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60th Annual Show Gala

by John Harrington on 06/25/2009

Photo courtesy of John Harrington

The Art Directors Club of Metropolitan Washington’s 60th Annual Show Gala returned again to the historic National Press Club on June 6 to showcase the best work of the region and celebrate the talent that our members deliver to their clients everyday. The dais, where Presidents and Kings have addressed audiences in the past, was the location where Master of Ceremonies Sean McCormick distributed the Gold Light Bulb and Silver Light Bulb awards to winners.

The partnership award went to Svec Conway and was accepted by Sheila Firestein. ADCMW President Jen Fults received the presidential award from host Sean McCormick.

ADCMW Executive Director Susan Fuller presented the annual Lifetime Membership Award to Eric Stewart, who has served the club and board for more than a decade. Stewart noted in his acceptance remarks that it was his joining the club and getting involved in member activities that gave him clients and a thus, a career. Continue reading…


Pro-bono Design Series: Doing Design for Good – Part II

by John Clemmer on 04/13/2009

Designism Logo

This is Part II of a series of solutions to pro-bono design by the Washington, D.C. design community.

In this second installment, we take a look at an interesting new angle on doing design for the greater good, then explore a resource that connects designers and non-profits in need.

In 2006, the Art Directors Club (ADC) hosted Designism, an event spear-headed by ADC Vice President Brian Collins, and dubbed by the ADC to be “a debate over advertising and design as instruments for social and political change.” Kurt Andersen, Milton Glaser, Jessica Helfand, George Lois, and James Victore comprised an all-star panel — moderated by Steven Heller — that “debated” the role design and graphic designers play in solving the problems of the world. The talk kicked off a larger discussion in the design community.

Fast-forward to the Designism 2.0 and 3.0 events in 2007 and 2008, respectively.  What started as a debate and call-to-arms has given birth to actual examples of design work for a number of social and political causes.

Another invaluable piece that came from the Designism dialogue was designismconnects, a web site that partners idealist.org and the ADC.  It serves as a forum to connect meaningful social causes with designers by allowing non-profits to post their project needs and designers to post samples of their work.

Designism Connects

In a few short years, Designism has evolved into more than just a venue for designers to show-off their meaningful work to their peers and discuss the ills of the world; it has provided an example of “how you can make something that has a larger impact,” as Collins said.

This idea of making a larger impact is what Collins wants the design community to really glean from Designism and all of the discussion surrounding it.

“How can you take these values into your daily dialogue with clients and still pay the rent?” Collins said, adding that Designism provides an opportunity for designers to compare their own work “against people who are really doing it.”

So, who is really doing it? The answer to this question can be debated and discussed, but ultimately the answer lies in how you want your work to impact your local community and society on a whole. Collins believes that designers can — and should — use their own careers for change; that designers should have a seat at the table when it comes to socially responsible design. Instead of dividing your time between work that pays the bills and the work that you really believe in, try incorporating a social conscious into your day-to-day responsibilities so you can have the opportunity to do both socially and financially rewarding work.

In today’s world, companies are no longer solely judged on their “bottom line.” They are also being judged by “the larger contribution they are making,” said Collins. This larger contribution can be measured by the triple bottom line, a widely used methodology coined by TOMS Shoes. TOMS gives a pair of shoes to a child in need, thereby using the purchasing power of individuals to benefit the greater good.

Regardless of what side of the discussion you fall on regarding designers as agents of social and political change, our community has always been at the forefront of shaping trends and decisions, and my hope is that we can all bring a little more good to the world through our chosen professions.

Other Good Resources

In our next installment on pro-bono design, we are looking to highlight local resources for connecting designers with pro-bono opportunities. If you have a unique solution to pro-bono design that you would like to share with the community, send your ideas to publications@adcmw.org or leave us a comment below. We love to hear what the community thinks.


Meet the Judges: 60th Annual Show

by Ashley Gatewood on 03/11/2009

The Art Directors Club of Metropolitan Washington is proud to have six, nationally-known design professionals judging the 60th Annual Show. Meet them all on March 20.

Doug Bartow

Doug Bartow

Doug Bartow

Doug Bartow — principal and design director at Troy, NY-based id29 — began flirting with design and typography at any early age. In grade school, he was drawing fraktur letterforms on his notebooks while his classmates were doodling KISS and Van Halen logos.

His passion for typography was fully ignited while in the BFA program at the SUNY New Paltz. Professor Muneera Spence, who studied under Paul Rand, gave her students a rigorous introduction to typography using only five typefaces. This training imparted Doug with a strong confidence to take typographical risks and further explore their abilities.

While he is an enthusiast of type, that’s not to say a typeface doesn’t rub him the wrong way on occasion.

“As far as faces I’d like to see less of: Trajan. It’s beautifully drawn, but so ubiquitous. I can rarely go a day without seeing it used in one form or another.”

As a man familiar with the state of type, Doug knows what he wants to see from up-and-coming designers.

“I see too many typefaces in the work of young designers, many of which are poorly drawn or freely downloaded off the Internet. Show me you can communicate beautifully using only three weights of Univers. I’ll be much more impressed.”

Doug, like many of us, is navigating his first recession as a working professional, but he and his design firm are staying firmly grounded while remaining optimistic. He points out that in a recession, the same rules apply as in a boom: designers must intently listen to clients, perform the necessary research, and produce outstanding work. He also believes that in a down economy, clients can’t afford to forgo going out on a creative limb.

“Common sense would dictate that clients will get more conservative in tough times,” he said. “I would argue now is the time to differentiate yourselves from your competitors—using good design and smart strategy to rise above the din.”

Doug will be looking for good design and smart strategy at the Annual Show. He’s sure to bring his unwavering enthusiasm for new design to this position.

“I love looking at and discussing current design work. Meeting other designers never gets old,” he said. “If you’re someone interested in the state of design and advertising in DC, this show will feature the best of 2008.”

What kind of work is he hoping to miss?

“Anything that uses Trajan.”

Kate Bingaman-Burt

Kate Bingaman-Burt

Kate Bingaman-Burt

What types of quotidian things have you spent your hard-earned dough on today? Deodorant? A trashy magazine? An overpriced salad from a fast-feeder masquerading as a white-collar eatery?

If you’re like most people, you forget about your insignificant purchases shortly after having made them. Kate Bingaman-Burt immortalizes hers in a project called “Obsessive Consumptive.” Since 2002, she has been chronicling one item she purchases each day by either photographing or hand-drawing it. Plus, she hand draws all of her credit-card statements until they are paid off. In 2010, Princeton Architectural Press will publish a book filled with these daily drawings.
Continue reading…


Pro-bono Design Series: Doing Design for Good – Part I

by John Clemmer on 03/11/2009

This is Part I of a series of solutions to pro-bono design by the Washington, D.C. design community.

There is an old saying that I kept sticking in my mind as I was preparing for this article:  “Give a man a fish, and you feed him for a day. Teach a man to fish, and you feed him for a lifetime.”

One of the biggest hurdles in doing pro-bono design is how to manage all of the requests for free design services with the work we do for paying clients.  In trying to meet some of these requests, we as designers are strained for time, so we offer our pro-bono clients a fish.  Not an actual trout or salmon, but maybe a blue gill. In design, that might be a brochure or a poster — that tangible solution to their communication problem.  We are, first and foremost, businesses that have to make decisions as such.

So, how do we find the time to teach our pro-bono clients to fish, or, rather, to give them the plan and strategy that will make that brochure really impact their cause?

One local design firm has found a unique way to balance both its business and its desire to really make an impact for local non-profits.

For the past five years, Basis: A Brand Consultancy has participated in the nationwide Create-A-Thon®, an annual 24-hour marathon of design that offers a soup-to-nuts approach to design and marketing.  Plus, it benefits some of the local regions smallest non-profits in dire need of marketing and communication assistance. Create-A-Thon happens each year on the same day.

Basis’ President Catherine Shaw is the driving force behind the DC-area’s chapter of Create-A-Thon.  She spoke with FullBleed about her firm’s pro-bono work.

create-a-thon08

“Create-A-Thon is a great way for us to answer those non-profit requests in an organized fashion,” Shaw said. “Lots of clients that benefit from Create-A-Thon are those with very small budgets, struggling to come up with answers to questions like,‘What comes next?,’ and are the most involved at the grass-roots level.”

Create-A-Thon is more than just 24 hours of producing communication solutions.  Basis first recruits volunteer designers, producers, and writers to participate, then determines who will receive these creative services — a process that begins months in advance of the actual event.  And Basis isn’t alone in making these determinations; members of local non-profit communities review applications from non-profits (more than 60 in 2008) to match resources with needs and attempt to find those that can “go to a whole new level with communication assistance.”

“We look at who we have volunteering and how what we donate can make the most impact,” Shaw said.  “This is not just once a year for us; it’s an underlying aspect within our company values.”

This process, while time consuming, is well-worth the effort to Basis, and the time up-front is crucial to allowing them to hit the ground running on the day of the event.  With clients’ needs already assessed and paired with the creative talent, the work that then comes from the event can be focused on a holistic approach to addressing those needs.

“We take a very thoughtful and intricate approach to each client’s needs, and we make every effort to determine what is appropriate for the client,” Shaw said.

Each client meets with its team to develop an articulated communication plan that includes strategy and the creative to implement it — in other words, how to fish.

“It’s one thing to hand a client a brochure. It’s more valuable to help them understand how it fits into their whole communication strategy.”

Create-A-Thon has proven to be a win-win solution for Basis, allowing them an organized way to give back to their community while maintaining a successful business.  Mentoring Today CEO Penelope Spain offers great accolades for this process after her non-profit participated in the 2008 Create-A-Thon.

“A few weeks ago we sent out our ‘annual appeal’ to individual donors,” Spain said. “The response we have received so far has been tremendous!  We have already raised more money than from any prior annual appeal!  We have also received countless emails and phone calls from donors saying how impressed they are with the brochure and with how far we have come as an organization… Also, since we mentioned in the appeal letter that the design of the brochure was donated through Create-A-Thon, folks are impressed with our ability to be frugal with our funds and still deliver quality outputs.”

This is just one of the countless ways that local design firms and designers are giving back to our community.  We hope that this unique approach to pro-bono design will offer you some inspiration and insight into designing for the greater good.  If you have a unique solution to pro-bono design that you would like to share with the community send your ideas to publications[at]adcmw.org.

Other Good Resources


Editors Letter, FullBleed ADCMW-New Beginnings

by John Clemmer on 01/09/2009

Hello Creatives,

Cayden Walter Clemmer, Nicholas Flynn McCormick, and FullBleed.  They say things happen in threes, and while a child’s birth cannot certainly be compared to our online magazine, all three are sure to give this editorial staff a few sleepless nights.  It’s a time of new beginnings.

We, the editorial staff, here at FullBleed aim to resurrect this publication to a more regular status.  Something along the lines of, “Ah, the new FullBleed should be out soon” and it actually is.

We’re hoping to bring you fresh content, new local talent and the deep, dark secrets of speakers and guests who are soon to grace our fair clubs presence.

We hope you enjoy our efforts and are patient as we try to mold FullBleed into a relevant vehicle for ADCMW.

Thanks for reading,

John Clemmer, Sean McCormick, and Nick Whitmoyer
FullBleed Editorial Team

P.S. We welcome any and all content ideas- Feel free to email us at publications[at]adcmw.org


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