GDUSA Blog

Welcome To GDUSA, The Blog

2007-08-21T10:54:00.001-07:00

Welcome to the blog for Graphic Design USA! This blog represents a selected collection of editorial columns written by Gordon Kaye in the monthly graphic design magazine, Graphic Design USA. The magazine was founded in 1963 and is published out of New York City.

It Don’t Come Easy - 07/07

2007-07-01T12:18:00.000-07:00

Welcome to the 2007 American Inhouse Design Awards Annual.

We at GDUSA tend to be modest and self-effacing by temperament. That tendency has been reinforced by the sobering experience of having our magazine scrutinized each month for 44 years by nearly one hundred thousand creative professionals — smart, knowing, sharp, perfectionist, critical and often outspoken. Trust me, it’s not a recipe for a bloated ego.

But today I do not feel like being modest — at least, for the sake of the winners — because this year’s competition brought out the greatest show of inhouse design talent ever.

And their performance is even more impressive when you understand the context.

The winning pieces, selected from 4,441 entries, represent more than individual triumphs, as important as those may be. They also symbolize some healthy collective muscle-flexing by a segment of our community that is finally getting its due. Signs of the rising influence of inhouse designers are everywhere. There is this annual, for one, but also the sheer number of inhouse practitioners, which is now estimated at more than 75,000. There are the numerous events and conferences springing up to address design management matters. There is the continued growth of InSource, our favorite association of corporate creatives. And there are the ephiphanies being experienced by more and more organizations that, in a cluttered and competitive post-industrial era, great design is the great differentiator.

For our winners the moment is especially sweet, since the path to a successful design solution is often steeper for them than for their counterparts at independent agencies. The unique constraints they face are explored in a special feature story in this edition. For now, suffice it to say that working in a corporate setting can trigger a singular existential challenge — justifying one’s place to senior management in order just to secure the resources and freedom to do the job right. George Harrison unwittingly composed the anthem of the inhouse designer when he wrote the lyric, “It don’t come easy. You know it don’t come easy.”

The American Inhouse Design Awards program is an attempt to make it a little easier, to turn conventional wisdom on its head, to declare that the best inhouse work is indeed the stuff of design annuals as well as — and most importantly — a fundamental and invaluable contribution to the missions of their respective organizations.

We (modestly) hope you enjoy the effort.

Ten Hot (Im)positions To Try Tonight - 06/07

2007-06-01T12:15:00.000-07:00

It is in the nature of magazines to revisit topics of interest to readers and advertisers. Cosmopolitan seduces with “189 New Positions That Will Keep Your Man Coming Back For More” and its endless derivatives. Us Magazine dishes “Paris Hilton’s Heartbreak” weekly. Men’s Health beefs up on “10 Ways To Build Your Abs” pretty much every month. Rolling Stone replays “The Best Road Trip Songs.” Food & Wine uncorks “Rules of Thumb For Matching Wines With Food.” And Weight Watchers Magazine regularly serves up “Control Your Appetite Now!”. It is nothing short of astonishing that the editors find something — anything — novel to say. I feel their pain every Spring because, as our Annual Print & Paper Survey edition looms, I despair of unearthing something consequential to add to four decades of reports. But as so often happens here, our smart and accomplished readers have once again come to the rescue with fresh insights worth sharing: that print provides warmth and authenticity in an age of cool, remote and ephemeral communications; that the medium must evolve to remain relevant, timely and cost-effective; that “green” practices and materials resonate; that finding the right cross-media mix is an ongoing challenge; that digital printing is finally fulfilling it’s value premise and promise; that designers are reasserting dominance over paper specification; that design schools are failing to teach the power of print; and that ink and paper’s epic journey is far from over. Not all of this is virgin territory but — much to my relief — the report in its 44th incarnation is newsworthy, bracing and substantial. Admittedly, it’s no “Five Smart Solutions For Organizing Your Closets” (Redbook), but definitely worth the read.

Two Fold Legacy

In 1993, Myrna Davis stepped in as Executive Director of the Art Directors Club in New York, a venerable organization with a legendary past which, like so many others, was struggling to find its place in a fast-changing communications industry. During her tenure, Davis achieved much — probably more than even she could have envisioned — including growing the Annual Awards, introducing outstanding educational and professional programs, upgrading the physical plant and facilities, increasing membership and recruiting a first-rate team. As she departs, Davis’ legacy is two-fold: a rejuvenated ADC and a lesson in the capacity of the individual to shape institutions and inspire communities.

Citizen Soldier Artist

Sergeant 1st Class Steve Opet recently returned from Iraq, after having put his 33 years of art experience and training to work for the Army Reserve. With a degree from the Art Institute of Pittsburgh, and a multiple award winner in illustration and caricature at local shows and exhibits, Opet’s mission was to capture of the humorous side of an Army Reserve soldier in Iraq. In the process, he travelled to eight different locations to capture the wry side of being a soldier thousands of miles from home, following a long-established tradition that has seen American cartoonists-journalists enter war zones to depict everyday military life, entertain fellow soldiers, and tweak the system. Whatever one’s views of the Iraq War, it is heartening to be reminded that there are brave people from all walks of life doing their duty as they see it and trying to lighten the load for their embattled colleagues. Opet’s pre-Iraq work can be seen at www.steveopet.com

Hidden Gems

The influence of nature and the environment was the predominant (and somewhat predictable) theme to emerge from our May ’07 Color Forecast story. Green-mania aside, Margaret Walch and Christine Chow of the Color Association of the United States alone noted the potential influence of the upcoming presidential election and the catharsis that it promises. “2008 will be a year in which Americans will without hestitation embrace colorful attitudes,” they wrote. “As the election year approaches, there is an expectation of change and a new optimism in the air. Dull or predictable neutrals appear to belong to the past, just as vivid, full spectrum palette seems to define the palette.” The color story is full of such hidden gems; if you missed them, you can find the story which can be found on our website at www.gdusa.com/issue_2007/05_may/

Color Sells - 05/07

2007-05-01T12:13:00.000-07:00

Discussions of color often inspire soaring flights of fancy and philosophy, of broad connections and grand visions. And why not? Without the ability to perceive color, the world would be a dark, dank, dismal and dangerous place. With it, our existence is richer, more beautiful and more comprehensible. Still, as an inveterate philistine — not so much a native of ancient Philistia as someone lacking in cultural or aesthetic refinement — I feel compelled to make explicit that which is implicit in the forecasting exercise: Color Sells. In preparing this month’s special Color Forecast report, I was especially drawn to a story about the introduction in Japan of Pantone-colored mobile phones. The manufacturer, SoftBank, is betting that the color choices will differentiate its product from the many other perfectly functional phones available in the insanely crowded telecommunications marketplace. The product line was introduced on the fashion-forward runways of Tokyo with models dressed in color-coordinated outfits, and supported with matching print, packaging and posters. Early reports suggest tremendous success, and while the idea is not exactly novel, this execution is likely to spur the further integration of color into a range of technology products that are otherwise numbingly interchangeable. Why? Because color sells.

Keep Swinging

In the March 2007 magazine, we published a letter from Michael Stanard who argued that graphic designers, often liberal, sensitive and well meaning, overestimate their ability to effect social change. “As graphic designers,” he wrote, “we have no meaningful societal influence, because we don’t control the content of our work.” Needless to say this has touched off a lively debate, typified by an interesting response from Bob Rankin of Rankin Design, Bellevue WA, who writes, in part:

“It's a good thing to express frustration — that’s the first step to finding a solution. Our society was founded on debate, it makes some of us think. GDUSA often has thought provoking ideas. From my 35 years of experience, I am sympathetic. I worked for a couple of years in a design group at a large airplane manufacturing company. The joke was, "Who will care about the particular design/advertising project I'm working on 50 years from now?" They were right, most often no one will care or even remember, not even the printer. Design is what it is, a plan, a plan that effects branding, marketing, the bottomline and is affected by the same. Sure, sometimes what graphic designers do is banal and simply lubricates the wheels of commerce. But take an object such as the Apple iPod. This was a timely product design (I sold my stock too soon) and the graphic design that expressed the product was on target. The product/brand/design have combined to have a profound effect on society. Why are some designers considered important, like Herb Lubalin or Paul Rand? Their design had an impact, it affected our society, the way we perceive things, and more importantly developed and introduced new expectations for our culture. There many examples where graphic design has help define and explain (brand) our culture. The microcosm — designing a direct mail program — might not seem significant. The macrocosm — helping to introduce a new drug or zero emission auto — could have a global social impact. In terms of making an impact on society,

it’s like baseball, the designer gets called from the bench, some of us don’t get to bat in the regular line up. A designer has the opportunity to hit a home run, every time, or maybe just a hit — I’ve been walked before — we work hard for every trip up to the plate. Sometimes we can make a difference, sometimes not. But we stay in the game and keep swinging ... we love the game.

Context

Positive reaction to the April 2007 LogoLounge trends piece continues to flow. My own favorite observation by Bill Gardner, lord of the logo, is that “whether we are noting social, conceptual or aesthetic trends, remember that none of them exist in a vacuum or a single moment in time. They are the results of many trends before them and are developing taproots as we speak.” If you haven’t read the article — how logo development can be shaped by science, economics, technology, politics and pop culture — I urge you to do so. Visit gdusa.com and click on Current Issue or Past Issues, depending on when you are reading this.

Privacy For A Song - 04/07

2007-04-01T12:10:00.000-07:00

Cash is no longer king. Indeed, it is under siege from the electronic revolution, which is to say, the credit cards, transit cards, phone cards, paypasses and, soon, mobile phones that can act as payment devices. Defenders of the paper note and the metal coin have long pointed out that the small, everyday purchases we all make are still most easily handled in the old-fashioned way. But that rationale may now be short-lived. Cadbury Schweppes and MasterCard are testing hundreds of vending machines to answer two questions: Will people use plastic for this purpose, and will they spend more if they can use plastic? The early answer is... duh... yeah. Some machines have seen sales increases of up to 35%. Soon it may come down to this in our society: cash will only matter to individuals who still care about privacy and do not want their purchasing history and, indeed, their every movement to be trackable. Are there still people who value privacy above convenience? Apparently not, if it means slower access to a stale candy bar or some shrink-wrapped vanilla creme cookies. The vending machine example may seem trivial (and I like vanilla cremes as much as the next guy), but we are collectively on a slippery slope. A recent survey revealed that “consumers are increasingly willing to trade off privacy for electronic personalization.” The number of people who blithely provide extensive demographic information in exchange for having a customized computer experience has grown dramatically over the past year, as have the number of consumers willing to allow websites to track their clicks and purchases. It’s a funny thing: Fireworks go off, whistles blow and Congress holds hearings if the FBI taps a few phones, but tens of millions of people will happily surrender their sacred privacy for a song. My mother taught me that if I have nothing nice to say, then I shouldn’t say anything at all. But, frankly, this behavior is lazy, sad and, ultimately, dangerous. Sorry, Mom.

Roaring 20s

Graphic design is a relatively young discipline — unless you are one of those whose date it back to cave art, in which case it is arguably the second oldest profession. Conventional wisdom treats it as a post-World War II phenomenon, and, surely, it’s growth has largely occurred in the past 50 years. Interestingly, however, two news items in this month’s magazine — regarding the Art Directors Club annual and the AIGA Medal awards — date the start of those traditions to the early 1920s. It is good to be reminded, once in a while, that today’s vibrant and expansive graphic design community is built on a firm historical foundation. And a surprisingly long tradition. In that spirit, we have listed some of the formative graphic artists of the Harding, Coolidge and Hoover eras in our April GDUSA Enewsletter and provided a few other links to the history of design. (Visit www.gdusa.com and click on “Enewsletter”).

That Was Then

A few years ago, a major paper mill asked us to conduct a poll concerning how creatives felt about sustainability. I nodded knowingly, cleverly covering up for the fact that I hadn’t the foggiest idea what they meant — though it sounded vaguely prurient. (I was a younger man then, and everything sounded vaguely prurient.) The survey results proved that designers were in the same boat as me; few understood the concept ,and fewer practiced it. That was then, this is now. Evidence of the sweeping acceptance of sustainability is at every turn. This month is no exception, as two unrelated but, in the end, telling announcements indicate. Nordstrom, the deeply influential fashion cataloger, will become the first among its peers to print on FSC-certified stock with 30% postconsumer waste (in this case by sourcing Stora Enso’s Arbor grade). And xpedx, the largest North American printing paper distributor, has become the first distributor to receive both FSC and SFI chain-of-custody certification. Says Linda Finn, executive vice president of marketing at Nordstrom, “We realize the number of catalogs we send out and the kind of paper we use directly affect the environment. Our goal is to keep Nordstrom customers updated on the latest in fashion and inspire them to shop with us, but we want to do that in a way we can all feel good about.” Jeff Higgins, corporate director of marketing services for xpedx, has a similar message: “Designers and end users are increasingly looking to align their social and environmental philosophy with their specifying and purchasing practices. With our dual, national chain-of-custody certification, U.S. printers can now be assured they have a dependable supply of certified papers to meet growing demand.”

Graphic Design Interns From Heaven (and Hell) - 03/07

2007-03-02T11:05:00.000-08:00

To every thing there is a season, and now is the time to start thinking about summer interns. If you are like us, you have hosted the intern from hell at one time or another: the lazy, the loud, the inappropriate, the delusional, the ones with strange habits, attitudes and noises who makes you pray for Labor Day to come and end the madness. You may also have had the intern from heaven who brightens and enlightens your life, and who you would instantly make a partner if only he or she were not 17 years old, and even then you try to persuade them to ditch school and stay by asking “What can you learn in college that you can’t learn here?” (In case you are wondering, this line of argument rarely works, though I keep trying.) With the happier experiences in mind, I spoke with Brad Kisner, an accomplished art director/designer and the new Communication Department chair at Harrington College of Design in Chicago, who believes firmly in the benefits of the internship system for everyone involved. “The classroom experience can only go so far,” says Kisner. “Internships offer students the opportunity to gain real world experience, learn the true meaning of deadlines, see the business side of the design industry and work as a team.” For the agency or department, Kisner says, “Interns offer more than low-cost labor. They can also reinvigorate a firm with fresh ideas, youthful energy and a humanistic point of view.” As for the practicalities, he recommends contacting Career Services or the relevant academic department at the school of your choice, hiring students in their junior year of college, conducting interviews as you would for any other employee, and providing a small stipend if no salary is attached to the position. Kisner makes one last and lasting point: “Internships offer employees the opportunity to give back to the design profession.”

Graphic Design Brand Revitalizations - 03/07

2007-03-01T11:13:00.000-08:00

“God forbid we should ever be 20 years without such a rebellion.” Thomas Jefferson uttered this famous phrase about Shay’s Rebellion, an uprising against the U.S. government led by disillusioned Massachusetts (where else?) farmers soon after the American Revolution was won. Some prominent marketers executives, it seems, are even more anxious than the third President to shake things up. According to a recent poll by Luth Research and the MiresBall graphic design firm, high-level marketers are acutely aware of the need to keep their brand vital in the face of heated competition, fragmenting media and market demographics, and pricing pressures. Indeed, the survey concludes: (1) brand revitalizations are essential and effective when conducted every three to five years; (2) companies are devoting more attention and money to their brand; and (3) brands must be continually fine-tuned in order to remain relevant. This means opportunity for graphic designers who can convince staid clients to anticipate change rather than wait for the inevitable consumer rebellion. Jefferson, himself, appreciated the need to periodically cleanse and renew, and may well have become a first-rate brand strategist, had he not gotten sidetracked with the whole Declaration of Independence thing.

Increasingly A Blur - 02/07

2007-02-02T11:25:00.000-08:00

Each February we spotlight the few companies and vendors that are truly graphic designer-friendly. Here is why... “Man is a tool-using animal,” wrote the essayist and historian Thomas Carlyle. “Nowhere do you find him without tools; without tools he is nothing, with tools he is all.” A bit hyperbolic, perhaps, but it is the driving sentiment behind our annual roundup of 100 designer-friendly companies. The companies are, to be sure, important purveyors of tools and technologies that help graphic designers succeed in a world where the line between creative and production is increasingly blurred. But they are also the rare birds who understand the creative mind (to the extent that understanding it is possible), who support the creative community with education, information and resources, and who aspire to combine traditional values with state-of-the-art solutions. Deep relationships with suppliers are more vital than ever, and our special roundup is an appreciative bow to that reality. That said, let's not get crazy, since the human brain is the transcendent tool. Said Nobel Peace Prize-winner Christian L. Lange, “Technology is a useful servant, but a dangerous master.”

Overextended - 02/07

2007-02-01T13:07:00.000-08:00

I am a brand identity firm groupie. I admit it. Ever since I met the folks at Landor Associates, Anspach Grossman Portugal and Lippincott & Margulies while cutting my teeth as a Graphic Design USA freelancer in the late 80s, I have been starry-eyed about the capacity of brand strategists and identity designers to meld a product, an image and an era into a successful outcome. These are my favorite kinds of stories, and I always give branding projects the benefit of the doubt, assuming they result from careful analysis, intellectual and emotional intelligence and, where appropriate, empirical testing. But today... the thrill is gone, my presumptions no longer valid, the dream denied. All because of the new TippingSprung survey of brand extensions, their third such annual exercise, done in conjunction with Brandweek. True, the survey notes a few elegant and natural brand extensions, but it also casts a cold eye on some real stinkers: Cheetos lip balm. Salvador Dali deodorant sticks. Diesel Jeans wine. SpongeBob Squarepants organic edamame. Willie Nelson Biodiesel Fuel. LiveStrong (Lance Armstrong) mutual funds. What genius came up with Play-Doh perfume and Daytona 500 fragrances? Or Jimi Hendrix vodka. You can’t make that stuff up; you just can’t. The thunderbolt of recognition has affected in me in two ways. First, I now see branding people as human beings with the same frailties as you and I, not as the gods they once appeared to be. Second, I am starting to lose confidence in our own brand extension plans: GDUSA barbecue sauce, the GDUSA body and bath collection, GDUSA pet apparel. Even the GDUSA aftermarket auto parts franchises now seem questionable. Disturbing, very disturbing.

Bigger Than Us - 1/07

2007-01-01T11:19:00.000-08:00

This special January issue has two themes of special interest to graphic design professionals.

One is people. That is manifest in our “People To Watch” feature, our four-decade tradition of spotlighting a group of people who we have come to know and respect for their talent, business savvy, community service, influence and newsworthiness. Ours is a community of special people with special talents doing special things, so we never run out of selections. A complete historical listing is included, and it is humbling, to say the least.

The second the is the environment. We highlight news of environmentally Friendly papermaking and print, and thereby kicks off a series of roundups that focus on graphic design and ecological sustainability. As our article points out, the framework for thinking about these matters is quickly evolving and expanding, probably for the better.

There is an intriguing connection between the two features. As you will see, many of the “People To Watch” feel strongly that graphic design can and should be proactive in promoting social responsibility, and they similarly see their work as having a potentially vital role in encouraging environmental responsibility.

Let’s not get crazy here: most designers make a living by effectively communicating commercial messages for companies motivated by profit. Always have and always will. But that fact of life is not stifling the growing movement that embraces graphic design as a tool for improving the lot of individuals and pushing for social justice. Indeed, there may well be a growing coincidence of interests between commerce and culture. There is much to say about what all this means — and whom it implicates — but let’s defer that discussion to future issues.

Meanwhile, in this month’s report Eleazar Hernández observes, “Many people think graphic design is just for decoration, but it can be a powerful agent for change... Designers should be committed to socially responsible work and progressive values.” Laurie Churchman argues, “Designers have the ability to effect change in ways big and small, so to me it is, or should be, part of everyone’s practice.” Monte Mead says, “Design can add validity to social awareness.” Hideki Yamamoto states, “I strongly believe in the power of visual communication and the responsibility we, as designers, have in making things better for people and institutions that are helping society.” Natalie Pangaro and Shannon Beer asserts, “Graphic design is a vehicle to spread a message, and organizations trying to make a positive impact can really benefit from our services.”

In terms of sustainability and the environment, many express similar sentiments. Robert Valentine says, “These considerations are built into every project we take on.” Tim Hartford explains, “We lobby for FSC-certified paper and chain of custody suppliers with our clients.” Cathy Brown notes that her office “makes a very conscious effort to be environmentally aware in our printing, particularly with paper selection.” Debra and Keith Rizzi have launched a program to educate clients about the positive impact of sustainable decisions. Amy Graver says that “green design” is “one of the cornerstones on which the firm is built.”

The last words go to Amanda and Alan Altman: “We try to remember that what we do is bigger than us.”

Designism - 10/06

2006-10-01T13:15:00.000-07:00

For anyone looking for greater purpose in their work and lives (and who isn’t in these tumultuous times?), a recent evening event at the Art Directors Club here in New York was worth attending. The ADC invited leading creatives and authors — including Milton Glaser, George Lois, Tony Hendra, Kurt Andersen, James Victore, Jessica Helfand and Stephen Heller — explored how today’s creative professionals can use their skills and talents to instigate positive social change. Club Vice President Brian Collins (Ogilvy’s Brand Innovation Group), who developed the idea, explains,:“Designers like Milton and George built their careers around work that had social or political consequences. We think today’s creatives want to hear from people like them, people who use their abilities to create a more enlightened culture. ‘Designism’ addresses the question of how you use your career to make the world a better place. By giving this movement a name, we hope to provide young designers and creatives with a way to connect to their craft and add new meaning to their lives.”

The event took place just as presses started to roll on this issue of GDUSA, so there is little time to give you details. But here are a couple of quick observations. First, just to be in the same room with the likes of Milton Glaser, George Lois, Jessica Helfand and Stephen Heller is awe-inspiring, especially in the context of the good works and community service they perform. Second, Myrna Davis, the ADC’s Executive Director has to be commended for bring this event to life and, more, for reenergizing the ADC and making it a lively, meaningful and welcoming place. Third, I was struck, as I sadly often am at designer events, by the gratuitous anger and immaturity a presenter. In this case, the outburst came from Mr. Victore, a self-declared anti-authorian, who apparently chose to work out some daddy issues by vulgarizing the event with foul language, childish graphics and a hateful (expletive deleted) tirade against President Bush. I understand that George Bush makes some people crazy. But there is a bigger issue for the sake of our community: graphic designers have enormous power and influence (that is what this event was about, after all) but that image is undermined within the broader society when high-profile wielders of the power cannot behave or communicate in a respectful way in a public setting. If you don’t have respect for this President, have some for the Office. If you can’t summon that, have some for your profession, your audience, your colleagues, your fellow presenters, yourself. Here’s my point, which some of you will not like to hear: Being an “artiste” does not give you license to insult the intelligence of the rest of us, or to confuse good works with blind rage at authority, however mildy amusing it may be in a high school sort of way.

While waiting for the event to begin, I noticed a quote stenciled on the wall overlooking the speakers. From Bill Bernbach, founder of Doyle Dane Bernbach, it states: “All of us who professionally use mass media are the shapers of society. We can vulgarize that society. We can brutalize it. Or we can lift it to a high level.” That is the essence of Designism.

Civility and Continuity

The annual Lindenmeyr Munroe Corporate Reports Show in Manhattan is a chance to eat, drink, catch up with old friends, see many of you — and, oh, yes, I nearly forgot the main purpose — to review the latest paper samples and promotions from leading paper suppliers. In addition to being a good time (thanks to the talents of organizer Carol Weinberg), just attending the event reminded me once again why I have always felt an affinity for the paper industry. Let me back up for a moment. My wife, a talented reading and testing specialist, recently asked me to take the popular Myers-Briggs personality profile. Actually, she answered the test questions for me, evaluated me on the basis of the answers she supplied, and thus proved — scientifically and beyond a shadow of doubt — that she is right. About everything.

Dirty laundry aside, Myers-Briggs does, in fact, accurately describe a bundle of my personality traits. I tend to be traditional, moderate, patient, persistent, and evolutionary. Perhaps that’s why I am drawn to those attributes in the great specifier paper mills, whose corporate cultures are rooted in long timelines, stewardship, continuity, service and responsible solutions in the face of change. It also explains why there is more civility, constancy and institutional memory among paper people than any other industry. I miss that in the rest of the world.

A Few Random Thoughts - 09/06

2006-09-01T13:23:00.000-07:00

Less Is More

The effort to bring you GDUSA never ends, and while grinding away late on Sunday afternoons in a lonely office building on lower Madison Avenue, I seek company and diversion in the Dave Ramsey Show. This homespun radio talk program is sweeping the country. Ramsey preaches that the American way of debt is bad for body and soul, that “cash is king and the paid up home mortgage has taken the place of the BMW as the status symbol.” Listeners call in for personal advice, sign up for “financial peace” training sessions, tell their stories of debt, despair and occasional triumph, scream “we’re debt free” if applicable, and shred their credit cards in an act called a “plasectomy.” It’s all a bit hokey (and by Sunday afternoon I’m a bit punchy) but I mention the show because it is a harbinger of a broader rebellion against rising debt and a middle class that feels increasingly squeezed. Another manifestation: the fast-growing Compact site on Yahoo!, whose members commit to “voluntary simplicity,” the concept of owning less in order to have greater independence. Says Judith Levine, an adherent to voluntary simplicity who has written a book called Not Buying It: “Your life does not have to be run by what you buy.” Yet another strategic challenge/opportunity for the graphic design community and, I predict, a big one.

Two Birds

Two reasons why “Graphic Design” struggles to achieve full recognition as a profession or an art is that it’s practitioners and institutions do not do enough to document the history of design, and it’s educators do not teach upcoming students enough about that history. Milton Glaser and the School of Visual Arts are seeking to kill two birds with one stone (an apt though admittedly violent cliché) with the opening this fall of the Milton Glaser Design Study Center and Archive. With a founding gift by Mr. Glaser, the mission is to collect, preserve and make accessible materials in the areas of art and design, with a special emphasis on graphic design. Located within SVA’s newly renovated library, the center currently holds a significant and historic body of work by Glaser, Ivan Chermayeff, Tom Geismar and Henry Wolf, and is expected to provide “an invaluable teaching tool” for the design community, scholars, authors and students of graphic design.

Non-Profits

An interesting trend suggested by our American Inhouse Design Awards summer annual (GDUSA, July 2006) is the growing design and marketing sophistication of non-profits. This reflects, among other things, their burgeoning importance in our post-industrial society. While entrants in the Inhouse Design competition clearly understand the value of professional communication, most non-profits still have not fully come to grips with it. Thus, I found interesting the comments of Joel Zimmerman, director of consulting services for Creative Direct Response, at the recent Direct Marketing Association’s Annual Bridge Conference. His point: non-profits must recognize that they are, in fact, marketers and must have a marketing plan in order to succeed in a very competitive environment. “Non-profits need to take a broad look,” he stated. “Having action-oriented goals will only enhance the experience for everyone.”

Mandatory Retirement Age

The late summer’s geopolitical developments — the terrorist plots, the war in Lebanon, the sectarian violence in Iraq — made me feel like a wet rag or a wet noodle or some other metaphor for limp and wrung out. The wet rag syndrome peaked late last month as I watched the world’s hate-monger-in-chief, Mahmoud Ahmadinejad of Iran, use the 88-year old Mike Wallace and the hapless CBS network to spread his special brand of fear and loathing. Wallace could not stir himself to ask one hard question to the king of state-sponsored terrorism who also manages — presumably in his spare time — to provide weapons in Iraq that kill American soldiers everyday, deny the Holocaust and threaten his neighbors with annihilation, endorse and fund suicide bombers as an instrument of policy, and oppress women, minorities and dissidents at home. A disgraceful programming decision by the eyeball network and a sad capstone to Mr. Wallace’s career, the single best argument ever seen for enforcing a mandatory retirement age.

The Creative Within - 07/06

2006-07-01T13:28:00.000-07:00

Welcome to the 2006 American Inhouse Design Awards Annual. Chosen from more than 4,000 entries, the winning pieces showcase graphic design for commerce and culture at its best by professionals who ably advance their clients’ objectives and build meaningful value for their enterprises. I have never been prouder to publish an issue. The winning designers and design teams should be prouder still.

In an ideal world, that sentiment could and should conclude the welcoming phase of this edition. Good design is good design, whether the creative comes from within or without –– end of discussion. But more needs to be said, because the achievement is even more profound when seen in a broader context.

Muscle Flexing

First, the winning pieces represent more than individual triumphs, as important as those are. They also symbolize some healthy muscle flexing by a significant segment of our community that is increasingly getting its due. Signs of the rising influenceof, and interest in, inhouse design are everywhere: this annual, for one, but also the dizzying growth of InSource, an association of corporate creatives, from 25 to 1,000 members; the increasing number of events and conferences sprouting up to address design management matters; the sheer size of the group, now estimated at upwards of 50,000 in the United States alone; and anecdotal evidence that more and more companies have come to understand that, in a cluttered and competitive post-industrial era, great design can be the great differentiator.

Tradeoffs

Second, the path to design solutions are often very different for inhouse creatives from that of an independent graphic design firm or advertising agency. As observed by Tracey Turner of The Creative Group — generous sponsors of the American Inhouse Design Awards program — the advantages of working inside are significant but the related trials and tribulations can make the experience “not for the faint of heart.”

Certainly, there are real advantages to “inhouse” for the individual and the organization, and these are worth a quick recap.

For the designer, advantages can include: relatively more regular and predicable hours; corporate perks such as stock, benefits and even child care; security, stability and a certain level of comfort; the opportunity to develop strong business relationships with internal clients; a shared vision and purpose regarding the organization’s mission; knowledge and understanding of the company’s products or services; access to resources and information; a chance for more teamwork, cooperation and collaboration with first-rate professionals in many disciplines; and an opportunity to work in diverse media and types of projects.

From management’s perspective, the upside includes: onsite convenience and access; designers with intimate knowledge the brand, corporate culture and business objectives; potentially faster turnaround; someone who knows how to interface with external vendors; the chance to receive personal attention and be involved in the shaping of the project; and an often more efficient and affordable solution than working with outside resources.

R-e-s-p-e-c-t

Sounds great. Sometimes it is. But frequently, inhouse departments must confront and overcome an essential challenge: gaining the respect of the decisionmakers within the company or organization, as well as the broader creative and business communities.

Topping the list of issues is the constant pressure to justify the department’s existence, and to show the value of it’s role. Crucial to this effort is the need to communicate to upper management that a first-rate design department advances the company’s vital branding and sales objectives while also yielding bottomline savings and efficiencies.

From this core challenge, a series of additional issues arise: marketing the design department so that the fun, sexy and important assignments stay inside; achieving the proverbial “seat at the table” to help shape strategy early on; building a quality team that possesses the specific skill sets, attitudes and lifestyle priorities designers need to successfully fit; maintaining enthusiasm and freshness in a setting that is not always conducive to creativity and has its share of repetitive projects; and working smoothly with an outside agency when a decision is made to outsource.

As if that were not a full plate for inhouse design teams, recently elected InSource president, Marty Shova, observes: “Today, many of these issues are becoming more and more critical. Corporate creative teams are under tremendous pressure to do more with less. They are working with less time, fewer marketing dollars and increased expectations driven by businesses with lofty goals delivering increasingly standardized products. Many companies have recognized the importance of maintaining the personality and culture of a brand, and proper design management is the cornerstone to insure brand equities are maintained. That is why groups like ours remain dedicated to help these creative teams by providing the tools and real world solutions that help showcase inhouse design as a strategic marketing function.”

Two Steps Forward

Graphic design is more critical than ever to the success of products, services, information and ideas. Inhouse departments are perfectly situated to play a truly integral role in advancing the goals and building value. Thankfully, many design departments are successfully pushing against the inherent constraints, converting upper management, and upending conventional wisdom.

Speaking of conventional wisdom, it has long held that inhouse projects and executions are not the stuff of design annuals, and that inhouse designers do not expect their efforts to be validated. If that ever were ever true, it is no longer.

Obsessive Measurement Disorder - 06/06

2006-06-01T13:35:00.000-07:00

This is not going to be one of those articles where a middle-aged publisher rants about the good old days, and excoriates the rise of email and the internet. The changes wrought by the digital revolution have been good — and bad — and all points in between. But the ship has sailed, and any balanced personality had better make peace with reality. Our own business model has expanded to include a well-trafficked website, and an e-newsletter to complement a healthy print magazine that provides a brand anchor for the whole package. I am content in a world where diverse media coexist. And if I need a long run in the park and a short glass of Jack Daniels each evening to speed acceptance of things I cannot change, so be it.

Still, I cannot resist noting that a lot of what passes for internet advice and strategy today is often a shallow obsession with online metrics. And it frequently comes at the expense of hard-won sales, marketing and media fundamentals. I hear the mantra so often from marketers and media buyers, it feels cult-like. “It’s all about the ROI.” “It’s all about thinking out of the box.” “Its all about search engine optimization.” “It’s all about the hits.” “It’s all about realtime feedback.” “It’s all about measurement.”

No. It’s really not.

It’s about serving the client’s communication needs. It’s about branding, identity, messaging, multiple touch points, human connections. It’s about earning customer loyalty and generating return customers, instead of hoping they will find you. It’s about building value for a company or organization by using the full range of tools and media and knowledge that are available. It’s sitting and thinking, not jumping on the bandwagon. Of course, ROI and measurement and feedback and click-thrus and immediacy can be an important part of the program. Very important. I monitor our performance closely every day. Sometimes two or three times a day.

But here are a few of sobering thoughts:

One comes from the Chief Marketer newsletter. Ray Schultz writes, “Most marketing execs pay lip service to the notion of accountability. But a staggering 84% say that their firm’s ability to measure Web marketing is limited at best.” He quotes a web expert as follows: “The challenge is due to a lack of consistent, goal-based metrics to measure reach, frequency and conversion across all online campaigns.”

A second is from a column by Leslie Walker of The Washington Post: “Click fraud... has mushroomed into a problem so thorny that some analysts fear it could bring the high-flying internet economy to its knees.” Walker cites examples of bogus traffic rising as high as 35%.

A third is noted by Amy Larsen DeCarlo of the insightful InternetWeek enewsletter: “Unfortunately, it seems that cybercriminals have caught onto the profit potential in harnessing search engines for their own misdeeds.” DeCarlo gives the example of Splogs, “the fake web blog sites that are populated with link-filled stolen or nonsensical text meant to drive traffic to disreputable sites and raise their search engine rankings...”

And here is a fourth point, more fundamental and less fixable. John Craven, president of the BevNet internet portal, is quoted in Folio: as observing, “From a reader standpoint, there’s something more legitimate about print than with a website. You can hold it in your hands.”

This last idea, which bubbles to the surface in our annual print survey, suggests that internet communications may be too easy and, at the same time, too fragile to communicate credibility, accountability, permanence, legitimacy. In a multi-channel world, tangible print may better channel trust. That is the most vexing thought of all for those afflicted with obsessive measurement disorder.

As Time Goes By - 04/06

2006-05-01T13:40:00.000-07:00

A recent Zogby poll asked the general public to rank modern U.S. presidents. John F. Kennedy topped the list, for the first time besting Franklin D. Roosevelt. This outcome seems inexplicable, even bizarre, given FDR’s transcendent stature and monumental achievements over three terms. Bizarre, that is, until you realize that the group of people who lived through, and have personal memories of, the Great Depression and the Second World War is shrinking. And until you consider that today’s Americans don’t know much about history. In a recent presidential survey, 10% of 18-24-year-olds named Abraham Lincoln the first president, 20% declared Germany our ally in World War II, 52% did not know who was president during that war, and most rated Ronald Reagan and Jack Kennedy above Roosevelt in the pantheon.

Poll results tend to reflect the wisdom and experience of the young and the living; the dearly departed rarely vote, except in parts of New Jersey, Texas and Illinois.

Which brings me, once again, to our own 500th anniversary poll on the most influential creatives of the era. Happily, the consensus is that the results have a sort of “rough justice” about them. Milton Glaser and Paul Rand: check. Pentagram and Pushpin: check. Chiat Day and Crispin Porter Bogusky: check. Nike’s logo: Check.

Still, there continue to be lamentations over the conspicuous absence of some grand names: Lippincott & Margulies, Raymond Loewy, Anspach Grossman Portugal, Herbert Bayer, Alvin Lustig, Lester Beall, James Cross, John Massey, Paul Davis, William Golden, George Tscherny, Will Bradley, Will Burtin, Allen Hurlburt, Colin Forbes, Cipes Pineles Burtin, Samuel Antupit, Katherine McCoy, Ed Benguiat, Reba Sochis, Jim Miho, L. Moholy-Nagy, to name a few. Concomitantly, critics have hinted that the poll tends overrate today’s design notables and projects relative to their true significance.

In an erudite email, Frank C. Briggs, A.K.A. “Design Maven,” attributes this phenomenon to the “ignorance of readers.” Jeff Fisher of LogoMotives, addressing some anomalous findings, writes: “I think it says a lot about the education of young designers and a lack of design history in that education.” Many of you agree, including recent graduates who tell us they simply have not been taught about the giants on whose shoulders they stand.

Our poll is a snapshot of today’s memories and perceptions, no more and no less. That makes it fun, interesting and provocative reading. But we are the first to acknowledge the flaws built into the very exercise: the fading of memory, the failure of pedagogy, the passage of time and the ever-evolving judgement of history.

You can see the poll highlights at gdusa.com; search the archives for “500 and Counting.”

Reality Show

Speaking of gdusa.com, we have posted our 2006 American Graphic Design Awards Call for Entries as a downloadable PDF on the site. This complements a direct mail piece sent roughly a week ago to all subscribers. The awards program is open to everyone in the creative community, including design firms, advertising agencies, publishers and other media, inhouse designers at companies and institutions. It is big and welcoming and arguably the truest reflection of how real creatives produce real victories in the real world.

Color and Causality - 05/06

2006-05-01T13:38:00.000-07:00

I used to feel uneasy about color forecasts. Some people are discomfited by crowded elevators or long airplane trips or mayonnaise on white bread or mimes on street corners or illegal immigrants or cellphone addicts or even the slightest hint that Al Gore may seek a comeback. To each his own. For me, it was color forecasts because they stubbornly refuse to adhere to strict rules of cause and effect but, instead, promote the altogether disconcerting notion that many influences can lead to many outcomes. I like simple explanations. Concern for the environment? The color trends are blue, green and brown. The Gulf War? Red, white and blue. The Pope is making a world tour? Think purple! China as an emerging superpower? Lacquered red interiors. The Olympics in Australia? The golden glow of a Fosters. One cause, one effect.

Fortunately, over time I have been educated — within the limits of what is possible — by smart and subtle minds such as Leatrice Eiseman at the Pantone Color Institute and Margaret Walch at the Color Association of the United States. Slowly but surely, I have come to see truth and beauty in the complexity and variability of these forecasts, and to look forward with great anticipation to our annual roundup.

This year is no exception. Among the themes presented for your contemplation: a movement toward colors that are dependable and traditional, have meaning and heritage, and evoke a sense of restoration and well-being; a retreat to cooler, calmer colors given geopolitical turmoil and tensions; the powerful influence of Earth and the environment in the directional palettes; a backlash away from technology toward artisanship, crafts, depth, solidity, tactility and textures; the rise of metallics, effects and hue-changing colors; the effects of an aging population; and the impact of growing multiculturalism within our borders and globalization without. It’s about graphic communication, but it’s also about life, health, politics, society, economics and religion.

Even hair. Without giving away too much, let me suggest that you stop with the blond, streaky highlights. I know I have.

One final point. Graphic artists are the bridge between color theory, practice, production and output. Accordingly, we are pleased and honored to have Agfa as corporate sponsor of this Color Forecast issue. Agfa is a world leader in prepress solutions for the design, printing and publishing industries, and has a proud heritage in color and the development of color technologies. For two decades, I have known and worked with the people of Agfa, even attending the memorable ribbon cutting ceremony at their current U.S. headquarters back in 1987. Theirs is a corporate culture rooted in quality, service, responsibility and commitment to the graphic arts community. It is especially appropriate that the venerable Agfa logo is orange, the color of the decade and “a powerful force in everything from fashion and interior design to politics and corporate identity,” according to a very recent Financial Times story.

Harmonious Match

It is roughly the mid-point of the entry submission period for the American Graphic Design Awards program. Though many of you have already received entry forms via direct mail, we are including another copy in this month’s magazine and continue to post a downloadable version on gdusa.com. As you may have noted, Adobe is the exclusive sponsor of the 2006 competition and the 300-page Design Annual planned for later in the year.

Adobe and creative excellence. A harmonious match for many reasons, and here are just two: In our recent 500th Issue poll, GDUSA readers voted six Adobe products among the top ten “must have” items. And our readers also named Adobe one of the top five most influential corporate design departments of the era. More on the significance of Adobe’s participation as the year progresses, including the exciting possibility that selected winners may be showcased on the Adobe website, within the Adobe Stock Photo service, in print advertising and more.

Many Stars - 03/06

2006-03-01T13:42:00.000-08:00

Reaction to our 500th issue reader poll (January 2006 “500 and Counting”) continues to roll in, and I am pleased as punch by the tone of the response. Our purpose in running the story was simple — to lightly celebrate the richness and texture of the graphic design community. And you all took it as intended: exulting in the historical tidbits, enjoying the “best of” lists, noting the contributions of the giants past and present, and generally reminding yourselves why you chose to work in this profession in the first place. The glow should last until the next unreasonable deadline or insufficient budget, which is to say that it is probably long gone. We hope it was fun while it lasted.

In compiling the above-mentioned story, the tyranny of time, space and simplicity caused innumerable intriguing, suggestive and just plain random polling results to go unreported. For example, Nike was voted the logo of the ages, but your least favorite logo was often described as “anything with a swoosh.” Another example: your favorite album covers include the Beatles' “White Album” (“the Holy Grail of White Space”), the Rolling Stone’s “Sticky Fingers,” Michael Jackson’s “Dangerous,” Led Zeppelin’s “Houses of the Holy,” and Dave Matthew’s “Some Devil.”

As for advertising, opinions abound. The Volkswagen campaigns by DDB and Arnold are generally deemed the best advertising of the era. Honorable mentions go to anything Nike, Target and Apple execute, as well as the current Mini campaign, “Got Milk,” Absolut Vodka magazines ads and“Where’s The Beef?”. On the debit side, designers hold a special disdain for Quiznos, with particular venom reserved for the freaky rat puppets featured a couple of years ago. Other unpopular approaches include the Burger King “New King” ads, including the odd one where the king appears in a customer’s bed, the itchy Lamisil infected toenail animation, late night mattress commercials and monster truck rally spots, the Clapper, and starving fashion models in surreal settings. David Polito of Massachusetts Port Authority wrote, “When I hear the McDonald’s ‘I’m Lovin’ It’ radio spots, I contemplate driving into a wall.” Amen.

A few other interesting quotes on a range of topics: “What is my favorite typeface? Why not ask me which is my favorite finger?” (Tom Lynch, HAVOC Media Design). “My favorite pop icon? Have none. I think they’re all idiots now” (Rebecca Booth, Marketing Solutioneers). “Best movie title? Let’s bow down to the master Saul Bass and give it up for ‘Vertigo’ and ‘Man with the Golden Arm’” (Tricia Christiansen, christiansen : creative). “Favorite legal stimulant? Being around energetic people” (Jonathan Gouthier, Gouthier Design). “Designer software is an important technological innovation, because it is a most forgiving medium. If you think about it, forgiveness is really one of the great creative freedoms we all need to do great work” (Mark LaRocca, LaRocca Group).

Last but certainly not least, Gareth Fry of Nu Skin Enterprises spoke for many with a gentle rebuke to the very idea of rankings: “Who is the most influential graphic designer of the past 40 years? Always a futile question. There are numerous stars in the graphic design universe. None is the sun.”

If you missed the results of the 500th issue reader poll, they are currently posted at the newly redesigned www.gdusa.com

As Good as Your Tools - 02/06

2006-02-01T13:47:00.000-08:00

Have you ever re-read something you once wrote and cringed? Happens to me all the time. My spirited defense in this column of turning French Fries to Freedom Fries jumps immediately to mind. At the same time, occasionally I stumble upon a few sentences once written that express an idea better than were I to try anew. Such is the case with last year’s introduction to the annual “100 Designer-Friendly Companies” listing. Here is an encore presentation that precisely states why this special feature matters:

“A man is only as good as his tools,” said Benjamin Franklin. The first American printer knew much about graphic arts and little about political correctness. Still, the gist of his statement is evermore true of graphic design today, where the line between creative and production blurs by the hour. Thus, the rationale for our annual roundup of 100 Designer-Friendly Companies. Here are rare birds who understand the creative community, support it and combine traditional values with state-of-the-art products and solutions — a performance all the more laudable given our society’s distressing tendency to cheapen everything into a commodity and flatten everything into a transaction. Deep relationships with great suppliers are more vital than ever, and our special roundup is dedicated to that aspiration. All that said, it is also useful to remember that production solutions are a means to an end, not an end itself. “Do not become the tool of your tools,” warned Henry David Thoreau, who rarely dirtied his hands, but was able to see the big picture from his perch in the treetops.

Pretty in Pink

Some stories are inspiring. This one concerns Miranda Moss, cofounder of branding firm Yamamoto Moss in Minneapolis. After undergoing surgery and chemotherapy for breast cancer in 2004, Moss created a large canvas oil painting in soft brushstrokes and warm colors for personal healing and as a message of hope and renewal. The painting was subsequently chosen as the package design for Marshall Field’s Pink Frango Mints — made in honor of Breast Cancer Awareness Month — and then extended to t-shirts, scarves, notecards and other gift items. All proceeds from the sale of these items were earmarked for the Estée Lauder Breast Cancer Research Foundation. Recently, Moss, now in remission, led the entire design firm staff on a roadtrip to Chicago in a motorcoach wrapped in the likeness of the Pink Frango bus. They made it in time to see Marshall Field’s officials present a $100,000 check to the foundation at the retailer’s State Street store.

Flipping the Model

Some stories are not so inspiring. It seems the holiday season saw a new, lavishly-illustrated children’s book from HarperCollins that follows the adventures of a family of Mongolian cashmere goats who just happen to live on the roof of Sak’s Fifth Avenue’s midtown store. Young readers are introduced to the store brand, the fabric and a kindly Mr. Saks character, all in the comfort of their little beds. The venture is part of a growing phenomenon: books that arise from corporate collaborations weaving brands and products into content. For Cashmere If You Can, HarperCollins reportedly receives a publishing fee from Saks and an undisclosed share of revenue. “We’ve flipped the model,” Andrea Rosen, a HarperCollins vice president, is quoted as saying in The New York Times. After hearing about this story, I had my own product placement dream. It seems a new, lavishly-illustrated children’s Bible story portrays the Apostles as dining on chicken nuggets and strawberry shakes at the Last Supper. An official of a major food franchise, which is underwriting publication of the book, releases the following statement to the press: “We mean no disrespect to the Gospels, and placement of our product in no way interferes with of the substance of the plot. There is no real sell in the book. Arguably, it might even be beneficial for children to be exposed to this version of the story. Lets be frank: Matthew, Mark, Luke and John can get a bit depressing at times, and being associated with our brand gives them an aura of fun and relevance. Moreover, market research shows that youthful consumers are simply not interested in a consistent diet of fish and loaves.”

The Design of History - 01/06

2006-01-01T13:50:00.000-08:00

When Hugh Hefner launched Playboy Magazine, the inaugural issue had no date on the cover and no volume or issue number. Like a true publisher, he was not sure if or when there would be a second issue. When Milton Kaye started Graphic Design USA, my guess is that he, too, was skeptical about a second issue, much less the 500th.

As an historical aside, that first Playboy cover featured an evocative photograph of Marilyn Monroe, and it helped rocket Hef to a swinging lifestyle, Sinatra and the Rat Pack, and a famous mansion. We, in turn, spotlighted a new RCA logo and... well, the trajectory was a bit less steep.

But 500 issues later, here we stand: stronger, more securely positioned and, thanks to our creative director, better looking than ever. How did it happen, against all odds and when more balanced personalities might have considered other alternatives?

Having run a few marathons, one answer is perseverance. Monthly business magazine publishing is like a marathon. Ups and downs, rocky roads, surprising course changes, moments of sheer joy and unmitigated pain, the striving for grace, style and consistency under the scrutiny of critical eyes, the humbling nature of the distance, and the occasional need to just lie down and throw up on a street corner. The combination is a satisfying and intoxicating brew. Magazine publishing is also like a box of chocolates, or so my mama once said, but I am tired of analogies and will move on.

A better explanation for GDUSA’s longevity is that graphic design — art, discipline, profession, business, industry: pick your poison — has evolved into an exciting, expanding and enlightening marketplace. Bigger in size, richer in sum, faster in pace, more central in commerce and culture, higher in profile, master of print and display and motion and new media. The news is not all good; there are genuine threats to the value-proposition arising in our dumbed-down, sped-up and flattened-out world. And the field seems to attract more than its fair share of pomposity and preciousness. But on balance, you could not ask for a more fascinating, fun and influential community to grow up with.

While preparing this partly historical special issue, a review copy of Meggs’ History of Graphic Design, 4th Ed. (John Wiley & Sons), serendipitously arrived. In his preface to the first edition, Meggs crystallizes the compelling nature of the subject. He writes, “The immediacy and ephemeral nature of graphic design, combined with the social, political and economic life of its culture, enable it to more closely express the Zeitgeist of an epoch than many other forms of expression. Ivan Chermayeff, a noted designer, has said: the design of history is the history of design.”

The design of history is the history of design.

An aphorism for the ages, and the best possible reason to rededicate ourselves to the next 500 issues.

Value - 11/05

2005-11-01T13:52:00.000-08:00

I read with great interest, and not a little frustration, a fascinating new study by the TrendWatch Graphic Arts (www.trendwatchgraphicarts.com) survey group, which indicates that firms specializing in web design and services are at a crossroads. This is a polite way of saying that internet design and development firms are concerned about the current market band, feel less confident about the business, and are confused about the future. For graphic designers working in every area, the reason for this turn of events will sound sickeningly familiar: an increasing “demystification” and “commoditization” of web design and production allows everyone to believe that the job is easy and that anyone can do it. Let’s cut to the chase: “Graphic Design” as an industry, a profession, a discipline, a community — call it what you will — is doing a terrible job of selling, marketing and promoting its value to the outside world. There was a time when I believed the battle for recognition had been won, and declared it so in numerous written pieces in the 90s, because it was promising to see some big organizations attributing success to the power of design. And, of course, there are still such companies and institutions. But the 21st century has seen a creeping devaluation that rears its ugly head in surveys, fees and anecdotes to reveal two unassailable truths: most clients still do not fully recognize the value that graphic design brings to the table, and most people confuse how you produce the work with the work itself. The reasons for this state of affairs are too numerous to mention, but include the general dumbing down, speeding up and flattening out of our world. There is also blame within the industry — creative businesses must do a better job of explaining their contribution and be braver about asserting their professionalism. Trade groups, most notably the AIGA, need to make educating, informing and advocating to the outside world a higher priority and a clearer focus. This is no fun, but the alternative is a downward spiral of competition based on price and speed. To paraphrase a recent Citibank commercial, When you were growing up, did you dream of being a commodity?

Just Say No To Fruitcakes

Jeez, I really depressed myself with that piece above. And it’s getting near the holidays, too, which are so much pressure in themselves. Would it be okay if I changed the subject to a lighter topic? It’s okay? Your sure? You’re not just saying that to make me feel better? Good. Thanks for understanding. You guys are great.

Anyway... one of the Midwest’s great design firms, Greteman Group, took an interesting stand on holiday gift giving about a decade ago. Year after year, with the holidays looming, explains CEO Sonia Greteman, the question of what to give clients loomed even larger. But thanks to a shift in thinking, the agency staff, now numbering 21, has come to view the annual rite with eager anticipation. “We made what you might call a just-say-no-to-fruitcakes move nine years ago, and we’ve never looked back,” says Greteman. “Abandoning traditional gift-giving has been liberating. It lets us embrace the true meaning of the season.” In 1996, Greteman Group began a campaign that works on three key levels. It recognizes clients, benefits a worthy cause, and provides a showcase for creativity. Clients still receive a beautiful open-me-first package, but the contents serve as a symbol of something larger: a substantial charitable donation Greteman Group makes on the client’s behalf. A gift to the Kansas Foodbank Warehouse was communicated with a handmade mug, lentils and a recipe; a grant to Project Deserve for energy assistance to senior citizens was marked by a two-color kraft-paper label applied to a simple tin, filled with an aromatic candle, a customized box of matches and a card; and a donation to Raise the Roof was represented by modular building kits meant to prompt inter-office competitions. Greteman says, “Clients’ responses have been overwhelmingly positive. After the gifts are delivered — by hand, to those in town — they inevitably spark an outpouring of cards and calls. Not just thanking the agency, but conveying how moved clients are by the gesture.”

Without a History, One Has No Future - 10/05

2005-10-01T13:54:00.000-07:00

I’ve had the pleasure of previewing a new book by Robin Landa, entitled Designing Brand Experiences (Thomson Delmar Learning), which also features a forward by Steve Liska. I was particularly drawn to Robin’s discussion of ethics, in which she thoughtfully addresses the designer’s potential impact, both positive and negative, on audience, client, society and environment. Responding to the criticism that brand design exists to solely encourage soulless materialism, she nicely stakes out a middle ground by not only treating the critique with respect, but also explaining the significant economic and social benefits of branding, design and consumerism.

Robin also observes, in a point that seems prescient in light of the ongoing hurricane disaster, that “the same skill sets used to promote brands are used to promote social causes, organizations and charitable groups. Advertising agencies and the creative professionals employed by them donate time and talent to create public service advertising. Innumerable public service advertising campaigns have greatly benefitted society... The graphic design community is a generous, intelligent and kind one. A recent Icograda survey reported that ‘ninety percent of designers do pro bono work. Almost a third do it on a regular basis, and sixty-one percent do it occasionally for causes they consider worthy.’”

Timely examples of the generous, kind and intelligent nature of the creative community are starting to emerge as the floodwaters of Hurricane Katrina recede and we go to press. We are keen to report on them in more detail next month, as relief and recovery activities accelerate. In the meantime, however, I call your attention to two projects to provide aid and comfort to the graphic designers of the Gulf Coast. As reflected in our story this month by the New Orleans graphic designer, Matt Touchard, many creative professionals lost homes, jobs, studios and so much more as a consequence of Katrina.

One project is Displaced Designer (www.displaceddesigner.com). It’s focus in the immediate aftermath of the storm has been to match designers in need with offers of help in several categories, including gear, work, cash and schools. The effort is being coordinated by William Drenttel, a former AIGA president, and Matthew Richmond, principal of The Chopping Block, Inc. Displaced Designer is a wonderful example seeing a job that needs to be done and doing it. No muss, no fuss, no asking for permission.

The other project is the AIGA’s Disaster Relief Task Force (www.aiga.org/reliefeffort). Efforts there include coordinating relief in collaboration with Displaced Designer, raising money for a Relief Fund to facilitate the recovery of design practices, seeking opportunities to volunteer for wayfinding and other design-related projects as the recovery takes shape, and developing a handbook and strategies for mobilizing to help in future disasters. Checks can be made out to the AIGA Disaster Relief Fund and sent to AIGA’s national headquarters at 164 Fifth Avenue, New York, NY 10010. The group assures us that all funds “will benefit designers. No monies will go to administrative expenses or other general purposes. Some funds, however, may be used by AIGA chapters in the affected areas to establish networking and support systems.”

Matt Touchard puts the relief efforts in context, when he states:

“Though this is a heart-wrenching, life-altering event that will haunt generations of us here in my deep, sultry south, let me tell you this — we will rise above this and hold our heads high, so very high above these waters. And we will be back. Right here with our gumbo of cultures, our jazz and delta blues and, of course, our rich history that so many across the world come to experience. Because, you see, without a history, one simply has no future.”

Getting Off the Ropes - 09/05

2005-09-01T13:55:00.000-07:00

I have been wracking my brain to find a suitable boxing-movie analogy for the beaten-up printing industry and print media in general. The Quiet Man? Rocky V? The Harder They Fall? Cinderella Man? None of them really work. What you need is a plot in which a powerful fighter loses his (or her) confidence in the face of fast and slick competitors, becomes self-conscious and introspective, allows every new bully on the block to pick on him, skulks away rather than retaliates... and finally, finally rises to reassert value, pride and position. Failing the appropriate film analogy, I’ll make my point prosaically. Printing and print media have been under tremendous pressure in the face of new media options, and there is nothing inherently wrong with that. Competition is good, innovation is exciting, alternatives are empowering, things change. On the other hand, much of what passes for “out of the box” new media thinking is superficial and shallow... well, crap. And it has been truly disturbing to watch the immense and gifted print world — imbued with classic strengths and new improvements — fail to fight for its place in the sun.

Blessedly, along comes The Print Council. With a prime directive to promote printing through education, awareness, marketing and advocacy, the council hopes to develop, maintain and increase the market for printed materials. It is heartening to see many of the stalwarts of the industry join the fight, including Agfa, EFI, Heidelberg, Kodak, MAN Roland, RR Donnelley, Xerox and more. A new and notable initiative is focusing on marketing and creative decision-makers. Explains Executive Director Martin Maloney, “By reaching corporate marketers and art directors where they work and live, we’re maximizing the impact [the campaign] will generate.” Thad Kubis of NAK Marketing & Communications, which created the campaign, says it “goes way beyond image advertising. It gives marketers value propositions that involve using print to increase their profits.” The Print Council can be contacted at 203-622-1333 or www.ThePrintCouncil.org.

A New Challenge For Annual Reports

Several of our favorite annual reports are profiled in a special editorial section this month. The annual has always been a strange hybrid — one part financial document, and one part marketing message. In the broad sweep of decades, the opportunity to project a company’s branding message to key audiences has become the dominant focus. Accordingly, as in so many aspects of business and institutional life today, the creative team is ever more important to the process.

Recent events have added yet a new challenge to annual report design and production. Designers Terry Davis and Rob Kennedy of the Atlanta-based see see eye, a design firm with extensive annual report experience, wrote a white paper on the subject that nicely crystallizes the issues. The paper states that “perhaps the two most significant developments that have impacted the annual report are the internet and the collapse of Enron Corporation. The internet, like no other communications medium, continues to feed our ever-growing appetite for instant, timely and thorough information. The demise of Enron, more than any other U.S. public company scandal, set the stage for the eventual passage of the Sarbanes-Oxley Act, forever changing the rigor and process by which public companies prepare, audit and disclose financial information...

“Both the Internet and Sarbanes-Oxley have affected the annual report in ways that expose its underlying strengths and weaknesses. On the strengths side, the annual report is still the one corporate communications document that has the ability to summarize a company’s accomplishments and set forth its vision in a highly believable manner. The CEO letter, the scrutiny the annual receives from accountants and legal counsel, and —of course — those year-end numbers add credibility to the annual and its message in ways that ad campaigns and marketing brochures cannot. Among its weaknesses are the annual report’s significant time and monetary costs. As Sarbanes-Oxley has created tighter time constraints for filing year-end information and has required public companies to disclose even greater amounts of information, companies are looking for ways to minimize their workload, streamline the process and keep production budgets in check.”

The screw tightens, as if you were not already stretched thin. The entire paper, by the way, can be read at www.seeseeeye.com/pages/learn/whitepapers/latest_trends

Falling In Love, Again - 07/05

2005-07-01T13:58:00.000-07:00

In the course of preparing a story about the Design Guys that you will find inside, creative director Steve Sikora inadvertently set just the right tone for our 42nd annual special report on print design. Sikora, whose firm was asked by a major mill to help develop a new premium paper, said of the project, “One of our objectives was to get graphic designers to fall back in love again with paper. Paper and ink are our only working materials. But we tend to think past the materials and treat paper only as a substrate upon which to apply images. This is particularly true of young designers coming out of school, who are so overwhelmed with technology that the simple basics of ink on paper is sometimes lost to them. Despite pronouncements during the 1990s to the contrary, we have certainly not stopped using paper. We use it more than ever. Let’s be selective about it. As the end products of design become increasingly ethereal and ephemeral, paper and print has a reassuring physicality to it. Warmth, texture, weight, even a fragrance. We want designers to embrace it and learn to love it all over again.”

Steroids, Strikes and Sports Brands

Once in a long while, arrogance and stupidity get their just reward. Proving the point, a new consumer survey finds that clothing labels and logos of major league sports teams are becoming less important in purchasing decisions. According to the fourth annual Brand Keys Fashion Index survey, which asks consumers how important various brand labels and logos are to them, “favorite sports team” — the perennial leader among men and women in all age segments — showed a substantial decline in influence. Leading the decline are Major League Baseball and the National League Hockey, both of which fell out of the Top 10 brand loyalty list for the first time. Comments Brand Keys head Robert Passikoff, “If you disappoint your consumers, you’re bound to see disappointing returns... The MLB steroid scandal did a lot of damage to that brand, and the NHL is on strike and did not even show up. You can’t disappoint your fans much more than that!” Passikoff adds that “loyalty strength as low as we’re seeing for baseball and hockey will decrease both television viewership and purchases of league-licensed products. Some of this can be offset by marketing, but only if marketers address the right fan loyalty values in the right way.” Shockingly, Major League Baseball even fell below the National Basketball Association — the poster child for dysfunctional sports leagues — in the rankings.

What else would he drive?

Speaking of the power of brand consistency and loyalty, did you hear that George Molchan recently passed away at the age of 82? For 36 years, Mr. Molchan was the Oscar Meyer mascot, traveling from town to town in the 27-foot Weinermobile, of course, and appearing at events, parades and supermarket openings. A former bookkeeper, and by all accounts a wonderful person, he won the “Little Oscar” role after another diminutive friend, Meinhardt Rababe, a munchkin in “The Wizard of Oz,” persuaded Mr. Molchan to audition. At the graveside in Merrillville, Indiana, 50 mourners sang a chorus of the Oscar Meyer jingle. (Admit it, you know all the words to it by heart, and not just the Wiener jingle but the Bologna song as well.) They then blew short farewell blasts on a hot dog-shaped whistle while the Weinermobile sat nearby under a leafy tree. Nice touch.

Celebrating Inhouse - 06/05

2005-06-01T13:59:00.000-07:00

This month’s edition has evolved into an exploration and a celebration of inhouse designers. It is a long overdue focus on a vital and complex segment of our community that deserves more recognition than it receives from colleagues, clients and upper management.

I have always been sensitive to the challenges confronting inhouse design, in part because of my own past as an inhouse lawyer. At NBC, I knew the highs of working closely with upper management, embracing the company vision and culture, collaborating with first-rate colleagues and arriving home at a reasonable hour to children I adore. At the same time, I experienced the lows that come with the constant pressure to justify the department’s existence, and with watching juicy cases float out the door to the latest flavor of the month.

Even with this background, I was not prepared for the enthusiastic response from our readers to our increasing coverage of this area. More to the point, I was stunned by the quality and quantity of projects entered in the inaugural American Inhouse Design Awards.

I urge you to review the pieces showcased inside, selected from literally thousands of submissions. They represent the very best work of a vibrant and talented community, and tell a fascinating story of how smart people create design that advances the clients’ objectives and builds meaningful value for their respective enterprises. Conventional wisdom has it that inhouse design projects are not the stuff of design annuals, and that inhouse designers do not expect their efforts to be validated. If that ever were true, it is no longer. (A complete list of winning departments appears on our gdusa.com website.)

Two additional points.

First, to place the awards program in context, we have included commentary on the state of inhouse design and the constraints that even the best departments face. In this endeavor, we are deeply grateful to InSource, an association of corporate creatives, and it’s founders, Glenn John Arnowitz of Wyeth and Andy Epstein of Gund. InSource had nothing to do with our contest per se, but it has everything to do with being compelling advocates for inhouse design everywhere. Similarly, we thank the American Inhouse Design Awards inaugural sponsor, The Creative Group, a wise and generous industry resource in matters of staffing and career-building.

Second, since two-thirds of our readership reside at independent graphic design firms and advertising agencies, we are acutely interested in the true nature of the relationship between inside and outside. In the process of preparing this special issue, we heard contradictory messages — stories of competition and cooperation, mutual respect and the opposite. This is, I suppose, the human story, and we are not going to resolve matters today. But if you have special insights, your comments are welcome.

Inhouse - 05/05

2005-05-01T14:02:00.000-07:00

I have always had a sensitivity to the challenges confronting inhouse design, in part because of my own past as an inhouse lawyer at NBC. There, I had experienced the highs of working closely with upper management, having a deep knowledge of the company vision, collaborating with first-rate colleagues, developing positive relationships with outside suppliers, and arriving home at a reasonable hour to my then-very-young children. Similarly, I had felt the lows of trying to stay fresh when work got repetitive, of needing consistently to justify and validate our department, and of having the juiciest cases outsourced to the latest law firm flavor of the month.

Even with this shared background, I was not fully prepared for the enthusiasm generated by our increased attention over the past few years to the inhouse marketplace. Even more to the point, I was stunned by the quality and quantity of projects submitted to the inaugural American Inhouse Design Awards. I urge you to review the pieces shown in today’s issue, a selection from nearly 3,000 entries. They reflect the best work of a vibrant and talented community, and tell a fascinating story of how smart people can create design that adds meaningful value for the client and the enterprise.

Two additional points.

First, we have sought to provide context about the state of inhouse design and the constraints that even the best design departments face. In this endeavor, we are grateful to InSource, an important association of corporate creatives, and founders Glenn John Arnowitz of Wyeth and Andy Epstein of Gund; to special awards sponsor The Creative Group, an important and generous industry resource; and to Tim Needham, Tom Kleimeyer and the Smart Papers team for encouragement and support.

Second, since two-thirds of our readership is at independent graphic design firms and advertising agencies, we struggle with the question of whether the inhouse versus independent agency relationship is primarily adversarial or complementary. Most creatives work and play well with others — the handful of tempermental egomaniacs aside — and my sense is that most of the time productive cooperation prevails.

If that is wrong, I am sure you will let me know.

A Seat At The Table - 04/05

2005-04-01T14:03:00.000-08:00

I recently heard Moira Cullen speak at a meeting of the corporate creative association, Insource. Cullen is creative development strategist at Hallmark and her talk — “A Seat At The Table” — addressed the ongoing challenge that corporate design managers face when participating in concept and strategy, not just in the execution. Among her points: design is increasingly critical to product and service success in a hyper-competitive economy; designers add enormous and measurable value to business; designers need to find a way to articulate design’s strategic value to management; and, thus far, the design community has failed to find the language, frame the arguments or adopt the metaphors that can consistently win a seat at the table. With this description, I am doing the barest justice one of the most charming and thought-provoking talks I have ever heard from anyone. Anywhere. On any subject. If you are a creative professional who deals with business people — that would be most everyone inhouse or independent — seize the moment to hear Moira Cullen speak. If you are a graphic design association that is serious about escaping the “me, me, me” cycle of talking only about yourselves to yourselves, heed Moira Cullen’s message. As for Insource, more in an upcoming June special report.

Pimp My Ride

Lately, I have been a bit bored with the traditional furnishings on my yacht and private plane. I know many of you share this sense of ennui over your yacht and your plane. Now, finally, I understand why. The Zandl Group, a leading trend research firm specializing in “what’s next” in the youth market for businesses like General Motors, Coke, Disney and Viacom, tells us that “more is more” these days. Following the lead of hip hop and R&B celebrities who unabashed enjoy their wealth, Irma Zandl observes that “people are taking bling to the next level.” This means more and bigger jewelry, lots of fur and fur trim, designer logos from Chanel to Baby Phat, lots of gold accents, iridescence and patterns, more chandeliers and marble in homes and restaurants, lavish parties and and over-the-top sweet 16’s, baroque elements in even the most minimalist furnishings, pimped out cars with spinners and major grills, pimp cups instead of martini glasses. And here is the crucial point — luxuriously decked out private planes and luxury yachts inspired by P Diddy and posse. Thanks for the direction, Ms. Zandl, I feel more hopeful about the future already. Contact: www.zandlgroup.com

Giants

The 1960s was an especially fertile decade for American graphic, magazine and typographic design. Two of the giants of that era passed away while we were preparing this month’s GDUSA. Henry Wolf was art director of Esquire, Harper’s Bazaar and Show magazines. In an eloquent obituary in The New York Times, Steven Heller wrote, “Few magazine art directors at the time wielded more creative control than Mr. Wolf... Rather than accept the typical role of an acquiescent layout artist, he closely collaborated with editors to define their magazines’ personalities.” I commend the entire piece to you. (NYT, February 16, 2005.) Peter Palazzo was known for his breakthrough 1963 redesign of The New York Herald Tribune, which helped create a field he called “journalistic design.” Editor & Publisher wrote of Palazzo that “he broke with tradition when he combined newspaper layout principles with magazine display presentation, including larger images, increased white space and elegant headline composition.” He served as a consultant for The Chicago Daily News, The Providence Journal, The (Cleveland) Plain Dealer and many others, and his influence is still seen in periodicals throughout the world.

Beautiful Opportunity - 03/05

2005-03-01T14:04:00.000-08:00

Emily Dickinson once said, “Beauty is not caused. It is.” Yeah, right. Try selling that one to the denizens of the multi-billion dollar beauty industry, who live by another quote: “Beauty is only skin deep, and the world is full of thin-skinned people.” In a special report this month, we present a dozen beauty-related projects — cosmetics, hair care, skincare, body care — in order to display some terrific work and to underscore the rich opportunities for creatives in this explosive growth industry. Each of the projects is interesting, but I found myself drawn especially to the CosmoGIRL! Prom Beauty issue. Had it been around in my day to give sartorial advice to escorts, I am pretty sure I would not have worn the powder blue tuxedo with the big lapels and the puffy shirt to my high school prom. Then I might have avoided the whole stuffed-in-the-locker incident, the boys’-room-dunking experience, not to mention the unpleasantness with the corned beef hash platter at Denny’s afterwards. But, hey, that’s water under the bridge. A lot of years have passed. It’s not like it matters anymore. Completely out of mind. Totally out of my system. I’m a grownup now. Hardly remember it at all. Not a big deal. Never think about. Not even once. Ever.

Think Value

In last month’s Designer Friendly Companies issue, I expressed the fear that the products and services that designers depend upon are being reduced to commodities. All too often, price is in, value and service and wisdom are out. Donald Kendall, who heads Seattle’s Kendall Ross branding and design firm, reminds us that the practice of graphic design itself is in similar danger. Mr. Kendall keenly observes that the business is under pressure “due, in part, to both the tremendous saturation of the industry and the flattening effects of technology… whenever we begin to compete solely on price, everyone loses. So, how do we avoid this trap? First and foremost, continue to emphasize the value and importance of design within today’s economy. One way to do this is to know a client’s business, customers and industry as well as they do. Demonstrate the value of design offerings, insights and strategy in clear, objective, business-based rationales. Ultimately, who is the best judge of the value of design? Designers. Don’t be afraid to stand up and fight for your business solutions. If we don’t place value on our work, no one else will. Second, effective design typically exists on the leading edge of society and culture. It is important that designers understand movements and trends… By constantly surveying the cultural landscape and understanding the implications of cultural shifts, designers can position themselves to effectively take advantage of trends in the marketplace.”

Jim Alexander

I learned recently that Jim Alexander, a longtime paper industry veteran best known for his sales and marketing achievements at Crane & Company up in Dalton, Massachusetts, had passed away this fall after a short illness. It feels too late and maybe inappropriate to publish a full-fledged obituary. Still, I did want to note the passing of one the most decent, honest, modest and gentlemanly people I have ever had the honor to know. A war hero, a proud father and family man, highly respected in his church, community and industry, Jim was 58 and the end came too soon.

A Design-Driven Culture - 01/05

2005-01-01T14:05:00.000-08:00

First it was “Survive to 2005,” a paean to the belief that a dismal post 9.11, post-dotcom graphic design business would rebound mid-decade. And damned if it ain’t so: Hard data and anecdotal evidence reveal that the creative market has shaken off its stupor and is in the early stages of a full-on recovery.

To make matters better, there is a new slogan taking root: “Sublime through 2009.” Okay, maybe it’s not taking root yet; maybe just I made it up this morning in the shower. But the sentiment is real and fact-based. Respectable forecasters tell us that the graphic design industry is on an upward trajectory toward unprecedented size and prosperity by decades-end.

The basis for all this optimism is expressed evocatively by our 2005 People To Watch — leaders, influencers, newsmakers — inspiring us to start our 42nd year with an entire issue devoted to them. Next month, we’ll get back to regular coverage of news, people, events, business and products.

Of the many themes struck by the best and brightest, one stands out. That is: graphic design has a healthy future because it is ever more recognized and valued by the broader society. Jim Rivett observes that “design has attained an exciting level of credibility and influence in all aspects of society. Our culture is design-driven like never before.” Jon Ritt argues that in many major consumer purchasing decisions “design is the difference-maker... This is great for designers.” Peter Galperin sees a “profound change... in the very nature of the design business. Good design has finally become good business.” Paul Wharton notes that “today, successful companies realize that [design] is not just an indispensable marketing tool, it’s a process — a way of thinking.” Todd Weinberger states, “The public is more attuned to design... That translates into better business; companies are willing to spend more on design and students now see it as a lucrative career.” Adds Sandi Harari, “The public is more aware of graphic design... I mean, even my grandmother knows what ‘font’ means.”

As you will see, several additional themes emerge. Inspiration is found everywhere but least of all within the four walls of the office. Obsession with technology is giving way to a more balanced appraisal. Music is king and the iPod its servant. Great designers are intellectually curious, often adventurous (check out the skydiver), energetic travellers, and voracious readers. Families, especially young children, provide comfort and joy. Television watchers gravitate to The Daily Show, The Office, The Apprentice, The Simpsons, The Gilmore Girls, Buffy and the last place where liberals win national elections, The West Wing.

And it helps to love what you do. Jurek Wajdowicz quotes the Chinese proverb, “If you enjoy what you do, you’ll never work a day in your life.” Alexander Isley captures the collective spirit: “I’ve never liked board games and have never finished a crossword puzzle. Instead, a client coming to me and saying ‘I have this much time, this much money, and need to do this — I need help...’ That really is what I do for fun.”

The last word goes to Nessim, who refuses to make specific predictions about 2005, but says “something tells it it will be memorable.” No argument here.