into windows a huddle and see a winning soccer goal from inside and whooshing past the heads of unsuspecting Potter would appreciate. and whooshing thethe heads of that’s unsuspecting in Harry a you-are-there experience. This magical combination pedestrians. In six cities past around world, not a dream. even pedestrians. In six cities around the world, that’s not a dream. of delight, superpowers and high tech would delight even That’s a reality, courtesy of needle-sharp, pixel-perfect Touch the screen to begin That’s a reality, courtesy of needle-sharp, pixel-perfect Harry Potter. interactive displays at welcome centers created by Stimulant, In March 2007, Stimulant opened its doors. Within a matter interactive displays at welcome centers created by Stimulant, a San Francisco–based design studio. High above Dallas, of months, subprime lenders would file for bankruptcy. a San design studio. High Touch 25the screen to begin Los Francisco–based Angeles and Philadelphia, visitors canabove look Dallas, out at the Oh, and Apple released the first iPhone. Before Within the yeara was In March 2007, Stimulant opened its doors. matter Loscity Angeles Philadelphia, can look out at the belowand while interactingvisitors with enormous high-definition out, an entire nation would discover that tapping on screens of months, 25 subprime lenders would file for bankruptcy. city belowthat while interacting with enormous high-definition screens turn the landscape into a dreamscape in what wasOh, cool. and Apple released the first iPhone. Before the year was screens that turn a landscape into a dreamscape in what Stimulant founder and CEO Darren David calls “smart spaces.” This was for Stimulant’s business. out, anreally entireimportant nation would discover that tapping“Before on screens Stimulant founder and CEO Darren David calls “smart spaces.” Instead of merely setting a scene, Stimulant’s interactive thewas iPhone cool.went mainstream, we had to fight tooth and nail Instead of merely setting a scene, Stimulant’s interactive screens personalize your view of a cityscape. Visitors use the to get people to touch a computer screen,” David explains. This was really important for Stimulant’s business. “Before screens personalize looking at a cityscape. Visitors use the interaction built into the screens to tap, pinch and zoom into Two years later, he says, laughing, “I was at the Consumer the iPhone went mainstream, we had to fight tooth and nail interaction built into the screens to tap, pinch and zoom into a scene. “[They] become a curator of the experience. They Electronics Show walking past a wall of Samsung TVs, and to get people to touch a computer screen,” David explains. a scene. “[They] become a curator of the experience. They screen was covered in fingerprints. People wanted in take control, tell their own stories and narrate,” David says. every He says, laughing, “Two years later, I was at the Consumer take control, tell their own stories and narrate,” David says. on the action. That’s when it clicked for me,” David says. For Stimulant, “the hero is the view,” David says. The idea Electronics Show walking past a wall of Samsung TVs, and “People had become touch-curious. They wanted their For Stimulant, “the hero is the view,” David says. The idea every screen was covered in fingerprints. People wanted in is not simply to mirror what you see from the 60th floor, but screens to be interactive.” is not simply to mirror what you see from the 60th floor, on the action. That’s when it clicked for me,” David says. also to educate. Using motion-sensing technology, Stimulant’s but to educate as well. Using motion-sensing technology, Stimulant, interactive is just one touch hadmaking becomescreens touch-curious. They wanted their displays can sense when a visitor approaches and cue icons For“People Stimulant’s displays can sense when a visitor approaches point of its business. The studio has been transforming screens to be interactive.” that spotlight points of interest. Touch an icon and up pops and cue icons that spotlight points of interest. Touch an tradeshows, welcome centers, gaming devices, workspaces a photo revealing additional information. For Stimulant, making screens interactive is just one touch icon and up pops a photo revealing additional information. and public spaces with designs that turn people into point of its business. The studio has been transforming In Seattle’s Space Needle, Stimulant goes one better, turning performers, musicians, magicians and superheroes. At the In Seattle’s Space Needle, Stimulant goes one better, tradeshows, welcome centers, gaming devices, workspaces the display into a portal. There, visitors can participate in same time, its designers make the technology driving these turning the display into a portal. There, visitors can and public spaces with designs that turn people into a waking dream, zooming in and out of the landscape to experiences invisible. participate in a waking dream, zooming in and out of the performers, musicians, magicians and superheroes. At the magically teleport themselves into an entirely different place. landscape to magically teleport themselves into an entirely “Wesame are working the intersection of experience time, itsatdesigners make the technologydesign, driving Through built-in hotspots on the display, viewers zoom from different place. Built-in hotspots on the display let viewers technology and architecture,” David explains. “Those three these experiences feel invisible. a bird’s-eye view of the city to the interior of the Seattle zoom from a bird’s-eye view of the city to the interior of disciplines have not yet been fully integrated, which means Aquarium, and from the aquarium to a fish tank, where they “We are working at the intersection of experience design, the Seattle Aquarium, and from the aquarium to a fish tank, every project we take on has something we’ve never done are seemingly swimming with a virtual octopus. Another technology architecture,” David explains. “Those three where they are seemingly swimming with an octopus. before. Ninety and percent of our clients have never executed Another hotspot links to CenturyLink Field, the home stadium of the Seattle Sounders FC. Visitors can tour the locker room, join a huddle and see a winning soccer goal from

a digital interactive experience in real space. Because so much of what we do is new, our process has to minimize risk. That means our process has to be airtight. We build in

Right: “Intel’s ‘Connect to Life,’ the world’s largest interactive life-form simulation, was presented across a 168-foot-wide projection surface.” Greg Kaufman/ Jules Konig, designers; Nathan Moody, creative director; Don Richards, Foghorn Creative, executive creative director; Ritesh Lala/Joel Pryde, technical leads; Lee Granas, producer; Darren David, project director; Aron Schoppert, quality assurance; 2LK, manager of exhibition design; Intel, client. Right: “Intel’s ‘Connect to Life’ was the world’s largest interactive life-form simulation and was presented across a 168-foot-wide projection surface.” Kaufman/Jules Konig, designers; Nathan Moody, creative director; Don Richards, Foghorn Creative, executive creative director; Ritesh Lala/Joel Pryde, 62 Greg Design Annual 2016 technical leads; Lee Granas, producer; Darren David, project director; Aron Schoppert, quality assurance; 2LK, manager of exhibition design; Intel, client.

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STIMULANT manufacturing. To transform office space into smart space, Stimulant is, in Moody’s words, “giving physical space a voice, senses and a point of view.” Equipping a space with sensors enables it to track data, feed it back to the system and optimize the space. “The physical space becomes an active participant, which amplifies people’s ability to get work done.”

© Michael Winokur

A pinch-yourself moment

disciplines have not yet been fully integrated, which means every project we take on requires something we’ve never done before. Ninety percent of our clients have never executed a digital interactive experience in real space. Because so much of what we do is new, our process has to minimize risk. That means it has to be airtight. We build in lots of time for prototyping. If we are going to fail, we want to fail early and then course-correct.”

From empathy to experience

Design director and cofounder Nathan Moody calls himself “an expert generalist,” which is an apt description for a field in which these types of projects have never been done. With each new project Stimulant takes on, Moody’s main job is to ask, “How do we create meaning?” To do that, he strives to make sure his developers share the same point of view with the designers who work on the project. “There are three things everyone on the project needs to share,” Moody says. “First is empathy for users. That’s just user interaction 101. Second, empathy for clients. We have to understand what they really want out of a project. And third, we have to understand their brand.” Moody’s goal is “to build a set of shared brand heuristics, so I can shake my developers or designers awake at three a.m. and they’ll all have the same answer.” With a shared brand vision, Moody says, Stimulant empowers its developers to make creative decisions and its account directors to make strategic decisions, on behalf of clients. One of Moody’s favorite projects is the work Stimulant has taken on for global pharmaceutical manufacturer GlaxoSmithKline, in an attempt to drive toward zero-defect

Stimulant’s work—for clients that include Microsoft, Google, Samsung and Intel, as well as three welcome centers around the country—recently caught the eye of Urs P. Gauchat, the dean of New Jersey Institute of Technology’s College of Architecture and Design. Saying, “I like the way you are treating engagement with public spaces as a software problem,” Gauchat invited David to speak to the United Nations on World Habitat Day on the topic “Public Spaces for All.” Speaking at the United Nations was a “pinch-yourself moment,” the Stimulant founder says. In a talk that lasted about fifteen minutes, David explained the eight key principles that guide Stimulant’s work. “It took eight years to get to this point, but sitting 20 feet away from Ban Ki-moon, you realize, ‘Maybe we do know something about this stuff.’” One of Stimulant’s key principles is the belief that the most precious thing it gets from people is their attention. “It’s not about ROI,” according to David. “It’s about ROA—return on attention.” In the attention economy, “the new currency of interaction design is a smile,” David says. “We are here to mesmerize, not monetize.” David explained to the United Nations that to create new smart spaces successfully, the new interaction schemes would have to create community, enable everyone to participate, ensure experimentation was rewarded and consider a new spatial literacy. In other words, “bringing value back to physical spaces,” David says. “Our core challenge is to invite engagement. When you walk into a space, how do you communicate to someone, ‘This is something you can do here’?” For Stimulant, the answer is interaction schemes so simple that, as David says, you can fall into them. “It’s an extremely flat learning curve. You want anyone to become an expert user right away. Plus, the time you have to tell that story is compressed. We’re not taking people on a five-minute ride; it’s a five-second ride. We’re talking tweet length, not web length.”

This page: Stimulant’s founders, from left to right: technical director Josh Santangelo, chief executive officer Darren David and design director Nathan Moody. Right: “Stimulant partnered with the Intel Museum to create eleven interactive exhibits befitting the company that helped kick-start the computer revolution.” Greg Kaufman/Jules Konig, designers; Nathan Moody/Brian Yeung, interactive designers; Nathan Moody, executive creative director; Josh Santangelo, technical lead; Lee Granas/Kristi Torgrimson, project managers; Darren David, project director; Intel, client. “Real-time generative graphics enabled VMware to rapidly program and fine-tune its walk-in graphics for the general session of global conference VMworld without waiting for videos to rerender.” Nathan Moody, creative director; Don Richards, Foghorn Creative, executive creative director; Ritesh Lala, technical lead; Stephan Winokur, technology director; Julie Yamato, project manager; VMware, client. 64

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STIMULANT As Moody says, “We design interactions to be short, shallow and sexy.” In a bravura example, Stimulant partnered with Intel in 2012 to devise an interactive installation called “Connect to Life.” Working on a tradeshow booth at the Consumer Electronics Show (CES) in Las Vegas that included a 170-foot-wide curving projection surface, Stimulant set up six capture stations on the CES floor. These touch-sensitive stations invited people to stick their hands in the sensing device and make a gesture. Immediately, the result would be displayed as a “bioluminescent life form.” Instead of a simple hand gesture, Stimulant pixelated, colorized, multiplied and animated the result, projecting it on-screen, where it could interact with other forms in a kinetic digital ballet. Of course, the first thing most people did was flip the bird. “Yes, they gave us the finger, but we turned it into the most beautiful middle finger you have ever seen,” David says. Although people may have no self-control, Stimulant ensured the system was self-moderating.

Left: “Two multitouch interactives for the Space Needle, in Seattle, provide enhanced views from the top as well as video narratives that aren’t available anywhere else.” Greg Kaufman/Jules Konig, designers; Nathan Moody, interactive designer/creative director; Ritesh Lala, developer; Josh Santangelo, technical lead; Kristi Torgrimson, project manager; Darren David, project director; Aron Schoppert, quality assurance; Group Delphi, fabricator; Creature, ad agency; Space Needle, client. “A mirror comes to life to inspire visitors at the Museum of History and Industry’s Bezos Center for Innovation, in Seattle, to go out and innovate. The exhibit blends gestural controls, presence sensing and multitouch interactivity into a single seamless experience that encourages interaction. The exhibit also gauges the height of each visitor to present information and user interface controls directly at eye level, a novel personalization that builds trust in the system.” Greg Kaufman, designer; John W Hill, interactive designer; Nathan Moody, executive creative director; James Hurlbut/Ritesh Lala, developers; Josh Santangelo/Stephan Winokur, technical leads; Kristi Torgrimson, project manager; Darren David, project director; Aron Schoppert, quality assurance; Museum of History and Industry, client. This page: “Genentech’s campus in South San Francisco features informative touchscreen displays in the lobbies of several of its buildings, but the company wanted to redesign them to increase employee engagement and to feature a wider variety of content. Stimulant responded with the idea of having one application that runs across multiple display configurations in different buildings, as well as in a larger form factor for the new flagship building. The system blends content from Genentech’s existing intranet and social media feeds as well as its building energy statistics, and it is designed to be content forward, brand right and user friendly. The new system handles a variety of display layouts and form factors seamlessly, enabling Genentech to add, update and manage content directly, using existing and familiar systems.” Michael Cobra, Cobra Creative/ Greg Kaufman, designers; Dana Smith, interactive designer; Nathan Moody, executive creative director; Josh Wagoner, developer; Josh Santangelo, technology director; Werner Colangelo/Kristi Torgrimson, project managers; Darren David, project director; Genentech, client. Communication Arts | commarts.com

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STIMULANT One of the design fundamentals at Stimulant is “garbage in, beauty out.” The beautiful part of the Intel experience happened between the first and second day. “On day one, people tried it, were pleased with the response and went on their way. On day two, we saw something magical happen. People were returning to try the system again, this time bringing cutout shapes they had made in their hotel rooms.” In other words, Stimulant had turned people from observers into participants and from participants into creators. Now that’s a beautiful thing. ca

Left: “One World Observatory in New York City is full of great multimedia experiences, but Stimulant created the digital experience that the attraction’s visitors encounter first: a 65-foot by 16-foot world map projection that welcomes them from wherever in the world they’ve come from. When visitors’ tickets are scanned, an on-site server gathers data in real time to compute such statistics as the total distance traveled by visitors to the tower, common countries that visitors journey from and more. As visitors pass from the lobby into the rest of the tower, a welcome message appears in their native language.” Greg Kaufman, designer; Dana Smith, interactive designer; Nathan Moody, creative director; Ritesh Lala/Josh Wagoner, developers; Joel Pryde, technical lead; Josh Santangelo, technology director; Kristi Torgrimson, project manager; Darren David, project director; Legends Hospitality, LLC/The Hettema Group, clients. “A four-sided digital dance experience, dBcube connects dancers on opposite sides of Microsoft’s Cube with dynamic virtual ribbons. Dancers and their friends can see themselves in a whole new way, interacting with dancers they might not know on the opposite side of the sculpture. Dancers’ avatars link at the hands with flowing ribbons, turning their individual dance moves into fluid, twisting shapes and creating collaborative visual expressions as they move to the music. dBcube visualizes a collection of sensor data from the four Kinects in the Cube, reacts in real time to the beats of performers at the venue and cycles through a variety of virtual environments as the evening progresses.” Greg Kaufman, designer; Jules Konig, creative director; Ritesh Lala/Joel Pryde, developers; Josh Santangelo/Stephan Winokur/WorldStage, Inc., technical leads; Kristi Torgrimson, producer; Darren David, project director; Aron Schoppert, quality assurance; Microsoft, client. This page: “The Reunion Tower’s observation deck in Dallas, Texas, underwent a complete remodel, and the renovation team wanted to include world-class digital experiences fit for a city on the upswing. Stimulant produced a 3-D model of Dallas, and a custom graphics engine powers a variety of interactive media across 30 multitouch displays. Presence, motion and orientation awareness seamlessly integrate the experience with the visitors inside and the view outside. Stimulant also produced a compelling new video on the assassination of John F. Kennedy assembled from archival footage and interviews. At the Cloud Nine Cafe, a 20-foot by 30-foot real-time digital weather simulation controls large-scale digital displays and integrated LED lighting for immersive dining on a rotating floor.” Jules Konig, designer; John W Hill, interactive designer; Darren David, executive creative director/project director; Josh Santangelo, technical lead; Lee Granas/Kristi Torgrimson/ Julie Yamato, project managers; Reunion Tower, client.

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© Nick Guttridge

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La Cité du Vin exhibit “When the city of Bordeaux, France, announced an international competition in late 2010 to create a cultural venue dedicated to wine, 114 ideas were submitted. Our ambitious vision, in collaboration with Paris’s XTU Architects, ended up winning the competition. Casson Mann art-directed the environmental graphics and audio-visual and media elements for the permanent visitor experience to evoke flavors, aromas and characteristics of different wines—without resorting to the liquid itself. We created 22 different exhibits spread across an oval floor space greater than 32,000 square feet. Featuring interactive experiences that stimulate the senses and illustrate how oenology has shaped global cultures and landscapes, La Cité du Vin opened to a positive response from press and its first visitors and now welcomes 450,000 international visitors annually.” Gary Shelley, design director; Roger Mann, creative director; Laure Cheung, project director; Casson Mann (London, United Kingdom), design firm; La Cité du Vin, client.

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CREMA identity “When CREMA’s superior coffee beans started gaining in popularity, the Nashville-based coffee roaster and retailer looked to designer Matt Lehman and creative director Ben Lehman for a muchneeded brand update. CREMA never had a cohesive visual symbol—only a wordmark—so the brand sought a timeless icon to represent its craftsmanship and precision. The revamped icon, which mimics the image of preparing a cup of pour-over coffee, signifies CREMA’s seemingly never-ending coffee service and perpetual support of sustainable practices. Newly designed bags—color-coded based on the beans’ growing region and featuring easily distinguishable patterns—house CREMA’s varieties of coffee. The design befits the coffee roaster’s hands-on craftsmanship, its sterling reputation amongst coffee aficionados and, not least, its incredible coffee.” Matt Lehman, art director/designer; Ben Lehman, creative director; Typographie Press, quality assurance; Matt Lehman Studio (Nashville TN), design firm; CREMA, client.

We’re looking for new, outstanding collateral, packaging, print ads, television commercials, direct mail, books and exhibits. For submission details, visit: commarts.com/submissions.

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Modacc identity “Agrupació Catalana del Tèxtil i Moda, a collective of fashion and textile companies, created an association and a unified brand to promote its activities. Named the Clúster Català de la Moda (Fashion Cluster of Catalan), the association is known as Modacc, which comes from moda, the Catalan word for ‘fashion,’ and the initials from Clúster Català. Barcelona design studio Toormix upgraded the collective with a new graphic identity that mimics the patterns of weaves, the ready-made basis of the fashion world.” Toormix (Barcelona, Spain), design firm; Agrupació Catalana del Tèxtil i Moda, client.

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Airbnb TV commercial “Don’t Go There. Live There.” :60 “Airbnb encourages people to ditch cookie-cutter travel in order to live like a local. The Live There campaign, created by TBWA\ Chiat\Day LA, features a :60 spot that urges travelers to think differently about their next trip. The spot shows travelers as if they’re locals in neighborhoods like Malibu, California, Shinagawa in Tokyo and the East Village in New York.” Emilie Arrive/Neil Barrie/Jennifer Costello/Kyle Luhr/Farid Mozafari, strategy; Brent Anderson/Kevin Butler/Stephen Butler/John Figone/ Michael Flannery/Rafael Goncalves/Sarah Johnston/Chris Mizutani/ Logan O’Brien, designers; David Elliott, photographer; Damion Clayton/ Adam Pertofsky/Marjorie Sacks, editors; Mike Spagnoli, assistant editor; Ewan McNicol/Anna Sandilands, directors; Jim Jolliffe, director of photography; Thom Murray, stylist; Marjie Abrahams/Holly Butler/ Jules Daly/Rachel Holbrook/Bud Johnston/Elicia Laport, production managers; Nion McEvoy Jr/Julie Sawyer/Stephen Strosin/Jan Wieringa, producers; Darryl Hagans/Joseph Haldeman/Tanya LeSieur/Dena Moore/Brian O’Rourke/Karishma Singh/Kat Urban/Karen Youngs, agency producers; Aubrey Larson/Kelly Lee/Kelli McDonald/Teddy Notari/Matt Theisen/James Vincent/Jenn Wong, project managers; Shada Shariatzadeh, post-production producer; RSA Films, production company; Rock Paper Scissors, post-production company; TBWA\Chiat\ Day LA, ad agency; Peter Giorgi/Jonathan Mildenhall, Airbnb (San Francisco, CA), clients.

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Forbes print ad One print ad from a series. “To overcome global problems, the world relies mainly on individual contributions, which are often insufficient. Forbes has always stood behind the initiatives of world changers like Warren Buffett, Bill Gates and Mark Zuckerberg, who have all pledged to help the world with their wealth. Ad agency Y&R Prague designed The World Needs More Billionaires, a campaign that answers why that is the case and shows that Forbes can give anyone the tools to emulate these leaders and become the next generation of billionaires who can make the world a better place.” Atila Martins, art director; Santiago Cosme, writer; Neil Johnston, designer; Jaime Mandelbaum, chief creative officer; Carioca Studio, fabricator; Y&R Prague (Prague, Czech Republic), ad agency; Forbes, client.

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Radio Flyer poster One poster from a series for Radio Flyer. “Older generations may remember childhoods spent outside playing make-believe, but with ever-present news stories warning of dangers, parents— who have become more protective of their children—encourage indoor play. This poses a problem for brands like Radio Flyer, which makes hundreds of products crafted for outdoor play. To promote a shift back, FCB Chicago created Imagination on Wheels to remind parents just how powerful their kids’ imaginations can be. FCB Chicago placed the iconic Radio Flyer wheels on various awesome vehicles—from a sports car to a lunar rover—to symbolize what is possible when kids play with a Radio Flyer wagon. Radio Flyer can transport children to wherever their imaginations take them.” Jackson Bernard, designer; Emily Walton/Kate Wojan, design team; Myra Mazzei Nussbaum, creative director; Todd Tilford, chief creative officer; Daniel Abrigg, studio artist; Greg Olsen/Scott Wulf, retouchers; Laura Laube, art buyer; Marybeth Oskin/Julie Regimand, agency producers; FCB Chicago (Chicago, IL), ad agency; Robert Pasin, Radio Flyer, client.

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National Park Service TV commercial “Happy 100th.” :30 “From a whistling ranger to a hooting owl, Grey New York edited together a variety of sounds found in national parks for a celebratory TV spot set to the tune of ‘Happy Birthday to You.’ ‘To wish the National Park Service a happy 100th birthday, we used the parks themselves to deliver the message,’ says Sean Crane, group creative director at Grey New York. ‘From amazing wildlife to rangers to train whistles and even mechanical floor polishers, everyone and everything was in on the action.’” Tony Muller/Chris Perrone, creative directors; Sean Crane/Joe Mongognia, group creative directors; Rob Perillo, executive creative director; Ben Dorenfeld/Josh Rabinowitz, music; One Thousand Birds, music company; Keira Rosenthal/Brian Winterton, producers; Joey Scarillo, project manager; Vision @ Grey, post-production company; Grey New York (New York, NY), ad agency; National Park Service, client.

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Patisserie Perle packaging “Piano keys and design harmonize perfectly in Patisserie Perle’s new cake packaging by Japan-based firm Latona Marketing Inc. By utilizing all six sides of a box containing an individually wrapped financier cake, Latona conceived one simple, inexpensive design that can flexibly re-create a keyboard of any size, from a small one with 13 keys (8 cake boxes) to one with the full 88 keys (52 cake boxes). This design stemmed from the idea that society, just like the keys of a piano, can unify diverse creeds and sounds in the pursuit of peace and equality—or the simple act of making friends, family and coworkers happy by gifting them a beautiful box of cakes.” Kazuaki Kawahara, designer; Latona Marketing Inc. (Shizuoka, Japan), design firm; Patisserie Perle, client.

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Savon Stories Lotion Bar packaging “When Mexico-based branding and illustration studio Menta began developing the naming, identity and packaging for Savon Stories’ new line of lotion bars, it wanted to create a product as luxurious as each solid bar of lotion. Rich in minerals and antioxidants, raw, and cold processed, every detail of this lotion seemed to purr ‘Boutique! Classique!’ So Menta turned to France for inspiration and overlooked no detail. The studio even considered the shape of the bar—an oval felt suitably luxurious, though the paper packaging would not easily fold around an oblong shape. Et le résultat? Pick up a Savon Stories Lotion Bar, unwrap paper illustrated with the lotion’s botanical ingredients and behold an oval bar of bliss. In the end, commitment to an upscale look textured with a natural, artisan feel won out. European fairs and events have presented Savon Stories Lotion Bars to anyone seeking an organic product with a superb cleansing experience.” Laura Méndez, art director; Margaux Sarlin, designer; Blanca Jiménez, illustrator; Menta (Guadalajara, Mexico), design firm; Savon Stories, client.

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Guardian print ad One print ad from a series. “This print ad by BBH London celebrates the Guardian, which, unlike almost every other news outlet, isn’t owned by shareholders who influence news stories to push their own agendas. By being completely independent, the Guardian asks the questions others can’t in order to print stories others won’t. BBH London used the Guardian’s typeface, Guardian Egyptian, in an illustrative form to highlight the campaign’s thought-provoking copy. Simple and stripped back cleared the way for bold design, resonating with the campaign’s powerful messages in an unapologetic tone. The campaign launched in the United Kingdom and will roll out in Australia and North America.” James Townsend, designer/typographer; Carl Broadhurst, creative director; George Brettell/AK Parker/Martha Riley/ Nigel Roberts, contributing artists; Sally Kursa, producer; Gail Anderson/Achim Schauerte, strategy; BBH London (London, United Kingdom), ad agency; Eleanor Duffy/ Charlotte Emmerson, The Guardian, clients.

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Many of the most successful projects used illustration and pattern.” —Sally Morrow

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We saw tons of great submissions. As the best pieces rose to the top, it became difficult to pick our favorites.” —Larry Pipitone

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PACKAGING 1 Matt Goad, designer/creative director GoadAbode Inc., (Oklahoma City, OK), design firm COOP Ale Works, client “COOP Ale Works needed a design for its first Oktoberfest beer. The can calls out the Oklahoma in OKtoberfest with a barrel top, an Oklahoma black bear, and embellishments inspired by German folk motifs and traditions.”

2 (series) Dave Kenny, art director Louis Duarte, creative director Terry Drummond/Alan Madill/Barry Quinn, chief creative officers Charles Glaubitz, illustrator Terry Wykurz, producer Juniper Park\TBWA (Toronto, Canada), agency Miller Lite, client “To celebrate Texas history and California culture, Miller Lite made these cans available exclusively in their respective states.”

3 Nick Agin, art director Marcus Bartlett, creative director Steven Noble, illustrator Larry Vincent, strategist United Talent Agency (Beverly Hills, CA), design firm Born and Bred Vodka, client “Actor and producer Channing Tatum created American craft vodka Born and Bred in collaboration with the Grand Teton Distillery. To position the brand as a more casual vodka—high quality without being highbrow—we captured Tatum’s naturally fun-loving and adventurous spirit through a design centered around the jackalope, a mischievous character rooted in American folklore.”

4 Steve Sandstrom, designer/creative director Robin Olson, project manager Sandstrom Partners (Portland, OR), design firm Stillhouse Spirits Company, client “We conceived a new identity and packaging for Stillhouse Spirits Company’s 100 percent clear corn whiskey and extended line of whiskeys infused with natural flavors. Historically, corn whiskey’s dangerous appeal has been its illegal distillers and suspicious production methods. With this daring background in mind, we drew inspiration from turpentine and mineral spirits containers to develop a 750-milliliter stainless steel can. The only one of its kind in the entire spirits world, the singular vessel presents a paradigm-shifting concept for such products.”

5 (series) Kent Carollo/Jacqueline Goodman/Mike Harris, designers Mike Harris, art director Randall Smith, creative director modern8 (Salt Lake City, UT), design firm Ritual Chocolate, client “Ritual Chocolate moved its artisan chocolate factory from Colorado to Park City, Utah. With its new mountain home, the chocolatier recognized a need for new packaging and a fresh logo to reposition its products and realign its branding. We designed packaging for nine different bars. Select colors and foil reflect Park City’s landscape and its silver mining history, and graphics and icons associate the bars with the in cacao beans’ country of origin.” Communication Arts | commarts.com

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PACKAGING 1 (series) mono (Minneapolis, MN), designer/art director/creative director/writer/ad agency Target, client “Most expectant moms don’t know that Target provides great resources for all their pregnancy health-care needs. To prove it, we created a special, curated collection of gifts for expectant mothers. Custom illustrations on the collection’s box feature wellness products that moms-to-be may need during their 28th to 40th weeks of pregnancy. This program raised awareness of Target’s offerings in a way that felt distinctly Target: artful and smart.”

2 Wang Guan Yu/Wen Jin Heng, designers Wen Jin Heng, art director Shenzhen Lajiao Design, (Shenzhen, China), design firm Yunshuchun Tea, client “Yushuchun Tea delivers Zen wisdom to the world through its tea, such as this oolong tea from China, so tea lovers can see a world in a teacup and bodhi (enlightenment) in a tree.”

3 Conrad Garner, designer/art director/illustrator CRG Creative (Tampa, FL), design firm Warfield Distillery & Brewery, client “In Sun Valley, a small, historic ski village nestled in the mountains of Idaho, distillery and brewery Warfield serves amazing seasonal pub fare. Drawing inspiration from its adventurous location, the brand named its Mayday Vodka after one of the iconic chair lifts nearby. Warfield’s distillery wraps the soul of an old ski lodge in a modern design aesthetic.”

4 (series) Nick Agin, art director Marcus Bartlett, creative director Larry Vincent, strategist United Talent Agency (Beverly Hills, CA), design firm Courage + Stone, client “Courage + Stone is the brainchild of actor, writer and director Aisha Tyler. Inspired by her many friendships with leading chefs and mixologists, her new line of perfectly premixed cocktails sets itself apart with its high-quality ingredients. The brand identity’s modern, direct visual language and bottle design reflect the simplicity and balance of a perfectly made cocktail, which needs no unnecessary ingredients or design flourishes.”

5 Mariela Hsu, designer/art director Pum Lefebure/Jake Lefebure, creative directors Design Army (Washington, DC), design firm Harper Macaw, client “Sourcing cacao directly from select farms in Brazil’s Atlantic and Amazon rainforests, chocolatier Harper Macaw works with nonprofit partners to reinvest a portion of its sales in the restoration and protection of the rainforests. Our partnership with Harper Macaw began when the chocolatier approached us to design its packaging and identity. Taking to heart its ecologically minded platform, we developed packaging that put its mission to the forefront. With illustrations of tropical foliage against white and a hint of gold threaded throughout its symmetrical design, the logo pays tribute to Harper Macaw’s namesakes: the harpy eagle and the hyacinth macaw.” 80

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1 (series) Garrett Owen, designer/art director Jeff Barfoot, creative director Lindsey Phaup, strategy RBMM (Dallas, TX), design firm Funked & Fermented Kimchi Lab, client “The Kimchi Lab of Funked & Fermented (F&F) creates chef-made, small-batch kimchi in Louisville, Kentucky. F&F blends locally sourced ingredients in its fermentation station to invent funky kimchi varieties.”

2 (series) Mats Ottdal, designer Kjetil Wold, creative director Janicke Saether, writer/project manager Anti (Oslo, Norway), agency Basarene ØL, client “In Hamar, where the Basarene brewery is located, beer drinkers still use the old idiom Vi talas!, which translates to ‘We’ll talk soon!’ To emphasize this concept, we built the Talas beer brand around the very moment people open a bottle of beer.”

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3 Allison Chambers, designer/art director Bryan Collins/Jeff Harrison/Rob Sweetman, creative directors Bryan Collins/Alan Russell, writers Iain McIntosh, illustrator Gabriel Hall/Rob Horsman, production artists Ninette Aves, producer 123w, (Vancouver, Canada), ad agency Muskoka Brewery, client “We illustrated the packaging for Muskoka Brewery’s seasonal Winterweiss beer as if a powerful blizzard were hitting Muskoka.”

4 James Hartigan, designer/art director

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Matt Chapman, creative director Sodavekt, illustrator Contagious (Edinburgh, United Kingdom), design firm Oslo Håndverksdestilleri, client “After Oslo Håndverksdestilleri (OHD) opened an independent distillery, we created branding to encapsulate its ‘spirit and spice’ mantra. We married the two by taking cues from alchemic symbols.”

5 Omdesign (Matosinhos, Portugal), design firm Porto Ferreira Sogrape Vinhos, client “Omdesign designed and produced this exclusive edition of the Sotheby’s auction gift pack Waterloo Vintage 1815 for the auction of this near-mythical Porto Ferreira Port wine.”

6 Matthew Fadness, designer Gary McNatton, creative director Kerrie Chappelka, photographer Through Smoke Creative (Sausalito, CA), design firm Hudson Grace, client “Free of sulfates, phthalates, parabens and animal testing, our tart kumquat–scented dish soap is safe enough for fine china, yet strong enough for your very toughest tasks.” Communication Arts | commarts.com

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PACKAGING 1 Eugen Slavik, 3-D designer Jelena Fiskus/Sean Poropat, creative directors Studio Sonda (Vizinada, Croatia), design firm Dimitri Brecevic, Piquentum, client “Wine bottles always note the vintage year, but how many of us really understand its meaning? The date records the natural conditions in which the wine matured; it is a biography. But with the use of pesticides and balancing flavors, the vintage year has all but lost its meaning. By showing the amount of rainfall in a particular month, the Piquentum St. Vital label passes on what the year’s growing conditions were like, so we can more easily compare the different vintage years. Nature speaks through the Piquentum St. Vital label.”

2 Rolex Vidal, designer Brittany Langdale, art director Christopher Ayres, creative director Tracee Larocca, director Kristen Dawe, project manager Taco Bell Design, design Taco Bell (Irvine, CA), client “We created elevated packaging for Taco Bell’s premium Steak Doubledilla. Since Millennials take more pride in being fancy-ish than in actually being fancy, we redefined what luxe meant by marrying a simple craft box with a Great Gatsby–inspired design and playful copy. Diners can punch out a perforation on the top of the box in case they need a coaster to complete their fancy-ish dining experience.”

3 Tori Koch/Michael Vanderbyl, designers Michael Vanderbyl, art director/creative director Vanderbyl Design (San Francisco, CA), design firm Alejandro Bulgheroni Estate, client STEMMA wine label for Alejandro Bulgheroni Estate.

4 (series) Nick Brue, designer Alan Colvin, creative director Chris Sheehan, photographer Cue, Inc. (Minneapolis, MN), design firm Chapman’s Brewing Company, client “Known locally for its exceptional beers, Indiana craft brewery and taproom Chapman’s saw an opportunity to expand its brand to a wider audience. Chapman’s positioned itself in the eclectic craft brewery category as a quality brewery with an approachable, interesting portfolio of beers. The brand’s lineup comprises five brews, all based on traditional English or German pub-style taste profiles. We designed each beer’s name and iconography to express its personality. Together, the can designs present Chapman’s as a strong, distinctive brand and the fastest-growing craft brewery in Indiana.”

5 (series) Jacob Gerhardt, designer/illustrator Blake Ebel/Jorge Lamora, creative directors Mike King, writer Fear Not (Denver, CO), design firm Einstein Bros. Bagels, client “For Einstein Bros. Bagels’ holiday packaging, we pushed ourselves to think beyond traditional holiday packaging trends and landed in a fantastical winter wonderland called Jollyville. We created the illustrations in-house and applied them to a series of coffee cups, bagel boxes, gift cards and more. Jollyville manifested itself into an idea with true staying power and will continue to evolve year after year as Einstein Bros. Bagels’ celebration of the holiday season.” Communication Arts | commarts.com

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PACKAGING 1 (series) Julian Jaramillo/Oliver Siegenthaler, art directors Siegenthaler & Co. (Bogotá, Colombia), design firm Masa/Silvana Villegas/Mariana Villegas, clients “When the owners behind Bogotá, Colombia–based bakery Masa felt the local market crowding with craft paper bags similar to their own, they approached Colombia-based design firm Siegenthaler & Co. to help Masa stand out from the current artisanal trend.”

2 Vimmi Sveinsson, designer

© Steve Simar

Mark Scragg, creative director Amanda Ullman-Hammer/Ian Wood, strategy Lippincott (London, United Kingdom), design firm Abdullah Al Fahad/Hazem Al Harbi/Ash Banerjee/Jad Hindy, Jawwy from Saudi Telecom Company (STC), clients

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“Saudi Arabia’s mobile-savvy generation has had anything but a satisfying relationship with the region’s legacy telecommunication carriers. Together, Saudi Telecom Company and Lippincott transformed every dimension of the mobile buying, usage and customer care experience.”

3 David Blakemore/Boyko Taskov, designers Clem Halpin, creative director David Turner, executive creative director Geoffrey Appleton, illustrator James Norris, production Turner Duckworth (San Francisco, CA), design firm Burger King, client “Burger King asked us to design the packaging for its 2015 Halloween campaign, which launched a Halloween Whopper sandwich with a barbecue-flavored black bun. When unwrapped, the packaging design contrasted with the Halloween Whopper’s black bun.”

4 Jose Canales, designer/creative director/writer Canales & Co. (Austin, TX), design firm Merrygo Spirits LLC, client “HEEET uses all-natural ingredients for its hot cinnamon flavoring. Using a container reminiscent of an old kerosene bottle, the design aesthetic conveys the idea of hot in a refreshing and nostalgic way, and its details—from playful language to match strikes—underscore its heat.”

5 Sallie Reynolds Allen, designer Elliott Allen, writer Martin Schmetzer, typographer AJ Goddard, retoucher Studio 32 North (Charleston, SC), design firm Jos. A. Magnus & Co. Distillery, client “Although Jos. A. Magnus & Co. was making gin in the early 20th century, its design remains relatively unknown. So we took cues from the company’s historical bourbon packaging design—notably the fluted neck and base—and repurposed it into an elegantly tall gin bottle.”

6 (series) Maxwell Churchill, designer Peter Anderson, design director Michael Connors, creative director Shirley Hendrickson, writer Steven Noble, illustrator Alison Mumpower, production manager Jonas Land, production artist Lorna Harrington, project manager Ricki Pasinelli, project director Euan Fraser, strategist Hornall Anderson (Seattle, WA), design firm Progresso, client “How does a brand with a century’s worth of heritage create modern relevance for loyalists and adventurous cooks alike? We positioned the Progresso Cooking Stocks product line as an inspired kitchen staple, a fresh-yet-seasoned beginning to every cook’s perfect dish.” Communication Arts | commarts.com

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1 (series) Matt Brinker/Connor Hill, designers/illustrators Magnificent Beard (Dallas, TX), design firm Noble Rey Brewing Company, client “We created stackable can designs for Noble Rey Brewing Company’s flagship beers. When stacked two tall, a full-body illustration representing each beer appears. These rad characters look as good in the beer cooler as they do double fisted. Cheers!”

2 (series) Chua Keng Leong/Lawrence Tan, creative directors Blue Beetle Design (Singapore, Singapore), design firm The Providore, client “The Providore skillfully blended its range of cold-pressed extra virgin olive oils (EVOOs) to meet specific flavor profiles: light, medium and full. To clearly differentiate the three blends, we used a typographic style for the labels’ designs. A simple, yet bold numeric coding represents each blend for easier visual recognition within a crowded EVOO retail environment.”

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PepsiCo Design & Innovation (New York, NY)/Karim Rashid, designers PepsiCo, client “The introduction of the sleek and modern aluminum Pepsi Prestige bottle elevated the Pepsi occasion across the portfolio. Designed by PepsiCo in collaboration with industrial designer Karim Rashid, the Prestige bottle’s shape reflects Pepsi’s heritage by nodding to the classic glass bottles in their most iconic and simplified form. Cool to the touch, its smooth aluminum finish communicates the ice-cold refreshment of the product inside. Subtle graphic patterns and vibrant colors capture the eye and differentiate between the brand’s variants.”

4 Chad Michael, designer Rusty Hill, photographer Marija Tiurina, illustrator Chad Michael Studio (Dallas, TX), design firm Distillerie du St. Laurent, client “The handcrafted spirit St. Laurent contains equal parts mystery and discovery. A Canadian gin with a label printed primarily in French, its packaging design, which pulls inspiration from author Jules Verne and visual cues from antique encyclopedias, perpetuates the distillery’s depthless knowledge of its recipe, distilling methods and marvelous provenance.”

5 (series) Michael Hester, designer/creative director Pavement (Oakland, CA), design firm Bloom Farms, client “Bloom Farms desired a sophisticated, recognizable brand image that would become the standard for the medical cannabis category. Packaging appealing to the ‘stoner’ crowd floods the marketplace, but it often lacks production value and goes against the legitimacy that the medical cannabis industry tries to build—we had room to innovate. Our creation, a highly intricate custom packaging structure, signals trust to the customer while remaining catchy and fun. Faced with this unique opportunity, we created a brand identity that stands out with sophistication.”

6 Stuart Flake/Sharon Werner, designers Werner Design Werks/What Agency (Minneapolis, MN), design firms Blu Dot, client “Blu Dot expanded its popular 2D:3D product line. Evolving upon the original design by Werner Design Werks, the new packaging for 2D:3D features perforated, powder-coated metal that lies flat—until you fold it into 3-D objects, like trays, coat racks and bowls. Simple products, simple packaging.” 88

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PACKAGING 1 (series) Sucha Becky/Paul Dunbar/Gabriela Hernandez/Lillian Ling, designers Mariela Hsu, art director Pum Lefebure/Jake Lefebure, creative directors Design Army (Washington, DC), design firm Harper Macaw, client “In collaboration with Washington, DC–based chocolatier Harper Macaw, we designed a limited edition series of six chocolate bars to pay homage to the District of Columbia’s political roots and the 2016 election year. The packaging features a red, white and blue palette with bold graphics and proudly partisan illustrations. Each chocolate bar represents a political party, issue or phrase—from the left wing to the tea party to filibusters and other sources—making this election year a highly electable edition of chocolate!”

2 (series) Glen Nakasako, designer Carson Ellis/Jeri Heiden/Glen Nakasako, art directors Autumn de Wilde, photographer Carson Ellis, illustrator SMOG Design, Inc. (Los Angeles, CA), design firm Capitol Records, client “The Decemberists’ What a Terrible World, What a Beautiful World deluxe edition LP package includes a satin banner, embroidered patches, three lithographs and etched vinyl.”

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3 (series) Aimee Kilmer, designer/creative director Nick Brown, photographer Maggie Mae Johnson/Jen Kruch, illustrators Adrian Power, strategist Good Stuff Partners (Sausalito, CA), design firm Ritual Coffee Roasters, client “Since we created the iconic branding for this San Francisco–based roastery in 2005, Ritual has become one of the most revolutionary coffee companies in business today. When redesigning its identity, we kept its anti–corporate coffee roots. But now, its packaging combats the snobby stereotypes surrounding third-wave coffee by demystifying the coffee experience. Removable belly bands with a detachable, wallet-size card completes the compostable bag design, helping customers remember their favorite beans so they can buy them again. Illustrated stories about the coffee farmers and friendly, detailed brew guides help Ritual share its great love of coffee in a fun, down-to-earth way.”

MISCELLANEOUS COMPANY LITERATURE 4 (series) Malin Reedijk/Michael Vanderbyl, designers Michael Vanderbyl, art director/creative director Vanderbyl Design (San Francisco, CA), design firm PerUs Wine Company, client Allocation invitation and sign-up form for a private PerUs event.

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MISCELLANEOUS COMPANY LITERATURE 1 Riley Carroll, designer Ryan Scott, art director Neely Tabor, creative director Gregg Boling, executive creative director Jacob Fields/Adam Pawlowski, writers Cody Bennett/Brooke Boling/David Braud/Riley Carroll/ Blake McClure/Nick McGinn/Nick Swift/Brett Warren, photographers Leslie Torrico, production manager Marty Penton, production artist Julia Perkins, project manager Stephen McAllister, general manager GS&F (Nashville, TN), agency GBI/Knoll, clients “The Art of Work event promoted the relaunch of the Knoll furniture brand in the Nashville market through its distributor, GBI. An editorial delivered the invitation, featuring quotes from Nashville influencers and images from Nashville photographers. Photographers captured a piece of Knoll furniture from their own fine-art approach, conveying the idea that we all have opportunities to make a mark on the cultural and visual canvas of our city.”

2 Kim Winderman, designer/art director Eric Vellozzi, creative director 72andSunny/Jennifer Sherowski, writers Clara Balzary/Jennifer Cox, photographers adidas Global Brand Design, design firm adidas (Portland, OR), client “Celebrating passion over perfection, the pivotal campaign behind the adidas I GOT THIS lookbook reforms our convictions and engages our female athletes with new insights and modern definitions of women’s strength. Amplifying internal validation as the greatest source of confidence, visceral imagery and impassioned copy come together to celebrate the beauty of being a masterwork in progress.” 44 pages, 12 × 12, 4-color, saddle stitch.

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MISCELLANEOUS COMPANY LITERATURE 1 Jesse Buller, designer Brian Edlefson, creative director Randall Braaksma, writer Marlene Capotosto, production manager Thesis, Inc., (Saint Joseph, MI), design firm Nemschoff, Inc., client “Furniture brand Nemschoff used a quote from Charles Eames to rethink the comfort of family and friends in hospital patient rooms. Because the resulting Palisade furniture collection takes its name from the location of the famous Eames House in Pacific Palisades, California, Nemschoff hosted a picnic in the meadow next to the Eames House for an important segment of its customer base—architects and interior designers. The eponymous house’s graphic, modular design acts as a motif on the picnic’s invitation and event materials to intrigue recipients, and a series of die cuts and fields of color layer the information.”

2 Daniel Arenas/Juan Miguel Marin, designers Juan Miguel Marin, art director David Byrne/LeeAnn Rossi, creative directors Catalina Kulczar, photographer La Moutique (Long Island City, NY), design firm Todo Mundo, client “David Byrne’s Contemporary Color official program invites readers to learn about color guards by celebrating the collaborations between ten artists—including David Byrne, St. Vincent and tUnE-yArDs—and ten of the region’s best color guard teams. La Moutique traveled to Dayton, Ohio, to capture imagery from the Winter Guard International Championships. These images became key elements in each of the ten collages, and posters in the program were later shared with audiences at Barclays Center in Brooklyn, New York, and the Luminato Festival in Toronto.” 46 pages, 9 × 12, 3-color, holographic foil cover, exposed spine.

INTEGRATED BRANDING PROGRAMS 3 (series) Jake Lim/Eric Seymour, designers Monique Gamache, design director Trent Burton, creative director Chris Lihou, writer WAX (Calgary, Canada), agency PR%F Cocktail Bar, client “We mixed the sentiment of alcohol’s proof—or percentage —with vintage illustrations and a droll narrative, creating a modern brand that still celebrates mixology’s heritage.”

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INTEGRATED BRANDING PROGRAMS 1 (series) Kevin Boothe/Vanessa Eckstein/Jaclyn Hudson, designers Marta Cutler/Vanessa Eckstein, creative directors Marta Cutler, writer Bryan Nash Gill/Katrina Penziwal/David L. Smith, artists Blok Design (Toronto, Canada), design firm Nota Bene Restaurant, client “One of Canada’s top chefs needed a new identity for his restaurant’s relaunch. Inspired by interior design firm +tongtong’s marriage of natural and contemporary materials and by chef David Lee’s philosophy of cooking, the identity reflects the essence of good food and the elements that create a memorable dish. Its imagery exudes a raw sensuality and sense of craft that mirrors Chef Lee’s own process and love of food while its text evokes the restaurant’s spirit of conviviality.”

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INTEGRATED BRANDING PROGRAMS 1 (series) Frédéric Dupuis/Simon Laliberté, designers Jonathan Rouxel, creative director Bleublancrouge (Montréal, Canada), ad agency Julien Leblond, Les Pianos Publics, client “To create modern branding for Les Pianos Publics, agency Bleublancrouge needed to refocus the rather random image of these differently decorated community pianos. So we created a visual language rooted in music, keeping musical and social considerations prevalent. The designs hum with a melody provided by dots and dashes mimicking those found on perforated piano rolls. And although each design produces its own unique harmony, the fonts Kaleko and Koppen stay in tune with the rounded dashes. This design inspires the same happiness the organization’s program brings to communities.”

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INTEGRATED BRANDING PROGRAMS 1 (series) Kellie Campbell-Illingworth, designer Matthew Remphrey, creative director Parallax Design (Adelaide, Australia), design firm Emily Raven, My Kingdom for a Horse, client “The café My Kingdom for a Horse takes its roasted-on-site specialty coffee and its food seriously. Itself, not so much. Rather than work against its 1970s cream brick showroom, we built the café’s aesthetic upon a contemporary solution. As a nod to the café’s name, medieval heraldry—a precursor to today’s corporate identity—influenced a series of geometric shield icons for the main logo. We liked the idea of customers becoming part of My Kingdom for a Horse.”

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INTEGRATED BRANDING PROGRAMS 1 (series) Jessica Coffey/Tara Hush/Kris Linkugel/Zack Mueller/Brandon Wells, designers Dale Doyle/Joe Napier, creative directors Landor (Cincinnati, OH), design firm Hamilton County Heroin Coalition/Northern Kentucky Heroin Impact Response Task Force, clients “Heroin and opioid addiction has reached epidemic proportions in Hamilton County, leading the northern Kentucky county to label it the area’s number one health emergency. Because hateful, fear-driven rhetoric demonizes those struggling with addiction instead of encouraging them to seek help, Landor created a campaign to disrupt perceptions, raise awareness and inspire the community. Inject Hope changes the face of heroin through memorable layered messaging, which humanizes heroin users and challenges the community to choose love over hate in order to reach the ultimate goal: increasing prevention and treatment.”

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INTEGRATED BRANDING PROGRAMS 1 (series) Pawel Rokicki, designer Nicole Nyholt, art director Mooren Bofill/Stephen Jurisic/Angus Tucker, creative directors Aidan Johnston, writer john st., (Toronto, Canada), ad agency Canadian Safe Schools Network, client “Organized by john st. and the Canadian Safe Schools Network and sponsored by Telus WISE, the single-day BullyStop Hackathon sought to rid schools and the Internet of the virus known as cyberbullying. The hackathon’s visual language, identity and color palette drew inspiration from the language of the Web and coding. The interaction of its elements, from HTML end tags to web-safe colors to ASCII images, creates an authentic identity that honors the hackathon’s digital heritage.”

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INTEGRATED BRANDING PROGRAMS 1 (series) Andy Baron/Gus Cook/Daniel D’Arcy/Paul Sieka, designers Tosh Hall, creative director jones knowles ritchie (New York, NY), design firm AB InBev, client “We based our design strategy on the principles of the American dream and called it Bold Spirit & Crafted Soul. After immersing ourselves in the Budweiser archives, our team resurfaced wielding inspiration cherry-picked from the packaging’s 140-year legacy of iconography. Every typographic element of the iconic packaging, including more than fourteen custom type specimens, was painstakingly redrawn and crafted. To drive global cohesion, we created a custom sans serif font, inspired by the 19thcentury American industrial type used on the original Budweiser bottle. The global redesign and its executions reinvigorated Budweiser’s sales.”

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Design Annual 2016

INTEGRATED BRANDING PROGRAMS 1 (series) Rob Alexander/Will Ecke/Nate Luetkehans/Whole Foods Design Team, Whole Foods Market, designers Rob Alexander/Mike Rice, Whole Foods Market/Jill Robertson/ Jason Schulte, creative directors Jeannine D’Addario, Whole Foods Market, chief creative officer Emily Bolls/Ben McNutt/Lisa Pemrick/Jill Robertson, writers Britt Hull, photo editor Dominique Mao, production artist Reva Parness, project manager Emily Bolls/Jill Robertson, strategists Office (San Francisco, CA), design firm Whole Foods Market, client “Whole Foods asked Office to develop a framework and tools to create more cohesive, effective communications across its branding. We wanted to preserve the independent spirit and personality of each Whole Foods store, so we built room for flexibility and creativity into the system. The Office team helped define Whole Foods’ brand principles. We also evolved the visual system by updating the logo, color palette and typography; creating some custom typefaces and execution examples; and establishing a photography style and tone of voice.”

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INTEGRATED BRANDING PROGRAMS 1 (series) Daniel Robitaille, art director Louis Gagnon, creative director Paprika (Montréal, Canada), design firm McCord Museum, client “The works of Italian-born poster artist Vittorio Fiorucci, who helped brand the landscape of Montréal for generations, bear witness to almost a half-century of life in his adopted city. The exhibition Montréal through the Eyes of Vittorio defines Fiorucci’s internationally celebrated, highly distinguishable art through his simple shapes, vibrant colors, enigmatic characters and carefree playfulness.”

2 (series) Claudia Di Martino/Andrew Glendinning/Yung-Hung Huang, designers Matt Carvalho, art director Ed O’Brien, creative director Michael O’Neal/Todd Tankersley, photographers Character (San Francisco, CA), design firm Light, client “Through innovative hardware and software, Light offers its users a simple mobile experience for taking DSLR-quality photos. Embracing Light’s unexpected character, we highlighted its multilens design as evidence of innovation, using rich full-bleed photography to allow the camera to speak for itself. The identity for Light plays off light and its ability to develop beauty all around it. Full of life and movement, this execution echoes the multilens design of the technology with just enough complexity to illuminate Light.”

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TRADEMARKS 1 Drew Davies/Josh Schwieger/Adam Torpin, designers Mandy Mowers, project manager Oxide Design Co. (Omaha, NE), design firm Nebraska Craft Brewers Guild, client “Nebraska Craft Brewers Guild fosters a well-informed and enthusiastic community of craft brewers. This new identity celebrates the guild’s region and its creations.”

2 Peter Bacallao, creative director Whiskey and Branding (Hialeah, FL), design firm The Raw Juice Company, client “The Raw Juice Co. provides locally sourced, non-GMO fruit and vegetable juice products that promote a balanced and healthy lifestyle. The cold-pressed juice company asked for an identity that not only reflected its products, but also felt very homey, natural and handmade.”

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3 Craig Berry/Sha Holt, art directors Adam Greenhood, creative director Esparza (Albuquerque, NM), design firm Dialogue Brewing, client “The restaurant Dialogue Brewing provides great beer and even greater conversation.”

4 Buck Smith, designer Tom Hudder, executive creative director Fleishman Hillard Creative, (St. Louis, MO), design firm Great Lakes Water Authority, client “The Great Lakes Water Authority manages clean water delivery and wastewater services in southeast Michigan. A continuously filtered drop of water represents how water travels from Lake Huron to the homes of Michiganders before beginning the process all over again. As the water falls, it creates both a W and an A, for ‘Water Authority.’”

5 Irene Hoffman, designer Viktoriya Filippova, art director Irene Hoffman Design+Advertising (Santa Barbara, CA), design firm FOLD, client “Designer and stylist Viktoriya Filippova, who creates textiles and linens made of handprinted and found fabric, operates under the trade name FOLD in Santa Barbara, California.”

6 Fred Pirlot, designer Christie Shin, art director C. J. Yeh, creative director Cynda Media Lab (Englewood Cliffs, NJ), design firm GUND, client “Teddy bear manufacturer GUND, the oldest manufacturer of soft toys in America, was the first to truly capture emotion and facial expression in the product shots of its plush toys. GUND’s new brand identity pays homage to this tradition by means of a friendly, playful and creative logo that focuses on the most emotionally expressive elements of GUND’s signature toys.”

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7 Drew Lakin, designer Christian Helms, creative director Helms Workshop (Austin, TX), design firm Treaty Oak Distilling, client

9 Michael Houtz/Dusty Summers, designers Dusty Summers, creative director The Heads of State (Philadelphia, PA), design firm Anthym, client

11 Mark Fox/Angie Wang, designers Mark Fox, illustrator Design is Play (San Francisco, CA), design firm Farmhouse Modern, client

“Treaty Oak embodies the strength and “A monogram for Farmhouse Modern, a quarterly longevity of its namesake: a majestic 500-year“An independent shop located in State College, magazine and website celebrating a simple, but old oak. We worked with Treaty Oak’s team to Pennsylvania, Anthym promotes its two refined aesthetic.” update the brand’s core identity in anticipation passions: running and lifestyle. In our brand of its new state-of-the-art distillery and identity for the shop, we struck a balance that 12 Hans Thiessen, designer/art director homestead. Sitting on 30 acres of land outside spoke to a wide audience. Utilizing the classic Ian Grais/Chris Staples, creative directors Austin in Texas Hill Country, Treaty Oak offers track lane as a motif, the design provides a Sean O’Connor, writer patrons an escape from the noise of the city, simple, yet modern solution to the problem of Leah Gregg, strategist an opportunity to witness the measured craft visibility in a saturated lifestyle/fitness market.” Rethink (Toronto, Canada), ad agency of distilling and the pleasure of enjoying a Be the Vote, client cocktail underneath a clear, star-filled sky.” 10 Sierra Serafica, designer/art director “Fewer than half of young Canadians from 18 Studio Serafica (Atlanta, GA), design firm through 30 years old voted in the 2011 federal 8 Laurie DeMartino, designer/art director Drunk Lunch, client election—the worst turnout of any demographic. Laurie DeMartino Design (Minneapolis, MN), “Drunk Lunch, a lifestyle shop and gallery space Be the Vote wanted to change that, but it first design firm in Madison, Wisconsin, offers a curated needed an identity that encouraged young Theater Latté Da, client selection of goods created by independent voters to take action. The solution shows that “Theater Latté Da leads in the art form of designers and artists. I worked closely with the even a single vote, although seemingly small, musical theater. This new logo forged part of shop’s owners to create a logo that combines a makes a mark that gets heard.” the rebranding of its annual benefit, which was heavily modern aesthetic with their shop’s titled ‘It Might As Well Be Spring’ after being smart and fun concept. The solution balances moved from a winter to a spring date. A classic type, white space, distinct arrangement songbird communicates the message of musical and form.” theater in springtime, symbolizing Theater Latté Da’s dedication to storytelling through song.” Communication Arts | commarts.com

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POSTERS 1 (series) Steve Hahn/Gabe Usadel, designers Joe Sciarrotta/Gabe Usadel, creative directors Kara Coyle, writer Kristyna Archer, photographer Craig Frazier/David Plunkert/Emmanuel Polanco, illustrators Ogilvy & Mather Chicago, (Chicago, IL), agency Steppenwolf Theatre Company, client “We created the Steppenwolf at 40: Art Inspired by Art poster series to celebrate the historic event of the Chicago theater company’s 40th anniversary. Of Mice and Men; The Grapes of Wrath; A Raisin in the Sun; and Death of a Salesman. We asked 40 of the world’s finest designers, illustrators, photographers and typographers to create 40 posters representing 40 plays performed at the theater over the last 40 years. These limited edition posters—given to ensemble members like Gary Sinise and John Malkovich and auctioned off to patrons—support the theater’s artistic and community programs.” 25 × 37, 4-color, digital.

2 Jose Lopez, Houston Rockets, designer/creative director Bill Baptist, photographer Houston Rockets (Houston, TX), client

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“Each season, the Houston Rockets’ Sales and Marketing department reviews the game schedule to determine which games may require additional promotional material or giveaways to bolster ticket sales. One game that had been predicted to sell out was experiencing below-target ticket sales just days before the game. Promotional items usually take months to produce, but we created the James Harden 3-D poster in one day and produced it in five. The poster, subsequently advertised as a giveaway for all who attended, helped sell out the game.” 18 × 24, 4-color, 10# Cougar Opaque White Text.

3 Mike Lo Nam, art director Natalie Armata/Alanna Nathanson, creative directors Abeer Verma, writer Nick Simhoni, photographer Stephen Cribbin, illustrator Giants & Gentlemen (Toronto, Canada), agency SIR Corp., Far Niente Restaurant, client “A slow time in general for restaurants in Toronto, winter is especially tough on upmarket spots like Far Niente. To entice people during Winterlicious, an event Toronto holds annually to bolster business during the city’s harsh winters, we re-created the beauty of a snowy night with ingredients used in the restaurant’s signature dishes. These posters highlight Far Niente’s special prix fixe menu through its passion for well-crafted food.” 16½ × 23½, 4-color, lithography.

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POSTERS 1 (series) Mike Meadus, designer/writer/illustrator Mark Lovely/Mike Meadus, art directors/creative directors McCann Canada (Calgary, Canada), agency Kent of Inglewood, client “From a series of 40 posters created for Kent of Inglewood. It may be Canada’s shave shop, but it also has men’s backs—and faces—with the world’s finest grooming products to keep beards soft, lush and styled.” 24 × 24, 2 PMS colors.”

2 Brian Grunert, designer Abaca Press, production White Bicycle (Buffalo, NY), design firm The Institute of Contemporary Art, Boston, client

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“Poster for Sonic Arboretum at the Institute of Contemporary Art, Boston, an art installation that plays the music of Andrew Bird through clusters of sculptural horn speakers created by Ian Schneller.” 18 × 36, 3-color, silkscreened on raw chipboard in varying opacities of copper, black and white ink.

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POSTERS 1 (series) Drew Hammond, art director Craig Mikes, creative director George Ellis, writer Tim Hicks, retoucher Proof Advertising (Austin, TX), agency Stubb’s BBQ Sauce, client Point-of-sale posters highlighting the core varieties of Stubb’s legendary barbecue sauce. 17 × 24, 4-color, hand-crafted typography.

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Design Annual 2016

POSTERS 1 (series) Regan Fraser, designer Regan Fraser/Mark Lovely, art directors Mark Lovely, associate creative director Mike Meadus, creative director Tim Anderson/Tara MacKinnon, writers Heather Hamel, strategist McCann Canada (Calgary, Canada), agency National Music Centre, client “Series of out-of-home posters announcing the launch of the National Music Centre in Calgary, Alberta, Canada. The institution preserves and celebrates Canada’s music story and inspires a new generation of music lovers through programming that includes on-site and outreach educational programs, performances, artist incubations and exhibitions.” 24 × 36, 4-color.

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POSTERS 1 (series) Travis Robertson, designer Greg Almeida/Travis Robertson, creative directors Greg Almeida, writer MMB (Boston, MA), design firm Boston Bruins, client “We delved deep into the Boston Bruins’ rich history for photographic assets, typographic inspiration and physical remnants of a bygone era. Each poster incorporated archival photography, negative scans, vintage programs and architectural schematics of the original Boston Garden arena. The posters salute the team’s storied 92-year legacy and heritage, marrying both old and new imagery in a composed, yet chaotic collage.” 14 × 20, 4-color, offset lithography.

2 Joseph Veazey (Brooklyn, NY), designer/illustrator/design firm Jacob Escobedo/Brandon Lively, Adult Swim, art directors Adult Swim, client “For the second year, Adult Swim took its party cruise—the Adult Swim Tyrannic: Second Maiden Voyage—along the Hudson River as part of New York Comic Con. A promotional poster featured a cross-section of an old-school ocean liner, its 36 individual rooms illustrated in excruciating detail. A rose gold foil–stamped title beckons eyes to the top of the printed poster.” 18 × 24, 4-color.

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POSTERS 1 (series) Hong Wei, designer/creative director day day up design consultancy (ZhongShan, China), design firm Tiangjin Julong Group, client “We reinterpreted the Chinese characters long and feng—equivalent to dragon and phoenix—with modern design to reflect the fact that today’s China lacks traditional culture. The posters are featured in a product exhibition hall.” 27 × 37, 2-color, silkscreen.

2 Jules Tardy, designer Leland Maschmeyer, creative director Collins (New York, NY), design firm Steppenwolf Theatre Company, client “Poster created for the Steppenwolf Theatre Company’s production of Bernard Pomerance’s The Elephant Man.” 25 × 37, 2-color (black, (PMS 485), 130 lb. Mohawk superfine, silkscreen.

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POSTERS 1 (series) Jenna Beck, senior designer/art director/illustrator Jill Visit, creative director Mike Rice, executive creative director Whole Foods Market (Austin, TX), design team/client “Part of a seasonal campaign that presents a different take on summer’s iconic foods. The big abstract illustration style boldly celebrates how beautiful food doesn’t need to be dressed up. Simple and stripped back can catch your eye in a busy visual environment. The food speaks for itself with its natural shapes and textures.” 22 × 28, 4-color, digital printing.

2 Steve Hahn/Gabe Usadel, designers Joe Sciarrotta/Gabe Usadel, creative directors Kara Coyle, writer Connor Fleming, illustrator Ogilvy & Mather Chicago (Chicago, IL), agency Steppenwolf Theatre Company, client

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“We created the Steppenwolf at 40: Art Inspired by Art poster series to celebrate the historic event of the Chicago theater company’s 40th anniversary. We asked 40 of the world’s finest designers, illustrators, photographers and typographers to create 40 posters representing 40 plays performed at the theater over the last 40 years. These limited edition posters—given to ensemble members like Gary Sinise and John Malkovich and auctioned off to patrons—support the theater’s artistic and community programs.” 25 × 37, 4-color, digital.

3 James Sholly/Jon Sholly, designers Commercial Artisan (Indianapolis, IN), design firm LUNA music, client “This poster, created for a concert by Sun Kil Moon’s singer/songwriter Mark Kozelek, celebrates the 20th anniversary of the Indianapolis record store LUNA music. The design depicts both the record store’s lunar theme and the acoustic nature of the performance in a simple, contemplative manner.” 24 × 32, 1-color, offset lithography.

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POSTERS 1 (series) Ty Mattson, creative director/illustrator Mattson Creative (Irvine, CA), design firm Lucasfilm, client “Star Wars Modern combines my appreciation for mid-century modern design with my lifelong passion for Star Wars.” Five posters from a series of nine, 18 × 24 silkscreen, 2-3 colors, on 100-lb. French Paper.

2 Steve Hahn/Gabe Usadel, designers Joe Sciarrotta/Gabe Usadel, creative directors Kara Coyle, writer Michael Zhang, illustrator Ogilvy & Mather Chicago, (Chicago, IL), agency Steppenwolf Theatre Company, client “We created the Steppenwolf at 40: Art Inspired by Art poster series to celebrate the Chicago theater company’s 40th anniversary. We asked 40 of the world’s finest designers, illustrators, photographers and typographers to create 40 posters representing 40 plays performed at the theater over the last 40 years. These limited edition posters—given to ensemble members like Gary Sinise and John Malkovich and auctioned off to patrons—support the theater’s artistic and community programs.” 25 × 37, 4-color, digital.

3 John Knoerl, designer James Adame/Gary Pascoe, creative directors Commonwealth//McCann (Detroit, MI), agency The Fillmore Detroit, client “Poster created for a concert by the band twenty one pilots. The design ties in the band’s aesthetic look and feel with the city of Detroit.” 12 × 18, 2-color, silkscreen.

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POSTERS 1 (series) Steve Hahn/Gabe Usadel, designers Joe Sciarrotta/Gabe Usadel, creative directors Kara Coyle, writer Christopher DeLorenzo/Tim Lahan/Hisashi Okawa/Cun Shi, illustrators Ogilvy & Mather Chicago, (Chicago, IL), agency Steppenwolf Theatre Company, client “We created the Steppenwolf at 40: Art Inspired by Art poster series to celebrate the historic event of the Chicago theater company’s 40th anniversary. Naturally, we asked 40 of the world’s finest designers, illustrators, photographers and typographers to create 40 posters representing 40 plays performed at the theater over the last 40 years. These limited edition posters—given to ensemble members like Gary Sinise and John Malkovich and auctioned off to patrons—support the theater’s artistic and community programs.” 25 × 37, 4-color, digital.

BOOKS 2 Zuzana Lednická/Radek Sidun, designers Studio Najbrt/Suitcase Type Foundry, design Tomásˇ Brousil, Suitcase Type Foundry (Prague, Czech Republic)/ Petra Do˘cekalová, Briefcase Type Foundry, creative directors BiggBoss, publisher “Typo 9010 presents an encyclopedic collection of digitized Czech typefaces starting from 1990—when computers started to replace phototypesetting and hand-copied letters—and ending with 2010, when almost a dozen small type foundries operated in the country. Texts from: Petr Babák, Filip Blažek, Veronika Burian, Karel Haloun, Oudřej Chorý, Bas Jacobs, Pavel Noga, Jan Solpera and František Štorm. Editing and translations: Elizabeth Spacilova and John Comer.” 83/4 x 113/4, 288 pages, 2-color.

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BOOKS 1 Anna Bond, illustrator Rifle Paper Co. (Winter Park, FL), design firm Puffin Books, client “It’s been 150 years since Lewis Carroll penned Alice’s Adventures in Wonderland. Now, a deluxe hardcover edition from Puffin Books brings Alice’s story to life with illustrations by Rifle Paper Co. creative director Anna Bond. The book features more than 70 full-color illustrations, a gold foil–embellished cover and ornate endpaper designs.”

2 Anthony Verge (Québec, Canada), art director William Verge, photographer Will & Nad, client “The book Le trou dans mon C.V. documents 610 days of memories from an around-the-world tour separated into 112 refreshing stories. The book is printed on three types of paper: white and beige eco-friendly paper for black-and-white content and quality glossy paper for the book’s 100 photos.”

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BOOKS 1 Wedge & Lever (Encinitas, CA), creative director/design firm Hurley, client “View from a Blue Moon documents the threeyear film project of surfer John Florence and director Blake Vincent Kueny. The logotype’s o’s, die cut through the cover, reveal the book’s first page, a metallic print of the film’s poster image. Transparent PVC insert pages introduce each chapter and feature the section’s corresponding time code from the film.”

2 Paul Kepple/Max Vandenberg, designers Paul Kepple, art director Jeremy McCarter/Lin-Manuel Miranda, writers Lauren Nathan, editor Josh Lehrer/Joan Marcus/Matthew Murphy/ Frank Ockenfels, photographers Susan Lynch, production manager Chika Azuma, production artist Headcase Design (Philadelphia, PA), design firm Grand Central Publishing, publisher Melcher Media, client “Hamilton: The Revolution, a 288-page commemorative book, peeks behind the groundbreaking Broadway smash hit’s curtain with Lin-Manuel Miranda’s explicative footnotes on his libretto and specially commissioned photography. We balanced historically accurate fonts—used for the libretto—with their modern counterparts for the chapter text. Special production touches like spine hubs, pulpy cream paper and rough-trimmed pages make the book reminiscent of a volume that could have lived on Alexander Hamilton’s bookshelves.”

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BOOKS 1 Greg Quinton, creative director The Partners (London, United Kingdom), design firm Scott Lambert, designer/illustrator/client “The Typefaces, a book by Scott Lambert, shows faces in type for the designer in every child and the child in every designer. We hope they encourage us to take a new look at familiar things.”

2 Igor Manasteriotti, designer/art director Manasteriotti DS (Zagreb, Croatia), design firm Olga Najdanović, client Cover of It’s All Life by Olga Najdanović. “Years before Olga Najdanović, designer Igor Manasteriotti’s grandmother, turned 90, she started turning her memories into books. Her last book, a collection of short stories, documents her travels around the Balkans, Europe and Russia. As a birthday present to his grandmother, Manasteriotti decided to design the collection of stories with all the love it deserved. With each book’s title positioned parallel to its spine, a small handle added to the spine transforms every book into a suitcase. Inside, the books’ layouts feature a classical design, simple illustrations and wonderfully nostalgic Munken Print Cream paper.”

PUBLIC SERVICE 3 (series) Kelsey Barnowsky, art director Brian Ganther/Matt Herrmann, creative directors Gary Mueller, executive creative director Brian Ganther/Beth Musni, writers Serve Marketing, (Milwaukee, WI), ad agency Chicago Department of Public Health, client “To raise awareness that the Chicago Department of Public Health makes condoms available to communities that need them most, this campaign tapped into Chicago’s civic pride and its famous icons. Rather than preaching negatively, we went bold, simple, lighthearted and local.” 11 × 17, 4-color, digital.

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138

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PUBLIC SERVICE 1 Max Hosseinian/Steve McArdle/Raden Slipicevic, designers Elma Karabegovic, art director Louis Duarte, creative director Terry Drummond/Alan Madill/Barry Quinn, chief creative officers Sean O’Connor/Cole Rosenberg-Pach, writers Alexandra Carcasole, content coordinator Kevin Vriesinga, animator Matt Dochstader, Flame artist Pirate Toronto, music Kyle Anderson/Ian Boddy/Keith Ohman, sound engineers Abdul Mohamud, lighting designer Darrin Patey, developer David Toto, general manager Jaclyn Morga/Chris Tait, producers Janice Bisson/Maggie Blouin Pearl/Cathy Jefferies,executive producers Sara Nancoo, strategy Topix FX, production company Juniper Park\TBWA (Toronto, Canada), agency Project Consent, client “Laughing” :20 “Sexual consent can be a very complex issue, and some make it even more complicated than it needs to be. This film presents sexual consent in its simplest definition: ‘If it’s not yes, it’s no.’”

2 Max Hosseinian/Steve McArdle/Raden Slipicevic, designers Elma Karabegovic, art director Louis Duarte, creative director Terry Drummond/Alan Madill/Barry Quinn, chief creative officers Cole Rosenberg-Pach, writer Alexandra Carcasole, content coordinator Kevin Vriesinga, animator Matt Dochstader, Flame artist Pirate Toronto, music Kyle Anderson/Ian Boddy/Keith Ohman, sound engineers Abdul Mohamud, lighting designer Darrin Patey, developer David Toto, general manager Jaclyn Morga/Chris Tait, producers Janice Bisson/Maggie Blouin Pearl/Cathy Jefferies, executive producers Sara Nancoo, strategy Topix FX, production company Juniper Park\TBWA (Toronto, Canada), agency Project Consent, client “Whistling” :20 “Sexual consent can be a very complex issue, and some make it even more complicated than it needs to be. This film presents sexual consent in its simplest definition: ‘If it’s not yes, it’s no.’”

3 Chris Moore/Sheldon Rennie, art directors Ian Grais/Chris Staples, creative directors Sean O’Connor, writer Megan Bodaly, editor Megan Bodaly/Stefan Szary, directors of photography Sarah Vingoe, broadcast producer Scott Russell, producer Leah Gregg, strategy R&D Productions, production company Rethink (Toronto, Canada), ad agency Canadian Fair Trade Network, client “The Canadian Fair Trade Network wanted to raise awareness of the devastating human rights violations that occur on many West African cocoa plantations. To get consumers to think twice about the type of cocoa they consume, we gave away free hot cocoa in cups printed with thermal ink. When filled, they slowly revealed the message: ‘1.8 million children work on cocoa plantations. Many of them are slaves.’” Communication Arts | commarts.com

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PUBLIC SERVICE 1 (series) Robert Froedge, art director/creative director Laura Powers, associate creative director Dom Mattachione/Laura Powers, writers Stefani Rauschenberger, production manager Jessica Honeycutt, project manager Lewis Communications (Birmingham, AL), ad agency Jim Bartoo, Nashville Zoo at Grassmere, client “The Nashville Zoo’s yearly Boo at the Zoo event invites families to celebrate Halloween alongside all their favorite critters at the zoo. How do you promote this family fun event? Well, Halloween is all about costumes, and the Nashville Zoo is all about animals. And when you combine the two, the answer ends up staring you in the face. Boo!”

2 Erin McKnight, Tierney, art director Emily Smeraldo Rubin, Tierney, associate creative director Teri Gerbec, Tierney, creative director Patrick Hardy, Tierney, executive creative director Nick Burkwit, Tierney/Gabe Cendoma/Paige Montes, Tierney/Zach Thornbury, Tierney, writers Elizabeth Eustace, Tierney, editor Tom Adjemian, Tierney, producer Tierney (Philadelphia, PA), agency The Trevor Project, client “To celebrate Pope Francis’s visit to Philadelphia and fuel the conversation about LGBTQ rights, we created Popesicles—tasty, organic, rainbow-colored frozen treats. We also created a Popesicles truck and parked it steps away from the Pope’s highly publicized speech, which ended up praising Philly for being a ‘haven for religious freedom and tolerance.’ And with all the love our Popesicles got from local press and millions of social media impressions, our tasty stunt proved the Pope’s point. On another sweet note, 100 percent of Popesicle sales were donated to the Trevor Project, a national nonprofit organization supporting LGBTQ youth.”

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CATALOGS 1 Annaka Olsen/Kinney Sheth, designers Jennifer Mahanay, art director Emilie Sims, writer Devin Ehrenfried/Ross Floyd, photographers Wright (Chicago, IL), design firm Le Corbusier and Pierre Jeanneret, client “This auction catalog celebrates the work of architects and urban planners Le Corbusier and Pierre Jeanneret. Our in-house team created the photography and design, drawn directly from research on Le Corbusier’s philosophies of Chandigarh, India’s city plan, golden proportion and color palette.” 128 pages, 8¼ × 10¾, 5-color, perfect bound, gatefold die cut cover with 2-color PMS flood.

2 Stuart Flake/Krisna MacDonald, designers Medora Danz, art director Patrick Fox/Dan Monick, photographers Nadia Haddad, stylist Calla Murphy, project manager What Agency (Minneapolis, MN), design firm Blu Dot, client “Even though our catalog reaches a wider audience today, a fun environment motivates us to still design it all in-house. We know the brand and its top-notch product design, so all we have to do is cut loose, think and work.” 100 pages, 8½ × 10¼, 4-color, saddle stitched.

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CATALOGS 1 Erin Zwaska, Moth Design, designer Monica Hargrove, Moth Design, art director Tammy Dayton, Moth Design, creative director Dave Demerjian, 43,000 Feet/Shawneric Hachey, 43,000 Feet/Travis Tyler, 43,000 Feet/Carolyn Zigmund, 43,000 Feet, writers Jessica Day, Deerfield Academy, editor Stephanie Craig, Stephanie Craig Photography/Joseph Delaney, Deerfield Academy/FJ Gaylor Photography/Jim Gipe, Pivot Media/Brent Hale, Deerfield Academy/ David Thiel, Deerfield Academy, photographers Moth Design (Boston, MA), design firm Deerfield Academy, client “Moth Design and 43,000 Feet worked with the respected boarding school Deerfield Academy to create a suite of admissions collateral. The viewbook—which includes interactive features like origami and a cipher—reflects the Deerfield of today and positions the school for continued growth and success.” 64 pages, 5-color (4-color process, plus spot PMS), white foil stamp and emboss on the cover, perfect bound.

PRODUCT/SERVICE BROCHURES 2 Nasheet Shadani/Gaurav Uppal, designers Nasheet Shadani, art director V Sunil, executive creative director Tanvi Kapoor, writer Rod Hunt, illustrator Ranjan Nigam, studio artist Harish Bamba, production manager Amritesh Bakshi, project manager Mohit Jayal/Sanghamitra Mandal, strategy Wieden+Kennedy Delhi (Delhi, India), ad agency Eicher Polaris Pvt. Ltd., client “In order to advertise Multix, India’s first personal utility vehicle, we faced the tough task of communicating with a semiliterate, multilingual rural target audience. The solution required simple visuals and instructive design. To break the typical mold of automobile advertising, we gave Multix a distinct visual identity, showing the product through simplistic vector drawings. The foldout brochure carried all vehicle details, including visuals that showcased Multix’s various uses, from business to family to its ability to generate electricity.” 23 × 16½ sheet, printed both sides, 4-color, folded to 5¾ × 8¼.

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PRODUCT/SERVICE BROCHURES 1 Tom Nynas (Rockwall, TX), art director/creative director/writer/ illustrator Nathan Kirkman, photographer Perennials, client “This brochure offers an easy-to-follow, step-by-step guide to create Perennials’ bespoke pillows. No fonts are used in the brochure: every letter and word was hand-drawn. The custom type reflects the made-to-order nature of the pillows.” 16 pages, 9¾ × 9¾, 4-color, saddle stitch with white staples, all white areas are coated with a UV soft-touch, and all image areas coated with a gloss UV.

ANNUAL REPORTS 2 Christian Woltman, art director Roger Frank, creative director Paul Sobota, photographer Little Jacket (Cleveland, OH), design firm Open Doors Academy, client “The ‘100 percent’ represents Open Doors Academy’s graduation rate. We put every percentage of this achievement into an annual report that declares we are 100 percent kids.” 52 pages, 8 × 10, 4-color, plus PMS 804 fluorescent orange.

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then choose from perennials’ 200+ fabrics.

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148

Design Annual 2016

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ANNUAL REPORTS 1 Nicky Dyer/Chris Rowe, designers Fraser Callaway/Matt Innes/Oliver Ward, creative directors Strategy Design & Advertising (Wellington, New Zealand), design firm Reserve Bank of New Zealand, client “In 2014, the Reserve Bank of New Zealand celebrated its 80th anniversary. To mark this milestone, Strategy Design & Advertising designed the bank’s 2014–2015 annual report to celebrate its past while looking to the future. We first created the report as a bespoke, responsive website before complementing it with a print edition. A striking, yet simplistic graphic represents the report’s overarching concept, Rounding up 80 years, and the report interweaves a timeline of historic events throughout its pages.” 116 pages, plus the cover, 8¼ × 11¾ 4-color, perfect bound.

2 Adnan Huseinovic, designer Howard Poon, art director Eva Polis, creative director Krystin Royan, writer Kane Tchir, illustrator Debbie Shinehoft, production manager Jenny Black, associate project manager Danna Beatty, project manager Alana Williams, project director DDB Canada (Edmonton, Canada), ad agency Edmonton International Airport, client “Edmonton International Airport (EIA) moved a record number of passengers through its terminals in 2014. To celebrate, this year’s annual report used the Kinegram optical animation method to bring a traditionally static medium to life. Sliding a specially treated transparent sheet over select illustrations sets the highlights of EIA’s year in motion: bicycle tires spin, passenger hearts beat and airplanes fly. Introducing ‘Non-Stop,’ the annual that moves for an airport on the move.” 100 pages, plus cover, 7� × 10½, 4-color, perfect bound, acetate sheet (tipped on inside cover) 8⅛ × 10½, screen printed.

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ANNUAL REPORTS 1 Chris Allen/Jill Southern, design Chris Allen/Dylan Staniul, creative direction Blaire Jackiw, project manager Burnkit Creative Inc. (Vancouver, Canada), design firm Turquoise Hill Resources Ltd., client “Turquoise Hill’s 2015 annual report, titled ‘The Future Is Underground,’ highlights the mining company’s achievements and builds excitement around its underground phase at Oyu Tolgoi, one of the world’s largest copper-gold mines, located in the South Gobi Desert of Mongolia. The oversized report and custom envelope reinforce the vast scale of the mine, supported by bold typography and a simple color palette of black and copper metallic printed on heavy, uncoated stock.” Envelope 14 × 10½, report 14 × 20 folded in half to fit within the envelope.

LETTERHEADS 2 Franklin Desclouds/Élise Muchir, art directors/creative directors Des Signes le studio, Muchir et Desclouds, (Paris, France), design firm CNSMD Lyon, client “Colored letters form the logotype for the Conservatoire national supérieur musique et danse de Lyon. By cutting out some of the characters’ parts, we conveyed a work in progress that is the learning process. The visual identity’s curves and forms compose the space of the documents, like a choreographed ballet. Information appears in different reading directions, playing with the identity’s alternative tempos and rhythm.”

3 Sean Brunson/Shannon Fisher/Tim Fisher, creative directors Ross Burwell, illustrator ACME Brand Studio (Winter Park, FL), design firm/client “Created with a smile, our ACME Brand Studio rests upon a foundation of good taste, good design sense and honesty. Our name’s nostalgic and iconic impression contributed to the creative direction and production of our communication materials. Offset and letterpress printing combine to create a clean, modern and well-crafted identity that proves we embrace the art of branding.”

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151

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EDITORIAL 1 ITAL/C (Los Angeles, CA), design firm Indoek, client “First in surf-centric blog Indoek’s series of large-format city guides detailing various surf towns, the Venice Beach, California, issue includes beautiful photography of past and present local icons, illustrations, and stories covering its creative surf culture.” 84 pages, 11 × 17.

2 Simon Laliberté/Alexandra Whitter, art directors Pierre Babineau/Patrick Thibeault, writers Simon Duhamel, photographer Atelier BangBang (Montréal, Canada), design firm Bouffe Média, client “Cover for Bouffe, a quarterly Canadian food magazine that goes beyond recipes by containing none! It dives into the food world’s unexplored depths. Its original, daring, funny, joyful—and slightly slobbery—content shows both the serious and nourishing sides of food.”

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Design Annual 2016

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EDITORIAL 1 Andrew Haynes, art director Eric Yang, creative director/editor Ben Bowers, executive editor Henry Phillips, photographer Gear Patrol (New York, NY), client “For the second issue of Gear Patrol magazine, our team of writers and photographers traveled to five destinations, spending time with the people who make each location a global destination. Nairo Quintana discussed cycling in the mountains outside Bogotá. Chef Mike Lata spoke about fishing in the South Carolina Lowcountry. Kan Yasuda mused on his introspective art. And a handful of maestro mezcaleros, mezcal producers who are bringing the agave spirit onto the global stage, walked with us in the Oaxacan countryside.”

2 Kyle Nelson, designer Katherine Hughes, art director Clif Stoltze, creative director Stoltze Design (Boston, MA), design firm Boston Society of Architects, client “We modernized the nostalgic symbol of voyage—the luggage tag—for this issue of ArchitectureBoston. Our cover illustration incorporates the publication’s logo and issue title with icons representing modes of travel discussed in the issue. For the issue’s first feature, we paired the article’s four milestones of airport architecture with luggage tags bearing each airport’s code. Spot illustrations complement the author’s renderings while adding dimension and color to the spreads.”

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EDITORIAL 1 Sucha Becky, designer/art director Pum Lefebure/Jake Lefebure, creative directors Design Army (Washington, DC), design firm Washingtonian Bride & Groom, client “From newspapers to Instagram, it’s never been easier or faster to ‘start spreading the news.’ What better way to highlight the season’s best gowns than by making them newsworthy? For the summer 2015 issue of Washingtonian Bride & Groom, we spread the story of the dress through any means of communication, whether by bullhorn, a press conference, or cans and string. Gowns shot against simply designed sets of crisp white, deep pink and red backgrounds; large type inspired by newspaper titles; and clever props, spun lively narratives with healthy bits of humor.”

2 Fred Woodward, design director Andre Jointé, art director Tim O’Brien, illustrator GQ (New York, NY), client “For ‘What Would Cool Jesus Do?’ from GQ’s January 2016 issue, we worked with Tim O’Brien to riff on a well-known image of Christ. The illustration dressed him as a stylish hipster to depict how the New York City’s Hillsong Church connects young people to God. A light seemed to shine from within the illustration’s contemporary black letter font, reflecting religious iconography.”

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ENVIRONMENTAL GRAPHICS 1 (series) Ashwin Toney, designer Matthew R. Johnson, graphic designer Ron Stelmarski, design director Phil Callison, principal Meredith Hunt, project manager Intaglio Composites, fabricator Perkins+Will (Dallas, TX), design firm City of Dallas, client “The Dallas Fire Station #27 showcases a twostory mural that celebrates milestones and honors historical pioneers from the Dallas Fire-Rescue Department. The 75 etchedaluminum panels form a graphic liner; incorporated with the architecture, it extends from the exterior to the interior of the building, reestablishing the firehouse’s civic presence along a busy retail strip while honoring firefighting’s legacy and community service.”

2 (series) Aine Coughlan/Paola Meraz, designers Bryan Bindloss/Eric Heiman, lead designers Adam Brodsley/Emanuela Frattini Magnusson, Bloomberg L.P./Eric Heiman, creative directors James Edmondson, typographer Leah Elamin, production designer R.G. Kahoe, Bloomberg L.P./Erin Kemp, project managers IwamotoScott Architecture, architect WeidnerCA, fabricator Volume Inc. (San Francisco, CA), design firm Bloomberg L.P., client “For its new Tech Hub in San Francisco, Bloomberg wanted a space that embodied its status as an established and innovative technology company. The Tech Hub is a laboratory of science and art: its occupants create new, inventive applications for financial data. The graphics’ visual narrative revolves around Platonic solids, 3-D shapes that exist between art and science. The design system seamlessly weaves into the greater architecture as a natural extension of both the existing art deco–era building and IwamotoScott’s newly designed space.”

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ENVIRONMENTAL GRAPHICS 1 (series) Pauline Cheng/Daniel Maxfield/Brad Thomas, designers Lonny Israel, lead designer Michael Duncan, design director Gene Schnair, principal Nicholas Gerstner, project manager Skidmore, Owings & Merrill LLP (San Francisco, CA), design firm American Conservatory Theater (A.C.T.), client “Skidmore, Owings & Merrill (SOM) transformed the Strand Cinema from a derelict century-old venue into a new theater for experimental works for American Conservatory Theater (A.C.T.). The project’s design began with a stencil version of A.C.T.’s identity. The SOM graphics team then stenciled letterforms throughout the building’s exterior signage, interior wayfinding and donor wall. The lobby’s two-story translucent LED screen recalls the building’s cinematic past and beckons passersby to discover the new space’s offerings for themselves.”

2 (series) Britt Cobb, designer Michael Bierut, art director Julia Lindpaintner, researcher Pentagram (New York, NY), design firm KIPP NYC, client

© Bruce Damonte Photography

“The Knowledge Is Power Program (KIPP), is a nationwide network of schools, and its New York City students regularly outperform their peers at other New York schools in graduation and college matriculation rates. More than 900 such students attend KIPP NYC College Prep High School, the first high school in KIPP’s family of eleven New York City public charter schools. KIPP’s mission extends to the college prep’s graphics, which encourage students to think, learn and solve problems as they encounter the graphics’ series of integrated codes, puzzles and riddles.”

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ENVIRONMENTAL GRAPHICS 1 (series) David Blumberg/Andrew Thomson, designers Roy Burns III, design director Spencer Till, executive creative director/artist Jeffrey Williams, photographer Andrew Thomson, illustrator Leigh Ann Motley, producer Lewis Communications (Birmingham, AL), agency Auto & Truck Services, client “Auto & Truck Services views what it does as an art form. As part of the branding built around The Art of Repair campaign, the garage signage playfully and artfully renders phrases inspired by the servicedriven ad slang of the 1950s. Big, bold, hand-painted letterforms strategically placed throughout the building hark back to the golden age of auto repair and enliven the characteristically gritty, utilitarian space for employees and patrons alike.”

2 (series) Brenda Tong, designer Randy Johnson, creative director Entro Communications (Toronto, Canada), design firm Whitney Museum of American Art, client “The Whitney Museum of American Art challenged us to extend its brand in a functionally effective way throughout its environment without eclipsing the art. To achieve this, we used the Whitney’s ‘responsive W’ logo as a graphic element, creating a visual language for the wayfinding program. Based on the logo, a flexible typographic grid—consisting of graphics that incorporate arrows—uses ‘containers’ to house directions.”

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ENVIRONMENTAL GRAPHICS 1 (series) Eva Bochem-Shur/Damien Saatdjian, designers Museum of Modern Art, design Hsien-Yin Ingrid Chou, art director/creative director Museum of Modern Art (New York, NY) Department of Painting and Sculpture, client “The Museum of Modern Art exhibition One-Way Ticket: Jacob Lawrence’s Migration Series and Other Visions of the Great Movement North brought together 60 landmark paintings by Lawrence that depict the mass movement of African Americans from the South to the North starting in 1915. The exhibition included other accounts from the era of the ‘great migration,’ like literature, poetry, music, photography and paintings. We designed a 70-foot-long timeline to illustrate the paths that African Americans traveled to relocate to seven major US cities, tying major world events and the personal timeline of Lawrence’s life to this great exodus north.”

2 (series) Raymundo Pavan/Gerald Querubin, designers Wayne McCutcheon, art director Udo Schliemann, creative director Entro Communications (Toronto, Canada), design firm NORR, client “Our environmental graphic designs evoke the alternating tilted planes of the CIBC Pan Am Aquatics Centre’s dramatic roof structure, itself inspired by the rock fissures in the Canadian Shield. Other natural details, like waveforms interacting with light and shadow, influenced the creation of an abstract graphic form. A key element on signage and the dive tower feature backdrop, it was also used on large-scale wall treatments in the venue’s interior.

3 (series) Nina Reck, graphic designer Santosh Dhamat, 3-D designer/creative director Tracy Revis, principal Elizabeth Eubank, writer/content coordinator CSI Printing & Graphics, graphics fabricator Kearney & Associates, fabricator Howard+Revis Design (Washington, DC), design firm President Lincoln’s Cottage at the Soldiers’ Home, client “A home for brave ideas, President Lincoln’s Cottage at the Soldiers’ Home sought to use Lincoln’s life and vision of a nation strengthened by immigrants to bring perspective to today’s conversation. Starting with Lincoln’s powerful words, the two-part exhibit structure highlights the surprising similarities and differences between Lincoln’s era and our own. Visitors can hear from immigrants naturalized at the Cottage at the Soldiers’ Home and also document their own family’s immigration stories around a timeless theme: the reasons for immigration.”

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ENVIRONMENTAL GRAPHICS 1 (series) In-Hee Bae, designer/animator Hsien-Yin Ingrid Chou, art director/creative director Museum of Modern Art Department of Advertising and Graphic Design, (New York, NY), design Museum of Modern Art Department of Education, client “Through Art Lab: Places and Spaces, an interactive space at the Museum of Modern Art (MoMA), families could explore, play with and learn about places in art. To welcome MoMA’s many international visitors, we communicated different ideas of place with an animated title wall, where typography and icons of world landmarks interacted with static wall graphics. We also created a large world map—on which kids could draw and pin their home country—as well as interactive doors that revealed different locations when opened. We wanted kids of all backgrounds to learn, engage and have fun.”

MOTION GRAPHICS 2 Henry Hobson, Bootmaker Films/Ford Oelman, Academy of Motion Picture Arts and Sciences, creative directors Mandy Eastley/Hailey Nowak, Academy of Motion Picture Arts and Sciences, associate designers Henry Erdman/Henry Hobson, Bootmaker Films, designers Anne Coco/Jenny Galante/Warren Sherk, Academy of Motion Picture Arts and Sciences, consultants Alasdair Willson, Bootmaker Films, animator Bootmaker Films, motion graphics/design firm Mark Share, Easyfeel, sound design Amanda Noviello, Academy of Motion Picture Arts and Sciences, associate producer Ford Oelman, Academy of Motion Picture Arts and Sciences, producer Christina Kounelias, Academy of Motion Picture Arts and Sciences, executive producer Academy of Motion Picture Arts and Sciences (Beverly Hills, CA), production company Academy Awards, client “To enhance the backstage guest experience at the 2016 Oscars, the Academy of Motion Picture Arts and Sciences’ in-house creative team worked with Bootmaker Films to produce Evolution of the Best Picture, an art display inside the 2016 Oscars Rolex Greenroom. The 4K animation uses graphic art and music scores from the collections at the Academy’s Margaret Herrick Library to chart the progression of films from 1927 through 2015 that have won the Academy Award for Best Picture.”

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MOTION GRAPHICS 1 (series) Thomas Berger, art director Dan Buyanovsky, writer Thomas Berger/Andrei Chahine, creative directors Linus Kraemer/Kate Moross/Rose Pilkington, illustrators Kate Moross, director Paul McAfee, producer MTV/Studio Moross, production companies MTV (New York, NY), client “By combining existing footage and new interviews with different artists, we created a dynamic environment to showcase testimonials detailing how it feels to be an artist in 2016. Aesthetically, the hand-done approach evokes each artist’s signature or stamp from her or his point of view, with grit and dirt reminiscent of a live music festival.”

2 Josh Norton, executive creative director Doug Chang/Ned Piyadarakorn, designers Chia-lung Liu/Ned Piyadarakorn, animation Virgil Conklin, producer Carson Hood, executive producer BigStar (New York, NY), production company Left/Right Productions/Showtime, clients “The Circus: Inside the Greatest Political Show on Earth.” :25 “Our friends at Left/Right Productions came to us to create an original graphic opening for Showtime’s The Circus: Inside the Greatest Political Show on Earth. They wanted its narrative to revolve around the nonstop traveling, glad-handing and circus-like mayhem that precedes the general election. Our design exploration led us to an illustrative American folk style to chart the journey of a candidate who makes it from potential nominee to the Oval Office.”

3 Allison Black, art director Bill Groshelle/Nick Manganiello, creative directors Juan Molinet, designer Funmi Olosunde, program manager Amy Chan/Hungwei Chen/Tommaso de Sanctis/Chia Liu, animators Brittany O’Hearn, voice talent Malcolm Payne, music composer Jason Armitage, producer Erin Bijas, agency producer Tim Kwong, post-production supervisor Studio B Films (Berkeley, CA), production company Publicis Life Brands Medicus, ad agency National Kidney Foundation, client “Studio B Films collaborated with Publicis Life Brands Medicus to create an animated video raising awareness of kidney health for the National Kidney Foundation. The video started with a great idea and developed over a few months as its theme song and design came together. It became a viral hit, quickly racking up more online views than all of the National Kidney Foundation’s previous videos combined.”

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MISCELLANEOUS 1 (series) Dejan Djuric/Jeff Watkins, designers Dejan Djuric/Lisa Greenberg/Jeff Watkins, art directors Lisa Greenberg, creative director Ryan Crouchman, group creative director Judy John, chief creative officer Arash Moallemim, photographer Webnews Printing Inc., production company Leo Burnett Toronto (Toronto, Canada), agency Smith, client “Smith offers a different experience every time you dine there. The Toronto restaurant’s ever-changing mix-and-match menu reflects its collection of eclectic, mismatched cutlery and crockery from all around the world. When photographing six individual settings, complete with plates, knives and forks, we ended up with more than 20 different place settings, a design meal for Smith’s menu.”

2 Rob Dean, art director Nancy Crimi-Lamanna/Curtis Edwards/Jeff Hilts, creative directors Jon Flannery, chief creative officer Dave Delibato, writer Shandi Horovitch, project manager Mona Chammas/Mark Colvin/Heather Segal/Anastasia Tubanos, strategists FCB Toronto (Toronto, Canada), ad agency Hanan Girgis/Natali Mitrovski/Amy Rozinsky/Dana Salonen, Mondelēz International, clients “How do you perfect the perfect cracker? By perfecting what goes on top of it. The Ritz Cracker Cutter cuts your favorite toppings to fit a Ritz right down to its perfectly scalloped edge. Sometimes the perfect ad isn’t an ad, but a kitchen utensil.”

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MISCELLANEOUS 1 Target Creative (Minneapolis, MN), design Sean Kenney/Daniel Rozin, artists Black Label Music, music MNFX/Rush River Steel & Trim, fabricators Target Corporation, client “Target Too, an art-meets-digital gallery experience, featured nine product-inspired installations. Lumicast lighting technology highlighted interactive experiences as visitors moved through the gallery space. A custom-built iOS app enabled games, social sharing, curated shopping and full augmented reality to provide visitors with additional digital components.”

2 Greg Breeding, designer/art director Tyler Lang, illustrator Journey Group, Inc., (Charlottesville, VA), design firm United States Postal Service, client “Four winged beauties roost in the Coastal Birds postcard stamps. Before beginning the digital artwork, art director/designer Greg Breeding and illustrator Tyler Lang researched which pose would best capture the traits and spirit of each bird. The stamps feature portraits of four coast-dwelling birds: the red knot, the king eider, the roseate spoonbill and the magnificent frigatebird.”

3 David Soames/Dustin Taylor, art directors/creative directors Kevin Sutton, executive creative director Ted Campbell, production artist Gretchen Notz, producer Moroch Partners, (Dallas, TX), ad agency McDonald’s, client “McDonald’s, which sponsors the Green Bay Packers, tasked us to create apparel for the local street team to wear on game days. As everyone knows, Green Bay, Wisconsin, gets cold during football season, so we created Field Goal Hoodies. The hoodies not only kept the street team warm, but also delighted fans with their clever use of drawstrings.”

4 Kevin Cantrell/Juan Carlos Pagan, designers Kevin Cantrell, Kevin Cantrell Studio (Salt Lake City, UT), art director John Moon, Nike, creative director Big Secret, production company Nike, client “Nike commissioned Kevin Cantrell Studio (KCS) to design the Perfect Game, All American Classic, Home Run King Bat Trophy. Inspired by Old World typography that exemplifies baseball’s spirit, KCS created an illustrative, typographic treatment that envelops the entire bat’s circumference from knob to end. This never-before-done feat required a state-of-the-art, proprietary technique by production company Big Secret, which laser-etched the artwork for a seamless finish.”

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SELF-PROMOTION 1 Winnie Li, designer/art director Scott Taylor, creative director Hugh Hart/Brenda Rees/Mike Winder, writers Sylvia Sukop, editor Stella Kalinina/Savannah Mark/Juan Posada, photographers Dustin Edward Arnold/Monika Bielskyte/Nicholas Alan Cope, artists Ellie Eisner, production manager Audrey Krauss, production ArtCenter College of Design, Design Office, design ArtCenter College of Design (Pasadena, CA), client

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“We redesigned the ArtCenter College of Design’s publication Dot to refresh ArtCenter’s story on the occasion of its 85th anniversary. We moved toward longer-form, visually driven stories about people. Bold use of scale and pacing give Dot more visual impact, and the combination of uncoated paper and UV inks provides dimensionality without loss of color fidelity.” 32 pages, plus cover, 8¾ × 11, 4-color, with additional PMS on the cover, saddle stitch with black staples, UV inks on uncoated paper.

2 Miklós Batisz/Anna Farkas, designers Anagraphic (Budapest, Hungary), design firm/client “Much more than a traditional calendar, Anaptár visualizes data on the sun and the moon, showing their movements in the sky. A radial arrangement encompasses this huge amount of data in a spectacularly complex, yet easily comprehensible system.”

3 (series) John Yum, designer Caleb Kozlowski, art director Dora Drimalas, creative director Hybrid Design (San Francisco, CA), design firm Mohawk Fine Papers, client “We partnered with Mohawk Fine Papers in the redesign and production of its swatchbook series. Our team created a beautiful, inspirational design not only to galvanize designers to use color and texture in new ways, but also to make their overall paper-specifying process easier.”

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SELF-PROMOTION 1 Andrea Langley/Jack Minogue, designers Stephanie Ayoob, art director Joshua Koenig, associate creative director Peter Corey, writer Kai Hansen/Pasindu Wewegama, technologists Peter Binggeser, technology manager T.J. McLeish, technology director Jessica Buhrman/Joe Pokraka, associate producers Erika Pokraka, producer SapientNitro (New York, NY), agency/client “To share a message of inclusion for the 2015 holiday season, we took over a 40-foot-long wall outside an iconic cocktail bar and turned it into an interactive, hand-painted experience that had nothing to do with Christmas, Kwanzaa or Hanukkah. By excluding all holidays—in the name of including all holidays—Merry Ambigumas was born. Our artistic neighborhood presence welcomed all to celebrate.”

2 (series) Donald Koide/Paulina McFarland/John Schramm/Olivia Ward, designers Elizabeth Vereker, art director Al McKee, writer Sakae Beers/Jasper Sanidad, photographers Studio O+A (San Francisco, CA), design firm/client “Design Is Metaphor is an edition of Studio O+A’s Artist Series, a quarterly mail-out enlisting in-house artists to interpret recent interiors projects in graphic art terms. The Artist Series both informs O+A’s friends and colleagues of new projects and enables O+A staffers to express themselves in a free-form style.” 8 pages, 14¾ × 20½, 4-color, digital, broadsheet.

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SELF-PROMOTION 1 Hyun Cho/Choong Ho Lee (Anyang-si, South Korea)/Sangpil Lee/Jungmo Nam/Yong Jun Park/Dae Ki Shim/Hyojun Shim, designers/ art directors Nils Clauss/Sangpil Lee/Ogh Sang Sun/ Hyojun Shim, photographers Typojanchi 2015, client “Produced as a collaboration with Typojanchi 2015: The Fourth International Typography Biennale, the book Seoul Welcomes You illustrates the many ways that Seoul greets its foreign visitors.” 200 pages, 6� × 9¼, 4-color and 1 PMS, section sewn.

2 Kevin Boothe/Vanessa Eckstein, designers Marta Cutler/Vanessa Eckstein, creative directors Dr. Bob Deutsch, writer Blok Design (Toronto, Canada), design firm Flash Reproductions, publisher/client “Wayward Arts, a nonprofit magazine created by Flash Reproductions to support Canada’s design community, invited us to take on an issue. The theme: counterculture. Flash Reproductions gave us free reign to expand the project’s parameters. The issue is a celebration of what happens when art, politics and design unite to change history, reflecting our belief that the best design serves society.” 64 pages, 8¼ × 11¾, exposed spine binding.

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SELF-PROMOTION 1 Tyler Galloway, designer/photographer the new programme (Overland Park, KS), design firm/ client “This self-initiated work responds to the seemingly endless and growing number of unarmed Americans, particularly African Americans, killed by police. I confront the viewer by making a visceral, then rational appeal: Flesh-and-blood humans are more than statistics and fleeting images on a newscast. Detailed text accompanies each victim’s first name, noting the person’s full name and age, and the location and date of his or her murder.”

2 Raphael Geroni (Brooklyn, NY), designer/typographer/ illustrator/design firm/client “My love for classic movies inspired a series of title cards for films starring my favorite actress, Judy Garland. I drew visual cues from the films’ original titles and promotional ephemera. Printed at the original one-sheet poster size on metallic stock, the poster is reminiscent of a vintage silver gelatin portrait that fans might have received from stars like Garland.” 27 × 41, 4-color, Moab Metallic Pearl Paper, digital.

3 Amanda Ortiz, designer Dava Guthmiller, art director Christine Lee, creative director Noise 13 (San Francisco, CA), design firm/client “We created a festive San Francisco–themed holiday card that didn’t skew too Christmas-y, remaining appropriate throughout the season. We liked the idea of designing something intricate, with which local people could search for icons hidden throughout the city.”

4 Alex Boland, art director Alexis Bronstorph/Kelsey Horne, creative directors Jeffrey Da Silva/Tom Koukodimos, executive creative directors Derek Silveira, writer Nigel McGinn, editor Dylan Scott, developer Phu Pham/Sue Thoms, production managers Kelsey-Lynn Corradetti, producer M&H/Sid Lee Studio, production companies Sid Lee, (Toronto, Canada), ad agency Sid Lee Collective, client

© Carlo Calope

“To launch Sid Lee Collective, we took the most absurd, offensive quotes that Donald Trump uttered during his campaign for the Republican nomination to create an unofficial expansion pack for Cards Against Humanity. From a few humble Facebook posts without media spending, Trump Against Humanity organically generated more than 35 million online impressions.”

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SELF-PROMOTION 1 Paul Dunbar/Lillian Ling/Erin Scardena, designers Sucha Becky, art director Pum Lefebure/Jake Lefebure, creative directors Design Army (Washington, DC), design firm Neenah Paper, Inc., client “We wanted to create a mail promotion for Neenah Paper compelling enough to engage people immediately. Using the power of touch and texture, we created four direct mail campaigns. The perfect-bound book includes three inserts, each using a different die-cut pattern: a multipatterned fan with six blades, an accordion-fold brochure and a do-it-yourself pop-up paper home model. We used a wide variety of Neenah’s environmental papers to highlight the products’ sustainability and quality while inspiring customers with playful experiences.”

2 (series) Jacelyn Hejtmanek/Matt Slider, designers Parc Masterson, associate creative director Seth Gunderson, creative director Brian Yates, photographer Beth Wheeler, production manager Sullivan Higdon & Sink (Kansas City, MO), ad agency/ client “We build brands to stand out from the flock. So it’s only fitting that we give our clients an un-sheep-like holiday gift as thanks. Last year, we gifted a laser-cut Build Your Own Sheep Head poster covered with various agency tenets and values. Once clients put it together, they had a miniature replica of our office mascot and—more importantly—a fun reminder of all the sheep they slay with Sullivan Higdon & Sink.”

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SELF-PROMOTION 1 (series) Guilherme Bermejo, art director Zak Mroueh, creative director Nick Doerr, writer Zulu Alpha Kilo (Toronto, Canada), ad agency/client “Agencies have pitched spec work since the Mad Men era. But what happens when you ask people in other industries for spec work? Zulu Alpha Kilo decided to find out. From shopkeepers to professionals, participants had no idea what was about to be asked of them. This film series skewers the notion of pitch work and proposes that it’s time to do things differently in the ad industry. The film’s release sparked a worldwide debate over the value of spec work.”

2 (series) Audrey Elkus, art director Matthew Tait, creative director/photographer TAIT Design Co. (Detroit, MI), design firm/client “This hanging wall calendar can be used year after year. Designed with inspiration from vintage volvelles, you move three circles to mark the date and month. Screen-printed by hand in red, black and white on 140-lb. French Paper and finished with wooden maple ends and a hanging ribbon, this calendar looks beautiful in the home, the office or the local café.”

3 (series) Sheraton Green/Jovaney Hollingsworth/Erik Johnson, designers Charles S. Anderson, art director Erik Johnson, writer Sheraton Green/Jovaney Hollingsworth, illustrators Charles S. Anderson Design Co. (Minneapolis, MN), design firm French Paper Company, client “Total Package promotes the colors French Paper has available for use in cosmetic and retail packaging. Embellished with intricate foil stamping and debossing, the six perforated color sheets can be assembled into boxes spelling FRENCH. The promotion also includes hang tags and images of packaging that can be made with French Paper, including wrapped setup boxes, color corrugated liners, shopping bags, wine labels and sturdy liquor boxes made from multicolored duplex sheets. Franklin Press and McIntosh Embossing brilliantly produced Total Package, helping make it one of French Paper’s most elaborate promotions.”

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SELF-PROMOTION 1 Morgan Stephens, designer Nathaniel Cooper/Michelle Sonderegger, creative directors Claire Gude/Kansas City Art Institute/Morgan Stephens, writers E.G. Schempf/Tal Wilson, photographers Design Ranch (Kansas City, MO), design firm Kansas City Art Institute, client “In true form, the Kansas City Art Institute wanted to push boundaries with its recruitment brochure, which needed to appeal to potential students as well as practical parents. The school turned to Design Ranch to balance inspiration and information with a dual book design. One side of the book showcased details on classes and degrees, and the other inspired readers with student work.”

2 1 Trick Pony (Hammonton, NJ), design firm/client “To toast 1 Trick Pony’s eleventh anniversary, we partnered with one of our clients, Taft’s Ale House, to create our own beer called One Horse. Elaborately designed one-packs housed each can of beer. Printed on French Paper with gold foil and capped off with a perforated top that had to be opened like an old-school can, the one-packs were sent out to all our clients so they could join us in our celebration.”

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STUDENT WORK 3 Eric Percoco, art director Ron Moore, instructor The Creative Circus, (Atlanta, GA), school “A hand-painted concert poster advertising barefoot musician Xavier Rudd’s concert tour in Africa.” © Eric Percoco

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STUDENT WORK 1 (series) Triana Thompson/Patrick Blanchard/Lucas Nelson, designers Andrea Herstowski, instructor University of Kansas (Lawrence, KS), school “The annual series of events that make up KU Design Week (KUDW) promotes interdisciplinary design thinking at the University of Kansas (KU), in the Lawrence community and beyond. Titled 10,000 Hours, the 2016 theme celebrated the hard work and effort required to master a craft. To build anticipation for the events on a student budget, we covered the interior walls of KU’s design building with posters featuring lighthearted design quotes and jokes, which students removed as KUDW approached.” © Triana Thompson/Patrick Blanchard/Lucas Nelson

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STUDENT WORK 1 (series) Morgan Smith, designer Robert Finkel, instructor Auburn University (Auburn, AL), school “At the Meat Meet, restaurateurs and chefs meet to share their ‘meaty’ accomplishments. To satisfy the objective of this project, I created an identity suite, including a folder, a letterhead, a business card, an envelope and any additional materials needed by the company. I applied a logo and brand consistently throughout the suite of materials. These pieces market to and communicate with potential Meat Meet attendees.” © Morgan Smith

2 (series) Hyela Lee, designer Emily Moody, instructor Kapiolani Community College (Honolulu, HI), school “Chris loves stripes. Jessie loves dots. And both love socks, which led to the birth of Chris + Jessie. The two founders create extraordinary socks infused with life and fun. I used objects—from a window to a banana to a cup of tea—with a black halftone to create vivid and fun products.” © Hyela Lee

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STUDENT WORK 1 (series) Kavya Singh, designer James Stolbom, art director Kaushik Sachdev, writer Steve Dean, instructor Chicago Portfolio School (Chicago, IL), school “Everybody has something that keeps them up at night. ZzzQuil helps you sleep on it.” © Kaushik Sachdev/Kavya Singh/James Stolbom

2 (series) Jenny Younghyun Jung, designer Marc Choi, instructor Maryland Institute College of Art (Baltimore, MD), school “For a semester-long branding project, I created a conceptual restaurant, Savory Chapters, that bases its monthly branding and menu on a featured work of literature. For March, I created a menu, plates, dinner napkins, coasters and a website design around Moby Dick. To incorporate the experience of reading books, the menu doubles as a bookmark and is served to guests inside the book of the month.” © Jenny Younghyun Jung

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STUDENT WORK 1 Yuguo Chen, designer Stan Zienka, instructor Academy of Art University, (San Francisco, CA), school “This layout design reimagines an article originally published in Scientific American. I clarified the infographic and unified its color tone, using an unsaturated red inspired by the red of the swallows of Fukushima. My new redrawn layout design better fits the theme of the article.” © Yuguo Chen

2 Tyler Hawotte, designer Greg Stiles, instructor Spokane Falls Community College (Spokane, WA), school “The project brief asked for a functional, expressive and interactive package design. This custom-built point-of-purchase display opens to reveal three distinctively colored syrups. A custom logotype and side label enhance the brand’s organic and historic appeal.” © Tyler Hawotte

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STUDENT WORK 1 (series) Evan Tolleson, designer Thomas McNulty, instructor Academy of Art University (San Francisco, CA), school “Whiskey is traditionally distilled from fermented grain mash, a very lowquality beer. Tim Obert and Clint Potter, friends and founders of Seven Stills Brewery & Distillery, flipped this tradition on its head, eager to see the effects of distilling whiskey from bottle-ready craft beer. My design’s usage of paper and color palette positions Seven Stills Whiskey as high quality while an industrial typeface, an off-center identity and quirky illustrations recall the brewery’s roots in craft beer. The result: responsibly playful.” © Evan Tolleson

2 Blanca Navarro, designer/art director Theron Moore, instructor California State University, Fullerton, (Fullerton, CA), school “This packaging design captures the modest, but lively character of the Original Los Angeles Flower Market. Not only does the shopping bag’s form enable flowers—such as orchids—to naturally lean off its sides, but also, the bag enables shoppers to easily display their purchased goods while carrying them around. The bags are created entirely from recycled paper materials and plant-based inks, and the designs can be easily reproduced by vendors of the flower market.”

© Robert Huskey

© Blanca Navarro

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STUDENT WORK 1 Elena Chudoba/Andrew Czap, designers Elena Chudoba, illustrator Ben Dolezal, instructor University of Texas at Arlington (Arlington, TX), school “Patriot Paddles, a line of Ping-Pong paddles, celebrates the rush of the game and all it stands for: American history, good times and freedom. I designed packaging that can be tucked into a backpack or stored in a desk or on a shelf, as it mimics the appearance of a college textbook. Historical references pepper the design and illustration. May the force of the Patriot Paddles be with you.” © Elena Chudoba/Andrew Czap

2 Krishnapriya Dutta Gupta, designer Andrew Loesel, instructor Academy of Art University (San Francisco, CA), school “This typographical poster design, promoting a hypothetical social event on the immigrant experience, attracts the attention of an audience that feels strongly about this important issue. High-contrast typography and color graphics break through the noise of outdoor communication. I extended this visual system to the event’s supporting materials.” © Krishnapr Dutta Gupta

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1

FRESH AITCH

Check out Romanian illustrator Aitch’s richly patterned work to steal glimpses into a world rooted in nature and fantasy. “My main sources of inspiration are nature and traveling,” she says. “By visiting and living in different corners of the world, I’m exposed to the culture and aesthetics of those places. I ultimately try to express all this information through a wistful, distinct filter of my own.” After graduating with a degree in graphics from the West University of Timişoara, in Timişoara, Romania, she worked at Leo Burnett Laeufer for three days before deciding to set off on the path of freelance illustration. Since then, she has worked with high-profile clients such as L’Occitane en Provence, O2, Starbucks and Penguin Random House. The secret to her success? An adaptable Eastern European heritage, a habit of moving somewhere new every two years and “an affinity for synthesizing all pretty things that cross my path.” aitch.ro

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1. A pattern design for a personal project. 2. An illustration based on Romanian folk tales, commissioned by MullenLowe Romania. Dan Costea, art director; MullenLowe, ad agency. 3. An illustration created for a personal project, an animal alphabet. 4. A book cover for Penguin Random House. Monica BenalcazarCordova, art director; Penguin Random House, client. 5. A painting for a series titled Coffins, shown at La Petite Mort Gallery in Ottawa, Ontario. 6. An illustration commissioned by London-based production company Somesuch & Co., via Central Illustration Agency, to be used as a pitch for the Man on the Moon ad for John Lewis. Ben Priest, Adam & Eve DDB, art director; Somesuch & Co., client. 7. One of three patterns created for Sandra Mansour’s autumn/ winter 2016–2017 collection. Laurent Saad, art director; Sandra Mansour, client. Communication Arts | commarts.com

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FRESH RYAN KOOPMANS

Since completing his MFA in photography, video and related media at the School of Visual Arts in 2012, photographer Ryan Koopmans has already worked with the likes of Mercedes-Benz and leather goods brand Montblanc. However, his interest in photography stemmed from a desire to pursue an architecture career. “While applying to various architecture programs, I had to involve photography in my portfolio process,” Koopmans says. “It was then that I found out. Making pictures inspires me more than architecture.” Now, based in Amsterdam and New York City, the photographer creates work with a strong emphasis on composition, inspired by the patterns, repetition, saturation and geometry of architectural landscapes. What keeps his interest anchored in a photography career? “Freedom to travel, constant interaction with interesting people and multiple, fast-paced assignments,” he says. “That’s what most attracts me to photography.” ryankoopmans.com

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1. Japanese gardens at the University of British Columbia in Vancouver. Callie Barlow, photo editor; K-MB, ad agency; smartUBC, client. 2. Editorial for Montblanc, shot on location in Whistler, British Columbia. Jack Foley, photo editor; K-MB, ad agency; Montblanc, client. 3. Cover story and editorial for the fall 2015 issue of Nargis magazine. Anano Dolaberidze, photography director; Nargis, client. 4. Mercedes-Benz: 48 Hours in Corsica. Andreas Szankay, photo editor; K-MB, ad agency; Mercedes-Benz, client. 5. Editorial for Montblanc, called Layover in London. Jack Foley, photo editor; K-MB, ad agency; Montblanc, client.

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FRESH ODDDS

Oddds’s style is where contrasts meet, whether modern and traditional elements or Western and Eastern cultures. Given Oddds’s makeup, this is to be expected. The design partnership is formed by Sarah Tan, a Singaporean designer, and Reinold Lim, a Penang, Malaysia–born designer working in Manchester, United Kingdom. “Despite the distance, we have managed to work out a rhythm that enables us to work independently with a constant flow of communi­ cation via video conferences,” the designers say. “Lim works from her dorm room in Manchester, and Tan works from her home studio in Singapore.” Oddds’s creations provide individuals, startups and established businesses with distinguished identity systems and brands. Between the two of them, they leave no resource untouched and constantly keep their eyes open to the world around them for inspiration. “Some cultures influence me as I regularly interact with foreign societies, and others affect me as I accumulate research,” Lim says. Tan adds: “Exposure to these influences, being observant to cultures and constant learning change how we tackle any piece of work.” oddds.com

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1. Design and illustration for the book cover jacket of Foe, by J.M. Coetzee. Penguin Random House UK, client. 2. The first issue of an experimental zine that collects Oddds’s manifestos, methodologies and perspectives on the raw imperfections in anomalies, design, beliefs and randomosity, in a celebration of the uncommon. 3. A rebranding inspired by floral organs. For a small fashion and goods online boutique originally founded in Germany by Julia Doan and now located in Saigon, Vietnam, with its first retail store. Julia Doan/Floralpunk, clients. 4. An identity system and self-promo for Mild Whistle, Tan’s solo project, which includes business cards, a tote bag and customized envelopes. 5. An experimental brand system conceptualized by Oddds. Includes business cards, packaging, carrier bags, canvas menus, wrapping paper and juice bottle labels. Executed with deconstructed, metaphorical hybrid illustrations and free-form typography. 6. An identity system with iconography of a cat for Chandra, a fashion and accessories brand established in Switzerland. Extended to business cards, stickers, tags, thank-you cards, retail bags and packaging. Chandra, client. Communication Arts | commarts.com

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How to Have Great Ideas A Guide to Creative Thinking By John Ingledew

Design: The Invention of Desire By Jessica Helfand 228 pages, hardbound, $26 Published by Yale University Press yalebooks.com

She has garnered nearly every design award. Her work as a partner in Winterhouse—with late husband William Drenttel—has been recognized by peers. Her varied international experiences include tenure with Drenttel as the first Henry Wolf Resident in design at the American Academy in Rome. Now Jessica Helfand is probing deeper into the design world, looking at how design affects our emotions and our lives. Through a series that captures our humanity at the cellular level—histological samples of human tissue, nerves and muscles become startling abstract paintings—Helfand defends her thesis that design matters because people matter. This handsome, philosophical book considers “…the conscience-driven rules of human engagement within which design must operate.” Clearly Helfand’s many years as an esteemed designer, artist and theorist imbue with gravitas and insightfulness her thoughts on authority, fantasy, identity, consequence, compassion, patience, solitude, melancholy, humility, memory, desire and change and on how these emotions influence and inform humanist design. At the book’s heart beats the question: “Is it design that invests something with meaning and value or the designer?” Arguably, this nuanced question has as many answers as there are design practitioners. A complex, beautifully designed book, Design: The Invention of Desire engages and challenges readers to more fully consider what it means to be human and the impact of design on our everyday lives. —Anne Telford

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Designers on deadline, ignore the scent of desperation when you’re fresh out of ideas and need solutions. How to Have Great Ideas aims to loosen your untapped creativity and show how other inventive minds gain inspiration to make great things. Author and educator John Ingledew collected 53 projects, environments and collaborations to help readers find the most conducive state of mind—not just for creativity, but also “to get it right.” Presenting both contemporary and historical designs, Ingledew gives us real-world examples of ideas in areas ranging from science to fashion, including engineer Marc Isambard Brunel’s study of burrowing shipworms that revolutionized tunneling systems. Design tales like that make you reach beyond the many books in the creativity genre for this one. Like Brunel, you can turn even a rotten hull into your next solution. 184 pages, softcover, $30, Laurence King Publishing. —Ruth Hagopian

Inside Art Direction Interviews and Case Studies

By Steven Brower

What does it mean to be an art director? It means you art-direct. Right. But what does art direction really look like? Steven Brower answers this by walking readers through the art direction process in his book Inside Art Direction: Interviews and Case Studies. Approaching the role’s definition from every possible angle, Brower interviews art directors working in the fields of advertising, graphic design, editorial, publishing, film, theater, music and social media. Case studies on specific works—including studies by the author himself, as both an illustrator and an art director—and step-by-step breakdowns of the process, showing how talented illustrators Zina Saunders and Yuko Shimizu communicate with a variety of art directors to create their works, flesh out Brower’s insightful interviews. Brower takes a holistic view of the details to see art direction clearly. 232 pages, softcover, $49.95, Bloomsbury Publishing. —Michael Coyne

Parting It Out Writings on Graphic Design By Ian Lynam 256 pages, softcover, $45 Published by Wordshape wordshape.com

Rock ’n’ roll is dead. Long live graphic design. Parting It Out starts with a record cover motif inspired by W. David Marx’s proclamation in the book’s foreword that music, having lost its hold on culture, has been replaced in the 21st century by graphic design. Parting It Out author Ian Lynam wants to broaden that culture by promoting graphic design from a global perspective. Now living in Japan, he’s fully immersed as a practitioner, teacher and critic. In this collection of 22 essays, Lynam comments on lazy designers, the current infatuation with authenticity, and the lack of design theory and criticism in both the East and the West. Detailing his teaching philosophy, he includes student assignments— “Design a CD of a band you hate like you love it”—and concludes with an extensive reading list, grouped by decade, with literature dating back to the 1800s. Combining critique, education and memoir, Lynam’s writing simultaneously disturbs and amuses, such as his recollection of

Herb Lubalin: Typographer Edited by Adrian Shaughnessy and Tony Brook 208 pages, hardcover, £29.50 Published by Unit Editions uniteditions.com

Few typographers can say they’ve impacted the design world as extensively as Herb Lubalin. The man’s typographic genius and revolutionary aesthetic sense stemmed from his belief in “graphic expressionism,” which he once described in an essay for Print magazine as “typography … not just as a mechanical means for setting words on a page, but rather as another creative way of expressing an idea, telling a story … to elicit an emotional response from the viewer.” This new book, edited by Adrian Shaughnessy and Tony Brook of publishing company Unit Editions, displays an extensive range of Lubalin’s work, from typeset ads to editorial design to logomarks to rough sketches. Essays by Shaughnessy deliver insight into every facet of Lubalin’s career, from his inclusive hiring policies (he employed many female designers based on the quality of their work and famously began a “Ms.” section showcasing women designers in his design

a manic incident in the Portland Art Museum between his father and a security guard. A few pages later, he explains his own impulsive act imposed on a friend by saying, “I have no fucking clue why.” As he ponders the meaning of fulfilling one’s potential in a final chapter, instead of setting the stage for future ambitions, Lynam reveals that after ten years in the profession, he has earned a bad back, ambivalence and depression. The irony made me laugh, but after a second reading, such candor sounds heartfelt and still made me laugh. Long live graphic design, indeed. —R.H.

publication, U&lc) to his controversial clients (like Ralph Ginzburg’s magazine Eros, shut down by the US Supreme Court for featuring images of a nude interracial couple). The Unit Editions book could not have painted a more complete portrait of the man. In tribute to Lubalin’s severe color blindness, the publishing company even designed three-quarters of the book in a funky two-color palette, opting for black backgrounds with autumnal orange text and image overlays. If Lubalin had designed this book, according to the text, he would have chosen this tint of orange himself. —M.C.

Gastrotypographicalassemblage. Lou Dorfsman standing in front of the finished work, and (below) a detail from the final installation. The Gastrotypographicalassemblage wall was created in nine panels. Most of the words were jig­sawed out of wood. Gaps were filled with specially made food props, and the entire installation was spray­painted with white enamel. The installation is reported to have cost $14,000. After Lou

1960—70

Dorfsman’s death in 2008, The Culinary Institute of America gave Gastrotypographicalassemblage a new home. In 2014, the work was put on public display in the Institute’s new Marriott Pavilion and Conference Center, where it remains to this day. Client: CBS. 1966.

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INDEX TO DESIGN ANNUAL 57 a

AB InBev 106 Abaca Press 117 Academy Awards 167 Academy of Art University 194, 196, 199 Academy of Motion Picture Arts and Sciences 167 ACME Brand Studio 151 Adame, James 129 adidas 93 adidas Global Brand Design 93 Adjemian, Tom 141 Adult Swim 123 Agin, Nick 78, 81 Al Fahad, Abdullah 86 Al Harbi, Hazem 86 Alexander, Rob 108 Allen, Chris 150 Allen, Elliott 87 Allen, Sallie Reynolds 87 Almeida, Greg 122 American Conservatory Theater (A.C.T.) 160 Anagraphic 175 Anderson, Charles S. 185 Charles S. Anderson Design Co. 185 Anderson, Kyle 138 Anderson, Peter 87 Anderson, Tim 120 Anthym 113 Anti 82 Appleton, Geoffrey 86 Archer, Kristyna 114 Arenas, Daniel 94 Armata, Natalie 115 Armitage, Jason 169 Arnold, Dustin Edward 174 ArtCenter College of Design 174 ArtCenter College of Design, Design Office 174 Atelier BangBang 153 Auburn University 190 Auto & Truck Services 162 Aves, Ninette 83 Ayoob, Stephanie 176 Ayres, Christopher 84 Azuma, Chika 135

b

Babineau, Pierre 153 Bacallao, Peter 112 Bae, In-Hee 166 Bakshi, Amritesh 145 Balzary, Clara 93 Bamba, Harish 145 Banerjee, Ash 86 Baptist, Bill 115 Barfoot, Jeff 82 Barnowsky, Kelsey 137 Baron, Andy 106 Bartlett, Marcus 78, 81 Bartoo, Jim 140 Basarene ØL 82 Batisz, Miklós 175 Be the Vote 113 Beatty, Danna 149 Beck, Jenna 126 Becky, Sucha 90, 156, 182

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Beers, Sakae 177 Bennett, Cody 92 Berger, Thomas 168 Bermejo, Guilherme 184 Berry, Craig 112 Bielskyte, Monika 174 Bierut, Michael 161 Big Secret 173 BiggBoss 131 BigStar 169 Bijas, Erin 169 Bindloss, Bryan 159 Binggeser, Peter 176 Bisson, Janice 138 Black, Allison 169 Black, Jenny 149 Black Label Music 172 Blakemore, David 86 Blanchard, Patrick 188 Bleublancrouge 99 Blok Design 96, 179 Bloom Farms 89 Bloomberg L.P. 159 Blouin Pearl, Maggie 138 Blu Dot 89, 143 Blue Beetle Design 88 Blumberg, David 162 Bochem-Shur, Eva 164 Bodaly, Megan 139 Boddy, Ian 138 Bofill, Mooren 104 Boland, Alex 181 Boling, Brooke 92 Boling, Gregg 92 Bolls, Emily 108 Bond, Anna 132 Boothe, Kevin 96, 179 Bootmaker Films 167 Born and Bred Vodka 78 Boston Bruins 122 Boston Society of Architects 155 Bouffe Média 153 Bowers, Ben 154 Braaksma, Randall 94 Braud, David 92 Brecevic, Dimitri 84 Breeding, Greg 173 Briefcase Type Foundry 131 Brinker, Matt 88 Brodsley, Adam 159 Bronstorph, Alexis 181 Brousil, Tomásˇ 131 Brown, Nick 91 Brue, Nick 84 Brunson, Sean 151 Buhrman, Jessica 176 Alejandro Bulgheroni Estate 84 Buller, Jesse 94 Burger King 86 Burkwit, Nick 141 Leo Burnett Toronto 170 Burnkit Creative Inc. 150 Burns III, Roy 162 Burton, Trent 95 Burwell, Ross 151 Buyanovsky, Dan 168 Byrne, David 94

c

California State University, Fullerton 197 Callaway, Fraser 148 Callison, Phil 158 Calope, Carlo 181 Campbell, Ted 173 Campbell-Illingworth, Kellie 100 Canadian Fair Trade Network 139 Canadian Safe Schools Network 104 Canales & Co. 87 Canales, Jose 87 Cantrell, Kevin 173 Kevin Cantrell Studio 173 Capitol Records 90 Capotosto, Marlene 94 Carcasole, Alexandra 138 Carollo, Kent 79 Carroll, Riley 92 Carvalho, Matt 111 Cendoma, Gabe 141 Chahine, Andrei 168 Chambers, Allison 83 Chammas, Mona 171 Chan, Amy 169 Chang, Doug 169 Chapman, Matt 83 Chapman’s Brewing Company 84 Chappelka, Kerrie 83 Character 111 Chen, Hungwei 169 Chen, Yuguo 194 Cheng, Pauline 160 Chicago Department of Public Health 137 Chicago Portfolio School 192 Cho, Hyun 178 Choi, Marc 193 Chou, Hsien-Yin Ingrid 164, 166 Chudoba, Elena 198 Churchill, Maxwell 87 Clauss, Nils 178 CNSMD Lyon 151 Cobb, Britt 161 Coco, Anne 167 Coffey, Jessica 102 Collins 125 Collins, Bryan 83 Colvin, Alan 84 Colvin, Mark 171 Commercial Artisan 127 Commonwealth//McCann 129 Conklin, Virgil 169 Connors, Michael 87 Contagious 83 Cook, Gus 106 Coop Ale Works 78 Cooper, Nathaniel 186 Cope, Nicholas Alan 174 Corey, Peter 176 Corradetti, Kelsey-Lynn 181 Coughlan, Aine 159 Courage + Stone 81 Cox, Jennifer 93 Coyle, Kara 114, 127, 129, 130 Craig, Stephanie 144 Stephanie Craig Photography 144 The Creative Circus 187

CRG Creative 81 Cribbin, Stephen 115 Crimi-Lamanna, Nancy 171 Crouchman, Ryan 170 CSI Printing & Graphics 165 Cue, Inc. 84 Cutler, Marta 96, 179 Cynda Media Lab 112 Czap, Andrew 198

d

Da Silva, Jeffrey 181 D’Addario, Jeannine 108 City of Dallas 158 Danz, Medora 143 D’Arcy, Daniel 106 Davies, Drew 112 Dawe, Kristen 84 day day up design consultancy 124 Day, Jessica 144 Dayton, Tammy 144 DDB Canada 149 de Sanctis, Tommaso 169 de Wilde, Autumn 90 Dean, Rob 171 Dean, Steve 192 Deerfield Academy 144 Delaney, Joseph 144 Delibato, Dave 171 DeLorenzo, Christopher 130 DeMartino, Laurie 113 Laurie DeMartino Design 113 Demerjian, Dave 144 Des Signes le studio, Muchir et Desclouds 151 Desclouds, Franklin 151 Design Army 81, 90, 156, 182 Design is Play 113 Design Ranch 186 Deutsch, Dr. Bob 179 Dhamat, Santosh 165 Di Martino, Claudia 111 Dialogue Brewing 112 Distillerie du St. Laurent 89 Djuric, Dejan 170 Docekalová, Petra 131 Dochstader, Matt 138 Doerr, Nick 184 Dolezal, Ben 198 Doyle, Dale 102 Drimalas, Dora 175 Drummond, Terry 78, 138 Drunk Lunch 113 Duarte, Louis 78, 138 Duhamel, Simon 153 Dunbar, Paul 90, 182 Duncan, Michael 160 Dupuis, Frédéric 99 Dutta Gupta, Krishnapriya 199 Dyer, Nicky 148

Edmondson, James 159 Edmonton International Airport 149 Edwards, Curtis 171 Ehrenfried, Devin 142 Eicher Polaris Pvt. Ltd. 145 Einstein Bros. Bagels 85 Eisner, Ellie 174 Elamin, Leah 159 Elkus, Audrey 185 Ellis, Carson 90 Ellis, George 118 Entro Communications 163, 164 Erdman, Henry 167 Escobedo, Jacob 123 Esparza 112 Eubank, Elizabeth 165 Eustace, Elizabeth 141

f

Fadness, Matthew 83 Farkas, Anna 175 Farmhouse Modern 113 FCB Toronto 171 Fear Not 85 Fields, Jacob 92 Filippova, Viktoriya 112 The Fillmore Detroit 129 Finkel, Robert 190 Fisher, Shannon 151 Fisher, Tim 151 Fiskus, Jelena 84 Flake, Stuart 89, 143 Flannery, Jon 171 Flash Reproductions 179 Fleishman Hillard Creative 112 Fleming, Connor 127 Floyd, Ross 142 FOLD 112 43,000 Feet 144 Fox, Mark 113 Fox, Patrick 143 Frank, Roger 147 Fraser, Euan 87 Fraser, Regan 120 Frattini Magnusson, Emanuela 159 Frazier, Craig 114 French Paper Company 185 Froedge, Robert 140 Funked & Fermented Kimchi Lab 82

g

e

Eastley, Mandy 167 Easyfeel 167 Ebel, Blake 85 Ecke, Will 108 Eckstein, Vanessa 96, 179 Edlefson, Brian 94

Gagnon, Louis 110 Galante, Jenny 167 Galloway, Tyler 180 Gamache, Monique 95 Ganther, Brian 137 Garner, Conrad 81 FJ Gaylor Photography 144 GBI 92 Gear Patrol 154 Gerbec, Teri 141 Gerhardt, Jacob 85 Geroni, Raphael 180 Gerstner, Nicholas 160 Giants & Gentlemen 115 Gill, Bryan Nash 96

Gipe, Jim 144 Girgis, Hanan 171 Glaubitz, Charles 78 Glendinning, Andrew 111 Goad, Matt 78 GoadAbode Inc. 78 Goddard, AJ 87 Good Stuff Partners 91 Goodman, Jacqueline 79 GQ 157 Grais, Ian 113, 139 Grand Central Publishing 135 Great Lakes Water Authority 112 Green, Sheraton 185 Greenberg, Lisa 170 Greenhood, Adam 112 Gregg, Leah 113, 139 Groshelle, Bill 169 Grunert, Brian 117 GS&F 92 Guan Yu, Wang 80 Gude, Claire 186 GUND 112 Gunderson, Seth 183 Guthmiller, Dava 180

h

Hachey, Shawneric 144 Haddad, Nadia 143 Hahn, Steve 114, 127, 129, 130 Hale, Brent 144 Hall, Gabriel 83 Hall, Tosh 106 Halpin, Clem 86 Hamel, Heather 120 Hamilton County Heroin Coalition 102 Hammond, Drew 118 Hansen, Kai 176 Hardy, Patrick 141 Hargrove, Monica 144 Harper Macaw 81, 90 Harrington, Lorna 87 Harris, Mike 79 Harrison, Jeff 83 Hart, Hugh 174 Hartigan, James 83 Hawotte, Tyler 195 Haynes, Andrew 154 Headcase Design 135 The Heads of State 113 Heiden, Jeri 90 Heiman, Eric 159 Hejtmanek, Jacelyn 183 Helms, Christian 112 Helms Workshop 112 Hendrickson, Shirley 87 Hernandez, Gabriela 90 Herrmann, Matt 137 Herstowski, Andrea 188 Hester, Michael 89 Hicks, Tim 118 Hill, Connor 88 Hill, Rusty 89 Hilts, Jeff 171 Hindy, Jad 86 Hobson, Henry 167 Hoffman, Irene 112 Irene Hoffman Design+Advertising 112

Hollingsworth, Jovaney 185 Holt, Sha 112 Honeycutt, Jessica 140 Hood, Carson 169 Hornall Anderson 87 Horne, Kelsey 181 Horovitch, Shandi 171 Horsman, Rob 83 Hosseinian, Max 138 Houston Rockets 115 Houtz, Michael 113 Howard+Revis Design 165 Hsu, Mariela 81, 90 Huang, Yung-Hung 111 Hudder, Tom 112 Hudson Grace 83 Hudson, Jaclyn 96 Hughes, Katherine 155 Hull, Britt 108 Hunt, Meredith 158 Hunt, Rod 145 Hurley 134 Huseinovic, Adnan 149 Hush, Tara 102 Hybrid Design 175

i

Indoek 152 Innes, Matt 148 The Institute of Contemporary Art 117 Intaglio Composites 158 Israel, Lonny 160 ITAL/C 152 IwamotoScott Architecture 159

j

Jackiw, Blaire 150 Jaramillo, Julian 86 Jawwy by Saudi Telecom Company (STC) 86 Jayal, Mohit 145 Jefferies, Cathy 138 Jin Heng, Wen 80 John, Judy 170 john st. 104 Johnson, Erik 185 Johnson, Maggie Mae 91 Johnson, Matthew R. 158 Johnson, Randy 163 Johnston, Aidan 104 Jointé, Andre 157 jones knowles ritchie 106 Journey Group 173 Jung, Jenny Younghyun 193 Juniper Park\TBWA 78, 138 Jurisic, Stephen 104

k

Kahoe, R.G. 159 Kalinina, Stella 174 Kansas City Art Institute 186 University of Kansas 188 Kapiolani Community College 191 Kapoor, Tanvi 145 Karabegovic, Elma 138 Kearney & Associates 165 Kemp, Erin 159 Keng Leong, Chua 88

Kenney, Sean 172 Kenny, Dave 78 Kent of Inglewood 116 Northern Kentucky Heroin Impact Response Task Force 102 Kepple, Paul 135 Kilmer, Aimee 91 King, Mike 85 KIPP NYC 161 Kirkman, Nathan 146 Knoerl, John 129 Knoll 92 Koch, Tori 84 Koenig, Joshua 176 Koide, Donald 177 Koukodimos, Tom 181 Kounelias, Christina 167 Kozlowski, Caleb 175 Kraemer, Linus 168 Krauss, Audrey 174 Kruch, Jen 91 Kulczar, Catalina 94 Kwong, Tim 169

l

m

La Moutique 94 Lahan, Tim 130 Lakin, Drew 112 Laliberté, Simon 99, 153 Lambert, Scott 136 Lamora, Jorge 85 Land, Jonas 87 Landor 102 Lang, Tyler 173 Langdale, Brittany 84 Langley, Andrea 176 Larocca, Tracee 84 Le Corbusier and Pierre Jeanneret 142 Leblond, Julien 99 Lednická, Zuzana 131 Lee, Choong Ho 178 Lee, Christine 180 Lee, Hyela 191 Lee, Sangpil 178 Lefebure, Jake 81, 90, 156, 182 Lefebure, Pum 81, 90, 156, 182 Left/Right Productions 169 Lehrer, Josh 135 Les Pianos Publics 99 Lewis Communications 140, 162 Li, Winnie 174 Light 111 Lihou, Chris 95 Lim, Jake 95 Lindpaintner, Julia 161 Ling, Lillian 90, 182 Linkugel, Kris 102 Lippincott 86 Little Jacket 147 Liu, Chia 169 Lively, Brandon 123 Lo Nam, Mike 115 Loesel, Andrew 199 Lopez, Jose 115 Lovely, Mark 116, 120 Lucasfilm 128 Luetkehans, Nate 108 LUNA music 127 Lynch, Susan 135

MacDonald, Krisna 143 MacKinnon, Tara 120 Madill, Alan 78, 138 Magnificent Beard 88 Jos. A. Magnus & Co. 87 Mahanay, Jennifer 142 Manasteriotti DS 137 Manasteriotti, Igor 137 Mandal, Sanghamitra 145 M&H 181 Manganiello, Nick 169 Mao, Dominique 108 Marcus, Joan 135 Marin, Juan Miguel 94 Mark, Savannah 174 Maryland Institute College of Art 193 Masa 86 Maschmeyer, Leland 125 Masterson, Parc 183 Mattachione, Dom 140 Mattson Creative 128 Mattson, Ty 128 Maxfield, Daniel 160 McAfee, Paul 168 McAllister, Stephen 92 McArdle, Steve 138 McCann Canada 116, 120 McCarter, Jeremy 135 McClure, Blake 92 McCord Museum 110 McCutcheon, Wayne 164 McDonald’s 173 McFarland, Paulina 177 McGinn, Nick 92 McGinn, Nigel 181 McIntosh, Iain 83 McKee, Al 177 McKnight, Erin 141 McLeish, T.J. 176 McNatton, Gary 83 McNulty, Thomas 196 McNutt, Ben 108 Meadus, Mike 116, 120 Melcher Media 135 Meraz, Paola 159 Merrygo Spirits LLC 87 Michael, Chad 89 Chad Michael Studio 89 Mikes, Craig 118 Miller Lite 78 Minogue, Jack 176 Miranda, Lin-Manuel 135 Mitrovski, Natali 171 MMB 122 MNFX 172 Moallemim, Arash 170 modern8 79 Mohamud, Abdul 138 Mohawk Fine Papers 175 Molinet, Juan 169 Mondelēz International 171 Monick, Dan 143 mono 80 Montes, Paige 141 Moody, Emily 191 Moon, John 173 Moore, Chris 139 Moore, Ron 187 Moore, Theron 197 Morga, Jaclyn 138

Moroch Partners 173 Moross, Kate 168 Moth Design 144 Motley, Leigh Ann 162 Mowers, Mandy 112 Mroueh, Zak 184 MTV 168 Muchir, Élise 151 Mueller, Gary 137 Mueller, Zack 102 Mumpower, Alison 87 Murphy, Calla 143 Murphy, Matthew 135 Museum of Modern Art 164 Museum of Modern Art Department of Education 166 Museum of Modern Art Department of Graphic Design and Advertising 166 Museum of Modern Art Department of Painting and Sculpture 164 Muskoka Brewery 83 Musni, Beth 137 My Kingdom for a Horse 100

n

Najdanović, Olga 137 Nakasako, Glen 90 Nam, Jungmo 178 Nancoo, Sara 138 Napier, Joe 102 Nashville Zoo at Grassmere 140 Nathan, Lauren 135 Nathanson, Alanna 115 National Kidney Foundation 169 National Music Centre 120 Navarro, Blanca 197 Nebraska Craft Brewers Guild 112 Neenah Paper, Inc. 182 Nelson, Kyle 155 Nelson, Lucas 188 Nemschoff, Inc. 94 the new programme 180 Reserve Bank of New Zealand 148 Nigam, Ranjan 145 Nike 173 Noble Rey Brewing Company 88 Noble, Steven 78, 87 Noise 13 180 NORR 164 Norris, James 86 Norton, Josh 169 Nota Bene Restaurant 96 Notz, Gretchen 173 Noviello, Amanda 167 Nowak, Hailey 167 Nyholt, Nicole 104 Nynas, Tom 146

o

O’Brien, Ed 111 O’Brien, Tim 157 O’Connor, Sean 138 Ockenfels, Frank 135

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INDEX TO DESIGN ANNUAL 57 O’Connor, Sean 113, 139 Oelman, Ford 167 Office 108 Ogilvy & Mather Chicago 114, 127, 129, 130 O’Hearn, Brittany 169 Ohman, Keith 138 Okawa, Hisashi 130 Olosunde, Funmi 169 Olsen, Annaka 142 Olson, Robin 78 Omdesign 83 1 Trick Pony 187 123w 83 O’Neal, Michael 111 Open Doors Academy 147 Ortiz, Amanda 180 Oslo Håndverksdestilleri 83 Ottdal, Mats 82 Owen, Garrett 82 Oxide Design Co. 112

Publicis Life Brands Medicus 169 Puffin Books 132

q r

p

Pagan, Juan Carlos 173 Paprika 110 Parallax Design 100 Park, Yong Jun 178 Parness, Reva 108 The Partners 136 Pascoe, Gary 129 Pasinelli, Ricki 87 Patey, Darrin 138 Pavan, Raymundo 164 Pavement 89 Pawlowski, Adam 92 Payne, Malcolm 169 Pemrick, Lisa 108 Pentagram 161 Penton, Marty 92 Penziwal, Katrina 96 PepsiCo 88 PepsiCo Design & Innovation 88 Percoco, Eric 187 Perennials 146 Perkins, Julia 92 Perkins+Will 158 PerUs Wine Company 91 Pham, Phu 181 Phaup, Lindsey 82 Phillips, Henry 154 Pilkington, Rose 168 Piquentum 84 Pirate Toronto 138 Pirlot, Fred 112 Pivot Media 144 Piyadarakorn, Ned 169 Plunkert, David 114 Pokraka, Erika 176 Pokraka, Joe 176 Polanco, Emmanuel 114 Polis, Eva 149 Poon, Howard 149 Poropat, Sean 84 Porto Ferreira 83 Posada, Juan 174 Power, Adrian 91 Powers, Laura 140 President Lincoln’s Cottage at the Soldiers’ Home 165 Progresso 87 Project Consent 138 Proof Advertising 118 PR%F Cocktail Bar 95 The Providore 88

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Design Annual 2016

Querubin, Gerald 164 Quinn, Barry 78, 138 Quinton, Greg 136

R&D Productions 139 Rashid, Karim 88 Rauschenberger, Stefani 140 Raven, Emily 100 The Raw Juice Company 112 RBMM 82 Reck, Nina 165 Reedijk, Malin 91 Rees, Brenda 174 Remphrey, Matthew 100 Rennie, Sheldon 139 Rethink 113, 139 Revis, Tracy 165 Rice, Mike 108, 126 Rifle Paper Co. 132 Ritual Chocolate 79 Ritual Coffee 91 Robertson, Jill 108 Robertson, Travis 122 Robitaille, Daniel 110 Rokicki, Pawel 104 Rosenberg-Pach, Cole 138 Rossi, LeeAnn 94 Rouxel, Jonathan 99 Rowe, Chris 148 Royan, Krystin 149 Rozin, Daniel 172 Rozinsky, Amy 171 Rush River Steel & Trim 172 Russell, Alan 83 Russell, Scott 139

s

Saatdjian, Damien 164 Sachdev, Kaushik 192 Saether, Janicke 82 Salonen, Dana 171 Sandstrom Partners 78 Sandstrom, Steve 78 Sang Sun, Ogh 178 Sanidad, Jasper 177 SapientNitro 176 Scardena, Erin 182 Schempf, E.G. 186 Schliemann, Udo 164 Schmetzer, Martin 87 Schnair, Gene 160 Schramm, John 177 Schulte, Jason 108 Schwieger, Josh 112 Sciarrotta, Joe 114, 127, 129, 130 Scott, Dylan 181 Scott, Ryan 92 Scragg, Mark 86 Segal, Heather 171 Serafica, Sierra 113 Serve Marketing 137 72andSunny 93 Seymour, Eric 95 Shadani, Nasheet 145 Share, Mark 167 Sheehan, Chris 84 Shenzhen Lajiao Design 80 Sherk, Warren 167 Sherowski, Jennifer 93 Sheth, Kinney 142

Shi, Cun 130 Shim, Dae Ki 178 Shim, Hyojun 178 Shin, Christie 112 Shinehoft, Debbie 149 Sholly, James 127 Sholly, Jon 127 Showtime 169 Sid Lee 181 Sid Lee Collective 181 Sid Lee Studio 181 Sidun, Radek 131 Siegenthaler & Co 86 Siegenthaler, Oliver 86 Sieka, Paul 106 Silveira, Derek 181 Simhoni, Nick 115 Sims, Emilie 142 Singh, Kavya 192 SIR Corp., Far Niente Restaurant 115 Skidmore, Owings & Merrill LLP 160 Slavik, Eugen 84 Slider, Matt 183 Slipicevic, Raden 138 Smeraldo Rubin, Emily 141 Smith 170 Smith, Buck 112 Smith, David L. 96 Smith, Morgan 190 Smith, Randall 79 SMOG Design, Inc. 90 Soames, David 173 Sobota, Paul 147 Sodavekt 83 Sonderegger, Michelle 186 Southern, Jill 150 Spokane Falls Community College 195 Staniul, Dylan 150 Staples, Chris 113, 139 Stelmarski, Ron 158 Stephens, Morgan 186 Steppenwolf Theatre Company 114, 125, 127, 129, 130 Stiles, Greg 195 Stillhouse Spirits Company 78 Stolbom, James 192 Stoltze, Clif 155 Stoltze Design 155 Strategy Design & Advertising 148 Stubb’s BBQ Sauce 118 Studio B Films 169 Studio Moross 168 Studio Najbrt 131 Studio O+A 177 Studio Serafica 113 Studio Sonda 84 Studio 32 North 87 Suitcase Type Foundry 131 Sukop, Sylvia 174 Sullivan Higdon & Sink 183 Summers, Dusty 113 Sunil, V 145 Sutton, Kevin 173 Sveinsson, Vimmi 86 Sweetman, Rob 83 Swift, Nick 92 Szary, Stefan 139

Tabor, Neely 92 Taco Bell 84 Taco Bell Design 84 Tait, Chris 138 TAIT Design Co. 185 Tait, Matthew 185 Tan, Lawrence 88 Tankersley, Todd 111 Tardy, Jules 125 Target 80 Target Corporation 172 Target Creative 172 Taskov, Boyko 86 Taylor, Dustin 173 Taylor, Scott 174 Tchir, Kane 149 University of Texas at Arlington 198 Theater Latté Da 113 Thesis, Inc. 94 Thibeault, Patrick 153 Thiel, David 144 Thiessen, Hans 113 Thomas, Brad 160 Thompson, Triana 188 Thoms, Sue 181 Thomson, Andrew 162 Thornbury, Zach 141 Through Smoke Creative 83 Tiangjin Julong Group 124 Tierney 141 Till, Spencer 162 Tiurina, Marija 89 Todo Mundo 94 Tolleson, Evan 196 Toney, Ashwin 158 Tong, Brenda 163 Topix FX 138 Torpin, Adam 112 Torrico, Leslie 92 Toto, David 138 Treaty Oak Distilling 112 The Trevor Project 141 Tubanos, Anastasia 171 Tucker, Angus 104 Turner, David 86 Turner Duckworth 86 Turquoise Hill Resources Ltd. 150 Tyler, Travis 144 Typojanchi 2015 178

w

u

Wang, Angie 113 Ward, Oliver 148 Ward, Olivia 177 Warfield Distillery & Brewery 81 Warren, Brett 92 Washingtonian Bride & Groom 156 Watkins, Jeff 170 WAX 95 Webnews Printing Inc. 170 Wedge & Lever 134 Wei, Hong 124 WeidnerCA 159 Wells, Brandon 102 Werner Design Werks 89 Werner, Sharon 89 Wewegama, Pasindu 176 What Agency 89, 143 Wheeler, Beth 183 Whiskey and Branding 112 White Bicycle 117 Whitney Museum of American Art 163 Whitter, Alexandra 153 Whole Foods Design Team 108 Whole Foods Market 108, 126 Wieden+Kennedy Delhi 145 Will & Nad 133 Williams, Alana 149 Williams, Jeffrey 162 Willson, Alasdair 167 Wilson, Tal 186 Winder, Mike 174 Winderman, Kim 93 Wold, Kjetil 82 Woltman, Christian 147 Wood, Ian 86 Woodward, Fred 157 Wright 142 Wykurz, Terry 78

y

Ullman-Hammer, Amanda 86 United States Postal Service 173 United Talent Agency 78, 81 Uppal, Gaurav 145 Usadel, Gabe 114, 127, 129, 130

v

t

Volume Inc. 159 Vriesinga, Kevin 138

Vandenberg, Max 135 Vanderbyl Design 84, 91 Vanderbyl, Michael 84, 91 Veazey, Joseph 123 Vellozzi, Eric 93 Vereker, Elizabeth 177 Verge, Anthony 133 Verge, William 133 Verma, Abeer 115 Vidal, Rolex 84 Villegas, Mariana 86 Villegas, Silvana 86 Vincent, Larry 78, 81 Vingoe, Sarah 139 Visit, Jill 126

Yang, Eric 154 Yates, Brian 183 Yeh, C. J. 112 Yum, John 175 Yunshuchun Tea 80

z

Zhang, Michael 129 Zienka, Stan 194 Zigmund, Carolyn 144 Zulu Alpha Kilo 184 Zwaska, Erin 144

Editor’s Note Every effort has been made to ensure that the credits comply with information supplied to us. If, for any reason, a misspelling, omission or other error has occurred, notify us within 30 days and we will be able to issue corrected award certificates.

DIRECTORY Featured in this issue BOHAN bohanideas.com ioulex ioulex.com

Gloria Pizzilli gloriapizzilli.com Stimulant stimulant.com Exhibit BBH London bbh.co.uk Casson Mann cassonmann.com DKC dkcnews.com FCB Chicago fcb.com Grey Communications grey.com Latona Marketing Inc. latona-m.co.jp Matt Lehman Studio mattlehmanstudio.com Menta estudiomenta.mx Toormix toormix.com Y&R Prague yrgrp.com Fresh Aitch aitch.ro Ryan Koopmans ryankoopmans.com Oddds oddds.com

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“DESIGN MATTERS BECAUSE “WHETHER IT’S INK ON PAPER OF THE WHY, NOT THE WHAT: OR PIXELS ON A SCREEN, THE SENTIMENT, NOT THE THE GENERAL PRINCIPLES ACQUISITION.” DON’T CHANGE.” —CHIP KIDD, VIA WIRED

—JESSICA HELFAND, VIA TWITTER

“Designing a great logo is one thing; convincing the client it’s a great logo is another thing entirely. A great designer needs to be able to do both.” —BONNIE SIEGLER, VIA DESIGN OBSERVER

“Never tell Uber drivers you are a graphic designer unless you want to spend the rest of the ride critiquing business cards.” —Jessica Hische, via Twitter

“Putting lots of Post-it notes on the wall is not going to make you Antonelli, a designer.” —Paola via LinkedIn Pulse

“I’ve been doing this since 1954, and I’ve never had a job where there isn’t the possibility of an original idea.” —Bob Gill, via 2013 Brand New Conference

“Don’t sweat the little stuff? That does not apply to us. We sweat bullets over the little stuff—kerning, smart quotes. That’s why we’re here: to celebrate the details.” —Ellen Lupton, via Emerging Designers Symposium, 2015 AIGA Design Conference

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HERE WE GO WITH ANOTHER RIDICULOUS

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THE DESIGNER THE CONTENT STRATEGIST

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THE CREATIVE DIRECTOR THE DEVELOPER THE COPYWRITER THE PROJECT MANAGER

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