Perhaps I’m well practiced. Not at taking up new jobs, but at taking on newness. Part of the design process is embracing the unknown, accepting that we don’t know everything, and being comfortable at diving in to figure things out. I don’t really know much about far-flung topics like firefighting equipment, Cuban culture, or workforce education, but these are the worlds of our clients that I need to represent. And since part of my role as a designer and communicator is relating what’s really important about those things to other people, I get right to work at understanding all of that “newness.” In fact, it’s one of my favorite parts of the job.

Being new at things is something most of us shy away from:

• What’s familiar is comfortable, and we tend to embrace, identify with, or even cling to those things we know we’re good at.
• We avoid practices that take time and effort—hey, I’m busy here!
• We learn that failing is bad, and overcoming newness implies an awful lot of stumbles along the way.
• We love to feel smart, and confronting newness’s lesson that “maybe we don’t know, maybe we’re even incompetent!“—is scary and to be avoided.

But getting comfortable doing the same thing all the time is no strategy for business growth and especially not in the (pardon the cliché) current economic climate. Eventually, it will be time to try something new, like it or not. So, embrace it! And find partners who are adept at new ideas and can not only make newness profitable but occasionally, well, fun.

3D Printing on YouTube

My good friend Dan recently shared this incredible video about 3D Printing. I am familiar with 3D printing—in fact my engagement ring was made possible through the use of a 3D printer—but I had never stopped to think about the possibilities. What really amazed me was that this printer can create moving parts. Genius!

They mention space in the video and I can only imagine that astronauts must need to pack every tool imaginable in case of potential problems while in space. With a printer like this all they would need is a computer file and if need be they could print the tool on demand. Not only is that a space saver but such a sense of security as well.

Now all I want to do is own a 3D printer. I am told that this sounds something like the Makers from the futuristic comic Transmetropolitan:

Makers are great. No argument. You turn to your maker and say, “Give me a roast dog leg, tossed salad, a black linen shirt, and a taser,” and bang, out it all comes. Makers aren’t particularly bulky, nor power-thirsty, and an average middle-class family can afford a good one.

But.

Makers are designed to operate with base blocks—superdense chunks of neutral matter which the maker breaks down and recombines into whatever you’ve requested. And base blocks are horrendously expensive. Out of a middle class family’s price range. So the stores sell a converter that allows the maker to use ordinary garbage as the base. Not as efficient, and the mileage stinks, but there you go.

Which leads me to the city’s new pest. Middle class families raiding the backyards of the lower classes for garbage—because if you’ve got a maker, you don’t make garbage. Only those without makers buy prepackaged food and clothing… Transmetropolitan #2, “I Hate It Here”

The predicted future from a comic book could become our reality? Given a 3D printer can not produce a tossed salad, it still has a vast array of objects it can create.

So say that these printers become affordable and a part of our everyday life, like computers and cell phones; what will this mean for the brand names that manufacture the products we are now able to print at home? Will this push brands to create higher quality products? Will it force them to reduce their prices drastically? Perhaps their business will completely change and instead of selling us the finished product we will purchase Craftsman 3D printer files from their website, from the comfort of our own homes.

Also, imagine the reduction of waste if this printer material is recyclable. Or the impact this may have on the global economy and products imported from foreign countries. Could this be the next technology to change our everyday lives?

1. Fonts for Websites: Probably the #1 complaint of web designers is being forced to use web-safe fonts in an HTML environment, selection of which is extremely limited (14 to be exact). Much to my joy Typekit and Fontdeck were introduced as solutions to this limited number of web-safe fonts problem. These handy websites make it possible to use non-web safe fonts with a simple line of code. They way they work is that sign up and basically subscribe to their font library which are pretty expansive.  I have had the opportunity to use Typekit and was extremely satisfied with the results. It is a great way to enhance websites and a fantastic step forward for the future of web design.

2. Letterpress: Letterpress is like the little engine that could. As much as people tout that print is dead, letterpress manages to keep paper looking elegant and worthy of simple and beautiful design. Letterpress is a type of printing that involves pressing an inked letter or pattern block into a piece of paper leaving behind an impression in the paper. The effect is subtle but this unique aesthetic continues to be showcased on business cards, packaging and invitations as the go-to method for making the “best impression.”

3. Apple continues to pave the way: The iPad is the biggest selling gadget of last year, selling over 8 million of them. These touch screen tablets have been an overwhelming success for Apple. The minimal and sleek design seems to really resonate with consumers and has raised the bar as far as product design goes (it doesn’t hurt that the technology encased inside is incredible too). Along with this surge of tablets, designers and developers are continually coming together to create smart and intuitive interfaces and apps. The increased use of mobile devices (cell phones and tablets) is a growing trend and products will only continue to get smaller and faster.

4. Great design in product packaging: Packaging continues to be in my opinion, some of the most innovative and best design out there. As competition on the shelf heats up and consumers gravitate more towards the picking products based on design and packaging. Studies have shown that if two items are similarly priced, the consumer will purchase the one that has a better design. Brands such as Mrs. Meyers, Bausch + Lomb, Archer Farms continue to breakaway from conventional types of packaging and design. Check out the Dieline for a fantastic showcase and resource for packaging design.

5. Typography for Lawyers: This is a great website that does an excellent job of explaining typography in a thoughtful and practical way. It also gives a great overview on how to make documentation look better. It’s refreshing to see recognition of typography by the professional set and not just designers.

6. 30 Conversations on Design: This website is a great resource that is both inspiring and intriguing to watch. It centers around what 30 of the top designers answer is to a themed question.

Black Swan
There were two very different posters done for this movie. The above is the one released stateside. It is a straight-on shot of a red-eyed Natalie Portman in full black swan regalia with an enigmatic Mona Lisa smile set against a highly contrasting white background. The contrast is interesting, maybe representing being in the spotlight or the innocence of ballet. Or maybe it’s just a juxtaposition of color used to emphasize the heavy make-up and sinister expression. Either way, it’s a good representation of the movie. Rating 4/5

In addition, there was a second set of limited edition, art deco-inspired posters released internationally. (The film wasn’t released outside of the U.S. until after the new year). There were a total of four posters in this series, all of which I think were beautifully done and a testament to the power of good design. They are simple but well executed with a three-color palette of black, red and cream, interesting typography and clever illustrative use of negative space that captures different aspects of the movie. Rating 5/5

The Fighter
This poster was one of my least favorites. With such a powerful title and two big name movie stars, it wasted so much potential. The photography of Mark Wahlberg and Christian Bale leaning against the ropes of a ring looking slightly pensive and uninterested is underwhelming. If a picture is worth a thousand words, there is only one that comes to mind, boring. The photography could have been far more interesting and dynamic. The same goes for the typography. With a two word title like this, it could have been more creatively executed with something more bold and unique. The whole look is too safe, uninspiring and lacking a fighting spirit. Rating: 1/5

Inception
The poster for this interesting and mind-bending movie was well-done. It does a good job of capturing the look and feel of the movie with the foreboding use of the grays and blues. The movie title is creatively executed so that it is mimicking the other buildings. This movie had multiple posters, but this one was by far my favorite. It represents the movie well, is smart and well executed. Rating: 5/5

127 Hours
This poster does a great job showcasing the spirit of adventure and creating a visual tension for the  protagonist. Caught precariously between two rock formations, its as if to say he is between “a rock and a hard place.” (Which from my understanding is an underlying theme to of movie.) The photography is well chosen with the gorgeous colors of the sunset as a backdrop. I liked the fact that there was tagline of  “Every Second Counts;” it is a nice addition. Rating: 4/5

The King’s Speech
This poster leaves a lot to be desired. The three main characters are shown, but the fact that they are looking in different directions eliminates any connection between them. The choice of photography is questionable and unflattering. Since the story is based on royalty, they should look far more dignified and refined. I also don’t understand the clouds in the background. Something denoting the war might have been a better choice considering the film is set during war time. I think that this poster lacks any real thoughtfulness or creativity. It looks like a period-piece poster template from the mid-90′s. Rating: 1/5

The Social Network
The “Facebook” movie poster is interesting. The type over the face of the main character makes it look much more like a book cover then a movie poster. The statement is provocative and is a good tease to the movie’s theme. The type over the face may also serve as a visual metaphor for the main character taking up an endeavor that completely overtakes him, for better or worse. The Facebook-branded sidebar on the right of the poster, however, is unnecessary and out of place. If the poster was trying to emulate a Facebook page that would have been a good solution but combining the two different themes certainly doesn’t work. Rating: 2.5/5

The Kids Are All Right
This poster is all right. The type being front and center is nice and the color palette is smart. The blue and yellow go nicely together and provide an overall cheery outlook.  The photo shows the family from the movie gathered around a meal smiling and laughing. This is slightly misleading since the theme of the movie is centered around the “alternative family.” This photo does not really capture that and I can’t help but wonder if that is because they didn’t want to emphasize the sensitive topic of same-sex parents. I think I would have rather seen an illustrated solution for this poster. It could have been a more creative and clever way to explain the premise of two lesbian parents and their children who go looking for their biological dad. Rating: 3/5

Toy Story 3
The Toy Story brand is very well established. For its third installment, the poster is fantastic. It includes all of the toys that are included in the movie with our heroes, Buzz and Woody atop holding the number 3. Visually there is a lot to take in reminding me of one of those arcade games that is a filled with toys and has a mechanical “claw” to pick them up. Overall it is a fun and colorful poster for a beloved movie franchise. Rating: 4/5

True Grit
The poster is a straightforward typographical solution. The Western theme is clear with the bold use of type and yellowed paper. The bleeding bullet hole is an interesting element, foretelling gun play. The movie type could have gone on the top and the actors’ names could have been smaller and possibly depicted through daguerreotype photography that was common at that time. Overall, it’s a good poster, but it could have been better. Rating: 3/5

Winter’s Bone
This independent movie has a very mainstream feel to its poster. The overall mood is dark and serious. The premise of the movie is that the main character is looking for her dad, and I think that is shown well here. She certainly looks like she is in search of something. Overall, I think that the poster is well done. I especially like the silhouette lining of trees as it does a great job of breaking up the space into an interesting v-shape.  Rating: 4/5

2011 Oscar Winner of the Best Movie Poster goes to: Black Swan for their illustrated poster series

Rahm Emanuel

With his ties to Washington, the Obama campaign and his deep political history with the city, Rahm Emanuel is considered by many as the front-runner. From a branding perspective, he certainly has the lead.

What is good: The logo is well-done and refined.  The website is polished, well-designed and robust as far as content and functionality are concerned. The background consists of memorable Chicago landmarks including the L, the Art Institute, the Merchandise Mart and the iconic Chicago bungalow. The layout is user-friendly with design elements and colors that are consistent and well executed. The homepage consists of a series of videos that allow users to watch testimonial videos singing Emanuel’s praises as soon as you land on the page, which is smart and strategic in this video age. The subsequent internal pages are full of relevant information and have the usual politician + noun (insert baby, senior citizen, everyman) photography.

Overall the website gives you a lot of information but it is laid out in a way that is not overwhelming. Though Emanuel is known for his “take-no-prisoners style” when it comes to politics, this attitude is certainly not reflected in his well-executed brand.

Carol Moseley Braun

Carol Moseley Braun was the first and only African-American Senator and now the race’s sole female candidate.  Though her legacy has been tarnished by scandal, she seems to re-invent her image with a well-done brand. Her logo, which is nothing head-turning, simply states “Carol for Chicago” which seems like a pretty bold move (perhaps she is taking a page from Hillary Clinton’s playbook).   She is noticeably the only candidate who didn’t borrow elements from the Chicago flag.

What is good? Moseley Braun’s site is bright and bold. The “Did You Know…” section is engaging due to its rotating nature – a smart and effective way to show achievements. The headlines, colors and design elements are all consistent and well done.

What could’ve been better: The width of the actual website is too narrow.  The background could have been utilized better with either images or a side bar/callout of some sort.

Overall the site is solid and refreshing.  The big bold headlines work well with the thick lines and the content was current and informative.

Gery Chico

Gery Chico has long been a Chicago political insider.  His resume is long and filled with key positions in many important Chicago institutions. He has a lot of support and money, so my expectation was that his brand would have been better.

What is good? The photos of him look professional and the accompanying video ads are well done. The best features of the site are the countdown ticker and the fact that he is the only candidate that has his site in Spanish, Polish and Chinese – key in a diverse city like Chicago.

What is bad? The multi-lingual sites require a Microsoft Silverlight install which if you didn’t speak English would make the translated site unusable. When “Issues” is selected, instead of going to an internal page, you get a 1.5 MB multi-page PDF.  This seems like a gaffe considering the abundance of mobile users. On the bottom of the page there is city skyline illustration that is filled with some miscellaneous houses that look awful.  Finally his tagline is treated like an afterthought, tucked in at the bottom of the site where a footer would normally go.

What could’ve been better: His logo is too spread out and does not highlight Chico’s name very well.  Considering the only place this campaign is relevant is Chicago, the City of Chicago in the logo is a waste of space. His website is missing any sort of hierarchy – the biggest graphics on the page are for voter registration and current news which is a mistake.  The focus should be on Chico, why people should vote for him and donations.

Overall the brand lacks professional polish. Both the logo and the website look generic and cut and pasted together.  The usability and functionality of his site is sorely lacking.  This all  reflects badly on a candidate that otherwise has an exceptional record of public service and is one of the most professional of the bunch.

Miguel Del Valle

Del Valle has been part of Illinois politics for over two decades and was the first to announce that he was running for mayor and get his website launched. This hurried approach combined with his refusal to accept campaign contributions from companies that do business with the city, may be a good reason why his brand looks haphazardly thrown together.

What is wrong? His tagline “A Mayor for All of Chicago For Every Neighborhood” needs editing.  Which is it? For All of Chicago or For Every Neighborhood? Pick one and go with it. The website is disorganized.  All of the design elements seem to contradict each other.  The wave element at the top of the page does not go with the rest of the very rectangular design elements.   Additionally the distressed font used in some parts of the page isn’t consistent with the logo.

What could’ve been better: His logo is ill-paired with inconsistent typography on the website. The information on the site seems truncated, requiring the user to go to a different page to read the rest of it. The color palette does not work.  There are at least five different blue colors used, a shifting scale of grey, and a mis-matched red accent color.

Overall the site is not well put together.  There is potential with the bold Chicago blue color and the distressed lettering but poor execution makes for an inconsistent brand and fragmented presentation.

We live in a time where branding and a professional web presence have never been more important. With people’s attention spans diminishing, first impressions are everything.  While a logo and website alone may not win a political race, candidates need to keep in mind that their website is the most accessible piece of information that the general public has.   As such, they need to be treated with the same professionalism, expertise and knowledge that they give to any other part of their campaign – give it priority, think through it strategically and most importantly, hire professionals.

“Look what design can do for you” Award
Artyarns: A re-designed Artyarns logo came to light from it’s participation in American Express’s Project RE:Brand, where three small businesses were paired with a design firm in order to re-brand their company. Not unlike what we do here at Blue Daring. This particular initiative provided good coverage on the entire process of re-branding, from showing how business owners work with design experts to defining and executing what they want their brand to communicate. The result is a great logo and a good way for people, especially business owners to understand the impact and value of professional design.

“Social Networking brand refresh” Award
In an effort to hang on, myspace.com announced a new logo for it’s brand. My space is like the AOL of social networking, it doesn’t seem to go away and is often the punch line of jokes. But so far this comeback is looking good, the clever use of a space bracket instead of the word “space” is well-done and overall looks much more professional and polished then it’s predecessor. The site looks significantly better with a well-designed interface that is cleaner and easier to use with improved interactivity and added functionality.

“ Sweet” Award
Sheffield Honey Company: The Sheffield Honey Company is an artisan producer of premium quality local English honey and the finest beeswax products. The identity pays homage to Sheffield’s industrial history with the icon representing both a honeycomb with a drop of honey and an industrial nut (and bolt). The result is a beautifully understated and interesting logo with packaging that is equally nice.

“Best makeover of the year” Award
PwC: PricewaterhouseCoopers got a big brand refresh this year, going from it’s very long name to it’s initials of of PwC. The brand change  for one of the largest professional services firms was surely an undertaking, but successful in the end. The icon is thoughtful and extends itself out well to fully realized brand elements, the colors are bright and fun, and the more modern typography is well done.

“I bought it because of it’s packaging” Award
Kraken Rum: Everything about this bottle is superb. The beautiful black and cream label features a fantastical octopus and ship illustration with an elegant typographical enclosure logo. The unique bottle has a double handled top, embossed product name and slightly stout shape which makes it all the more interesting. This product surely stands out amongst it’s competitors and it is a tasty rum to boot.

The  new logo is significantly different from the former, going from the colorful and bold illustrative logo with the words Comedy Central  brandished atop of buildings/globe to a much more sterile and simple  word mark. That is not to say that simple is necessarily a bad thing, it is just a huge contrast for the look of the network. The strength of the new logo lies within the clever typography; a humorous wink of “central”  spelled backwards and is upside down. It is well done, but the choice of type in both its all-caps and proportion, looks a little like the Cartoon Network’s.

That aside, the icon is made up of two C’s, one backwards C surrounded by a smaller C. Already there has been speculation that it looks like the  copyright symbol, and I believe that was the actual intention. If you  look closely at the brightly colored branded pieces below, the C icon is superscripted in the corner as if they are trying to convey they are “copyrighting” comedy. It’s an interesting solution once the intention is realized maybe suffering from being a little too clever for its own good.  The logo by itself is a bit lackluster – within its branding it’s refreshing and comes to life. Overall it is a smart and subtle solution. Appropriate for the digital space that it will occupy for the next decade. Nowadays it is no longer about a static singular logo but more about being able a wrap a brand around constantly evolving content/media.  This logo does that successfully.

Video explaining the new logo and launch: http://www.comedycentral.com/jan2011/

In this video this flashes across the screen:
“We   should explain…Our logo has changed. No longer do you see the big   buildings and globe that quite literally said COMEDY CENTRAL on top of   it. Please welcome the new mark. We affectionately call it the   COMEDYMARK. It works WAY F*CKING better than that other one we had. Big   building y globe, you served us well, but we moved on.”

In  closing, a new logo for a beloved brand is always an uphill battle.  Unless of course the logo that is being updated is truly awful. In this  case it wasn’t.  Comedy Central is doing an excellent job launching it. Announcing the logo, showcasing how the brand is going to roll out  and defending both the new look and explaining the departure from the old look, is a very smart move.

The logo
A company’s brand should be a strategic and aesthetic extension of the logo, not the other way around. Gap’s refreshed logo looked an awful like the branding that was launched for their premium jeans line. Which to be honest looks a little bit too much like the American Apparel branding. This was done by their advertising agency, Laird + Partners, who does big name fashion ad campaigns. Should you allow your ad agency to do your identity work? Should you replace your iconic logo with a typeface from your recent ad campaign? Probably not. Advertising lasts for a few seasons and then it is onto the next concept, the same does not apply to a company’s logo. A logo’s purpose is to anchor a brand so that it is can be given the latitude to try different concepts from season to season. It should never be updated to match the current advertising.

The launch
Who launches a logo by simply replacing it on their website? Where was the Gap’s PR department? More importantly, where was the launch plan? In hindsight, their lack of launch speaks volumes of their energy and excitement for their new logo. With even minimal press, it could have helped the Gap tremendously to explain the new brand, instead the complete silence opened it up to speculation which had a snowball effect as people blogged and tweeted, and the comments piled up on their Facebook page.

The response
The Gap’s response to the outcry was unexpected to say the very least. Instead of standing solidly behind their new logo (for even a day), they basically shrugged their shoulders, rolled over and invited the masses to crowdsource their logo. They managed to offend the entire design community while also becoming the butt of their own joke, as the response was met with joyful mockery and satirical “logos.”  All logos are subjective, everyone is entitled to their opinion, but at the end of the day, it’s the Gap’s responsibility to take ownership of their work and say we did this, we own it and it’s here to stay–not acquiesce a the first hint of disapproval.

Lessons learned
So after all is said and done, the lessons learned are that you should choose a company that specializes in branding not in fashion advertising. Advertising and branding are two very different beasts with very different thoughts and strategies behind them. They should be handled accordingly, not conveniently. The re-brand should be strategically planned and well executed, it should not be an exercise in trendy typography. When it comes to launching a new brand, announce it, let people know and manage their expectations. Don’t quietly slip it into your website hoping to go unnoticed. Post launch (and announcement) stand by your decision and your brand, don’t be bullied by blogs and Facebook comments. The time and energy that it took to come to the point of launch should be well spent and well thought out, not a flash in the pan that was voted out as a failure.

The silver lining in all of this, is that the Gap has restored it’s old logo to the place where it belongs. Long live the blue box.

The show could easily follow your already popular format of having a dozen graphic designers compete for a grand prize. The challenges could reflect how designers approach client work: meeting with them, understanding the challenge, reading/writing a creative brief and showing the design process from start to client presentation. This would include sketching, choosing colors, typography, photography, layout, and the trial and error of comp making. The challenges could be anything from logo to packaging design to an ad campaign to a mobile phone app interface. And just like Top Chef or Project Runway challenges, the resulting designs would be creative, diverse and well-executed.

As far as a judging panel goes, there is no shortage of luminary designers out there that would be more then happy to contribute their expertise and judgement. Advertising dollars could come from one of the many design resources, which are plentiful and well-established: design magazines (CommArts, Print, How, Step), software (Adobe), computers (Apple), stock photography sites (Getty, Corbis, Veer) and paper companies (Mohawk, Neenah, French, Finch) that would surely sponsor and donate to such an endeavor.

Graphic design is everywhere you look. An expanding art form that is often under appreciated, there is a growing interest in how it is done and how it can contribute to business. Taking ever growing web and mobile technologies combined with traditional print and branding, there are an endless amount of fun and interesting challenges. Not to mention designers are an educated, thoughtful, slightly obsessive and eclectic crowd that would make for great television personalities. Graphic design is about creative thinking, ideation, and problem solving… isn’t that what Bravo shows are all about?

Thank you for your time and I look forward to hearing from you.

Sincerely,

Amber Zumstein
Design Lead
Blue Daring

Pitching creative is always daunting and it never seems to come easy, but like most things, the more you do it, the better you get. Here are 5 tips for pitching creative to clients:

1. Put yourself in their shoes: Look at your idea from your client’s perspective. Is your idea unique and going to set them apart from their competitors? Sell your idea based on how it will differentiate them from everyone else and present the big picture changes that your work will do for them. Add value by comparing what they are doing now (this could vary from a website redesign to an entire branding system), and expound as to how much better they could be once the work is completed. What to do: Present “before” and “after” samples of work; it works wonders.

2. Tailor your idea: A great solution fits specifically to your clients’ needs, goals and strategy. Aligning your pitch with these specific talking points is always a win-win. What to do: Read through the statement of work or RFP, choose words that are used and integrate them into your presentation vernacular.

3. Practice: Try out your pitch on your boss, co-worker, friend, or significant other. Their unique perspectives can help you tweak your ideas and presentation. It may also help to get the nervous jitters out to try it out beforehand. Some people are natural presenters, others are not. As my old music teacher used to say “Practice makes permanent.” What to do: Practice. Dress professionally. Smile.

4. Use others’ success: Comparing your idea/concept with another successful product or campaign can make your idea seem more tangible and equitable. The key here is to not steal, but make to make a point of comparison. I read recently that Steve Jobs likened the iPhone 4 to a Leica Camera: “You gotta see this in person. This is beyond the doubt, the most precise thing, and one of the most beautiful we’ve ever made. Glass on the front and back, and steel around the sides. It’s like a beautiful old Leica camera.”  What to do: Analogy is a great way to communicate an idea, use it wisely.

5. Fight for your Ideas: The biggest lesson that I have learned is to not give up on a great idea. This can be a delicate situation, but if you truly believe that your idea is great and will help your client, lobby for it. What to do: There are different approaches to this, a subtle “This concept is everyone’s favorite” can help point them in the right direction. Clients are human and will usually respond favorably to positive opinions by others.