Those of you who clicked on the Print Archive only to find a photo of covers (seen here) and nothing else, we are happy to report that you can now access the back issues online. Previously only key stories had been posted because Kit needed the intern who was scanning old articles for other tasks. Finally, everything has been scanned and you can view them in their entirety here. We are also pleased to report that for those who want the real printed publication, past editions are available while they last from Corporate Design Foundation; email email@example.com. (For the record, yes, we miss the print editions too, and would be thrilled to return to ink on paper.)
From time to time, @Issue will run brief profiles of people you may know in design communications, asking them what attracted them to the profession and how they view their work and process. We thought we’d start with Delphine, @Issue’s editor, and then Kit, @Issue’s design director, before broadening our scope to others in the business.
Name: Delphine Hirasuna
Profession: Writer/ Editor of @issue
Home Base: San Francisco, CA
When did you know that you wanted to pursue the profession you did?
I think I was around 6. I was tiny for my age and lousy at playground sports; I hated recess, but I loved to read. Nancy Drew, The Bobbsey Twins, Eddie’s Red Wagon, etc. But the stories felt formulaic and I decided I could write better. My bedroom had a vanity with a frilly yellow chiffon skirt around it, and I’d crawl inside and write my stories in that private space. Even then, I was a realist. Afterall, I was 6 years old, and lived on a little farm in the middle of nowhere, and didn’t know how to contact a publisher, much less have an adult one take my writing seriously. But I didn’t give up. In grammar school and high school, I was the editor of the school paper, and by college, I was determined to be a journalist.
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Next week @Issue is relaunching itself; not to become something entirely new, but to return to what we saw as our editorial mission back when we started in 1994. For the first 15 years of our existence, @Issue: Journal of Business and Design was solely a print publication dedicated to demonstrating how good design is a major factor in establishing brand distinction, product desirability, customer loyalty, and ultimately business success. We featured in-depth case studies on brands that used design skillfully, and positioned ourselves as a bridge between business and design. At our peak, @Issue enjoyed a circulation nearing 100,000, with an avid following of designers, mar-com managers, corporate executives, printers and the like.
Then in 2008, the financial market collapsed, and with it our funding. To preserve the equity of our brand, we decided to publish online, which we have been doing ever since. This relaunch of @Issue online is intended to reintegrate some of the content that we had in print. We aren’t giving up the features we learned to love online, but we do plan to introduce stories that are more educational in tone to become a resource for creative inspiration and a platform for the best in design. Please stay tuned.
Hermes is one of those “if you have to ask, you can’t afford it” brands. Its silk scarves are coveted and collected as genuine works of art, the ultimate in elegance, refinement, and taste. Artists around the world are commissioned to produce unique designs for Hermes scarves. Each pattern is painstakingly engraved by Hermes artisans who typically take 750 hours to achieve Hermes’ nuanced colors and detailed design. Requiring an average of 27 ink colors, the image is silk-screened onto fine silk cloth. Although more than 2,000 Hermes scarf designs now exist, with 20 new designs issued each year, the look, classic and opulent, is decidedly Hermes. Dramatic colors and bold designs are the signature of the Hermes brand. Saying anything more would be redundant. This explains why the catalog and video ad for Hermes’ spring 2014 Soie Folle collection is without voiceover or marketing text.
Show Us Your Type is a design project created by Neue, a thrice-yearly online magazine that focuses on two things that the Neue founders say they “adore” – typography and cities. Each issue is about a different capital city, and designers are invited to submit their interpretation of the chosen city through posters that are primarily typographic. It is interesting to note what each artist sees as iconic of the culture. To look at a broader selection, go to showusyourtype.com.
Some of you know that seven years ago I wrote a book called “The Art of Gaman: Arts and Crafts from the Japanese American Internment Camps, 1942-1946,” published by Ten Speed Press/Random House. As usual, it was designed by Kit Hinrichs (Kit’s origami flag assemblage below) and photographed by Terry Heffernan. After more than 30 years as a corporate writer, I suddenly found myself propelled in another direction and immersed in a subject that I largely avoided my entire life. Although I had no thought that it would make a good art exhibition, I began receiving requests from museums across the U.S. and the array of objects made from scrap and found materials by people imprisoned in the camps were exhibited in some of the nation’s most prestigious institutions, including the Smithsonian American Art Museum’s Renwick Gallery in Washington D.C. and the International Folk Art Museum of Santa Fe. Today it opens at the University Art Museum (Geidai) in Tokyo to kick off a one-year tour of Japanese cities. If you are in Japan, I hope you’ll take the time to see it. I’ll be back in my San Francisco office next week with more new posts. — Delphine
Origami (which means “to fold” + “paper” in Japanese) is one of the oldest and humblest art forms around, dating back thousands of years, and stop-motion 3-D animation is one of the newest and most technologically advanced art forms. It’s interesting that the two mediums have found each other and it was love at first sight. As time-consuming and difficult as some origami forms are to fold by hand, paper as a construction material is sturdy but flexible, buildable at a small scale, and relatively cheap. In the case of this video ad for Hamburg’s charitable lottery, Deutsche Fernsehlotterie, a whole village with inhabitants and vehicles were brought to life out of paper. Hamburg-based agency, Zum Goldenen Hirschen spearheaded this ad, with Hans-Christoph Schultheiss directing.
Delhaize, a supermarket chain in Belgium, issued its own private label brand of regional wines and commissioned Spanish design studio Lavernia & Cienfuegos to create a label that looked festive and fun and great for casual entertaining. Quirky characters carved out of cork represented the regional origin of each wine in a playful, unpretentious way. The label design positioned the house brand as a value product with personality.
Middagsfrid — a service that delivers wholesome fresh foods, menu plans and recipes to subscriber homes in Stockholm — has launched a line of its own branded products. Stockholm-based agency, Bold, designed the packaging in collaboration with illustrator Peter Herrman. To create a sense of an ideal world filled with preservative-free, farm-to-table ingredients, Herrman sketched a fanciful landscape with a giant cheese grater and mixing bowl tucked among the houses, along with grazing cows and other livestock, horse-drawn cart, fruit-bearing trees and flowers. The idyllic scene is printed on newsprint-like stock to mirror the humble way locally grown goods are wrapped and affixed with a simple red label. The look suggests quality and craftsmanship.
Speaking of up-close-and-personal and really getting into the music, here’s a print ad campaign for the Berliner Philharmoniker. Designed by Scholz & Friends Berlin, with photography by Mierswa Kluska and art direction by Bjorn Ewers, these images were shot from inside the musical instrument using a macro lens. The wind pipes of the pipe organ gleam with wondrous complexity. The violin’s sound holes filtering in exterior light make the space look vast and architectural, like a medieval theater. The flute is beautiful in its simplicity. It’s a whole new way of appreciating music.
For home remodelers weighing whether real hardwood or Pergo XP laminate will wear better on the floor, check out this marketing video, produced by Atlanta-based ad agency, Fitzgerald+CO. Pergo XP foregoes the standard product performance demonstration and shows a cast of odd characters performing unspeakable acts on the flooring. Fitzgerald+CO wisely chose to film the ad in Venice Beach, California, where even bikini-clad roller skaters and Mr. Universe muscle men don’t cause a stir — just another day at the beach.
We don’t know how to wish you a happy new year in multiple languages, but we found several cats that do. From the team at @Issue, we wish you all the best in 2012 — peace, friendship, health, great collaborative clients, a free flow of creative inspiration, and many many moments of joy and laughter. Thank you for following @Issue throughout the year.
The crew of the Royal Navy’s HMS Ocean came up with a creative way to announce their Christmas homecoming after seven long months at sea. In a series of giddy antics, they lipsynced their way through Mariah Carey’s rendition of “All I Want for Christmas.”
Last April the HMS Ocean was sent out for what was supposed to be a seven-week training exercise, but suddenly got diverted to Libya instead to support the UN air mission during the uprising against Moammar Gaddafi. When the crew finally got word that they’d be back in their home port of Plymouth for Christmas, they celebrated by making their own video during an unusually quiet two-day period. A morale booster for the crew, the video is silly, funny and a “feel-good” way to usher in the holidays. Welcome home.
Consider this: Consumers in China went through 57 billion pairs of disposable wooden chopsticks in 2009 alone, which equates to more than 3.8 million trees. For a nation that ranks 139th worldwide in forest land per capita, that means that China’s forests may be wiped out in 20 years if consumption continues at that rate.
Last winter Greenpeace East Asia and Ogilvy Beijing teamed with artist Yinhai Xu and students from 20 Chinese universities to stage a public awareness campaign. Together, they gathered some 80,000 pairs of used chopsticks from Beijing restaurants to assemble a “Disposable Forest” in a popular Beijing shopping center. The display urged people to carry around their own pair of chopsticks when eating out and asked them to sign a pledge to stop using disposable chopsticks. The 80,000 pairs of chopsticks that were transformed into four full-sized trees are a mere sliver of how many disposable chopsticks are used worldwide. Even though wood is a renewable resource is it really worth it to cut down a tree to make an eating utensil that is used once and thrown away?
Here’s a case of taking the same visual concept and using it to communicate two different marketing messages. This “night light” print ad, created by Cossette West in Canada, promotes the fact that McDonald’s is now open all night, 24/7.
It builds on a visual idea, conceived by Leo Burnett USA, for an outdoor marketing campaign touting McDonald’s as having the “Best Fries on the Planet.” Visible from three miles around, the billboard shot vertical beams of golden light up from a super-sized French-fry packet, illuminating the night skies of Chicago. Although this spectacular “tribute to fries” garnered lots of accolades for its ingenuity, the outdoor light show was also called insensitive for what some considered an uncanny resemblance to the Twin Tower “Tribute in Light” commemoration of the 9/11 tragedy. We don’t think so. For one thing, the billboard – which came down last week – was only shown in Chicago near the company’s headquarters. Also, the red box of fries is so iconic that viewers immediately associate it with the fast-food giant and chuckle. Don’t know whether this marketing concept will be extended beyond print ads and billboards, but maybe it should be turned into a promotional giveaway of a real “french fry” night light.
Famed rapper Ice Cube (aka O’Shea Jackson), who once studied architectural drafting, riffs on Los Angeles’s quirky landmarks such as the Cockatoo Inn and Five Torches, freeways and the Eames House for a video series produced by Pacific Standard Time, a collaborative effort among Southern California cultural Institutions to spotlight L.A.’s art scene between 1945 and 1980. Ice Cube avoids the lofty language of architectural experts and gives his take in terms that the street can understand. Talking about The Eames house, Ice Cube reflects that with Charles and Ray Eames “it’s not about the pieces, it’s about how the pieces work together,” and notes that they did “mashups before mashups even existed.” Way ahead of their time, he adds, “The Eames made structure and nature one. This is going green 1949 style, bitch. Believe that.”