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CELEBRATING OUR

GD USA

55TH YEAR

GRAPHIC DESIGN USA

AMERICAN WEB DESIGN AWARDS SPONSORED BY THE CREATIVE GROUP

55TH PRINT DESIGN SURVEY JUNE 2018

SPONSORED BY

THE CREATIVE GROUP 2 Fish Company, LLC Adcetera Alight Solutions Andra Design LLC APT (American Public Television) Argus atCommunications, LLC Auburn University School of Industrial + Graphic Design Back Forty Creative Behavior Design Bernhardt Fudyma Design Group c|change Canary, A Gould Evans Studio Crearé Web Solutions Creating Digital Crown Media Decker Design Dell, Experience Design Group Design Principles, Inc. [D3] Digital Experience, Hilton DMI DOOR3 Drexel University, Interactive Digital Media Echo Design Group Ellen Bruss Design Equity Creative FINE Firmseek Fluke Corporation Fresh Ideas G Design+Communications Gabe Diaz Graphic Design Gaslight GCMD Genworth Mortgage Insurance Gladiator Consulting, LLC Ideas On Purpose IM Graphics Inc.

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Kahala Brands Kitchen Collaborative Knowble Media KUDOS Design Collaboratory Leibowitz Branding & Design Manughian Design MassMutual, studio m Max Marketing Communications McCAY DESIGN Mermaid, Inc. Metropolis Branding MiDESign & Marketing Consultancy MiHyun Kim/Texas State University Monday Creatives MotivAction Neoscape Paradigm Marketing and Design Peter Hill Design Phase 3 Marketing & Communications Pixel Parlor Polaris Industries Premier Communications Group Prime Advertising & Design Ritz Marketing Rule29 Six Ink Smith Design Spectrum Brands - Pet, Home & Garden Division Steers Studios Stephen B. Starr Design Taylor Design temi the personal robot & Roof Studios The Walker Group Think Studio Tortuga Creative Services, LLC Trinity Church Wall Street Wilford Design Inc. World Synergy

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INSPIRED TALENT.

At The Creative Group (TCG), we believe that when your workforce is happy, so is your bottom line. And what makes creative people happy? Inspiration. Those moments when everything clicks and the absolute best idea is dreamed up and written down. We help inspiration strike by placing ridiculously skilled creative, digital, marketing, advertising and public relations professionals in the right role at the right company. The result? Happier creatives, engaged workforces and stronger companies. CONGRATULATIONS TO THE WINNERS OF THE 2018 AMERICAN WEB DESIGN AWARDS!

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AMERICAN WEB DESIGN AWARDS | WEBSITES

Design Firm: 2 Fish Company, LLC, Zeeland MI Title: 2 Fish Company Website Art Director: Scott Millen Designers: Jacob Hansen, Adam Rossi, Lisa Talarczyk, Martin Schoenborn Web Developer: Brandon Gohsman Photographers: Hannah Ziegeler, Barry Elz Illustrator: Jacob Hansen Copywriter: Andrea Pratt Project Manager: Matt Kuczynski

Design Firm: Adcetera, Houston TX Client: RLH Corporation Title: Franchiseasy Website Design Art Director: John Meyer Designer: Hugo Rocha Programmer: Sean Suggs Web Developer: David Loop Photographer: Donnie Vendivel Copywriter: Andrew Miller Director, Motion Services: Michael Castillo

Design Firm: Andra Design LLC, New York NY Client: Altria Group, Inc. Title: Altria 2017 Annual Report Website Art Director/Designer: Andra Hoffman Senior Website Designer: Brianna Meyer Web Developer/Programmer: Nic Scott Photographers: Casey Templeton, Leo Burnett

Design Firm: APT (American Public Television), Boston MA Title: APT Website Redesign Senior Graphic Designer: Samantha Paris Estes Senior Program Associate, Syndication & Premium Service: Erin Bowles Communications and Online Editor, Exchange: Colette Greenstein Vice President, Communications: Jamie Haines Communications Manager: Dawn Anderson Managing Editor, Research and Media: Kerry Taylor Vice President, Technology: Gerry Field Director, Systems: Anand Kavalapara Digital Content Manager: Justin Goltermann

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Design Firm: Argus, Emeryville CA Client: Pharmacyclics LLC Title: Pharmacyclics Corporate Website Art Directors: Jeff Breidenbach, Stephanie Wade Designer: Jeff Breidenbach

Design Firm: atCommunications, LLC, Northbrook IL Client: University of Illinois at Urbana-Champaign Title: Strategic Brand Communication Program Creative Director: Terry Kasdan Designer: Cheryl Peaslee Programmer: Dan Jasker Copywriter: Brooke Bear

Design Firm: Back Forty Creative, St. Louis MO Client: Natural Hope Herbals Title: Natural Hope Herbals Website Creative Directors: Amanda Potts, Miranda Summers Art Director: Miranda Summers Designer: Tim Holdmeier Web Developer: Jim Courtois

Design Firm: Behavior Design, New York NY Client: Children’s Aid Title: Children’s Aid Website Art Director: Mimi Young Designer: Jeff Piazza Web Developers: Jason Nunes, Nilomee Jesrani Illustrators: Tracy Wong, Ian Cunningham Project Manager: Holly Esparrago

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June 2018 Print Survey Impo_SEPT 07 People 6/4/18 11:36 AM Page 60

55TH ANNUAL

PRINT DESIGN SURVEY SPONSORED BY VERSO CORPORATION

GORDON KAYE

PRINT AND TRUST FAKE NEWS, CLICKBAIT, SPAM, DATA MISUSE. WHO AND WHAT CAN YOU TRUST? In 2018, this question strikes at the heart of what is right and wrong with our society, our politics, our media, our commerce, our connectedness. In GDUSA’s 55th annual print and paper survey, the question of trust bubbles to the surface. Understandably so. In an era of fake news, fake solicitations, fake identities, fake imagery, our readers engage in a lively debate as to whether print communications provide a greater degree of credibility for the senders and to the recipient.

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For many, the answer is yes: a quality printed piece is inherently suffused with authenticity. For others, the answer is no: the medium is not the message and a delivery system does not make one more or less credible. And yet for others, the answer depends: on the quality of the piece and the paper it is printed on, the type of message, the nature of the audience. Reality? Perception? Perception as reality? More on this below. More broadly, the debate speaks to how and why print endures in a digital age. GDUSA has been conducting a reader survey about the state of print design for more than ﬁve decades. When print and paper were dominant in graphic design, our surveys got into the weeds: details about projects, presses, papers, practices. Today, print is a choice and an option, and the questions now tend to focus on more existential issues: the role, relevance and purpose of print now and in the near future.

HERE ARE TEN OBSERVATIONS ABOUT PRINT DESIGN IN 2018 GLEANED FROM THE DATA AND COMMENTS. If print is to standout and be special, that

Print remains crucial as to how professional

graphic designers make a living. Fully 98% of respondents say they work in print as part of the mix and that 2-in-3 projects involve a

imposes a special responsibility on creators and producers: superior print design, wellcrafted execution, strategic deployment, sustainable methods matter as much, perhaps

print component.

more, than ever. When print is included as part of the marketing

for critical steps in the process, with roughly 8-in-10 making decisions on paper speciﬁcation and print buying. Designers believe print endures because of its

There are pockets of growth. Package design

mix, designers retain responsibility and control

classic strengths. Foremost among these is tangibility – it is sensual, touchable, physical, real, permanent, and encourages a human

digital clutter. Because print is relatively rare, it has the potential to stand out and be special – fresh, welcome, surprising, disruptive, personal, engaging, meaningful,

a statement that a brand values itself and its customers. These traditional strengths are also magniﬁed

Paper book sales are up a few percent as ebooks falter. There is a small but buzz-y artisanal demand for album covers, paperbacks and other items millennials view as quaint.

piece, so the argument goes, exudes credibility because it feels real and present, springs from a committed and identiﬁable source, and is the result of an act of craftsmanship. In a related thought, selective use of print

Despite the many positives noted above,

lends itself to certain audiences and offerings where communication needs to be retained, contemplated, touched or trusted: luxury

everyone understands that print is now a role player. Slightly more survey respondents say they are doing slightly more print work, but we also record a modest decline, once again,

in the percentage of projects and the percentage of time spent on print by designers. This is part and parcel of the challenges that confront the overall commercial print industry, which has spent years trying to ﬁnd its ﬂoor. The move to social media as a primary adver-

the electronic communications we receive, to institutions on which we rely. A quality printed

other traditional print areas. Digital short-run printing is valued for its ability to target and

by a general lack of trust in everything from the companies with which we deal, to the

impacted by online communications than

customize. Cards and invitations make a personal statement.

connection often missing in the virtual world. These classic strengths are ampliﬁed by the

is robust since the need for packaging is less

tising and marketing vehicle is accelerating. Despite a mix of fear and loathing, media decisionmakers have accepted the tradeoff. They recognize that social media is “where

the eyeballs are” and see the Facebook and Google duopoly, in particular, as compelling because of the ease and affordability of targeting consumers. Happily or grudgingly, brands and products are voting with their feet to the detriment of legacy media and even to forward-facing digital media companies like Vice, Buzzfeed and Vox Media.

goods, premium services and expensive purchases are a few of the commonsense examples.

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EDUCATORS

TO WATCH 70 G D U SA

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LAST YEAR, AS A COMPLEMENT TO OUR PERENNIAL AND POPULAR SPECIAL REPORTS — “PEOPLE TO WATCH” (INFLUENTIAL PROFESSIONAL CREATIVES) AND “STUDENTS TO WATCH” (RISING GRADUATES OF NOTE) — WE ADDED AN ANNUAL “EDUCATORS TO WATCH” FEATURE TO OUR MIX.

| THE REASON | Design education and educators have more influence than ever on the fast-changing shape of design, media and culture. This is certainly true of the 2018 group, who run the gamut from legends to relative newcomers, from full-timers to adjuncts, from teachers to administrators, and from those who planned a teaching career and those who found it by serendipity.

| THE COMMON THREAD |

These are people who are making a difference to their students, schools and community.

NIKKI JUEN

VERMONT COLLEGE OF FINE ARTS Nikki Juen is an artist, designer, and educator interested in the spaces where these practices overlap. She is Co-Chair of the MFA in Graphic Design at Vermont College of Fine Arts and an instructor in the Division of Experimental and Foundation Studies at Rhode Island School of Design. In Juen’s design studio Happymatter she partners with individuals and cultural institutions to develop an attentive and holistic understanding of their intention, function, and efficacy. Juen recently spoke in Chicago on International Women’s Day as part of the American Institute of Graphic Arts initiative, Women in Design: Leading with Intent and Integrity. Juen’s collective, Public Displays of Affection (PDA) is a collective of artists, designers, educators, and organizers that engage in nonviolent direct art action. Their actions start with hope and aim to build communities that thrive on intersecting relationships. To resist misogyny, sexism, and exclusion they practice rematriation and believe interconnectivity is essential in honoring the earth and all living beings.

HOW AND WHY DID YOU DECIDE TO MAKE EDUCATION A MEANINGFUL PART OF YOUR CAREER? Teaching is a lineage and by entering into larger conversations about art, design, history, culture, humanity, and education I have encountered mentors who have changed my life in blinding instances. Luckily, I listened long enough to catch on. My teachers and mentors, who all taught from a perspective of love[s] are: Elise Curry, Malcolm Grear, Jan Baker, Matthew Monk, Dr. William K. Mahony, Dr. Marie Shurkus, and the entire faculty of the MFA in Graphic Design at VCFA remind me regularly that teaching is centered in listening and that all designers are educators and educating in one way or another. HOW DO YOU BALANCE THE TEACHING OF FUNDAMENTALS WITH THE NEED TO RESPOND TO A FAST-CHANGING WORLD OF MEDIA, TECHNOLOGY AND CULTURE? I recognize that balance is equivalent to change and remember that the most important tool in the equation is the human body. Wellness and community building are essential tools in resistance to fast-changing worlds. To teach from this perspective is to open space to student-centric learning, respect of differences, and to value and encourage personal agency.

PDA collective stands in solidarity with a chorus of voices from all socio-economic, geographic, religious, and ethnic backgrounds, including indigenous communities, people of color, people with disabilities, and LGBTQ+ communities.

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June 2018 Logolounge_feb news play 6/4/18 11:55 AM Page 88

LOGOLOUNGE THE 2018 LOGO TREND REPORT BY BILL GARDNER, FOUNDER AND PRESIDENT, LOGOLOUNGE.COM

This year’s logo trends were influenced by a pendulum shift that’s starting to swing from clean, modern aesthetics toward curvy, retro designs that reflect a new attitude through color and embellishments. Any time we look at trends, we tend to see that there is a pendulum

like red shifting toward red-orange, in essence making a new color.

that is swinging. For instance, it’s not uncommon to see an evolu-

People now recognize gradients as colors. This is a trend that will

tion from a flat logo to something dimensional or vice versa. But

continue to shift and grow.

over the last three years in particular, from a typography standpoint, we’ve seen a transition toward very austere sans serif logos. Google flipped from a serif font to a sans serif, and other major brands like Verizon, Calvin Klein, and Century 21 did the same. Part of what’s going on here is this idea of clarifying the message and conveying transparency. Unfortunately, it also strips these brands of any personality when it becomes too sterile. However, this year, the pen-

All three of these movements work together as nostalgia swings the pendulum through different decades and influences color choice and customization. You’ll see a vast array of these examples throughout the report. It’s important to note that trend is not a bad word, and it doesn’t

dulum is starting to swing in the other direction as a direct reaction.

equate to trendy, as in here today, gone tomorrow. The logos featured

When everyone moves to this level of simplicity, designers counter

of it is experimental, which ultimately pushes design to the next

it with some embellishment. Very expressive logos are making a

evolution. We all live by trends — whether it’s fashion, food, or

comeback, which is a direct result of nostalgia or reboots. We’ve

design. We like them and we adopt them because they make life

seen it played out on the big screen in Ready Player One and on

more diverse and fun, even as they evolve and change. The key

the small screen in Stranger Things. There’s a thirst for nostalgia and

takeaway from this is not to imitate, but to find a way to push these

this hearkening to past decades. Designers are dusting off their old

ideas forward and make them your own.

here are on the outer-edge, influencing the next big thing. Much

font folders, going back to designs that were popular in the ’70s, ’80s, and early ’90s. Letters with big, expressive serifs, similar to a man having a mustache — it’s an added embellishment that changes

ABOUT THE 2018 LOGO TREND REPORT

the viewer’s perspective, perhaps recalling a different time period,

2018 marks the 16th year of this report and again offers us the

but done in a uniquely new way, with modern influences. Millennials

opportunity to literally review thousands upon thousands of logos

are most responsible for bringing these trends back into play, and

one at a time looking for the nuances and artifacts of emerging

you see it everywhere with the resurgence of tiki bars and speakeasys,

trends. As we acknowledge that each design represents hours and

and custom products like shaving kits for men. By going backwards,

hours of thought and struggle from designers around the world, we

you can pick and choose what you want to bring forward and blend

are as humbled and awed as ever by their dedication to the craft

it with contemporary aesthetics. I’ve seen a lot of brands doing

and grateful for the important role they play in helping us create

this successfully, and I think it’s just the beginning.

these reports. So thank you to all of the designers who have and

Color expectations have also changed dramatically. Because color mostly lives onscreen, there is a greater intensity in color range because it’s being projected. Colors are merging and blending, and

will contribute to the Trend Reports then, now, and for years to come. A special thanks to that group of designers we lean on for their personal observations and guidance included here within.

gradients are now part of our color dialogue. A lot of this has to do

For an even deeper look at this year’s trends, visit our learning

with apps like Instagram — which, in fact, has a gradation as part

course on LinkedIn Learning (formerly Lynda.com).

of its logo. That’s an extreme example, because it runs the gamut from yellow to pink to purple, but most gradients are very subtle

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TUMBLED Much as a tide and time can dull the sharpest corner of stone or random shard of glass, designers are tossing the occasional mark into the wash for one last tumble before presenting to clients. This is a bit like over-easing the edges before handing off a newly minted bobble to a child. Guaranteed, there will be no eyes poked out in the handling of these logos. The key phrase here is not easing, it’s over-easing. There is a certain level of finish that occurs when knocking back a sharp corner, but in over-amplifying the effect, designers are delivering an entirely different message. A friendlier, more approachable mark is crafted, but by applying this effect, the designer assures the consumer a certain level of implied simplicity. The mark represents a process, product, or service that’s been tested and worn in to remove any unfriendly burrs. Simplicity of initial design is imperative as a starting point, and you may notice most of these are a single-color solution. Reduction of tumbled logos never create screen challenges as a computer’s process of simplifying detail has already handled it. As friendly as these are to consumers, clients should have reasoning in mind when asked, “Why so round?” How much you should ease a corner can be like the fine line between a healthy tan and someone who’s over-baked on the tanning bed.

01D, GREATPLACE

SEAN HEISLER, CUBEDHOST

ORTEGA GRAPHICS, FLEXATIK (UNUSED)

BEN DOLEZAL DESIGNS, MOUNTAINSIDE OUTDOOR SUPPLY

PARALLELOGRAM One of the tenets of logo design is that forward motion means up and to the right. It’s the direction you want your investments, or your production to take if you’re looking at a graph. It’s the difference between gazing up to the future or glancing back at the past. So, what a surprise to discover a flurry of up and to the right parallelograms littered throughout this year’s field of work. And though the symbolism is not unexpected, the sheer number of them is. And the puzzlement of this discovery is only matched by the diversity of applications. The nature of the oblique shape gives it a sharp, aggressive attitude. An element captured in motion and perfect in form to serve as a vehicle for type or as a passenger to accent a larger message. Note the parallelogram in the lead role with Carling or as a demure accent on the “i” in Stripe. Or taking on a number of configurations to speed other solutions to the fore. A remnant of Spartan attitude remains in this trend that leaves no home for embellishment. All of these are clean, to the point solutions that signal “up and to the right” as their clients’ mantra.

BRANDOPUS, CARLING

TIMES NETWORK, MNX

STRIPE IN-HOUSE, STRIPE

FEEDMEE DESIGN, ZDF NEO

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