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GD
USA
GD
USA
GRAPHIC DESIGN USA

2023
DIGITAL
DESIGN
AWARDS
60TH ANNUAL
JUNE 2023

PRINT +
PAPER
SURVEY
SPONSORED BY
BILLERUD

21ST ANNUAL
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REPORT

JU N E 2023
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June 23 Pub Letter/Flaharty.qxp_feb news play 6/11/23 6:00 PM Page 2

LETTER FROM THE EDITORS | YOU CAN OBSERVE A LOT BY WATCHING

“You can observe a lot by watching.” So said Yogi Berra, whose

baseball career and malaprops are having a revival due to a
new documentary in theaters now.
It pretty well describes my job as editor here — at least until AI and ChatGTP replace
me and that could well be soon. The phrase also captures the essence of our 60 year
practice of polling the creative community in order to watch the integral and evolving
role of print and paper in the service of graphic communications. History will record
these decades as the full coming of age of designers as communicators, strategists,
influencers and thought-leaders and, also, print’s rise to dominance in the graphic arts
and subsequent evolution into a more selective and strategic role in a digital era. More
on this later in the magazine.

Meanwhile, one thing has not changed since we began to poll in 1963: designers
GORDON KAYE AND SASHA KAYE-WALSH understand, appreciate and embrace the inherent qualities and capabilities of print to
ARE EDITORS AT GDUSA forge a human connection. Indeed, our 2023 poll reveals a community more positive,
Comments, suggestions and letters confident and assertive about the classic strengths and continued relevance of print
can be sent to editorial@ [Link]. communication than we have seen in recent times. Interestingly, this positivity is
rooted in a realistic view of print’s current and potential role, rather than arising from
some soft nostalgia for a bygone era or the digital fatigue of pandemic isolation. You
can see it in the numbers; 96% design for print in their mix and 55% of assignments
involve print in some way, shape or form. More so, you can feel it in the hundreds of
meaningful comments we have received. As for us, we’ll be back at it in year 61,
assuming our tech overlords permit. GK

OUR 23RD DIGITAL DESIGN SHOWCASE

This is the 23rd edition of the GDUSA awards program formerly known as ‘Web Design.’
Over the past couple of years, we have built it out and renamed it to better capture the
dizzying depth and breadth of design for screens that characterizes 2023. And the vital
role that graphic designers play in affect and impact. Websites, of course, but also social
media and email marketing, digital ads and apps, interactive publications and displays,
video and animation. More than two thousand entries were received with roughly one-
in-ten designated a ‘winner.’ I would double down on a conclusion we reached last year:
Digital communication, and those who create and produce it, are in a virtuous cycle:
burgeoning demand, richer tools, more stable technologies, and an increasingly sophis-
ticated appreciation for how vital sound design principals are to ultimate success. SKW

IT’S RAINING LOGOS

We’ve have never seen Bill Gardner hit or catch, but he can toss out a Hall of Fame
quote with the best of them. As evidence, his initial observation from his 21st annual
LogoLounge Trend Report: “I can’t help realizing how logo trends and weather have a
lot in common.”

And so it begins, again, a non-linear journey through all manner of cultural and tech-
nological contexts that influence logo design in 2023. Think circular imagery, the
omnipresence of symbols, the value of wordmarks, 3D use and abuse, green versus
pink, and, of course, the ramifications of Artificial Intelligence. On the last point, Bill
cites an unattributed quote on LinkedIn that is priceless: “Don’t worry about AI stealing
your job. To replace graphic designers with AI, clients will need to accurately describe
what they want. We’re safe.”

In turn, I asked Chat GPT to provide me with Bill background and here is the response:
“Bill Gardner’s research and analysis provides valuable insights into the ever evolving
world of logo design. Gardner’s passion for design, coupled with his unwavering ded-
ication to his craft, has earned him a prominent place among the industry’s greats.”
Got that right. GK
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JUNE 23 TOC - STAFFBOX-GK.qxp_SEPT 07 TOC/Staff 6/11/23 6:32 PM Page 4

CONTENTS | JUNE 2023

8 FRESH
Common Enemy basketball shoes hit the ground running for public
health; Turner Duckworth invites Jim Beam drinkers to the front
porch; Mother Design sets the table for new meat industry;
Chermayeff & Geismar & Haviv redraws Warner Bros. shield for
the family of brands; Blink Fitness rebrands as a welcoming road
to inner wellness; JDO and Hawaiian Tropic confront collision of
suncare and skincare; Xhilarate repositions senior community as
lifestyle destination; and more.

22 60TH PRINT DESIGN SURVEY

For the 60th year, we have polled our readers on benchmark
questions regarding print design and paper specification. Over the
years, the role of graphic designers and print itself has evolved,
and our polls are a way to witness that evolution. One thing has
not changed over six decades: creative professionals understand
and appreciated the inherent qualities print and paper to touch,
to engage, to forge a human connection.

38 2023 LOGO TRENDS REPORT

Over more than two decades, Bill Gardner has compiled and
reviewed 400,000-plus logos via [Link]. And more than
ever, Mr. Gardner commands attention with a sweeping overview
of the past year’s logo designs — the context and culture from
which they arise — the patterns he gleans — and the wisdom he
so gracefully imparts along the journey.

48 THE DIGITAL DESIGN AWARDS

Our 23rd American Digital Design Awards™ saw a record-breaking
number of entries, and here is a select showcase of winners. The
contest formerly known as ‘web design’ has been expanded to
better reflect and amplify the power of design to enhance online
and interactive experiences – for websites, yes, but also social
media, email marketing, digital ads, interactive and interface design,
video and animation, 3D and more. It adds up to a virtuous cycle:
more demand, bigger audiences, richer tools, better technology, and
the elevation of sound design principals that tie it all together.

96 FREE INFORMATION
GDUSA - Graphic Design USA Volume 60 / No. 3 May/June 2023 To learn more about the meaningful messages and offers in this
Kaye Publishing Corporation (ISSN0274-7499/USPS227020). Published 6
times a year with combined issues in January/February, March/April,
edition, please view the advertisements and connect with these
May/June, July/August, September/October, November/December. Executive, important suppliers and services.
editorial and advertising offices at 89 Fifth Avenue, Suite 901, New York NY
10003. Phone: 212.696.4380, Fax: 212.696.4564, [Link].
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 Box 3072, Langhorne PA 19047. Permit #224.
june23ads.qxp_Layout 1 6/11/23 7:33 PM Page 5

The story of paper has always been a page-turner.

In today’s digital world, the physical nature of paper grounds us. Whether it’s a book you just can’t put
down or a package you can’t wait to open, our connection to paper is tangible. We’re excited to make
this special relationship possible, into the next century and beyond.

PAPER.
PULP.
PACKAGING.
JUNE 23 TOC - STAFFBOX-GK.qxp_SEPT 07 TOC/Staff 6/11/23 6:32 PM Page 6

THANK YOU TO BILLERUD

Billerud provides paper and packaging materials that challenge conventional packaging
for a sustainable future. We are a global leader in superior paper and packaging materials
made from virgin fibers, and we’re passionately committed to sustainability, quality and
GD
USA
GRAPHIC DESIGN USA
customer value.

We serve customers in more than 100 countries with nine facilities in Sweden, USA and Gordon Kaye
PUBLISHER
Finland and around 5,800 employees in over 13 countries. Billerud is listed on the
Nasdaq Stockholm.
Ilana Greenberg
CREATIVE DIRECTOR
In the United States, Billerud operates out of a regional head office in Miamisburg OH,
two mills in Michigan's Upper Peninsula and numerous distribution centers. We are a Sasha Kaye-Walsh
leading supplier of high-quality graphic and label papers, packaging materials, and market EDITOR | WEBSITE +
SOCIAL MEDIA
pulp. At Billerud, we build brands and business results for our customers.
Gordon Kaye
This June 2023 edition of GDUSA is printed on Influence® Gloss, 60 lb. text from EDITOR | PRINT
Billerud. Influence® is a high quality coated No. 3 web paper. More information about
the graphic papers available from Billerud can be found later in this edition. Althea Edwards
READER SERVICES
To learn more, please contact your Billerud graphic papers sales professional or
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Jennifer Hoff
Scott Sczcypiorski
ABOUT THE COVER INTERNET SERVICES

Turner Duckworth’s new visual identity for Jim Maliya Malik

Beam uses a range of elements explored and DESIGN + SOCIAL
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celebrated in this edition of GDUSA — logo design,
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to capture the spirit of the bourbon maker’s Jeffrey Rosenberg
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COVER PAPER CREDIT: The cover of this special 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 COPYRIGHT 2023 BY KAYE
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FRESH | BASKETBALL SHOE HITS GROUND RUNNING FOR PUBLIC HEALTH

NEW YORK NY Dave Frankel, formerly of Pentagram and COLLINS,

has developed a brand identity for basketball sneaker company
Common Enemy. Led by founder and PUMA alum Ryan Gordon,
Common Enemy is hitting the ground running to change the
conversation around public health in the U.S. by donating 5% of
every purchase to nonprofits fighting to improve our public health
system. When it came to bringing this vision to life, Gordon says
that he called on his old friend and dormmate to create a visual
identity that reflected an elite-level performance basketball shoe
company intended to make an impact. Frankel and Gordon note
the key design elements: the complete system is anchored in its
blunt and urgent approach to typography and color; for the display
typeface, a condensed sans-serif GT America was chosen as a
modern take on 19th century American Gothics and 20th century
European Neo-Grotesk typefaces; for the color palette, a brand-red
orange is kinetic, loud, and urgent, while secondary gradients
provide aesthetic depth and uniqueness; abstract linework rooted
in the lines of basketball courts can be found within the photo-
graphic elements, on the shoe box and bag packaging; the liner
treatment above and below the brand name in the logotype are
also a reference to the inbound lines of a basketball court; and
for the logo, an abstracted “C” and “E” express movement. The
founder of Virgo design firm in New York City, Frankel has spent
the last three years teaching graphic and interactive design and
typography at the School of Visual Arts, has been a guest critic
at Parsons School of Design and the Pratt Institute, and has been
writing about design. [Link]

8 GDUSA
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FRESH | WARNER BROS. UNITED BY SHIELD

NEW YORK NY Chermayeff & Geismar & Haviv has redesigned the identity for Warner Bros. Pictures and for the entire
Warner Bros. family of brands. The brand architecture is united by a newly redrawn shield. A distillation of the classic 1948
Warner Bros. emblem, the updated mark features reductive geometry, streamlined curves, and bright colors. Reimagining
the shield from its original three-dimensional rendering involved redrawing it from scratch, and equalizing the weight of
the W and B letterforms with the stroke of the encasing shield shape. The new consistency of line weight, with harmony
between each element, creates what the design firm describes as “a unified, timeless symbol” that can work seamlessly with
all the properties in the company’s portfolio. The strong, sans-serif, all-capital letters for the wordmarks have been redrawn
to accentuate the curvature of the rounded letterforms, such as the Ps, Bs, and Rs to complement the revised WB letters
in the shield to update the typography for modern uses and legibility. Two manifestations of the new shield anchor the
identity system: the solid rendition is used primarily in corporate communications, while the outline rendition promotes
movies, tv, games, and other content. Both manifestations can take on the background colors and textures of the specific
creative content, providing a consistent canvas. [Link]

10 G D U S A
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June23FRESHimpo.qxp_feb news play 6/11/23 6:39 PM Page 12

FRESH | JIM BEAM BRANDING HAS A SPIRIT OF PLACE

CLERMONT KY Jim Beam has launched a global brand campaign to

celebrate the belief that “People Are Good For You.” The campaign —
which includes a new website and advertising accompanied by a
refreshed visual identity and packaging — is an effort to drive an
emotional connection between the popular bourbon and the next
generation of consumers. An introductory spot was directed by Noam
Murro with creative by Leo Burnett (featuring the classic connection
tune Sweet Caroline) while the visual design was led by Turner
Duckworth. Explains Global Brand Vice President Veronique Mura:
“We started this process by going back to our heritage as a brand
crafted through the generations by the first family of bourbon. Jim
Beam is an iconic brand that has celebrated the power of human
connection for over two hundred years, going back to the front
porch of the Beam family home where everyone was welcome. Our
new campaign puts our authenticity and warmth on full display and
reminds audiences that there’s no feeling more special than being
around other people.” Of the new visual identity, Matt Lurcock,
Creative Director, Turner Duckworth London, says: “Great brands
always seem to have a spirit of place about them. Talking to Fred
Noe, the great grandson of Jim Beam, we kept hearing about the
Beam family porch. It’s where Beam was first bottled and shared,
where traditions were born and where folks came together time and
again for more than seven generations. Bringing this spirit of the
porch together we retained all the brand’s familiarity, but packed it
full of warm, honest soul.” [Link]

12 G D U S A
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FRESH | BLINK REBRAND IS MOOD OVER MUSCLE

NEW YORK NY Creative company Mrs&Mr has rebranded Blink Fitness, the national fitness brand with more than 100
locations. The new visual identity system refreshes the look and feel, and seeks to elevate the brand’s positioning as
“aspirational, approachable and accessible to all.” Comments Kate Wadia, founder and CCO of the agency: “Through research,
we uncovered that Blink’s unique selling point is ‘inner fitness.’ It’s mood over muscle. It’s how you feel versus how you
look. A clear antidote to a category that reinforces intimidation and exclusion, we positioned Blink as the friendliest and
most welcoming gym — one that makes it simple and easy to get on the road to inner fitness ... The new visual format
is anchored in a system of circles that telegraph a sense of motion and playfulness. Circles were chosen as the distinctive
visual equity for their welcoming and unifying quality. They are used prominently across the organization for patterns,
photography, interiors and exteriors, on merchandise, and as the foundational element for all illustration. Vibrant hues of
blue and orange define the distinctive color palette combination to promote an uplifting and upbeat feeling that translates
well inside the gyms, in contrast to the darker color palettes of most other gyms.” To complement the circles, a sans serif
font was selected for its openness and approachability, and custom letterforms were created for the wordmark. The new
branding has been implemented across digital media, the website, app and the interiors and exteriors of Blink gyms. As
part of the repositioning, “Feel good fitness — in a Blink” has become the brand’s consumer-facing line and its mission to
make working out as simple and easy as possible from communications to check in to classes and more. [Link]

16 G D U S A
june23ads.qxp_Layout 1 6/11/23 7:38 PM Page 17

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June23FRESHimpo.qxp_feb news play 6/11/23 6:40 PM Page 18

FRESH | MOTHER DESIGN HELPS CARVE OUT AN INDUSTRY

JERSEY CITY NJ Cultivated meat lives in a brand category that,

at present, is largely notional. Barriers like cost-effectiveness,
scalability, and cultural skepticism have largely kept lab-grown meat
products from gaining traction in the mainstream — despite a
longstanding place in the sustainable food conversation. Fork &
Good is pioneering the way meat is cultivated at scale and paving
the path forward for the new industry. With a primary focus on
ground pork — the most consumed animal protein — Fork & Good
mainly partners with food trucks and fast casual establishments,
with offerings that include tacos, dumplings, gyoza, meatballs,
and similar items. Created by Mother Design, the company’s new
identity encapsulates the idea of infinite possibilities and accessi-
bility for any cuisine and all meals. The new identity lives on the
company’s website, packaging, social media channels, new office,
and lab signage and coats. For the wordmark and logo, Mother
Design found inspiration in traditional butcher shop signage. The
curvature of the mark emulates the characteristic cutout in its new
“Smiley Fork” logo, and both curve and cutout are expressed in
many variations in motion and static use. The same cutout informs
the “bowl” device in its graphic system — the two-dimensional
container for meal variations photographed in high contrast — and,
paired with chopsticks found in the negative space between the
fork’s tines, further represents “the universality inherent to the
brand’s DNA.” The system is rounded out by repetitive, food-
wrapper-like patterns and a vibrant color palette of bright red, cool
dijon, deep eggplant, and other appetizing tones. [Link]

18 G D U S A
June23FRESHimpo.qxp_feb news play 6/11/23 6:41 PM Page 19

FRESH | SUNSCREEN REPOSITIONS AS SKINCARE

NEW YORK NY Brand design firm JDO has taken Hawaiian Tropic,
founded in 1969, beyond the beach with new identity that highlights
the sunscreen brand’s skin-loving credentials. The challenge: the next
generation of consumers brings with them a philosophy based on
awareness, authenticity and acceptance and this — along with the
collision of suncare and skincare — has set new expectations for the
category. JDO was tasked with evolving Hawaiian Tropic with a more
conscious and intentional sensibility that would better resonate
with the values of this younger audience. The key challenge of this
restaging: maintaining the essence of Hawaiian Tropic as it shifts
from a carefree, only-for-the-beach sunscreen brand to a thoughtful,
all-occasions skin-loving brand. “Hawaiian Tropic is a beautiful
brand, that holds a special place in the hearts and minds of its
extremely loyal following,” comments Paul Drake, Founding Partner
and Creative Director of JDO. “For that reason and more, we felt very
protective of the brand and worked very hard to retain its allure as we
brought stronger relevance with a more contemporary aesthetic.”
From rebalancing the logo to highlighting the brand’s natural qualities
by elevating its iconic Hibiscus flower, the identity embodies the new
positioning. Simplifying the package creates a more contemporary
look and gives more space for the brand to convey ethical, eco-
positive messaging to better resonate with consumers. Concludes
Elizabeth Gioia, Senior Global Brand Strategy and Innovation Manager,
Sun Care at Edgewell, says that the new identity “evolves the brand
with fidelity and finesse, helping Hawaiian Tropic embrace its future
as a modern beauty brand for people who love their skin as much
as they love the sun.” [Link]

G D U SA 19
June23FRESHimpo.qxp_feb news play 6/11/23 6:41 PM Page 20

FRESH | SENIOR COMMUNITY BECOMES LIFESTYLE DESTINATION

PHILADELPHIA PA With the arrival of spring, residents at Meadowood,

a non-profit Life Plan community in Worcester Township PA, can walk
along 135 acres of gardens and wooded areas filled with birds and
wildlife. Spring also ushered in a rebrand by Xhilarate, that included
dropping “Senior Living” from the name, a new logo, website, signage,
and refresh of all touchpoints. “The target audience is getting younger
and more active, looking at these communities as lifestyle destinations
rather than retirement communities,” says Russ Napolitano, partner
at the Philadelphia-based design and branding firm. A key element of
the rebrand is the logo — the first update since 1988 — a circular
graphic featuring shades of blue skies and lush greenery with a
pathway cutting through the center. A clean and modern typeface
completed the rebrand. The Xhilarate designers also recommended
bold and vibrant colors along with extensive imagery to better com-
municate the property’s attributes through the new website. While
the previous website was heavy with information, the new version
emphasizes the grounds, range of activities, residential living options,
its wellness program and the various amenities conducive to an
active lifestyle. It’s designed to encourage visitors to act by calling
or filling out a form to schedule a visit. Says John Kotsatos, VP,
Sales & Marketing at Meadowood: “We wanted to partner with an
agency that would tell our story authentically, based on our founder’s
vision, while also setting us apart from other life plan communities.”
Of particular importance, he adds, was an online presence that was less
copy-heavy and better captured the spirit of the place. [Link]

20 G D U S A
 315.443.2769
admissu@[Link]

@su_commdesign
NE

[Link]/cmd2022

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june23ads.qxp_Layout 1 6/11/23 7:39 PM Page 21

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June 2023 Print Survey Impo.qxp_SEPT 07 People 6/11/23 6:48 PM Page 22

60TH ANNUAL

PR I NT D E SIGN SURV EY
BY GORDON KAYE

SPONSORED BY BILLERUD

CONFIDENCE IN THE CLASSIC STRENGTHS

“You can observe a lot by watching.” So said Yogi Berra, whose baseball career and malaprops are
having a revival due to a new documentary in theaters now. It pretty well describes my job as an
editor — at least until AI and ChatGTP replace me which could well be soon. The phrase also captures
the essence of our 60 year practice of polling the creative community in order to watch the fascinating,
integral and evolving role that print and paper play in the service of graphic communications.

To (wildly) oversimplify the history of this thing of ours, One thing has not changed over six decades: designers
we can discern three broad phases dating back to 1963. have always understood and appreciated the inherent
In the first phase, designers were often perceived (and qualities and capabilities of print to forge a human connec-
self-perceived) as decorators and prettifiers rather than tion. Thus, it is gratifying that our 2023 poll reveals a
decisionmakers. Among the consequences of passivity: community more positive, confident and assertive about
print and paper decisions were restricted by little product the classic strengths and continued relevance of print —
choice and dominance by printing and production experts. even (or especially) in a digital era — than we have seen
In phase two, designers emerged as creative masters, in recent times. Interestingly, this positivity is rooted in a
strategists and thought-leaders known to add value and realistic view of print’s current role and potential, rather
to shape commerce and culture. In this phase, control than arising from some soft nostalgia for a bygone era.
and responsibility for content and production flowed You can see it in the numbers and, more so, feel it in the
upstream to the creative community — making designers hundreds of meaningful comments we received. As for
the center of all things print, and sparking a golden age us, we’ll be back at it next year, human or otherwise.
of paper specification and creative print buying. We are Watching so that we may observe and likely pillaging
living now in phase three, in which designers are ever more Yogisms for additional wisdom.
recognized and celebrated for the value they bring to the
table. But, of course, the rise of digital communications
has broadened the media options and forced designers to
recalibrate their relationship with print and paper. What
we are witnessing in our past few polls is the nature of
that evolution.

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June 2023 Print Survey Impo.qxp_SEPT 07 People 6/11/23 6:49 PM Page 23

HERE ARE MY TAKEAWAYS FROM THE POLL, CONDUCTED JUST WEEKS AGO IN EARLY MAY 2023:

Print continues to play a vital role in how pro- Everyone understands that print is now a role
fessional graphic designers make a living. Fully player rather than the star — best used as part

1 96% of respondents say they work in print as

part of their professional mix and 55% of their
projects involve a print component. In addition,
6 of an integrated marketing mix or for certain
targeted audiences and purposes. That requires
more sophisticated judgments about how and
72% say they expect the same level of print design this year as in when to deploy print, and how to combine technologies such as
the past and, of the remainder, more designers say they expect QR codes and AR combined with print deliverables.
to do more print (19%) rather than less print (9%) in the com-
ing year. In short, our readers reaffirm the relevance of print to Relatedly, designers have a sharper understand

7
their professional lives. of where print is most effective and where it is
not. There is a growing consensus: Packaging is
Designers believe print endures because of its a growth area and an opportunity. Print excels for

2
classic strengths. Foremost among these is luxury brands, large consumer purchases, cata-
tangibility — it is sensual, touchable, physical, logs, invitations, and a host of specific industries
real, permanent, and encourages a human con- like real estate, healthcare, art, engineering, education where
nection often missing in the virtual world. quality, permanence, craftsmanship and depth of information mat-
ter. For fast-paced industries or circumstances where immediacy
These classic strengths are amplified by digital counts and information changes rapidly, not so much.
clutter. Because print is relatively rare, it has

3 the potential to stand out and be special — There is clearly less emphasis on printcraft and

8
fresh, welcome, surprising, disruptive, personal, its intricacies. Digital solutions tend to be the
engaging, meaningful, a statement that a brand default position — they feel bigger, broader,
values itself and its customers. And then there cheaper, easier, more contemporary, often sexy
is the related concept of digital fatigue. The fatigue factor from to clients — and this is especially true for each
the pandemic era seems to have fostered a new appreciation younger generation of designers and consumers.
for the attributes of print.
As has been true for six decades, Brochures +
Closely related is the issue of trust: quality

9
Collateral are the most frequently executed print
printed pieces are seen to possess authenticity

4
projects. This year, Sales Promotion, Posters,
and credibility because they feel real and pre- Invitations, and Direct Mail follow closely. Against
sent, spring from an identifiable source, and the odds, Business Cards remain popular, while
are the result of a deliberate act of craftsman- Annual + Corporate Reports and Catalogs are mainstays.
ship. This strain of thought is much stronger this year than in
the recent past, and that may be notable. The fleeting and Sustainability is an important factor when
ephemeral nature of digital communications does not inspire assessing a project — including, of course,
similar confidence.

If print is to stand out and be special, that

10 whether to recommend print or digital media. In
earlier times, there was an easy assumption that
digital had the lighter footprint. But designers

5
imposes a responsibility on creators and produc- now have a more nuanced understanding of the environmental
ers: superior print design, well-crafted execution, costs of the digital infrastructure, and many see print and paper
strategic deployment, sustainable methods as a green option and a renewable resource. That said, the print
matter more than ever. Perhaps that explains why, and paper industries have work to do to spread the message:
when print is part of the marketing mix, designers try to retain respondents to today’s poll are divided as to which media is
responsibility and control for critical steps in the process: 80% more sustainable, and nearly 40% simply do not know.
buy or specify paper and 86% buy or specify printing.

G D U SA 23
June 2023 Print Survey Impo.qxp_SEPT 07 People 6/11/23 6:49 PM Page 24

A MESSAGE FROM THE SPONSOR | BILLERUD

ABOUT BILLERUD

Billerud provides paper and packaging

materials that challenge conventional
packaging for a sustainable future.
We are a global leader in superior paper and packaging
materials made from virgin fibers, and we’re passionately
committed to sustainability, quality and customer value.
We serve customers in more than 100 countries with nine
facilities in Sweden, USA and Finland and around 5,800
employees in over 13 countries. Billerud is listed on the
Nasdaq Stockholm. OUR GRAPHIC PRODUCTS IN NORTH AMERICA

With our distinguished graphic product line, streamlined

In the United States, Billerud operates out of a regional supply chain and flexible manufacturing capabilities, we
head office in Miamisburg OH, two mills in Michigan's are ready to respond to market demands that best service
Upper Peninsula and numerous distribution centers. We our customers. Ours is the best quality graphic papers
are a leading supplier of high-quality graphic and label with a broad selection of forest management and chain-of-
papers, packaging materials, and market pulp. At Billerud, custody certification options for all types of commercial
we build brands and business results for our customers. printing applications. Our US mills are strategically located
near top industry printers across North America, so our
OUR STORY products are available when you need them. And we
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Our roots and our proud history in the forestry and paper • Anthem Plus®
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Billerud. This change symbolizes our growth agenda and
We have been a leader in manufacturing digital papers
our development as an international company, together
since digital printing technology first emerged more than
with our new mills in North America.
two decades ago, offering specialized expertise, dedicated
production capacity and a portfolio of products to meet
the needs of the various applications of digital and
inkjet printing:

24 G D U S A
June 2023 Print Survey Impo.qxp_SEPT 07 People 6/11/23 6:50 PM Page 25

•. Sterling® Premium Digital™

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THIS EDITION OF GDUSA IS PRINTED ON INFLUENCE®

GLOSS, 60 LB. TEXT FROM BILLERUD

G D U SA 25
june23ads.qxp_Layout 1 6/11/23 7:39 PM Page 26
june23ads.qxp_Layout 1 6/11/23 7:40 PM Page 27

Billerud. The first choice

for graphic and label papers,
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market pulp.
Our name means quality and commitment,
sustainability and integrity. With products
designed to build brands and business for
our customers.

To learn more, visit us at [Link].

Billerud Americas Corporation

8540 Gander Creek Drive
Miamisburg, Ohio 45342
800 258 8852
[Link]

©2023 Billerud Americas Corporation. All rights reserved.

June 2023 Print Survey Impo.qxp_SEPT 07 People 6/11/23 6:50 PM Page 28

PRINT SURVEY | THE NUMBERS

OUR 2023 POLL WAS SENT TO A RANDOM SELECTION OF 10,000 GDUSA PRINT AND E-SUBSCRIBERS.
THE BENCHMARK RESULTS MAKE CLEAR THAT, EVEN IN A DIGITAL AGE, PRINT REMAINS ESSENTIAL
TO THE GRAPHIC DESIGN PROFESSION.

WHAT KINDS OF DESIGN GOING FORWARD, DO YOU EXPECT TO IS PRINT MORE OR LESS SUSTAINABLE
PROJECTS DO YOU WORK ON? DO MORE OR LESS PRINT DESIGN THAN THAN DIGITAL COMMUNICATIONS?
IN THE PAST?

ONLINE
96% 72%
39%
PRINT

90% 19%
MORE 31%
30%
MORE
9% LESS
LESS

PACKAGE
NOT
TV | FILM | VIDEO | MOTION SURE
SAME

58% 33%
HOW MUCH OF YOUR WORK INVOLVES WHAT KINDS OF PRINT PROJECTS HAVE YOU WORKED ON THE PAST YEAR? (IN ORDER)
DESIGNING FOR PRINT?

BROCHURES/COLLATERAL
82%
SALES PROMOTION
54% 74%
ANNOUNCEMENTS/INVITES/GREETING CARDS
OF YOUR PROJECTS
INVOLVE PRINT
72%
POSTERS
70%
DIRECT MAIL/POSTCARDS
DO YOU BUY, SPECIFY, RECOMMEND, 68%
APPROVE PURCHASES OF ... ?
BUSINESS CARDS/LETTERHEADS
64%
PACKAGING
PAPER 59%
ADVERTISING
PRINTING 58%
86% 80% SIGNS/EXHIBITS/WAYFINDING
55%
ANNUAL/CORPORATE REPORTS
ARE YOUR PROJECTS PRINTED ON
PREMIUM COATED OR UNCOATED PAPERS? 47%
PUBLICATIONS/PERIODICALS
44%
74% 11%
UNCOATED
POP/SIGNS/DISPLAYS
31%
ONLY
CATALOGS
29%
BOTH
16% BOOKS
COATED 28%
ONLY
CALENDARS
17%

28 G D U S A
June 2023 Print Survey Impo.qxp_SEPT 07 People 6/11/23 6:50 PM Page 29

PRINT SURVEY | SELECT COMMENTS

IS PRINT IMPORTANT IN YOUR PROFESSIONAL LIFE?

In the field of design, print remains vital. Its tactile qualities, important. If you spent the time, money, and resources to put ink
permanence, and credibility hold significant value. Physical on paper, it must be important.
artifacts like brochures and packaging provide immersive experi-
ences. Print’s lasting nature captures a designer's vision and DUSTIN BRENTON, PRESIDENT OF BRENTON CREATIVE
offers credibility through meticulous production. Tangible materials
convey trust and professionalism to clients and consumers. Absolutely! Part of the overall design has to include the touch f
Creative exploration through paper textures and printing techniques actor. It can change the way a piece is viewed when they touch
enhances visual impact. Despite the digital age, print design something that surprises them. Online cannot give that kind of
continues to be indispensable for effective communication and experience — ever.
leaving a lasting impression in the design world. PEGGY HELLEM, FOUR WINDS GRAPHICS
MARC LEVITT, MARC LEVITT DESIGN
I don’t see digital media replacing printing. They are better off
In today’s world, it's no secret that digital work is more common working together to support each other. Print can become more
than ever. As designers we still care a lot about the appearance personalized and focused with the help of digital, and print offers
and feel of paper and packaging, and the question arises whether digital a more lasting impression with its tactile nature.
or not the client cares enough about it. That said, print continues
to be a very big part of the business! Almost all of our clients, Print is still important. People have short attention and have less
including those who rely primarily on their web and digital working memory capacity. Having a take-away print helps your
presence, not only utilize printing and paper but also care about product stay in the forefront of their mind. If your product is
the standards of quality for both. shared digitally it can easily become “lost in the shuffle,” which
ironically originates from paper. Print has become more special —
CRAIG VALENTINO digital ads and videos have become vices from which you need to
RABE & CO / THANK GOD IT'S MONDAY take a break.

I love holding a favorite magazine in my hand and studying the ALIYA MUSSELMAN, ADVANCEMENT RESOURCES
spread of an interesting story (looking at it on my iPad just
isn't the same – scrolling ruins the experience). Or the feel of a The traditional strengths of print are more relevant today than
textured stock and turning the pages of an informational brochure ever before. Touch, sensuality, permanence and portability
a favorite company sent me (again scrolling is aggravating). I love provide human connection that is missing in the virtual world.
perusing my collection of design ephemera and those favorite Print also has longevity, whereas digital does not as it can easily
magazines for inspiration I've gathered over the years... be clicked away and vanish. Print has more impact today because
Sometimes (OFTEN!) it's better to be unplugged... people are simply tired of digital everything.

BILL THAUER It is very difficult to trust what is coming onto my screens these
FREELANCE ART DIRECTOR/DESIGNER/PHOTOGRAPHER days. A printed piece, a letter, a brochure, a catalog, direct mail
piece makes me feel more comfortable and more likely to consider
I love printed material! I love to work on print projects of all kinds a purchase.
and I believe that print and digital support and enhance each
other if done properly. Well done, well-placed digital advertising Yes! As a package design company, print is very important to us,
and marketing helps promote printed magazines, books, etc., just as is the whole experience of touching and interacting with the paper/
as well done, well-placed print material helps promote broadcast package that provides the consumer with an emotional connection.
and digital media. There's no getting around it, print is here to stay!
Print is alive and very much has a place and a purpose. Email
RON J. PRIDE, GRAPHIC DESIGNER, OAKWOOD UNIVERSITY communications for advertising are deleted multiple times daily
without even opening. Print is a clearer communication method
I hate dealing with absolutes but I feel like print will always have and has much more credibility.
a place. Print marks special occasions in our lives. How many of
us have a shoebox or a giant tote filled with concert tickets, The visual and tactile attributes of paper can’t be duplicated. They
programs from events, signed pictures, newspaper clippings, provide instant credibility and a sense of permanence. You can
magazines, etc.? I'm going to go out on a limb and say probably use a textured paper background in a photo or take a photo of the
99.9% of us do. It's hard to be nostalgic about an email. But surface and add that credibility to visuals that lack that tactile nature.
holding that piece of your history in your hands is powerful. It's

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June 2023 Print Survey Impo.qxp_SEPT 07 People 6/11/23 6:51 PM Page 30

PRINT SURVEY | SELECT COMMENTS

CONTINUED

IS PRINT IMPORTANT IN YOUR PROFESSIONAL LIFE?

Most digital design executions are hollow, void of relevant concepts, In the industrial truck scale industry, people still like to initially
and will not endure. It is driven by trendy motion-based execu- look at brochures and catalogs to get a sense of what they’re
tions. It exists within a world of followers rather than innovators. considering. They may or may not from that point jump onto a
website for more information.
Placing ink on paper is permanent. Thought-provoking print-based
assignments require a higher level of thinking, design expertise, In this world of screens, gadgets and gizmos we NEED the tactile
and greater sensitivity to nuances of the visual arts profession. quality of paper. As humans, the ability to hold, smell, feel,
Print-based design is a concept driver medium. An experienced touch, and interact with materials is paramount to our sense of
print designer offers the audience a tactile experience that digital wellbeing and our sense of being grounded. And remember, science
will never be able to deliver. still tells us that the physical act of handling paper, pages, books,
etc., allows us to better retain the information we read.
Print and paper’s traditional strengths still matter. Touch:
There is something special about the feel of paper in your hands. In my professional work, I often use print materials to create
It is a tactile experience that can't be replicated on a screen. marketing materials, presentations, and reports. I find that print
Permanence: Print materials are more permanent than digital materials are more effective than digital materials in some cases,
materials. They can be stored and read for years to come. such as when I need to make a strong impression or to provide
Credibility: Print materials are often seen as more credible. This information that needs to be easily accessible offline.
is because they are more difficult to create and distribute, which
makes them seem more legitimate. In conclusion, print is still I still prefer print but that’s just not the nature of my business
an important part of our lives. It has many strengths that digital anymore. Paper doesn’t allow us the same flexibility as online
materials can't match, and it is still a valuable tool for both communications.
professional and personal use.
If I am creating an invitation, I want the paper to feel special. If
We’re still struggling to get the quality of paper we could before it’s a poster, I want it to be more of a cardstock with a nice finish
COVID. But printed materials are still a very big part of our so it can withstand the environment and stand out.
customer experience: direct mail, print ads in trade publications,
brochures, and trade show materials. We are making use of QR We do our LookBooks every year for our clients, and we send
codes more at shows, recruitment events, etc. but people still 300+ copies out a year. We also create and make these for our
pick up physical copies at these events. big clients every year. I feel it is important to have this done to
build credibility in the market, and to showcase your work as a
Taking a break from a digital experience is soothing and can be a reminder to all your current clients and future clients.
significant boost to mental health. I find a calmness in print that
doesn’t [yet] exist in digital media. With print, motion is represented ‘Paper’ is still one of the most viable ways we earn our referrals
through composition, and the mind is open to imagination — believe it or not, as an agency. Hard to not see/touch/appreciate
taking time to see “layers”, details, and other intricacies of your hard work when our catalog is in a client’s hands.
design without being led by digital motion. There’s an element
of natural discovery and sophisticated thought processing that Print is and will always be important. It’s a form of communication
occurs with print. and by that alone we need to understand the value and importance
paper or print graphic design shapes our style of communication.
People recognize that our digital world is often an unhealthy or It holds a realm that digital cannot. It is tactile and dimensional.
unpleasant one. A printed piece slows us down and engages all of
our senses, and gives us a hands-on experience that digital media I’ve been in printing for over 25 years and have seen the shift
simply cannot. from more standard stationery printing to specialty printing. We
still do traditional stationery but work more with dye-sublimation
Tactile projects have a longer shelf life then digital projects.
and flexible packaging.
The budgets may be smaller but print projects trend to be
more impactful.

30 G D U S A
June 2023 Print Survey Impo.qxp_SEPT 07 People 6/11/23 6:51 PM Page 31

stored and accessed reliably over time. The credibility associated

with print materials also persists, as they are often regarded as
more trustworthy and authoritative. Despite the convenience of
digital alternatives, the traditional strengths of print, such as
I 100% believe in touch and permanence. People need touch, permanence, and credibility, continue to hold value,
reminders of things in-hand. If everything was solely digital, it can making it relevant and significant even in today’s digital age.
be clicked off of, skimmed over, or scolled past so easily. Print in
hand is still just as effective. Our company, which is predomi- With so much digital content today, I feel like having something
nantly print, hit record breaking sales last year, and is already to hold and feel, is making a comeback. Although now with QR
projected to do the same again. codes, we can combine the impact. Today, however, print needs
to really stand out and catch the reader’s attention to justify itself
While more and more content seems to be moving toward digital
platforms, the remaining print items take on a new significance... Print is a core part of my job, specifically when it comes to
and are probably surviving — maybe even thriving — for a good packaging and branding design. I still prefer a good book rather
reason. New technology doesn’t always completely displace an than reading on a screen and when I design for print, I try to use
older technology. Sometimes, it just creates a new space, while materials that have a nice texture and feel like a premium
the older technology takes on a narrower relevance … So, yes, experience, by also using special inks to elevate the final product.
print and paper still matter, just in an evolving way.
Currently, most of my projects revolve around print, although I have
I think it will still be a long while before people give up giving out observed that my clientele is slowly transitioning some projects
business cards. I know that some people do still like to be able to to digital media. Additionally, the younger demographic may not
hold a physical newsletter to read. Also, if I get something online — value printed materials in the same way my generation does.
it's much more likely to be lost in my email than something
physical that I set aside to read (but that's just me). Professionally, print is still important, for trade show quick
guides, trade show banners, printed catalogs (customers want them),
Print is very important to us. Over the past 5 years, our business brochures and flyers. Personally paper is very important in my
model has changed dramatically. We have transitioned from mostly personal life. Did I say how much I love paper and the varieties of
working for clients to working almost primarily for ourselves. We paper? I’m a consumer of paper products like journals, notepads,
print and promote our unique illustrations, painting, designs and greeting cards, and am also a painter and printmaker so I purchase
photography. We still do work for a few non-profits, whose causes specific types of paper for painting, sketching and printmaking.
we belief in, but our focus now is all about creating art and
selling prints of that art… The papers we print on are archival, It’s hard to imagine the scarcity of paper in say the 18th century,
and have a specific tactile texture and look that enhances our and that not everyone had access to paper. I’d like to think that I
work. The right paper is critical to our brand. don’t take access to paper for granted.

Paper is fundamentally important to society. You don’t hang up a Print projects have decreased and digital has taken over. That
digital version of a diploma. You hang A PAPER DIPLOMA. has been the case for the past 10 years.
Rappers don’t hold up handfuls of Bitcoin in videos. They hold
up PAPER MONEY. Printed pieces will always have a place in our The sense of touch is so important to the experience of connecting
lives. And while you can turn a page in a digital book, if you don’t with messages and retaining the content. Neuroscience supports
charge the tablet, you’re not going to get to read that book. that what we see and what we feel creates experiences that
Unless it’s made of PAPER. directly affect the brain.

Print is still important but the same designs must also translate Print still matters but in this day and time it is very important to
to digital formats for display across multiple platforms. use sustainable materials in all print, including packaging.
Sustainability is the key, protecting the environment and not
While digital platforms have gained significant prominence, print contributing to the pollution is paramount.
remains important in both my professional work and personal life. I do think print matters. I think there is an ebb/flow to these
Print offers a tactile experience that digital media cannot replicate, kinds of things that trend more toward digital, but then as soon
allowing for a deeper connection with information. Additionally, as they do, they go too far very quickly and many demographics
print provides a sense of permanence, as physical copies can be feel marginalized by the “busy-ness” of digital communications.

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June 2023 Print Survey Impo.qxp_SEPT 07 People 6/11/23 6:51 PM Page 32

PRINT SURVEY | SELECT COMMENTS

CONTINUED

IS PRINT IMPORTANT IN YOUR PROFESSIONAL LIFE?

Then print comes in to reconnect with human touch points. Print absolutely still matters. Unfortunately, very few companies
or people understand where print's value is best utilized.
Print always matters. It’s been sad to see some of the shift away
from tactile printed materials post pandemic. Especially in the I love print. Always have. Print feels good; it’s memorable, unlike
world of hospitality... menus being the most important. so much digital I don’t even open. Print should be celebrated for
the valuable contribution it makes to communication and design.
To me, print is important and I wish it wasn’t waning. But things
change so fast that the shelf life of a print piece is often no To me, print still matters. I am working predominantly with
longer worth the cost to a client. packaging and trade show poster wall designs. Also print matters
for a non-profit I work with, i.e., for EMS uniforms, banners and
Print still matters. I see its use reserved for special situations, outreach material for recruiting (including brochures to kids
when a project needs to make an extra splash or requires a coloring books). Personally, I buy less print; one reason is that
personal touch. there is so much information out there, often not worth the paper
it is printed on. That said, I believe there is always a market for
Paper (touch) is absent from digital communication. Adding back good quality. I just bought a heavy format nicely printed craft
or including print/paper is more rare and therefore even more book. I also subscribe to a handful of magazine. Real paper is
impactful than ever. just a different experience and more stimulating to the senses.
Personally, I’ll always love paper and use it in personal projects
I specialize in publications, primarily books for self-publishing or in bookbinding. Choosing the right paper for a project is still
authors. Though they make their biggest profit selling ebooks, an important part of the project’s life cycle. But printing costs
they all want/need print for author signings — a main marketing for clients are becoming more of a factor, even for the one or two
tool. Readers still like the tactile experience of holding a book print pieces that are a go. Print projects either wind up being
and turning pages. However, the cost of printing continues to scrapped for digital or downgraded to quick printing services.
rise, making it less affordable for publishers of all kinds. This
prohibitive cost is what may eventually be the death knell for print Yes, it brings in more of the senses and stays with a person
books. The price of paper and the cost of fulfillment contribute longer than digital. However the combination of both digital AND
to this. It’s certainly NOT the cost of design and production, print brings a whole new level of awareness and interaction.
as designers are competing with Fivver and the like.
Print leaves a stronger impression and serves as a good reminder
I feel like print is still very relevant. In my personal life, it is very when I get something that I actually care about and want to
much. However, for my job, I’m not called on as often as I once follow up on. My company is starting to understand the importance
was to produce print materials. That probably differs from job/ of good print, as well.
industry to job/industry.
No. I don't even want paper in my house except for books to read.
Print is critical both in my professional life and my personal life.
Working in the B-to-B publishing space, doctors (our readers) I believe designing for print is a dying art, even though demand
still prefer print publications. And after spending 10 hours on a is still there. This opens the field for the cream of the crop of
computer each day, I still prefer to read print materials in my print designers.
down time.
I believe print has leaped into new dimensions with digital, and
Printed materials still command credibility. The challenge is that the pairing with AI is adding a whole other dimension.
so many public-facing materials are printed digitally, with little
attention to the touch and feel of the paper being used. Personally, I still love to read a printed book and receive printed
cards and letters. I do not miss receiving catalogs in the mail and
My job is an artist, designer and I oversee the agency’s Print would be happy to see all printed junk mail cease to exist. On the
Shop. We are a state agency — we design and print a large business side, I think if there were fewer low quality printed pieces
amount of different things during the year. out there, budgets could increase for higher quality printed
collateral that would be more attractive to the intended audience.

32 G D U S A
June 2023 Print Survey Impo.qxp_SEPT 07 People 6/11/23 6:52 PM Page 33

Yes, printed pieces matter! In my professional life, I regularly work

on book design and print advertising. In my personal life, I can't get
enough of printed materials. The touch, permanence, credibility
are always something I’m thinking of and admire.
Print will never die, but continues to contract, which results in
greater prestige. I believe that print is still very important, perhaps even more so,
as design goes digital and ephemeral, the fact that printed pieces
Our customers react to print strongly when considering the large are actually tangible will make them increasingly precious.
overall picture, but are more responsive to appropriate, honest,
tactical, digital messaging. Nowadays clients want a logo design, business cards and then a
website. Then they’ll try advertising, direct mail postcards. Beyond
We embed video screens into print so it is the best of both worlds! that maybe a brochure, catalog, promotional item. Some are being
replaced by digital, for example, I have a bookkeeper, tax preparer
Maybe I’m ‘old school,’ but print is still important to me, mostly who would order a presentation folder every year to place hard
in my professional work. I do appreciate getting a beautiful print copies of the tax return and a cover letter. Now the client wants a
piece mailed to me, but mostly if it’s something special. Run- pdf instead. Print is taking some hits.
of-the-mill stuff usually ends up in the recycle bin. At work, we
produce a print and digital magazine. The print version is BY FAR Print only matters from a collectability standpoint. Anything that
more impressive. We feature large, beautiful photography, which is meant as temporary such as catalogs, newspapers, promotions,
just doesn’t come across as well in our digital version. etc. is dying off and replaced by online publication. However,
books and things that are meant to have value beyond the temporary
I enjoy reading books and magazines in print form. I find that I am still hold credibility.
more engaged with the content when I am reading it in print. I
also appreciate the permanence of print materials. When I read Coming from a traditional print background but evolving into the
something in print, I can keep it for reference or to share with others. digital age, I appreciate and respect the tactile longevity of printed
pieces. I love how paper thickness, coating, and inks can bring a
Yes, print and paper are relevant today. I have had client try to go project to life. In art school, we weren't allowed to touch a computer
all digital and they have had to go back to print because digital until Junior year, so we learned how placement, composition, use
didn’t have the pass-through that print collateral had. of fonts, images, and colors impact a message. In grad school,
I learned how movement via video and animation could enhance
Absolutely relevant, especially with regard to food packaging. the messaging. In my professional work for the past 25 years, I've
However, some print may be replaced by digital as a focus on the learned the importance of designing a message that can work as a
environment and paper waste, particularly as junk mail gains scrutiny. static or with motion — many times using both in one campaign,
so they must relate and complement each other. Having been a
I still love paper products and packaging. There’s something about mentor to newer designers who only learned digital design, I stress
touch and feel that brings you closer to the product. Books too! I the importance of composition and how it will look on a page —
hope print doesn’t dissolve completely, but I understand that in that it takes true thought to make something permanent.
our instant demand world, digital is just easier.
I love print but I admit that it is dwindling in my professional life.
Professionally, many of the projects I design are digital but designed In fact, I am right now considering eliminating my shelves of
so that the end user can print them out if they wish. My clients paper swatch books [insert crying emoji] as I moved my office and
have found that printed materials are still needed for event invita- hardly ever spec “fancy” paper anymore. I love digital design,
tions, programs, and fundraising appeals. but I miss the days of picking up the latest swatchbooks, print
samples, and swag at paper shows.
Print is no longer really very important. I do like paper books, but
have moved to digital news. I receive a few printed magazines. I believe print will continue to have value in all aspects of life.
But print design is now largely business cards and invites. Invites There is growing sense of digital fatigue.
have been made more complex by people not coming to the office,
so e-invites are safer. Companies do like to have something physical
printed for events as a hand-out for visitors to take away.

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PRINT SURVEY | SELECT COMMENTS

HOW AND WHERE IS PRINT AN ESPECIALLY EFFECTIVE SOLUTION?

In my experience, print is particularly effective for clients who In my experience, print is particularly effective for clients and
value tangible experiences, such as luxury brands, high-end content that require a tangible and immersive experience.
publications, and artistic endeavors. Print excels in conveying a Industries like luxury brands, real estate, and art often benefit
sense of quality, permanence, and craftsmanship. Additionally, from print's ability to showcase products or visuals with high-
print is relevant when targeting specific demographics, such as quality images and design. Print is also effective when targeting
older audiences who may prefer traditional mediums. On the certain demographics that prefer physical materials, such as
other hand, for fast-paced industries with rapidly changing older audiences or those in rural areas with limited internet
content, digital platforms may offer more flexibility and real-time access. On the other hand, print may be less relevant for time-
updates, making print less relevant. Ultimately, the effectiveness sensitive content, rapidly changing information, or when target-
of print depends on the specific goals, target audience, and ing tech-savvy, digitally-oriented consumers who prefer instant
nature of the content being communicated. access and interactive features. Ultimately, the effectiveness of
print depends on the specific context and target audience.
MARC LEVITT, MARC LEVITT DESIGN
I’ve found it extremely relevant to every client. The idea that it
Print is especially effective for packaging clients and consumers. is not relevant is the actual problem; some (many, too many)
All aspects of packaging quality (materials, finishes, etc) are clients think they don’t need anything but a social media
highly considered and still make a huge impact on the competitive account. Once they see the impact of a catalog, or direct mail,
shelves. As for clients who do not rely on packaging, including or packaging, or books to have and to hold, the light switches on.
those who mainly have an online presence, just about all of them I do everything possible to keep that light ON.
still take much pride in their business card printing and apparel/
promotional materials. We also have clients who care about In my experience, both print and digital/online communications
photography of their products and services, and the high-quality both have a solid space with clients. Having the choice on how to
book printing we do for them is very effective. communicate and choosing your delivery solution is what's powerful.
CRAIG VALENTINO, RABE & CO / THANK GOD IT’S MONDAY
Our industry is mostly made up of baby boomers as far as decision-
making goes. They grew up with print and are still likely to
Print is important. Clients still need brochures. Clients still need
prefer it over digital.
business cards. Clients still need posters and sales flyers. A
digital leave-behind is not as effective. If you leave a brochure,
After living in San Francisco for a long time, and then moving to
then that brochure might be passively seen laying on a desk by
a much smaller town, I was shocked to see such a difference
the prospective buyer. If you leave a PDF for them to look at,
in the utilization of digital media in general. I’m afraid that
they have to be intentional. The prospective buyer will have to
designers in big cities over-estimate the usage of digital media
actively load up that PDF to be reminded of whatever it is you
in most people's lives.
are selling. Even if your leave-behind is a business card with a
QR code, it's still a physical piece in the real world.
Effective = older consumers, higher value clients. Less effective =
DUSTIN BRENTON, BRENTON CREATIVE younger audiences.

Print is especially effective for learning new content, changing I’ve learned print has no age — older, more traditional consumers
the way you think, or developing a new process. A printed quick appreciate a tactile piece, but younger ones have begun to truly
reference or reminder that lives at your desk is extremely benefi- appreciate a break from the sensory overload of digital media.
cial. If you're learning or training virtually—print is irrelevant. Having worked in several fields like architecture, advertising,
However, a problem may arise where general ideas are retained, editorial, education, marketing, packaging, promotions, POP/POS
but specific content and concepts need reinforcement, coaching, displays, I see the benefit of having a print component that gives
or digital reminders. another dimension and feel to a message. Digital saves trees,
but uses electricity, so one method isn’t completely environmen-
ALIYA MUSSELMAN, ADVANCEMENT RESOURCES tally friendly. Since there are many audiences, it’s hard to rule
out one method over the other — so as not to alienate an entire
population that may not have digital access or competence, nor

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Our customers rely on printed schematics, installation instructions,

quick start guides, etc. They request print as opposed to online
materials.

assume everyone wants to collect a bunch of printed pieces that My clients who work in industries with tangible products find
take up space. print materials particularly important; especially those that have
products aimed toward wealthier clientele. For example, a folder
Print is an effective novel tool used to engage a precise audience — of information for a high-end countertop company.
a tactic to gain attention and speak to an audience in a new way.
As the saying goes, “Everything old is new again.” Business to Business, Corporate, and Image-focused clients in
particular are more concerned in including print and collateral
Large consumer purchases and luxury purchases need the touch material as part of their overall branding efforts.
and feel of paper; it slows down the frenetic pace and gives people
My last two jobs are actually a great example of each. My current
a chance to think and consider.
position is with a cybersecurity company and print materials aren't
We love doing OHH and posters for our movie clients, as well as as common. There are some but the majority is digital. I would say
NFP clients we have. It is essential for events to have leave 25/75. My previous position was in higher education and the print
behinds, takeaways and something to remember you by. materials were far more common. I would say it was more like
75/25 print to digital.
Print is critical for packaging, and book/magazine publications.
Not relevant for digital platforms including social media, pod II have found that financial advisors, as a client group, seem to
casts, blogs and digital newsletters. enjoy printed collateral, even when the same content is available
digitally on a website.
Associations and nonprofits tend to print more than traditional
Quick takes: Print is irrelevant for mass mailings and even targeted
for-profit outfits. Healthcare prints a lot. So does Real Estate.
mailing lists. More effective for turning good prospects into
I have both types of clients. Some projects are okay with just clients. Bespoke, and/or personalized print communications still
posting online, but some need both online and print. We work make an impression. There’s just too much print ‘noise’ still. It
with college students and it seems they prefer digital, but notice needs to evolve more in this digital-forward age.
that when something is in print it gets more attention.
With the older generations print will probably be preferred method
Our distributors/customers still want paper catalogs. considering that is how they were ingrained to retain and gather
information. They’re also not as tech savvy.
I would say magazines with readers who are passionate about the
Print is relevant with Not-for-profits. Real estates. Corporate
subject should stick with print (or have options for both print and
communications.
digital). Few of my own favorites: American Bungalow, American
Road, Coastal Living, Outdoor Photographer, Downeast. Technical Print is irrelevant in short lived news updates, entertainment, info
subjects maybe not so much... Sad to see advertising moving to clutter and opinions. General public informative materials and tech
more online/digital... books are too fast-lived and seem outdated as soon as they are
printed. However good quality (color) print will always have a market.
For my industry, we focus on employee communications and for
Educational material is still strong, as I don’t think it is good to
many companies, print is still important to target those who
have kids online too early and online presence can’t be expected
are not on a computer as part of their job, or there are topics/
everywhere. Another good print market is packaging which can help
decisions relevant to partners/family members.
selling a product and also informs and fulfills government guidelines,
The Real Estate industry definitely still needs the print media. i.e., with nutrition labels. (I just bought a new Pantone fan for color
Flyers and brochures in the open houses give prospective buyers printing on supplement labels.) Packaging for transport is still is
something to think about when making a decision. strong with paper, brown bags, pouches and wrappers, cartons.
Demographics who prefer the print versus online, such as seniors,
Real world clients need to include touch/paper in their communi- like clear readable information material in the mail, likewise
cation mix. Digital clients can add touch/paper to establish greater government communication or fire hazard information … Less
presence/realness to their mental presence. used, but still needed: letterheads, envelopes, even calling and
appointment cards. Indoor and outdoor signage and environmental
Print for weddings still hold strong. label systems and posters are still important. Calendars, on point

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PRINT SURVEY | SELECT COMMENTS

CONTINUED

HOW AND WHERE IS PRINT AN ESPECIALLY EFFECTIVE SOLUTION?

guidelines, recycling info postcards… Sustainable furniture as a daily activity. Others of various ages and backgrounds
made from carton material is tested as alternative to plastic and enjoying a book or magazine while leaving digital devices behind.
veneer. Printing on that furniture would be a new market. Those with religious observances that include a powering down
of digital devices on the Sabbath and certain holidays.
Printed brochures may still be picked up, but are less relevant as
single information sources. We do information posters for the Fashion continues to utilize print as well — think of tags and
trade booths which also have a QR code… whole wall or poster labeling. Even brand logos that are printed directly on the fabric —
video screens that replace poster walls are already seen, however this is still print!
are rare as they are still expensive and confusing, less good for
type heavy information, and the impression is short lived. I also Printing/branding on transportation vehicles like airplanes, buses,
order decorative (poster) prints from the nature photographs I take. trains, and such is important. While not paper, this is still print.

CPGs rely heavily on print in the overall expression of a product. There are lots of examples where print remains an effective
Invitations can still be print dependent, although they seem to solution, but one thing that comes to mind is a printed note
be going digital. card. It takes on a new level of significance in the face of over-
loaded email in-boxes.
In my experience, some form of print collateral can be used
effectively in almost every marketing/advertising solution. We suspected that at employee recruitment events involving
younger people and recent graduates that digital would rule, but
We see a lot of activity in the real estate industry. Direct mail we see people of all age groups just have personal preferences
and signs are still highly effective. We also see a lot of sales in for print versus digital.
manufacturing and healthcare.
Especially in an era where RGB color on smooth screens and
I can no longer speak for this since we basically fired all our mobile video is so pervasive and distracting, the immediate
commercial clients, but for our non-profit clients and our own credibility of well-designed print provides a great way to stand
personal work, print is very effective. forward. Especially when adding even more credibility with the
authenticity of embossing or debossing. And combining foil
Using both print and digital is a great combination. As stated leafing and varnishes.
before, print tends to tingle more senses and stay with reader
longer if it is something they WANT to hold on to. Print is relevant for Manufacturing and Engineering. Buyers of
art and photography and kids' books. In person meetings.
I think it is effective when trying to get the word out about Long content (such as books). Packaging. Events. Healthcare
something important and helps increase the odds that someone and energy related. Restaurant and retail clients for Menus,
gets the memo. Print is also more effective when you want a POPs, and tents. Invitations. Greeting cards and POS.
luxe experience.
Non profits, government, and small businesses use print more
Packaging still requires print and people love stickers as in my experience.
ephemera. It is irrelevant for editorial, news, invitations, bills.
Long term things like catalogs are a must for print, but print will
I think depending on the communications goals of each no longer work for shorter term things that need the reach and
client/brand either print or digital come to play. Nowadays print immediacy of digital.
also has the job of being more sustainably conscious ... Print can
be exceptionally effective for audiences who don’t gravitate As an institution of higher education, we generally mail to market
towards digital, have difficulty with digital technology, or for to students and well as their parents. Parents find it a great tool
whom digital connectivity is an issue. I have observed many when choosing colleges and keeping information straight.
elders who look forward to opening their traditional, printed mail

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My nonprofit clients have found that people still respond to

mailed fundraising appeals, so they have kept printing their
fundraising letters but reduced the quantity of each mailing.

I imagine that client selling products are the most relevant. Print can be helpful when you’re explaining a new product. I just
Packaging and branding help make buying decisions. Special received some Moringa powder from a DTC order and got a mini
promotions are also more effective when they arrive by mail. brochure in the package explaining the benefits of Moringa and
And then there’s event marketing. For special events, printed how to use it in recipes. That will be handy to keep around.
campaigns work well for driving greater attendance. Anytime you order something physical, like a pair of shoes, it's
possible to extend the sale by included something printed.
Visual and tangible items are still important. Look, feel and
touch is still relevant. Package design is important for consumer Print is important to consumers of books — not everyone likes to
attention to products. Newsletters, magazines and the like are read off a digital screen. Books are portable in a way that Kindles
in both realms both print and digital. Those depend upon the or electronic devices are not. They don’t need to be recharged,
customer preference. What fits best in their lives. Some like the and it's fun to flip pages with your fingers. Also, the packaging
printed, to get away from digital screen, some like the digital as industry will always have use for print. I suppose people don't
for them it's more efficient and available. write actual letters sent through the post that much anymore.
That skill is becoming or has become a lost art form.
Baby boomers still rely on printed materials for many things,
but are actually open to digital for others. I still think they are The fine art world requires a lot of attention to paper and detail.
the biggest print clients when it comes to information that is
more involved. Print is more and more irrelevant for first touches The book projects I work on are typically with photography or art
in the younger generations, however, I think any communications based clients. They want their work to be on display in a physical
plan would be completely ineffective without print materials at setting and prefer the beauty of a physical object over a quick
some phase of customer contact. This is all coming from a higher scroll or click.
education design/marketing background.
Print is especially effective for projects or clients that are trying
Consumer-end (packaging). Industry is demanding more to project a sense of strength, stability and security, such as in
sustainability but there is still a need for packages, shipping banking, real estate, medicine. It is less relevant for information that
boxes, PDQ and endcap displays, etc. is constantly changing, such as the news, the stock market, etc.

It appears that the older population has not fully adopted digital Print is effective for my healthcare and CPG clients. There are
media compared to the younger generation. lots of trade shows and packaging that requires paper good to
communicate or house items. It's almost irrelevant for my smaller
Print is important in both my personal and professional life. Print clients who don't have large budgets and only want to push digital.
materials are more effective in creating marketing materials,
presentations, and reports that require a strong impression or Print is still big with my nonprofits, as they are still mailing their
offline accessibility. Reading books and magazines in print annual appeals. However, they do not usually want to spec
enhances engagement and offers the benefit of permanence. unusual or fancy paper as they need to keep costs down.
The traditional strengths of print still matter: touch, permanence,
and credibility. Printed materials feel special and are stored Effective in situations in which client is trying to enhance a
easily, making them more credible than digital materials. sense of value (wineries, boutique financial firms, etc). Also,
In conclusion, print remains an essential part of life and has when information is dense.
strengths that digital media cannot match, making it a valuable
tool in both personal and professional use. In things like consumer packaged goods or informational folder kits
or stationery design, nothing can replace print, and when it’s done
In my experience print and digital media go hand in hand. Each right using carefully chosen papers and finishes, it is gratifying
serves a purpose and each reaches the target audience in different and well appreciated and received by the customer or consumer.
ways. They work best together to drive the clients market share.

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21ST ANNUAL
LOGOLOUNGE TREND REPORT
LOGOS DON’T APPEAR OUT OF THIN AIR
BY BILL GARDNER, FOUNDER + PRESIDENT, [Link]

Maybe it’s because I live in the Midwest, or maybe it’s because I put this report together
every spring when the region’s nickname ‘tornado alley’ suddenly makes sense, but I can’t
help realizing how logo trends and weather have a lot in common. Context.

As unique and fantastic and otherworldly as tornadoes going anywhere, so we might as well use this tool to
are … they don’t appear out of thin air. They’re created by enhance the creative thought process we already excel at.
certain conditions. They’re not always predictable, but
there’s a certain pattern that emerges before they appear, I recently came across this (unattributed) quote on LinkedIn,
especially if you’re paying attention. and loved it so much I want to share it with you:

I’ve been paying attention. To a few million logos over the “Don’t worry about AI stealing your job. To replace graphic
years. And much like a meteorologist (perhaps you’d call me designers with AI, clients will need to accurately describe
a logologist) I start to notice patterns or certain conditions what they want. We’re safe.”
that exist when logo trends emerge. Logos don’t simply
emerge from thin air either, no pre-existing conditions, Another tool we see coming in on the trend front, the tool
no context. And if they do, they’ll appear anomalous to du jour, so to speak, is inflation. No, not the economic
the public. kind that means you need to take out a second mortgage
to pay for groceries. I’m talking about the kind that enables
Context isn’t just particular cultural movements or moments, designers to “puff up and lift” items off a page, like Sam
it’s also tools and technology. While the advancing cold front Smith strutting the red carpet in an inflatable black latex
of AI has sent a chill down many a creator’s spine (we’re suit at the BRIT Awards. As a standalone piece, the (prob-
talking about Artificial Intelligence, not Adobe Illustrator), ably squeaky) balloon-esque ensemble might not make
it’s important to understand how to work with it, instead of much sense, so it’s important to understand the context
ignoring it or working against it. (Don’t spit into the wind.) of the design trend. Anticipate designers over-using this
3D tool in a nascent way until it shifts gears to a more
Instead of taking the tools at their face value, learn to use mature and thoughtful capability and not just a trick.
them as a sort of brainstorming tool. Much like lightning
disrupts the sky and illuminates things in new and wild ways, It’s not an easy job making sense of all the logos we receive
AI can quickly churn out unique perspectives. Sometimes each year–more than 30,000 of them–to put together this
they’re awful (like when it hits a tree, sets it on fire, and report. It’s like the world’s largest match game for myself
it falls on the house nearby) and sometimes it’s incredible and a cadre of exceptional designers. We initially identi-
and releases nitrogen into the air, fertilizing the ground fied around 60-70 clusters, then divided those down into
below and fostering new growth. In other words, AI isn’t the 15 with the greatest impact.

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This trend report looks back to move us forward–providing blue (a certain shade of blue), a newly discovered color
invaluable insight developed by countless hours tracking that we can’t get enough of. Of course, at some point, every
the trajectory of design trends. I’m not here to tell you color that’s visible to the human eye has been cornered,
which of these trends is my favorite (though there are and we must look beyond the palette proffer. So we see
some stellar ones), but rather, I’m laying out ‘what is’ and dichroic foils hitting the scene, shimmering with eye-
sorting through the mayhem to help explain the ‘why.’ catching possibilities.

Here at LogoLounge, we know our stuff. Through analytics, Symbols (notably happy faces, castles, mushrooms, too
intuition, good judgment, and 20 years of experience creat- many eyes and flags) are omnipresent, but we must keep
ing this report we are able to isolate nuances and breakout in mind that symbols are only as strong as the context in
directions that you can use to evolve your brand design which they were born. For example, a more eastern visual
forward. We’re not telling people to pick up these styles interpretation of clouds incorporates wind and they are
and run with them. Rather, if you wish, you can stand on moving westward, while the occidental variety is more
the shoulders of these emerging trends, or push them to static. Trends this year took us toward both the tangible
the next iteration. and intangible. Wildflowers invite us to stop and smell
the roses, Sonics make us stop and listen–while Fades
And remember, trendy and trends are not the same. alter our sense of reality and put our eyes to the test.
Trends are directions — the way in which something will
most likely go. Trendy is more ephemeral. Renowned Now, before you dive into the trends, remember that I am
designer Tom Geismar said it best when he shared with just reporting on what we’ve found through a thorough
me, “Nothing dulls so quickly as the cutting edge.” analysis of the more than 30,000 logos submitted (and
also every significant brand introduction and update
For the 2023 report, we saw a variety of circular shapes internationally). We know our stuff. But just like any mete-
take center stage, all familiar yet with their own twist (and orologist will tell you, they can’t guarantee a forecast. And
in the case of the spiral, twists upon twists). Word marks we can’t always predict the direction a designer will take
continue to keep their traction, especially when the product a trend next. That’s what keeps us on our toes and makes
they represent is already the visual leader of the brand. it fun.
We’ve seen a lot of solutions rebounding from insignificant
sans serif fonts, and now veering to more psychedelic, or LogoLounge members gain access to better than 400,000
art nouveau, retro, or irreverent. (It’s complete mayhem out exceptional logos from which to find inspiration. They’re
there.) NeoStencil, Stretcher, Foreshort, and NameFills are contextualized and searchable, making it easier to find a
all logo trends this year that elevate and differentiate text. path that leads to your next design destination. You’ll
have more than 20 years of trend reports to explore, and
Last year we saw a crap ton of pink (that’s a real scientific if the conditions are right, lightning just might strike.
measurement), and this year it’s green (any shade) and

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LOGOLOUNGE | 20TH ANNUAL LOGO TREND REPORT

WILDFLOWERS
A perfect time for the scratch and sniff industry to make a resurgence would be with this abundant crop of blooms capturing the imagination
and dollars of consumers. This botanical association with all things natural, holistic, or healthful was once reserved for hibiscus tea and alpine
cough drops. In 2022 the beverage industry calculates that better than half of the new market entries have listed floral ingredients among
their flavor tones. Enthusiasm for other leaves, buds, petals and the resulting benefits in the health, beauty, spirits and recreational industries
have heightened awareness in the design industry as well. Designers are embracing the challenge with a feverish zeal, crafting lavish visual
brands ready to wake our olfactory senses through our eyes.

Interpretations of flowers range from highly identifiable to vague fantasy placeholders. Badges and crests that were once replete with moons,
hearts, and stars to fill out their background, have now been populated with leaves, vines and sundry blooms of every kind. Whether these
logos use floral elements as the feature or as a bit player there is an evident upping of the design aesthetic in this crop that’s looking beyond
cliches. Papel picados, photo embellished ribbons, and hand drawn badges exemplify just how diverse this trend has become. I am left to wonder
if we’ve so over saturated the infused gin market with flowers that we might run short. Not one of the above marks is for a florist. Interesting.

DESIGN AGENCY: DESIGN AGENCY: ANAGRAPHIC DESIGN AGENCY: DESIGN AGENCY: AVIDTY CREATIVE
SIMONIAN DESIGN STUDIO CLIENT: G.E.B.A TRUST DESIGN SHOP CLIENT: MOTHERSHIP COFFEE
CLIENT: CURIO COLLECTIVE CLIENT: FRIDA BEAUTY COLLECTIVE ROASTERS

BLOBEND
As the antithesis to those brethren of geometrically solid marks brimming with right angles, perfected radius, and precision symmetry, sometimes
a client needs to let down their hair, and their guard. Perfected logos speak to perfection, and frankly not every personal or branding relationship
is founded on perfection. Enter a trend of highly relaxed and very approachable marks that look as loose and comfortable as the entity they
represent. There is smart design here with good symbolism, proportions, and positive/negative spatial rapport, and despite the fluid nature
all hold their own as a logo. You may know that you’ve been initiated in this trend if the majority of your mark appears to have been drawn
with a honey bear squeeze bottle.

That unconstructed liquid appearance may well speak to the spontaneous nature of the brand experience you’ll come to expect, or the flexibility
you can anticipate. It’s often attached to natural or leisure-oriented products that want to dial down the wall of formality. To counter a too-loose
persona, the attending typography or other contextual graphics may offer a bit more structure to assure consumers the brand’s brain does
have a left side. Numerous fonts have been released with letterforms that flow neatly into this trend. In particular there are a rash of script
wordmarks this year that are all droop and no points. Am I too late to rename this trend Pointless?

DESIGN AGENCY: DESIGN AGENCY: RAINFALL DESIGN AGENCY: YOUNG JERKS DESIGN AGENCY:
SECOND MELODY CLIENT: ASOCIATIA ARBORESCU CLIENT: KIDDIWINKS GLASSHOFF
CLIENT:SCHOLAR ROCK

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FADES
In an international survey, participants were asked which of their senses they’d least like to lose. An astounding 70% responded sight with
8% least wanting to lose their hearing, with smell, touch, and taste trailing in the results–no surprise to a contingent of designers that would
probably clock in at 100% in favor of keeping their sight. What does strike me is that most of the population either wears glasses or has
some form of corrective vision. We forget that up until the last century a large piece of the population just lived with an inability to focus.
That’s a circuitous set-up for this trend which is counterintuitive and puts a consumer’s strong vision to a test or at least challenges it.

This logo for Blurry is a beautiful thing to behold if I knew where to grab it. The completely unfocused orb speaks to the app of the same name
which assists in linking musical artists through anonymity. Smart thinking. Most of the marks that are adopting some forms of this effect
are blending focused and unfocused elements to help contrast one from the other or to show a gradual shift to demonstrate building clarity
or possibly in the inverse if they want to obfuscate. There have been some exceptional uses of this in brand applications where animation
allows focus to tell a story as it creates a transitional reveal in slow motion. Catch the way the Myers & Briggs Foundation utilizes this via
personality testing to reveal an individual’s awareness of themselves. [Link]/work/myers-briggs

DESIGN AGENCY: SIGNIFY DESIGN AGENCY: BRANDFUSION DESIGN AGENCY: TRISHULCREATIVE DESIGN AGENCY:
CLIENT: BLURRY CLIENT: VERUVIS CLIENT:ECO UTILITIES GROUP SILART DESIGN
CLIENT: OLAJOZUNK

FORESHORT
Long before we could grab an asset on screen and tumble, spin, stretch, and diminish it into a semblance of three dimensionality, we couldn’t.
Hand drafting an image to conform to a one-, two-, or three-point perspective didn’t even exist until Brunelleschi. The genial genius of Italy
fathomed the concept in the early 1400’s and the renaissance shifted from simmer to bonfire. I’m just trying to give a little credit and
perspective to the whole concept of perspective! Designers are copiously utilizing the same principle that jarred humanity centuries before.
It was considered wizardry at the time when a subject they were accustomed to seeing on a two-dimensional plane swung back into space
and suddenly created a sense of place.

These logos create a feeling of cinematic drama and though we’re no longer left in astonishment they do slow us down long enough to beg
consideration. They help demonstrate space and time or anything else that exists on a continuum. They also establish the vantage point for
the viewer. Logos may be looming overhead or leaving you behind. Possibly racing toward you or in the case of the Jodrell Bank Observatory
logo, giving a sense of shape and space as the concave dish is defined. Squeezing down text in this fashion also tends to turn an otherwise
lengthy wordmark into a compact and manageable symbol. And though the group of marks assembled here are type in orientation, it was a
propensity but not an imperative to belong to the trend.

DESIGN AGENCY: DESIGN AGENCY: ORDER DESIGN AGENCY: APERIOS DESIGN DESIGN AGENCY: PAUL WILSON DESIGN
ADAM GREASLEY (OAKFOLD) CLIENT: FORWARD MAJORITY CLIENT: AFM FILMS CLIENT: PERSONAL BRANDING

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LOGOLOUNGE | 20TH ANNUAL LOGO TREND REPORT

THRUST
For the greater part designers have very few clients that are downers. The vast majority will tell you at the opening of conversations that their
business is on the way up. Profits are up, clients are up, sales are up, the better part of their world is on the up and up. It’s usually once
you move beyond the direction their future is headed that they’ll start to share the meaty part of their venture that will give you the most
value in building a brand story. This said, there are those times when an uplifting mark is really what’s called for and this year things must
have been looking up. Part of the challenge of dealing with rising fortunes is the cliché arrow has been utilized to excess. This year there
seems to be a trend that embraces the lift but presents it in a refreshing format. Designers have taken the opportunity to not only indicate
a direction but exhibit velocity of achievement at the same time.

The upward triangular arrows are built from linear segments that indicate a sequence of thrust as a primary message. Each line chronicles
a stage in a process that may relate back to the core of your client’s procedures or steps they take in a patented process of improvement.
Some of these marks show the acceleration of a juggernaut strapped to a rocket and others give the impression they’ve reached cruising speed
and are holding steady. Note that another demonstration of the process is to colorize each step to indicate the intensity of each subsequent
layer. Here’s hoping for a long life for this trend and an upward track for all.

DESIGN AGENCY: DESIGN AGENCY: SIGNIFY DESIGN AGENCY: DESIGN AGENCY: THE INFANTREE
1DEA DESIGN + MEDIA INC. CLIENT: ALL OUTDOOR PAUL WILSON DESIGN CLIENT: EVEN KIEHL
CLIENT: GREEN CLIENT: PERSONAL BRANDING
CENTRE CANADA

SPIRALS
The year’s 1170 and Leonardo, a young boy from Italy, visits Algeria and returns writing a treatise on Arabic math. Europe embraces 1-2-3-
4-5 instead of the Roman numeral system the continent had been laboring under. Way to go Leo. He also formulates a numeric sequence
revealing why a nautilus shell spirals and explaining a few thousand other mysteries of nature. Much of Europe called him “the traveler from
Pisa.” His family name was Bonacci, but a historian in the 1800s called him Filius Bonacci or the “son of Bonacci.” Leonardo never heard
this name, nor did he realize it would get abbreviated to who we know now as Fibonacci. The master mathematician who gifted us with the
Fibonacci sequence. Trends and a history lesson…check that off the list.

Where the designer in us picks this story up is in just how essential this little equation of adding each number to the prior to obtain a sequence
of 1, 1, 2, 3, 5, 8, 13, 21 and so on… plays out in design. Considering it defines the golden ratio and helps us understand nature from the
atom to celestial bodies–we’re in good stead leaning on it to build a logo or two. The resulting spiral is most associated with the cross section
of a nautilus shell. The pure simplicity of this shape derived from such a divine formula of nature allows it to fairly represent depth with simple
beauty. Concepts as complex as Replay’s genomic sequencing or representing infinite sources of energy such as wind, for EDP, are easily
achieved. You’re sure to earn bonus points from a client now able to work Fibonacci into their elevator pitch.

DESIGN AGENCY: DESIGN AGENCY: PENTAGRAM DESIGN AGENCY: DESIGN AGENCY: KOTO
NATE PERRY DESIGN CLIENT: EDP ORTEGA GRAPHICS CLIENT: REPLAY
CLIENT: SCALED FINANCE CLIENT: STRELLARIS

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SONICS
Imagine standing there minding your own business and entirely without warning, something slams smack into you at Mach 1 speed. That’s
the speed of sound and you’re still able to survive. Sound hits us at 761 mph every moment of our lives yet those crucial sound waves are
invisible to us until we give them that second thought. They can communicate, educate, fascinate, irritate, obliterate and just about all of
those other -ates. But we can’t see them so when we try to demonstrate sound in a visible manner we tend to fall back on sine waves or the
bars from an audio equalizer. These are all nice but still not what sound looks like. It’s merely a measurement of sound via a mathematical
equation. (That tends to pull all the feel good out of a song.)

Leaning heavily toward these measuring devices appears to be the pathway for this trend. Considering the increasing role sound plays in
marketing it’s no surprise designers are enlisting new ways of representation. Multiple whipping sine waves in fine line form are everywhere
this year from logos to supporting fields of brand pattern. Scalability is still challenging but filling in the zone between wave lines is providing
enough surface acreage for many of these to overcome that obstacle. Equalizer bars are rampant as well, and though not new they continue
to manifest in new iterations. It’s reality that we cling to cliches because consumers can relate. Surely a fresh visual interpretation is only
steps away but as they say, it’s tough to make the invisible visible!

DESIGN AGENCY: DESIGN AGENCY: RICK BYRNE DESIGN AGENCY: DESIGN AGENCY: NB STUDIO
JOST BRANDS CLIENT: INSITRO [Link] CLIENT: PHILHARMONIE
CLIENT: SAM BURNS CLIENT: SPEEEX LLC LUXEMBOURG
SOUND DESIGN

WIREFORMS
I think the word misbehaving is a sorely misunderstood concept, and frankly it’s a badge many designers wear often and with great pride.
Possibly a better interpretation of misbehavior would be testing boundaries. Progress is often defined by pushing the known boundaries
and that virtually is the definition of evolution. This trend is a manifestation of our digital tool kit and has designers grabbing and tugging
bezel points on perfectly mundane solutions to stretch them into new dimensions. Or interpreted another way, redefining boundary lines.
Encodia, a company involved in reimagining DNA processing, has taken the outline of an uppercase E and shifted its left face to the right
two ticks. Presto! A reimagining of basic information.

These simple modifications of the outline of a starting point still leave behind a ghost of their former self to let the consumer see where
they started in life. That tends to telegraph action or a process of metamorphosis to help illustrate a brand story. This trend was named
WireForms as most of these marks are crafted in a monoline aesthetic allowing them to take on a dimensional quality as boundary lines
are tugged across each other. That crossover is the signature of the trend and transforms a solid shape into a series of shapes tenuously
tethered where the lines converge. Note the MDES mark also fits this family but is equally successful as a filled form. A fairly compelling
solution for a client that fits the story and doesn’t mind testing the boundaries.

DESIGN AGENCY: DESIGN AGENCY: JACOBS & CO. DESIGN AGENCY: DESIGN AGENCY:
MUCHO CLIENT: SCHOOL OF ART - PARAGON INTERNATIONAL WILDFIRE CREATIVE STUDIO
CLIENT: ENCODIA UNIVERSITY OF ARKANSAS CLIENT: FIRST PROJECTS CLIENT: ZOYA FINANCIAL

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LOGOLOUNGE | 20TH ANNUAL LOGO TREND REPORT

BALLCAPS
Over the last decade there’s probably been no more ubiquitous trend than the introduction and proliferation of monoline design and the variables
spawned from this juggernaut. The delight of the monoline aesthetic is its continued evolution as it reinvents itself with such speed that it’s
turned from a one trick pony into a veritable stampede of diversity. For this trend you’ll notice each of these linear barbed lines have been
capped with a ball tip. Obviously there to protect the overzealous consumer. Fortunately, these have evolved beyond the circuit board language
often associated with the dot tipped line but it can be a cliché that’s hard to escape. There is an undeniable technical tone to these, but
the ball is a destination or a starting point. It’s the objective that lets us signal finality. It’s the character we need to focus on, and the line
is merely a pathway used to reach a conclusion.

Many of these use a dense field of repetitive linear elements such as the outstretched body and there’s little discrimination regarding whether a
single or both ends of a line are capped. For those marks, the bulbous tips seem more of an intention to provide closure. Still another grouping
uses more sparing linework and only caps a single end, giving the appearance of a contrail or tail following the dot to indicate direction and
motion. Make note of the comparative scale, which tells us if we’re to focus on the dot as our subject or the line as our action.

DESIGN AGENCY: DESIGN AGENCY: DESIGN AGENCY: DESIGN AGENCY:SIGNIFY

MONGE DESIGNS EINSZWEI - KREATIVAGENTUR STANISLAV REGIS CLIENT: NORD DENTAL
CLIENT: SEBASTIAN GERICHHAUSEN CLIENT: ORBITCOIN

NAMEFILLS
This crop of trends throws a lifeline to designers of two minds. The ones that love type but really want to crank out a symbol or maybe those
with skills swinging just the opposite way. Why not do both? We register an abundance of words all crafting out shape and symbol but managed
in a variety of iterations. Some like the Spirit of Karma embrace a simple illustration as the dish to serve up letters on. Neither the type nor
the infinity symbol are strong on their own but the mash-up works great. By blending the symbol and name you avoid any need to consider
a lockup as all the critical information is self-contained. A blessing for those that feel like the tag along with the wordmark is a nuisance to
deal with or vice-versa.

Some of these have embraced elevated types and cleaned up their field of play. Latching onto the shape of an elevator floor indicator creates
an ideal package to hold the same word. As well, Valkyrie neatly finds a home in the folded ribbon V. Both hold their own as a symbol or
typographic mark. Then there’s always that spirit that sheds all inhibition and ventures out unencumbered. This mark for Coffee Brothers
Roastery pulls off a badge with nothing but type and frankly I dig it. Then again, drop this on anything smaller than a venti cup and you’re
asking a pre-caffeinated user to read some pretty fine print. Good range to roam within this trend of unadulterated yet well considered type,
and simple shape messaging.

DESIGN AGENCY: DESIGN AGENCY: MALT DESIGN AGENCY: DESIGN AGENCY: CORIC DESIGN
RULE29 CLIENT: VALKYRIE RYAN BOSSE DESIGN CLIENT: PERSONAL BRANDING
CLIENT: ELEVATOR CLIENT:COFFEE BROS

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STRETCHERS
As much as I love a logo that’s a good solid little symbol that just tells a visual story and pops off the screen in a bold stroke or two and it pairs
with a wordmark to support it … the tables are turning. And when the focus is on a letterform to carry the message or brand story, it has to pick
up the baggage the symbol might have carried for the team. Expression through symbolism in type has become more critical and designers
are stretching themselves and the letterforms to prove it. It may be no more than extending a significant letter or the more unorthodox insertions
of a stretched letter of a different mother. These efforts are ranging from demure tweaks, to HEY I’m over here and notice ME!

Onoma’s wordmark demonstrates another approach to this trend is taking a word with multiples of the same letter and modifying one of the
pairs to avoid duplication. Note the letter O appears twice and they have varied widths. Letter modification within these marks are made with
purpose and not just out for a stretch on a lark. They may represent a product or a process associated with the client and certainly anytime
the cadence of standard text is broken our eyes are drawn to it like a train wreck. But in a good way. And on a closing thought, take comfort
this stretching demonstration helps consumers recognize the difference between another word that strayed away from its headline and one
that’s a fully pedigreed logo.

DESIGN AGENCY: BRUNO DESIGN AGENCY: B&B STUDIO DESIGN AGENCY: VADIM CARAZAN CLIENT: ONOMA
[Link] CLIENT:MOZZO COFFEE
CLIENT: LAMA TEATRO

NEOSTENCIL
Aside from the kid down the block with the stencil kit painting addresses on curbs for her side hustle, I’d never given them much thought.
They were a seventeenth century invention used primarily to paint liturgical passages inside houses of worship. With a little care the artist
would come back and fill in the gaps left in the letterforms that had those floaters like O and A and P and D, R,Q … that’s a batch of
cleanup! Those necessary gaps in the letterforms were kept to a minimum, unobtrusively in the same location on any font. For that matter
the first printing fonts that emulated the stencil didn’t occur until the 1930s. Type on a press didn’t need breaks so why would they bother?

This trend is about breaking the rules we’ve taken for granted. As designers, we understand the vernacular and impressions these letters form
in the consumer’s mind. Stencils are a visual shorthand for industry, construction, the common individual, and grass root efforts. This is still
strong in the public’s associative vernacular. Note in this trend the designs have taken liberty with where and why letter breaks occur. Old
precepts have been abandoned and though the symbolism remains the modified breaks are telling a new story and building visual traction.
The visual branding of Cohere by Pentagram Partners is especially effective. A variable responsive font was built that adds or subtracts letter
breaks reflecting the divisions of biological cells to reflect Cohere’s efforts. Just as well those early stencilers left their letter breaks, or we
may never have gotten here.

DESIGN AGENCY: DESIGN AGENCY: DESIGN AGENCY: DESIGN AGENCY:

MARC BLANES STUDIO MANUAL BAILLAT STUDIO PENTAGRAM
CLIENT: PORTIO CLIENT: LOUISA PARRIS CLIENT: PERSONAL BRANDING CLIENT: COHERE

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LOGOLOUNGE | 20TH ANNUAL LOGO TREND REPORT

HALFASTER
Asterisks are still in contention for one of the most relied upon symbols in our design arsenal. We brazenly incorporate or feature them in
our logos in every imaginable iteration. There’s no set color or number of points, some meet in the middle and others don’t. They are thick
and thin and friendly and sharp and transparent and frankly, there is an asterisk out there in every mood imaginable. It’s a ubiquitous actor
because it has such a broad range. It indicates something deserves special attention or that it’s missing. It serves as a placeholder, as a burst
of brilliance or as that button you get to use when a hashtag won’t cut it. And speaking of cutting it, designers have correctly observed that
cutting an asterisk in half, doesn’t diminish its magical intensity in the least.

It's fair to read this trend as both a special sparkle or burst of light as well as brandishing that captivating “look here and take note” that
the asterisk was intended for. Its economical construction permits designers to modify stroke weights broadly in a design, making it an even
more popular companion. Admittedly a few of the candidates falling into this trend could be half a twinkling star or half a sun but generally
these are certified asterisks lopped in half to neatly snuggle up with another player critical to the brand story. It’s the sparkle that may be
missing from a mundane product or the promise of radiance associated with its use. The word asterisk literally translates to “little star” —
an apt description of this trend.

DESIGN AGENCY: DESIGN AGENCY: DESIGN AGENCY: DESIGN AGENCY:

RIPPKE DESIGN VICTOR MILLS DESIGN STARTER 1IDEA DESIGN + MEDIA INC.
CLIENT: CLIENT: PERSONAL BRANDING CLIENT: MYCONOM CLIENT: HIDDEN INSITE
AMES SILVERSMITHING

DOUBLE OS
Orbs, balls, globes, planets, moons, and any other object of a spherical nature have a special gravitational attraction to designers. And
exactly who’s orbiting who may still be up for consideration. Double Os is really about relationships and not just terrestrial and lunar. It’s
about relationships–good, bad, symbiotic, magnetic, emotional, amorous, subordinate and superior–that’s just enough to start this conversation.
Each and every logo in this trend is challenging you to consider the correlation between a larger and a smaller circle. But that’s as simple
as that relationship will ever be phrased. Designers resort to circles not just because they have so many symbolic meanings, which they do,
but because they are a terrific conceptual place holder. They are that universal representative that will never make the consumer wince.

Circles just touching may represent a relationship of closer dependence, maybe a symbiotic benefit from their proximity. Quarto, a publishing
group, focuses on the Q letterform with the tail of the letter represented by the smaller dot placed tangentially next to the larger circle like
there is a magnetic connection that won’t release. Others in this category give the appearance of an orbiting sphere kept in check by the
gravity of the dominant partner. Still others are merging or splitting away from the larger component in a cytokinetic action. Pairs of solid
circles also populate this trend but that doesn’t seem to alter the symbolism. Surprising is the lack of examples rendered with dimension,
but now that genie is out of the bottle, we’ll possibly visit that galaxy next year.

DESIGN AGENCY: DESIGN AGENCY: DESIGN AGENCY: DESIGN AGENCY: AP THE CREATIVE-
PENTAGRAM TED KULAKEVICH OLD SHUCK CREATIVE SERVICES CLIENT: KICKS DIGITAL MARKETING
CLIENT: QUATRO CLIENT: SEQUEST

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RITZ
Never underestimate the impact of popular culture or the snap of a good cracker. There was seldom a time that a box of Ritz couldn’t be
found at a family gathering or just hanging out in the back of a cupboard. The heritage of that little round guy with seven trademark holes
dates back better than a century. There’s a comfort to the feel, the size, and the profile of the cracker that makes the consumer smile. That
scalloped edge might remind us of the seal on that certificate we won or imply a warranty or an action of some official nature. Regardless,
the eased, ruffled edge isn’t a harsh saw tooth and beckons us to touch.

Where this shape really comes into its own beyond a badge is as the inviting container to hold an iconic reference to your client. Or it could
be the shape that emulates nature or fruit or a flower or the cross section of rigatoni or a churro. So much happiness to go around. This shape
is so ingrained in our memory that just seeing a partial arc of the familiar ruffle still feels right. It can be technical, but approachability is
the charm to this trend. Surprise, there’s no set number of scallops to an edge to join the club but you’ll know it when you see it. You my
friend are allowed to incorporate as many or as few as you like, as long as it strikes the right chord in the consumer’s mind.

DESIGN AGENCY: DESIGN AGENCY: DESIGN AGENCY: DESIGN FIRM: OLET DESIGN
BXC DID IT JEROEN VAN EERDEN ROY SMITH DESIGN CLIENT: THINK CARRIER
CLIENT: HASBRO CLIENT: AUTENTICA CLIENT: JORG BATTERMANN

MORE ABOUT [Link]

Thousands of designers use LogoLounge every day as a Gallery, Portfolio, Network, and Source of Inspiration.
LogoLounge members gain access to better than 400,000 exceptional logos from which to find inspiration.
They’re contextualized and searchable, making it easier to find a path that leads to your next design destination.
Learn more at [Link]/join

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| 2023 |

AMERICAN DIGITAL
DESIGN AWARDS

Our 23rd American Digital Design Awards™ saw a record-breaking number of entries,
and here is a select showcase of winners. The contest formerly known as ‘Web Design’
was expanded this year to better amplify the power of design excellence to enhance
online and interactive experiences — for websites and microsites, yes, but also social
media campaigns, email marketing, digital advertising, e-publications, apps, animation,
video, 3D and more. Winners are displayed in alphabetical order by Design Firm or
Organization primarily responsible for the design.

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FIRMS REPRESENTED

1HQ USA KUDOS Design Collaboratory

80east Design KUDOS Design Collaboratory x Principle
AARP Publications Left Right Labs
Acenda Integrated Health Lentini Design & Marketing, Inc.
Affinity Creative Group Lingou Li/Art Center College of Design
Alamini Creative Group Little Big Brands (LBB)
Alight Solutions Manual Labor
American Bankers Association Mass General Brigham
Andeza MathWorks
Angela E. Terry/George Mason University Matthew Bruner/Drexel University, Westphal College
Axiell ALM Inc. MaxMarCom - Max Marketing Communications
Bailey Brand Consulting MiDESign & Marketing Consultancy
Barnett Design, Inc. Minds On Design Lab
BaselineGroupNY Mission Partners
Bei Hu Mouser Electronics
BNY Mellon Asset Management UX Odonnell Company
Breakout Studio Orion Innovation
Carolyn Brower/Auburn University Graphic Design Piedmont Brand Co.
CF Napa Brand Design Qihang Fan
City and County of San Francisco, Shared Spaces Program QM Design Group
Clean Clear Creative QuickBooks In-house Design Team
Creative Force Rad Source Technologies
DESIGNOLOGY, LTD RAS Communications
Donlon Agency Rebel Fish Creative Group/Norwegian Cruise Lines
DOOR3 Rocketboy Media, Inc.
DRIVE ScreenPal Team
DTN Seokjun An/School of Visual Arts
EH Design Works Signal Theory
Eight Moon™ Smith & Connors
Erica Holeman Smith Design
Farm Credit Council Spohn Design
Fine Design Spring Hills
fishbat Media Stephen B. Starr Design, Inc.
Four Winds Graphics The Grove Creative
Freaner | Creative & Design The Molo Group
Gabe Diaz Design The Walker Group
GAF Creative Design The Word & Brown Companies
GCNY Marketing Throughline, Inc.
Handshake Digital Toral Advertising + Design
Howard Design Group TreacyDesign/TFX
Huemen Design ULINE Creative
Invok Brands University of Hawaii with Sig Zane Kaiao
Jacqueline Ward Creative, LLC University of Illinois at Urbana-Champaign
Karen Skunta & Company Vision Creative Group
KASA Collective Waltz Creative
Katagraphics Weiler Abrasives
Kim Hyunjee/Oklahoma State, Stillwell Western Growers Marketing
Xindi Lyu

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: 1HQ USA Client: VitaFusion Title: VitaFusion Kids Smoothies Design Firm: 1HQ USA Client: VitaFusion Title: VitaFusion Smoothies Social
Webpage Creative Director: Kate Rascoe Art Director: Cat Losi Media Ads Creative Director: Kate Rascoe Art Director: Cat Losi
Designers: Marina Goba, Mallory Whitfield Developer: Digital Target Marketing Designer: Marina Goba Account Director: Suzanne Abaza
Account Director: Suzanne Abaza

Design Firm: 80east Design Title: March 2023 Palindrome Days Design Firm: 80east Design Title: Pop Portraits for Instagram and Facebook
Creative Director: Trevor Messersmith Designer: Trevor Messersmith Creative Director: Trevor Messersmith Designer: Trevor Messersmith

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Design Firm: AARP Publications Client: AARP Title: AARP Instagram - Design Firm: AARP Publications Client: AARP Title: AARP Publications App
A Journey Through The Lives of Gen X Creative Director: Scott A. Davis Creative Director: Scott A. Davis Art Director: Todd Albertson
Photo Editors: Jane Clark, Michael Wichita, Caitlin DeFlaviis, Katrina Zook Digital Editions Specialist: Joseph Broda

Design Firm: AARP Publications Client: Sisters from AARP Design Firm: AARP Publications Client: The Ethel from AARP
Title: 6 Smart, Easy, Fun Ways to Buy Black Art Director: Dian Holton Title: The Grandma’s Guide to Gender and Sexuality in the 2020s
Illustrator: Alyah Holmes Art Director: Lesley Q. Palmer Illustrator: Josie Norton

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: AARP Publications Client: The Girlfriend from AARP Design Firm: AARP Publications Title: The Girlfriend from AARP
Title: Things To Try On Your Mental Health Days Art Director: Dian Holton Art Director: Dian Holton Designer: Paola Sorto Photo Editors: Caitlin DeFlaviis,
Illustrator: Kathleen Fu Cielito Vivas, Katrina Zook Editor: Shelley Emling

Design Firm: Acenda Integrated Health Title: Acenda Integrated Health Design Firm: Affinity Creative Group Client: Distinguished Vineyards
Community eNewsletter Creative Directors: Mari Considine, Cari Burke Title: Textbook Vineyards Website Redesign Designer: Affinity Creative Group
Designers: Zachary Ruhl, Stephanie Taylor, Mariana Heyel Developer: Affinity Creative Group Programmer: Affinity Creative Group

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Design Firm: Affinity Creative Group Client: Monvera Glass Decoration Design Firm: Alamini Creative Group Client: University of Illinois Chicago/Tobacconomics
Title: Monvera Website Redesign Designer: Affinity Creative Group Title: Tobacconomics Cigarette Tax Scorecard Video Teaser Series
Developer: Affinity Creative Group Programmer: Affinity Creative Group Creative Director: Jennifer Bergamini Designers: Jennifer Bergamini,
Steven Albarracin Writer: Tobacconomics Team Video Editing: Hossam
K. Narration: Jerome Butler

Design Firm: Alight Solutions Client: PepsiCo Title: insight eNews Design Firm: American Bankers Association Title: ABA Middle School
Creative Director: Cristine Giannotti Designer: Cristine Giannotti Money Mission Art Director: Gary Bloom Designer: Moises Oliveira
Writers: Kathleen Becker, Kevin Clapp, Ken Mastro Writer: Marlee Ribnick Marketer: Annie Galvin
Production Editor: Randall Van Vynckt Project Manager: Kristin Peacock

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Andeza Client: Lemme Title: Lemme Amazon Store Design Student: Angela E. Terry School: George Mason University
VP, Creative Services: Lisa Dalton Creative Director: Wing Lo Title: Print is Precious Motion Design Designer: Angela E. Terry
Professor: Anna Tobin

Design Firm: Axiell ALM Inc. Client: Indiana Historical Society Title: You Are Design Firm: Bailey Brand Consulting Client: Cornerstone Building Brands
There Online and In-Gallery Exhibition Creative Director: Dan Shockley Title: Simonton Windows & Doors Website Creative Director: Stephen R. Perry
Art Director: Lauren Smedley Designer: Lauren Smedley Art Director: Gary LaCroix Designers: Chloe Atchue-Mamlet, Evan Marshall,
Developer: CultureConnect Programmer: CultureConnect Writer: Daniel Gonzales Phillip Lee Developer: Suyati Writer: Colin George
Project Manager: Rosalind Stobart Videographer & Editor: Zach Heider
Senior Director Exhibits: Jeff Mills

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Design Firm: Barnett Design, Inc. Client: PIM Brands Title: Welch’s Fruit Design Firm: BaselineGroupNY Client: ParkLexington Advisors
Snacks Instagram and Facebook Posts Creative Director: Debbie Barnett Title: ParkLexington Advisors Website Redesign Creative Director: Darcy Ann Flanders
Art Director: Jeff Ramos Designers: Tara Maratea, Val Haymes Designer: Tanya M. Luckert Developer: Mark Frankel Writer: Sutton Creative
Programmer: Doug Cleek Writers: Bob Devol, Dimitri Ehrlich

Design Firm: Bei Hu Title: BARK - Building A Community For Design Firm: BNY Mellon Asset Management UX Client: Dreyfus
City Dog Owners App Designer: Bei Hu Title: Dreyfus Corporate Website Creative Director: John Thudium
Designers: John Thudium, Jon Hatch Developers: Sunil Kothari, Harshil Bhatia
Chief Marketing Officer: Marissa Murray Digital Marketing Manager: Gabrielle Ambrose
Graphic Designer: Megan Chamberlin

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Breakout Studio Client: LinkUp Title: LinkUp Website Redesign Design Firm: Breakout Studio Client: Techcyte Title: Techcyte Website Redesign
Creative Director: Jenn Levreault Designers: Jill Dick, Chandler Wescott Creative Director: Jenn Levreault Designers: Chandler Wescott, Madeline Austin
Developer: Good Work Writers: Elise Johnston, Nick Fava, Hurley Winkler Developer: Acclaim Writer: Elise Johnston Project Manager: Gabë Regenhardt
Project Manager: Gabë Regenhardt

Design Student: Carolyn Brower School: Auburn University Graphic Design Design Firm: CF Napa Brand Design Title: CF Napa Brand Design Website
Title: North Fulton Community Charities (NFCC) App Design Designers: CF Napa Brand Design
Designer: Carolyn Brower Writer: NFCC

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Design Firm: City and County of San Francisco, Shared Spaces Program Title: Design Firm: Clean Clear Creative Client: MettaWorks Title: MettaWorks
Shared Spaces Program Manual, Spring 2023 Creative Director: Robin Abad Ocubillo ReBrand and Website Creative Director: Rosanne Romiglio-Ashley
Art Director: Maria DeAlva Designer: Gary Chen Writer: Robin Abad Ocubillo Art Director: Rosanne Romiglio-Ashley Designer: Rosanne Romiglio-Ashley
Original Art: Rosanne K. Romiglio-Ashley/[Link]

Design Firm: Creative Force Client: Acupuncture Energetics Title: Acupuncture Design Firm: DESIGNOLOGY, LTD Client: Harbaugh Village
Energetics Website Creative Director: Kristie Staton Art Director: Kristie Staton Title: Harbaugh Village Holiday Site Creative Director: Casey DeCarlo
Designer: Kristie Staton Developer: Kristie Staton Writer: Suzanne Edmunds Developer: Ethan Lacey Director of Client Services: Steve Beckman

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Donlon Agency Client: Dartmouth Health Title: Honor A Design Firm: Donlon Agency Client: Donlon Agency
Caregiver Campaign Creative Director: Atena Masoudi Designer: Atena Masoudi Title: Donlon Agency Introductory Animation Creative Director: Atena Masoudi
Developer: Donnie West Writers: Mike Berry, Sophia Huneycutt Designers: Rachel RInks, Atena Masoudi Writer: Kra Tassoni
Senior Account Manager: Felicia Hunt Honor A Caregiver Voiceover: Wayne Chin
Logo Designer: Maria Frank, Maria Louise, LLC

Design Firm: Donlon Agency Client: Huntsman Cancer Foundation Design Firm: Donlon Agency Client: North Kansas City Hospital
Title: Research For Life Campaign Creative Director: Atena Masoudi Title: 2023 Campaign to Save Lives Creative Director: Atena Masoudi
Designers: Rachel RInks, Atena Masoudi Developer: Donnie West Designer: Atena Masoudi Developer: Donnie West Writer: Mike Berry Senior
Writers: Mike Berry, Sophia Huneycutt Senior Account Director: Felicia Hunt Account Manager: Felicia Hunt

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36433979
Design Firm: Donlon Agency Client: St. Joseph Health Title: St. Joseph Health Design Firm: DOOR3 Client: Retrievr Title: Retrievr Startup Website and
Matching Gift Campaign Creative Director: Atena Masoudi Mobile Redesign Creative Director: Tom McClean Designers: Bailey Costello,
Designer: Atena Masoudi Developer: Donnie West Writer: Mike Berry Jess Minzner, Liz Flyntz, Leander Johnson Developer: Volodymyr Fedorov
Senior Account Manager: Felicia Hunt Primary Consultant: Matt Dimler

Design Firm: DRIVE Client: Viverant Physical Therapy Title: Viverant Physical Design Firm: DTN Title: AgTarget Explainer Video Art Director: Michelle Hoffman
Therapy Social Media Campaign Creative Director: Jodi Eckes Designer: Dave Casto Developer: Dave Casto Writer: Susan Montgomery
Designer: Jodi Eckes Writer: Charles K. Youel Photographer: Hickey Photography

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: EH Design Works Client: General Air Products Design Firm: Eight Moon™ Client: Park Dental Title: Park Dental Display Ads
Title: Sprinkler Madness 2023 Graphic Design, Logo Design, Creative Director: Megan Junius Designer: Emmi Brytowski
Website Design and Development: Eric Hayes

Design Firm: Eight Moon™ Client: Park Dental Design Firm: Erica Holeman Client: University of North Texas
Title: Park Dental 50th Anniversary Video Creative Director: Megan Junius Title: College of Visual Arts and Design (CVAD) Month Social Media Series
Designer: Emily Wettergren Designer: Erica Holeman

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Design Firm: Farm Credit Council Title: Farm Credit Display Banners Design Firm: Farm Credit Council Title: Farm Bureau Ag Innovation Challenge
Creative Director: Morgan Anderson Art Directors: Morgan Anderson, Drew Bonsu Social Media Campaign Creative Director: Morgan Anderson
Designer: Drew Bonsu Art Director: Morgan Anderson Designer: Morgan Anderson

Design Firm: Fine Design Client: Mieko Mahi Title: Hallet Oak Gallery Design Firm: fishbat Media Client: Clarity Benefit Solutions
Find the Joy Promotion Creative Director: Stan Fine Art Director: Stan Fine Title: National Simplicity Day Infographics Creative Director: Michele Hamel
Designer: Stan Fine Developer: Mieko Mahi Programmer: Mieko Mahi Designer: Joleen Usher Writer: Alex Sciranka Account Manager: Mindy Davis
Writer: Mieko Mahi

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: fishbat Media Client: National Facilities Direct Design Firm: fishbat Media Client: World Macadamia Organisation
Title: National Facilities Direct Display Ads Creative Director: Allisa Evarts Title: Love Macadamia Brand Partner Landing Page Creative Director: Michele Hamel
Designer: Joleen Usher Writer: Allisa Evarts Designer: Joleen Usher Developer: Vibe Branding Writers: Michele Hamel,
Allisa Evarts Project Manager: Rena Mehlhoff

Design Firm: Four Winds Graphics Client: Rainbow Housing Design Firm: Freaner | Creative & Design Client: Cal Fresh-HHSA-Medical
Title: Rainbow Digital Awards Invitation Designer: Peggy Hellem Awareness Month Title: Email Marketing Campaign Creative Director: Ariel Freaner
Art Director: Ariel Freaner Designer: Ariel Freaner

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Design Firm: Freaner | Creative & Design Client: Calimax Design Firm: Freaner | Creative & Design Client: Grupo SOJO Developers
Title: Calimax Online Store App Creative Director: Ariel Freaner Title: Social Media Promotional Campaign Creative Director: Ariel Freaner
Art Director: Ariel Freaner Designer: Ariel Freaner Developer: Ariel Freaner Art Director: Ariel Freaner Designer: Ariel Freaner Developer: Ariel Freaner
Programmer: Ariel Freaner Programmer: Ariel Freaner

Design Firm: Freaner | Creative & Design Client: San Diego County District Design Firm: Freaner | Creative & Design Client: San Diego County
Attorney’s Office Title: The Ugly Truth Website Creative Director: Ariel Freaner Land Use & Environment Title: Let’s Get There! Campaign
Art Director: Ariel Freaner Designer: Ariel Freaner Developer: Ariel Freaner Creative Director: Ariel Freaner Art Director: Ariel Freaner Designer: Ariel Freaner
Programmer: Ariel Freaner

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Freaner | Creative & Design Client: Victorinox Watches Design Firm: Gabe Diaz Design Client: Livin the Pup Life Title: Livin the
Title: Victorinox Watches Microsite Creative Director: Ariel Freaner Pup Life Website Creative Director: Gabe Diaz Art Director: Gabe Diaz
Art Director: Ariel Freaner Designer: Ariel Freaner Developer: Ariel Freaner Designer: Gabe Diaz Programmer: Chris Young Writer: Gabe Diaz
Programmer: Ariel Freaner

Design Firm: GAF Creative Design Title: GAF Dave & Wally Meta Campaign Design Firm: GAF Creative Design Title: GAF Email Template Suite
Designer: Chris Gazzo Writer: Michael Hyde Integrated Marketing Creative Director: Carlos Caicedo Designer: Chris Gazzo Project Manager:
Manager: Katerina Roskova Project Manager: Leonora Gordon Leah Gordon Copywriter: Don Kilcoyne Integrated Marketing Manager:
Katerina Roskova Retoucher: Richard Toonkel Automation Manager: Chip
Chaffee

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Design Firm: GAF Creative Design Title: GAF Parts of a Roof Webpage Design Firm: GAF Creative Design Title: GAF Roof Shingle Colors Webpage
UX Lead & UI Designer: Erin DeGrand Writers: Don Kilcoyne, Karen Goulart UX Lead & UI Designer: Amanda S. Loveland Writers: Karen Goulart,
Graphic Artist: Richard Kwon SEO: Cristal Xavier-Cohen Content Author: Matt Neilan Don Kilcoyne Graphic Artists: Richard Kwon, David Shin
Project Manager: Lawrence Foppiano Integrated Marketing Manager: Alison Dahlhaus SEO: Cristal Xavier-Cohen Content Author: Matt Neilan Retoucher:
Retoucher: Richard Toonkel Richard Toonkel Integrated Marketing Manager: Christina Dalglish

Design Firm: GAF Creative Design Title: GAF Storm Videos Producer: Ashley Rentas Design Firm: GAF Creative Design Title: GAF TimberSteel Microsite
Editor: Maria Christiansen Project Manager: Rob Fitzgerald. UX Lead & UI Designer: Amanda S. Loveland Writers: Kristen Kruczowy,
Writer: Don Kilcoyne Integrated Marketing Manager: Barbara Llull Don Kilcoyne Graphic Artist: Richard Kwon Retoucher: Richard Toonkel
Project Manager: Lawrence Foppiano Developer: ACADACA

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: GAF Creative Design Title: GAF Timberline UHDZ Social Media Ads Design Firm: GAF Creative Design Title: GAF StreetBond Newsletter
Designer: Chris Gazzo Copywriters: Don Kilcoyne, Kristen Kruczowy Creative Director: Carlos Caicedo Designer: Chris Gazzo Writer: Don Kilcoyne
Producers: Marla Christiansen Production Assistant: Gabby White Project Manager: Leah Gordon Integrated Marketing Manager: Katerina Roskova
Line Producer: Ashley Rentas Video Editor: Michael Lewis Retoucher: Richard Retoucher: Richard Toonkel Automation Manager: Chip Chaffee
Toonkel Integrated Marketing Manager: Alison Dahlhaus Product Manager:
Ashley Alfonso

Design Firm: GCNY Marketing Client: Centers Health Care Title: Taking Centers Design Firm: GCNY Marketing Client: Surfpoint Recovery Title: A Fresh Start for
Labs National Creative Director: Joseph Blumenfeld Art Director: Yanky Perl Surfpoint Creative Director: Joseph Blumenfeld Art Director: Yanky Perl
Designer: Yanky Perl Developer: Martin Kay Writers: Mayer Silver, Cathy Greenberg Designer: Emily Choi Developer: Martin Kay Writers: Cathy Greenberg, Mayer Silver

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Design Firm: GCNY Marketing Client: The Loft Steakhouse Title: The Loft Design Firm: Handshake Digital Client: AudioCityUSA Title: Automotive Custom
Steakhouse Creative Director: Joseph Blumenfeld Art Director: Yanky Perl Colors Email Marketing Creative Director: Chris Schneider
Designers: Yanky Perl, Rachel Levy Developer: Martin Kay Writer: Mayer Silver Designer: Rebecca Cady Writer:Sam Lenger

Design Firm: Handshake Digital Client: Awake Chocolate Title: Awake Chocolate Design Firm: Howard Design Group Client: IEEE Power & Energy Society (PES)
Email Welcome Series Creative Director: Chris Schneider Art Director: Pat Routa Title: PES Website Redesign
Designer: Rebecca Cady Writer: Alicia Hansen

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Huemen Design Client: Harman International/JBL Design Firm: Huemen Design Client: Harman International/JBL
Title: JBL Fest 2022 Animations Creative Director: Rubin Carasco Title: Giannis in the Metaverse Creative Director: Alex Effimov
Designers: Ryan Durinick, Chris Dimaggio, J. Klossner Designer: Edgar Sandoval Writer: Brendan Kelley

Design Firm: Huemen Design Client: Harman International/JBL Design Firm: Invok Brands Client: Culinary Collective and Aneto
Title: Giannis x JBL TWS Shoppables Page Designers: Erica Jules, Joseph Setton Title: Aneto Brand Website Design Creative Director: Tim McLaughlin
Writers: Marisa Haber, Brendan Kelley Art Director: Tim McLaughlin Designer: Carolina Blomberg
Developer: Scott Hieatt Writer: Danielle Wintrip Strategy: Sebastian Maynard

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Design Firm: Jacqueline Ward Creative, LLC Client: Center for Cyber Safety and Design Firm: Karen Skunta & Company Client: Toussaint River Watershed
Education Title: 2023 Chapter Impact Challenge: 1 Million Certified in Cybersecurity Conservancy Title: Wall of Honor Interactive Exhibit Creative Director:
‘Boost’ Program Promotional Toolkit Creative Director: Jacqueline Ward Karen A. Skunta Designer: Jen A. Maxwell Programmer: Blue Robot
Designer: Jacqueline Ward Writer: Alisha Wenc, Center for Cyber Safety and Video: All Pro HD Fabricator: Exhibit Concepts Inc.
Education Sr. Director, Creative Services, Center for Cyber Safety and Education:
Holly Schneider Brown

Design Firm: KASA Collective Client: Poster House Title: Made in Japan: Design Firm: Katagraphics Client: Leading Indicator Systems
20th Century Poster Art Creative Director: John Kudos Art Director: Ashley Wu Title: Leading Indicator Systems Infographics Creative Director: Kathleen Amaral
Designer: Fay Qiu Project Manager: Amanda Knott Curators: Nozomi Naoi, Art Director: Kathleen Amaral Designer: Kathleen Amaral
Erin Schoneveld Chief Curator & Director of Content: Angelina Lippert
Director of Design & Exhibits: Ola Baldych Associate Director of Exhibits:
John F. Lynch Assistant Director of Design: Mihoshi Fukushima Clark
Fabricator: Rob Leonardi Director of 3D Art: Robert de Saint Phalle

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AMERICAN DIGITAL DESIGN AWARDS

Design Student: Kim Hyunjee School: Oklahoma State University, Stillwater Design Firm: KUDOS Design Collaboratory Client: Proximity Media
Title: Floristry Perfume Prescription Event Designer: Hyunjee Kim Title: Proximity Media Website Creative Director: John Kudos Designer: Fay Qiu,
Jamus Marquette, Owen Febiandi Developers: Christyan Juniady Setiawan,
Chris Manlapid Project Manager: Amanda Knott

Design Firm: KUDOS Design Collaboratory x Principle Client: Southern Smoke Design Firm: KUDOS Design Collaboratory x Principle Client: Tiny’s Milk & Cookies
Foundation Title: Southern Smoke Foundation Website Title: Tiny’s Milk & Cookies Website Creative Director: Elizabeth Kelley
Designers: Elizabeth Kelley, Drake Preston, Jackson Mahlke Designer: Elizabeth Kelley Developer: Christyan Juniady Setiawan
Developer: Christyan Juniady Setiawan Writers: Erin O’Connor, Taylor Tokarz Writer:Erin O’Connor Photographer: Arianna Jopling Project Manager: Amanda Knott
Illustrator: Ivan Mesaroš Project Manager: Amanda Knott

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Design Firm: KUDOS Design Collaboratory™ Client: Spiderhorse Design Firm: Left Right Labs Client: Heal Los Angeles Foundation
Title: Stage Backdrop Animation Creative Director: Gene Shinozaki Art Director: Title: Heal Los Angeles Foundation Website Creative Director: Trina Fisher
Kiki Katahira Animator: Imam Fadilah Original Storyboard: Gene Shinozaki Designer: Trina Fisher Developer: Gretchen Cawthon, Mark Coronado

Design Firm: Lentini Design & Marketing, Inc. Client: Harbor Connects Title: Design Student: Lingou Li School: Art Center College of Design
Harbor Connects Landing Page Design & Build Creative Director: Hilary Lentini Title: All The World’s A Stage Motion Graphics Creative Director: Lingou Li
Art Director: Hilary Lentini Designer: Leanna Hanson Developers: Keith Hollingshead, Art Director: Lingou Li Designer: Lingou Li
Hilary Lentini Programmers: Keith Hollingshead, Hilary Lentini

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Little Big Brands Client: Chicken of the Sea Design Firm: Little Big Brands Client: Dimetapp Title: Dimetapp Fall/Winter
Title: Chicken of the Sea Campaign 2023 Creative Director: John Nunziato 2022 Campaign Creative Director: Ben Glotzer Designer: Marissa Loiodice
Designer: Ben Glotzer. Designer: Renée Ercoli Account Director: Katie Lopez

Design Firm: Little Big Brands Client: Wellbeam Consumer Health Design Firm: Little Big Brands Client: Yardley London Title: Yardley London
Title: TruSkin Social Media Creative Director: Ben Glotzer Website 2023 Creative Director: Richard Palmer Designer: Emily White
Designer: Pika Stearns Account Director: Bill Frohlich Account Manager: Emma Jackson

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Design Firm: Manual Labor Client: George Kaiser Family Foundation Design Firm: Mass General Brigham Client: Spaulding Rehabilitation Outpatient
Title: Tulsa For You & Me Website Design Creative Director: Samantha Choi Center Medford Title: Pain and Functional Restoration Program Overview Video
Cadley Designer: Kjersti Jorgenson Developer: Andy Ferreira Art Director: Michelle Johnson Senior Art Director: Amy Whittenburg
Writer: Kelly Wrather, Ashley Lengen Interaction Designer: Kayla Park Videographers: Jeffrey Andree, Michelle Rose Photographer: Katherine Flock
Voiceover: Kelsey Damrad

Design Firm: MathWorks Title: MathWorks Celebrates Black History Month Social Design Student: Matthew Bruner School: Drexel University, Westphal College of
Media Creative Director: Kevin Hart Designer: Bernice Merola, Gabrielle Vendetti Media Arts & Design Title: Typographic Animation: Children as Enemies
Designer: Matthew Bruner Developer: Matthew Bruner
Programmer: Matthew Bruner Instructor: Marisa Watanabe

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: MaxMarCom - Max Marketing Communications Client: ProFab Design Firm: MiDESign & Marketing Consultancy Title: MiDESign & Marketing
Welding & Machine Title: ProFab Website Design and Development Consultancy Website Redesign Creative Director: Marco Ippaso
Designer/Developer: Max Allers Copywriter: Michael Dapper Art Director: Marco Ippaso Designer: Marco Ippaso Developer: Marco Ippaso
Programmer: Marco Ippaso Writer: Marco Ippaso

Design Firm: Minds On Design Lab Client: Coast Guard Foundation Design Firm: Mission Partners Client: ISVE - Initiative for Strategic Volunteer
Title: Coast Guard Foundation Website Art Director: Michelle Perreault Engagement Title: ISVE Research Report Creative Director: Carrie Fox
Designer: Valerie Diaz De Arce Developer: Adam Chlan Strategy: Seth Giammanco Art Director: Anne Kerns Designer: Anne Kerns, Eleni Stamoulis

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Design Firm: Mission Partners Client: Youth Represent Design Firm: Mouser Electronics Title: Mouser Wright Brothers Email
Title: Youth Represent Strategic Plan Creative Directors: Anne Kerns, Carrie Fox Creative Director: Jennifer Krajcirovic Art Director: Robert Harper
Art Director: Anne Kerns Designer: Anne Kerns Designer: Katie Sandoval Developer: Katie Sandoval Writer: David Fambrough
Marketer: Katy Cole

Design Firm: Mouser Electronics Title: Mouser Lightspeed Social Animations Design Firm: Mouser Electronics Title: Mouser Acronym Infographic
Creative Director: Jennifer Krajcirovic Art Director: Robert Harper Creative Director: Jennifer Krajcirovic Designer: Sean Lowery Writer: Sean Lowery
Designer: Katie Sandoval Writer: David Fambrough

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Mouser Electronics Title: Forbidden Places Advertising Design Firm: Odonnell Company Client: DMHAS/Department of Mental Health
Creative Director: Jennifer Krajcirovic Art Director: Robert Harper and Addiction Services Title: LiveLOUD Voices of Recovery Social Media
Designers: Sam Cooper, Katie Sandoval, Morning Roseman Writer: David Fambrough Creative Director: Eileen Odonnell Art Director: Anna Rubino
Designer: Shuhei Matsuyama Writers: Julia Fishman, Cassidy Anthony
Production Director: Pete Gartner

Design Firm: Odonnell Company Client: DMHAS/Department of Mental Health Design Firm: Orion Innovation Client: Rheem Manufacturing Company
and Addiction Services Title: Be In The Know Cannabis CT Social Media Title: Rheem Contractor App Creative Director: Jeff Piazza
Creative Director: Eileen Odonnell Art Directors: Anna Rubino, Renee Schoolcraft Art Director: Ian Cunningham Designer: Amanda Chan
Designers: Shuhei Matsuyama, David Nguyen, Renee Schoolcraft Developers: Elizaveta Saltykova, Ramil Sarbaev, Dragan Sulja, Alexander Kashaev
Writers: Julia Fishman, Irene Baker Production Director: Pete Gartner Program Managers: Angela Florie, Elizaveta Burdaeva

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Design Firm: Piedmont Brand Co. Client: New Way Property Management Design Firm: Qihang Fan Title: Four Typologies in Immersive Web3 Architecture
Title: New Way Website Art Director: Brad Stoneking Designer: Brad Stoneking Experience Creative Director: Qihang Fan Art Director: Qihang Fan
Developer: Brad Stoneking Designers: Qihang Fan, Kangxin Wu Developer: Qihang Fan Programmer: Qihang Fan
Project Instructor: Peter Testa Web Development Instructor: Anthony Tran

Design Firm: QuickBooks In-house Design Team Client: Intuit QuickBooks

Design Firm: QM Design Group Client: John Eric Home Magazine Title: QuickBooks Design Site Creative Director: Suncica Lukic Design Lead:
Title: John Eric Home Magazine Travel Edition Creative Director: Hillary Broadwater Tina Yuan Visual Designers: Adam Thomas, Ashley Meadows, Alex Glenn,
Designer: Hillary Broadwater Editor: Angela Casey Publisher: John Eric Dario Lofish, Hetal Soni, Jesse Bray, Manjia Zhao, Sarah Struck, Shaun Cavanaugh
Interaction Designer: Nava Tummalapalli Design Technologists: Aaron Ranftl,
Jun Pan, Kiran Nasim Motion Designers: Brandon Wall, Benjy Deng
Content Designers: Stacey Chase, Emily Jewell Dunn, Alex Glenn
Web Developers: Adrian Jacob, Brian Bento, Dixit Patel
Contributors: Amy Im, Judy Lee, Sreekanth Gubiligari, Afzal Yusuf Gousjan

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Rad Source Technologies Title: Easter Social Media Post Design Firm: Rad Source Technologies Title: Christmas Social Media Post
Creative Director: Brandon Georges Art Director: Brandon Georges Creative Director: Brandon Georges Art Director: Brandon Georges
Designer: Brandon Georges Designer: Brandon Georges

Design Firm: Rad Source Technologies Title: 4th of July Social Media Post Design Firm: RAS Communications Client: Gladstone Park Chamber of Commerce
Creative Director: Brandon Georges Art Director: Brandon Georges Title: Throwback Music Fest Miss Throwback Social Media Promo Video
Designer: Brandon Georges Creative Director: Russell Schultz Art Director: Russell Schultz
Designer: Russell Schultz

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Design Firm: RAS Communications Client: The Police Officers Network Design Firm: Rebel Fish Creative Group Client: Norwegian Cruise Line
Title: The Police Officers Network Website Creative Director: Russell Schultz Title: NCL Great Stirrup Cay Lighthouse Creative Director: Luije Padron
Art Director: Russell Schultz Intern: Christian Fuentes Art Director: Rebecca Winters Designer: Pauline Smadja-Prades

Design Firm: Rebel Fish Creative Group Client: Norwegian Cruise Line Design Firm: Rebel Fish Creative Group Client: Norwegian Cruise Line
Title: NCL Latitudes Members Online Magazine Creative Director: Luije Padron Title: NCL The Rush Animated Video Creative Director: Luije Padron
Art Director: Rebecca Winters Designer: Monica Garcia Art Director: Rebecca Winters Designer: Monica Garcia Developer: William
Developer: Ceros Programmer: Ceros Writer: Becky Manuel Benevides Writer: Claire Smith

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Rebel Fish Creative Group Client: Norwegian Cruise Line Design Firm: Rocketboy Media, Inc. Client: Sepulveda Escrow Corporation
Title: NCL Viva Website Creative Director: Rebecca Winters Title: Sepulveda Escrow Corporation Website Creative Director: Scott Weber
Art Director: Cristina Serarols Designer: Ali Armas Writer:Lejanet Herrera Art Director: Scott Weber Designer: Scott Weber Developer: Scott Weber
Programmer: Scott Weber Writer: Robin Kellogg Associates

Design Firm: ScreenPal Team Client: ScreenPal Design Firm: ScreenPal Team Client: ScreenPal
Title: ScreenPal Website Redesign Title: ScreenPal Content Hosting Platform

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Design Student: Seokjun An School: School of Visual Arts Title: Smeg Manual Design Student: Seokjun An School: School of Visual Arts Title: New York,
Website Creative Director: Seokjun An Art Director: Seokjun An New York Lyrics Video - Capturing The Essence of 1960s NY Through Collage
Designer: Seokjun An Instructors: Melike Turgut, Peter Colòn Technique Creative Director: Seokjun An Art Director: Seokjun An Designer:
Seokjun An Music: Frank Sinatra, Tony Bennett Instructor: David Conklin

Design Firm: Signal Theory Client: John Deere Title: Harvest Time AR Filter Design Firm: Signal Theory Title: Valentines NFT Gallery Creative Director:
Creative Director: Shaun Crockett Associate Innovation Director: Beth Wickerson Brent Davidson Art Director: Julie Babcock, Micah Barta, Halie Branson,
Chloe Cloud, Mary Corcoran Crawford, Madeline Deabler, Seth Gunderson,
Linh Trieu, Joe Wilper Writers:Gracie Fitzgerald, Mitch Howard, Tyler Adams
Marketing Automation Strategist: Sara Theurer Technology & Innovation Director:
Elijah Kleinsmith Associate Innovation Director: Beth Wickerson

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Smith & Connors Client: Lawrence Berkeley National Laboratory Design Firm: Smith Design Client: Eggland’s Best Title: Born Free Eggs Social
Title: Berkeley Lab Website Redesign Creative Director: Talie Smith Reels Creative Director: Jenna Smith Art Director: Miles Hoffman
Art Director: Diana Goldman Developer: Nic Laflin Writer: Scott Smith Designer: Jessica Murray Account Director: Dave Bolton Videographer: Ken Kiger
Tech Director: Becca Connors Food Stylist/Props: Grace Peluso

Design Firm: Smith Design Client: Thomas Foods Title: Thomas Foods Social Design Firm: Spohn Design Client: American Honda Motor Co., Inc.
Posts Creative Director: Jenna Smith Art Director: Miles Hoffman, Becki Murray Title: Honda Smart Home Virtual Tour Creative Director: Ron Spohn
Designer: Jessica Murray, Becki Murray, Marissa Cook Designer: Ron Spohn Developer: Ron Spohn
Account Manager: Dave Bolton Copywriter: Dave Bolton, Sara Bellog

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Design Firm: Spring Hills Title: Spring Hills Opulence Collection Website Design Firm: Stephen B. Starr Design, Inc. Client: Affiliates In Counseling
Creative Director: Krystal Pratt Designer: Krystal Pratt Developer: BeVirtual Title: Affiliates In Counseling Website Creative Director: Stephen B. Starr
Writer: Christina O’Leary, VP of Branding + Media Art Director: Stephen B. Starr Designer: Stephen B. Starr Developer: Stephen B. Starr
Programmer: Stephen B. Starr Writer: Stephen B. Starr

Design Firm: The Grove Creative Client: Lifetoken Software, Inc. Title: Lifetoken Design Firm: The Grove Creative Client: Switchfly, Inc. Title: Switchfly Website
Mobile Application Creative Director: Grisson Davis Art Director: Katelyn Murray Creative Director: Grisson Davis Art Director: Katelyn Murray Designer: Will Guthrie
Designer: Will Guthrie UI/UX Designer: Harpreet Singh Developer: Brad Messenger Writer: Dina Klarisse Dugar

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: The Molo Group Client: Velocity Electronics Title: Relax, Design Firm: The Walker Group Title: Leadership Greater Hartford Social Media
We’ve Got You! Creative Directors: Cristalle Gleason, Katelyn Strumolo Art Director: Nicole Pierzchalski Digital Marketing Manager: Kristen Beausoleil
Art Director: Adri Montano Designer: Adri Montano Developer: Jacob Candia
Programmer: Jacob Candia Writer: Jessica Dart Project Coordinator: Cook & Associates

Design Firm: The Walker Group Title: Verinomics Website Design Design Firm: The Word & Brown Companies Client: CHOICE Administrators
Creative Director: Jeffery Williams Digital Marketing Manager: Kristen Beausoleil Title: CHOICE Administrators Sales Appreciation Event Campaign (Save the Date +
Invitation) Creative Director/Art Director: Homer Villegas, Studio Director
Marketing Manager: Rikki Nedelkow Senior Digital Marketing Specialist:
Noe Villasenor Events Marketing Director: Jessica Haluck
Events Manager: Heather McDonald

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Design Firm: The Word & Brown Companies Client: CHOICE Administrators Design Firm: The Word & Brown Companies Client: CHOICE Administrators
Title: That California Different Feeling Social Media Creative Director: Homer Villegas, Title: Member Campaign Art Director/Designer: Homer Villegas, Studio Director
Studio Director Designer: Noe Villasenor, Senior Digital Marketing Specialist Writers: Alex Strautman, Senior Copywriter; Rikki Nedelkow, Sr. Mktg. Manager;
Senior Marketing Manager: Rikki Nedelkow Marketing Project Manager: Brandi Daiken Polly Neves, Executive Vice President, Marketing Marketing Project Manager:
Brandi Daiken Senior Digital Marketing Specialist: Noe Villasenor

Design Firm: The Word & Brown Companies Client: Word & Brown General Agency Design Firm: The Word & Brown Companies Client: Word & Brown General Agency
Title: Word & Brown New Broker Blog Microsite Art Director/Designer: Hugo Title: J&R Report Microsite Art Director/Designer: Hugo Miramontes, Sr. Graphic
Miramontes, Sr. Graphic Designer Designer: Noe Villasenor, Senior Digital Marketing Designer Writers: Alex Strautman, Senior Copywriter; Noe Villasenor, Senior Digital
Specialist Writer: Alex Strautman, Senior Copywriter Developer: Jarrell Walker, Marketing Specialist Developer: Jarrell Walker, Front-End Developer
Front-End Developer Executive Vice President, Marketing: Polly Neves. Digital Director: Kalup Alexander Digital Manager: Vidah Quirante
Marketing Director: Missy Bynon Marketing Project Manager: Heather Jung
Digital Marketing Director: Kalup Alexander Digital Manager: Vidah Quirante

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: The Word & Brown Companies Client: Word & Brown General Agency Design Firm: The Word & Brown Companies Client: Word & Brown General Agency
Title: [&] Effect Monthly Eblast Series Art Director/Designer: Hugo Miramontes, Title: Top Producer Event Teaser Video Series Creative Director/Art Director: Hugo
Sr. Graphic Designer Designer: Noe Villasenor, Senior Digital Marketing Specialist Miramontes, Sr. Graphic Designer Marketing Director: Missy Bynon
Writer: Alex Strautman, Senior Copywriter Marketing Director: Missy Bynon Marketing Project Manager: Heather Jung
Marketing Project Manager: Heather Jung

Design Firm: The Word & Brown Companies Client: Word & Brown General Agency Design Firm: Throughline, Inc. Client: Deloitte AI SGO Title: Deloitte AI-Enable
Title: Top Producer Microsite Art Director/Designer: Hugo Miramontes, Sr. Graphic Government Digital Map Designer: Juraj Mihalik Writer: Tom Zorc Design
Designer Writer: Alex Strautman, Senior Copywriter Developer: Jarrell Walker, Strategists: Danny Beckerman, Val Lopez
Front End Developer Executive Vice President, Marketing: Polly Neves
Marketing Director: Missy Bynon Marketing Project Manager: Heather Jung
Digital Marketing Director: Kalup Alexander Digital Manager: Vidah Quirante

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Design Firm: Throughline, Inc. Title: What’s Your Throughline? Design Firm: Toral Advertising + Design Client: Corsair Gaming, Inc.
Creative Director: Amy Eser Art Director: Julia Tylor Designer: Daria Klimova Title: T-Pain Virtuoso RGB Wireless XT Release Creative Director: Jose Toral
Content Strategist/Voice-over Actor: Amanda Sadler Designer: Jose Toral Writers: Larot Esoj, Ancel Ayran Marketing Director: Ancel Ayran

Design Firm: Toral Advertising + Design Client: Elgato Title: Elgato Event Design Firm: Toral Advertising + Design Client: ESP Water Products
Product Launch Keynote Creative Director: Jose Toral Designer: Jose Toral Title: ESP Water Products Website Rebrand Creative Director: Jose Toral
Writers: Larot Esoj, Ancel Ayran Marketing Director: Ancel Ayran Designer: Jose Toral Writers: Larot Esoj Illustrator: Anastasia Frizen
Event Key Art: Elgato Internal Site Audit: Randy Daems, Innovacean LLC

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: TreacyDesign/TFX Client: Helium Commerce Platform Design Firm: TreacyDesign/TFX Client: [Link] Title: Publishers Do The
Title: Social Digital Campaign Creative Director: Joe Treacy Art Director: Craziest Things To Save Money Campaign Creative Director: Joe Treacy
Joe Treacy Designer: Joe Treacy Developer: Joe Treacy Programmer: Art Director: Joe Treacy Designer: Joe Treacy Developer: Joe Treacy
TreacyDesign/TFX In-house Studio Writer: Joe Treacy Programmer: Joe Treacy Writer: Joe Treacy Video: Courtesy of Frank Romano
Backgrounds: Will Treacy WIQKT

Design Firm: ULINE Creative Title: Uline’s Happy New Year 2023 Email Design Firm: ULINE Creative Title: General Warehouse Animation
Creative Services Director: Lisa Murphy Designer: Jen McClellan VP of Creative: Elizabeth Tenner Creative Director: Sarah Fritz
Web Merchandising Project Director: Judy Nicolet VP of Creative: Elizabeth Tenner Senior Art Director: Heidi Stieber Art Director: Wendy Gruselle
Designers: Jeff Mayfield, Kady Jordan

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Design Firm: University of Hawaii with Sig Zane Kaiao Client: University of Hawaii Design Students: University of Illinois at Urbana-Champaign
at Manoa Title: Beyond Wayfinding Co-Designers & Principal Investigators: Title: Roomiversity Mobile App Concept Creative Director: Lillie Ostarello
Brian Strawn, Karla Sierralta Co-Designers & Principal Investigators: Creative Strategy: Hope Fowler Brand Strategist: Caroline Azzo
Nalani Kanaka‘ole, Sig Zane, K ha'o Zane UH Project Manager: Carol Ogata Market Analyst: Simran Shah Professor: Terry Kasdan
Contractor: Global Specialty Contractors Fabricator: CREO Industrial Arts
Wayfinding Consultants: Two Twelve Photography: Tom Takata Photography

Design Firm: Vision Creative Group Client: Casio Title: Casio Privia Landing Page Design Firm: Waltz Creative Client: Central Coast Community Energy
Creative Director: The Vision Creative Group Team Title: Why Electrify Bilingual Commercial Campaign Creative Director:
Zack Shubkagel Rovella Art Director: Cheryl Lovejoy Designer: Sara Frey
Writer: Central Coast Community Energy, Waltz Creative
Account Managers: Nicole Arduini, Heidi Ash

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AMERICAN DIGITAL DESIGN AWARDS

Design Firm: Waltz Creative Client: Flourish Ventures Title: Digital Corner Shop Design Firm: Waltz Creative Client: The Hoffman Agency
Campaign Creative Director: Cheryl Lovejoy Designer: Sara Frey Title: Dingbats Are Cool Again Creative Director: Cheryl Lovejoy Art Director:
Developer: Sara Frey Writer: Flourish Ventures Account Manager: Heidi Ash Michelle Padron Designers: Diane McGirr, Sara Frey Developer: Chee Studio
Writer: The Hoffman Agency Account Manager: Nicole Arduini

Design Firm: Weiler Abrasives and The Fuze Client: Weiler Abrasives Design Firm: Western Growers Marketing Title: Western Growers Association
Title: The Untold Story: Our Dedication To Customer Solutions Website Creative Director: Tim Vu Art Director: Cristian Orozco
Digital Graphic Designer: Chad Hauenstein, Eric Sauermeich (Weiler Abrasives) Designer: Cristian Orozco Developer: 36 Creative Programmer: 36 Creative
Lead Video Content Strategist, The Fuze Videographer, Erik Haviland, The Fuze

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Design Firm: Xindi Lyu Title: Shape Languages Motion Graphics

Designer: Xindi Lyu

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June 23 Pub Letter/Flaharty.qxp_feb news play 6/11/23 5:56 PM Page 94

DESIGN YOUR FUTURE: A PROFESSIONAL DEVELOPMENT PLAN FOR CREATIVES

BY PAUL FLAHARTY

As a creative, you take pride in crafting It’s not surprising then that a full 81% of these managers
said that expanding or enhancing professional development
winning designs for your clients. But
programs had helped them retain talent in the last year.
when did you last put the same love
and care into designing your career path? In addition to asking your manager for chances to upskill,
you can start creating a strategy on your own. Here's a
Creating a professional development plan can help.
five-step plan to get you started.
Consider assembling a document where you lay out what
you want to achieve, how you will get there and what STEP ONE: CONDUCT A SELF-ASSESSMENT
resources you will need along the way. Think of it as your
Kick off your plan with a thorough self-assessment. It's
roadmap to staying abreast of industry trends, mastering
crucial to perform this step at the outset and also when-
the latest digital tools and learning from peers and
ever you update your document.
design leaders.
Take a step back and consider your current skills, knowl-
Why is this process so important? Let’s dive into the
edge and expertise and split them into career-specific
data. If you’re like 42% of professionals in a Robert Half
and transferable categories. Career-specific details might
survey, chances to learn and expand your skills may
include logo design principles, experience with art di-
boost your job satisfaction. Lack of these opportunities
rection and proficiency in niche software and tools.
can even cause people to quit: 42% of managers of
Transferable (or soft) skills are things like time manage-
marketing and creative teams said insufficient career
ment, adaptability, problem-solving and communication.
advancement opportunities was a top reason they’d had
Don’t shy away from your weaknesses — owning them
employees leave the company.

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is the only way you’ll know what to work on to achieve Joining an Industry Association:
your goals.
Being part of an industry organization like AIGA can hook
you up with valuable resources, networking opportunities
STEP TWO: SET REALISTIC GOALS
and exclusive events.

Now that you’ve got a clear picture of your strengths and

weaknesses, it's time to set some goals. While it's tempt- Pitching Opportunities To Your Company:

ing to scribble down something like “Get a promotion by If the Robert Half research mentioned above is anything to
the end of Q4,” stick to the SMART method: specific, go by, you'll be pushing at an open door if you ask your man-
measurable, achievable, relevant and time-bound. ager to support your professional development. Research
the costs and benefits of the development opportunities
For instance, you might want to master Adobe After and explain how they’ll help both you and the company. For
Effects to help you create dazzling motion graphics and example, you might pick up some game-changing insights
animations. As well as being specific, this goal is meas- at a conference that could level up your team’s projects. Show
urable (aim for a certification), achievable (you’re able your boss that investing in you is a win-win for everyone.
to spare 1-2 hours per week for learning and practice),
relevant (you can offer more services to your clients), STEP FOUR: MAP OUT YOUR TIMELINE
and time-bound (you can polish it off in six months).
Setting up a timeline with deadlines for your goals is es-
sential for staying on track. It’s the “T” (time-bound) in
STEP THREE:
your SMART goals.
DEVELOP STRATEGIES AND GATHER RESOURCES

Next up, brainstorm some ideas to level up your skills. Remember the “R” as well — your deadlines must be
Here are a few strategies to include in your plan, plus realistic. Rome wasn’t built in a day, and you can’t revamp
some ways to put them into action. your personal website in a week. Aim for the sweet spot
between giving yourself enough time to nail your goals and
Attending Industry Conferences: pushing yourself to grow professionally.

Conferences are great ways for learning about the latest

design trends, connecting with fellow creatives and PAUL FLAHARTY is District President for

soaking up knowledge from industry leaders. Do some Robert Half Talent Solutions, overseeing Tech-
nology and Marketing & Creative Contract
research, find events in your field and make a wish list
and Permanent Placement operations in the
of conferences you want to attend. Southwest United States including the Los
Angeles Metro Market, Orange County, San

Taking A Third-Party Course: Diego, Phoenix, Nevada and more. Robert Half
connects professionals with companies hiring in marketing, creative,
Check out online platforms like Skillshare, Udemy or digital, advertising and public relations.

Coursera, or look for in-person workshops and classes.

Choose courses that align with the goals you set in
step two.

G D U SA 95
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