The winners' showcase.

Congratulations to the 2020 top talent.

Grand Tour des Ecrins | Branding

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Graphic, Print Design, or Illustration

Grand Tour des Ecrins | Branding Parc National des Ecrins

Following a call for tenders, the Caribara Communication agency was chosen by the Ecrins National Park to create the identity and the first communication tools for the Grand Tour des Ecrins. The Grand Tour des Ecrins is an umbrella brand that unites and promotes the touring offer of the Massif des Ecrins in a solidarity, ecotourism development approach. This brand supports the reputation of two product brands: the GR® 54 and the Balcons des Ecrins.
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Graphic, Print Design, or Illustration

Grand Tour des Ecrins | Branding Parc National des Ecrins

Vivien Bertin
Grand Tour des Ecrins | Branding À l'issue d’un appel d’offres, l'agence Caribara Communication a été choisie par le Parc National des Écrins pour créer l’identité et les premiers outils de communication du Grand Tour des Écrins. Le Grand Tour des Écrins est une marque ombrelle qui fédère et valorise l’offre d’itinérance du Massif des Écrins dans une démarche de développement écotouristique solidaire. Cette marque appuie la notoriété de deux marques produit : le GR® 54 et les Balcons des Écrins. Mon rôle au sein de l'agence fut la conception graphique des logos, du concept promotionnel, la charte graphique complète, plusieurs supports évènementiels et une carte découverte.







Fr / À l'issue d’un appel d’offres, l'agence Caribara Communication a été choisie par le Parc National des Écrins pour créer l’identité et les premiers outils de communication du Grand Tour des Écrins. Le Grand Tour des Écrins est une marque ombrelle qui fédère et valorise l’offre d’itinérance du Massif des Écrins dans une démarche de développement écotouristique solidaire. Cette marque appuie la notoriété de deux marques produit : le GR® 54 et les Balcons des Écrins.

Mon rôle au sein de l'agence fut la conception graphique des logos, du concept promotionnel, de la charte graphique complète, de plusieurs supports évènementiels et d'une carte découverte.







Édition : Parc national des Écrins - Novembre 2015
Conception - création : Caribara communication - Vivien Bertin
Crédit photos : Bertrand Bodin - Pascal Saulay - Parc national des Écrins
Solution technique et développement : Geotrek par Makina Corpus
Éditeur application : Parc national des Écrins
Réalisation vidéo : Julien Grange - Beegoo
Musique : Laurent Voloch

Vietnam Veterans Portrait Project

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Photography

Vietnam Veterans Portrait Project Department of Veterans Affairs

A Vietnam Veterans portrait project that was created at the Miami VA medical system.
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Photography

Vietnam Veterans Portrait Project Department of Veterans Affairs

William Bunce
A Vietnam Veterans Portrait Project that was created at the Miami VA Medical System in Miami Florida.

Rethink Waste PSA - City of Gainesville

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Video Editing, Post-production, Animation, and Motion Graphics

Rethink Waste PSA - City of Gainesville BUDA Group

The City of Gainesville, Florida hopes to create a zero-waste mentality by encouraging its citizens to be more thoughtful about their waste production. Their goal is to be a zero-waste city by 2040.
This 60-second animation was created for the local government-access television to raise awareness about the city’s Rethink Waste initiative and to draw attention to the impact of water pollution in Gainesville's springs, wetlands, rivers and aquifers — where tubing and paddle-boarding are popular activities. This part of the state has special geographical issues, making water pollution more abundant and dangerous than road pollution.
The visuals include local landmarks, nearby springs and native wildlife, such as the endangered Florida manatee and river otters, to highlight their unique value to the community.
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Video Editing, Post-production, Animation, and Motion Graphics

Rethink Waste PSA - City of Gainesville BUDA Group

BUDA Group
A campaign video for the Rethink Waste campaign - a zero-waste program created by the City of Gainesville, Florida.

The City of Gainesville, Florida hopes to create a zero-waste mentality by encouraging its citizens to be more thoughtful about their waste production. Their goal is to be a zero-waste city by 2040. 

This 60-second animation was created for the local government-access television to raise awareness about the city’s Rethink Waste initiative and to draw attention to the impact of water pollution in Gainesville's springs, wetlands, rivers and aquifers — where tubing and paddle-boarding are popular activities. This part of the state has special geographical issues, making water pollution more abundant and dangerous than road pollution.

The visuals include local landmarks, nearby springs and native wildlife, such as the endangered Florida manatee and river otters, to highlight their unique value to the community.


@budagroup on instagram


Inner West

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Multi-channel Campaign

Inner West For The People

Brief:
Following a merger of three councils in Sydney’s Inner West, a new identity was required to unify the region. It needed to capture the Inner West’s uniquely creative community and represent the vibrant and diverse neighbourhoods living side-by-side in harmony. It would provide a framework for all communications, local events and community programs, whilst instilling pride in the local communities.

Solution:
The identity has been designed to capture the diversity and creativity that the Inner West is known for. The logo and system has been constructed around the iconic places, spaces and historic architectural forms of the area. These are used as a framework to house the progressive ideas, events and perspectives that define Inner West culture.

Cultural context:
As one of the older areas of Sydney, the Inner West has a long and varied history, having been constantly reshaped and re-purposed by a range of people, across class and industry divides. Because of this, many places in the Inner West have, by necessity, been creatively reimagined many times, using existing structures in new and inventive ways.

Typography:
The word mark has multiple configurations based on the different physical spaces of the Inner West. These individual elements are used across communiciations to house content, and create a clear and coherent brand whilst ensuring there is ample space for creative interpretation by the in-house team and the many creative collaborators with the city.

Illustration:
The illustration style works with the shapes of the brand, as both the dna within the illustration, but also as a housing device when the artworks are looser and rely less on the shapes in their construction. All initial artworks were created with artist, Ilana Bodenstein, to give guidence and a vision for how flexible the brand can be.
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Multi-channel Campaign

Inner West For The People

Jason Little
As one of the older areas of Sydney, the Inner West has a long and varied history, having been constantly reshaped and re-purposed by a range of people, across class and industry divides. Because of this, many places in the Inner West have, by necessity, been creatively reimagined many times, using existing structures in new and inventive ways. This has created a vibrant and fitting home for the mix of cultures, ideologies and experiences that have come to define the community. This identity needed to provide a framework for all of the council communications, local events and community programs. It has been designed to capture this diverse and eclectic nature — featuring some of the iconic places, spaces and historic architectural forms of the area, and using them as a framework to house the progressive ideas, events and perspectives that define Inner West culture. It recognises that the area is a creative place — made so by the local community, the council and the visitors.
Brief 
Following a merger of three councils in Sydney’s Inner West, a new identity was required to unify the region. It needed to capture the Inner West’s uniquely creative community and represent the vibrant and diverse neighbourhoods living side-by-side in harmony. It would provide a framework for all communications, local events and community programs, whilst instilling pride in the local communities.

Solution:
The identity has been designed to capture the diversity and creativity that the Inner West is known for. The logo and system has been constructed around the iconic places, spaces and historic architectural forms of the area. These are used as a framework to house the progressive ideas, events and perspectives that define Inner West culture. 

Cultural context:
As one of the older areas of Sydney, the Inner West has a long and varied history, having been constantly reshaped and re-purposed by a range of people, across class and industry divides. Because of this, many places in the Inner West have, by necessity, been creatively reimagined many times, using existing structures in new and inventive ways.

Typography:
The word mark has multiple configurations based on the different physical spaces of the Inner West. These individual elements are used across communiciations to house content, and create a clear and coherent brand whilst ensuring there is ample space for creative interpretation by the in-house team and the many creative collaborators with the city.

Illustration:
The illustration style works with the shapes of the brand, as both the dna within the illustration, but also as a housing device when the artworks are looser and rely less on the shapes in their construction. All initial artworks were created with artist, Ilana Bodenstein, to give guidence and a vision for how flexible the brand can be.

Typographer: Mathieu Reguer
Illustrator: Ilana BodensteinECD: Jason Little
Creative Director: Mel Baillache
ECD: Jason Little
Design Director: Kinal Ladha
Designers :  Olivia King, Rebecca Cini, Ilana Bodenstein, Kimberly Luo, Pete Conforto
Writer: Mat Groom
Strategy Directors : Amanda Gordon, Damian Borchok
Motion : Never Sit Still 

Setting the Example: Sustainability & Corporate Social Responsibility

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Web Design

Setting the Example: Sustainability & Corporate Social Responsibility Georgia World Congress Center Authority

Georgia World Congress Center Authority is built on the idea that events can benefit people, the planet, and the economy. Events at GWCCA have taken the first step in that journey by taking advantage of our LEED certified facilities and many sustainability efforts. The Authority integrates sustainability and corporate social responsibility (CSR) into all aspects of our business to meet our organizational mission of enhancing the quality of life for all Georgians.
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Web Design

Setting the Example: Sustainability & Corporate Social Responsibility Georgia World Congress Center Authority

GWCCA MarComm
Setting the Example: Sustainability & Corporate Social Responsibility
Georgia World Congress Center Authority is built on the idea that events can benefit people, the planet, and the economy. Events at GWCCA have taken the first step in that journey by taking advantage of our LEED certified facilities and many sustainability efforts. The Authority integrates sustainability and corporate social responsibility (CSR) into all aspects of our business to meet our organizational mission of enhancing the quality of life for all Georgians. 
As a leader in the convention, sports and entertainment industry, GWCCA paces the industry by putting words to action. The Marketing Communication team has worked closely with the CSR team to develop informative and engaging content for various platforms. In February 2020, we launched a new and improved landing page on the Authority’s website that captures the uniqueness of our sustainability story through big, bold images, subtle interactivity, video, and cool facts. The following Adobe Creative Cloud software was used to develop all creative assets featured on the web page.  

· Adobe XD to create an interactive mockup for the website landing page (gwcca.org/sustainability) 
· Adobe Premiere Pro for video editing of the two featured videos 
· Adobe After Effects for the animated graphics in the videos 
· Adobe Illustrator for various vector graphics 
· Adobe InDesign for print-ready flyers 
· Adobe Lightroom for photo editing 

This web page serves as a one-stop-shop for CSR information and provides a visually engaging experience on desktop and mobile.  

Diversity and Inclusion Board Game and Mobile App

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Mobile Application Design

Diversity and Inclusion Board Game and Mobile App Lawrence Livermore National Laboratory

MoonQuake was developed as a learning tool for LLNL's Workforce and Organization Development department. This game incorporates many of an individual’s senses to create a more experiential learning. They are fully immersed as a character in another world, solving problems and figuring out how to work effectively together to accomplish their goal. Compared to traditional diversity training, MoonQuake effectively approaches the spectrum of learning from both sides, raising awareness and understanding and identifying necessary behavior changes in real-time.
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Mobile Application Design

Diversity and Inclusion Board Game and Mobile App Lawrence Livermore National Laboratory

Adam Connell
Diversity and Inclusion Board Game
Created for organizations interested in increasing employee awareness of inclusion and cooperative behaviors
MoonQuake was developed as a learning tool for LLNL's Workforce and Organization Development department. This game incorporates many of an individual’s senses to create a more experiential learning. They are fully immersed as a character in another world,  solving problems and figuring out how to work effectively together to accomplish their goal. Compared to traditional diversity training, MoonQuake effectively approaches the spectrum of learning from both sides, raising awareness and understanding and identifying necessary behavior changes in real-time.
MoonQuake's board, dice and game cards were designed with Adobe Photoshop and Illustrator.  
We created a Virtual Assistant (deemed the Datapad) to minimizes instruction time, allowing players to dive right in and learn as you go. It also allow facilitators to be able to remove themselves from the instructor role to more of an observer, taking note of individual and team interactions to create a more robust conversation during in game discussion points.

Score keeping is integrated into the iPad and we are able to capture player experiences through a digital status report. We also have the technology to insert customized discussion topics directly into the device, creating robust discussions and impactful learning.

Software used: 
All UI and graphics created in Adobe Photoshop and Illustrator
Tutorial animations made with Adobe After Effects and Premiere Pro
App created with Unity3D

Congratulations to the 2019 top talent.

Behind the peaceful transition of power

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Visual Communications - Photography

Behind the peaceful transition of power Defense Media Activity / U.S. Air Force Production

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Visual Communications - Photography

Behind the peaceful transition of power Defense Media Activity / U.S. Air Force Production

Marianique Santos

Data Visualization & Infographic for UNICEF Reports

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Visual Communications - Data Visualization

Data Visualization & Infographic for UNICEF Reports Unicef

By using visual elements like charts, infographics, and maps, data visualization is an effective to convey non-profit organization's message and ideas. With the purpose of education and storytelling, the infographics in reports can help the audiences quickly understand the background information, and remove the noise from data and highlighting the useful information. Meanwhile, high-quality data visualization helps the non-profit organization to attract more attentions from the public. It helps the organization to promote themselves and influence more people.
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Visual Communications - Data Visualization

Data Visualization & Infographic for UNICEF Reports Unicef

Shangning Wang
By using visual elements like charts, infographics, and maps, data visualization is an effective to convey non-profit organization's message and ideas. With the purpose of education and storytelling, the infographics in reports can help the audiences quickly understand the background information, and remove the noise from data and highlighting the useful information. Meanwhile, high-quality data visualization helps the non-profit organization to attract more attentions from the public. It helps the organization to promote themselves and influence more people.
By using visual elements like charts, infographics, and maps, data visualization is an effective to convey non-profit organization's message and ideas. With the purpose of education and storytelling, the infographics in reports can help the audiences quickly understand the background information, and remove the noise from data and highlighting the useful information. Meanwhile, high-quality data visualization helps the non-profit organization to attract more attentions from the public. It helps the organization to promote themselves and influence more people.

This collection includes four Unicef reports
1. Harrowing Journeys 
2. A child is a child
3. Thirsting for a Future 
4. Mongolia's Air Pollutions Crisis 



If you like the work, please appreciate it. We spent months created it:) 


"100 Plates" Interactive Exhibit

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Interactive Design - Mobile App/Application Design/Interactive Exhibition/Kiosk Design

"100 Plates" Interactive Exhibit www.brunetgarcia.com

Although one in four children in Jacksonville, Florida struggles with hunger, we found the local awareness about food insecurity issues was drastically low. Most of the community was unaware of the hunger struggles going on right in their backyard. Collaborating with Feeding Northeast Florida, our goals were to raise awareness about these local food insecurity and food desert struggles and to encourage people to donate $10 to provide 100 meals to help those in need. To truly inspire people and garner a physical reaction, we created an immersive large-scale interactive installation and floor-to-ceiling sculpture. As a pro-bono project, our agency donated all of our agency time and materials (approximately $100,000) and worked with community partners to leverage donated space and media. The exhibit was up for the duration of the 2016 holiday season.
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Interactive Design - Mobile App/Application Design/Interactive Exhibition/Kiosk Design

"100 Plates" Interactive Exhibit www.brunetgarcia.com

Brunet-García Advertising
Background

Although one in four children in Jacksonville, Florida struggles with hunger, we found the local awareness about food insecurity issues was drastically low. Most of the community was unaware of the hunger struggles going on right in their backyard. Collaborating with Feeding Northeast Florida, our goals were to raise awareness about these local food insecurity and food desert struggles and to encourage people to donate $10 to provide 100 meals to help those in need. To truly inspire people and garner a physical reaction, we created an immersive large-scale interactive installation and floor-to-ceiling sculpture. As a pro-bono project, our agency donated all of our agency time and materials (approximately $100,000) and worked with community partners to leverage donated space and media. The exhibit was up for the duration of the 2016 holiday season.
Creative Idea

“100 Plates” is an interactive exhibition intended to raise awareness of the hunger problem in our community. Most people view hunger as a third world problem when – in reality – hunger occurs not only in America, but right here in Jacksonville. For just $1, Feeding Northeast Florida can provide 10 meals for a family in need, therefore a donation of $10 could provide 100 meals, or “100 Plates,” enough to feed a family of four for a month. $10 is an easy donation and 100 meals became our compelling hook. We wanted to design a campaign that defied expectations and would stand out from other organizations seeking support at that time of year. The exhibition transported viewers to an environment where they were forced to make the tough choices many in our community face. These decisions engaged and informed viewers while encouraging them to take action.
Strategy

We launched “100 Plates” during the December Art Walk in downtown Jacksonville with a public art and interactive storytelling installation housed in the lobby of a main venue frequented by our target audience – professionals involved or interested in local issues. The tactile hanging plates, wood panels, and light projections transformed the space into an area of discovery and learning, allowing the audience to explore and educate themselves on the issue before giving. In the installation space, there was also an iPad station with direct access to the online donation portal to help capture donations while it was top of mind. Leading up to and during the event, we released a series of social media posts and emails, encouraging the community to visit the installation, reinforcing the issue of food insecurity, and requesting donations to Feeding Northeast Florida. The exhibition was featured in radio, television, and news stories.

Yellow House Brand Identity

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Multi-Channel Campaigns - Museum or Park Exhibit

Yellow House Brand Identity www.brunetgarcia.com

Yellow House required a distinctive visual identity to stake it’s claim in the community as a cutting-edge curator of ideas. The identity must be flexible enough to pair with a diverse range of art yet remain distinctive. Our team aimed to build a bold visual language that creates a dialogue with the art and demands to be seen. The brand should function as museum or gallery branding but avoid the passive quality of those organizations. It needed to become embedded and representative of the community it serves.
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Multi-Channel Campaigns - Museum or Park Exhibit

Yellow House Brand Identity www.brunetgarcia.com

Brunet-García Advertising

The Creative Idea
Yellow House required a distinctive visual identity to stake it’s claim in the community as a cutting-edge curator of ideas. The identity must be flexible enough to pair with a diverse range of art yet remain distinctive. Our team aimed to build a bold visual language that creates a dialogue with the art and demands to be seen. The brand should function as museum or gallery branding but avoid the passive quality of those organizations. It needed to become embedded and representative of the community it serves.

The boldness of the brand should be strategically aligned with the soul of Yellow House: Art + Action.

Because Yellow House has multiple public faces—exhibition space, gathering place, activism, educational outreach, consultancy—the identity must appeal to multiple audiences: the community, artists, activists, sponsors, and consultant clients. The beauty and the challenge of the brand was its many stakeholders.

The Execution
Yellow House’s identity resonates its mission to leverage the power of art to transform communities. The bold modern font is inspired by 1920s Art Nouveau posters, evoking a spirit of unrest and social change. The stacked type builds a house of letters underneath the roof that playfully mimics different cultural manifestations establishing conversation within its interior rooms.

The deceptively simple icon mirrors the slope of the building’s roofline. While Yellow House is a physical space, the organization wanted to become a “home” to the entire community. The shape points upwards, symbolizing forward movement and positive change. Images appear underneath, within, or around the mark, which can be drawn, painted, tagged, chalked, sprayed, printed, cut, or assembled—by anyone—giving the power of art to the community.

Brunet-García designed the visual identity, stationery, business cards, and posters; animated social media teasers; programmed digital invitations; and created customized packages for media. For the creation of these materials, we utilized a variety of Adobe products such as Adobe Illustrator, Photoshop, and  InDesign,







The Results
Yellow House has held three signature exhibitions and numerous events attended by thousands of people. After Hurricane Irma brought historic flooding to Jacksonville, Florida, Yellow House organized donations and continues to aid rebuilding efforts.The space has hosted healthcare organizations, universities, and activists with a blend of art, education, engagement, and discourse. They have expanded to serve additional locations and added a summer camp.

Artists and collaborators have begun to use the distinctive roof icon to create their own graphics, markings, posters, and postings as a symbol of inclusion and progress. The visual identity was selected for HOW's Logo Design Awards and won the Readers’ Choice Award distinction, boosted by votes from community members that had already taken ownership of the brand.

West coast Tasmania

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Multi-Channel Campaigns - Citizen-facing Campaign

West coast Tasmania For The People

Tasmania’s West Coast is wild, rugged and remote. The harsh and unforgiving land and weather has always forced people to live on its terms. The regional branding for Tasmania's West Coast aims to to overcome the area’s remoteness, lack of profile and a declining population and breathe new life into Tasmania’s remoter region. The Identity takes an open and inclusive approach, through an open source brand system that the entire region and community can utilise, to tell their own stories that collectively shape a cohesive identity for the region. Building an open source brand identity meant that what the identity system needed to be highly accessible and effortlessly usable by any of the West Coast’s residents, tourism operators, investors in the West Coast. As an open-source identity system, every aspect is free to use by local operators, providing the tools to communicate effectively, where these would normally be cost prohibitive to anyone but large tourism operators to use.
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Multi-Channel Campaigns - Citizen-facing Campaign

West coast Tasmania For The People

Jason Little
Tasmania’s West Coast is wild, rugged and remote. The harsh and unforgiving land and weather has always forced people to live on its terms. The regional branding for Tasmania's West Coast aims to to overcome the area’s remoteness, lack of profile and a declining population and breathe new life into Tasmania’s remoter region. The Identity takes an open and inclusive approach, through an open source brand system that the entire region and community can utilise, to tell their own stories that collectively shape a cohesive identity for the region. Building an open source brand identity meant that what the identity system needed to be highly accessible and effortlessly usable by any of the West Coast’s residents, tourism operators, investors in the West Coast. As an open-source identity system, every aspect is free to use by local operators, providing the tools to communicate effectively, where these would normally be cost prohibitive to anyone but large tourism operators to use.
Tasmania’s West Coast is wild, rugged and remote. The harsh and unforgiving land and weather has always forced people to live on its terms. With declining heritage industries, the region needed to overcome the area’s remoteness, lack of profile and a declining population and breathe new life into Tasmania’s remoter region in order to attract business investment, facilitate economic development, drive population growth, and encourage people to investigate beyond the more well-known parts of Tasmania.
 
Working with the West Coast Council, tourism operators, and the regions 4,000 residents, the project set a new standard for comprehensive community consultation and regional branding in the local government and tourism sector over the course of a 10 month period. The new brand identity embraces the West Coast’s confronting history in a story that distinguishes it from the rest of the country. A whole of region brand was needed to shift perceptions about the area. The Identity took an open and inclusive approach, through an open source brand system that the entire region and community could utilise, to tell their own stories that collectively shape a cohesive identity for the region.
 
Building an open source brand identity meant the identity system needed to be highly accessible and usable by any of the West Coast’s residents, tourism operators and business owners in the West Coast. We created a set of identity elements that allow a multitude of anecdotal, distinctly West Coast messages to be expressed. Coupled with a bespoke typeface, iconography, and a photography library that defies the usual tourism imagery, the region can convey a coherent narrative and regional style, whilst maintaining the individual personality of each town, business or initiative. As an open-source identity system, every aspect is free to use by locals in the region, providing the tools to communicate effectively, where these would normally be cost prohibitive to anyone but large tourism operators to use.
 
The West Coast is a region that you have to bring a part of yourself in order to experience it properly. This is a hard landscape with even harsher weather. By sharing the true beauty of what’s on offer in the West Coast, under a clear identity of what it means to be a West Coaster, we hope to empower the community to build on the foundation of the identity and be confidently and coherently express who they are and what this place is. This will help to attract visitors, business, residents and investors that have the determination to take a path that’s less trodden, in a remote part of a tiny island at the edge of the world.
Credits:

IDENTITY:
Creative Agency: For The People
West Coast Council & Community Lead: Christine Gray
Council Team: Eleanor Strang, Vicki Iwanicki, 
Creative Directors: Jason Little, Johanna Roca
Strategy Directors: Amanda Gordon, Rebecca Lester, Damian Borchok
Writer / Storyteller: Mat Groom
Lead DesignerS: Johanna Roca, Jason Little,
Designers: Pete Conforto, Ed Hall, Kris Andrew Small, Bec Cini, Mel Baillache
Illustrator:  Marco Palmieri
Typographer: Mathieu Reguer
Digital Agency: Sons & Co
Photographer: Ollie Khedun
Aerial DP: Hayden Griffiths

Film
Film Production Company:
Börja
Photographer: Ollie Khedun
Aerial​​​​​​​ DP: Hayden Griffiths
Producer: Jordana Johnson
Music Composer: Saxon Hornett
Colour Grade: Tim Wreyford (The Hive)
Sound Mixing: Ollie Khedun
CAST & ASSISTANCE: Sarah Andrews, Raymond Arnold, Steve Berndt , Jenny Bowie, Justin Burns, Ralph Burns, Scott Butler, Joy Chappell, Anthony Coulson, Dirk Dowling, Ken French, Mark Gee, Mary-Ellen & Clive Gilleece, Thomas Grigg, Ian Hall, Gary Kaine, Brian & Sharlene Mathewson, Mark McDermott , Mikayla McDermott, Thalia McDermott, Andrew Mcdougall, Karen Nixon, Robert Potter, Sandy Radford, Eleanor Strang
And: King River Rafting, Penghana House, Roam Wild , Strahan ATV Adventures , Strahan Helicopters, 
The Coffee Shack, Tullah Lakeside Lodge, West Coast Wilderness Railway

Baseball Americana Promotional Teaser

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Visual Communications - Motion & Video

Baseball Americana Promotional Teaser Library of Congress

The purpose for this video was to promote the upcoming exhibition "Baseball Americana" at the Library of Congress on social media. The exhibit focuses mainly on the community aspect of the game of baseball - we wanted to show a wide range of types of people who love and play the game. Footage Credits: Major League Baseball, National Baseball Hall of Fame and Museum, and ESPN
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Visual Communications - Motion & Video

Baseball Americana Promotional Teaser Library of Congress

Cindy Moore
The purpose for this video was to promote the upcoming exhibition "Baseball Americana" at the Library of Congress on social media. The exhibit focuses mainly on the community aspect of the game of baseball - we wanted to show a wide range of types of people who love and play the game. Footage Credits: Major League Baseball, National Baseball Hall of Fame and Museum, and ESPN

#TeamTexasHHS: Public Service Recognition Week 2019

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Multi-Channel Campaigns - Employee-facing Campaign

#TeamTexasHHS: Public Service Recognition Week 2019 Texas Health and Human Services

Texas Health and Human Services succeeded in engaging thousands of employees in its first systemwide Public Service Recognition Week campaign. The project honored the work of state employees, reinforced the agency’s values and positively influenced the culture of Texas HHS. The project also served as an exercise in launching increasingly complex and cohesive internal information campaigns. By doing this, Texas HHS has positioned itself and its staff to better inform and serve millions of Texans.
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Multi-Channel Campaigns - Employee-facing Campaign

#TeamTexasHHS: Public Service Recognition Week 2019 Texas Health and Human Services

Kevin Schwaller
Texas Health and Human Services succeeded in engaging thousands of employees in its first systemwide Public Service Recognition Week campaign. The project honored the work of state employees, reinforced the agency’s values and positively influenced the culture of Texas HHS. The project also served as an exercise in launching increasingly complex and cohesive internal information campaigns. By doing this, Texas HHS has positioned itself and its staff to better inform and serve millions of Texans.
MULTI-CHANNEL CAMPAIGNS - EMPLOYEE-FACING CAMPAIGN
#TeamTexasHHS: Public Service Recognition Week 
Texas Health and Human Services

Texas Health and Human Services succeeded in engaging thousands of employees in its first systemwide Public Service Recognition Week campaign. The project honored the work of state employees, reinforced the agency’s values and positively influenced the culture of Texas HHS. The project also served as an exercise in launching increasingly complex and cohesive internal information campaigns. By doing this, Texas HHS has positioned itself and its staff to better inform and serve millions of Texans.
A team of designers, producers, writers and editors created media and organized events for the weeklong campaign. Each element of the Public Service Recognition Week project sought to actively connect with employees and encourage a feeling of unity across the far-reaching agency. 

The campaign used both internal delivery methods and a robust social media plan to connect with team members. The hashtags #TeamTexasHHS and #TexasHHSProud helped support the goals of the project and encouraged content sharing online. The hashtags were incorporated throughout online materials and design elements.

Key campaign components included: 

Messages and participation from Dr. Courtney N. Phillips, Texas HHS executive commissioner
Video messages and motion graphics
Print materials (signs, outdoor banners, packets, flyers and schedules)
TV monitor graphics
Photos
Social media messaging and engagement
Internal articles

The Texas HHS Office of Communications used Adobe Illustrator, InDesign, Premiere Pro, After Effects, Audition, Lightroom and Photoshop to create the various aspects of this project.
In preparation for the campaign's launch, the communications team sent digital and printable materials to agency managers statewide with suggestions for employee appreciation activities, a schedule of events and resources for participation.

Graphics used in TV monitors throughout HHS headquarters also thanked employees and promoted employee engagement in Public Service Recognition Week activities.
A printable sign was designed for staff to use in photographs for the first day of Public Service Recognition Week — "Selfie Monday." The signs offered space for each employee to write down why they serve Texans. Managers encouraged their teams to share photos of themselves with their selfie signs, expressing the reasons they work in public service.

The reaction from staff was immediate. One team lined their hallway with their "selfie" images. Other teams designed their own photo booths or posed for group photos. The communications team received more than 800 photo submissions and more photos were shared online. The selfie poster was downloaded by Texas HHS employees more than 1,100 times.  

"Selfie Monday" created excitement within the agency and an atmosphere that helped propel the Public Service Recognition Week campaign to success.
The Texas HHS executive commissioner delivered a message to staff to recognize their service and encourage #TeamTexasHHS. The video incorporated footage of employees and motion graphics to support the commissioner’s message. In terms of organic views, the video below is now the most-watched internal video in recent years.
Recently, Texas HHS underwent a systemwide consolidation and restructuring. To promote understanding and clarify the role of the agency — both internally and externally — Texas HHS created and released a new overview video as part of its Public Service Recognition Week efforts.
Employees at Texas HHS headquarters and community offices celebrated the week with various events.

Major events included:
Systemwide "Selfie Monday"
Employee photo booths
Dessert and cakewalk game
 "Mardi Gras in May" Zumba*
 Specialty food offerings*

Although many events were scheduled, individual managers throughout the state also found their own ways to show appreciation to their teams and departments.

The Texas HHS photographer captured key moments throughout the week. 

Events replaced a planned walk and tailgate that were cancelled due to inclement weather.
Texas HHS sent more than 10 emails as part of the campaign to 41,561 HHS team members. Messages included event details, links to articles and video content, and materials to prepare managers for the campaign. 
Articles and announcements on the system's internal website previewed Public Service Recognition Week ahead of the campaign, honored HHS employees throughout the week and served as a vehicle for content release. The content has received nearly 12,000 clicks as of this submission.
Texas HHS team members engaged with the campaign online by sending photos to the communications team and using the #TeamTexasHHS and #TexasHHSProud hashtags on social media. 

Public Service Recognition Week-related posts were seen more than 54,000 times and had nearly 5,000 engagements and post clicks across the Texas Health and Human Services social media platforms.
Texas HHS shared the hundreds of "Selfie Monday" photos online and used Adobe Lightroom to create  a slideshow that was sent to Texas HHS team members.
The campaign achieved its goals of connecting with and honoring employees, reinforcing the organization's values, and positively influencing the agency's culture. 

It also served as an exercise in creating increasingly collaborative and complex media campaigns. The Texas HHS communications team is currently examining lessons learned from the Public Service Recognition Week efforts to refine its model for quick and effective distribution of information that can be used to improve the health and well-being of Texans.

"We Love You to the Moon and Back" NASA Valentines

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Interactive Design - Web Design

"We Love You to the Moon and Back" NASA Valentines NASA Goddard

Creatives at NASA Goddard in Greenbelt, Maryland, love to tell a story. From the scientist, to the producer to the science writer, we all work together to tell the public very complicated science information in a relatable way. This task can be a tricky one. The story behind the NASA Valentines has two components. First, we wanted to create “lovable” messages to teach the public about the different sciences we study. Second, we wanted to develop a project that emphasized collaborative storytelling between the missions in heliophysics, astrophysics, space technology, planetary and Earth. What better way to do it than by showing some love? Bringing this project to fruition took a lot of communication. For the last two years, I served as the project's design lead. As a member of the Goddard Social Media team, I coordinated with social leads in different divisions to come up with a design plan. Together we came up with a list of sayings and storyboards. Graphics included everything from simple stills to interactive gifs. The result was a branded project that included the creative input of 12 people and a lot of cross-collaboration between missions that looking for ways to communicate together.
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Interactive Design - Web Design

"We Love You to the Moon and Back" NASA Valentines NASA Goddard

Sara Blumberg
NASA Valentines <3
Want to learn about the research done at NASA Goddard? One way is to send a  Space Valentine!  Here's how the project unfolded, thanks to the help of Adobe software. 
BACKSTORY
Creatives at NASA Goddard in Greenbelt, Maryland, love to tell a story. From the scientist, to the producer to the science writer, we all work together to tell the public very complicated science information in a relatable way.

This task can be a tricky one. 

The story behind the NASA Valentines has two components. First, we wanted to create “lovable” messages to teach the public about the different sciences we study. Second, we wanted to develop a project that emphasized collaborative storytelling between the missions in heliophysics, astrophysics, space technology, planetary and Earth. 

  What better way to do it than by showing some love?

Bringing this project to fruition took a lot of communication. For the last two years, I served as the project's design lead. As a member of the Goddard Social Media team, I coordinated with  social leads in different divisions to come up with a design plan. Together we came up with a list of sayings and storyboards. Graphics included everything from simple stills to interactive gifs.

The result was a branded project that included the creative input of 12 people and a lot of cross-collaboration between missions that looking for ways to communicate together. 

Organization Objectives

The Goal of the NASA Valentines was divided into two objectives.

1. Engagement: To teach our audience about NASA science in digestible graphics with links to free material for download through NASA’s Scientific Visualization Studio. We gave away the graphics for free. On social media channels, like NASA Goddard streams, we took the time to publish the graphics while explaining what our center studies. 

2. Inclusive Storytelling: To encourage cross-collaboration between different aress of study. 
For example, with the eclipse Valentines, The NASA Moon and NASA Sun accounts sent messages to each other showing love for the event.
The NASA Earth, NASA Moon and NASA Sun  accounts also worked back and forth with creative messaging. Members of the NASA JPL team in California as well as NASA Headquarters in Washington, D.C., also collaborated with Goddard, creating similar Valentines in our style guidelines. What resulted was a Valentine generator for people to send e-cards. 

As a science agency, our goal is to share our research with the world. NASA was an early adopter of creative storytelling and new ways of doing so. Through social media, our creative team is encouraged to think of new ways to engage with the public, while inspiring new generations of science innovators.

Creative Techniques

To complete each of the designs, I used a variety of Adobe Software:

Illustrator: I used Illustrator to create planets, stars and custom backgrounds. For many images, including the Moon and Earth animations, I took photos taken and turned them into custom animation layers.
Adobe After Effects: I took the layers from Photoshop and Illustrator and imported them into After Effects to add animation movement such as circular motions, flying and blasting stars. I used the graph editor to ensure movement looked natural.
Photoshop: I used Photoshop to generate gifs from exported movie files. I also used the program to work on lighting and shading to some of the graphics.



Impact and Experience

Overall, the experience of creating NASA Valentines was collaborative, exciting and positive. On social media, the messages helped generate hundreds of conversations about science in areas like ice, the Moon and how the Sun works. Goddard’s social media team took those questions and helped provide answers. The posts were shared numerous times and were used by other NASA agencies around the country.

NASA headquarters saw the imagery and also used the graphics to promote science conversation. With a following of over 30 million on Twitter and Facebook, the messages were able to go further. The Valentines were also adapted for Snapchat, Instagram and Facebook platforms. 

Other centers emailed me directly and asked for branding guidelines to create their own cards. There’s already talk of how to create new Valentines for 2020.

Identité visuelle de l'Office du Tourisme de Paris

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Visual Communications - Print Communication, Graphic Design and Illustration

Identité visuelle de l'Office du Tourisme de Paris Graphéine

In 2016, we designed the new graphic charter of the Paris Convention and Visitors Bureau. We had opted for simplicity and concentrated on a typographic design that suggests a Parisian skyline: the drawing of the "A" directly evoking the Eiffel Tower. The result was a minimalist logotype. We had also invited an illustrator to work with us on the iconography. It was the perfect opportunity to collaborate with Séverin Millet, Lyon-based illustrator, whose simple and colourful work perfectly matches our vision of the project. Opting for illustration allowed us to step aside from the usual postcard pictures of Paris, and offer a fresh, colourful and poetic look on the capital.
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Visual Communications - Print Communication, Graphic Design and Illustration

Identité visuelle de l'Office du Tourisme de Paris Graphéine

Graphéine
New illustrations for the Paris Convention and Visitors Bureau! [EN] In 2016, we designed the new graphic charter of the Paris Convention and Visitors Bureau. We had opted for simplicity and concentrated on a typographic design that suggests a Parisian skyline: the drawing of the "A" directly evoking the Eiffel Tower. The result was a minimalist logotype. We had also invited an illustrator to work with us on the iconography. It was the perfect opportunity to collaborate with Séverin Millet, Lyon-based illustrator, whose simple and colourful work perfectly matches our vision of the project. Opting for illustration allowed us to step aside from the usual postcard pictures of Paris, and offer a fresh, colourful and poetic look on the capital. Check out the full project here. [FR] En 2016, Graphéine signait la nouvelle charte graphique de l'Office du Tourisme de Paris. Nous avions fait le choix de la simplicité, et concentré nos efforts sur une composition typographique pouvant évoquer une skyline parisienne, le dessin du "A" évoquant directement la tour Eiffel. En résultait un logotype minimaliste. Nous avions également invité un illustrateur à travailler avec nous. Le choix s'était porté sur Séverin Millet, illustrateur lyonnais. Son travail simple et coloré s'accordant parfaitement avec la vision que nous avions du projet. L'illustration permettant de sortir des habituelles photos cartes-postales de Paris, et ainsi présenter un visage frais, décalé et poétique de la capitale. N'hésitez pas à aller découvrir l'identité visuelle de l'Office de Tourisme que nous avions conçue. A new season with Vincent Mahé [EN] For 2017, the communication team of the Paris Visitors Bureau placed its trust in illustration again, asking Vincent Mahé, one of the most parisian illustrators, to work with them. We had already presented on this blog his work for the Auditorium of Lyon. Vincent excels in transcribing everyday scenes, chewing them with humor and elegance. His drawings blend clean lines and solid colors. His graphic style is sober, elegant and malicious. Born in Paris in 1984, Vincent grew up in Brittany, France. He moved back to Paris to study drawing and animation at Les Gobelins for three years. He started his career in animation in 2008, keeping drawing illustrations when he had free time. He fully embraced his artwork career by creating L'Atelier Quatrebis with six other artists in January 2013. Since then, his illustrations can be seen in the Wall Street Journal, The New Yorker, Télérama… [FR]  Pour la saison 2017, la direction de la communication de l'Office du Tourisme a choisi de renouveler sa confiance en l'illustration. Ils ont donc fait appel au plus parisien des illustrateurs : Vincent Mahé. Nous avions déjà présenté sur ce blog son travail pour l'Auditorium de Lyon. Vincent a l'art de retranscrire les scènes du quotidien, de les croquer avec humour et élégance. Son dessin mélange trait net et aplats de couleurs. Son style graphique est sobre, élégant et malicieux. Il est né 1984 à Paris, mais a grandit en Bretagne. Le BAC en poche il (re)déménage à Paris pour étudier le dessin et l'animation aux Gobelins pendant trois ans puis commence à travailler en 2008 dans l'univers de l'animation, tout en continuant de dessiner à ses heures perdues. Il se lance définitivement dans l'illustration en créant l'Atelier Quatrebis avec six autres artistes en janvier 2013. Depuis, on retrouve régulièrement ses illustrations dans la presse, du Wall Street Journal à Télérama ! Vincent Mahé est représenté par l'agent d'illustrateur Costume 3 pièces. Maps of Paris [EN] With 1.2 million printed copies, the map of the capital is the main document offered to visitors for free. It is available in 10 languages. On these maps, Vincent sketches everyday scenes. There are obviously some clichés of Paris, but always staged in a subtle and poetic way: the iconic chairs of the Jardin du Luxembourg, the Wallace fountains… Plan de Paris [FR] Imprimé à 1,2 million d'exemplaires, le plan de Paris est le principal document distribué gratuitement aux visiteurs. Il est édité en 10 langues. Sur ces documents, Vincent croque des petites scènettes quotidiennes. On retrouve évidemment quelques clichés parisiens, mais toujours mis en scène de manière subtile et poétique. Par exemple, les chaises iconiques du Jardin du Luxembourg, ou les fontaines wallace. Work process [FR] Vincent Mahé's work process is pretty traditional. He starts with laying down quick sketches on a sheet of paper. It’s about drawing the fondamental composition. Then, he works the pose of the characters with a black pen. He scans this base, starts to add color on screen and draws again the black outlines. You can see that only the characters are outlined, the rest of the illustration is only composed of solid color backgrounds. [EN] Son processus de travail est assez classique. Il commence par poser de rapides esquisses au crayon. Il s'agit de poser les bases de sa composition. Ensuite, il va travailler la pose de ses personnages au stylo noir. Un petit scan de ces éléments, et il passe à la mise en couleur sur écran. Enfin, il retrace numériquement ses contours. Notez que seuls les personnages sont cernés, le reste du décor n'étant composé que d'aplats. The other editions [EN] The Tourist Office publishes a large amount of documents for tourists and tourism professionals. The illustration work of Vincent Mahé is also spread on these documents. [FR] L'Office du Tourisme publie une quantité importante de documents destinés aux touristes, mais aussi aux professionnels du tourisme. Évidemment le travail d'illustration se prolonge sur ces documents. [EN] What's Up in Paris is a trend magazine for events and stays in the capital. It presents throughout its 32 pages the latest openings and renovations in terms of hotels, event venues, restaurants and shopping in Paris. We opted for a "dark" cover to foster the image of a city that lives by night. [FR] What's Up in Paris est le magazine d'inspiration pour l'organisation d'événements ou de séjours dans la capitale. À travers 32 pages, il présente les dernières ouvertures et rénovations en matière d'hôtellerie, de lieux événementiels, restaurants et shopping à Paris. Afin de renforcer l'image d'une capitale qui vit la nuit, nous avions opté pour une couverture noire. We can't wait for 2018! [EN] What a treat to discover our graphic charter flourishing with such great work. Thinking that every year, an illustrator will create a new visual history truly enchants us. We look forward to seeing what’s coming in 2018! [FR] Quel régal de découvrir notre charte graphique mise en scène de cette manière. Imaginer que chaque année, un illustrateur viendra prolonger cette histoire visuelle nous enchante ! Vivement 2018 ! See more: https://www.grapheine.com/en/branding-en/paris-visitos-bureau-illustration-branding
New illustrations for the Paris Convention and Visitors Bureau!

[EN] In 2016, we designed the new graphic charter of the Paris Convention and Visitors Bureau. We had opted for simplicity and concentrated on a typographic design that suggests a Parisian skyline: the drawing of the "A" directly evoking the Eiffel Tower. The result was a minimalist logotype.

We had also invited an illustrator to work with us on the iconography. It was the perfect opportunity to collaborate with Séverin Millet, Lyon-based illustrator, whose simple and colourful work perfectly matches our vision of the project. Opting for illustration allowed us to step aside from the usual postcard pictures of Paris, and offer a fresh, colourful and poetic look on the capital.

Check out the full project here.

[FR] En 2016, Graphéine signait la nouvelle charte graphique de l'Office du Tourisme de Paris. Nous avions fait le choix de la simplicité, et concentré nos efforts sur une composition typographique pouvant évoquer une skyline parisienne, le dessin du "A" évoquant directement la tour Eiffel. En résultait un logotype minimaliste.

Nous avions également invité un illustrateur à travailler avec nous. Le choix s'était porté sur Séverin Millet, illustrateur lyonnais. Son travail simple et coloré s'accordant parfaitement avec la vision que nous avions du projet. L'illustration permettant de sortir des habituelles photos cartes-postales de Paris, et ainsi présenter un visage frais, décalé et poétique de la capitale.

N'hésitez pas à aller découvrir l'identité visuelle de l'Office de Tourisme que nous avions conçue.
A new season with Vincent Mahé

[EN] For 2017, the Paris Visitors Bureau placed its trust in illustration again, asking Vincent Mahé, one of the most parisian illustrators, to work with them.

We had already presented on this blog his work for the Auditorium of Lyon. Vincent excels in transcribing everyday scenes, chewing them with humor and elegance. His drawings blend clean lines and solid colors. His graphic style is sober, elegant and malicious.

Born in Paris in 1984, Vincent grew up in Brittany, France. He moved back to Paris to study drawing and animation at Les Gobelins for three years. He started his career in animation in 2008, keeping drawing illustrations when he had free time. He fully embraced his artwork career by creating L'Atelier Quatrebis with six other artists in January 2013. Since then, his illustrations can be seen in the Wall Street Journal, The New Yorker, Télérama…

[FR]  Pour la saison 2017, l'Office du Tourisme a choisi de renouveler sa confiance en l'illustration. Ils ont donc fait appel au plus parisien des illustrateurs : Vincent Mahé.

Nous avions déjà présenté sur ce blog son travail pour l'Auditorium de Lyon. Vincent a l'art de retranscrire les scènes du quotidien, de les croquer avec humour et élégance. Son dessin mélange trait net et aplats de couleurs. Son style graphique est sobre, élégant et malicieux.

Il est né 1984 à Paris, mais a grandit en Bretagne. Le BAC en poche il (re)déménage à Paris pour étudier le dessin et l'animation aux Gobelins pendant trois ans puis commence à travailler en 2008 dans l'univers de l'animation, tout en continuant de dessiner à ses heures perdues. Il se lance définitivement dans l'illustration en créant l'Atelier Quatrebis avec six autres artistes en janvier 2013.

Depuis, on retrouve régulièrement ses illustrations dans la presse, du Wall Street Journal à Télérama !
Vincent Mahé est représenté par l'agent d'illustrateur Costume 3 pièces.
Maps of Paris

[EN] With 1.2 million printed copies, the map of the capital is the main document offered to visitors for free. It is available in 10 languages.
On these maps, Vincent sketches everyday scenes. Some clichés of Paris, but always staged in a subtle and poetic way: the iconic chairs of the Jardin du Luxembourg, the Wallace fountains…

Plans de Paris

[FR] Imprimé à 1,2 million d'exemplaires, le plan de Paris est le principal document distribué gratuitement aux visiteurs. Il est édité en 10 langues. Sur ces documents, Vincent croque des petites scènettes quotidiennes. On retrouve évidemment quelques clichés parisiens, mais toujours mis en scène de manière subtile et poétique. Par exemple, les chaises iconiques du Jardin du Luxembourg, ou les fontaines wallace.
Work process

[EN] Vincent Mahé's work process is pretty traditional. He starts with laying down quick sketches on a sheet of paper. It’s about drawing the fondamental composition. Then, he works the pose of the characters with a black pen. He scans this base, starts to add color on screen and draws again the black outlines. You can see that only the characters are outlined, the rest of the illustration is only composed of solid color backgrounds.

[FR] Son processus de travail est assez classique. Il commence par poser de rapides esquisses au crayon. Il s'agit de poser les bases de sa composition. Ensuite, il va travailler la pose de ses personnages au stylo noir. Un petit scan de ces éléments, et il passe à la mise en couleur sur écran. Enfin, il retrace numériquement ses contours. Notez que seuls les personnages sont cernés, le reste du décor n'étant composé que d'aplats.
Paris as an inspiration

[EN] Check out how Vincent is inspired by Paris in this video: 
[FR] Dans la vidéo ci-dessous, découvrez comment Paris inspire Vincent au quotidien !
The other editions

[EN] The Tourist Office publishes a large amount of documents for tourists and tourism professionals. The illustration work of Vincent Mahé is also spread on these documents.

[FR] L'Office du Tourisme publie une quantité importante de documents destinés aux touristes, mais aussi aux professionnels du tourisme. Évidemment le travail d'illustration se prolonge sur ces documents.
[EN] What's Up in Paris is a trend magazine for events and stays in the capital. It presents throughout its 32 pages the latest openings and renovations in terms of hotels, event venues, restaurants and shopping in Paris. We opted for a "dark" cover to foster the image of a city that lives by night.

[FR] What's Up in Paris est le magazine d'inspiration pour l'organisation d'événements ou de séjours dans la capitale. À travers 32 pages, il présente les dernières ouvertures et rénovations en matière d'hôtellerie, de lieux événementiels, restaurants et shopping à Paris. Afin de renforcer l'image d'une capitale qui vit la nuit, nous avions opté pour une couverture noire.
We can't wait for 2018!

[EN] What a treat to discover our graphic charter flourishing with such great work. Thinking that every year, an illustrator will create a new visual history truly enchants us. We look forward to seeing what’s coming in 2018!

[FR] Quel régal de découvrir notre charte graphique mise en scène de cette manière. Imaginer que chaque année, un illustrateur viendra prolonger cette histoire visuelle nous enchante ! Vivement 2018 !