The winners showcase

Congratulations to the
2019 top talents

Identité visuelle de l'Office du Tourisme de Paris

View details
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.
Read More
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 !



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

View details
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.
Read More
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.

#TeamTexasHHS: Public Service Recognition Week 2019

View details
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.
Read More
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.

Baseball Americana Promotional Teaser

View details
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
Read More
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

West coast Tasmania

View details
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.
Read More
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

Yellow House Brand Identity

View details
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.
Read More
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.

"100 Plates" Interactive Exhibit

View details
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.
Read More
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.

Data Visualization & Infographic for UNICEF Reports

View details
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.
Read More
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 


Behind the peaceful transition of power

View details
Visual Communications - Photography

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

Read More
Visual Communications - Photography

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

Marianique Santos

Congratulations to the 2017/2018 top talents

Sinking of the US Cargo Vessel El Faro -- Illustrated Digest

View details
Visual Communications - Print Communication, Graphic Design and Illustration

Sinking of the US Cargo Vessel El Faro -- Illustrated Digest National Transportation Safety Board

This 16-page illustrated digest summarizes the critical events and decisions that led to the Oct. 1, 2015, sinking of El Faro and the loss of all 33 crewmembers. The digest also synopsizes the more than 60 recommendations issued throughout the NTSB’s investigation of the sinking. The infographics and summary make for an easy-to-read digest, compared with the thousands of pages that comprise the NTSB’s final report and associated investigative documents, while still imparting potentially lifesaving information to our stakeholders.
Read More
Visual Communications - Print Communication, Graphic Design and Illustration

Sinking of the US Cargo Vessel El Faro -- Illustrated Digest National Transportation Safety Board

Jesus Cudemus
Sinking of the US Cargo Vessel El Faro -- Illustrated Digest
This 16-page illustrated digest summarizes the critical events and decisions that led to the Oct. 1, 2015, sinking of El Faro and the loss of all 33 crewmembers. The digest also synopsizes the more than 60 recommendations issued throughout the NTSB’s investigation of the sinking. The infographics and summary make for an easy-to-read digest, compared with the thousands of pages that comprise the NTSB’s final report and associated investigative documents, while still imparting potentially lifesaving information to our stakeholders. 

While the full accident report (available at https://ntsb.gov/investigations/AccidentReports/Reports/MAR1701.pdf) remains the agency’s definitive document on our investigation of the sinking, this digest provides an overview of this landmark marine accident, and a review of what government and industry can do to prevent such an accident from happening again.

City of Denver Website (denvergov.org)

View details
Interactive Design - Web Design

City of Denver Website (denvergov.org) City and County of Denver

In 2015, the City and County of Denver's official website, www.denvergov.org, was moved to a new content management system (Adobe Experience Manager). The website underwent a complete cleanup and restructure of its more than 12,000 pages. The new service-focused website provides a blend of online city services and official government communications to all those who work, play, and live in Denver.
Read More
Interactive Design - Web Design

City of Denver Website (denvergov.org) City and County of Denver

Karen Pellegrin
City and County of Denver - Denvergov.org Website
In 2015, the City and County of Denver's official website, www.denvergov.org, was moved to a new content management system (Adobe Experience Manager). The website underwent a complete cleanup and restructure of its more than 12,000 pages. The new service-focused website provides a blend of online city services and official government communications to all those who work, play, and live in Denver.

The flexibility of its responsive templates and various components allow for flexibility of layouts and page design while still maintaining a consistent look and feel among a wide range of services and information. 

Along with the flexibility of the content management system, over 100 web content authors across 55+ agencies, have been empowered to create richer visual experiences for their web content utilizing the Adobe Creative Cloud and Adobe Spark. In addition, the Denver Marketing and Media Services department provides clear guidelines, policies and standards to ensure quality assurance and consistency across all channels. These guidelines and policies can be found online
The Process - An Agile, Service-Oriented Online Experience
After requirements gathering, data-driven analysis, and a series of design sessions, in 2015, the entire website underwent a complete cleanup, and architectural restructuring of its 12,000-plus pages. Content was chosen by focusing on the data (what sites were customers going to) and a desire to provide easy-to-access online services. Through this process, Denvergov.org was reduced to just over 4,000 pages. 

Denver has developed web standards and practices for our agency-level web authors and application developers to maintain a consistent look and feel, as well as requirements that meet Americans with Disabilities Act (ADA) digital accessibility criteria. 

Recent functionality that has gone live on the site includes:

- Launched its first guide, a planned series of resource-based, user-friendly portals to help residents navigate commonly requested information (http://www.denvergov.org/housing). 

- Deployed a citywide queuing system that allows customers to check wait times and schedule appointments online.

- Created a snow plan page for real time updates, as well as tertiary information on current snow conditions and response measures.

- Made the annual State of the City presentation easier to digest via live streaming and creating custom infographics of high level details.

- Launched an online-only short-term rental registration system, the first of its kind in the world, and continued to put the 200-plus permits and licenses available to our customers online through our online e-permits system – allowing our customers to conduct business with the city online.
The Result? Higher Usage of Online Services and Less Calls
Since its redesign, the City and County of Denver’s website has increased visitors by over 3% and taken home numerous awards, including the Center for Digital Government’s 2017 Government Experience and 2015 Best of the Web awards.

Today, there are 400-plus services that can be completed through the website, and it remains our number one marketing tool – garnering one million visits per month and three million page views per month. Denvergov.org’s service-based, mobile-friendly design drives clicks rather than calls to our 311 call center and makes it easier for residents to find the information they need quickly and effectively.

MICRO/MACRO Art Exhibition

View details
Multi-Channel Campaigns - Museum or Park Exhibit

MICRO/MACRO Art Exhibition National Institute of Standards and Technology (NIST)

Art exhibit and related materials presenting scientific images captured through a microscope, enlarged and printed on acrylic sheets. Related materials include promotional postcard, promotional web graphic, and exhibition introduction sheet. The exhibit, hosted by the Johns Hopkins University (Montgomery County campus), served as both art exhibit and outreach effort to increase public awareness of NIST and its research. Article describing my process and inspiration for the exhibition.
Read More
Multi-Channel Campaigns - Museum or Park Exhibit

MICRO/MACRO Art Exhibition National Institute of Standards and Technology (NIST)

Kelly Irvine
Art exhibit and related materials presenting scientific images captured through a microscope, enlarged and printed on rigid acrylic sheets. Related materials include promotional postcard, web graphic, and exhibition information sheet. The exhibit, hosted by the Johns Hopkins University Montgomery County campus, served as both art exhibit and outreach effort to increase public awareness of NIST and its research.
Art exhibit and related materials presenting scientific images captured through a microscope, enlarged and printed on rigid acrylic sheets. Related materials include promotional postcard, web graphic, and exhibition information sheet.

The exhibit, hosted by the Johns Hopkins University Montgomery County campus, served as both art exhibit and outreach effort to increase public awareness of NIST and its research.

I'm thrilled to have received the 2018 Adobe Government Creativity Award for Museum or Park exhibit for this project.

Read more about my process and inspiration for the exhibition: http://mcc.jhu.edu/news/the-art-of-science-on-display-at-nist-exhibit-at-jhu

Above: social media graphic, exhibition postcard, and information sheet I designed for the MICRO/MACRO exhibit
Below: the entire, curated collection of images used in the exhibit

Growing Up NYC

View details
Multi-Channel Campaigns - Citizen-facing Campaign

Growing Up NYC Mayor's Office for Economic Opportunity

Growing Up NYC (nyc.gov/growingupnyc) is a first of its kind mobile-first resource that connects families to City and community benefits and resources. Launched in 2016, the site is part of a three-component initiative from the NYC Children's Cabinet and also includes a policy framework and printed resource guide. Through Growing Up NYC, we partner with numerous government agencies and community organizations to get their resources, which are not easily accessible and might have gone unused, into the hands of City residents.
Read More
Multi-Channel Campaigns - Citizen-facing Campaign

Growing Up NYC Mayor's Office for Economic Opportunity

Mari Nakano
Growing Up NYC (nyc.gov/growingupnyc) is a first of its kind mobile-first resource that connects families to City and community benefits and resources. Launched in 2016, the site is part of a three-component initiative from the NYC Children's Cabinet and also includes a policy framework and printed resource guide. Through Growing Up NYC, we partner with numerous government agencies and community organizations to get their resources, which are not easily accessible and might have gone unused, into the hands of City residents.
Websites
With an inviting interface and content written in plain language, Growing Up NYC allows families to:

• Engage with age guides to learn how their children should be developing at each stage,  
  recognize and act on warning signs, and get tips to make parenting easier;

• Learn about  70 plus City, State, and Federally-funded programs and services that are 
  available to help them care of their family;

• Discover free events and activities they can take their families to in their neighborhoods

• Receive updates and announcements via an e-newsletter, personalized based on zip 
  code and child’s age.

Parents and caregivers now have a one-stop, comprehensive resource to help them get the most from their City government.
Growing Up NYC was built entirely in collaboration with residents. It is a leading example of government employing user-centered, iterative design to create a digital product. The product stems from conversations with families around the city, in shelters, during story times at libraries, and elsewhere. Hundreds of parents spoke about what’s important for them, what resources are most helpful, and how they want to receive them. We also worked with benefits administrators and service providers to learn how Growing Up NYC could help connect communities to their resources. ​​​​​​​
Our partners at Blue State Digital provided design and website development services. Adobe Illustrator and Photoshop were used for layout, color palette, screen mockups and asset creation.
Following the success of Growing Up NYC, we built a companion website for teens and young adults, who as they became more independent would themselves benefit from more accessible information. More than 100 young people representing a cross-section of New Yorkers, including LGBTQI youth, co-designed Generation NYC (www.nyc.gov/generationnyc).
We worked with our City and community partners to see what resources are available to address the needs identified through our research, and we developed and designed prototypes to test with youth. The new content includes  topics (health, college access, budgeting, etc), inspiring youth profiles, and information about free trips in NYC. Generation NYC has its own look and feel that resonates more with teens and young adults.
Our partners at Blue State Digital provided design and website development services. Adobe Illustrator and Photoshop were used for layout, color palette, screen mockups and asset creation.
Printed Materials
The Mayor’s Office worked with Bandujo Advertising + Design to create the branding for the Growing Up NYC and Generation NYC campaigns, design of the policy framework, and printed resource guide using Adobe Illustrator and InDesign.
The NYC Opportunity team continues use the brand guidelines to create e-newsletters, print materials, swag (such as t-shirts and totes), social media digital assets, icons, and new website features. Some of these new features include the Growing Up NYC Summer Guide (on.nyc.gov/summer ), a resource for low-income parents to find free and low-cost summer programs, events, and camps across New York City.
Digital Marketing
The Mayor’s Office uses a suite of digital marketing tools including paid and organic social media and emails to reach new and returning audiences. We are currently partnering with City agencies to help identify and  promote the websites to the New Yorkers most in need of these services.
In-Person Events
The Mayor’s Office hosted parents and caregivers at City Hall to launch Growing Up NYC in the fall of 2016. Teens and young adults joined in at the Brooklyn Academy of Music (BAM) for the launch of Generation NYC in the winter of 2018. The NYC Opportunity team attends resource fairs and conducts demos of the websites across City agencies and nonprofits.
Both Growing Up NYC and Generation NYC are being quickly adopted by non-profits, schools, local libraries, and City agencies as a resource to spread to their constituency.

NASA JPL Spacecraft Cost Estimation Tool

View details
Visual Communications - Data Visualization

NASA JPL Spacecraft Cost Estimation Tool NASA Jet Propulsion Laboratory

The Spacecraft Cost Tool is an application that spacecraft designers will use to estimate the cost of their spacecraft. The tool will help expedite and provide accurate cost estimates in the pursuit of mission concepts and mission studies. I was tasked with synthesizing user research into an interactive prototype that demonstrated an understanding of the use case, and reworking the visual design to meet Material Design Guidelines. I worked with users to iterate and validate my designs.
Read More
Visual Communications - Data Visualization

NASA JPL Spacecraft Cost Estimation Tool NASA Jet Propulsion Laboratory

Jamie Chin
The Spacecraft Cost Tool is an application that spacecraft designers will use to estimate the cost of their spacecraft. The tool will help expedite and provide accurate cost estimates in the pursuit of mission concepts and mission studies. I was tasked with synthesizing user research into an interactive prototype that demonstrated an understanding of the use case, and reworking the visual design to meet Material Design Guidelines. I worked with users to iterate and validate my designs.
NASA JPL Spacecraft Cost Estimation Tool
— 
Full writeup viewable at https://www.jamiechin.me/#/nasa-jpl-cost-estimation-tool/

ROLE
UI/UX design, information architecture, wireframing, high fidelity mockups, interactive prototype

CHALLENGE
Create an interactive prototype for a spacecraft cost visualization tool.

PROJECT
The Spacecraft Cost Tool is an application that spacecraft designers will use to estimate the cost of their spacecraft. The tool will help expedite and provide accurate cost estimates in the pursuit of mission concepts and mission studies.

ROLE
I was tasked with synthesizing user research into an interactive prototype that demonstrated an understanding of the use case, and reworking the visual design to meet Material Design Guidelines. I worked with users to iterate and validate my designs.



PROCESS OVERVIEW


RESEARCH AND CUSTOMER JOURNEY

Through multiple user meetings and design reviews, I was able to ask questions, review requirements, use cases, and discuss prototypes. Through this process, I became clear with the full scenario flow and various use cases.
For our customer journey map, our goal was to be able to quickly and efficiently identify costs compared to another variable, such as mass, be able to see that data visualized in various views, and compared or contrasted with other variables.


DESIGN OBJECTIVES

After becoming clear with the task flows and the customer journey map, we were able to pinpoint specific questions that would inform our design strategy and guide our design intentions:

- What potential design solutions can we utilize that solve our query needs: the problem of limiting the amount of interactions it takes to get to the query and what loading pre-defined queries looks like?

- Reassess and rethink navigation decisions - what value does something provide the user?

- What are the hidden/unknown visualization needs, and how can we elegantly integrate that into the real estate?


SKETCHING INTERFACES

These sketches drove the ideas for our 1st and 2nd design iterations. I was able to explore various layouts and explain the benefits of each one.
MOCKUPS


1ST ITERATION OF UI
First three ideas of visualizing the dashboard and utilizing the real estate. We ended up going with the first idea that solves the problem of spacing and minimizing the amount of clicks it takes to get to the query.


2ND ITERATION OF UI
Here our goal is to rethink the interface. The second round of design ideas is in response to new problems such as designing for a growing list of query and filter results and the interaction of the user with the data. Here are design solutions I quickly mocked up to represent our 3 ideas.


3RD ITERATION OF UI
In the limited production release, we want to place an emphasis on functionality and interaction with a focus on user needs. We focused on honing down our visualization needs including attributes, evidence of deselection across all views, adjustable sidebar views, and export options. 

The initial ideas of a light palette reverted to using a dark palette for more visual offset between the sidebar elements and the data.


LOADING PREDEFINED QUERIES:
Full walkthrough with descriptions of the user flow on website:
https://www.jamiechin.me/#/nasa-jpl-cost-estimation-tool/


Simultaneous display of data through various graphs + Exporting data


Deleting a data point:


Addressing user requests of integrating attributes such as color selections, various export options, multi-graph views, + resizing to full screen: 


User request for pulling the navigation bar to side, utilizing full screen views for the data:


—VISUAL DESIGN
Designing with intent also includes an intuitive and pleasant interface for users to interact with. There is more than meets the eye in visual design. It is beyond the rearrangement of type and color; it includes the understanding of the intention behind the selected color palette, why each piece of your design works or doesn't work, and finding a solution to represent all the interactions identified. For example, the dark palette was chosen as a solution to provide visual offset between the query and filter group elements (sidebar) and the data. 

Effective design communication within a team is just as important as the product - here's the UI style guide I created for the developers to utilize.
—INTERACTIVE PROTOTYPE
View the limited production release interactive prototype here.
—TAKEAWAYS
- Design is a learning and iterative process. While interrogating the user, I always learn something new not only about them, but also about myself and my design choices. 

- Having said that, there is always something new you can uncover. Initially, I felt that the meetings seemed to go in circles and there was not a clear path - many things were still unsaid and left up for assumption. However, I learned that this iterative process enables us to uncover new questions and hidden problems overlooked before. 

-The visual design may be similar to what we started with in the beginning, but what is different and makes the impact is how the design has become finessed and refined to the user. 

-There is an importance in working with developers so we do not have to "reinvent the wheel" and design anything in libraries already. 

-Designing to help improve the lives of other individuals is the most fun and rewarding process in the world to me.

Exhibition »Rebuild Palmyra?«

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

Exhibition »Rebuild Palmyra?« Cooperation between: HTWG University of Applied Sciences / University of Konstanz / »Office for Schools, Education and Science« of the city of Konstanz

Palmyra. Probably the most beautiful ancient setting of Syria, becomes the sad example of a threatened World Heritage Site. In recent years, the terrorists of the Daesh destroyed the formerly magnificent ruins. How do we deal with the destruction of cultural heritage? And how can we experience history when the original is no longer there? These were the questions asked by the exhibition »Rebuild Palmyra?«. The exhibition was developed in cooperation with the »Office for Schools, Education and Science« of the city of Konstanz.
Read More
Interactive Design - Mobile App/Application Design/Interactive Exhibition/Kiosk Design

Exhibition »Rebuild Palmyra?« Cooperation between: HTWG University of Applied Sciences / University of Konstanz / »Office for Schools, Education and Science« of the city of Konstanz

Simon Neßler
Exhibition »Rebuild Palmyra?«
Palmyra. Probably the most beautiful ancient setting of Syria, becomes the sad example of a threatened World Heritage Site. In recent years, the terrorists of the Daesh destroyed the formerly magnificent ruins. How do we deal with the destruction of cultural heritage? And how can we experience history when the original is no longer there? These were the questions asked by the exhibition »Rebuild Palmyra?«. The exhibition was developed in cooperation with the »Office for Schools, Education and Science« of the city of Konstanz.

Idea: In a staged space, perspectives, colours, spatial graphics, digital surfaces and materials form a unit; in their overall effects, staged spaces become impressive information and experience worlds. The exhibition »Rebuild Palmyra?« was intended to make the history of the city, including its destruction, interactively experienceable in a new and dissociated way. The complex topic becomes tangible in the third dimension due to the exhibition’s expansive approach.
http://www.kaemena360.com/360/Uni-Konstanz/Bildungsturm-Palmyra

Solution: As soon as you are confronted with the destruction of cultural heritage, most of us often sense a helpless weight. A gravity that is promoted by the fact that we cannot formulate a response to such a complex question. The exhibition "Rebuild Palmyra?" was conceived as a tool to help the ignorant visitor develop a decision-making and assessment competence.

Exhibition rooms: In the first exhibition room, visitors find themselves in a leafy forest of newspaper articles and get an impression of what has been reported in recent years in the international media about the destruction of Palmyra.
In the second room, visitors will learn more about the history of Palmyra. On a timeline they can see how the oasis city is growing from the traditional nomad meeting place to the trading capital of antiquity. At listening stations residents of Palmyra tell of their lives. Tablets allow visitors to access in-depth background knowledge. An interactive wall shows clearly how luxury goods were traded globally.
At a media table, visitors can interactively accompany the urban development of Palmyra through the ages; they decide for themselves how fast they move through the epochs.
In the third room, the buildings blasted by the Daesh are staged as a 3D print over a room-filling satellite image. AR offers visitors the opportunity to reconstruct the buildings three-dimensionally, either back to the state before they were destroyed by the Daesh, or to the original state of the ancient splendor buildings. Binoculars with 360-degree panoramas offer the possibility of a virtual ascent of Palmyra.
In the fourth room visitors are asked to take a stand themselves. Should Palmyra be rebuilt and if so, in what condition? Visitors will be shown various possibilities of reconstruction. Comments from various experts provide help in finding solutions.

Civic Service Design Studio + Toolkit

View details
Multi-Channel Campaigns - Employee-facing Campaign

Civic Service Design Studio + Toolkit Mayor's Office for Economic Opportunity

The Service Design Studio in the Mayor's Office for Economic Opportunity is the first-ever service design team within a municipal government dedicated to improving the lives of low-income residents in the United States. A core offering of the Studio is the Civic Service Design Tools + Tactics book, toolkit and website. These resources provide specific, tangible human-centered design methods tailored to complement and support the expertise of the people who develop and deliver government programs.
Read More
Multi-Channel Campaigns - Employee-facing Campaign

Civic Service Design Studio + Toolkit Mayor's Office for Economic Opportunity

Mari Nakano
The Service Design Studio in the Mayor's Office for Economic Opportunity is the first-ever service design team within a municipal government dedicated to improving the lives of low-income residents in the United States. A core offering of the Studio is the Civic Service Design Tools + Tactics book, toolkit and website. These resources provide specific, tangible human-centered design methods tailored to complement and support the expertise of the people who develop and deliver government programs.
The Service Design Studio at the New York City Mayor’s Office for Economic Opportunity (NYC Opportunity) launched in October 2017, with support from founding partner Citi Community Development. The Studio is an internal design consultancy available to New York City government agencies and is comprised of designers  versed in design tools, experienced in developing in-person and digital services, and focused on addressing poverty-related challenges.
The Studio is the first-ever service design team within a  municipal government dedicated to improving the lives of low-income residents in the United States.  A core offering of the Studio is the Civic Service Design Tools + Tactics book, toolkit and website. These resources provide specific, tangible human-centered design methods tailored to complement and support the expertise of the people who develop and deliver government programs. The Studio led a design research process to inform the toolkit development through interviewing public servants who had been exposed to different levels of design, government innovation teams,  and professional designers who focus on social impact.

The main website connects to a Medium publication to allow  more flexible and shareable content development. The Civic Service Design publication ( www.civicservicedesign.com) has individual pages for each tactic, allowing a more modular experience than the booklet or binder provides. Here, users can download worksheets and other resources related to the specific design method they are looking to incorporate in their work, and see the latest work and news from the Studio.
As service design methods are a relatively new addition to the municipal landscape, it was critical that we create an energetic brand to draw in potential partners and clients. We distribute the book and toolkit in many different ways, but our most popular is via Office Hours, where city agencies and offices sign up to spend an hour with our designers discussing a particular issue that collaborative communication or co-designing with constituents might solve. To date we’ve held Office Hours with over 180 employees at 28 different agencies.
We worked with the design firm Partner & Partners to develop the initial color palette, typography, logo mark and website for the Studio. The internal Studio team took these brand guidelines to create the Tools + Tactics book and toolkit resources. Adobe Illustrator, InDesign and Photoshop were utilized to create flexible designs for the various assets. The team has continued to expand and improve upon the brand portfolio since the initial inception, including the development of multiple presentation decks, social media assets, and new print materials.  
In addition to a strong web presence, a core part of our visual identity is a suite of posters and postcards that communicate the Studio’s principles. These assets are designed for government employees to hang in their cubicles to continue to spread the word about the Studio across the 70 agencies and offices that govern New York City.
The Studio partners with agencies to deliver projects informed by a service design approach. Designing for Opportunity pairs the Studio’s designers with New York City government agencies and offices for 6-12 months to work together on addressing challenges faced by low-to-moderate income New Yorkers. In January of 2018, the Studio ran an “open call for partnerships” to ask City agencies and offices to propose projects to work together on. The Studio created a campaign to promote the open call including a website, information packet, application form, and presentation decks. The Studio received 15 “Designing for Opportunity” proposals from nine agencies and offices. Primary themes in the proposals included access to services, youth services, housing, health, and education.

Saint-Étienne Opera House 2017-18 season

View details
Visual Communications - Photography

Saint-Étienne Opera House 2017-18 season Graphéine

In 2015, we designed the visual identity of the Saint-Étienne Opera House. A typographic logo describing both the building (with its pagoda-shaped accent) and the mission of this opera (welcome and entertain all publics). As the seasons went by, the challenge was to continue and renew this story. For the first edition, we highlighted the agents, then the orchestra the following year. In 2017, we decided to mix agents, musicians and publics!
Read More
Visual Communications - Photography

Saint-Étienne Opera House 2017-18 season Graphéine

Graphéine
Saint-Étienne Opera House - 2017-18 season EN In 2015, we designed the visual identity of the Saint-Étienne Opera House. A typographic logo describing both the building (with its pagoda-shaped accent) and the mission of this opera (welcome and entertain all publics). As the seasons went by, the challenge was to continue and renew this story. For the first edition, we highlighted the agents, then the orchestra the following year. In 2017, we decided to mix agents, musicians and publics! FR En 2015, nous concevions l'identité visuelle de l'opéra. Un logo typographique décrivant autant le bâtiment (avec son accent en forme de pagode) que la mission de cet opéra (accueillir et divertir tous les publics). Au fur et à mesure des saisons, le challenge était de poursuivre et renouveler cette histoire. Pour la première édition, nous mettions en avant les agents, puis l'orchestre l'année suivante. En 2017, nous avions décidé de mélanger les agents, les musiciens et les publics ! EN Shared emo
Saint-Étienne Opera House
2017-18 season

In 2015, we designed the visual identity of the Saint-Étienne Opera House. A typographic logo describing both the building (with its pagoda-shaped accent) and the mission of this opera (welcome and entertain all publics). As the seasons went by, the challenge was to continue and renew this story. For the first edition, we highlighted the agents, then the orchestra the following year. In 2017, we decided to mix agents, musicians and publics!


En 2015, nous concevions l'identité visuelle de l'opéra de Saint-Étienne. Un logo typographique décrivant autant le bâtiment (avec son accent en forme de pagode) que la mission de cet opéra (accueillir et divertir tous les publics). Au fur et à mesure des saisons, le challenge était de poursuivre et renouveler cette histoire. Pour la première édition, nous mettions en avant les agents, puis l'orchestre l'année suivante. En 2017, nous avions décidé de mélanger les agents, les musiciens et les publics !
Shared emotions
One of the main challenges for this season was to highlight the diversity? of works, women and men, and crafts that make up an opera.

- The public, the building and the halls...
- Agents, workshops, backstage...
- Artists, productions and concerts...

As in previous seasons, we imagined a series of 8 visuals of covers. Each cover is followed by the next to form a farandole. Smiles seem to pass from hand to hand. A spirit of strong generosity emerges from the whole. Give your neighbor a smile!


Émotions partagées
L'un des enjeux principaux pour cette saison était de mettre en avant la diversité des œuvres, des femmes et des hommes, et des métiers qui constituent un opéra.

- Les publics, le bâtiment et les salles...
- Les agents, les ateliers, les coulisses...
- Les artistes, les productions et les concerts...

Comme dans les saisons précédentes, nous avons imaginé une série de 8 visuels de couvertures. Chaque couverture s'enchaine avec la suivante pour constituer une farandole. Les sourires semblent passer de main en main. Un esprit de forte générosité se dégage de l'ensemble. Passe le sourire à ton voisin !
The brochure
Chapters are separated by shorter series of pages that act as tabs to make the document easier to read.


La brochure
Les chapitres sont séparés par des séries de pages plus courtes faisant office d'onglets qui facilitent la lecture du document.
Photography
All different, all complementary, all in solidarity, here are the ideas behind this series of photos. As in previous years, we organized a shooting day with more than 50 extras to give their smiles, all under the watchful eye of Ghislain Mirat behind the lens.


Photographies
Tous différents, tous complémentaires, tous solidaires, voici les idées sous-jacentes de cette série de photos. Comme les années précédentes, nous avons organisé une journée de shooting avec plus de 50 figurants pour donner leurs sourires, le tout sous l'œil averti de Ghislain Mirat derrière l'objectif.
Shows posters
The visual universe of the season is applied for the shows communications.
Here again, a set of hands enters the stage, and characterizes the work through a symbolic accessory.


Affiches des spectacles
L'univers visuel de la saison se décline pour chacun des spectacles.
On retrouve ce jeu de mains qui entrent en scène, et qui viennent caractériser l'œuvre dont il est question à travers un accessoire symbolique.

Young program leaflet and tickets envelope

Dépliant jeune public et pochette à billets
Credits
Creative directionirection créative : Mathias Rabiot
Art direction: Adrienn Nagy
Photography: Ghislain Mirat
Layout design: Jonas Barry
Project management: Céline Boursin

More info on the project:

Wheels in Motion: A Winthrop Experience

View details
Visual Communications - Motion & Video

Wheels in Motion: A Winthrop Experience Winthrop University

Branded documentary about a public art project that came about as a result of a Winthrop University professor's efforts to give art students a real-world, paying experience. Filmed over the course of more than a year, this branded documentary offers a look at a public art project that came about as a result of a Winthrop University professor's efforts to give art students a real-world, working experience that challenged them, made a tangible impact on the world, and got them paid.
Read More
Visual Communications - Motion & Video

Wheels in Motion: A Winthrop Experience Winthrop University

Shawn Cetrone
Branded documentary about a public art project that came about as a result of a Winthrop University professor's efforts to give art students a real-world, paying experience. 
Wheels In Motion: A Winthrop Experience
Filmed over the course of more than a year, this branded documentary offers a look at a public art project that came about as a result of a Winthrop University professor's efforts to give art students a real-world, working experience that challenged them, made a tangible impact on the world, and got them paid. 

The professor, Shaun Cassidy, says he’s "not interested in perpetuating the model of a starving artist working in a garage." He teaches students that "they have creative capacities, and that creative capacity is valuable." 

Winthrop has received a wealth of positive response to the video, including interest from potential partners in future projects, art students seeking similar experiences, and potential donors looking to get involved.

I conceived of the project, and I wrote, directed, filmed, edited, color graded, motion designed, sound designed, mixed and mastered the video.
Background

The chairman of Winthrop's fine art department wanted a short video to promote a public art project that students were working on with the city of Rock Hill, SC. 

I saw it as an opportunity to showcase what sets Winthrop apart: Small classes with high quality professors who craft unique learning opportunities and experiences that change students' lives. 

But rather than conveying that through marketing jargon, I intended to let those involved in the project explain it in unscripted interviews. 

I proposed expanding the video concept to make it a longer term documentary short film that honestly showcased the project as an example of the real-world educational opportunities that Winthrop students receive. 

I spent more than a year working on the project, filming the artists working over months, as well as the professor working, interviews, the artwork unveiling event, and footage of campus. 

Results

The video succeeded in meeting Winthrop's objectives of showcasing student experiences that differentiate the public university from others in the region. 

Feedback has been overwhelmingly positive. In addition to screenings for potential students at events across the country, viewership and engagement online continues to grow. 

 

Congratulations to the 2016/2017 top talents

NASA Science Investigations: Plant Growth

View details
Most Engaging Citizen-Facing Creativity

NASA Science Investigations: Plant Growth NASA Johnson Space Center

Conveying Space Station Research can be very difficult. Previously, the Johnson Space Center had used web pages with overwhelming text descriptions, videos, images and other means to demonstrate their important work. Using Photoshop and Illustrator for imagery along with 3-dimensional computer software, the NASA team created an educational game to take the public through an “experience” to show how to plants grow in space.
Read More
Most Engaging Citizen-Facing Creativity

NASA Science Investigations: Plant Growth NASA Johnson Space Center

IGOAL NASA JSC
Welcome to NASA's International Space Station! As the newest member of the ISS crew, it’s your task to familiarize yourself with the station, and help out with the plant growth experiment. Trying to move in zero-g will be different than what you are used to on Earth! Spend some time flying and flipping around the station without gravity to assist you. Once you’ve become comfortable moving in zero-g, find astronaut Naomi and assist her in cutting-edge research: how micro-gravity effects plant growth in space. What kind of light do they need? How do you water plants without gravity? Why is growing food important in space? Collect mission patches for completing tasks and for making discoveries. Can you grow enough plants to create a salad for the astronauts to eat? Launch time! The app also contains information on plant growth experiments, for use in the classroom and at home.
NASA Science Investigations:  Plant Growth
Welcome to NASA's International Space Station! As the newest member of the ISS crew, it’s your task to familiarize yourself with the station, and help out with the plant growth experiment. 
Trying to move in zero-g will be different than what you are used to on Earth! Spend some time flying and flipping around the station without gravity to assist you.
Once you’ve become comfortable moving in zero-g, find astronaut Naomi and assist her in cutting-edge research: how micro-gravity effects plant growth in space. What kind of light do they need? How do you water plants without gravity? Why is growing food important in space?
Collect mission patches for completing tasks and for making discoveries. Can you grow enough plants to create a salad for the astronauts to eat?  Launch time!
The app also contains information on plant growth experiments, for use in the classroom and at home.

Available on Google Play and iTunes


City Springs Website

View details
Best Responsive Web Design

City Springs Website City of Sandy Springs

The City of Sandy Springs Design Team was asked to create a website for the city’s downtown development project – City Springs ­– to share up-to-date information about the project, including what people should expect and details around how the project fits within the city’s larger City Center Master Plan. The city saw a substantial increase in citizen engagement in the project and support for the development initiative overall.
Read More
Best Responsive Web Design

City Springs Website City of Sandy Springs

Jason Green
City Springs website - Municipal Downtown Development in Sandy Springs
City Springs Website

The City of Sandy Springs Design Team was asked to create a website for the City's down-town development Project, City Springs.

The Subject Matter
City Springs is a municipal lead development designed to create a "City Center" for Sandy Springs. The development will contain City Offices, a Performing Arts Center, a studio theater, meeting space, retail and residential spaces, a city green and underground community parking.

Purpose of the Website
The website replaces an existing site, sandyspringscitycenter.com, that was used for communicating the creation process of a City Center Master Plan and to gain public input. The role of the new website would be to communicate the following:

1. Information about the City Springs development and what people can expect when it is completed.
2. Construction progress.
3. A history of the project and how it fits within the larger City Center Master Plan.
As City Staff have become familiar with WordPress based sites, we once again selected the open-sourced CMS for this project. Our web developer, Jason Green took a base template and heavily customized it to reflect the City Springs brand.

Typefaces
We selected Oswald for titles and headers paired with Roboto for paragraph copy.
Responsive Challenges
In the full width view, we wanted copy on certain pages to flow seamlessly across multiple columns rather than be grouped in responsive blocks. Jason Green utilized the <article> tag to accomplish this. However this caused individual items in bullet-lists to break across columns. Green used the break-inside property to rectify this.
Project Team

Jason Green
Project Manager, Web Developer, Art Director

Sarah Wilson
Graphic Designer

Marla Shavin
Copy Writer

Greenville Heroes

View details
Honoring the Heroes

Greenville Heroes Tribute to Officer Allen Jacobs City of Greenville, SC

Greenville police officers and firefighters share a rare, behind-the-scenes glimpse into what their profession entails. This well-produced video was produced as part of the Greenville Heroes: Serve & Protect Awards Luncheon.
Read More
Honoring the Heroes

Greenville Heroes Tribute to Officer Allen Jacobs City of Greenville, SC

MJ SIMPSON
Greenville police officers and firefighters share a rare, behind-the-scenes glimpse into what their profession entails. This video was produced as part of the "Greenville Heroes: Serve & Protect Awards Luncheon."

Live Well San Diego 31-Day Challenge

View details
Best Integrated Cross-Channel Campaign

Live Well San Diego County of San Diego

The County of San Diego has a vision called Live Well San Diego to improve the health and wellbeing of its 3.3 million residents. The Live Well San Diego 31-Day Challenge brought the vision to life online through an innovative digital experience that improved citizen engagement with the County and its community partners. The County also campaigned internally across their employee base to help them effectively communicate how their work at the County contributes to the Live Well San Diego vision.
Read More
Best Integrated Cross-Channel Campaign

Live Well San Diego County of San Diego

Lana Findlay
The Live Well San Diego 31-Day Challenge is a daily digital notification via a smartphone or computer to help participants try new things and accomplish simple tasks each day for a month. Each challenge was sent using an email marketing tool or Google calendar notification and connected participants to Partner resources to help them incorporate positive behavior changes into their lives and create positive habits. A bonus challenge also connected participants to another Live Well San Diego signature event called Love Your Heart and helped participants learn more about heart health and grow towards a healthy, safe and more thriving life. Social media channels offered additional resources in conjunction with the day’s challenge. Each numbered challenge on the attached checklist is linked to the email marketing newsletter that offers additional resources to support the participant in completing the challenge. http://www.livewellsd.org/content/livewell/home/live-well-every-day/31-day-challenge.html #CIPS2016_contest_cross-channel