While waiting for my flight at Reagan National Airport, I happened to look up and experience one of the most striking technology campaigns I’ve seen in a while. The Smarter Planet campaign, designed by Ogilvy Paris for IBM, employs a collection of simple yet sophisticated illustrations by Noma Bar titled Outcomes. His work precisely uses shapes, form, and negative space showcasing his skills as an artist, illustrator, and designer. The resulting images are deceivingly simple and often require an extra moment to see the meaning within. I only wished I had taken a photo of the actual display at the airport, however the images below should give you a good idea.

Noma Bar's Outcomes illustrations for IBM's Smarter Planet campaign

Sloppy dog kiss

When the Smithsonian Institution Traveling Exhibition Services (SITES) asked Grafik to help brand a fun, informative, and interactive traveling exhibition titled “Outbreak,” we were just a little concerned—did the title really map to the described experience? Allow me to put this in context:

Challenge: An exhibition on zoonoses to be titled “Outbreak.”

Marketing Description: “Zoonoses are diseases that can move from animals to humans like rabies, Ebola, mad cow disease, avian flu, and, H1N1. They are increasingly common; 75% of recent emerging human diseases come from animals, and 60% of all human pathogens are zoonotic. The exhibition from the SITES and the American Veterinary Medical Association, takes a closer look at these diseases and the animals we love and rely on in a whole new way.

This engaging, highly interactive exhibition explores the critical health links between humans and animals. Veterinarians, physicians, and the entire medical and scientific community, play a critical role in this story. Working together they find ways to predict, prevent, and, cure the zoonotic diseases that threaten life across the globe.

Zoonoses direct mail package

Filled with games, videos, and hands-on components, and ideal for any age group, the exhibit probes the science, the genius, and the humanity that goes into keeping mankind healthy, in the face of so many dangerous pathogens.”

Now don’t get me wrong, the plans behind the exhibition looked great, but talk about a tough marketing sell. Note the conflicting message in the last sentence, “Filled with games… many dangerous pathogens.” As we approached the branding, we developed several concepts under the original “Outbreak” title, but couldn’t help but feel the name was working against the intention of the exhibition. We asked if we could suggest alternative names, and they agreed. We all decided to rename the exhibit Zoonoses.

This direct mail package targeted to museum curators is a set of oversized cards packaged in a silver tin case, highlighting key exhibit features. The front side of the cards is an array of cheerful animal close-ups combined with questions designed to help us tell the exhibition story from an inviting perspective. To convey the family-friendly nature of the exhibition design, we took our inspiration literally from the the new name, ZOO-NOSES. Who knew that the answer would be right under our noses? Sorry, I just couldn’t resist.

Our work on  Zoonoses won the first prize at the 2011 SPC Awards for the Best Fund-Raising/Membership Materials. Presented by the American Association of Museums‘s Standing Professional Committees, those awarded were from hundreds of entrants in the fields of exhibit design, publications, and technological achievement among many.

On October 6, 1998, Matthew Shepard, a student at the University of Wyoming, met Aaron James McKinney and Russel Arthur Henderson at a bar. After Shepard admitted he was gay, they talked him into leaving with them, at which point they drove to a secluded location outside Laramie, stole his wallet, tied him to a fence, pistol-whipped him senseless, and left him for dead in freezing weather. He was discovered 18 hours later, his unconscious body initially mistaken for a scarecrow.

Shepard died from his injuries six days later.

The Matthew Shepard Foundation (MSF) was founded by Dennis and Judy Shepard in memory of their 21-year-old son, Matthew, who was murdered in an anti-gay hate crime. Created to honor Matthew in a manner that was appropriate to his dreams, beliefs, and aspirations, the Foundation seeks to “Replace Hate with Understanding, Compassion & Acceptance” through its varied educational, outreach, and advocacy programs, and by continuing to tell Matthew’s story.

Since his death, laws addressing hate crimes have finally been passed under the Obama administration. More information is being provided on the subject of bullying, and acceptance through the work of other organizations, TV celebrities, and shows such as Glee, and Modern Family just to name a few. We’ve made great strides to increase awareness, and understanding on the subject. And yet, there is still much work to be done.

You may recall seeing this video on ABC News about a gay teen’s struggle with bullying in the cyberspace. Jamey Rodemeyer was open about his battle with cyberbullying, but eventually committed suicide just last September.

For these reasons, my partner Dan Melesurgo, and our friends in Rehoboth and Lewes, Delaware are hosting the Erase Hate Second Annual Benefit for the Matthew Shepard Foundation at Ocean Boulevard Furniture. Yes, a furniture store might not be an expected venue, but it is through the generosity of friends who have donated their time, services and gifts, that this years’ event is possible. Last year, we were able to raise more than $8,300 dollars for MSF and create an event that brings our community together to Erase Hate. We hope to stay true to that message this year as we are honored to have Matthew’s mother, Judy Shepard, attend tomorrow’s event.

The poster design shown is my effort to acknowledge Ocean Boulevard Furniture for their commitment and express the need to continue shedding light on the subject.

If you are in the Delaware area or are interested supporting our cause, please stop by. Tickets can be purchased here.

The poster Kelsey, Heath and I designed for tomorrow's Erase Hate event at 18467 Coastal Highway Lewes, DE

I gave my partner Dan my Blue All Over t-shirt and asked him to Join the Fight against prostate cancer. The Prostate Cancer Awareness Month campaign we’ve been working on has been a great reminder for myself, and given me the opportunity to discuss the importance of regular checkups with the folks I care most about.

My partner Dan sporting the "Join the Fight" shirt I gave him

I’ve a couple of friends who have changed their names as adults, but I must say I often find it difficult to embrace this without having some context around their reasoning. I often “forget,” or truthfully—even resist the change and call them by their former names until I know a bit more about why their old name wasn’t good enough. I find even if it’s none of my business, I still want some help adjusting.

Renaming an organization can often encounter similar challenges. Dedicated employees who have long worked for an organization in the midst of such a change, if not properly informed, might feel mislead. External audiences who have done business with a renamed organization might wonder what prompted the effort. And shareholders will, no doubt, wonder, ‘is it worth it?” But a change for the right reasons can often be a good business decision when an organization or its industry has evolved.

The Association of International Automobile Manufacturers, (AIAM) approached Grafik to rebrand their organization. Let’s start with some context. While the association members are some of the most respected and forward-thinking automobile manufacturers in the world, the association itself was often passed over by the media to weigh in on keyissues that effect the industry including policies on free trade, government mandates and more. The organization also suffered from dated, but nagging perceptions that the association was comprised of “foreign” manufacturers—this, in a time when just about every manufacturer collaborates across borders. Rebranding offered the organization an opportunity to update its image and better define their voice. The new effort would also allow them to improve their communications tools to members and the public.

Another factor, the timing was right. AIAM was planning to move their headquarters from Virginia closer into DC for a stronger physical presence near Capitol Hill. This meant they would need to develop new signage and change thier address on all past communcations tools.

Grafik began with a series of interviews to get a pulse on the organization’s goals, communication efforts to date and marketing resources. We knew that naming might be something to consider, but needed a deeper dive to weigh the advantages and disadvantages of such an effort.

Just as important, we knew if we were going to suggest a new name it had to be memorable—something easy to say, after spending years getting lost in Washington DC’s association acronym soup. We learned that even answering the phone for the organization was at times, challenging. “Hello, this is A-I-A-M.” Or, “Hi this is Aim.” If the front desk wasn’t comfortable saying their name consistently, how could they expect others to?

While considering the name, the show had to go on. Grafik reviewed their communications tools and competitive set to compare how like-minded organizations were communicating. The website, their primary marketing tool, was difficult to navigate and failed to surface the information that defines their industry leadership, innovations and investments in the U.S. market. In tandem with our rebranding strategy Grafik began an interactive discovery process to create the next generation website with new tools to publish content and get their message out as needed.

Still considering a name change we began exploring creative execution including the logo, brand thematic and voice of the organization. We developed “Ahead of the Curve” which captured the history of leadership and innovation that the association’s members have aspired to. Then, after brewing a witches’ potion and sacrificing a designer who unwittingly stayed late at Grafik, we proposed “Global Automakers” as the new name to move forward with.

Grafik developed the new integrated identity including the redesign of the recently launched website, and we continue to consult with Global Automakers regarding future needs.

Working recently on a rebranding effort with the Association of International Automobile Manufacturers has rekindled my childhood interest in automobile design. As a nerdy kid in the ’70s, I was fascinated with the auto industry. On long drives during our family vacations, I would sit in the back seat of our gold Dodge Coronet with black vinyl seats and count how many Ford, GM, Honda and Toyota cars were on the road. I think even at 12 years old, I was thinking that the American automobile industry wasn’t quite looking ahead at design, or answering the changing needs of the American public.

You have to admit, that from the late ’70s and through the ’80s American auto design went though a plastic, one-car-uglier-than-the-next period of complacent design. As a patriotic and liberal designer-to-be, I wanted more from our manufacturers.

A representative from GM once came to my 7th grade class and asked my class to design the car of the future. To this day, I swear I designed the GM Saturn prototype concept car on looseleaf paper with colored pencils, but unfortunately, I have no proof of that other than Saturn is my favorite planet and rules my zodiac sign.

This morning, I read that Chuck Jordan, former vice president of GM design died. His work in his early reign as design VP inspired and reflected American culture in that period. It’s worth taking a quick look at how he helped shape the American automobile.

Today American designers have FINALLY caught up and are arguably even leading the design of future vehicles. I can’t say I’m proud of the path taken, but there is a notable difference in the quality and design of the latest crop of American vehicles offered. However, in a shrinking world where GM has developed new designs in China and many of Toyota’s vehicles are co-designed in California, we’d be hard pressed to call any automobile design “American.” What automobile isn’t truly “global” today? My point is that I’m glad that “design” is back and considered a priority of our American manufacturers’ business strategies. And by design, I’m not talking about tail fins and cup holders. I’m referring to fuel technology, electric applications, and how they literally shape the cars of tomorrow and our interactions with our vehicles.

That’s design. Thanks to the Association of International Auto Manufacturers for the opportunity you’ve given Grafik to rekindle my passion. And thanks for indulging this road trip into my past. If you have a moment, take a look at some of Chuck Jordan’s inspiring work. Oh, and yes—I love my new Toyota Prius for what it’s worth.

The web2awards is the world’s first annual award competition that names the best websites in the printing industry. The web2awards were established by Printing Industries of America to recognize, honor, and elevate printers that are achieving excellence with their online presence.

Visit  Printing Industries of America to view all the winners and find out more.

We’re proud to announce the Volunteers of America 2008 Annual Report received an Excellence Award from the 2009 American Graphic Design Awards competition. One of the largest and broadest competitions honoring all forms of electronic, print, motion and interactive design. Thanks go to Mila, our production team, Meredith Light, and especially our client for trusting us to tell their story.

OK, that’s just crap! I think the saying is usually completed with…” if you want to make money.” Right?

Well, while debate continues to go on I want to share some new work I’m having fun doing that does have a personal meaning to me. I love jazz music and singing it. Recently I’ve volunteered to work on promoting a network of live vocal jazz performers in the DC metropolitan area. These singers are from all walks of life and my friends.

The series is every Thursday night at Blair Mansion just off of Georgia Ave. (Go to blairmansion.com for the full schedule.) While I’m not a part of this first group I expect to be singing on Sept. 10th or later in the fall. My plan is to showcase a combo of visuals and music… but I’m not saying more until I literally get my act together. Meanwhile here’s the poster.

Our firm is often called upon to engage in pro bono work. Sometime a long-standing client will ask us to provide our services for a worthy cause. Other times, employees of our firm might have a specific interest that could use our help. The reasons vary.

However there is a list of criteria we’ve learned to ask ourselves before making a commitment, and we offer them up for discussion as a good rule of thumb for others about to take this leap. Here’s our top 10.

1. Our first consideration is timing. Can we as a firm take on the commitment based on what we’ve already committed to in our studio? As much as we may want to, if our resources are thin, we have to pass.

2. Is the cause something we’re passionate to support? And will it go against the beliefs of even a minority in our firm?

3. Will a partner lead this charge? We don’t believe that it sends the right message to ask our employees to make a personal commitment of time and energy if we are not leading by example.

4. Is the potential client specific about their goals? It’s not enough to want a new identity or website. When working for a pro bono cause we seek actionable results for these clients. Our time is too valuable to create something for the sake of making it “new.”

5. Can the client afford to produce something of quality? This one’s admittedly a bit tricker to stick to. You must be up front regarding this question. Don’t wait till after you’ve committed. If the case is such that there is no funding for creative services, we still must know that the client can either find funding to produce quality execution or has secured other partners who will donate their services— at the same level of commitment that Grafik brings to the table.

6. Are we committed to the work being done on business hours? From our experience, we’ve realized that it’s critical that our staff understands Grafik is serious about the commitment we’ve taken on.

7. Will this effort foster a deeper relationship with our long-standing clients? Another tough one to answer. Only you can figure this out.

8. Can we create a story in our community around our effort? OK, it may sound a bit self-serving but it is a real consideration as we make our choices.

9. Can we exercise our creative chopps? Another consideration that may on the surface sound less “selfless,” but pro bono work is not charity.

10. Is the potential client willing to give your firm creative freedom? You’d assume if they’ve approached you, that must respect what you can offer. Not always the case. Please don’t dance around this one. Be specific.

Should you be able to to answer yes to all of these. Of course. But if you end up with half on the affirmative side, go back to question #1 and then make your decision.