Graphic Design USA - October 2020 UserUpload Net

GDUSAGRAPHIC DESIGN USA

GDUSA

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OCTOBER 2020

HEALTH+WELLNESSDESIGNAWARDSRESPONSIBLE DESIGNERS TO WATCHSPONSORED BYDOMTAR

OCTOBER2020

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LETTER FROM THE PUBLISHER | RISING TO THE OCCASION

GORDON KAYE IS THE PUBLISHER OF GDUSA

Comments, suggestions and letters can be sent to [email protected].

Our 2020 GDUSA Health + Wellness Design Awards™ competition

honors graphic excellence in this fast-growing, hugely important, and

high-profile segment of the economy. This year’s competition is the

largest and most selective yet, with winners chosen from an impressive

array of design firms, agencies and departments.

Honored projects run the gamut from traditional medicine and healthcare to healthy

lifestyles and holistic alternatives to public and community health initiatives. The sheer

quality and quantity is an interesting sign of how vital graphic design and health-related

communications are in this challenging time . . . as well as a promising expression of

confidence in the future.

As you may have noticed, an image of Dr. Anthony Fauci graces the front cover. Love

him — or not so much — his role as the face of America’s public health response to the

pandemic makes the selection especially appropriate. The print itself was created in

appreciation of Dr. Fauci’s efforts by the National Institutes of Health Medical Arts. Which

gives us, in turn, a chance to send some love to the small, passionate and intrepid team

at the NIH Medical Arts Branch which spearheads the Covid-19 response at NIH while

dealing with a huge network of researchers, scientists, surgeons, support staff, and patients

across 27 different Institutes. The NIH designers are representative of many of our

award-winners who, confronted with unprecedented demands, rise to the occasion.

SILVER LINING

I’ve been reading an eye-opening book by John Barry called “The Great Influenza” about

the confluence of World War I and the so-called Spanish flu pandemic of 1918, which

killed an estimated 50-60 million people worldwide. I keep staring at the copyright —

2005 — because the book reads like today’s headlines in terms of how a public health

crisis can tear at the very fabric of society. I was also struck by the fact that the most

popular song in that time of war, disease and social unrest — Keep The Homefires

Burning — featured the phrase “There’s a silver lining / Through the dark clouds shining /

Turn the dark clouds inside out / Till the boys come Home.”

The participants in our annual “Socially Responsible Designers” editorial feature also

choose to see “silver lining” to the annus horribilis that is 2020. The consensus is that

the current hard times will serve — is already serving — as a catalyst for positive change

as they see it. More specifically, they envision opportunities to refocus their practices

around more culturally relevant issues, to find more efficient and innovative ways to

operate, to refresh the mission of their clients, and to reaffirm the power of effective design

to shape commerce, culture, and causes.

Interestingly, these views parallel the results of a new survey conducted by Adobe in

anticipation of the Adobe MAX conference. There, 91% of creative professionals say that

the events of 2020 have inspired them to bring real-world issues into their work; 49%

are pivoting to campaigns with positive social impact; and 89% believe they are thinking

more creatively than ever before. In a blogpost, Monte Lutz, Global Head of Marketing,

Digital Media at Adobe, concludes: “Despite the uncertainty, creatives are turning 2020

into an opportunity to thrive.”

GDUSA 1

CONTINUED PAGE 2

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2 GDUSA

LETTER FROM THE PUBLISHERCONTINUED FROM PAGE 1

I have excerpted a few comments from our participants:

• Gianmaria Schoenlib: While this year has been marked by

unprecedented challenges for all us, this moment in time

paradoxically represents an opportunity for designers and

creatives of all types to use their skills and talent to raise

awareness . . . Where there’s an obstacle, design offers a

powerful solution.”

• Cornell Beard: “Most designers naturally gravitate toward

designing for good. We have the ability to motivate people,

express shared experiences or inspire positivity through design.

This year has been a big pivot point for people in every pro-

fession. Despite the struggles, we designers should gain clarity

about what our calling is when designing for good and be

moved to do it.”

• Andrew Brynjulson: “In 2020, as the world becomes more

and more complex, I foresee consumers responding by trying

to simplify their lives — weeding out purchases, brands, and

activities that are less important in favor of the few that they

feel most connected to. Designers will be drafted in that

fight for connection.”

• David Langton: For websites, we found that now IS the time

to launch, we’ve launched four in the last few months. More

people are home and are paying more attention to websites

and online activity. Our nonprofit clients are pivoting . . . the

online audience tends to be younger so this pushes some of

the legacy nonprofits that we work with to reexamine their

marketing efforts.”

• Gus Granger: “The intensifying effect of social media com-

bined with the awakening people are going through in

understanding suppressed and ugly aspects of US history

has made the role of designers more important than ever.

Our ability to build understanding through inventive, strik-

ing and thought-provoking creations makes the designer a

uniquely essential worker in this period of crisis.”

• Leslie Greenly Smith: “This is a pivotal time for our Library in

so many ways. We are looking at this as a wonderful oppor-

tunity to be innovative and think ‘outside the book’...”

• Sarah Rutherford: “We [as educators] have an opportunity

to expand how our students are prepared to practice design

in their careers . . . We can build assignments and curricula

that allow students to incorporate the principles of equity and

inclusion, anti-racism, and social impact in their work.”

• Pam Tremble: The past six months of managing siloed and

fragmented communication across departments in the mid-

dle of a public health emergency has demonstrated the need

for a formal public communication strategy . . . Our small

inhouse graphic design and media relations team is expand-

ing to a more unified marketing and communications

agency model.

• Kelli Miller: “We are already seeing designers self-initiate

for change . . . Once we get past this election we can take

it from there — there certainly is no lack of issues that design

can help change.”

Let’s be clear. Looking for a silver lining in the midst of disaster

is tricky business; no one in their right mind should believe that

death and despair are worth the game. On the other hand, we

have all been reminded — as if we need reminding — that the

human condition involves getting knocked down. And one of our

more admirable traits is that we keep getting back up for more

and, sometimes, for better. It’s an admirable trait that this

year’s cohort of “Responsible Designers” share in abundance.

BAD JOKES BUT GOOD BALANCE

Why did the chicken cross the road? Because the other chickens

were not properly socially distancing. How do you avoid touching

your face? Hold a glass of wine in each hand. Who won the

presidential debates? The people who didn’t watch.

Forgive the self-indulgence. I desperately wanted to end this

column with a joke to lighten my mood and, after long hours of

search, I judged these the best balance of mild humor and no

offense, except perhaps to some chickens. You have to be

careful these days.


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GDUSA - Graphic Design USA Volume 57 / No. 5 September/October 2020 Kaye Publishing Corporation (ISSN0274-7499/USPS227020). Published 6times a year with combined issues in January/February, March/April, May/June, July/August, September/October, November/December. Executive,editorial and advertising offices at 89 Fifth Avenue, Suite 901, New York NY10003. Phone: 212.696.4380, Fax: 212.696.4564, www.gdusa.com.SUBSCRIPTION: Domestic, $72 one year. International, $140 one year.Periodicals postage paid at New York NY and additional mailing office.POSTMASTER: Send address changes to GDUSA - Graphic Design USA, PO Box3072, Langhorne PA 19047. Permit #224.

8 FRESHRule 29 gets out the vote; CBX helps Smucker pivot to

multi-category food and beverage category leader; Pentagram

refreshes the Waze brand identity including new set of

‘moods’; BRIGADE creates unapologetic, science-forward

identity for Bat Conservation International; graphics support

The Athletic subscription model; Thinkso authors graphic

novel for visionary company; Elmwood helps Tecate expand

into Mexico City; cow icon has the last laugh; and much more.

28 RESPONSIBLE DESIGNThis special report continues our practice of shining the

spotlight on designers who exemplify the values of social

responsibility and sustainability. It’s a stunning roundup of

people, firms and organizations motivated to ‘graphic design

for good’. And it’s especially relevant, meaningful and

poignant given the backdrop of the pandemic, a societal

reckoning on race and inequality, and a bruising presidential

campaign. A special thanks to exclusive sponsor Domtar for

making this feature possible.

52 HEALTH + WELLNESS AWARDSThe annual GDUSA Health + Wellness Design Awards™

competition honors graphic excellence in this fast-growing,

hugely important, and high-profile segment of the economy.

The 2020 winners showcase is the largest and most selective

yet, featuring projects and campaigns from leading

institutions, design firms, agencies and departments

encompassing traditional medicine and healthcare to healthy

lifestyles and nutrition to the acute public and community

health challenges confronting us today.

94 HIRING + CAREER TIPSFrom an explosion in online retail to the normalization of

remote hiring, the pandemic has permanently changed the

business and employment landscape. Diane Domeyer of

The Creative Group shares the latest insights on the surge

toward digital, the most sought-after creative skills, and

best practices for recruiting and onboarding in the age of

social distancing.

CONTENTS | OCTOBER 2020

WWW.GDUSA.COM

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W I L L B U R K E

Gordon KayePublisher

ART & PRODUCTION

Ilana GreenbergCreative Director

Charlotte KayeProduction Director

Jay LewisJeff RosenbergPhotographer

ADMINISTRATION & READER SERVICES

Althea EdwardsCirculation & Reader Services

Jennifer HoffScott SczcypiorskiInternet Services

Angelo AbbondanteAccounts Manager

EDITORIAL

Gordon KayeEditor | Print

Sasha Kaye-WalshEditor | Website

FOUNDER

Milton L. Kaye(1921-2016)

ADVERTISING

Ron AndrianiExecutive VP, IntegratedMarketing + [email protected]

Gordon Kaye [email protected]

COPYRIGHT 2020 BY KAYEPUBLISHING CORPORATION


ABOUT THE COVER

This print celebrates Dr. Anthony Fauci, the face

of America’s public health pandemic response.

Credits go to creative director Martha Blalock

and art director/designer Jeffrey Everett of the

National Institutes of Health Medical Arts.

Collectively, designers from the NIH Medical

Arts Branch had the most winners in our 2020

Health+Wellness Design Awards™ showcase,

which begins at PAGE 52.

COVER PAPER CREDIT: The cover of this edition of GDUSA is printed on FSC-certified Kallima Coated Cover C2S, part

of the Kallima Paper family of FSC-certified coated cover paperboard, manufactured by Tembec. A leading advocate of

sustainability, Kallima Paper has a distinct low-density high-bulk construction resulting in less trees used and significant

cost savings to the customer. Kallima’s trusted line of Coated Cover C1S, C1S Plus and C2S are well-known for their

bright white surfaces. Visit www.kallimapaper.com


OCTOBER 2020

HEALTH+WELLNESSDESIGNAWARDSRESPONSIBLE DESIGNERS TO WATCHSPONSORED BYDOMTAR

THANKS DOMTAR

A special thank you to Domtar, exclusive sponsor, once again, of our annual special feature on

socially and sustainably responsible graphic design. Domtar has the North American market’s

largest selection of uncoated papers — from high-quality office, printing and digital papers,

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options for offset, digital and inkjet printing making it possible for your brand to send a

consistent, memorable and impactful message no matter how you choose to print. And with

every turn of the page, you’ll see a careful balance of shade, opacity and brightness.”

Consistent with the theme of our “Responsible Designers” special feature, Domtar says that

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October 2020 TOC_SEPT 07 TOC/Staff 10/13/20 9:23 AM Page 6


8 GDUSA

ORRVILLE OH Over the past two decades, The J.M. Smucker

Company has transformed from a venerable jams and jellies com-

pany to a $7.8 billion multi-category leader of food and beverage

products, but the corporate mark didn’t reflect the company’s

evolution. A new identity and visual system created by CBX cel-

ebrates both the company’s heritage and its growth. The core of

the program is a logo which is rooted in the legacy and heritage

of the strawberry as an anchor; which features a pivot point to

convey change; and which adds new shapes to express an expan-

sive future while evoking modern artists like Picasso and Calder.

As such, the mark captures the stability of family leadership while

adding an extended visual world of vibrant colors, dynamic pat-

terns, and youthful energy that speak to the diversity of the

portfolio and plans for continued growth. Comments Rick Barrack,

CBX Chief Creative Officer and co-founder: “Changing the visual

identity of a 123 year old company is a tremendous responsibility

and a great honor. Our aim was to capture the spirit of how the

people who work at J. M. Smucker feel about the company today

and where they’re going, while still respecting the company’s past.

The fresh colors, movement and transparency of the shapes, and

the confidence of the typography all work together to represent

the company’s diverse portfolio of brands and celebrates their

culture and values.” Adds Smucker Co’s Director of Creative Serv-

ices Kara Buckler: “With this new identity, we have a fresh visual

presentation that gives a nod to our heritage while reflecting the

dramatic evolution of our portfolio to position us as a multi-

category CPG leader and the momentum we have for continued

growth. This launch is an exciting step in presenting the Company

we are today as well as the one we aspire to be.” cbx.com

FRESH | CBX HELPS SMUCKER PIVOT

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10 GDUSA

GENEVA IL Rule29’s latest project pursuant to the GIVE

initiative — which encourages companies to give 20% of their

time and resources to causes, ideas, and initiatives that help

create a healthier, more equitable, more sustainable, and more

welcoming world — is the timely and topical ShouldIVote. The

project is centered on a colorful and easily navigable website

helps visitors understand the importance of registration and

participation, and provides links to valuable resources such

as vote-by-mail information. In short, the site simplifies the

hows and whys of the general election in a way that everyone

can understand. And there is a kicker — if you sign the voter

pledge, Rule29 will send you a fun sticker which you can, in

turn, share on social at #VoteForYou. The initiative’s theme is

captured in a quote by Maya Angelou, placed prominently on

the site: “You may be pretty or plain, heavy or thin, gay or

straight, poor or rich. But remember this: In an election every

voice is equally powerful — don’t underestimate your vote.

Voting is the great equalizer.” www.shouldivote.us

FRESH | RULE29 GETS OUT THE VOTE


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12 GDUSA

FRESH | ELMWOOD BREWS MORE COSMOPOLITAN TECATE BRAND

BAJA CALIFORNIA MX/NEW YORK NY Elmwood New York has crafted the a new brand identity for Tecate, the second-

largest beer brand in the Heineken portfolio. The design extends Tecate’s traditionally masculine identity to feel more

progressive and modern in order to expand the beer’s popularity beyond Northern Mexico to younger and more cosmopolitan

Mexico City. This included emboldening the iconic eagle and wordmark as well as stripping back visual clutter. Observes

Executive Creative Director Meg Beckum: “With a brand as beloved as Tecate, we knew that a boots-on-the-ground immer-

sion across Mexico’s many regions would be necessary to inform a meaningful design. From this process, we understood that

the brand is deeply entwined in the country’s cultural fabric. Yes, it’s a great beer, but it’s more than that: it’s an authentic

lifestyle icon ingrained in Mexican sports, music and entertainment. We needed to shift the narrative beyond product — to

an attitude encapsulating Tecate’s unapologetic boldness and modern masculinity. These insights helped clarify the many

behaviors and cultural traditions that the new Tecate design needed to support.” The designers then partnered with Tecate’s

advertising agency, Nomades, to craft a new brand world that encompasses everything from music festival and soccer

sponsorships to point-of-sale and out-of-home advertisements. New ads were launched this summer, while updated pack-

aging is currently rolling out to stores across Mexico and the U.S. In addition to Meg Beckum, credits at Elmwood New York

include Design Directors Bruno Nesci and Mike Tabie; Account Director Melissa Braun; Account Manager Daniela Sabler;

Senior Strategist Robert Pietrzyk; Senior Designer Jonathon Jones; and Designer Dee Dalencour. www.elmwood.com


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14 GDUSA

FRESH | PENTAGRAM PUTS DRIVERS IN MOOD TO COLLABORATE

MOUNTAIN VIEW CA/NEW YORK NY Waze is a popular navigation

app with 130 million users in over 180 countries who collectively

join their local voices to help beat traffic. The app facilitates

updates from fellow drivers, who share actionable data about

accidents, traffic incidents, speed limits and other trip informa-

tion. Pentagram has refreshed the Waze brand identity with a

system that enhances the platform’s collaborative spirit and pro-

vides a better experience on the road. Included is an update of the

familiar Wazer symbol, introduction of a set of new “Moods” that

help users more authentically express themselves, and the stream-

lining of the platform’s signature use of illustration. The system

introduces a colorful visual language called “Block by Block”

inspired by the modular design of the city grid, roads and streets,

organizing information into “block-scapes” to create a recognizable

world of Waze across a multitude of contexts. The refresh also

includes the development of a new brand voice, witty and welcom-

ing messaging, and a logotype is based on Boing, a sans serif

that has rounded corners for a friendly look. pentagram.com


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16 GDUSA

FRESH | BRANDOPUS WEAVES MYSTERY STORY FOR VYNE

NEW YORK NY/MELBOURNE AUSTRALIA Creative agency

BrandOpus has partnered with Molson Coors to create a hop infused

sparkling water. For Vyne Botanicals, BrandOpus weaves a story

of intrigue and mystery through the Green Man, an historic symbol

crafted to appear camouflaged into its surroundings. “We wanted

the brand to bring the vitality of nature into our everyday lives,”

says Paul Taylor, Chief Creative Officer. “The Green Man, as a

metaphor, is a perfect embodiment of this idea as he crosses the

divide from the world of nature into our world ... The symbol’s

metaphor was perfect for this new product made from hop extracts

and botanicals. The Green Man, as a pagan symbol, speaks to the

brand’s ability to reignite a sense of curiosity and to explore a bit

more of the wildness at the heart of life. It can elevate consumers

from the mundaneness of water and soft drinks and bring a bit of

vitality to the every day.” Adds Maddie Freestone, lead designer:

“Primarily, we wanted to match the curious nature of the drink itself

and bring a sense of mystery and intrigue to the sparkling water

category. At the same time, the brand also needed to make sure

it was still driving refreshment and natural cues.” brandopus.com


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18 GDUSA

CHARLOTTE NC Located in Charlotte NC, Team Creatif USA serves a

roster of clients ranging from small, local brands to well-established

global icons like The Bel Groupe, a major player in the healthy fruit and

dairy single-serving portion snacking category. Approaching work for the

Laughing Cow brand, the design firm updated the brand’s visual story by

bringing new life to the iconic cow design — inspired by a light-hearted

strategic approach that “it’s better to laugh …” With a range of varieties

available, flavor differentiation was a key component of the communica-

tion at shelf. To achieve this, the design team used a bright stroke of color

across the multiple varieties. “It was the near-century-long history of

the cow and the strategic positioning of ‘it’s better to laugh,’ which inspired

us to reassert her significance on pack,” comments Brady Bone, Creative

Director at Team Creatif. teamcreatifusa.com

FRESH | COW ICON HAS THE LAST LAUGH


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20 GDUSA

FRESH | BRIGADE SENDS OUT SCIENCE-FORWARD BAT SIGNAL

HADLEY MA Bat Conservation International came to creative

agency BRIGADE for a brand refresh that would help them stand

out among traditional conservation nonprofits, mobilize donors,

and raise awareness of the mission to end bat extinctions. In

order to help BCI stand out, the Brigade team focused on build-

ing consumer engagement and trust through consistent branding

at every touchpoint. Working closely with BCI, they created a

distinct brand personality that represents their unapologetic,

science-forward approach, and matches their unwavering com-

mitment to create meaningful change. The program includes a

key messaging platform and new visual identity, a comprehensive

brand guide to unify all communications, and a revitalized web-

site that integrates educational resources with captivating bat

imagery and videos of fearless conservationists and scientists in

the field. BRIGADE is a 20+ person brand-building firm based in

western Massachusetts, headed by Executive Creative Director

Kirsten Modestow, with a significant roster of blue-chip clients.

brigadebranding.com


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22 GDUSA

NEW YORK NY Subscription-based sports website The Athletic has

a new brand identity system in partnership with the Gretel design

studio. The result is fresh positioning, visual strategy, and a campaign

that celebrates The Athletic’s commitment to smart long-form sports

content in a world of highlights and short-takes. “The sports report-

ing category often goes wide but not deep and quick recaps and

highlights build consistent engagement, but lose the nuance and

culture around the game which are the visceral benefits at the

heart of The Athletic’s best coverage,” said Daniel Edmundson,

Strategy Director at Gretel. “The new identity captures the brand’s

sense of care, rigor and optimism as a strategic foundation...”

Adds Creative Director Simon Chong:“The Athletic publishes high-

quality, in-depth writing that creates context around sports news

rather than showing endless highlights, and actively engages fans on

a deeper level. We wanted that sense of elevation and intelligence

to permeate the visual experience of the site just as much as it does

the actual content.” In partnership with A2 Type, Gretel created a

custom inline font, based on A2’s Regular Slab and the Athletic’s

logo itself, which provides the ability to brand any application purely

with type. Using the original inline logo as a starting point, the

system now integrates the inline throughout the identity to evoke a

sense of continuous connection. The color palette adds neutral and

nuanced warm grays to the previously monochromatic scheme. A

promotional campaign, featuring singular moments from sports

history, is appearing across various channels including social, print

and OTT. gretelny.com

FRESH | THE ATHLETIC GOES LONG


GDUSA 23

NEW YORK NY Founded in 1969, Instinet invented electronic stock trading and spent the next half century setting

the pace for innovation in the industry. So when Thinkso was tasked with helping the company commemorate its 50th

anniversary, inside-the-box thinking wasn’t going to cut it. The solution is a high-end “coffee table” book that tells the

client’s story in an unexpected way: through the emotional and cinematic format of a graphic novel. Since the last 50

years were a period of dramatic change, the events and arc of each decade suggested a specific theme. Thinkso brought

in five artists to illustrate each of the company’s five-decades, and the simultaneous rise of financial market technology.

Before the artists got to work, Thinkso worked on the book’s core narrative with Instinet’s team, developing a storyboard

approach that resembled a screenplay. Pulling from first-person accounts, contemporaneous reporting, and corporate

archives, the story integrates people, technology and events that shaped the journey. The artist’s different styles —

ranging from documentary and journalistic to playful and abstract –give each chapter a distinct point of view. Then, to tie

it all together and underscore the concepts of energy, dynamism and innovation, the team introduced the interactive

animated illustrations of Takahiro Kurashima. Featured on the book’s cover, and woven into each of the illustrated chapters,

the animations immerse the reader in the action. “Fintech at Fifty” has won several financial communications and corpo-

rate print collateral awards, and was distributed to thousands of clients, many of whom attended the firm’s 50th anniver-

sary conference and gala, where the book’s themes and artwork were featured as centerpieces of the events. thinkso.com

FRESH | THINKSO GRAPHIC NOVEL TELLS STORY OF FINTECH PIONEER


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26 GDUSA

Women In Communications (WIC) is a professional organization at Syracuse University affiliated with the S.I.

Newhouse School of Public Communications. Their aim is to bring together and empower young women as

they enter the workforce. Through various events and campaigns, WIC strives to create a network of young

professionals, ready to take on the communications industry. This November, Ilana Greenberg, GDUSA’s

Creative Director, will join their illustrious group of speakers. Here is a look at the 2020 executive team who

shared with us an inspirational quote or saying they live by.

SPOTLIGHT ON WOMEN IN COMMUNICATIONS

NIA SHAWCO-PRESIDENT

S.I. Newhouse School of PublicCommunications / Class of 2021Major: Public RelationsMinor: Spanish and Psychology

“There is no perfect fit when you’relooking for the next big thing to do. You have to take opportunities andmake an opportunity fit for you, ratherthan the other way around. The abilityto learn is the most important quality a leader can have.” – Sheryl Sandberg

CHELSEA STERNCO-PRESIDENT

S.I. Newhouse School of PublicCommunications/ Class of 2022Major: Public RelationsMinor: Information Management and Technology

“I don’t take my life seriously, but I dotake what I do in my life seriously.” – Audrey Hepburn

DANIELLE SLOVINSKYVICE PRESIDENT

S.I. Newhouse School of PublicCommunications/ Class of 2022Major: Television, Radio, and FilmMinor: Information Management and Technology

“The success of every woman shouldbe the inspiration to another. Weshould raise each other up. Make sure you’re very courageous: be strong,be extremely kind, and above all behumble.” – Serena Williams

JULIA LAWRENCECREATIVE DIRECTOR

S.I. Newhouse School of PublicCommunications / Class of 2021Major: Graphic DesignDual Minor: Psychology and InformationManagement and Technology

“You can’t use up creativity. The more you use the more you have.” – Maya Angelou

REGAN TALLEYSECRETARY

S.I. Newhouse School of PublicCommunications / Class of 2021Major: Public Relations Minor: Finance

“You can waste your lives drawinglines. Or you can live your life crossingthem.” – Shonda Rhimes

EMILY KARPEVENTS CHAIR

S.I. Newhouse School of PublicCommunications / Class of 2023 Major: Television, Radio, and Film Minor: Information Management and Technology

“Sometimes the best thing you can dois to not think, not wonder, notimagine, and not obsess. Just breathe,and have faith that everything willwork out for the best” – Hota Kotb


GDUSA 27

SYDNEY ROSENTHALPUBLIC RELATIONS CHAIR

S.I. Newhouse School of Public CommunicationsClass of 2022 Major: Public Relations/Minor: Sociology

“Promise me you’ll always remember: You’re braverthan you believe, and stronger than you seem, andsmarter than you think.” – A.A Milne

GILLIAN FOLLETTWEBSITE CONTENT COORDINATOR

S.I. Newhouse School of PublicCommunications and ISchoolClass of 2022Dual Major: Newspaper and OnlineJournalism /Information Managementand Technology

“If people are doubting how far you’llgo, go so far that you can’t hear themanymore” – Michelle Ruiz

SARAH GREENWEBSITE DESIGN COORDINATOR

S.I. Newhouse School of PublicCommunications /Class of 2022Dual Major: Public Relations,Information Management & Technology

“The invariable mark of wisdom is tosee the miraculous in the common.” – Ralph Waldo Emerson

CANDICE BINACO-SOCIAL MEDIA CHAIR

S.I. Newhouse School of Public CommunicationsClass of 2022Major: Television, Radio, and FilmMinor: Entrepreneurship and Emerging Enterprises

“That quality is what makes women greatcollaborators; we understand it’s a team effort. Even if it comes from society telling us to be polite.” – Rachel Bloom

SOPHIA SODERLUNDCO-SOCIAL MEDIA DIRECTOR

S.I. Newhouse School of Public Communicationsand ISchoolClass of 2023Major: Television, Radio, and Film

“People change people” – Cory Matthews

CLAIRE MERRILLJUNIOR BOARD COORDINATOR

S.I. Newhouse School of Public Communications/Class of 2023Dual Major: Advertising and Psychology

“Learn to be quiet enough to hear the genuine withinyourself so that you can hear it in others.” – Marian Wright Edelman

THANH HA (JESSICA) TRANPHOTO CHAIR

S.I. Newhouse School of Public CommunicationsClass of 2023Major: Photojournalism

“Not fragile like a flower. Fragile like a bomb” – Ruth Bader Ginsburg

LEARN MORE AT syracusewic.wixsite.com/suwic

FOLLOW WIC ON INSTAGRAM @cusewic


28 GDUSA

RESPONSIBLEDESIGNERS TO WATCH

DESIGNING FOR GOODSPONSORED BY DOMTAR

october2020responsible_Layout 7 10/13/20 8:49 AM Page 28

As a complement to our perennial and popular special reports — “People To Watch” (newsworthy creatives) and

“Students To Watch” (rising graduates of note) and “Educators To Watch” (influential teachers) — we have added

an annual “Responsible Designers To Watch” to the editorial mix. Growing organically out of our longtime “green

design” coverage, we are responding to the fact that creative professionals are embracing responsibility writ large

in terms of how sustainably they create and produce, yes, but more broadly how, when, why and for whom they work.

The common thread: these are creative and thought leaders who use design principles, talents and skills to make

the world a better place as they see it. And, in 2020, this is especially meaningful since they are working against

the backdrop of a transformational pandemic, a societal reckoning with racial and economic inequality, a bruising

national political campaign, a turn toward local and grass roots activity, and a crying need to heal a tearing social

fabric. For 57 years, GDUSA has argued that graphic design is a valuable tool for shaping commerce, culture and

causes, and should be recognized and rewarded as such. Never has this proposition been as true.

GDUSA 29

GUS GRANGERBRAND DESIGN AND STRATEGY CONSULTANT, DALLAS TX

Gus Granger is a Dallas-based brand design and strategy consultant. For 15 years

he ran the agency 70kft, which was acquired in 2018 by Cyxtera, a global data

center and cybersecurity company. He went on to serve as their Chief Creative

Officer for two years.

HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOODAND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOLFOR THIS GOAL?

Early in my career, I became fixated on what it meant to do things that had true sig-

nificance. For me, significance goes beyond making money or helping clients sell

more widgets. Consider the following thought experiment: at end of your life, what did

you do that had a true impact on the society, leaving the world better than you found

it? That’s what I consider truly significant work. As designers, we are uniquely gifted

in making communication and experiences compelling, memorable and impactful.

For me, most of my energy has gone into combating racial and religious hatred.

During my agency days, some of our most rewarding and thought-provoking work was

for the Dallas Holocaust and Human Rights Museum. Every year, we worked with the

museum’s team in promoting new exhibits to the community. Each exhibit had a

uniquely important and tough lesson on the consequences of when intolerance thrives,

whether it was exhibitions of children’s artwork made at the Terezín concentration camp,

many exhibitions about Anne Frank, or the portrait series of 9/11 first responders.

In the wake of the 2015 racist terrorist attack at Charleston’s Emanuel AME Church,

my team was selected by the NPR program, Studio 360, to design a symbol to rep-

resent a modern South beyond the Confederate flag. We spent 6 weeks as a diverse

team of Yankees and Southerners, native born and

immigrants, contemplating the power of history,

symbols and what it means to be from the South.

The results of our efforts was revealed to an audi-

ence of millions over the course of a couple of weeks

(the largest design critique I’ve ever participated in!)

which led to tremendous attention, mostly positive,

but some negative and threatening. All in all, we

provoked important conversations that continue

today, and I continue to get notes from people citing

the impact our team’s work had on them and the

national conversation about Confederate symbols.

GIVEN THE CONFLUENCE OF EVENTS

AND CHALLENGES WE FACE THIS FALL,

DOES 2020 PRESENT ANY SPECIAL

OPPORTUNITIES, URGENCIES,

OBSTACLES TO DESIGNING FOR GOOD?

I think of how people look back on the turbulence

of the 1960s. I’ve asked many people who came of

age during that time and they feel like this moment

we are in today is worse. The intensifying effect of

social media combined with the awakening people

are going through in understanding suppressed and

ugly aspects of US history has made the role of

designers more important than ever. Our ability to

build understanding through inventive, striking and

thought-provoking creations makes the designer a

uniquely essential worker in this period of crisis.

PICTURED OPPOSITE LEFT TO RIGHT: RENEE NELSON, JAMES HARRISON, GUS GRANGER,STEFAN REDDICK, BAILEY PARKERSON, JOSH CARROLL AND DANIEL WALLACE

PHOTOGRAPH: SEBRON SNYDER


1. They Keep Their Product Quality Promise Purchasing decisions are based on several factors, including emotion, brand loyalty, relationships…even cost. But no matter why you initially made the purchase, you need to be impressed with the way the product works in order to buy it again and ultimately develop trust with that brand.

�e �rst step to establishing trust in any relationship is to keep your promise. You should have the same expectation from the brands you choose to purchase—the product or service should consistently deliver on the communicated product quality promise featured on the packaging or in advertising.

2. The Product Is Consistently Available You can’t trust someone who’s not there for you when you need them, and the brands we choose as partners must be held to the same expectation. Trustworthy brands understand this and make the availability of their product or service a top priority.

3. The Brand Is Accessible Beyond the product being available, the brand itself needs to be accessible. Many brands make themselves available on their terms. Trustworthy brands take their approach to service a few steps further. �ey make you feel like you can reach out to them easily and get an immediate response, whether it’s to have a conversation or get the critical help you need to get started.

4. The Brand Is invested in YOUAccessibility shouldn’t just stop at social media and call centers (although that’s de�nitely an important part). Trustworthy brands become a part of the community they serve by cultivating a generous spirit of listening, engaging, helping and investing. You should actually feel like they live in, are a part of and are an advocate for the groups of people that depend on their products every day.

5. They Are Responsible and Purpose Driven

Trustworthy brands have a purpose above and beyond selling a product or service. Due to their focus on purpose, these brands treat transparency as more than a corporate buzzword. �ey go above and beyond—talking about how they deliver just as much as what they deliver; focusing on how they can improve in addition to what they do well. �en, they constantly take meaningful action based on the purpose they communicate. In short, brands that deserve your trust operate on clear principles and are consistent in how they articulate their purpose and values.

Trust is a by-product of commitment to quality, excellence and purpose. �e Cougar® and Lynx® brands from Domtar Paper have built well-earned reputations as trustworthy brands by harnessing these core traits, earning the trust of printers and designers for generations. With quality and availability that consistently exceed expectations and bring creative visions to life, our paper can be trusted to deliver on every promise we communicate. �e wealth of resources available at paper.domtar.com are dedicated to helping you on your journey to create a printed piece on Cougar or Lynx, providing an abundance of sources for inspiration, education and staying up-to-date on the latest trends. Additionally our purpose and dedication to sustainability are built on values that can only enhance your reputation. All of the vast array of options in the Cougar and Lynx lines are sourced from sustainably-managed North American forests where endangered species are protected, workers are provided with fair wages and the rights of Indigenous peoples are respected.

Cougar and Lynx papers from Domtar o�er you, and the brands you represent, expert cra�smanship, reliability and peace of mind. Your reputation is important. Trust Domtar papers to deliver memorable results with quality and values you can trust.

How to Spot a Trustworthy BrandEspecially in challenging times, trust is a critical factor when

developing brand loyalty and making a purchasing decision for the company you work for and the brands you represent.

For graphic designers in particular, knowing which brands and products to trust can have a signi�cant positive or negative impact on your reputation.

Now more than ever, brands are rushing to regroup and present themselves as a trusted partner; but how do you know which brands are worthy of your trust?

Below are five traits to look for when searching for a trustworthy brand:

by Ashley Maydak, Domtar Brand & Creative Manager



32 GDUSA

DIO JENSENDIO JENSEN DESIGN, ATLANTA GA

Hi! I’m Dio Jensen, I was born in Peru, and have spent most of my adult life in

the US. I am a designer, educator, and illustrator. I guess you could say I had an

interesting path that led to my creative career. I graduated with a dual BBA degree

in Finance and Accounting, and earned my CPA license shortly thereafter. How-

ever, after working as an auditor for a few years at a “big four” accounting company,

I realized that was not my calling. And so, after some soul searching, I decided to

study graphic design at Portfolio Center. There I found my passion for packaging,

typography, website design, branding, publishing, and so many other creative

expressions. At last I felt I was surrounded by what I had been searching for my

entire life: a family of creatives! After graduation, I worked at a design studio,

but my freelance work was taking most of my time so I created my own company:

Dio Jensen Design. Through my company, I provide services to other studios as

well as companies big and small. Aside from my business, I am also an instructor

at Miami Ad School at Portfolio Center, and I am one of the co-founders and

organizers for AIGA Unidos.

HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOODAND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL FOR THIS GOAL?

As a child I was encouraged by my parents to always give back to the community. The

feeling runs even stronger now. After graduation, I started volunteering at AIGA Atlanta,

where I currently serve as Treasurer. In last year’s

AIGA Leadership Retreat, I met two amazing women:

Ximena Vila Ferral and Reina Castellanos. We had

only a brief time together at the retreat, but it planted

the seed for the birth of what would become AIGA

Unidos. Our goal was simple, to share our heritage

with everyone in the world.

After Covid hit we reconnected, and within six weeks

we had launched AIGA Unidos: a multi-chapter col-

laboration creating a space to empower and celebrate

the lives, work, stories, and needs of creatives with

a Latinx and Hispanic cultural heritage. In the six

weeks after the launch we had thirteen chapters in

our AIGA Unidos family ready to host our first event,

Hispanic Heritage Talks (HHT): a series of virtual

talks featuring Latinx and Hispanic Creatives from

different backgrounds and disciplines. HHT2020

had become a reality thanks to people-power: the

time, effort, and common vision of our team, our

advisors, our chapters, and our speakers.

So how can design change the world? Use design

to mobilize people, to give voice to those who could

not be heard before. We used design to create our

AIGA Unidos community, and it all came from one

belief, that we deserved to be seen and heard. Each

voice, each background gives a new perspective and

richness that helps create change in the world.

GIVEN THE CONFLUENCE OF EVENTS AND CHALLENGES WE FACE THIS FALL,DOES 2020 PRESENT ANY SPECIAL OPPORTUNITIES, URGENCIES, OBSTACLES TO DESIGNING FOR GOOD?

2020 has been quite a year, has it not? But we

humans learn to evolve and persevere. It brought

the opportunity of connecting, sharing, and working

without borders. Technology has made it easier, and

with Covid we are all craving connection more than

ever. It also brought an urgency for empathy. We are

all connected, and if we realize how we influence

one another, then we will understand how much

power we have within ourselves. Design solves prob-

lems, and good can come from the smallest things.

A smile can make someone’s day better, leading to

hope, leading to a more positive mindset, leading to

action. And, human actions change the world.

2020 | RESPONSIBLE DESIGNERS TO WATCH

PHOTO: KATE RAY


GDUSA 33

CORNELL BEARDASSOCIATE DESIGNER, 10 THOUSAND DESIGNMINNEAPOLIS MN

Cornell Beard is an associate designer at Minneapolis design firm 10 Thousand

Design where he works on numerous accounts including Target. His creative

interests span brand development, design, photography and content strategy.

He is passionate about leadership and mentoring, which is why he co-founded

and co-hosts @UnderRepresented, a weekly podcast about design and culture

from the Black perspective. His varied experience includes six years of serving in

the US Army, which taught him valuable lessons about leadership, perseverance,

organization and the value of working as a team.

HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOOD

AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE

TOOL FOR THIS GOAL?

There are two endeavors that I undertook during the past year that represent designing

for good. The first is the podcast @UnderRepresented, which launched in February.

While not a visual design project, its purpose is to promote design as a viable career

choice to people of color. As a creative, I find that the best projects come from a col-

laborative and diverse environment. To create these diverse environments we need to

attract more people from all backgrounds and experiences. Season One is about sharing

stories like my own, as well as other black designers

and creatives about how they got into the business.

Season Two will focus on the different avenues of

design: from design agencies to streetwear design to

retail design. Sharing these stories helps people learn

about possible career paths from successful people

who look like them.

The second endeavor is a line of posters I designed

following the murder of George Floyd. In the midst of

the protests that followed, I could not be as active

in them as I wanted given my responsibilities as a

full-time father and designer. To help make a differ-

ence, I did what I do best and designed the Black

Lives Matter “Ally” Series of posters that friends,

family and Instagram followers could download for

free from my website. Design was vital to this project

in creating a cool and powerful aesthetic, while com-

municating succinctly and powerfully when there

are so many competing messages.




OPPORTUNITIES, URGENCIES, OBSTACLES

TO DESIGNING FOR GOOD?

I think most designers naturally gravitate toward

designing for good. We have the ability to motivate

people, express shared experiences or inspire posi-

tivity through design. This year has been a big pivot

point for people in every profession. Despite the strug-

gles, we designers should gain clarity about what our

calling is when designing for good and be moved to

do it. I’ll always be energized and inspired to design

and by design when times are tough.


34 GDUSA


KELLI MILLERCO-FOUNDER, AND/OR, BROOKLYN NY

Kelli Miller is the co-founder of creative studio And/Or, a creative production

studio known for intelligent humor and bold, systematic design in motion. Their

work focuses on branded content, show titles and packaging, and entertainment

campaigns. Kelli has worked in motion design and branding for 15 years with

brands like MTV, Netflix, and Amazon. She is a graduate of Cranbrook Academy

of Art and has taught and lectured at the College for Creative Studies, Pratt,

NYU, SVA, Yale, and RISD.


AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL

FOR THIS GOAL?

I have always been interested in how design can be used for social good. My undergrad

program at the College for Creative Studies had a good sense of social responsibility

built into the curriculum and I was taught early on that ideas matter and design is a

powerful way to connect to people. I’ve been inspired by designers and artists who

make work that feels really punk rock and activist driven like the work Gran Fury did

for ACT UP in the eighties, the work of the Guerilla Girls and Barbera Kruger. It’s

part of my nature to seek justice and equality in the

world, I’m an Aquarius after all! I am really proud of

all the social good work we do as a studio. I’m super

proud of the work we did for March for Our Lives. It

was a very fast turnaround and we were able to

deliver some really powerful work which I think just

proves our team's commitment to the message. We

also recently finished a full motion design strategy

and toolkit for Open Society Foundations. It’s great

to know that we had a hand in helping an organiza-

tion like OSF create impactful stories and share

those with the world.






Yes, of course! We are already seeing designers self-

initiate for change. Our designer/animator, Natalie

Hawkins took up the torch and started Design for

Black Lives, which is a network connecting designers

willing to do pro bono work for black organizations

and businesses. We’ve seen lots of work relating to

getting out to vote, too. I think these are the most

urgent causes of the moment: dismantling systemic

racism and getting people to vote in the election.

Once we get past this election we can take it from

there — there certainly is no lack of issues that

design can help change. Global warming is a ticking

time bomb that we need to fix immediately. Chal-

lenges to this work are in creating materials that

affect actual change versus using a social cause as a

platform to explore formally. Like, nobody needs a

poster, we need solutions. I think designers and stu-

dios can work harder to partner with clients who see

things that way too. It’s about more than a budget

or a cool portfolio piece.


GDUSA 35

ARTURO MARTINEZDISTRICT DIRECTOR OF CREATIVE SERVICESTARRANT COUNTY COLLEGE, FORT WORTH TX

Arturo Martinez is a culturally connected strategist who brings a rich and diverse

experience to conceptualize creative ideas through a passion for design thinking,

visual design, and an understanding of emerging social, cultural, and industry

trends. Since 1998, he has been responsible for creative ideation and execution

of marketing collateral for a diverse range of organizations, including small business

startups, large corporations, and non-profits.

Arturo had an immediate impact when he joined Tarrant County College’s

Communications, Public Relations & Marketing Department. TCC is a two-year

public institution in Texas with six campuses. The institution provides an afford-

able education and open access to over 98,000+ students annually. For the past

decade, as District Director of Creative Services, Arturo has introduced a customer-

centric design approach and a willingness to embrace a culture of collaboration

across the District.

Tactfully bold, Arturo heads a team of 20+ multidisciplinary designers, guiding

and nurturing artistic work that delivers on business value. He champions brand

strategy, graphic identity, and design standards across multiple touchpoints, helps

support the college’s strategic communication goals through design-driven solu-

tions, enhances the college experience and academic environment, and promotes

access to support student success and lifelong

learning. Accountable for the department’s work,

growth, and deliverables, Arturo shows up every

day with a drive to exceed expectations. In 2017,

the Fort Worth Business Press honored him as a

top minority leader in business and the commu-

nity, based on professional achievements, civic

contributions, and philanthropy.

HOW AND WHY DID YOU BECOME INVOLVED

IN DESIGNING FOR GOOD AND WHY DO

YOU BELIEVE DESIGN IS AN ESPECIALLY

EFFECTIVE TOOL FOR THIS GOAL?

Arturo always wanted to make a difference in the

world. He has used his infectious passion for creativ-

ity to become involved in community endeavors that

create positive social impact and address disparities.

A lifelong resident of Fort Worth, Arturo has served

on the City’s Human Relations Commission, where,

among other things, he was lead designer for the

“Mujeres Poderosas” Legacy of Strong Latinas in

Fort Worth interactive exhibit; on Fort Worth’s Race

and Cultural Task Force, where he recommended a

strategy that addresses high school dropout rates

through civic engagement to improve college, career,

and civic readiness; and as an active founding mem-

ber of the Historians of Latino Americans (HOLA),

Tarrant County, which researches, documents,

archives and raises awareness of Latina and Latino

contributions to the civil, educational, and cultural

history of the county.






The pandemic changed the working landscape over -

night, and we all had to adjust to a new way of life.

The opportunity to design for good lies in maintaining

a growth mindset, tapping into our skillset and craft,

leveraging creativity to problem solve and challenge

boundaries. Creatives have the ability to navigate

ambiguity — this, combined with curiosity and bold

action, can build a culture of belonging not only

in our work but the spaces we occupy. Today, cus-

tomers choose brands that share and reflect their

values, and the need to design at the speed of culture

will require accelerated digital transformation as

well as leadership that reflects the diversity of the

industry’s workforce.


36 GDUSA


KACY LAMBART DIRECTOR, CHILDREN’S HOSPITAL COLORADO, AURORA CO

I’ve spent most of my career on the client side, working for inhouse creative

teams spanning industries from digital marketing to finance to wellness and now

healthcare. I’m also the mother of two spirited boys who fill my heart with joy.

I think I’ve always been community-minded. I serve on the board of a small pre-

school, where I created a brand identity and suite of materials, and I lead the

marketing and creative efforts of my church. So, when I started at Children’s

Hospital Colorado in 2012 I knew I’d landed my dream job, connecting my love

of children with work that matters.

I’m inspired, motivated and challenged by the people in this organization every

day. And I continue to be inspired by our mission: to heal every child, no matter

who they are or what their circumstance. As a designer and marketer, it’s my job

to make sure they know where to go if and when they need us.

HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR GOODAND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL FOR THIS GOAL?

I’ve always been energized by helping people, whether it’s through volunteerism, serving

at my church, or even just helping a friend create beautiful wedding invitations on a

tight budget. I love graphic design’s unique ability to make an impact. Design welcomes

and invites people in.

At Children’s Colorado, we designed our brand

guidelines to ease the burden for families under a

tremendous amount of stress. Through clear, intuitive

communications that reflect our pediatric expertise

and express the spirit of childhood, we guide our

patients and families through their entire journey —

from awareness to engagement to loyalty. We want

every point of engagement to lead to another, and

we work through multiple channels: web, video,

advertising, social media and even physical hospital

signage. There are endless opportunities. One of the

initiatives that’s meant the most to me is our work

in diversity, health equity and inclusion, promoting

care that recognizes not only the factors that con-

tribute to discrimination in the healthcare system,

but also the differences that make us special, no

matter who we are.

Our small but mighty team of designers, writers and

videographers makes it all possible, and our market-

ing director and VP of marketing and communica-

tions continually advocate for us to keep developing

as a best-in-class creative team. I’m inspired every

day by the amazing work my team produces.

GIVEN THE CONFLUENCE OF EVENTS AND

CHALLENGES WE FACE THIS FALL,




Yes. Definitely. And wow, what a wild year 2020 has

been. We’ve designed dozens of urgent communica-

tions on everything from new telehealth options to

donning and doffing personal protective equipment.

As a design team at a pediatric hospital, our most

important mandate throughout the pandemic has

been to help team members and families navigate

many sudden changes in healthcare, but also to

reassure families that it’s safe and necessary to get

care. Kids can’t wait. Our patients needed us before

COVID-19 and they need us now ⎯— and we’ll be

there for them long after COVID-19 is a thing of

the past.


GDUSA 37

DAVID LANGTON +JIM KELLERLANGTON CREATIVE GROUP, NEW YORK NY

Langton Creative Group is a digital branding firm that designs visual and mes-

saging solutions that start with a strategy that addresses these questions: Who

do you want to be? And, how do you want to be presented to your key audiences?

We call this “Progress by Design” because we believe that the most successful

companies make design an integral part of their success and use design as a core

driver in making a brand that tells a meaningful story. We specialize in creating

communications for clients in legacy nonprofits, financial services, and heath

and wellness.



TOOL FOR THIS GOAL?

We have always been motivated by designing for the greater good. Two of our proj-

ects — the annual report for the AIDS prevention pioneer GMHC and a capital campaign

promotion for an outdoor spiritual center — were featured in the book “Designing for

the Greater Good” (Harper). We won a Sappi Ideas That Matter grant to support our work

for the Love Shouldn’t Hurt campaign, a victim’s abuse awareness program for teens.

Doing design projects that matter is part of our DNA. We’ve created many projects for

nonprofits including annual reports, marketing and development campaigns, and a

comprehensive branding program for communications for Children’s Aid. One project

that was particularly rewarding was designing new signage for Children’s Aid where

we examined how a new identity could be adapted for a range of diverse buildings in

Harlem and in the Bronx. We also designed the 50th Anniversary graphics for The

Andrew W. Mellon Foundation that were presented

at a symposium at the New York Historical Society

where Anna Deavere Smith, the artist, author, and

educator, performed a new show she wrote in honor

of the Foundation’s history.

Last year we had the honor of designing the graph-

ics and communications for the Annual Gala for The

International Rescue Committee’s “Rescue Dinner”

held at the New York Hilton. We created a theme

around “Human Beings” where we presented Refu -

gees, Migrants, and Asylum Seekers not as just

labels, but as people just like us. We transformed

the ballroom at the New York Hilton with large por-

traits of people and placed small mirrors on each of

the tables so that all the guests could see them-

selves as Human Beings who are all in this together.

The Rescue Dinner gala raised over $16 million for

the International Rescue Committee.






In March, we were answering client queries about

whether to launch a website during a pandemic or

what to do about communications in progress. For

websites we found that now IS the time to launch,

we’ve launched four in the last few months. More

people are home and are paying more attention to

websites and online activity. Our nonprofit clients

are pivoting. We designed a brand refresh — one

that maintained a strong connection to the existing

logo — for The Russell Berrie Foundation where we

strengthened the typography and introduced new

colors. This coincides with their new Covid 19-related

loans and relief. The Mellon Foundation recently

announced a transformation of its strategic direction

with a new focus on social justice. This opens up

many opportunities for branding.

We are telling our nonprofit clients that now is the

time to communicate more and to reinforce your

messaging and tell your story to your base as you

reach out via online and virtual fundraisers to new

supporters. The online audience tends to be younger

so this pushes some of the legacy nonprofits that

we work with to reexamine their marketing efforts.


38 GDUSA


SARAH E. RUTHERFORDASSOCIATE PROFESSORCLEVELAND STATE UNIVERSITY, CLEVELAND OH

I am an Associate Professor of Design at Cleveland State University. I teach a

number of courses across the design curriculum, but I have a special interest in

classes that incorporate research practices and social impact design. Informed by

my own work with the AIGA Design for Democracy initiative since 2016, I have built

a number of student projects centered in voter advocacy and civic engagement.

TELL US HOW AND WHY YOU BECAME INVOLVED IN DESIGNING FOR

GOOD, ANY THOUGHTS ON WHY DESIGN IS AN ESPECIALLY EFFECTIVE

TOOL FOR THIS GOAL?

The university where I teach, Cleveland State, is a public, urban research institution

with an underrepresented student population of about 37% and the second highest

number of Pell Grant recipients in the state. When we work on class projects based

on topics that disproportionately affect BIPOC communities, the impact is not hypo-

thetical. Whether projects deal with educational access, housing or food insecurity,

or civic disenfranchisement, there are students sitting in the classroom whose lived

experiences speak to the issue at hand. It is within that context that I have introduced

a number of projects centered on civic and voter engagement.

In the design classroom, there is an opportunity to tackle civic engagement projects

that take a unique process to how such problems are identified and addressed. By

approaching civic engagement within a design context, students are able to evaluate

how systems might be designed to include or exclude people. They’re also able to

develop solutions that incorporate not just aesthetics,

but also experiences. For example, two recent projects

from a Graphic Design for Social and Cultural Contexts

course resulted in students creating large-scale pop-

up installations to promote voter engagement in the

2018 midterm elections and student participation

in the 2020 Census.

My motivation for creating these types of projects

is twofold. First, I’m able to help students apply a

human-centered design approach to topics that

reveal inequities in social and civic structures. Sec-

ond, I’m able to engage that specific class of 20 or so

students in the value of civic participation. I have

seen, on multiple occasions, students who initially

felt apathetic towards voting change their minds after

learning about the process and importance of voting.

Within a few weeks, they’ve moved from disengage-

ment to registering and voting in their first election.

In my own voter engagement work, I’ve focused on

sharing information and stories about voting to inspire

civic participation. In 2016 I collaborated with my

colleague and then AIGA National Board member,

Jenn Visocky O’Grady and the studio of Christine

Wisknieski to develop content for the AIGA Get Out

the Vote exhibition, hosted in Cleveland during the

Republican National Convention. Another favorite

project from 2016 was a collaboration between AIGA

Cleveland and Purple Films, the Get Out the Vote

Design + Community project, which paired local

designers with organizations that serve underrepre-

sented voters to create customized GOTV posters.






Educators have an opportunity to expand how our

students are prepared to practice design in their

careers. The list of design proficiencies students

should possess upon graduation is ever expanding.

While ensuring that students are exposed to the full

scope of modes of design, educators should also shift

our attention to consider the attitude and methods

by which students approach design problems, beyond

their creative output. We can build assignments and

curricula that allow students to incorporate the

principles of equity and inclusion, anti-racism, and

social impact in their work.


GDUSA 39

ANDREW BRYNJULSONTHE CREATIVE STUDIO OF ANDREW, PRINCIPAL

WEB CONCENTRATE, PARTNER

SIOUX FALLS SD

Andrew Brynjulson is an award-winning designer, art director, and brand strategist

who has spent over 10 years in the marketing world focused on branding, web,

and art direction projects that help worthwhile individuals, organizations, and

businesses succeed and grow.

HOW AND WHY DID YOU BECOME INVOLVED IN DESIGNING FOR

GOOD AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE

TOOL FOR THIS GOAL?

I quickly learned in my career that as designers we have a great power to change minds

and move people. However, that power can just as easily be used for good as it can

for evil. But good is often harder. So much is playing against you and the odds are

not in your favor. First, you're asking people to change when change is uncomfortable.

You're usually playing catch-up to established incumbents who you have to beat at

their own game because everyone plays by the same rules in the free market. And

sorry, there are no merit badges or participation medals.

Luckily, I love an underdog.

My career has been focused on building brands for

underdogs: sustainable businesses, clean technolo-

gies, and eco-initiatives. I've worked for start-up

solar companies, large organic food brands, ethanol

cooperatives, and non-profit social causes. In recent

years, I've focused on monetizing my side projects in

order to donate to causes. My clothing brand, Local

Gems, raised money to support Feeding South Dakota.

And recently, my fictional pro soccer club, Sioux Falls

FC (featured on GDUSA) raised funds to help people

pay rent during the pandemic.






In 2020, as the world becomes more and more

complex, I foresee consumers responding by trying

to simplify their lives — weeding out purchases,

brands, and activities that are less important in favor

of the few that they feel most connected to. Design-

ers will be drafted in that fight for connection. The

work that designers do will come into focus as brands

try to improve their products, deliver good experi-

ences, demonstrate value, and differentiate from

the competition. The stakes are higher than ever as

businesses vie to be part of that select few.


40 GDUSA


LESLIE GREENLY SMITHMARKETING & COMMUNICATIONS DIRECTORHARFORD COUNTY PUBLIC LIBRARY, BELCAMP MD

As a recognized innovator and leader among the nation’s public libraries, Harford

County Public Library (HCPL) is a catalyst for change while also nurturing the

love of reading in the community and narrowing the digital divide.

For over 74 years, Harford County Public Library (HCPL) has provided our com-

munity with access to ideas that inform, entertain and inspire. Last year, alone

the library interacted with its residents more than 6.3 million times — borrowing

free materials, visiting branches and the website, attending classes and events.

TELL US HOW AND WHY YOU BECAME INVOLVED IN DESIGNING FOR

GOOD, ANY THOUGHTS ON WHY DESIGN IS AN ESPECIALLY EFFECTIVE

TOOL FOR THIS GOAL?

HCPL is so much more than just checking out books. We are THE place to read, learn,

and discover! The Library amazes and delights, redefining the library experience and

this extends to our graphic design efforts, as well.

Graphic design is truly the great communicator. It speaks to all socio-economic levels,

it transcends all languages, and it offers information, comfort, and humor. We utilize

creative, on-message, and brand specific graphic design across all of our customer

touch points to help our customers learn more about Harford County Public Library

and the many resources, programs and services we offer.

Being recognized as a leader in the graphic design

world is a terrific honor for our team. A few of the

award-winning campaigns:

Come In, We’re Awesome/Designer, Carrie Yocum

The goal of this campaign was to raise awareness

of the many services and products offered by the

library and to encourage customers to visit the library

either in person or online.

Choose Civility Harford County/

Designer, Stephanie Detorie

This campaign’s goal was to launch Choose Civility

Harford County, a grassroots, countywide campaign

designed to uplift the community by promoting re-

spect, restraint and responsibility.

2020 Winter Reading Program/

Designer, Stephanie Detorie

This year’s theme of “We Love to Read a Latte” was

designed for adults and high school students alike.

A special element this year was the inclusion of a

Coffee Crawl & Tea Tour Passport program to encour-

age customers to visit our local businesses.






This is a pivotal time for our Library in so many ways.

We are looking at this as a wonderful opportunity to

be innovative and think “outside the book”. We are

striving to reach our customers in new and unique

ways as we promote existing digital resources as

well as brand new offerings like expanded Wi-Fi,

virtual programs, curbside services, and take-and-

make activities.

Prior to the pandemic, most of our design elements

were print-based and now our design focus is almost

purely web-based. This has been a positive outcome

for our team as it affords us a greater opportunity

to reach a wider audience in the community and

beyond. Any obstacles such as learning new soft-

ware and adapting to the use of new platforms were

quickly overcome by the dedication and perseverance

of our team … who truly believe in the mission of

Harford County Public Library … both before the

pandemic and most certainly now.

PICTURED ABOVE: STEPHANIE DETORIE, GRAPHIC DESIGNER; CARRIE YOCUM,

GRAPHIC DESIGNER; LESLIE GREENLY SMITH, DIRECTOR OF MARKETING &

COMMUNICATIONS; AND MARY HASTLER, LIBRARY CEO ARE PICTURED ON THE PATIO

OF COFFEE COFFEE, A LOCAL BUSINESS AND LIBRARY COMMUNITY PARTNER.

PHOTOGRAPH: MIDATLANTIC PHOTOGRAPHIC, LLC


GDUSA 41

SAM AQUILLANOFOUNDER AND EXECUTIVE DIRECTORDESIGN MUSEUM EVERYWHEREBOSTON MA/PORTLAND OR

Sam Aquillano is the Founder and Executive Director of Design Museum Everywhere,

an online, nomadic museum with the mission of bringing the transformative

power of design everywhere. Design is universal, so the museum has no permanent

address — instead, Sam and his team turn the museum inside out, making it

accessible to all across many platforms and locations. Sam is also the host of

Design is Everywhere, a weekly podcast on the impact of design in our lives.


AND WHY DO YOU BELIEVE DESIGN IS AN ESPECIALLY EFFECTIVE TOOL

FOR THIS GOAL?

I believe that design can be a force for good and that when done well, it has a significant

positive impact on people and the planet. In 2009 I started Design Museum Everywhere,

where we’ve redefined what and where a museum is — instead of a single museum

location, we’re online, nomadic, and accessible to all. Design is everywhere, so are we.

All our work at the museum centers on the fact that design is for everyone, we’re all

affected by it, and creativity is core to the human experience, so we all have a stake

in design. Design is also collaborative, meaning design is better when we all participate

and bring our ideas; in fact, design provides many frameworks for people to work

together. And design solves problems; it’s a human-centered process that transports

us from where we are to where we want to be.

At Design Museum Everywhere, we recently launched

a new exhibition called We Design: People. Practice.

Progress. The show brings together creatives from a

wide range of backgrounds to examine and celebrate

the range of career paths, applications, and impact

in design. We Design emphasizes the need for more

racial and gender diversity in design and highlights

the importance of equity and inclusion in generating

ideas. Visitors can explore the stories and careers

of creatives working across the design industry. The

exhibition is available online at designmuseum -

everywhere.org.






The pandemic has hit museums hard, and we’re

certainly not immune to the effects, but our innova-

tive model does allow us to continue thriving online.

We’re able to build our audience nationally and

internationally — since March, we’ve grown our

membership to include folks from 44 states and 17

countries. Since we had to pause our traveling exhi-

bitions and pop-up events, we brought our We Design

exhibition online and launched a weekly podcast

called Design is Everywhere, where we feature stories

of people and organizations using design to reshape

and change the world. We also launched multiple

youth-focused design education programs to help

parents and teachers teach design to kids both

in-person and remotely.



42 GDUSA

RINAT ARUHCO-FOUNDER & CEOARULIDEN, NEW YORK NY

Aruliden is an award-winning design agency that specializes in purpose-driven

product design, branding, and creative strategy from zero to launch. Headquartered

in New York, with offices in San Francisco and Amsterdam, Aruliden works with

the world’s greatest visionaries to reimagine industries and create businesses

that matter.



TOOL FOR THIS GOAL?

Designers are inherent problem solvers. Even though we’re living in a time of more

universal empathy, we’re still in urgent need of employing creative solutions to solve

broader societal challenges. As creatives, it’s easy to get caught up in the day-to-day

and forget an important principle: a designer’s work is typically in service to a larger

goal and the greater good.

Aruliden’s greater mission and passions are rooted in designing for good, specifically

introducing design thinking as a methodology for creative problem-solving. We creative

purpose-driven brands and products, spanning industries including technology, well-

ness, beauty, and consumer goods, and partner with the world’s greatest visionary

enterprises — from Google, WHOOP, Supergoop!, and Simba (a purpose-led financial

services company built to help immigrants, their families, and their communities thrive.)

In addition, Aruliden Co-founder and CEO, Rinat

Aruh, has brought a responsibly-minded design vision

to life with a multi-pronged approach which includes

working with schools across the country to expose and

teach children to understand the value of design

as a problem-solving tool. Similarly, we have part-

nered with The International Rescue Committee, a

global humanitarian aid, relief and development non-

governmental organization to provide pro-bono design

services to their affiliated entrepreneurs.






2020 has been a year nobody could have ever

planned for. Our responses to current challenges will

pave the way for creative societal innovation, and

critical adaptation in upcoming decades. Aruliden

believes that it’s more important now than ever

before to engage with mission-fueled objectives,

brands, and personalities that value the greater good

in one way or another. We all have a civic duty to

work with companies, and we choose to harness

design as our superpower.

In this respect, we will continue to partner with mo-

tivated clients and employees who share our values.

In particular, given the upcoming 2020 November

election, we believe in the importance of political

engagement and getting out the vote. Voter education

is something that we’re taking seriously. We are rally-

ing our workforce to ensure that everyone is registered,

and we’re working on a voter education campaign

to get the word out there about deadlines and spe-

cific hurdles to voting.

PICTURED ABOVE LEFT TO RIGHT:

SPENCER BAGLEY, MICHAEL GREENBLATT AND RINAT ARUH


GDUSA 43

NANCY ABBOTTSENIOR GRAPHIC DESIGNERDUPAGE CHILDREN’S MUSEUM, NAPERVILLE IL

DuPage Children’s Museum (DCM) is a nonprofit organization where childhood

is beautiful and joyful — just like the colors of the rainbow that influence our

palette and point of view. DCM provides a world where all children can reach their

full, unique learning potential through hands-on play. Nancy Abbott, Senior

Graphic Designer, and our inhouse design team have the unique experience of

designing something different every single day. Notes Abbott: “The Museum is

like no other place I’ve worked in more than 30 years of design experience. A bad

day at your desk can be offset by a walk through our exhibits — to see the children

playing, living, and learning in your work.”

Peter Exley, AIA President-Elect, and Sharon Exley, both of Architecture is Fun,

share: “It may say ‘Graphic Designer’ on Nancy Abbott’s business card; however,

‘visual content driving force’ might be more appropriate. In every collaboration,

Nancy is inquisitive, constructive, and a persistent advocate for the layering of

meaning in every detail. This insistence on beauty, clarity, rigor, and truth results

in outcomes that are accessible, equitable, inclusive, and relevant.”



TOOL FOR THIS GOAL?

As a children’s museum, we design to inspire creative and critical thinking in the

youngest members of our community, so that they will be empowered to solve the

world’s problems. Providing open-ended opportuni-

ties for exploration and discovery is at the heart of

DCM’s mission. Our designs support this by provok-

ing curiosity rather than presenting answers, and

allowing children to engage their imagination and

create freely. We often design without relying on

words, to ensure that preliterate children can under-

stand and gain inspiration.

I foster a hands-on, collaborative culture for the

team. Our creative process influences everything

from exhibit experiences, audience engagement,

traffic flow, inquiry, and philanthropy. We strive to

conceive the most imaginative and succinct way

to illustrate the brand’s personality, purpose, and

impact. Through DCM’s mentorship program, sev-

eral young creatives have been able to launch their

design careers from our unique workplace, while

benefiting the Museum with a number of different

styles and fresh perspectives.

As a graduate of the mentorship program, Rebecca

Bootz has blossomed into an award-winning designer

in her own right. As Rebecca’s confidence grows,

she continues to take risks that result in unique and

beautiful products. Jaime Johnson, our Senior Mar-

keting Manager, is an integral contributor to project

management and creative concepts. With a clear

sense of vision and purpose, she thoughtfully crafts

language to connect with our various audiences.






Childhood does not stop for a pandemic. Play is as

important as ever! Although DCM had to temporar-

ily shut its doors to visitors, we have a tremendous

opportunity to support families in their homes. We

shifted gears from being a destination for play and

learning to being a community support during this

challenging time. Design efforts that would have

been focused on experiences in our building went

digital. We’ve continued to design to inspire children

and families to play together, to laugh together, and

to learn together.

PICTURED LEFT TO RIGHT: NANCY ABBOTT, REBECCA BOOTZ, JAIME JOHNSON


44 GDUSA


HEATHER BARBISHB DESIGN, MORRO BAY CA

A creative problem-solver, Heather Barbis is the founder and lead creative of HB

Design, a design studio based in Morro Bay CA. Celebrating its 10-year anniversary

in 2020, HB Design enjoys pushing the boundaries of traditional design to deliver

unique, dynamic graphic design solutions tailored to client needs. As a modern

form of art, graphic design can directly impact thoughts, emotions, perceptions

and more. Creating or elevating a client’s brand and their messaging to deliver

the most effective communication in a way that sets them apart is both fulfilling

and extremely rewarding. Supported by both a BS in Visual Communications and

a BS Journalism from Ohio University, Heather integrates the design and editing

process for clients while maneuvering challenging projects from concept to com-

pletion. Heather’s creative efforts have been recognized through numerous

awards and client results over the years.



TOOL FOR THIS GOAL?

Contributing to initiatives throughout the Central Coast, I have long supported my

community, non-profits, and various organizations. Designing for good often means lend-

ing your talents to a meaningful cause for reasons with value higher than any financial

gain. Through my gifts and experience, my community is better able to present itself

in professional, elegant, and efficient ways, which is important. Sometimes these

opportunities only reach small audiences; yet other

times, my designs are being viewed by an audience

of 100,000 plus, which, even after so many years

in this business, is still exciting. If I can contribute

my expertise as a small portion of a larger effort,

why not? My parents taught me it was important to

give back to my community, and fortunately, now I

am able to do that through a channel that is close

to my heart and reflective of my passion — graphic

design.

Graphic design is an especially successful tool

because of its ability to deliver vast and effective

results. The aesthetics and organization of a piece

can determine whether the audience views, values

and takes action on the intended message. To be

taken seriously in a competitive and high-end world,

sometimes giving an organization a leg up is nec-

essary. During this especially tumultuous time,

there are countless opportunities to contribute to

designing for good.






Undeniably, 2020 has presented various obstacles

for all sectors of our economy in light of the COVID-

19 pandemic. Businesses are tasked with re-inventing

themselves, municipalities are struggling with budget

shortfalls, and nonprofits are having a difficult time

continuing to operate let alone raise funds. Due to

these circumstances, numerous pro bono opportu-

nities have presented themselves. Leveraging my

knowledge and skills, I have aided in the presentation

of innovative messaging that is crucial during this

time. While helping businesses achieve results and

growth is vastly rewarding, giving back to worthwhile

organizations to help them flourish in difficult times

is bar none. It’s hard to beat that feeling.


GDUSA 45

GIANMARIA SCHONLIEBCREATIVE DIRECTORLYFT, SAN FRANCISCO CA

Gianmaria Schonlieb is a Creative Director at Lyft. With extensive experience in

advertising and art direction, he has created campaigns for many iconic brands

including Coca-Cola, Dodge, Converse, and Google. Previously he has worked for

some of the most awarded advertising agencies such as Wieden+Kennedy Portland

and Swedish creative agency, B-Reel. Before Lyft, he was the Creative Director

of NYC based furniture start-up, Burrow.



TOOL FOR THIS GOAL?

Good creative ideas should do three important things: stay in people’s memory, make

people think, and generate an emotion. If you accomplish one, the other two will follow.

We are constantly influenced by design. We make decisions based on design choices

on a daily basis, so why not use design to bring people around an important cause?

Some people raise awareness with a song, movie, or with a piece of art, while creatives

do it with design. This year more than ever I was moved to work on creative projects

for social causes. On World Book Day 2020, I launched “Bookmarks For Good”, a

campaign encouraging people to stay home and read

more books helping to flatten the curve of the spread

of COVID-19. When I thought about creating book-

marks, I was thinking of what I could design that

would speak to people who were locked at home. I

wanted to create something that could be useful to

people. In a time when everyone re-discovered simple

pleasures like baking bread with their family, why

not remind them of the importance of reading while

raising funds for COVID-19? I spent every night for

more than 3 weeks designing and painting bookmarks

and set up a website to process the orders. It was an

extremely fun and fulfilling project. All proceeds

went to the NYC COVID-19 Emergency Funds.






While this year has been marked by unprecedented

challenges for all us, this moment in time paradox-

ically represents an opportunity for designers and

creatives of all types to use their skills and talent to

raise awareness. People are always in need of tools

to communicate their ideologies and the design com-

munity should be there to create those tools. I have

always felt that something as simple as a poster can

transport a message as well as any other vehicle. Now

even more than ever, designers can use social media

as a direct path to the minds and hearts of viewers,

amplifying the power of their work. Where there’s

an obstacle, design offers a powerful solution.


46 GDUSA 46 GDUSA


PAM TREMBLEGRAPHIC DESIGN LEADOAKLAND COUNTY, WATERFORD TWP MI

I am the lead graphic designer for executive administration at Oakland County,

Michigan. But graphic design is a relatively new career for me. At age 39, I finally

decided what I wanted to be when I grew up and went back to college to get my

degree in Graphic Communication. Two weeks after graduation the graphic designer

in my department retired and I found myself in my dream job as part of the

Media and Communications Division.

Oakland County, located 30 miles north of Detroit, is the second-most populous

county in Michigan. It is one of the wealthiest counties in America and a destina-

tion for the global headquarters of health care, automotive and technology firms.

Residents have access to 17 degree-granting colleges and universities, 485

institutions of art and culture, nearly 90,000 acres of parkland, 65 miles of trails,

and 1,450 lakes, rivers and streams.



TOOL FOR THIS GOAL?

As the lead inhouse designer for a large county government, I am responsible for the

visual communication for all departments under the leadership of the County Executive.

This includes branding new initiatives, events, and special projects as well as designing

day-to-day communication materials.

Working as a public servant in local government, I make a difference in the lives of

residents every day. But never has that been truer than in the past 6 months working

side-by-side with Public Health and Emergency Operations to keep residents educated

about coronavirus safety. Early in 2020 I designed a new branding campaign for the

County Executive called “Oakland Together,” which

highlighted the importance of working collaboratively

to ensure Oakland County’s future success as the

economic engine of Michigan while becoming a

more diverse, equitable and inclusive county.

When COVID-19 arrived in Oakland County early in

March 2020, the “Oakland Together” slogan became

the rallying cry for our residents and communities.

As part of the pandemic emergency operations com-

munication team, we brought the brand to public

health education materials related to the pandemic

and the economic recovery reopening toolkits. I’m

proudest of the collaboration with multiple depart-

ments to stand up an entirely new section of the

county’s website dedicated to COVID safety guidelines;

CARES Act granting opportunities for businesses,

residents, schools and organizations; a COVID case

statistics dashboard; and resources for reopening of

our economy. Besides the website, my days are filled

with creating email education campaigns; informa-

tional brochures for direct mailing to our 1.2 million

residents; small business resources like social dis-

tancing signage and floor decals; billboards; social

media; paid ads and PSAs, just to name a few.

I’m especially proud that the #OaklandTogether

brand was awarded a 2020 American Inhouse Design

Award from GDUSA.






As we move into the fall the ongoing pandemic and

the economic recovery of our small business com-

munity is top priority. But we’re also heading into flu

season, so finding ways to reimage existing programs

in the new social distancing and virtual world. The past

six months of managing siloed and fragmented com-

munication across departments in the middle of a

public health emergency has demonstrated the need

for a formal public communication strategy at Oakland

County. Our small inhouse graphic design and media

relations team is expanding to a more unified market-

ing and communications agency model. I’ve been

asked to step into a new role as manager of market-

ing and creative operations. Fall 2020 promises to

be filled with new opportunities and challenges that

I’m excited to get started on (but first I need a little

nap and maybe some more coffee.)


GDUSA 47

VALERIE AURILIOGENERAL MANAGER, LANDOR CHICAGO, CHICAGO IL

As General Manager for Landor Chicago, Valerie Aurilio drives collaboration,

consensus, and innovation in service of big — and meaningfully different —

ideas. With more than 20 years of design and brand-building experience, she

brings a rare mix of creative and strategic savvy for content and experiences that

are equally stunning and impactful. A true brand native, she uses a global

perspective to build brands as a platform for action — as can be seen in her work

with the biggest names in consumer goods and corporate identity, including

Kimberly Clark, Kraft-Heinz, PepsiCo, and Microsoft. She is currently leading

the effort for America 250, an initiative of the America 250 Foundation, to create

a rich visual identity rooted in unity and an omnichannel experience activated

digitally, physically and socially.



TOOL FOR THIS GOAL?

We became involved in designing for good because, as a studio, we believe that creativity

can make a difference. While we do this for our clients every day, we’re also always

striving to make a difference in our community, our city and our country.

For example, for the America 250 brand, we are executing a multi-year campaign

that builds awareness for — and educates America about — the nation’s 250th

anniversary in 2026. This means bringing to life a brand that leaves our nation more

united, inspired and engaged in 2026 than it is today. We are honored to work alongside

the U.S. Semiquincentennial Commission to build a brand that inspires unity —

providing a platform to the distinct perspectives that shape our nation.

Another favorite project is Kids Above All. Formerly

known as Childserv, Kids Above All has supported

thousands of disadvantaged kids across Chicagoland

for 125 years. From new name to visual identity to

brand behavior — we created a dynamic design that

united the entire community — encouraging volun-

teers to step up, donors to stand up and kids to

rise up to reach their full potential.

The National Diaper Bank Network, supported by our

client Kimberly Clark, had an important message to

send: One in three families faces diaper-need every

day. But nobody talks about it, so nobody knew about

it. We changed this narrative with a bold brand

identity, messaging framework and visual system

that encouraged people to take a closer look.

As a creative brand consultancy, we are uniquely

positioned to drive awareness for organizations doing

incredible work in communities everywhere. It’s an

honor to define the purpose of their work — and

to make that work accessible to the people who

need it most.






In 2020, there are more opportunities to design for

good than ever before. Children who rely on Kids

Above All’s group homes and foster care have been

impacted by the pandemic. Families who rely on

the National Diaper Bank Network are struggling

even more to get the products they need. As America

250 approaches, people across our country are more

divided than ever. These organizations have a dire

need for support. The work we do as a creative studio

has the power to give them a voice and generate

awareness that leads to meaningful impact.


48 GDUSA


ANNABEL MANGOLDPRINCIPAL, MANGOLD DESIGN, NAPA CA

Mangold Design is an award-winning boutique design and brand strategy studio

located in Napa, California led by Annabel Mangold. Specialities range from

brand analysis and marketplace enhancement, to visual design for spatial, pack-

aging, print and digital media. The firm uses “trend analysis and Warm-Tech

ideology to enhance the end user's experience.”

Clientele consists of public health organizations, municipalities, agriculture, and

wellness lifestyle companies. Recent clients include: Building Healthy Online

Communities, San Francisco AIDS Foundation, National Coalition of STD Directors,

Palo Alto Junior Museum & Zoo, Oya Organic Farm, Epigenetics Coach Rajkumari

Neogy and Valley Medical Center Foundation to name a few.





My parents dedicated their professional lives to

helping others. My mother worked in mental health

as a Psychotherapist and teacher for 47 years and

my father founded five homes in Oaxaca, Mexico for

orphaned and abandoned girls while working to feed

hundreds of thousands of homeless people each

month in the Bay Area.

Exposure to drastically contrasting environments from

a young age created an awareness of how a single

circumstance can change a person’s world, often-

times with a Sisyphean effect. Witnessing human

devaluation had a great effect and influenced how

I approach my work and commitment to my clients.

I don’t believe today’s designers can be anything

other than citizens who are ready to digest and com-

municate the needs of society to help create better

systems for the future.






Our world is on fire, people are sick and the divisions

among us has never been more center stage. I truly

believe 2020 offers an opportunity, albeit at the

expense of many, for us to reexamine faulty and

unjust systems while beginning to heal and bridge

deep polarization and my hope is as many people

are invited to the table as possible.


GDUSA 49

JENNIFER BERGAMINIPRINCIPAL, ALAMINI CREATIVE GROUP, NEW YORK NY

Jennifer Bergamini founded Alamini Creative Group (ACG), an integrated creative

agency specializing in branding, website development, and marketing commu-

nications, in 1997 — shortly after graduating from Parsons School of Design.

Under her leadership, ACG combines innovative design, smart marketing strategy

and leading-edge technology to develop effective solutions that deliver results to

their wide range of clients.

An award-winning agency, ACG has always had a focus on doing work that matters

to them and working with organizations doing good. Their clients include edu-

cational and world-class financial institutions including New York University and

Wolters Kluwer, educational publishers and non-profit organizations and foundations

including the United Nations and the World Bank. By providing clients with fresh

creative approaches and strategic solutions to their communications needs and

telling their stories in powerful and meaningful ways that connect with audiences,

ACG has established many longstanding partnerships.

The agency has also worked with a range of global projects including, but not

limited to: economic empowerment; women’s rights and empowerment; health-

care rights and initiatives such as cancer prevention, awareness campaigns and

smoking cessation campaigns; mental health initiatives; climate change; disarma-

ment and conflict prevention; explosive remnants of war awareness; economic

effects of global tobacco use through the Tobacconomics Project, at the Chicago

Institute of Health Research & Policy.





Jennifer has always been active at supporting causes

that are important to her — women’s rights, justice

equality, animal protection and climate change,

among others. As a natural extension of her values,

she formed partnerships with non-profit and edu-

cational institutions across the world dedicated to

doing good. She has an affinity for projects that

increase awareness of social issues, while promoting

solutions and directly impacting people’s lives.






Design is an effective tool because it touches every-

one. It is engrained in every aspect of our lives thus

providing a unique opportunity of reaching people

in myriad ways through critical messaging that can

bring change and make people stop and take notice.

It can take complex and dense subjects and transform

them by incorporating creative design elements and

sound bites to engage the audience and draw them

into conversation.

In 2017, India and the United Nations formed a

strategic partnership — The India-UN development

Partnership Fund — dedicated to supporting sustain-

able development projects across the globe that are

owned and led by developing countries. The Fund’s

ambitious agenda aims to advance the Sustainable

Development Goals (SDGs) with a focus on least

developed countries and small island developing

states. To support the launch of the fund, ACG devel-

oped a visually compelling logo and brand identity

along with promotional materials, including video

and event signage, to highlight and draw attention

to the Fund’s aggressive project development plans.

To date, the Fund has already supported 59 projects

in 48 countries, through a $150 million multi-year

pledge by the Government of India.


50 GDUSA


KELLY O’HALLORAN10 THOUSAND DESIGN

MINNEAPOLIS MN

Kelly O’Halloran is a Minneapolis-based graphic designer and artist. She currently

works as a senior-level designer at agency 10 Thousand Design, and in her free

time has found a passion for illustration, gouache painting and pattern design.



TOOL FOR THIS GOAL?

When the stay at home order for COVID-19 began, I found myself with some additional

time on my hands and looking for a way to provide support amidst the growing pandemic

crisis. When I noticed pantry and household basics like toilet paper getting cleaned

out of grocery store shelves due to stockpiling and panic-buying, I had the idea to ele-

vate these unlikely CPG heroes as miniature still-life gouache paintings. I found humor

in these run-of-the-mill products reaching an elevated celebrity-like status almost

overnight. It only made sense for such high-profile products to be commemorated as

pieces of art. I began creating tiny still life art pieces of these unlikely heroes to help

raise money for Feeding America, a non-profit charity

organization that is a network for over 200 food banks.

Since May, I’ve taken painting requests from New York

to Puerto Rico, and have raised money for thou-

sands of meals for families and individuals in need.

I have found design to be an especially useful tool

for this project for several reasons. First, I found the

act of translating a basic CPG product into a work

of fine art to be a powerful social commentary on

the absurdity of stockpiling household items when

others are in need. I also have found that these

paintings allow people to pull a positive memory from

this difficult time, and in some cases even com-

memorate a family member that they have lost to

the COVID-19 crisis.






I absolutely see both opportunity and urgency in

designing for good this coming year. Now more than

ever, I have observed designers and creatives not only

seeing an opportunity, but feeling an obligation to use

their talents as a call to action for social and political

change. I believe this has a compounding effect by

inspiring individuals to create for their own impact

for the greater good. I look forward to seeing what

types of change and initiatives arise from our current

social and political climate in the year to come.



52 GDUSA

| 2020 |

HEALTH + WELLNESSDESIGN AWARDS

Our annual GDUSA Health + Wellness Design Awards™ competition honors graphic excellence in this

fast-growing, hugely important, and high-profile segment of the economy. The 2020 winners showcase

is the largest and most selective yet, featuring projects and campaigns from leading institutions, design

firms, agencies and departments running the gamut from traditional medical and healthcare to

healthy lifestyles to the acute public health challenge confronting us today. You can see it all here as

well as on our website winners gallery and our October digital edition.

2020 health + wellness awards_feb news play 10/13/20 1:56 PM Page 52

GDUSA 53

Acenda Integrated HealthAegis Dental NetworkAlright SolutionsAmanda CulverArgusAugmedixBaptist Memorial Health CareBarnett DesignBexBrandsBLVRBonavita Design LLCBurgopak LtdCambridge Public Relations and Creative MarketingCepheidChristaMorrone.DesignChristiansen CreativeCornettCountry Life VitaminsDarbyDarby CreativeDesigncogDiamond PackagingDorem Ipsum LLCECKES designEight MoonElevate HealthcareEvolutions by DesignExtra Credit Projects5IVEFranke+FiorellaGarrison HughesGEICOHartford Design /Woz Design /Ted StoikHB DesignHelen & GertrudehgDesign NYCHyperquakeICON Creative AgencyICON plcJess Glebe DesignJulie Chun DesignLentini Design & MarketingLifeHouse Productions, LLCLisa Cain DesignLittle Big BrandsLLS Creative ServicesMangold DesignMarine LaneMarvin

Mattel Barbie Packaging TeamMcCann Erickson Echo / ProAmpacMDMark360Microaire Surgical InstrumentsMiskowski DesignMJR Creative GroupMU Health CareNancy Reed DesignNational Institutes of Health Medical ArtsNominee DesignNOMS Health Care Marketing DepartmentOpen Door Design Studio (ODDS)Pareto IntelligencePavone Marketing GroupPBD PartnersPrint Giant, LLLCQNY Creativerelyntless, llcRick Simner DesignRLD CreativeRon Kalstein / RKDK DesignRound Table CompaniesRTI InternationalSizewise MarketingSmith DesignSound Family Medicine Inhouse MarketingSouthpaw ProjectsSouthwest Research Institute (SwRI)Ssali Media GroupStony Brook MedicineTest MonkiThe DuPuis GroupThe Word & Brown CompaniesTopco Associates, LLCTruly CreativeUnited States Postal Service / Journey GroupUnited States Postal Service / Studio AUntitled Erauppercase PVery Memorable, Inc.Wallace Church & Co.Warkulwiz Design AssociatesWe The Cool StudioWerremeyer CreativeWoz Design Zack GroupZoo Valdes

DESIGN FIRMS AND DEPARTMENTS REPRESENTED


54 GDUSA

Design Firm: Aegis Dental Network, Newtown PA Client: Inside Dentistry Title: The Precarious Balance Designer: Jennifer Barlow Group Publisher,

Inside Brands: Valerie Berger Group Brand Director, Inside Brands: Jason MazdaJunior Brand Manager: Shannon Thompson Managing Editor: Kevin Taylor

Design Firm: Alight Solutions, Lincolnshire IL Client: PepsiCo Title: CastlightLaunch Video Art Directors: Victoria Cook, Cristine Giannotti

Designers: Victoria Cook, Cristine Giannotti Creative Director/Client Lead: Jill Rafkin Programmer: Michael Spencer Writer: Maureen Corrigan

Project Manager: Kristin Peacock Production Editor: Randall Van Vynckt

HEALTH + WELLNESS DESIGN AWARDS

Design Firm: Access TCA, Whitinsville MA Client: Legend Biotech Title: Legend Biotech at ASH Exhibit Creative Director: Stephen Ross

Designer: Tyler Shaw Photographers: Jamie Padgett, Padgett and Company

Design Firm: Acenda Integrated Health, Glassboro NJ Title: Acenda School Based Mental Health Services

Creative Director: Mari Considine Art Director: Cassandra Boyce


GDUSA 55

Design Firm: Alight Solutions, Lincolnshire IL Client: PepsiCo Title: insight eMag | Winter 2020 Art Directors: Victoria Cook, Cristine Giannotti

Designers: Victoria Cook, Cristine Giannotti Creative Director/Client Lead: Jill Rafkin Writers: Maureen Corrigan, Ken Mastro

Project Manager: Kristin Peacock Production Editor: Randall Van Vynckt

Design Firm: Amanda Culver, Glendale AZ Client: MedMark, LLC Title: Dental Sleep Practice, Fall 2019 Edition

Creative Director: Amanda Culver

Design Firm: Argus, Oakland CA Client: Metagenomi Title: Metagenomi Website (metagenomi.com) Creative Director: Jeff Breidenbach

Art Director: Jeff Breidenbach Designer: Jeff Breidenbach

Design Firm: Argus, Oakland CA Client: SonALAsense Title: SonALAsenseWebsite (sonalasense.com) Creative Director: Jeff Breidenbach Art Director: Jeff Breidenbach Designer: Jeff Breidenbach


56 GDUSA

Design Firm: Barnett Design, Inc., Ramsey NJ Client: The Jewish Home FamilyTitle: ‘We Know’ Advertising Campaign Creative Director: Debbie Barnett

Sagurton Art Directors: Jefferson Ramos, Valerie Haymes Designer: Tara Maratea Photographer: Glen Teitell

Design Firm: BexBrands, San Diego CA Title: Liveli CBD Product PackagingCreative Directors: Becky Nelson Dahl, Jeremy Dahl


Design Firm: Augmedix, San Francisco CA Title: Augmedix Website(www.augmedix.com) Designer: Justin Vajko Communication Designers:

Lutful Alam Amio, Emon Rahman Enterprise Marketing Manager: Kaila Grafeman

Design Firm: Baptist Memorial Health Care Creative, Memphis TN Client: Baptist Women’s Hospital Title: Pink Attic Logo

Art Director: Sandy Olita Barron Designer: Sandy Olita Barron


GDUSA 57

Design Firm: BLVR, San Diego CA Title: ISLE Branding and Identity Creative Director: Damin Sterling Designer: Damin Sterling

Design Firm: BLVR, San Diego CA Title: ISLE iSUP Package Design Creative Director: Damin Sterling Designer: Katie Murphy

Design Firm: Bonavita Design LLC, Montclair NJ Client: Wolters Kluwer Title: Wolters Kluwer Healthcare Survey Series: Mending Healthcare, Next Generation Nurses + Nurse Executives Creative Director: Donna Bonavita Designers: Donna Bonavita, Rose Valentine VP, Global Communications +

Brand: Ann Joyal, Wolters Kluwer, Health Director, Product Marketing, NursingSegment: Janet Feeney, Wolters Kluwer, Health Marketing + Content Strategist:

Lisa Meyer, Jump Marketing VP, Account Services: Eileen Frain, Jump

Design Firm: Bonavita Design LLC, Montclair NJ Client: Corso DDS, Family Dentistry Title: The No Testing Method for Treatment in Dentistry

Creative Director: Donna Bonavita Designer: Donna Bonavita Illustration: Eighteenth Century Engraving


58 GDUSA

Design Firm: Burgopak Ltd, London UK Client: Burgopak Title: Thank YouCampaign Creative Director: Dane Whitehurst Art Director: Lucy Parker

Designer: Dane Whitehurst Photographer: Lucy Parker Illustrator: Lucy ParkerCampaign Designer and Communications: Alethea Price

Design Firm: Cambridge Public Relations and Creative Marketing, Fairfield IATitle: Cambridge Stronger COVID-19 Communications Campaign


Design Firm: Burgopak Ltd, London UK Client: Headspace Title: Gifting Wellness With Headspace Creative Director: Dane Whitehurst Art Director:

Lucy Parker Designer: Dane Whitehurst Photographer: Timothy Cook

Design Firm: Burgopak Ltd, London UK Client: Hims, Inc. Title: Package Design Creates Male Health Confidence Creative Director: Dane Whitehurst

Art Director: Lucy Parker Designer: Dane Whitehurst Photographer: Lucy Parker


GDUSA 59

Design Firm: Cepheid, Sunnyvale CA Title: Cepheid’s 2020 Sales Meeting LogoCreative Director: Jared Tipton Art Director: Bijal Patel

Designer: Kristin Bialaszewski

Design Firm: Cepheid, Sunnyvale CA Title: Cepheid’s New Corporate WebsiteCreative Director: Jared Tipton Art Director: Bijal Patel

Designers: Kristin Bialaszewski, Jeff Nielson

Design Firm: Cepheid, Sunnyvale CA Title: Xpert Xpress SARS-CoV-2 LaunchBanner Ads Creative Director: Jared Tipton Art Director: Bijal Patel

Designer: Kristin Bialaszewski

Design Firm: ChristaMorrone.Design, Herndon VA Title: WellSpring Holistic Remedy Kit for Arthritis Designer: Christa Morrone

Photographer: Christa Morrone Illustrator: Christa Morrone


60 GDUSA

Design Firm: Cornett, Lexington KY Client: UK HealthCare Title: We Are ProofVideo Series Director of Brand Strategy (UK HealthCare): Geoff Blair VP, Directorof Brand Management: Jessica Vincent Associate Creative Director: Jason MajewskiSr. Copywriter: Kathy Martinolich Art Director: John Herskind Sr. Account Planner:

Lacy Madden Account Planner: Amy Page Director of Digital & Social: Jason Falls Film Composer: AJ Hochhalter Production: Eye Level Films

Post Production: Thoughtfly

Design Firm: Country Life Vitamins, Hauppauge NY Title: Gut Connection KidsPackaging Creative Director: Jessica LaMay Designers: Jessica LaMay,

Annmarie Marotto


Design Firm: Christiansen Creative, Hudson WI Client: The Oral Surgery CenterTitle: The Oral Surgery Center Branding Creative Director: Tricia Christiansen

Designers: Kayla Smith, Abby Hill

Design Firm: Christiansen Creative, Hudson WI Client: Hudson Area Chamberof Commerce Title: #WeHeartHudsonWI Creative Director: Tricia Christiansen

Designer: Kayla Smith


GDUSA 61

Design Firm: DarbyDarby Creative, Pembroke Pines FL Client: Darby Darby Creative Title: Please Don’t Let Me Die Creative Director: Keith Darby Art Director: Keith Darby

Design Firm: Designcog, Plainfield IN Client: Plainfield (IN) Police DepartmentTitle: Multivalues Are Multiracial Logo Designer: Tom Renk

Design Firm: Diamond Packaging, Rochester NY Title: Diamond Lockbox™ Certified Child-Resistant (CR) Packaging Creative Directors: Dennis M. Bacchetta,Jill Krzemien Designers: T.C. Pellett (Initial Here Creative Services, Blue Carton),Josh Nordeen, (Dwaiter, Blue and White Cartons) Structural Design: Andy Gauvin

Design Firm: Dorem Ipsum LLC, Cary NC Client: Project Data Sphere Title: Project Data Sphere Brand Development Creative Director: Priya Khatri

Designer: Priya Khatri


62 GDUSA

Design Firm: Eight Moon™, Minneapolis MN Client: Park Dental Title: Park Dental COVID-19 Protocols Creative Director: Megan Junius

Designer: Emily Wettergren

Design Firm: Elevate Healthcare, Blue Bell PA Title: Welcome To The JungleBranding Creative Director: Tara Powers Art Director: Paul Wesseman

Chief Creative Officer: Barry Schmader


Design Firm: ECKES design, Andover MN Client: Nexus Family Healing Title: Nexus Family Healing Manifesto Video Creative Director: Jodi Eckes

Designer: Jodi Eckes Illustrator: Anna Godeassi Motion Designer: Steve BastyrCopywriter: Jodi Eckes

Design Firm: ECKES design, Andover MN Client: Nexus Family Healing Title: Nexus Family Healing Desk Calendar Creative Director: Jodi Eckes

Designer: Jodi Eckes Illustrator: Anna Godeassi


GDUSA 63

Design Firm: Elevate Healthcare, Blue Bell PA Client: Joerns Title: The PowerTo Simplify Care Online Design Creative Director: Tara Powers

Art Director: Sarah Ward Creative Director, Copy: Steven Goldstein Copy Supervisor: Mike Thomson

Design Firm: Evolutions by Design, San Francisco CA Client: Lonza Title: Carnipure – Purity You Can Trust Creative Director: Juliana Erickson

Designer: Ann Schneider

Design Firm: Extra Credit Projects, Grand Rapids MI Client: Michigan StateUniversity College of Human Medicine Title: Holiday Advertising

Creative Director: Rob Jackson Art Director: Aaron Sullivan

Design Firm: 5IVE, MINNEAPOLIS MN Client: Blue Cross Blue Shield MinnesotaTitle: 2019 Social Impact Report Creative Director: Boriana Strzok

Art Director: Andi Jordt Designer: Allison Rolinger


64 GDUSA

Design Firm: Garrison Hughes, Pittsburgh PA Client: UPMC Aging Institute Title: 2019 Annual Report -

Transforming Aging Art Director: Joe Bukovac

Design Firm: Garrison Hughes, Pittsburgh PA Client: UPMC Title: Koala Café Graphics and Branding Designer: Chris Konopack


Design Firm: 5IVE, MINNEAPOLIS MN Client: LifeSource Title: LifeSourceWebsite Creative Director: Boriana Strzok Art Director: Andi Jordt

Illustrator: Allison Rolinger Developer: Adam Meyers

Design Firm: Franke+Fiorella, Minneapolis MN Client: Children’s MinnesotaTitle: Children’s Minnesota Annual Report 2019 Creative Director: Craig Franke

Art Director: Todd Monge


GDUSA 65

Design Firm: Garrison Hughes, Pittsburgh PA Client: UPMC Title: HVI Advanced Heart Failure Brochure Art Director: Larry Hruska

Design Firm: Garrison Hughes, Pittsburgh PA Client: UPMC and University ofPittsburgh Title: Precision Medicine Brochure Art Director: Larry Hruska

Design Firm: Garrison Hughes, Pittsburgh PA Client: UPMC Children’s Hospitalof Pittsburgh Title: Website Design (chp.edu) Digital Designer: Carlo M. Leo

Design Firm: Garrison Hughes, Pittsburgh PA Client: Magee-Womens ResearchInstitute and Foundation Title: Magee Magazine, Spring 2019 Edition

Art Director: Tia Kalas


66 GDUSA

Design Firm: HB Design, Morro Bay CA Client: Alamo Pintado Equine Medical Center Title: Alamo Pintado Advertising Campaign

Designer: Heather Barbis

Design Firm: HB Design, Morro Bay CA Client: Platform Performance, Inc.Title: Platinum Summit Branding Designer: Heather Barbis


Design Firm: GEICO, Chevy Chase MD Title: GEICO COVID Return to OfficeCampaign Designer: Justin Perkins

Design Firm: Hartford Design / Woz Design / Ted Stoik, Chicago IL Client: Abbott Title: Abbott 2019 Annual Report Creative Directors: Tim Hart-ford, David Wozniak, Ted Stoik Art Directors: Tim Hartford, David Wozniak,

Ted Stoik Designers: Tim Hartford, David Wozniak, Ted Stoik Photographers: Tom Maday, Dan Socie


GDUSA 67

Design Firm: HB Design, Morro Bay CA Client: Equine Amnio Solutions Title: RenoVo Branding Designer: Heather Barbis

Design Firm: HB Design, Morro Bay CA Client: Platform Performance, Inc.Title: Feline Brochure Designer: Heather Barbis

Design Firm: HB Design, Morro Bay CA Client: City of Morro Bay Title: Hero Series Signage Designer: Heather Barbis

Design Firm: Helen & Gertrude, Rochester NY Client: Bausch + Lomb LUMIFY –Redness Reliever Eye Drops Title: An Eye-Catching Launch Campaign Creative Director: Kirsten VandenBout Art Director: MacKenzi Martin

Designer: Haley Giangreco Photographer: Margo Tsallagova Illustrator: ShaemusSpencer Copywriters: Deb Bawe, Jill Duff Account Director: Becca Bellush


68 GDUSA

Design Firm: Hyperquake, Cincinnati OH Title: Nike Sport Campaign Creative Director: Dan Barczak Designers: Brian Simons, Emily Zalla,

Emily Esterle Photographer: Emily Zalla

Design Firm: Hyperquake, Cincinnati OH Title: ‘Stay Strong. Stay Home. Stay Cincinnati’ Public Service Campaign Creative Director: Dan Barczak Art Director: Emily Zalla Designer: Hyperquake Team Photographer: Hyperquake Team Collaborators and Contributors: Big Media Creative,

Robbie Reider, Whitney Szabo


Design Firm: hgDesign NYC, Bronxville NY Client: Columbia University IrvingMedical Center, Department of Ophthalmology Title: Applied Genetics: Precision Ophthalmology 2020 Creative Director: Hershell George

Art Director: Hershell George Designer: Josette Taylor

Design Firm: hgDesign NYC, Bronxville NY Client: Columbia University IrvingMedical Center, Department of Obstetrics and Gynecology Title: Frontline Report:COVID-19 & Women’s Health Creative Director: Hershell George Art Director:Hershell George Designer: Josette Taylor Photographer: Lynn Simpson, MD


GDUSA 69

Design Firm: ICON Creative Agency, Pasadena CA Client: Nestlé Health ScienceTitle: BOOST Soothe Amazon A+ Page Creative Director: Dan Castro

Art Director: Jennifer Butler Designer: Tawny Coston

Design Firm: ICON Creative Agency, Pasadena CA Client: Nestlé Gerber Title: Gerber Probiotics Amazon A+ Pages Creative Director: Dan Castro

Art Director: Jennifer Butler Designer: Tawny Coston Photographer: Tony Prince

Design Firm: ICON Creative Agency, Pasadena CA Client: Nestlé Health Science Title: Nestlé Medical Nutrition Amazon A+ Page

Creative Director: Dan Castro Art Director: Jennifer Butler Designer: Tawny Coston

Design Firm: ICON Creative Agency, Pasadena CA Client: Z & O Hemp Title: Z & O Hemp Tea Website Creative Director: Dan Castro Art Director: JenniferButler Designers: Jose Hurtado, Sose Ohanjanian Photographer: Tony Prince

Illustrator: Jose Hurtado Copywriter: Ildy Fekete


70 GDUSA

Design Firm: ICON plc, Yardley PA Client: Pfizer Title: Scientific Poster Presented by Pfizer at the IDWeek Annual Meeting

Creative Director: Amy O’Connell Product Manager: Kimberly Michalski

Design Firm: Jess Glebe Design, Wyncote PA Client: Red Root & Co. Title: Red Root & Co. Rebrand Designer: Jess Glebe Photographer:

The Commoneer (Katie Schmid) Botanical Illustrations: Elwood MadisonPrinter: Labelworx


Design Firm: ICON Creative Agency, Pasadena CA Client: Bonduelle FreshAmericas Title: Bonduelle Sell Sheets Series Creative Director: Dan Castro

Art Director: Jennifer Butler Designers: Yvonne Lee, Doris Jew

Design Firm: ICON plc, Yardley PA Client: Regeneron Title: Regeneron EoEKids Clinical Trial Study Creative Director: Adam Kondos Designer: Joann Klinkner

Senior Project Leader: Angela Englesbe Client: Melissa Cabral


GDUSA 71

Design Firm: Julie Chun Design, Mill Valley CA Client: UCSF San Francisco - Continuing Medical Education

Title: FACES Symposium Brochure Designer: Julie Chun

Design Firm: Lentini Design & Marketing, Inc., Los Angeles CA Client: DSLF Love Research Army Title: Website UI Redesign Creative Director: Hilary Lentini Art Director: Hilary Lentini

Designer: Leanna Hanson

Design Firm: LifeHouse Productions, LLC, Wallingford CT Client: SpectrumAwakening Title: Spectrum Awakening, Umbrella-Brand Refresh Creative Director: Dena Matthews Designer: Dena Matthews

Photographer: Dena Matthews

Design Firm: Lisa Cain Design, Glenwood IL Client: Organization for Autism Research Title: Hire Autism Job Search Guides Designer: Lisa Cain

Program Managers: Naina Chernoff, Amanda Rioux


72 GDUSA

Design Firm: Little Big Brands, NY Client: Hyland’s Title: Hyland’s 4 Kids Package Design Creative Director: Richard Palmer Art Director: LBB Design

Team Account Director: Adriene Sakumoto Client Services: Pam Long

Design Firm: LLS Creative Services, Pleasantville NY Client: The Leukemia &Lymphoma Society Title: Caring For Kids And Adolescents With Blood CancerArt Director: Sharon Mahoney Designers: Jennifer Lieber, Jodie Delohery

Writers: Elizabeth Kitlas, Abby Singh Printer: Graphic Management Partners


Design Firm: Lisa Cain Design, Glenwood IL Client: American Society ofNephrology Title: Kidney News COVID Articles Designer: Lisa Cain

Executive Editor: Dawn McCoy

Design Firm: Lisa Cain Design, Glenwood IL Client: Hemp Queenz Title: YouTube Channel Art Art Director: Lisa Cain Designer: Lisa Cain

Illustrator: Juan Arevalo


GDUSA 73

Design Firm: Mangold Design, Napa CA Client: Building Healthy Online Communities Title: TakeMeHome.co Creative Director: Annabel Mangold

Developer: Christie Wood

Design Firm: Mangold Design, Napa CA Client: Valley Medical Center FoundationTitle: COVID-19 Impact Report Creative Director: Annabel Mangold

Designer: Annabel Mangold Photographer: Photographer: Artem Nazarov

Design Firm: Mangold Design, Napa CA Client: Building Healthy Online Communities Title: TellYourContacts.org Creative Director: Annabel Mangold

Developer: Christie Wood

Design Firm: Marine Lane, New York NY Client: Roots Frozen Title: Roots FrozenBranding and Packaging Creative Director: Hannah Hillier Art Director: MeganFlood Designer: Adrienne Hugh Illustrator: Egle Zvirblyte Animator: Amber LinWeb Designer and Developer: Dan Versalov Project Manager: Anna Visintainer


74 GDUSA

Design Firm: Mattel Barbie Packaging Team, El Segundo CA Client: Mattel, Inc. Title: Barbie Wellness Line VP Packaging: Jamie Dunn Director Barbie Packaging: Suzanna Lakatos Mamager Barbie Packaging: Tyler Russell Designer: Michael Sawina Packaging Engineer: Marissa Laver

Copywriter: Tamika Cosen Project Manager: Bianca Serle

Design Firm: McCann Echo, North Hampton NH Client: Evofem BiosciencesTitle: Phexxi Packaging Creative Directors: Danielle Campion, McCann Echo

Art Directors: Packaging: Evelina Trzeciak, McCann Echo Photoshoot: Trish Salge,McCann Echo Designers: Julia Saulenas, McCann Echo Photographers: ChristineBlackburne, McCann Echo Digitally Reskinned: Norbert Skowyra, McCann Echo

Packaging Solutions: ProAmpac


Design Firm: Marquis Design, Boston MA Client: Fresenius Medical Care NorthAmerica Title: 2020 Annual Medical Report Creative Director: Julie Vail Art Director: Taylor Luffman Designer: Taylor Luffman Photographer: Ken

Richardson Illustrator: Taylor Luffman Copywriter: Mary Ann Zeman Project Manager: Tracy Swyst

Design Firm: Marvin, Eagan MN Title: COVID-19: Stop the Spread Art Directors:Terese Isaacson, Ben Clymer Illustrators: Terese Isaacson, Ben Clymer


GDUSA 75

Design Firm: MDMark360, Portland ME Client: Angel Wings for Veterans Title: Website Rebuild and Brand Messaging

Creative Director: Alexandra Heseltine

Design Firm: MicroAire Surgical Instuments, Charlottesville VA Title: PAL Patient Information Online (www.palpatient.com)

Creative Director: Elias Jones Lead Designer/Developer: Sarah Martin

Design Firm: MicroAire Surgical Instuments, Charlottesville VA Title: Carpal/Cubital Tunnel Patient Information Online

Creative Director: Elias Jones Lead Designer/Developer: Sarah Martin

Design Firm: Miskowski Design, Hoboken NJ Client: City of Hoboken, New Jersey Title: Heal Hoboken Logo Designer: Justin Miskowski


76 GDUSA

Design Firm: MU Health Care, Columbia MO Title: Neurosciences ReferringProvider Booklet Creative Director: Ann Ellebracht Designer: Claudia Johnson

Photographer: Justin Kelley

Design Firm: MU Health Care, Columbia MO Title: COVID-19: Q&A InstagramStory Creative Director: Ann Ellebracht Designer: Veronica Burgess


Design Firm: MJR Creative Group, Fresno CA Client: Valley Children’s Healthcare Title: 2019 Impact Report Creative Director: Mike Rolph

Designer: Bekah Hansen Photographer: Jeff Sherman Illustrator: Nico Dondlinger Editors: Lynn Ashbeck, Mike Rolph

Design Firm: MU Health Care, Columbia MO Title: Bariatrics Campaign Creative Director: Ann Ellebracht Designer: Veronica Burgess

Photographer: Justin Kelley


GDUSA 77

Design Firm: Nancy Reed Design, Cibolo TX Client: I Care San Antonio Title: 2019 Impact Report Designer: Nancy Reed

Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: First Response to B Virus

Creative Director: Martha Blalock Art Director: India Taylor Designer: India Taylor Contributor: Ethan Taylor

Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: Clinical Center Pharmacy Brochure

Creative Director: Martha Blalock Designer: Faith Williams

Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client:National Institutes of Health Title: NCATS 2020 Patent Guide Creative Director:

Martha Blalock Art Director: Jeffrey Everett Designer: Jeffrey Everett


78 GDUSA

Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: NICHD SPAN Identity Creative Director: Bonnie Hamalainen Designer: Mariann Seriff

Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: NIDDK Precision Nutrition Infographics

Creative Director: Martha Blalock Art Director: Jeffrey Everett Designer: Jeffrey Everett


Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: NIH Clinical Center

Room Service Menu Creative Director: Martha Blalock Art Director: Jessica Jackson Designer: Jessica Jackson

Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: Cultural Lecture: An Afternoon

with Diane Rehm Creative Director: Martha Blalock Art Director: Jessica Jackson Designer: Faith Williams


GDUSA 79

Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: NIH Dr. Fauci Appreciation Print Creative Director: Martha Blalock Art Director: Jeffrey Everett

Designer: Jeffrey Everett

Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: NIH Take the Stairs Creative Director:

Martha Blalock Art Director: Jessica Jackson Designer: Jessica Jackson

Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: Immunohematology & Blood Transfusion

Symposium Poster Art Director: Jessica Jackson Designer: Jessica Jackson Illustrator: Ethan Tyler

Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: NIMH Director’s Innovation Speaker

Series Art Director: Jessica Jackson Designer: Jessica Jackson


80 GDUSA

Design Firm: Nominee Design, Oklahoma City OK Client: One Therapy NetworkTitle: One Therapy Network Branding Creative Director: Natalie Kent

Designer: Christian Robinson

Design Firm: Nominee Design, Oklahoma City OK Client: Rocket Edibles Title: Rocket Edibles Package and Label Design Creative Director: Natalie Kent

Designers: Ryan Fuller, Christian Robinson


Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: NIH COVID-19 Information –Distancing Creative Director: Martha Blalock Art Director: Jeffrey Everett

Designer: Jeffrey Everett

Design Firm: National Institutes of Health Medical Arts, Bethesda MD Client: National Institutes of Health Title: NIH COVID-19 Information –

Mental Health Creative Director: Martha Blalock Art Director: Jeffrey EverettDesigner: Jeffrey Everett


GDUSA 81

Design Firm: NOMS Healthcare Marketing Department, Sandusky OH Client: NOMS Southwest Orthopaedics Title: Big Dogs Advertisement Creative Director: Lisa Nicolella Photographer: Brittany Chandler

Illustrators: Jamie Speer, Lindsey Lemons Copywriter: Lisa Nicolella

Design Firm: Open Door Design Studio (ODDS), Muncie IN Client: United Way of Delaware, Henry, and Randolph Counties

Title: Mask Up Designer: Shantanu Suman

Design Firm: Pareto Intelligence, Chicago IL Client: GHG Advisors Title: GHG Advisors Brand Identity Designer: Tammy Allen

Design Firm: Pavone Marketing Group, Harrisburg PA Client: Omnipod InsulinManagement System Title: Take That, Diabetes Creative Director: Sean Donahue

Associate Art Director: Courtney Polidoro Social Media Designer: Courtney Skinner Copywriters: Sam Renner, Michael Deegan

Social Media Strategist: Rachel Schoch


82 GDUSA

Design Firm: PrintGiant, LLC, Denver CO Client: Cultivated Synergy Title: Cultivated Synergy Leads Group Logo Designer: Janice S. Stoilas

Illustrator: Janice S. Stoilas

Design Firm: QNY Creative, New York NY Client: Pomi Title: Pomi Tomato Cookbook Creative Director: Ezio Burani

Art Directors: Ana Camero, Dan King Designers: Camille Ortiz, Rowan Lekatompessij, Rebecca Slee Client: Umberto Marconi


Design Firm: PBD Partners, Newton MA Client: Franciscan Children’s Title: Annual Report 2019 - At The Forefront of Change Creative Director:

Shannon Beer Art Director: Shannon Beer Designer: Mary Reed

Design Firm: PBD Partners, Newton MA Client: Massachusetts General HospitalTitle: COVID-19 Newsletter Creative Director: Shannon Beer

Art Director: Shannon Beer Designer: Mary Reed


GDUSA 83

Design Firm: relyntless, llc, Hartford CIty IN Client: Undertaking The PodcastTitle: Undertaking The Podcast Logo Identity Creative Director: Lynette K. Whitesell

Designer: Lynette K. Whitesell Clients: Brian Waters, Ryan Ballard

Design Firm: Rick Simner Design, Los Angles CA Title: Help Fight COVID-19Poster Series Creative Director: Rick Simner Art Director: Rick Simner

Designer: Rick Simner Illustrator: Rick Simner

Design Firm: RLD Creative, Elgin IL Client: fiiv Title: fiiv Fitness App Creative Director: Rick Lesser Art Director: Brandon Ribbs

Designers: Zack Sikat, Julia Bellinger

Design Firm: RLD Creative, Elgin IL Client: Trail Angel Title: Trail Angel Supplements Creative Director: Rick Lesser Art Director: Phil Brictson

Designers: Anthony Ashner, Matthew Holley


84 GDUSA

Design Firm: RTI International, Research Triangle Park NC Client: Austin PoliceDepartment Title: COVID-19 Police Resources Customizable PDF Brochures

Designer: Ally Elspas Interactive Designer: Shari Lambert Editor: Abby Czeskleba Research Psychologist, Project Director: Jennifer Rineer

Research Analyst: Brian Aagaard

Design Firm: Sizewise Marketing, Lenexa KS Title: NPT3 Support Surface Campaign Designers: Stacy Beltz, Frank Myles

Vice President of Marketing: Dan Vogt


Design Firm: Ron Kalstein / RKDK Design, Southampton PA Client: EinsteinHealthcare Network / MossRehab Title: BlueJean Day Fundraiser Poster

Art Director: Ron Kalstein Designer: Ron Kalstein Illustrator: Ron Kalstein

Design Firm: Round Table Companies, Deerfield IL Client: The Practice of Self-Management Title: Creative Director: Sunny DiMartino

Art Director: Sunny DiMartino Authors: Christopher Forman and Bryan Ungard


GDUSA 85

Design Firm: Smith Design, Morristown NJ Client: Henkel North America Title: Dial Antibacterial Hand Soap Creative Director: Glenn Hagen Art Director:

Tim Williams Designers: Jamie Basile, Mike Doyle Illustrators: Angel Souto,Jamie Basile Production Artist: Mark Errichetti

Design Firm: Smith Design, Morristown NJ Client: GSK Consumer Health Title: Robitussin Naturals Package Design Creative Director: Glenn Hagen Art Director: Jenna Smith Designer: Mike Doyle Photographer: Ken Kiger

Illustrator: Angel Souto

Design Firm: Sound Family Medicine In-house Marketing, Puyallup WA Client: Sound Family Medicine Title: New Patient Guide Creative Director:Rhea DeRama-Parayno Art Director: Stuart Gordon Designer: Stuart Gordon

Photographer: Ashley Mowreader Copywriter: Chanel Studebaker

Design Firm: Sound Family Medicine In-house Marketing, Puyallup WA Client: Sound Family Medicine Title: New Logo Animation Creative Director:Rhea DeRama-Parayno Art Director: Stuart Gordon Designer: Stuart Gordon

Animation: Gstudio


86 GDUSA

Design Firm: Southwest Research Institute (SwRI), San Antonio TX Title: COVID-19 Institute Campus Road Signs Art Director: Jessica Vidal

Designers: Todd O. Pruetz, Jessica Vidal, Erin Yurk Writer: Barbara Muller Bowen

Design Firm: Ssali Media Group, Milwaukee WI Client: Medical College of Wisconsin Title: Apprenticeship In Medicine 2019 Summer Program

Creative Director: Ebony Ssali Photographers: Jean Mallett,MCW Communications


Design Firm: Southpaw Projects, LLC, Neenah WI Client: Cronus Fit Title: Cronus Fit Brand Identity Creative Director: Seth Pahmeier

Designer: Seth Pahmeier

Design Firm: Southwest Research Institute (SwRI), San Antonio TX Title: COVID-19 Infographics Designer: Jessica Vidal Photographer: Larry Walther Editor: Deb Schmid


GDUSA 87

Design Firm: Stony Brook Medicine, Office of Communications, East SetauketNY Client: Stony Brook Medicine Title: Mamava Breastfeeding Pod

Art Director: Gail M. Swedberg Designer: Gail M. Swedberg Senior Director: Rachel Velocci

Design Firm: Test Monki, The Woodlands TX Client: Everyone By One PediatricDentistry Title: Everyone By One Brand Creative Director: Suzy Simmons

Designers: Sarah Wright, Gaby Quintana, Justice Crisp

Design Firm: Test Monki, The Woodlands TX Client: Octonuts Title: Octonuts Brand Creative Director: Suzy Simmons

Designers: Sarah Wright, Gabby Nguyen Illustrator: Yiwen Lu

Design Firm: Test Monki, The Woodlands TX Client: Tooth + Tusk Dental andOrtho Title: Tooth + Tusk Logo Creative Director: Suzy Simmons

Designer: Gaby Quintana


88 GDUSA

Design Firm: The Word & Brown Companies, Orange CA Client: Word & BrownGeneral Agency Title: 2020 Word & Brown General Agency Ad Campaign

Designer: Hugo Miramontes Senior Copywriter: Alex Strautman Marketing Director: Missy Bynon Sr. Marketing Traffic Administrator:

Heather Jung Executive Vice President: Polly Neves

Design Firm: The Word & Brown Companies, Orange CA Client: CHOICE Administrators: CaliforniaChoice Title: CalChoice Website Flyer Series Studio Director: Homer Villegas Marketing Manager: Rikki Nedelkow

Marketing Administrator: Noe Villasenor Senior Copywriter: Alex Strautman Executive Vice President: Polly Neves


Design Firm: The DuPuis Group, Chicago IL Client: ME Bar, LLC Title: Level Bar Packaging Development Creative Director: Lindsay Evans

Art Director: Lindsay Evans Designer: Hannah Rebernick

Design Firm: The Word & Brown Companies, Orange CA Client: CHOICE Administrators: CaliforniaChoice Title: California Different 2020 Ad CampaignCreative Director: Modera Inc. Marketing Manager: Rikki Nedelkow Marketing

Administrator: Noe Villasenor Executive Vice President: Polly Neves


GDUSA 89

Design Firm: The Word & Brown Companies, Orange CA Client: Word & BrownGeneral Agency Title: COVID-19 Postcard and Direct Mail

Designer: Hugo Miramontes Senior Copywriter: Alex Strautman Marketing Director: Missy Bynon Sr. Marketing Traffic Administrator:

Heather Jung Executive Vice President: Polly Neves

Design Firm: Topco Associates, LLC, Elk Grove Village IL Title: TopCare Lavendar and Lemon Verbena Hand Soaps

Creative Director: Brian Carron Art Director: Kara Fleming-Ward Designer: Tamara Silver Production Art: Robin Heiser, George Dunlap

Design Firm: Topco Associates, LLC, Title: TopCare Hand Sanitizers – Pumps and Spray Creative Director: Brian Carron Art Director: Kara Fleming-Ward Designer: Hedy Wong Production Art: Robin Heiser, George Dunlap

Design Firm: Truly Creative, Petaluma CA Client: Innovia Probiotics Title: Innovia Kids Line, Launch Kit & Web Design Creative Director: Carrie

Dufour Designers: Carrie Dufour, Andy Yanchunis, Natalie DeGolia


90 GDUSA

Design Firm: Untitled Era, New York NY Client: Beavet Title: Beavet Hemp OilSupplement Packaging Series Creative Director: Lisa Champ

Designer: Lisa Champ Photographer: Mike Banom

Design Firm: uppercaseP, New York NY Client: Marjorie’s Fund Title: How COVID-19 Affects Diabetes Creative Director: Peter Rossetti

Designer: Peter Rossetti


Design Firm: United States Postal Service/Journey Group, Largo MD Title: Healing PTSD Creative Director: William J. Gicker (USPS)

Art Director: Greg Breeding Designer: Greg Breeding Photographer: Mark LaitaTypographer: Greg Breeding

Design Firm: United States Postal Service/Studio A, Largo MD Title: Honoring First Responders Creative Director: William J. Gicker (USPS)

Art Director: Antonio Alcala Designers: Antonio Alcala, Ricky Altezer Illustrator: Brian Stauffer


GDUSA 91

Design Firm: Very Memorable, Inc., Brooklyn NY Client: Children’s Health FundTitle: Healthy and Ready to Learn: Resource & Training Center

Creative Director: Michael Pinto

Design Firm: Wallace Church & Co., New York NY Client: OC Botanicals Title: Hi Tide Logo Design Creative Director: John Bruno Art Director: Jodi Lubrich

Designer: Diana Luistro Chief Creative Officer: Stan Church

Design Firm: Wallace Church & Co., New York NY Client: Nestlé Health ScienceTitle: Boost Package Design Creative Director: John Bruno Art Director: JohnBruno Designers: Su Kwon, Frank Castaldi Chief Creative Officer: Stan Church

Design Firm: Warkulwiz Design Associates, Merion Station PA Client: GeneosTherapeutics Title: Geneos Brand Identity Creative Director: Robert WarkulwizArt Director: Robert Warkulwiz Designers: Paige Graff, Emily Zuwiala-Rogers

Programmer: Andrew Long


92 GDUSA

Design Firm: Werremeyer Creative, St. Louis MO Client: Barnes-Jewish Hospital+ Washington University Title: Curiosus Magazine, Vol. V, Spring 2020

Creative Director: Steve Hartman Art Director: Cheryl Bonnet Photographer:Gregg Goldman Illustrator: Abigail Goh Editor: Anne Makeever

Design Firm: Werremeyer Creative, St. Louis MO Client: The Foundation forBarnes-Jewish Hospital Title: Giving Magazine, Covid-19 Special Issue

Creative Director: Steve Hartman Art Director: Alison Trullinger


Design Firm: We The Cool Studio, New York City NY Title: Teddy App Creative Director: Amor Diaz Art Director: Adrian Torres

Design Firm: Werremeyer Creative, St. Louis MO Client: Pivtl Health SolutionsTitle: Pivtl Health Solutions Branding Creative Director: Steve Hartman

Art Director: Cheryl Bonnet Designer: Alison Trullinger Writer: Julie Taylor


GDUSA 93

Design Firm: Woz Design, Chicago IL Client: LivaNova Title: LivaNova 2019Year In Review Creative Directors: David Wozniak, Ted Stoik Art Directors:

David Wozniak, Ted Stoik Designers: David Wozniak, Ted Stoik

Design Firm: Zack Group LLC, Mt Kisco NY Client: Nestlé Health ScienceTitle: Optifast Post Bariatric Package Design Creative Director: Jeff Zack

Art Director: Kate Gang Designer: Zack Group Design Team

Design Firm: Zack Group LLC, Mt Kisco NY Client: MediNatura Title: CBD-13Package Design Creative Director: Jeff Zack Art Director: Lael Porcelli

Designer: Zack Group Design Team

Design Firm: Zoo Valdes, Columbia SC Client: Medical University of South Carolina Shawn Jenkins Children’s Hospital Title: Animals of South Carolina Art Installation Creative Director: Marius Valdes Art Director: Marius Valdes

Designer: Marius Valdes Illustrator: Marius Valdes


94 GDUSA

From an explosion in online retail to the normalization of remote hiring, thepandemic has permanently changed thebusiness and employment landscape.

In our The Creative Group 2021 Salary Guide, we share the latest

insights on the surge toward digital, the most sought-after creative

skills, and best practices for recruiting and onboarding in the

age of social distancing.

I’d like to highlight key trends included in the guide that can

help you make informed decisions when hiring for your teams.

THE REVOLUTION WILL BE DIGITIZED

The digital economy has been growing for years, but COVID-19

sent it into hyperdrive. Millions of people are now working from

home and relying on the internet for everything from business

meetings and skills training to shopping and fitness classes.

With many of these changes expected to become permanent,

marketing and creative teams are shifting their business models

to focus on digital, including improving customer experience and

online services and redesigning web and mobile applications.

This digital great leap forward is creating new opportunities for

creative and marketing firms, as they help their companies craft

fresh campaigns to promote revamped offerings and gain a

competitive edge. And to do so in our new work environment,

these teams are using new technologies and tools themselves

to collaborate and connect remotely to get the work done.

SKILLS THAT MAKE A DIFFERENCE

Despite economic uncertainty, there is still demand for profes-

sionals with creative skills, particularly in sectors like healthcare,

technology and education. In 2021, the most sought-after skill

areas in design will include:

● Front-end web development

● Graphic design

● Instructional design

● User experience (UX) anduser interface (UI) design

● Video production

CREATIVE WAYS TO HIRE CREATIVES

The pressures of a challenging economy have slowed recruitment,

but smart companies are taking advantage of larger talent pools

by breaking down geographic boundaries to snap up top candi-

dates who can improve their online presence and move their

business forward. To keep up with the times, hiring managers

should consider the following:

● Remote interviews: Many professionals continue to work

from home. If candidates can’t come to the office, hiring man-

agers must (virtually) go to the candidates. Over half (54%)

of employers surveyed for the Salary Guide say they’ve carried

out remote interviews while 95% feel comfortable conducting

a fully remote hiring process.

● A shorter hiring process: Technology is helping to streamline

and speed up recruitment. More interviewers are now using

Applicant Tracking Systems (ATS) to access candidate infor-

mation and give feedback, enabling a more efficient process

than in-person discussions and paper-based documentation.

● Remote onboarding: Proper onboarding is always important

but especially vital when integrating new hires into a remote

team. Without it, newcomers can easily feel isolated and

unsure of their responsibilities. In the absence of in-person

contact, new team members are often now introduced by

video and paired with a mentor who will guide them during

their first few weeks on the job.

● Recruiting remote workers — The shift to remote working

means companies are no longer restricted to talent within

their geographic area and can look further afield to source

hard-to-find skills. That expands the talent pool significantly.

For fast access to salary ranges for creative and marketing

roles, customized by location, use the The Creative Group

Salary Calculator.

EXPECT THE UNEXPECTED

As COVID-19 continues, it’s not surprising that firms remain

cautious about taking on new full-time staff. Many managers

are adopting a flexible staffing model, hiring interim workers to

help with high-priority projects.

It’s all about staying nimble. The pandemic reminds us that dis-

ruption can come out of nowhere, and that improvised solutions

can quickly become the norm. Being prepared for future twists

and turns will not only keep you sharp but also give you an edge

over less proactive competitors.

HIRING FOR 2021? WHAT YOU NEED TO KNOWBY DIANE DOMEYER

DIANE DOMEYER is Executive Director

of The Creative Group, a specialized

staffing service placing interactive,

design, marketing, advertising and

public relations professionals with a

variety of firms. For more information,

visit roberthalf.com/creativegroup


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