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GDUSAGRAPHIC DESIGN USA
GDUSA
www.gdusa.com
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 gkaye@gdusa.com.
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.
October 2020 Pub Letter-Focus Impo_feb news play 10/13/20 9:04 AM Page 2
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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 + BusinessDevelopment201.485.8720212.696.4380randriani@gdusa.com
Gordon Kaye Publisher212.696.4380gkaye@gdusa.com
COPYRIGHT 2020 BY KAYEPUBLISHING CORPORATION
GDUSAGRAPHIC DESIGN USA
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
GDUSAGRAPHIC DESIGN USA
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,
to innovative converting and specialty papers.
This edition is printed on Cougar® 70 lb. Text, Smooth Finish manufactured by Domtar.
Renowned for its refined velvety surface, Cougar® encompasses a vast line of expertly crafted
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
for graphic designers “especially in these challenging times, trust is a critical factor in when
developing brand loyalty and making a purchasing decision for the company you work for and
the brands you represent . . . Cougar and Lynx papers from Domtar offer you and the brands
you represent, expert craftsmanship, reliability and peace of mind. Your reputation is important.
Trust Domtar papers to deliver memorable results with quality and values you can trust.”
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October 2020 TOC_SEPT 07 TOC/Staff 10/13/20 9:23 AM Page 6
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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
october 2020 fresh impo_feb news play 10/13/20 9:10 AM Page 8
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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
october 2020 fresh impo_feb news play 10/13/20 9:11 AM Page 10
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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
october 2020 fresh impo_feb news play 10/13/20 9:11 AM Page 12
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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
october 2020 fresh impo_feb news play 10/13/20 9:12 AM Page 14
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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
october 2020 fresh impo_feb news play 10/13/20 9:20 AM Page 16
© 2020 Adobe. All rights reserved. Adobe and the Adobe logo are either registered trademarks or trademarks of Adobe in the United Statesand/or other countries. All other trademarks are the property of their respective owners.
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Expect the unexpected.
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oct20ads_Layout 1 10/13/20 9:46 AM Page 17
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
october 2020 fresh impo_feb news play 10/13/20 9:14 AM Page 18
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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
october 2020 fresh impo_feb news play 10/13/20 9:15 AM Page 20
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Refer to Req# & mail resume and portfolio/link to portfolio to Apple Inc., ATTN: D.W., 1 Infinite Loop 104-1GM,
Cupertino, CA 95014:
11.. DDeessiiggnneerr UUXX//UUII ((RREEQQ##55667799339966)) Comncate desgn concpt ideas thrgh sktchs & wirefrmes, using tools such as Sketch, Photoshop, and Keynote.
Apple is an EOE/AA m/f/disability/vets.
VISIT OUR WEBSITE FOR DAILY DESIGN NEWS
WWW.GDUSA.COM
PEOPLE
PROJECTS
IDEAS
EVENTS
PRODUCTS
g 6/9/20 9:32 AM Page 1
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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
october 2020 fresh impo_feb news play 10/13/20 9:21 AM Page 22
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
october 2020 fresh impo_feb news play 10/13/20 9:21 AM Page 23
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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
October 2020 Pub Letter-Focus Impo_feb news play 10/13/20 9:05 AM Page 26
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
October 2020 Pub Letter-Focus Impo_feb news play 10/13/20 9:06 AM Page 27
28 GDUSA
RESPONSIBLEDESIGNERS TO WATCH
DESIGNING FOR GOODSPONSORED BY DOMTAR
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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
october2020responsible_Layout 7 10/13/20 8:50 AM Page 29
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
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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
october2020responsible_Layout 7 10/13/20 8:50 AM Page 32
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.
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 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.
october2020responsible_Layout 7 10/13/20 8:51 AM Page 33
34 GDUSA
2020 | RESPONSIBLE DESIGNERS TO WATCH
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.
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 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.
GIVEN THE CONFLUENCE OF EVENTS
AND CHALLENGES WE FACE THIS FALL,
DOES 2020 PRESENT ANY SPECIAL
OPPORTUNITIES, URGENCIES,
OBSTACLES TO DESIGNING FOR GOOD?
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.
october2020responsible_Layout 7 10/13/20 8:51 AM Page 34
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.
GIVEN THE CONFLUENCE OF EVENTS
AND CHALLENGES WE FACE THIS FALL,
DOES 2020 PRESENT ANY SPECIAL
OPPORTUNITIES, URGENCIES, OBSTACLES
TO DESIGNING FOR GOOD?
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.
october2020responsible_Layout 7 10/13/20 8:51 AM Page 35
36 GDUSA
2020 | RESPONSIBLE DESIGNERS TO WATCH
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,
DOES 2020 PRESENT ANY SPECIAL
OPPORTUNITIES, URGENCIES, OBSTACLES
TO DESIGNING FOR GOOD?
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.
october2020responsible_Layout 7 10/13/20 8:52 AM Page 36
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.
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?
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.
GIVEN THE CONFLUENCE OF EVENTS
AND CHALLENGES WE FACE THIS FALL,
DOES 2020 PRESENT ANY SPECIAL
OPPORTUNITIES, URGENCIES, OBSTACLES
TO DESIGNING FOR GOOD?
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.
october2020responsible_Layout 7 10/13/20 8:52 AM Page 37
38 GDUSA
2020 | RESPONSIBLE DESIGNERS TO WATCH
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.
GIVEN THE CONFLUENCE OF EVENTS
AND CHALLENGES WE FACE THIS FALL,
DOES 2020 PRESENT ANY SPECIAL
OPPORTUNITIES, URGENCIES, OBSTACLES
TO DESIGNING FOR GOOD?
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.
october2020responsible_Layout 7 10/13/20 8:52 AM Page 38
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.
GIVEN THE CONFLUENCE OF EVENTS
AND CHALLENGES WE FACE THIS FALL,
DOES 2020 PRESENT ANY SPECIAL
OPPORTUNITIES, URGENCIES, OBSTACLES
TO DESIGNING FOR GOOD?
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.
october2020responsible_Layout 7 10/13/20 8:53 AM Page 39
40 GDUSA
2020 | RESPONSIBLE DESIGNERS TO WATCH
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.
GIVEN THE CONFLUENCE OF EVENTS
AND CHALLENGES WE FACE THIS FALL,
DOES 2020 PRESENT ANY SPECIAL
OPPORTUNITIES, URGENCIES,
OBSTACLES TO DESIGNING FOR GOOD?
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
october2020responsible_Layout 7 10/13/20 8:53 AM Page 40
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.
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 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.
GIVEN THE CONFLUENCE OF EVENTS
AND CHALLENGES WE FACE THIS FALL,
DOES 2020 PRESENT ANY SPECIAL
OPPORTUNITIES, URGENCIES, OBSTACLES
TO DESIGNING FOR GOOD?
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.
october2020responsible_Layout 7 10/13/20 8:53 AM Page 41
2020 | RESPONSIBLE DESIGNERS TO WATCH
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.
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?
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.
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 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
october2020responsible_Layout 7 10/13/20 8:54 AM Page 42
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.”
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?
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.
GIVEN THE CONFLUENCE OF EVENTS
AND CHALLENGES WE FACE THIS FALL,
DOES 2020 PRESENT ANY SPECIAL
OPPORTUNITIES, URGENCIES, OBSTACLES
TO DESIGNING FOR GOOD?
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
october2020responsible_Layout 7 10/13/20 8:55 AM Page 43
44 GDUSA
2020 | RESPONSIBLE DESIGNERS TO WATCH
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.
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?
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.
GIVEN THE CONFLUENCE OF EVENTS
AND CHALLENGES WE FACE THIS FALL,
DOES 2020 PRESENT ANY SPECIAL
OPPORTUNITIES, URGENCIES, OBSTACLES
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.
october2020responsible_Layout 7 10/13/20 8:55 AM Page 44
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.
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?
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.
GIVEN THE CONFLUENCE OF EVENTS
AND CHALLENGES WE FACE THIS FALL,
DOES 2020 PRESENT ANY SPECIAL
OPPORTUNITIES, URGENCIES, OBSTACLES
TO DESIGNING FOR GOOD?
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.
october2020responsible_Layout 7 10/13/20 8:55 AM Page 45
46 GDUSA 46 GDUSA
2020 | RESPONSIBLE DESIGNERS TO WATCH
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.
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?
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.
GIVEN THE CONFLUENCE OF EVENTS
AND CHALLENGES WE FACE THIS FALL,
DOES 2020 PRESENT ANY SPECIAL
OPPORTUNITIES, URGENCIES,
OBSTACLES TO DESIGNING FOR GOOD?
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.)
october2020responsible_Layout 7 10/13/20 8:55 AM Page 46
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.
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?
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.
GIVEN THE CONFLUENCE OF EVENTS
AND CHALLENGES WE FACE THIS FALL,
DOES 2020 PRESENT ANY SPECIAL
OPPORTUNITIES, URGENCIES, OBSTACLES
TO DESIGNING FOR GOOD?
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.
october2020responsible_Layout 7 10/13/20 8:56 AM Page 47
48 GDUSA
2020 | RESPONSIBLE DESIGNERS TO WATCH
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.
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?
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.
GIVEN THE CONFLUENCE OF EVENTS
AND CHALLENGES WE FACE THIS FALL,
DOES 2020 PRESENT ANY SPECIAL
OPPORTUNITIES, URGENCIES,
OBSTACLES TO DESIGNING FOR GOOD?
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.
october2020responsible_Layout 7 10/13/20 8:56 AM Page 48
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.
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?
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.
GIVEN THE CONFLUENCE OF EVENTS
AND CHALLENGES WE FACE THIS FALL,
DOES 2020 PRESENT ANY SPECIAL
OPPORTUNITIES, URGENCIES, OBSTACLES
TO DESIGNING FOR GOOD?
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.
october2020responsible_Layout 7 10/13/20 8:56 AM Page 49
50 GDUSA
2020 | RESPONSIBLE DESIGNERS TO WATCH
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.
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?
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.
GIVEN THE CONFLUENCE OF EVENTS
AND CHALLENGES WE FACE THIS FALL,
DOES 2020 PRESENT ANY SPECIAL
OPPORTUNITIES, URGENCIES, OBSTACLES
TO DESIGNING FOR GOOD?
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.
october2020responsible_Layout 7 10/13/20 8:57 AM Page 50
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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
2020 health + wellness awards_feb news play 10/13/20 1:57 PM Page 53
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
2020 health + wellness awards_feb news play 10/13/20 1:57 PM Page 54
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
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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
HEALTH + WELLNESS DESIGN AWARDS
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
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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
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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
HEALTH + WELLNESS DESIGN AWARDS
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
2020 health + wellness awards_feb news play 10/13/20 1:59 PM Page 58
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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
2020 health + wellness awards_feb news play 10/13/20 1:59 PM Page 59
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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
HEALTH + WELLNESS DESIGN AWARDS
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
2020 health + wellness awards_feb news play 10/13/20 1:59 PM Page 60
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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
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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
HEALTH + WELLNESS DESIGN AWARDS
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
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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
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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
HEALTH + WELLNESS DESIGN AWARDS
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
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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
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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
HEALTH + WELLNESS DESIGN AWARDS
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
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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
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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
HEALTH + WELLNESS DESIGN AWARDS
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
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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
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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
HEALTH + WELLNESS DESIGN AWARDS
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
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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
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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
HEALTH + WELLNESS DESIGN AWARDS
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
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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
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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
HEALTH + WELLNESS DESIGN AWARDS
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
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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
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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
HEALTH + WELLNESS DESIGN AWARDS
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
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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
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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
HEALTH + WELLNESS DESIGN AWARDS
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
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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
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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
HEALTH + WELLNESS DESIGN AWARDS
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
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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
2020 health + wellness awards_feb news play 10/13/20 2:41 PM Page 81
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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
HEALTH + WELLNESS DESIGN AWARDS
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
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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
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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
HEALTH + WELLNESS DESIGN AWARDS
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
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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
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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
HEALTH + WELLNESS DESIGN AWARDS
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
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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
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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
HEALTH + WELLNESS DESIGN AWARDS
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
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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
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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
HEALTH + WELLNESS DESIGN AWARDS
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
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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
2020 health + wellness awards_feb news play 10/13/20 2:10 PM Page 91
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
HEALTH + WELLNESS DESIGN AWARDS
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
2020 health + wellness awards_feb news play 10/13/20 2:10 PM Page 92
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
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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
October 2020 Pub Letter-Focus Impo_feb news play 10/13/20 9:03 AM Page 94
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