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Does a creative linkup or partnership really give a brand an edge over the competition, or is it just a quick fix to fuel publicity? 
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November/December 2008 V24N6
Betting on the truth of the old saying that fortune favors the brave, an audacious group of second city designers drives for a national first.
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July/August 2008 V24N4
Short of making bad public design illegal, what can we do to ensure that citizens are being communicated with effectively?
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May/June 2008 V24N3
Is our devotion to hierarchies of coolness trapping us into creating an unfeeling, even cruel aesthetic?
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Now, more than ever before, placing emphasis on design can be seen as an investment in a healthy brand and business future. It is design that is the single most tangible interface between anything man-made and the people who use it.
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Creativity has no boundaries, yet in the creative industry we think of ourselves as operating in separate disciplines—design, advertising, promotion, interactive. However,
today, more than ever before, our clients need work that creates a deep lasting impact.
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September/October 2007 V23N5
The International Poster and Graphic Arts Festival of Chaumont showcases
a contemporary poster competition, a sample of cutting-edge French graphics, a retrospective on the use of photography
in poster design, and more. Aaris Sherin reviews three of the festival’s venues.
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July/August 2007 V23N4
By exploring alternatives to conventional business models, Archrival is blazing a singular trail.
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May/June 2007 V23N3
Culture A.D. reclaims
African-American aesthetics,
blending them with
mainstream pop references
to create branding that is
a multicultural mash-up.
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We crave the new, but want to be able to cut through the clutter and simplify our lives. Design, of course, plays a massive role in doing both these things. But when it comes to innovation, creation of the “really new” is rare.
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March/April 2007 V23N2
All designers recognize the importance of the imagery used in their work.
Whether it is stock or specially commissioned original photography,
the image chosen to convey an idea is critical.
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January/February 2007 V23N1
VSA Partners’ Jamie Koval reveals how Chicago’s creative powerhouse combines audience intelligence with “instinct for the right aesthetic.”
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January/February 2007 V23N1
128 years in the making, Hatch show print evolves relentlessly.
leading light Jim Sherraden explains here why the computer
is the best thing that’s happened to Hatch … so far.
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January/February 2007 V23N1
Communicating with the fastest-growing segment of the American populace demands increasingly sophisticated and innovative approaches geared specifically for Hispanics.
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Nov/Dec 2006 V22N6
Graphic wit used to be design’s most powerful heat-seeking missile. So where
are today’s weapons of laugh destruction?
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Nov/Dec 2006 V22N6
More and more international inc.’s are taking a fresh, witty approach to brand
communications. What’s up with that?
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Nov/Dec 2006 V22N6
While every design firm uses wit sometimes, Brandever in Vancouver, B.C., has built its entire practice on creating distinctive brands through wit.
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Nov/Dec 2006 V22N6
Weiner’s top funny spots of the year are shown throughout, along with colorful commentary.
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Nov/Dec 2006 V22N6
Believe it or not: Few people know of Marks’ remarkable secret talent—he can say
“Hello Kitty” in 25 different languages. “OK, maybe five. And it’s simply ‘hello.’”
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What can brands learn from the natural world to be more empathetic to our needs? Could design help brands marry the best of nature and technology to create successful future brand innovations?
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Sept/Oct 2006 V22N5
Transistor Studios isn't just cool, it's a serious design business succeeding in a freewheeling and lucrative market space.
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Rather than letting fear control us, we need to look at how—by taking risks and embracing fear—we can develop our creativity and through design help brands successfully move into the future.
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Brands need to use honest communication to show real integrity and meaning. But does integrity and meaning also ‘say’ desirability?
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May/June 2006 V22N3
The founders of Lava Graphic Design offer clients a new concept in collaboration.
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May/June 2006 V22N3
A living legend teams with Nissan Design America to blaze a new [old] trail.
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In this ever-changing uptime-downtime environment, brands needs to consider the implications of the merging of work and play not just in terms of the design of their product offerings, but also the entirety of their overall brand message.
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Traditional forms of communication are breaking down as consumers continue to shy away from mass marketing and homogenous targeting. It's time to find new, more innovative and integrated ways to honestly and personally connect with the consumer as an individual.
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Why cross-generational marketing may be the next big thing.
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How the growth of tribes and communities is governing the new order of marketing.
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September/October 2005 V21N5
New York City’s SpotCo breathed new life into Broadway advertising
in 1996, with a raw, contemporary photomontage for
the breakthrough musical Rent. Nearly a decade later, the agency
continues to set the standard for theater graphics.
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September/October 2005 V21N5
In the close quarters of the apartment Clay Weiner shares with his girlfriend,
fashion designer Rachel Comey, on the eastern edge of Little Italy,
an acquaintance is made.
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July/August 2005 V21N4
Brand Integration Group’s Brian Collins has a startling new message for designers: to really be an artist, work the hugest possible canvas.
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May/June 2005 V21N3
The advertising industry has undergone one of the most dramatic sea changes in decades, which can be summed up in an admittedly undernuanced but more or less accurate statement: Advertising doesn’t work.
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