Shocase is a new social network site with some of the intentions of LinkedIn, Pinterest and Facebook, but is targeted specifically to the 100+ million marketing professionals worldwide. It acts somewhat like the old Blackbook directories, but in a friendlier, more interactive and constantly updated way.
Shocase CEO Ron Young explains, “Members can present their work, skills and experience in the best light to the audience they value most; brands can find the right marketing professionals to suit their needs in any discipline. The site is designed to help build working relationships, and ultimately help members grow their business.”
From time to time, @Issue will run brief profiles of people you may know in design communications, asking them what attracted them to the profession and how they view their work and process. We thought we’d start with Delphine, @Issue’s editor, and then Kit, @Issue’s design director, before broadening our scope to others in the business.
Name: Delphine Hirasuna Profession: Writer/ Editor of @issue Home Base: San Francisco, CA
When did you know that you wanted to pursue the profession you did?
I think I was around 6. I was tiny for my age and lousy at playground sports; I hated recess, but I loved to read. Nancy Drew, The Bobbsey Twins, Eddie’s Red Wagon, etc. But the stories felt formulaic and I decided I could write better. My bedroom had a vanity with a frilly yellow chiffon skirt around it, and I’d crawl inside and write my stories in that private space. Even then, I was a realist. Afterall, I was 6 years old, and lived on a little farm in the middle of nowhere, and didn’t know how to contact a publisher, much less have an adult one take my writing seriously. But I didn’t give up. In grammar school and high school, I was the editor of the school paper, and by college, I was determined to be a journalist. Read More »
On Comedy Central’s Colbert Report last week, Stephen Colbert questioned the marketing strategy behind the new Vessyl Smart Cup produced by San Francisco-based startup Mark One. Designed by Yves Behar of fuseproject, the Vessyl is a digital cup with molecular analysis sensors that display the exact content and calorie count of the beverage within. In terms of attractive design and ingenious technology, the Vessyl is spot on. But to Colbert’s point: is there really a mass market need for it, especially at a cost of $199 per cup? Market research is a critical pillar of product development; without it, what you end up with is a geeky “parlor trick” that draws ooohs and aaahs, but few sales.
We recently lost one of the giants of our profession, Massimo Vignelli. An internationally acclaimed modernist, Massimo left a strong mark on our collective culture. Having had the privilege to know him personally, I also came to appreciate him as a warm, personal and extremely generous individual. Massimo was highly principled, joyous, robust, and thoughtful, but above all, he was a man of great passion who lived deeply. I saw this last year when I asked Massimo, along with 14 other designers, to describe how he sees San Francisco for a promotional project. I expected remarks about cable cars, steep hills, great restaurants, the Golden Gate Bridge,etc. Massimo’s response was lyrical, elegant, insightful and heartfelt – like the man himself. I held onto his description to remind myself that at the heart of visual arts is a poetic soul. Here is Massimo’s impression of San Francisco:
“Summer temperature, suddenly a chilling wind, a drastic drop in temperature and awesome clouds billowing over the hill toward me. A preview of the end of the world. A city inside a cloud. Would I survive? Is it real? The rampant clouds are rolling one over the other, gradually absorbing the city, vanishing it around me.”
This is a car commercial inspired by epic themes found in Herman Melville’s 1851 classic “Moby Dick.” Told by a tormented Alaska tow truck driver, played by David Florek, the modern-day Ahab is fraught with frustration, yearning and regret over the car that kept escaping his grasp, even in an arctic blizzard. Created by San Francisco ad agency Venables Bell & Partners, the commercial spins an overblown account of trying to hook the wily Audi Quattro. Though exaggerated to mythic proportions, the tale of the tow truck driver versus the Audi Quattro is not anything like the story of Ahab’s obsessive and vengeful pursuit of Moby Dick, the great white whale that chewed off his leg and ultimately destroyed his Pequod ship and him along with it. But the comparison makes a wonderful yarn, especially when you consider that the commercial is really about Audi Quattro’s four-wheel drive system — which would really be boring if the narrator told it straight.
Picking the most recognizable icon to represent a city can be daunting, especially for a multi-faceted place like San Francisco. There are so many famous landmarks, cutting-edge industries, and innovative happenings to choose from, that settling on only one symbol doesn’t do justice to the vibrance and diversity of the Bay Area. So, San Francisco-based designers Primo Angeli and Stapley-Hildebrand chose not to choose. Instead, they packed as many icons as they could into a mosaic to create a new brand identity for the San Francisco Chamber of Commerce. The “C” logo is meant to denote the Chamber, the city and the community. To reflect the Chamber’s key mission, they added the tagline “Our City, Your Business.”
The visual identity system for Southern California-based Dripp Coffee Shop is intriguing for what is fixed and what is flexible. Designed by Turner Duckworth San Francisco and London, the Dripp branding system centers around a hand-drawn script logotype which angles upward. The rest of the visual content is structured within a grid of color blocks with minimal flat-graphic images. The flourished style of the letters sets the logo apart from the rest of the visual content and, by contrast, draws attention to itself. The silhouetted objects themselves can be changed to suit the product, season or event, as long as they retain the stylized look and simplified color palette of the brand – as shown in the set of posters below created by Turner Duckworth. This graphic system also accommodates changing needs and uses, including this sleeveless hot paper cup design by Istanbul-based designer Salih Kucukaga.
This skit from “Burnistoun,” the comedy sketch show broadcast by BBC Scotland, reminds me of all the devices that, at first, seem like marvelous inventions, but still need work. An example is a recent exchange with that annoying automated iPhone twit, Siri. She keeps calling me “Del-fiend-E,” even though I’ve corrected her multiple times. Last week I asked Siri for the cross street of Gump’s, San Francisco’s venerable luxury home décor and jewelry store. Everybody in the Bay Area knows the 150-year-old Gump’s — except Siri. She said, “There are three dumps in San Francisco, which one do you want?” I enunciated more slowly, spelling out G-u-m-p-’s. She ignored me and started telling me the addresses of the local dumps. I finally asked a passerby for directions.
To celebrate the holidays, AKQA, the San Francisco/London-based digital creative agency, teamed up with members of the Pacific Chamber Symphony and Music Director Laurence Kohl to produce an interactive arrangement of “Carol of the Bells.” They are assisted by “shadow orchestra members” led by a “shadow conductor” who coordinates the performance by linking to Mobile Orchestra.com via wi-fi to get a unique web address. From there, up to 12 people may sync their smartphones, each choosing an instrument played by one of the real musicians. Once the “conductor” sees that all the mobile instruments are ready, he/she presses a key to let the music begin.
The words “typeface” and “character” are fitting terms to describe fonts. When listening to good designers talk about them, you would think they were gossiping about people. They talk about their emotional qualities, complain about what they perceive as their flaws, get blushingly specific about their physical beauty. For them, some typefaces are casual flings, good for a quickie when the mood strikes and the lighting is right; with others, they are in love and ready to commit for life. For many designers, a studying letterforms is more engaging than reading what the collected letters have to say.
Is it possible to brand a thrift store stocked with donated goods and make it a look like a place where you’d want to shop? Goodwill in San Francisco is doing just that by giving its in-store signage, website and fleet of trucks a complete makeover.
Rob Forbes, founder of Design Within Reach, has founded another company – Public Bikes. To introduce consumers to his new venture, Forbes recruited 27 world-renowned designers and illustrators to create art posters around the concept of “public.” All of these posters are being gathered into a book called “Public Works,” sold as individual posters, and shown in exhibitions slated for San Francisco, Los Angeles and New York City.
Forbes, an avid biker, urban dweller and environmentalist, explains the impetus for his Public Works project was to bring greater attention to the critical issues of public space, access and livability of cities. “In recent decades, our cities have been evolving from manufacturing and industrial centers into cultural hubs,” Forbes says. “The 20th century movement that encouraged people to leave cities for the suburbs has now been reversed. For the first time in our history the majority of the world’s population lives in cities, and this trend appears irreversible….People choose cities for what they offer: connections with people, ideas, stimulation, opportunity, creativity, and diversity. Our public spaces should facilitate these connections, not stifle them.… We believe that more of our urban streets and sidewalks should be reclaimed for walking and bicycling, and that our public spaces should be developed for better human interaction and conversation.”
To introduce its new Maps game, Google+ built a real-life version of Google Maps in the shape of a gigantic yellow cube, and had two players navigate the urban maze by rolling and tilting a little blue ball across the thoroughfares to reach its destination. Created by San Francisco-based Venable Bell & Partners with New York-based 1st Ave Machine, the “Explore Your World” video promotes the online version of this game by demonstrating how it works if it were life-size.
Coca-Cola has just unveiled six limited-edition cans to cheer on Team USA at the London Olympics this summer. San Francisco-based design agency, Turner Duckworth, combined three of the world’s most recognizable icons to communicate the entire story –the stripes of the American flag; the five interlocked rings of the Olympic logo and silhouette of an athlete, and Coca-Cola’s signature red and Spencerian script logotype. The effect is succinct, direct and graphically powerful. Coca-Cola is rotating the can designs throughout the summer, with a new one appearing every two weeks, culminating with a special composite logo timed for the opening of the Olympic Games.
The Bay Bridge, which connects San Francisco to Oakland and the East Bay, has always played second fiddle to the glamorous Golden Gate Bridge. Even though both spans are celebrating their 75th anniversary this year, the drab gray Bay Bridge never stirred the heart the way its flashy orange sister span has. The Golden Gate Bridge’s 75th birthday was commemorated with fireworks, a fancy new visitors’ center, and souvenir trinkets of all kind. On the other side of town, it was business as usual on the Bay Bridge, with some 270,000 vehicles crossing its span daily.
Lately street banners with a logo of the Golden Gate Bridge have been popping up all over San Francisco to mark the 75th birthday of the city’s most beloved icon. Designed by Studio Hinrichs, the anniversary logo features the Bridge’s familiar vermillion red (aka International Orange) color, its soaring 746-foot-high tower and the Art Deco-styled sunburst border of the rivets that bolt the Bridge together. Applied to everything from signage to souvenir merchandise, the 75th anniversary logo was created to work in one-, two- and four- colors and remain crisp whether etched onto glass, cast in metal, or stitched on fabric. Along with the logo medallion, Kit designed a special Bridge typeface, called Golden Gate Girder, for a commemorative poster, single alphabet letter keychains and other uses.