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 November 2007
November 27, 2007
The busy night was highlighted by a sweep for local agency Soapbox Design Communications. Soapbox’s annual for PEN Canada titled Bad Words, designed by Jim Ryce and illustrated by Ben Weeks, took home two golds for annual reports and graphic design illustration at the ADCC awards, while also being awarded the NUARS grand prize in the annual report category. Montreal’s Orangetango won the NUARS best in show in the brochures category for its work with the National Arts Centre. Back at the ADCC awards, GJP Advertising of Toronto received a gold for brochures it designed for GEE Beauty. Underline Studio and MTV also won gold for work in the miscellaneous graphic design and TV title sequence categories respectively. This year, the ADCC presented its Les Usherwood lifetime achievement award to Ottawa graphic designer Neville Smith, internationally (and nationally) revered for his groundbreaking work and meticulous attention to detail. For more information, check out the Nov/Dec issue of Design Edge Canada for its profile on Smith. ADCC and BBDO president Jack Neary also announced the establishment of the club’s archive project; a plan to scan and transfer the most seminal works from the ADCC annuals online. Citing the intensive work and costs involved in digitally archiving 58 years worth of creativity, the ADCC is taking it slow. Currently, the first Art Directors Annual from 1949 is available in pdf format. “It will give all generations of creative people ready access to the amazing talent who paved the way for them,” explained Neary during his opening remarks for the evening. — Simon Yau November 19, 2007
“Print is still the cornerstone of integrated media and multi-channel marketing,” said Daniel Dejan, national print and creative specialist for Sappi Fine Paper, at the Digital Imaging Association’s breakfast held Nov. 9. To prove it, Dejan presented research uncovered by Sappi’s $9-million Life with Print campaign, along with subsequent studies. For example, catalogue businesses with printed catalogues have double the sales of non-print catalogue companies. Consumers also multi-task more with electronic media such as television and radio than with print media such as magazines, which command more focused attention. And consumers prefer direct mail two-to-one over email and telemarketing solicitations. Print also scores highest in trust and the ability for people to remember (and refer to) the messages they’ve received—such as ads promoting web sites. “Direct mail, print ads, postcards are great for driving people to web sites; electronic media doesn’t work as well,” he said. In fact, the correlation between print and the Internet is the single most important advantage in print’s favour, he suggested. He took this last point further by predicting that after investing in variable digital printing, printers will start buying Internet service providers. The slow erosion of print’s market share is due to several factors, Dejan postulated. One is the appearance of a new generation of young, Internet-savvy media buyers not in awe of print the way older generations were. Another is “the arrogance of the print industry” that has rested on its laurels, having seen print only grow with the onset of other media such as cinema, radio and television. Dejan’s career encompasses 30 years as an award-winning graphic designer, art director, creative director, print production manager and buyer. He is based in Chicago. Contact: www.digital-imaging-assoc.orgNovember 16, 2007 According to its release, “Corbis intends to leverage Veer’s brand, which resonates strongly with the creative community, and its industry-leading integrated brand marketing capabilities to increase its North American market penetration in the advertising and design space.” Veer will operate as a largely autonomous independent brand in the Corbis network, says Tracy Gauson, corporate communications and public relations manager for Veer. “Nothing is really going to change for Veer…Veer is still going to be Veer.” Veer’s Calgary headquarters will remain open, as will its offices in New York, Berlin and Düsseldorf. It employs 170 people and plans to hire another 80 by the end of 2008. “Veer has been a fantastic growth story in the stock photography industry,” says Dan Perlet, director of communications for Corbis. “They have also really taken a mindshare with the creative community. They have quickly become a brand that creatives love and it really complements our other brands, Corbis and Snap Village, as we work to serve the entire customer spectrum.” Gauson says Corbis will help Veer’s brand grow globally. “[Corbis] will help us expand internationally because, of course, Corbis has a foothold in a lot of the international markets so that will help us take our products and our brand internationally so that’s chiefly where we’re really going to be able to capitalize on the partnership.” According to Corbis’s market study, this acquisition partners the second and fourth largest companies in the global stock photography industry. Corbis’s revenue for 2006 was $251 million, up 11% over 2005, which was the fastest growth among the industry’s top three contenders: Getty, Corbis and Jupiterimages, says Perlet. Contact: www.corbis.com; www.veer.com November 15, 2007 Highlights of the show included Pantone’s new colour matching system, Goe; exhibitors enjoyed playing with Stick and Peel’s non-adhesive substrate for labels and decals; iStockPhoto gave out underwear to promote its new online privacy filter; and there was a constant crowd at the Adobe Presentation Theatre seminars. Other Design City exhibitors included Accu Litho Services, Asia Pulp and Paper, CJ Graphics, Colour Innovations, Design Edge Canada, Entire Imaging Solutions Inc., Flash Reproductions, Forest Stewardship Council (FSC) Canada, Fotoware-Laidback Solutions, Graphic Direction, High Print Co., HTX - Huntex Group Inc., Iggesund Paperboard, Japanese Paper Place, Look Like A Hero, Loop Enterprise Inc., NewPage Corporation, Pearson Technology Group/Peachpit Press, Registered Graphic Designers (RGD) of Ontario, SGS Group, Tembec Enterprises, and Trade Pocket Folders, along with an additional 200 exhibitors in Graphics Canada. The next Design City is already booked to appear at Print World, November 22-24 at the Direct Energy Centre in Toronto. Presented again as Canada’s largest expo for graphic designers, Design City will create new branding, relationship, and lead-generating opportunities for suppliers to the graphic design industry. Contact: www.designcityshow.com November 13, 2007
Page, a graphic designer by trade who has worked at firms such as Gottschalk + Ash, Ove Design & Communications and with Los Angeles designer April Greiman, will provide Dossier with a foothold in the sprawling Toronto marketplace. “Having someone from Toronto on the ground is just going to help increase the collaboration with our clients there,” says Dossier co-founder Ronna Chisholm. “Our intention is that we’ll grow our presence in Toronto primarily through brand strategy and client services, while the creative engine will be back in Vancouver,” she explains. Citing a “wave of demand for design,” and an existing base of clients in Eastern Canada, Chisholm says it was just a matter of time before the 20-year-old design agency settled in Toronto. Currently Page, who will also collaborate on projects outside Toronto, is the only new member of Dossier’s eastern expansion. However, “we’re hoping that it will grow fairly quickly,” Chisholm confirms. “We have the intention to work globally and not let distance be an issue… the world is becoming a smaller place to work in and we want to have presence and be able to work virtually in all those areas.” Contact: www.dossiercreative.com — Simon YauNovember 12, 2007 Short joined Rare Method in 2003 when the company acquired his marketing agency Idea Machine. Over the last four years, Short has been a member of the Rare Method management team, serving as vice president and as a member of the board of directors. Joining Short in the management reorganization is former controller Nick Noronha, who was named the company’s new chief financial officer. Similar movement at Rare Method’s Salt Lake City office accompanied the changes in Calgary. Eric White was appointed executive VP and general manager and David Blain was named president of business development at the company’s southern office. Jeff Olsen, also based in Utah, was named creative officer for both the Canadian and U.S. offices. “This is a very exciting time for Rare Method,” explains new president Short. “We have put in place an exceptional team with deep experience in business and marketing to lead the company through its next phase of growth.” Contact: www.raremethod.com November 6, 2007 An innovative consultant on transforming corporate culture, Smith will make a 45-minute presentation titled “How Design Thinking Offers Strategy a New Toolkit” followed by an open question and answer period. Part of the Toronto business school’s ongoing Design Thinking Speaker Series, the Nov. 7 event will cost $99 per person and $79 for Rotman alumni. Contact: www.rotman.utoronto.ca November 5, 2007
“The purpose of the campaign is to put a sword in the ground and reestablish the relevance of newspapers to readers,” says John Farquhar, president of locally based Wild Mouse. “There’s so much media out there: TV, radio, online, people forget that newspapers are a fundamental source of information as well,” explains Farquhar, adding that “you close off the world around you when reading a newspaper and get totally inside the story. That’s where the idea for the campaign came from. It actually puts you in the moment through reading a newspaper story.” The four full-page ads will run in both colour and black and white during the three-month campaign. Featured in daily newspapers across Canada, the ads feature large journalistic photographs including a burnt out military tank in Somolia and an action shot from a Toronto FC soccer match. An individual reading a newspaper is placed into each scene, accompanied by the text: “Nothing brings you closer to newspapers for the story… that’s why every week 16 million Canadians gather in one place to find out what’s really been going on.” The campaign launched on Sept 28th to coincide with the International Right to Know Day, a date for championing civilian rights and access to information. Contact: www.cna-acj.ca — Simon Yau Karacters reenergizes BC Hydro’s Power Smart campaign
Spearheaded by the Vancouver office of Karacters Design Group, the identity of Power Smart – which was started in 1989 – has been completely overhauled. “They were looking for the whole brand to be refreshed,” confirmed James Bateman, creative director at Karacters. The agency worked closely with parent company DDB Canada and BC Hydro to bring cohesion to the Team Power Smart campaign, one that Bateman says was very disparate. The Power Smart logo itself was a key element in the redesign says Bateman, explaining that the existing one was “out of date and almost crude in appearance. The blocky black letters just weren’t very environmental looking.”
Bateman says the organic shapes, as well as replacing black with the BC Hydro colours of blue and green, were simple but important decisions. Power Smart always appears in tandem with the BC Hydro logo and the two schemes now match to produce a more coherent look. Different weighting is used in the new logo’s typography, with the word ‘smart’ purposely emphasized, stressing the importance of smart decisions in energy conservation. U.K.-based Jeremy Tankard Typography designed the contemporary styled word mark specifically for Power Smart. The new Team Power Smart campaign features ads in newspapers, television and online throughout the month of October. Contact: www.bchydro.com/powersmart; www.karacters.com — Simon Yau |
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