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INTRODUCTION 1 JUDGES 3 AWARDS OF DISTINCTION 7 AWARDS OF MERIT 29 DOMTAR AWARD 60 IIDEXCANADA AWARD 62 ACCESSIBIL-IT AWARD 64 COLOPHON 67 PARTNERS & SPONSORS 74
ABOUT RGD
Through the Association of Registered Graphic Designers (RGD), THE IN-HOUSE DESIGN AWARDS Canadian designers exchange ideas, educate and inspire, set professional Introducing the 2016 In-House Design standards and build a strong, Awards: a celebration of the incredible, supportive community dedicated to advocating for the value of design. inventive, intelligent, integral, inspired RGD was created by government legislation to grant and intimate work by internal agencies qualified designers, design educators and design managers the right to use the designation RGD. that are intrepidly facing the world. The RGD designation offers employers the assurance of hiring an experienced and qualified professional The in-house team has the advantage of who’s committed to the highest ethical standards. developing focused knowledge of the brand RGD members have documented levels of relevant, professional education and experience, along with and its products. What you are seeing here is demonstrated competence in design, strategy, the best of these departments — the most business, accessibility, research and ethics. Representing over 3,400 designers, managers, inventive, the bravest and the most refined. educators and students, RGD advocates on behalf It’s not just the result of nimble minds, bold of the profession, communicating the invaluable contributions of graphic designers to commerce, visions and imagination; rather, it’s the combi- culture and society. RGD programming includes the nation of these traits within a team that informs annual DesignThinkers Conference, the biannual the creation of world-class creative work. Creative Earners National Survey, the So(cial) Good Design Awards, the DesignThinker of the Year Award, an annual Design Educators Conference, Student Awards Program, mentorship programs, and extensive virtual professional development programs and resources for members.
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1 CHALLENGES OF IN-HOUSE DESIGNERS 2016 IN-HOUSE DESIGN AWARDS JUDGES
These small teams are changing.” “Many times the A key source of both pride Judges selected the best work based on principles including colour, composition, typography As part of this year’s being asked to take on a designers are left to put out and concern for in-house and imagery as displayed in various media, as well as promotional design, creativity, strategy, Awards submissions, range of projects. “As a small fires. The client and market- creative teams is their ability and young team with limited ing managers have been in to provide a brand experience we asked entrants to clarity and overall impact of messaging. Each judge was given entries based on his or her sector, resources, we do not have many meetings planning out that maintains consistency, yet comment on the access to a large pool of the strategy for a campaign. is still creative. “Our greatest and scored entries based on the criteria listed above. challenges they face creative talent for large-scale By the time the designers are challenge is pushing the as in-house designers. projects, which can hold us engaged, it becomes a rush boundaries of creativity and back from realizing those scenario.” design while still working Here is a summary projects to their full poten- Lack of respect often within the brand.” “Ensuring of the obstacles they tial.” This same team also translates into a process which global unity of our brand face, communicated works to overcome this chal- is not ideal for good design to and the deployment of brand standards at all levels of brand through the entrants’ lenge. “These circumstances take place. “My role is often push us to become more re- perceived as a ‘free of charge’ exposure is a major challenge, own words. sourceful and to think outside service, which can lead to as is educating internal stake- of the box to accomplish our project requests that are of holders about the value of PATRICE BOUDREAULT strong design, unity, harmony objectives.” questionable impact/value. JON ARKLAY Creative Lead, Marketing and attention to detail.” Overwhelming workloads This misuse of my services can Senior Vice President, and Communication, “Our biggest challenge is The Association of National didn’t stop entrants from impact my capacity to take Bell Media Agency Cirque du Soleil to keep the brand moving Advertisers released a report in pushing to produce the on projects of a much higher As the head of Bell Media Patrice has contributed his ROBIN COLANGELO forward in an industry that 2013 on the growth of clients best quality work. “We are value to the organization, that Agency, Jon Arklay oversees advertising savviness and Global Director of Creative is slow to change. Avoiding building in-house marketing a large company on a busy are better aligned with my the complete marketing, notorious meticulousness to Services, White & Case LLP industry norms when it comes capabilities. Nearly 60% of 2,300-acre site with many skill set and would be a more design, promotion, brand the success of many shows, Robin Colangelo is a strategic, to marketing and design can clients were using in-house communication needs. In efficient use of my time.” strategy and media buying including Joya, Amaluna, results-oriented creative leader be difficult because innova- capabilities in 2013, up from Creative Services, our biggest The lack of appreciation services for Canada’s largest Kurios-Cabinet of curiosities, in developing and executing tion in any aspect of the com- ASHLEIGH AXIOS 42% in 2008. challenge is juggling a large felt by in-house designers media company. Bell Media Zumanity, Luzia, Toruk (in- integrated brand strategies pany requires a leap of faith Creative Director & Digital But the growth of in-house volume of work while main- is further exacerbated when owns 30 local television spired by James Cameron’s across print and digital com- and outside-the-box thinking. Strategist, White House design does not appear to be taining a high standard of compared to the treatment stations, led by CTV, Canada’s Avatar) and Michael Jackson munication channels. She Evolving the brand without Office of Digital Strategy keeping up with the demand. quality.” “Our team is small, of external agencies. “There highest-rated TV network; 31 ONE. Honing his skills as a leads a global in-house cre- relying on safe practices is a For the past four years, Many of our 2016 entrants but mighty. We have earned is a perception that our specialty TV channels; four graphic artist at BBDO on ative team for White & Case, challenge, but it is one that Ashleigh has worked at the echoed that sheer volume a reputation for delivering time is less valuable than an pay TV services; and over 200 major accounts such as Telus where she manages the visual we meet with great determin- White House Office of Digital of work was a key challenge. excellence within the organ- external agency’s. The quality websites; and is also Canada’s and Chrysler Dodge Jeep, identity and oversees a diverse ation and enthusiasm.” Strategy, creating meaningful “One of the biggest challen- ization and are sought out of the briefs, information largest radio broadcaster, with Patrice has since become a team across six offices and RGD salutes the winners of opportunities for engagement ges we face is the amount of to support many areas in the and scope of work tends to 105 licensed radio stations in prolific designer and creative five countries. Robin’s team of our inaugural In-House Design and participation between the work coming in versus the business.” be less formal than it would 54 markets across Canada. director on the Quebec scene. digital and creative profession- Awards and the exceptional Obama administration and amount of time needed to Despite the amount of be with an external vendor.” Jon served on the PromaxBDA als design and produce all work shown here. Given the the public. She is also the complete the work.” work given to them, in-house “Our challenge is proving the board from 2011 to 2013, and touchpoints to support the many obstacles these teams president of the Professional “Our biggest challenge is designers face a lack of ap- in-house team is as capable is on the Advisory Board firm’s strategic goals. From face, it is an even greater Association for Design (AIGA) keeping up with all the work preciation for the relevance of and creative as an agency.” of the Vancouver Film School. branding, marketing collateral, in Washington, D.C., where she with such a small depart- their contributions. “Proving “Sometimes we are treated testament to their ingenuity, web and social media to video helped form DotGovDesign, ment.” the ‘worth’ of design in a as production designers who inventiveness and intelligence. and animation, they tackle it all. Many entrants represented world where people consider work on smaller pieces that an initiative connecting and small teams of one or two themselves their own de- fulfill an immediate insti- empowering government de- designers. “For an in-house signers is hard.” “We have to tutional need while external signers. She has been named design ‘team’ that consists educate team players about agencies are hired one of Graphic Design USA’s RAY CHEAH RGD of one permanent full-time what we do and what we can to develop the more strategic, (GDUSA) People to Watch and Senior Graphic Designer, His areas of expertise include designer, there is a constant do, explain that we are more high-profile pieces.” was honoured by Essence Faculty of Applied Science strategic brand and identity struggle to provide the best than a production house. Our “One of our biggest chal- Magazine as one of the 29 & Engineering, development, and publications quality design among a sea group has deep brand know- lenges is dispelling the most powerful black women University of Toronto and packaging design. Prior of incoming design requests.” ledge and creative insight, myth that external agencies in the Obama administration. Since 2013, Ray has overseen to joining U of T, Ray was Lead but proving our value and produce better solutions to all creative development Graphic Designer at Kobo changing perceptions can be design challenges.” aspects of the Faculty’s visual Inc. and Art Director at DUO challenging, especially when identity and has won num- Strategy & Design Inc. key players are constantly erous awards for his creative, design and strategic work.
2 3 CECILIA MOK SASKIA ROWLEY RGD AFFILIATE MEMBER OF RGD Manager, Graphics and Print MATT COYLE RGD JODY DE HAAS MICHAEL LEJEUNE MICHAEL MACVICAR Design Lead, Sinai Health Production, Anglican Church Creative Director, Design Manager, Creative Director, Head of Creative & Design, System Foundation of Canada Maple Leaf Sports Vancouver Aquarium Metro (Los Angeles County Capital One Canada Sinai Health System Foundation Saskia Rowley manages the & Entertainment Jody brings over 20 years of Metropolitan Transportation Michael MacVicar cut his teeth brings together leading health- Graphics and Print department In 1993, Matt Coyle saw his design expertise from a variety Authority) working in large and small care institutions to support for the Anglican Church of hometown team win the of different fields. She quickly Metro’s 30-person Creative agencies, tackling everything complex health needs, in- Canada, and is Art Director of Stanley Cup, and that exper- rose through the ranks of Services Group creates award- from branding to experiential cluding Mount Sinai Hospital, Anglican Journal, the Anglican ience changed him forever. her first agency, Hine Design, winning core communication design, and large web-press Bridgepoint Active Healthcare, Church’s national newspaper. He is now lucky to be doing starting as a Junior Designer MIKE KRUZENISKI elements for the third-largest jobs to comprehensive digital Lunenfeld-Tanenbaum She recently served as Vice work for the Leafs, the Raptors and finishing as an Art Director, Senior Director of Design, transit agency in the U.S.—in- experiences. Ten years ago, he Research Institute and Circle of BRIAN READY RGD President on the Board of the and the Toronto FC (TFC), and before pursuing another great Twitter cluding advertising, wayfinding took the helm of the in-house Care. As the Senior Designer, Director, Global Brand, Canadian Church Press (CCP), still has yet to wake up from love, motherhood. Finding a Mike is the head of design for and environmental graphics, studio at Capital One and Cecilia Mok provides creative Sun Life Financial and is currently Chair of the the dream. Recognized in a balance between raising her consumer products at Twitter. timetables, maps, fare media hasn’t looked back—growing direction and service to the Brian Ready has been with CCP awards committee, plus number of international design children and working on free- Prior to this, he was a Principal and customer information, bus his team from a handful of greater system, and collaborates Sun Life Financial for 19 years. a member of the Associated competitions, including the lance passion projects, Jody Design Lead for Windows and rail fleet design, web and ‘creatives’ to an agile-minded with senior team members and In this role, he is responsible Church Press and of the Clios, Matt leads an eclectic mix found the time to design some Phone at Microsoft, where mobile presence, and community of five teams colleagues to build engaging for breathing life into the com- Society of News Designers. of art directors, designers and highly successful children’s he led design for the social, merchandising. Prior to this, within the company. Today, storytelling experiences for all pany’s brand through creative She also works part-time as copywriters who create work books, brand a company and communication, productivity Michael was Project Director the in-house team doesn’t stakeholders. Her focus at the direction, brand governance, a web designer and communi- that stands out in an industry produce two amazing teen- and international products at KBDA, an award-winning take the back seat to any Foundation is developing brand evolution of brand standards cations consultant. just as competitive as the agers. She has been a valued on Windows Phone. He was design and branding studio external agency, especially extensions through patient- and brand protection. He also teams they represent. employee of DDB Canada, also a member of the Nokia in West L.A. when it comes to designing centred designs, direct mar- manages a talented team of bringing many award-winning Insight and Innovation design touchpoints that resonate keting, fundraising campaigns, graphic designers that partici- campaigns to life, and now team, where he worked on with customers and deliver a event collateral and brand pates in a variety of high-level uses her powers for good as long-term product vision and cohesive brand experience. architecture. work—supporting an extensive the Design Manager for the strategy. Mike holds a Master’s array of departments under Vancouver Aquarium. Degree in Interaction Design the organization’s corporate from the Umeå Institute of and Canadian operations. Design in Sweden, and stud- ied Industrial Design at Emily Carr University in Vancouver HILARY GREENBAUM ADAM SHUTSA and Kunsthochschule Berlin Director of Graphic Design, MICHAEL MACAULAY Vice President of Design, Weissensee in Germany. Whitney Museum of Director, Brand & Creative, 500px American Art Porter Airlines Adam Shutsa has been a key Since 2012, Hilary Greenbaum Michael’s career in advertising SABRINA MAJEED member of 500px since he has managed the development and marketing has culminat- Product Design Manager, started working with the of the museum’s identity ed in his work at Porter. This BuzzFeed REBECCA O’DONNELL company in 2010, and has across multiple platforms, important and life-changing Sabrina Majeed spends her Creative Consultant, their beauty design. While she led the design team since including advertising, exhib- CHRIS HACKER work includes drawing pictures time thinking about how Former Senior Vice President of loved London, she loved New 2011. As Vice President of ition graphics, signage, digital Vice President, Marketing of these businesses. His in corporate meetings and people create and consume Brand Design, Victoria’s Secret York more, and moved back Design, Adam leads a team of media and a wide variety of & Design, and Creative passion is bringing awareness making consumers engage news and entertainment in Rebecca began her career in to join forces with a great new talented designers responsible printed ephemera. Prior to Director, Consumer and to designers and other (and sometimes laugh) with a more mobile and distributed New York, where she worked boss at Victoria’s Secret. She for imagining, designing and this, she served as a staff Specialty, Herman Miller business people of their power the ‘Porter style of marketing’. world. Prior to BuzzFeed, she at various agencies including is now living between upstate refining the user experien- designer and design colum- Chris Hacker provides creative in the business world to make He is able to use the Mr. Porter worked on designing iOS Lloyd and Co., and then moved New York and Brooklyn with her ces and user interfaces that nist for The New York Times leadership to the Herman Miller sustainable design a key mascot (a raccoon) as an and Android apps for Venmo, in-house at Estée Lauder, where proudly Canadian photograph- 500px is known for worldwide. Magazine. While there, she Collection and Consumer paradigm of design process excellent excuse for a wide Miso and Intuit. Beyond she was Creative Director of er husband Christopher Griffith He also heads up the content initiated the ‘Who Made That?’ businesses and Geiger. He and make the products and range of silly ideas, within designing products, she is two brands: Jo Malone and and six-year-old son, August. team, which is responsible for series, which evolved from a guides product, experience, materials produced lighter on the generous humour of the passionate about helping La Mer – before shifting over to She can usually be found ap- curating the Prime and Core weekly posting on the maga- communication design and the planet. brand. The Porter design build strong design teams and LVMH to help grow the lovely plying her design background Marketplace collections. zine’s blog to a weekly column the marketing efforts that team’s ideas keep making design cultures in companies. brand Fresh. She then crossed to her walled garden or running in the printed magazine. support the strategic objectives the work remarkably better. the pond with the family and along the Hudson River. started at Burberry, heading up 4 5 AWARDS OF DISTINCTION >
THE CITY OF MISSISSAUGA
HALIBURTON SCHOOL OF ART + DESIGN
WESTJET
BRUCE POWER (2X)
INVESTORS GROUP
SUN LIFE FINANCIAL
STRUCTUBE
CAPITAL ONE CANADA
SENTRY INVESTMENTS
NATIONAL GALLERY OF CANADA
DELOITTE
AGA KHAN MUSEUM
ART GALLERY OF ONTARIO
THE MARTIN PROSPERITY INSTITUTE THE CITY OF MISSISSAUGA HALIBURTON SCHOOL OF ART + DESIGN MUNICIPAL BRANDING PROJECT REBRANDING PROJECT
The name of the Fleming project which began with a The new brand received Creative Director Director of Marketing College school was changed new logo. The logo is a tribute unanimous support and Tina Mackenzie RGD Drew Van Parys from Haliburton School of the to the campus’s iconic red buy-in from faculty, staff and Art Director Graphic Designer Arts to Haliburton School of Art doors, and also works as a external partners, and resulted Alex Lo-Basso Luke Despatie + Design to better represent container shape to express the in renewed spirit, excitement Designers Marketing Consultant the diverse range of art and school’s unique, studio-based and pride among student Josh Remazki Lori Humphrey design-related programs programming. The talented groups and community mem- Brian Marchand offered. Changing the school in-house team completed the bers. The brand launch was Chelen Petrucci name provided the opportun- entire project, from concept a resounding success, both Ruth Flower-Davies ity for a complete rebranding to execution. internally and externally. Reg Smith Brad Pyne
The City of Mississauga is on positioning and brand story, the cusp of great change, and design, test and present to needed a new brand identity to Council before elections. reflect the city’s past and opti- Key collaborators included mistic future. The new identity Brand Manager David Ferreira, is strong, open and bold. The and the team at Trajectory – shape forms a future-focused primarily, Jeanette Hanna and “M” and the open spaces em- Paul Hodgson for research, body the spirit and possibility positioning, stakeholder of a young city that continues engagement and all around to build and shape its future. creative encouragement. There was a lack of resources Project objectives and deliver- and budget for this project – ables were met on time, and with less than a year to research, the implementation continues engage stakeholders, define to be rolled out.
JUDGE’S COMMENT I chose this project because JUDGE’S COMMENT the design itself is scalable to It can be immensely challenging many mediums and applied to working with in-house clients, collateral in inventive ways. It especially if the client is the gov- looks elegant and minimal on ernment. As the implementation its own as a logo, but can also continues, the current brand work be transformed into a pattern or has given the city a refreshing a graphic image that works well facelift, ushering it into modern on the mug and coasters. I also times as the city continues to love that despite its minimal- grow. The bold contemporary ism, it still has personality and look hints at current design is personalized to the school by trends, but pushes boundaries and innovative. The new branding referencing the red doors. Lastly, for branding cities. The range makes a big splash, and knocks the execution and typography of applications, from signage to on the door of the City of Toronto, are all tight. The typeface choice stationery, and website to parking its more well-known neighbour, balances well with the heavy “H” passes, demonstrates that design demanding renewed attention graphic and feels appropriate for collateral for governments can and consideration. a design school. be distinct, flexible, delightful — CECILIA MOK — SABRINA MAJEED
8 AWARDS OF DISTINCTION 9 WESTJET BRUCE POWER FROZEN-THEMED AIRCRAFT ELECTRIC VEHICLE EXHIBIT
Teams Graphic Designer WestJet Creative Services JUDGE’S COMMENT Kathleen Scott RGD WestJet Technical Operations This design was tastefully done in a Nordic theme, without overdoing Disney Yellow Shoes it for the parents. Any child who is a fan of Anna and Elsa would lose her mind boarding this aircraft. I should know, I have two. Teague — MATT COYLE RGD Wolfe Air Aviation Ltd. Leading Edge Aviation Services
JUDGE’S COMMENT This is an incredible project. The scale and complexity is impressive, and the work really comes to life through the con- The primary objective of the These interior elements include sideration the team put into project was to trigger immedi- overhead bins, bulkheads, anti- the theme and end-to-end ate recognition of the strong macassars (head rest covers) experience. Creative details To promote clean electricity public with this message, an poster holders were installed partnership between WestJet and decals on the washroom were added to almost every powering clean transportation, electric vehicle exhibit was to display content, which can and Disney as guest-centric mirrors. The result of this col- possible customer touchpoint Bruce Power purchased its first hosted at the Bruce Power be changed out and refreshed to immerse passengers in the brands. In-house designers laboration is a well-executed electric vehicle and teamed up Visitors’ Centre, a tourist as the technology evolves. The story. The flights would nor- with aircraft knowledge worked and comprehensive ‘Frozen’ mally be the least memorable with the Plug’n Drive organ- attraction where children could exhibit offers a fun, informative closely with the Disney Yellow experience for WestJet guests part of a Disney family vaca- ization to install charging play on a miniature electric car and engaging environment Shoes agency and ‘Frozen’ film that starts from the initial look tion, but this project turns the stations around neighbouring and adults could learn more to learn about this new, clean producers to conceptualize, at the aircraft and continues trip into an important, fun and communities. To reach the about electric vehicles. Static technology. magical part of the experience. adapt and lay out what would to the wonder and surprise It’s no wonder that the client become a Boeing 737-800 that comes with walking into saw an increase in bookings series aircraft with custom the aircraft, locating your seat and revenue after launch. After livery. Custom interior elements with a custom antimacassar seeing this plane, travelling to such as decaling and embroid- and visiting the washrooms Disney any other way would be disappointing. ery were designed and applied, throughout the flight. The JUDGE’S COMMENT — MIKE KRUZENISKI relying heavily on the technical ‘Frozen’ aircraft received global Bruce Power successfully embraced knowledge of the internal coverage and was trending on this challenge with a fun and creative team and the close various social media platforms integrated hands-on component partnership with Technical in the weeks after launch. for kids, while educating and engaging their visitors and com- Operations at WestJet and Bookings in the weeks follow- munities about the benefits of Transport Canada. ing the reveal of the aircraft clean transportation. The simple increased significantly with and innovative design approach, positive impacts to revenue. including the typography, Visitors’ The design is largely unparal- Centre exhibit, charging stations and additional elements, was leled in the aviation world and brilliantly executed. evokes a huge sense of pride. — JODY DE HAAS
10 AWARDS OF DISTINCTION 11 INVESTORS GROUP SUN LIFE FINANCIAL STAR PERFORMERS DIGITAL BROCHURE TORONTO PRIDE CAMPAIGN 2015/2016
This campaign’s objective was media buy that would show- Supporting collateral was Creative Director Art Director/Designer to shine light on the com- case the design in multiple posted to the Sun Life intranet Darryl van Herksen Brian Ready RGD pany’s support for the LGBTQ key locations within the heart and social media channels. Art Director Art Director community, both outward- of Toronto at Union Station The internal feedback was out- Amanda Parker Bill Ramsammy ly and internally within its and Dundas Square. Digital standing. To show continued Senior Graphic Designer Senior Designer workforce. This was the first signage kept the production support for Pride in 2016, Sharri Zarvie Marcus Gilroy RGD time in 10 years that one of costs in check while providing the ‘rainbow sun’ was used Media Buy/Copywriter Sun Life’s key brand assets, maximum views. The biggest to produce a large window Marianne Arnaudon the Whimsical Sun, had been challenge was striking the display on the front of Sun This project was created modified; it was integrated with right creative balance between Life’s Toronto head office. The to promote the company’s the colours of the rainbow. This embracing the celebration of artwork is featured on multiple incentives conference for the graphic was the cornerstone Pride, while remaining true to Instagram accounts, including network of planning specialists for the entire campaign. The the Sun Life brand image. The @SunLifeCA, where it is among across Canada. It focused on tight budget required a smart result is confidently coy mes- the channel’s all-time highest Panama City’s appeal as a saging and a clean aesthetic ranked posts. desirable vacation destination that highlights the brand in a with something for everyone. positive light. Overlapping, paneled imagery was used to promote themes of diversity, energy and excite- ment and give the audience a sense of the lush landscape, the ruins next to the city, and JUDGE’S COMMENT the beautiful beach. As the This was an excellent example team’s first foray into the digit- of how careful consideration and al publishing world, the project inspired execution can success- involved plenty of trouble- fully adapt a key brand asset for a shooting. The limited distribu- unique campaign. The final prod- tion capability of the corporate uct achieved the objective of the brand standing out in its support standard web browser was of the LGBTQ community, while resolved by using the Digital staying true to its core identity. Publishing option in InDesign. – JON ARKLAY The result is a digital brochure that effectively showcases the key selling points.
JUDGE’S COMMENT This is a strong digital design piece with great juxtaposition of images and graphic elements that looks dynamic and balanced at the same time. Each page unfolds in a surprising way without being too busy or disjointed. There is a great use of duotone on the historical illustration, overlapped by the city- scape and consistent use of the colour palette. The warm colour on the top merges well with the cool colour. It is quite different from the Investors Group’s customer-facing materials, and great to see the team taking a bit of risk with an internal document. — RAY CHEAH RGD
12 AWARDS OF DISTINCTION 13 STRUCTUBE ‘BEYOND THE PRODUCT’ CAMPAIGN
Film Director Julien Knafo Art Director, UX/UI German Moreno Photographer/Videograper Claudio Dagostino Web Developer Justin Conabree Graphic Designers Catherine Gibbard Alicia Tsui
‘Beyond the Product’ is a A microsite was created to the episodic nature of the series. project, the team created an 10-part web series offering host the footage and interactive The marketing team’s strategy object-based system for storing JUDGE’S COMMENT a close look at the cultures be- features of the campaign. was to collaborate closely with information about episodes This is an ambitious project with hind Structube’s products, with Key considerations included the Web Developer and the lead and used YouTube auto scaling a lot of depth. The user experience a mission to challenge and dis- balancing speed with quality Graphic Designer to ensure the and YouTube API, plus Google is extremely consistent and very pel the negative connotations and performance, integrating vision aligned with the project’s Analytics for tracking video intuitive. The design elements often attached to manufactur- e-commerce features and cre- technical requirements. To views and page visits. build a cohesive look and feel, but don’t compete with the content. ing in India or China. ating a design that addressed execute, track and measure the The series is hosted on a The quality of both the footage bespoke responsive microsite and photography is excellent. Each which has amassed over video does a great job of telling 200,000 visits in its lifetime. a story, with strong film direction, The ‘Beyond the Product’ art direction and editing. web series is an immersive – MICHAEL MACVICAR experience that provides a real glimpse into the sights, sounds and tastes of some of the oldest cultures on earth.
JUDGE’S COMMENT This is a strikingly visual journey into the products used in the daily lives of consumers. It presents an easy-to-navigate visual system and a great story that is meaning- ful to the audience; a deep and technologically rich experience. Very well done. – BRIAN READY RGD
14 AWARDS OF DISTINCTION 15 CAPITAL ONE CANADA SAKS CANADA PARTNERSHIP LAUNCH
Creative Director Dimitri Delis Art Director Andy Moore Graphic Designer Emi Diaz Writer Daniela Persico Editors Scott Sills Valérie Marchand Brand Strategists Elysse Buchalter Kathleen Beirnes Jenn Hay Christine Fludd Trisha Henderson Nikhil Khanna
The entire launch was a flawless execution of a large volume of work. Despite tight timelines and regula- tory restraints, the campaign The objective of this project successfully came to market was to execute the opening on time. Weekend application of Saks Fifth Avenue in bookings vastly exceeded Canada and roll out a port- projections and shattered folio of high-end, upscale store-opening records for the documents to complement entire HBC family of stores. the launch of the SaksFirst The weekend numbers even Credit Card. The campaign surpassed the high record needed to creatively adapt previously held by the Saks the U.S. Saks marketing Fifth Avenue flagship store strategy for the Canadian in New York City. market, while carefully con- sidering the different credit marketing standards, as well as cultural and language preferences. This was a fairly complex project consisting of many elements, but despite these challenges, the results delivered above expectations. JUDGE’S COMMENT Clean, sophisticated design. Looks very easy for the user to navigate. – ROBIN COLANGELO
16 AWARDS OF DISTINCTION 17 BRUCE POWER SENTRY INVESTMENTS ANNUAL REPORT 2015 EMPLOYEE WELCOME BOOK
The objective for creating to the Sentry family. The logo Collaboration between the Graphic Designer Graphic Designer this book was to welcome and and wordmark encompass the in-house creative studio and Dustin Pringle Mirela Zdjelaric excite new employees, who key message: One team. One the marketing department Photographer receive the book by mail one family. One goal. The book made it possible to draft and Mirela Zdjelaric week prior to their first day at also features photographs of review content for a quick Production Designer Sentry. The book is an integral the office space, lobby en- turnaround. By keeping the Kelly Ricci part of the onboarding process, trance, artwork and workspace, writing in-house, the mes- Copywriter providing valuable insight into combining it all with the brand saging and writing style was Christopher Poulo the company and its culture, look and feel – it’s sophis- more accurate than it would and welcoming the individual ticated, elegant and modern. have been with an agency. In the end, the team successfully produced a quality piece that has been very well received by new employees.
For the Bruce Power 2015 the viewer with full page, in 2015. For finishes, working Annual Report, the focus was monotone photographs and closely with the printer made to create a very visual publi- bold, oversized typography. it possible to identify the most cation that would tell the story As the content of an Annual interesting solutions. While the of a busy and positive year Report can be mundane, the inside pages were printed on for the company. The design varied feel of the page layout is glossy text-weight paper, the of the publication required used to keep readers interested contrasting cover was printed a sophisticated, professional throughout the report. For the on 130-pound uncoated, look and feel for investors and centre spread, a double-gate cover-weight paper with a clear stakeholders, while remaining fold-out section was included gloss foil stamp and debossed easy to understand for those in an unexpected lime green title. The finished product unfamiliar with the nuclear colour to put extra emphasis makes an impact with the industry. This piece engages on their biggest achievement reader right from page one.
JUDGE’S COMMENT This is a very innovative idea to welcome and excite a new employee before their first day at the office. The attention to JUDGE’S COMMENT design details is absolutely This elegant and beautiful explanation exquisite, and the design and of the success of the company provides feel of the publication gives a a clear and concise vision of the goals wonderful flavour of the company while pulling the viewer in. atmosphere. Bravo. – CHRIS HACKER – SASKIA ROWLEY RGD
18 AWARDS OF DISTINCTION 19 NATIONAL GALLERY OF CANADA CHRIS CRAN ART BOOK
Art Director/Designer Stefan Canuel RGD Typesetter Natalie Ann Garneau
JUDGE’S COMMENT A very creative and imaginative project. The treatment on the cover is very well used, beautiful and efficient. It is not easy to work with an artist and deliver a product that this artist will be proud of. Well done graphically and typographically, and very good use of the space. Congrats! – PATRICE BOUDREAULT
This catalogue accompanies The use of one of the Chorus an exhibition at the National faces on the cover was also a Gallery of Canada of works humorous nod to the visitor by Canadian artist Chris Cran, experience. Communicating and includes work spanning ideas to the artist and curator, from his early career to present respecting the production day. Cran’s Chorus works are cost and subcontracting the a series of small round paint- typeset while ensuring all ings which represent visitors’ design aspects were followed expressions, providing silent from beginning to end, were commentary on the works key considerations for this that they accompany. The project. The exhibition design halftone dot was chosen as an and all marketing materials approach for the cover, as it is were also based on the look a technique that has remained of the publication. consistent in the artist’s multi-faceted career. The colour sleeve was incorporated as a way to reference the many layers in this artist’s practice.
20 AWARDS OF DISTINCTION 21 DELOITTE MONTREAL GREENHOUSE PROJECT
The Deloitte Greenhouse painting, to save time and cost. Creative Director project consists of innovation A limited budget made it diffi- Caroline Bruckner RGD centres located across Canada, cult to travel to the site, which Manager, Workplace each abiding by the Deloitte meant that the majority of the of the Future global brand style guide, with designs were created based on Asha Dowd its own unique features. For floor plans, photos and video Brand Expression Manager this space, the objective was walk-throughs of the space. Ren Lacza to evoke feelings of surprise, A work-back schedule where Lead Designer disruption and energy, using items were listed based on Yuka Seiriki tactile, interactive materials. urgency and importance made Senior Manager of Graphic The concept was developed it possible to complete the Design, Corporate Real Estate through close collaboration project within the tight two- Peter Stefanvoski with a Brand Expression month timeline. The end result Manager and the Corporate is a design that builds intrigue, Real Estate design team. momentum and a feeling of Inspiration for the design excitement as people walk came from interior design sites down the hallway. and magazines, with ideas collected on a Pinterest board which grew to over 300 pins, and the final design was inspired by National Australia Bank in Sydney. A full-scale vector file created with Adobe Illustrator was chosen over
JUDGE’S COMMENT This project gave the best first impression and was the most memorable for me. I love the simplicity of the shapes and pattern, and felt it was executed very well. There’s something special about creating 3D, tactile art rather than doing a traditional painting or mural. — ADAM SHUTSA
22 AWARDS OF DISTINCTION 23 AGA KHAN MUSEUM ‘HOME GROUND’ CONTEMPORARY ART FROM THE BARJEEL ART FOUNDATION
Creative Director Eric Pellerin Exhibition Designer Rachel Wong Production Assistant Jacquie Jeanes Book Designer Lauren Wickware RGD Photographer Janet Kimber
JUDGE’S COMMENT The colours, textures and materi- als used throughout the exhibition provide a cohesive and intimate setting – enhancing the artwork and creating an atmosphere that is both curious and welcoming. — HILARY GREENBAUM This powerful exhibition from communicate ideas of identity catalogue for this exhibition the Barjeel Art Foundation, and survival. For this contem- was designed in collaboration Sharjah, United Arab Emirates porary exhibition, the space with the book designer, (UAE) ran the gamut from needed to translate a sense Lauren Wickware. The design photography to installation, of nostalgia and push visitors was greatly appreciated by sculpture to painting, and to consider the meaning of the Barjeel Art Foundation, more. Visitors experienced the ‘home’. The contrasted who subsequently presented the work of 12 Arab artists palette with very dark black ‘Home Ground’ back in the examining how private life is walls against faded pastels, UAE for Art Dubai, and ‘Now shaped by current political gave the artwork backgrounds Magazine’ named the exhib- events. The primary object- on which it could be superim- ition one of their ‘Top 10 Art ive was to translate what it posed and still be part of an Shows’ for 2015. means to be displaced and overall dialogue. A companion
24 AWARDS OF DISTINCTION 25 ART GALLERY OF ONTARIO THE MARTIN PROSPERITY INSTITUTE (MPI) MAHARAJA EXHIBITION PERSONA PROJECT
A five-year study by The The production phase required sourcing a durable Project Manager Designer Martin Prosperity Institute required development of a substrate that would allow Iain Hoadley Michelle Hopgood RGD (MPI) exploring the future of box, 125 unique cards, over for the persona panels to be Graphic Designer Project Team democratic capitalism found 100 curated stock photos, handled and mishandled by Aleksandra Grzywaczewska Quinn Davidson that most policy recommen- icons from The Noun Project users. Collectively, the team 3D Designer Josie Fung dations are offered without and illustrated representa- decided to use Sintra PVC with Jim Bourke Darren Karn grounding in the needs of tions of each persona and UV-based inks, as it offered the Interpretive Planner Alpesh Mistry real people. To address this artifact. Information hierarchy, most rigidity and durability for Shiralee Hudson Melissa Pogue disconnect, the MPI Persona navigation and seamless user the panels. Production Coordinator Jennifer Riel Project was created based experience were essential The project has officially Malene Hjorngaard Stefanie Schram on interviews with American considerations. For the cards, launched in Washington, D.C. Illustrator citizens. From these interviews, the turnaround time was on-stage at ‘New America’ with Lisa Smith 13 personas were created to approximately three months Roger Martin and Anne-Marie represent a cross-section of from initiation to delivery Slaughter. It is a newly minted occupational and demograph- of the printed product. The and living project that will ic categories. The MPI Persona exhibition was completed continue to evolve. Project cards and exhibition simultaneously over a two- are the public manifestation month period. The exhibit of this work.
This exhibition showcases of visual cues and materials. the magnificence of India’s Fabric text panels, wall stencils kings from the early 1700s and architectural elements until the mid-1900s, exploring like arches and multi-level 250 years of power, wealth, platforms are used to create beauty and conflict to reveal a lush experience, setting a how royal status and identity, court mood for the visitor while JUDGE’S COMMENT as well as court culture and engaging them with didactic I was impressed by the simple patronage, were transformed and interpretive materials. but adept construction, the during a period of enormous The team met with experts creation of the portals, the framed vistas, and the sense political change. The design from the Indian community of mood and place that was highlights the splendour of the to capture the culture’s visual achieved in this project. Indian courts using a variety and textile influences. – MICHAEL LEJEUNE
JUDGE’S COMMENT JUDGE’S COMMENT MPI Persona Project embodies This is a great approach to a complex many of the best elements of subject and well executed, despite design, including strategy, a production challenges. human-centred design approach, – MICHAEL MACAULAY thoughtful visuals, a clear com- munication hierarchy, a visual system, print and web design components, creative iteration, and even social consciousness. On top of that, the project met its objectives in a tight timeline, overcoming press obstacles and adjusting its format to create the best experience for its audi- ence. This is a project I want to explore further. – ASHLEIGH AXIOS
26 AWARDS OF DISTINCTION 27 AWARDS OF MERIT >
TOURISM TORONTO
GOLIGER’S TRAVEL PLUS
THE CITY OF MISSISSAUGA
TVOKIDS
ALZHEIMER’S AUSTRALIA VIC
THE REGIONAL MUNICIPALITY OF YORK
HUMBER COLLEGE
GREAT-WEST LIFECO
ROGERS
DELOITTE (2X)
UNIVERSITY OF TORONTO, ADVANCEMENT COMMUNICATIONS & MARKETING
RYERSON UNIVERSITY
BRUCE POWER
HARLEQUIN ENTERPRISES (2X)
UNIVERSITY OF TORONTO, CENTRE FOR ENGINEERING INNOVATION & ENTREPRENEURSHIP (CEIE)
CANADA COUNCIL ART BANK
SUN LIFE FINANCIAL
NATIONAL GALLERY OF CANADA
MAPLE LEAF SPORTS & ENTERTAINMENT PARTNERSHIP (2X)
LCBO (2X) TOURISM TORONTO GOLIGER’S TRAVEL PLUS BRANDING PROJECT ‘BRADLEY WALTERS JOURNEYS’ BROCHURE
The goal of this project was Executive Vice President to create a unified brand for Creative Lead Andrew Weir use across the corporate, Efren Baria Art Directors consumer and business events Graphic Designer Candace Niquet spheres of the organization, Sonya Clarry Audree Atendido and a visual identity that Product Photographer Copywriter would be seen as uniquely Caitlin McElroy Andrew Brudz and identifiably Toronto. One Sonya Clarry logo was created that could be Honourable Mention adapted by each department Cailtin McElroy in order to unify all branded collateral with a consistent look, feel and message. With a summer start and a fall launch, a major challenge for this project was limited time, which was addressed through teamwork and a ‘divide and The yearly brochure for ‘Bradley conquer’ approach. Creating Walters Journeys’ is released the new branding internally every September, and all other saved the company hundreds marketing material flows of thousands of dollars, and around the same branding the response across the organ- and style — creating a new ization and from its partners brand “package” from year to has been resoundingly positive. year. All material is created to meet the needs of the average ‘Bradley Walters Journeys’ traveller, the demographic of which is over the age of 65. For the 2016/2017 brochure, this meant upping the font size to address the lack of legibility in previous issues. The increased font size reduced the amount of space remaining for photog- raphy and stylized design. Adding patterns and custom titles for each journey helped ensure that the brochure would maintain the brand’s tone and feel, despite the reduced space. A sidebar was also added to make it easier to find key information for each journey, including physical demand, duration and departure dates. The result is a successful brochure that stays true to the branding and demographic of ‘Bradley Walters Journeys’. The 2016/2017 brochure has had the most positive reviews from clients and agents to date.
30 AWARDS OF MERIT 31 THE CITY OF MISSISSAUGA TVOKIDS LIBRARY MARKETING LOOK REBRAND
The Mississauga Library lacked Creative Director a cohesive or consistent look Creative Director Tina Mackenzie RGD across their marketing materials. Deborah Peterson Lead Designer The objective of this project Print Designers Josh Remazki was to design a marketing Rich Yuzon Designer look that would reflect the new Karin Fukuzawa Rory Kelly RGD Mississauga city brand while Ignacio Peon also incorporating the library’s Web Designer To maintain the Ontario Future Directions research Ignacio Ponce public’s existing trust in the document. Developed in 2014, Broadcast Designer TVOKids brand, the new this document was created as Liz Hayward branding couldn’t stray too a guide for the library’s evo- far from the audience’s ex- lution, to maintain relevance pectations of the broadcaster. among residents. Learnings The main TVO wordmark from this research helped the was combined with a bright, team identify a key marketing happy kids’ colour palette. expression: “Discover, Learn, The font for display and web Create”. To accommodate copy was designed to address were developed, featuring animated, and really brought the number and variety of early learners and those learning activities, wall graphics the personality of the new marketing pieces required by with learning disabilities. and custom activity books. For brand to life on broadcast. the library throughout the year, Likewise, some characters broadcast, the creative team As with the adult brand, a grid system was developed were adjusted to conform and the broadcast production the TVOKids brand was to help manage consistency with Canadian early learning team worked with an external designed to adapt to different in look and feel, without being character standards. A unique agency to create interstitials for environments with consistent too predictable. Clean, simple set of icons was developed to TV – guiding them through the colour, font, icon and image geometry complemented the cover science, nature, art and very strict modes of conduct use, rather than conforming to photos highlighting the library’s math. For TVOKids events, for the characters. Custom strict brand guidelines, to cre- stunning public spaces. stages and activation booths sequences were written and ate a dynamic, evolving brand.
Giveaway items were also developed to enable residents to carry the library’s new marketing look with them on buttons, book bags and library cards. Library staff are very excited to have a consistent, modern look to all of their promotions.
32 AWARDS OF MERIT 33 ALZHEIMER’S AUSTRALIA VIC THE REGIONAL MUNICIPALITY OF YORK BRANDING ‘I AM DIFFERENT LIKE YOU’ CAMPAIGN
Graphic Designer Lead Graphic Designer Gay Cross Trinette Klein Strategic Department Communications Supervisor Lisa Zabolotin Social Policy/Accessibility Senior Policy Analyst Aisha Saintiche Web Coordinator Neal Kelly
Alzheimer’s Australia Vic is The goal of this region-wide ‘Accessibility for Ontarians with committed to inspiring the promotional print and online Disabilities Act’ (AODA) guide- creation of dementia-friendly campaign was to start a conver- lines. The result was increased communities, and encour- sation about what it means to website traffic during the aging the inclusion and sup- be inclusive and work toward campaign, major social media port of people living with a common vision of diversity reach and engagement, and dementia. This helps enable clients for the first time, as more meaningful engagement. among York Region staff and increased participation for internal and empower them to achieve this can often be distressing The suggested branding was community members, while and external focus groups. a high quality of life with and confusing for patients. also showcased in their 2013 encouraging sign-ups for meaning, purpose and value. The Bequest Information Pack Annual Report with individ- ‘diversity dialogue’ sessions. This message is reflected was also redesigned to provide ual stories that helped bring A unique two-poster, through the organization’s a more welcoming informa- warmth and positivity to it and side-by-side format with the physical and social environ- tion package with materials added a humanizing tone to tagline “I am different like ment, as well as its print relevant to individual clients, what can be a dry document. you” helped highlight the and digital graphic design. creating opportunities for campaign message, with the Transitioning content for design adjusted to fit various new patients from multiple website, social media and brochures into a single booklet e-blast requirements. A social has enabled counselling staff media frame was produced to use one comprehensive to encourage participants to document when meeting with share photos and promote the campaign using the hash- tag #InclusiveYR. A dedicated campaign page (york.ca/InclusiveYR) offered session information and a feed of social media posts. A PowerPoint slideshow was also developed to support the diversity dialogue sessions. Having the project cham- pioned by the senior manage- ment team and collaborating closely with internal clients helped accelerate the project through a demanding internal approval process. Accessibility was taken into consideration in order to comply with
34 AWARDS OF MERIT 35 HUMBER COLLEGE GREAT-WEST LIFECO 2016 HUMBER SHOWCASE: ‘WAVE OF EXCELLENCE’ BRANDING ‘CRITICAL UNCOVERED’ VIDEO
Showcase is an annual event In 2015, a research study found Conveying a complex creative remained consistent. Showcase Chair that celebrates professional Creative Director that Canadians understood the message in a light-hearted, When posted to the Freedom Melody Johnson development at Humber Sean Odell risk that serious illness would relatable and easy-to-understand 55 Financial Facebook page, Director/Professional College. Alternating each Art Director have on their physical, financial manner presented a challenge the video reached over 14,000 Development year between being hosted at Jordan Gosselin and mental well-being. Despite for the team, who would usually users – with 3,300 views and Denise Gardner Humber’s Lakeshore campus Designer & Animator this understanding, they convey these messages using over 270 likes, comments or Graphic Designer or North campus, this mas- Jordan Gosselin wouldn’t necessarily be pre- statistics in an infographic. shares by individual users in Dekel Chui sively popular and well-at- Strategist pared for a serious diagnosis The choice was made to tell under 24 hours. It is still the Front-End Developer tended event is an incubator Deborah Peterson such as cancer, a heart attack the story using character ani- most successful post in the Kathy Nguyen for collaborative design and Scriptwriters or stroke. An animated series mation, to help create a friendly page’s history with nearly offers a chance for faculty and Rebecca Tyre of videos was proposed to tone for the viewer. As the 60,000 impressions. staff to share their passions Megan Foerster increase awareness about criticaluncovered.ca website and their unique approaches Jordan Gosselin the importance of critical was outsourced, the video was to education. Voiceover illness insurance, a relatively created in consultation with the The goal was to create an Tony Kay new product in the industry. external team to ensure the inspiring and relevant theme Music for the event that would Premiumbeat.com extend across communications, workshops, signage and online sign-up forms/schedules. The theme ‘Wave of Excellence’ references keynote speakers Mark Tewksbury (Gold Medal Champion) and Debbie Muir (award-winning Olympic coach). Under this theme, the team designed a striking conference logo, a user-friendly website, an advertising display and directional wayfinding signage. As part of Humber College’s values, sustainable signage was created for the conference by repurposing previously used foam products, photo frames and magnets to create reusable mobile directional signage. The ‘Wave of Excellence’ website, email communiqué and tabletop tent cards helped maintain consistent messa- ging throughout the Humber College community in the weeks leading up to the con- ference. The conference was a huge success with over 600 participants.
36 AWARDS OF MERIT 37 ROGERS ‘CHATELAINE GETS DIGITAL’ CAMPAIGN
Creative Directors David O’Brien Yvonne Lines Margaret Lee Art Director Colleen Henman Synyard Print and Digital Designer Colleen Henman Synyard Motion Graphic Designer Alisdair Jones Photographer Adrian Armstrong Prop Stylist Catherine Doherty Food Stylist Christine Tizzard
This campaign emphasizes the application and learn how to four pillars of Chatelaine, spe- use it. Collaboration within the cifically for the digital edition: internal Rogers team was ex- food, style, health and home. tremely successful, creating a The magazine’s photographic cohesive concept that worked style brings the content to life equally well across broadcast, through bold and beautiful print and digital platforms. design elements, with a focus The campaign successfully on human interactivity. increased overall engage- Chatelaine’s digital app ment and awareness of the was promoted through ads Chatelaine tablet app, which in multiple formats, including saw a boost in downloads print, tablet, standard web through the ‘Next Issue’ plat- units and several televised form. In addition to this, the spots which aimed to help campaign received tremen- users become familiar with the dous consumer feedback.
38 AWARDS OF MERIT 39 DELOITTE UNIVERSITY OF TORONTO, ADVANCEMENT COMMUNICATIONS & MARKETING CRAFT BEER POINT OF VIEW AFFINITY PARTNERS PROGRAM
This point-of-view document Placing a growler on the This information was Creative Director for Deloitte was created to cover of the document helped conveyed using an info- Creative Concept/Art Caroline Bruckner RGD target the British Columbia highlight knowledge of the graphic with beer taps that Director/Graphic Designer Lead Designer (B.C.) craft brewery industry. audience’s industry. illustrated the statistics. Craft Camelia Linta Donna Graffi-Smith The goal was to reach craft The document provided beer styled icons and beer- Photographer Senior Manager Vancouver brewers and provide insight information about comparable themed imagery were used Jacklyn Atlas Marketplace on how they might acquire craft beer markets - including throughout the document to Copywriter Ninu Gill the funding and support they a breakdown of the percentage maintain a look and feel that Susan Fischer Marketing Specialist would need for growth and of alcohol in craft beer versus would speak specifically to Account Manager Cora Lam expansion. A visit to a local other beer; craft beer sales fig- the target audience. Bel Navarro craft brewery led to a greater ures; the number of breweries Collaborator/Client understanding of the culture per capita; and the five-year Affinity Partners Program of this type of business. compound annual growth rate for each province and state.
Affinity Partners Program is a fundraising unit that collab- orates with the U of T family and alumni to provide funding The small budget was spent for extracurricular student on hiring a photographer and programs including theatre, renting costumes. Student clubs, associations, events, volunteers appear in the mentorships, etc. The goal campaign and props were of the campaign was to raise gathered from around the awareness for the program university and students’ and encourage alumni to homes. In each of the last help the student experience three years the campaign has extend beyond the classroom run, the number of participat- and encourage students to ing alumni has increased. become more well-rounded individuals. The headline “Can Hamlet Build a Better Bridge?” challenges the audience to reflect on whether an engin- eering student might become a more inspired engineer by participating in a theatre club.
40 AWARDS OF MERIT 41 RYERSON UNIVERSITY ADMISSIONS HANDBOOK 2016
target an audience of design Director of Marketing savvy high school students. and Communications Engaging images and pull-outs Cathy Parry of specific facts and figures Graphic Designer give snapshots of what Cheryl Wang Ryerson University has to offer. Marketing Officer The most important/relevant Janet Jardine information for prospective Manager, Communications students was determined Samantha Read through research study and Director, Communications, focus groups, and highlighted Recruitment & Client throughout the handbook. Relations As the first piece of recruit- Susan Vercruysse ment collateral to showcase the new brand, the handbook received positive feedback In September 2015, Ryerson from faculty and students. University introduced a Likewise, it also inspired design refreshed brand to the com- updates to additional pieces munity, positioning Ryerson of collateral to achieve a at the intersection of mind consistent brand look and feel and action – where diverse across recruitment channels, minds connect to turn passion including the Ontario into action that’s relevant Universities Fair booth and a to society. The Admissions number of posters and flyers Handbook presented an ideal used for student recruitment. opportunity to showcase the new brand to an audience of prospective students. A flexible design approach allowed for a smooth flow of content and visually appealing spreads to
42 AWARDS OF MERIT 43 BRUCE POWER HARLEQUIN ENTERPRISES 2016 KI-N DE’E’ ART CALENDAR ‘THE FALLOUT’ BOOK COVER
Graphic Designer Creative Director Sue Priban Erin Craig Photographer Art Director Crystal Gunson Kathleen Oudit Designer Quinn Banting Photographer/Retouching Artist Allan Davey
The Bruce Power Aboriginal Community Gardens. The The goal of this design was to Affairs program partnered with amount of content for this package the novel in a way that Saugeen First Nation to create project was the biggest design would position it as a psycho- a 2016 calendar showcasing challenge, as the calendar logical drama about infidelity the artwork of local indigenous needed to incorporate photos and the resulting destructive artists. Bruce Power completed of the art, artwork descriptions, repercussions. The original the design, in-house printing calendar details and informa- design concept was a table and photography of the artwork tion on annual traditions. The set for four, with overturned pro bono for the calendars. months and days are listed in glasses and broken dishes. The end product was sold in both English and Ojibwa. The This design was nearly at the the surrounding commun- calendars were designed and production stage, when it was ities, with the profits going printed in time to be purchased rejected by the sales force for to the Ki-n de’e’ Forest and for Christmas. Bruce Power lacking commercial appeal. purchased 300 calendars With very little remaining and gifted them to members turnaround time, it was neces- of the Saugeen First Nation sary to distill the concept of community. Volunteers involved broken dishes as a metaphor with the project were extremely for a broken home in a more happy with the final calendar direct way. The cover was and there are plans to create updated with a new design, another calendar for 2017. placing the broken home inside of the broken dish. The team successfully responded to internal concerns within the tight timeline, and the sales force and industry buyers were pleased with the results.
44 AWARDS OF MERIT 45 HARLEQUIN ENTERPRISES UNIVERSITY OF TORONTO, CENTRE FOR ENGINEERING ‘THE CURIOUS CHARMS OF ARTHUR PEPPER’ BOOK INNOVATION & ENTREPRENEURSHIP (CEIE) GRAFFITI INSTALLATION
The goal of this project was Creative Director Creative Director to spark and sustain conver- Erin Craig Raymond Cheah RGD sation about the CEIE over the Art Director Strategist course of the two years be- Gigi Lau RGD Deborah Peterson tween the groundbreaking and Graphic Designer Strategic Planner grand opening (2017), and Jeff Miller, Faceout Studio Shilpa Gantotti to reflect U of T’s connection to Website Developer, its urban environment. The 276 Photographer/Videographer feet of hoarding surrounding Roberta Baker the construction site became Graffiti Artists the canvas for a creative The primary objective of this Jason Wing (a.k.a. SKAM) collaboration with renowned project was to create a charm- Alex Lazich (a.k.a. Bacon) Toronto-based graffiti artist ing cover that would reflect the Aleksandrs Popelavskis Jason Wing (a.k.a. SKAM). journey of Arthur Pepper and Media Relations Imagery was selected that position the book competitively RJ Taylor would strategically represent against the current bestselling the spirit of the Faculty, high- titles in the genre. Large, bold lighting symbols of tradition, type and catchy illustrative innovation, professional divers- design helped achieve this ity and student involvement. goal. Charms on the back The in-house designer brought cover, end sheets and interiors these components together helped show a commitment to form a coherent blueprint to the story without comprom- for the mural — which SKAM ising the goal of reaching a brought to life — creating broad audience with the cover. the longest single street art installation in Toronto. The hoarding’s utility on an active construction site was an im- Jeff Miller at Faceout Studio portant consideration, as crew was provided with the manu- access points would require script, a design brief with a design that would remain descriptions of the charms and meaningful, even when panels locations where they should be were removed. Given these placed, plus the competitive parameters, a tremendous comps. Once the design was amount of planning went into selected, collaboration with the the design. team helped ensure it would The project generated be competitive on bookshelves considerable media attention and in thumbnail-size displays and has become a point of online. The design lends itself celebration and pride for well to promotional flexibility, alumni, students and the which created opportunities entire U of T community. It has for the illustrations to be used been featured in everything in pre-launch promotions from alumni magazines and to drive awareness for the student-run newspapers, author’s North American to being included as a stop debut. The book was selected on campus tours for by the American Independent prospective students. Bookstores as an ‘INDIE Next Pick’ of June 2016.
46 AWARDS OF MERIT 47 CANADA COUNCIL ART BANK SUN LIFE FINANCIAL ‘PUNCTURED LANDSCAPE’ EXHIBIT DESIGN AGILE WORKSPACE CAFÉ
The objective of this project Late 19th century reports Senior Designer Designer was to create environmental discovered by Archivist Krystal Alex Contreras RGD Grant McKeown Prov. RGD design that would reflect the Rycroft, were treated with Manager, Brand and Content Photographer core personality of the Sun Sun Life’s contemporary Strategy Tim Fraser Life Financial brand: bright, brand colours. The result is a John Sobol Project Manager human and rich in history. space that fosters a connec- Manager Canada Council Elaine Teo Mak With the celebration of Sun tion to the rich history of the Art Bank Archivist Life Financial’s 150th anniver- company and increases pride Amy Jenkins Krystal Rycroft sary last year, the team chose among employees. Curator to draw on historical print Kegan McFadden documents for the design.
Curator Kegan McFadden de- this provocative curatorial calls-to-action, such as “What showcased art works drawn scribes ‘Punctured Landscape’ premise, providing viewers with do you remember from history primarily from the Canada as “an exhibition intended engaging and accessible clues class?” This invited visitors to Council Art Bank, Canada’s to recognize the breadth of to the exhibition’s meaning. reflect on their own experi- largest collection of contem- this land as well as its parallel The exhibition’s title was made ences and add their voices to porary Canadian visual art. histories; an alternate national prominent with extruded the exhibition. The response timeline with artwork serv- block letters placed over a was extraordinary, with visitors ing as symbolic punctures cartographic image, capturing adding hundreds of handwrit- that represent moments of the exhibition’s core notion ten post-it-notes that brought crisis.” Graphic and typo- of a geographically-themed the exhibition to life in a graphical elements provided remix. Two freestanding pillars very immediate, diverse and a valuable amplification of were wrapped with colourful authentic way. The exhibition
48 AWARDS OF MERIT 49 NATIONAL GALLERY OF CANADA ‘SAKAHÀN’ ART EXHIBITION
‘Sakahàn: International covered with a massive Designer Indigenous Art’ was the first mural created by Greenlandic Stefan Canuel RGD of a series of exhibits dedicat- artist Inuk Silis Høegh that ed to “diverse, complex and transformed the building into challenging artworks being a looming iceberg. A close made by indigenous artists in working relationship with the regions such as the Americas, curator and project manager Asia, Oceania, Europe and of the exhibition was incred- Africa.” The goal was to create ibly important for facilitating a visual identity that would this design, which also re- communicate the message quired outsourcing from many of the exhibit, working within unusual production suppliers, the limitations of the physical from large-format printing to space and the budget. The fabrication. The summer ex- project involved implementing hibition at the National Gallery the layout and construction of of Canada earned praise and the physical exhibition space attracted visitors even while and display cases, plus creating the building itself was under visual and educational ma- construction. terials including a marketing poster, invitation, billboard and outdoor banners. Construction taking place during the time of the exhibit provided an opportunity to take advantage of the building’s temporary infrastructure. The exterior windows and scaffolding around the Great Hall were
50 AWARDS OF MERIT 51 MAPLE LEAF SPORTS & ENTERTAINMENT (MLSE) PARTNERSHIP TORONTO FC (TFC) POP-UP SHOP
To celebrate the TFC’s 10th hype surrounding the Leafs’ the shop’s microsite was the Creative Director anniversary and their highly chances of getting the #1 second most visited page Matt Coyle RGD, MLSE successful season, the TFC NHL draft pick, competi- on TorontoFC.ca. The hype Art Director Pop-Up Shop was created. tion for visibility in Toronto’s generated by the shop led Louis Cohen, MLSE The goal was to build hype crowded sports market was up to a record attendance Art Director, for the home opener and the extremely stiff over the for the long-awaited home Set Design/Props grand re-opening of the BMO shop’s six-day lifespan. In the opener, setting the stage Andrew Berry, Artquake Inc. Field stadium after exten- end, the TFC Pop-Up Shop for a landmark season. Production Supervisor sive renovations. In addition surpassed sales goals and Ashleigh Johnston, MLSE to the space itself, the shop Production Artist included merchandise and Mike Kavouris, MLSE giveaways, including the grand Illustrator prize of a vintage Toronto Dan Funderburgh FC foosball table signed by the entire team. With the Raptors playoff run, the Blue Jays opening day, and the
52 AWARDS OF MERIT 53 MAPLE LEAF SPORTS & ENTERTAINMENT LTD. (MLSE) LIQUOR CONTROL BOARD OF ONTARIO (LCBO) TORONTO RAPTORS IN-ARENA PRESENTATIONS CINCO DE MAYO EVENT
Creative Director Creative Director Matt Coyle RGD Brad MacIver Art Director Graphic Designer Kevin Mones Lyda Arevalo Designer/Animator Marketing Manager Kevin Briones Sarah Smith Designer/Animator for Marketing Coordinator “Big Rings” and “Playoffs” Matt Wade Davor Mihalji Support Animator for “Playoffs” LCBO Special Events Team Sean Curry Projection Animator Ryan Massiah Executive Producer Michael Gelfand Editor/Associate Producer Mark Vallena Producer Adam Holmes
The goal of any opening the team’s fan base became is to create hype around a deflated and needed encour- team and make fans believe agement. This challenge was that they can will no matter addressed head on with the who enters the building. It execution of this design — and also helps to intimidate the the results were tremendous. opponent before tip-off. This Fans brought a playoff energy design used aggressive visuals every time the team took that were cut to aggressive to the court, developing a music, creating an atmosphere reputation as one of the most of dominance. Coming off of dedicated and vocal fan bases the Raptors’ overwhelmingly in the league, and leading to successful regular season, the team’s best home record followed by the disappointing in history. first round of the playoffs, LCBO regularly hosts special and learn’ session. The design events to enhance customer collateral included a vast spec- experience and promote prod- trum of needs, including print uct knowledge. For LCBO’s and digital signage, custom tequila promotion, the team coasters, invitations and tast- came up with a Cinco de Mayo ing tickets. Prior to celebration. Hosted by Valdez, the actual event, digital and a prominent Latin-themed print components were also restaurant in downtown created to advertise and pro- Toronto, the event featured mote ticket sales — all under custom cocktails paired with a tight timeline. The result samples of delicious street- was a sold-out, well-attended style dishes, plus live music, event that received tons of hands-on cocktail stations positive feedback. and a premium tequila ‘taste
54 AWARDS OF MERIT 55 DELOITTE LIQUOR CONTROL BOARD OF ONTARIO (LCBO) EXECUTIVE GIFT PACKAGE GROWLER PACKAGING DESIGN
As part of the organization’s Creative Director Creative Director business mandate, the LCBO Caroline Bruckner RGD Brad MacIver developed a special section Senior Designer Graphic Designer in one of its flagship stores Cris Jaw RGD Jessica DeVaal in Toronto to showcase local Production Artist and international craft beers. Yuka Seiriki Lyda Arevalo The boutique features a Lead Designer Marketing Director tasting bar and the Growler Arash Sharifi Kathy Messersmith Stop, where customers can National Director/Marketing Marketing Manager purchase freshly-poured draft and Sales Support Colleen McHughan beer in oversized, jug-style Jason Boyer Project Coordinator containers, called ‘growlers’. Senior Manager/Sponsor Debbie Williams Custom graphics and labels Rachel Franklin Production Coordinator were designed by the LCBO Ross Taylor-Munro Design Studio Manager In-house Design Team for the growler packaging. Sharon Pang One of the main design Marketing Specialist challenges was to create a Katrina Warren packaging solution that would stay true to LCBO branding, while also appealing to craft beer enthusiasts. It was also The Craft Beer Boutique boutiques province-wide. New To reinforce existing client rela- necessary to source and test officially launched on locations with Growler Stops tionships, Deloitte launched a various paper stocks for the September 17, 2015, and has are currently in the works. select number of unique once- growlers’ information hang received lots of media and in-a-lifetime travel experiences tags, which needed to be industry attention. Local beer to Rio de Janeiro (Brazil) for moisture-proofed and sturdy makers are very supportive of the 2016 Summer Olympic enough to withstand conden- this initiative and look forward Games. The objective was to sation in the beer fridges. to roll-outs of additional present an exclusive experience to clients that would fill them with anticipation and intrigue for their upcoming journey to Brazil. The concept evoked nostalgia using an invitation package inspired by vintage luggage: a custom-designed wooden box with leather straps, handmade to the design team’s specifications. The box was lined with a flat-bed direct print of a vibrant feather pat- tern on brushed chrome. Upon opening the box, the recipient would find a card with a built- in video message, an invitation letter with the trip itinerary, Brazilian-themed gifts and hand-made Brazilian wooden artifacts. Recipients of the gift box were delighted with the package and Deloitte received excellent response rates.
56 AWARDS OF MERIT 57 SPONSORED AWARDs >
DOMTAR AWARD: UNIVERSITY OF TORONTO FACULTY OF MEDICINE MAGAZINE DESIGN
IIDEXCANADA AWARD: O/M CATALOGUE
ACCESSIBIL-IT AWARD: CANADIAN NATIONAL INSTITUTE FOR THE BLIND (CNIB) LAKE JOE DONOR IMPACT REPORT UNIVERSITY OF TORONTO FACULTY OF MEDICINE MAGAZINE DESIGN
The alumni magazine for shared with many people. Art Director/Designer the Faculty of Medicine at To avoid being perceived Raj Grainger the University of Toronto is as a bland, corporate PR In-House Photographer the Faculty’s main brand piece, art and photography Erin Howe piece, with a reach of about were commissioned and External Photographer 28,000 recipients. Its two created to be meaningful, but Jacklyn Atlas, Kristin Foster main objectives are to keep also witty, surprising and often External Illustrators Faculty alumni informed of the tongue-in-cheek. The use of Valentine DeLandro school’s research and educa- contemporary, modern Melinda Josie tion initiatives and to provide typefaces (NB International Dave Mazierski an opportunity for graduates Pro, Tiempos and Tungsten) Luke Pauw to show their school pride in bold and unconventional by displaying the magazine ways, created fresh and prominently in their waiting interesting editorial layouts. rooms, offices and homes. A fluorescent Pantone was Working with a small budget, used in each issue for the writing and design of the additional impact. The magazine was produced large- magazine received the 2016 ly in-house with some support Robert Sibley Magazine of the from external photographers Year Award from the Council and illustrators. for the Advancement and The design of the maga- Support of Education (CASE). zine needed to transcend style trends and withstand the physical wear and tear of being
“The paper we used was Domtar Lynx Opaque 80 lb cover ABOUT DOMTAR and text. We chose Lynx for Here’s to the risk takers, the three reasons: trend-setters and the socially 1. Budget: It was about the same responsible. Here’s to creatives, price as the generic “No. 3” designers and printers who coated paper that was used put heart and soul into their before the redesign work and then trust it to the 2. Uncoated: It’s uncoated and Cougar®, Lynx®, Husky® and fairly bright; which, combined EarthChoice® brands. Domtar’s with the UV and fluorescent creation of quality products ink, really makes the ink “pop” reflects a commitment to the graphic design industry. Check 3. Environmental Concerns: out Blueline by Domtar®, an It’s Forest Stewardship industry-leading resource for Council (FSC) certified and fresh content, innovative ideas, Rainforest Alliance Certified, perspectives and possibilities, which are important consider- at domtarblueline.com. ations for us”
60 DOMTAR AWARD 61 O/M CATALOGUE
O/M’s first Catalogue debuted than the traditional interior/ Art Director in 2012, marking the organ- exterior and wall/ceiling Mariana Serra ization’s transition from an categories. The challenge was Graphic Designer artisan’s workshop to an to develop a brand that would Clara Zorsoli industrialized company. Now, stand out and communicate Product Designer O/M is positioned to become the company’s unique Diogo Pinho an important brand in the narrative. Everything in this Project Manager highly competitive world of catalogue was created from Joana Rocha technical lighting. An aspira- scratch: images, copy, tech- Commercial Copywriter tional manifest was created, nical drawings, icons and Peter Mack re-organizing the product product renderings. The final Product Photographer families into unconventional catalogue is a great reference Filipe Braga groups—more similar to col- tool for clients and employees. lections in the fashion world Likewise, it performs a powerful sales function. It represents the company’s new identity and reflects a commitment to innovation and transparen- cy, creating a cohesive brand that reflects O/M’s essence and beliefs.
ABOUT IIDEXCANADA IIDEXCanada, Canada’s National Design and Architecture Exposition JUDGE’S COMMENT & Conference, brings together This is an elegant and informative the design, architecture and piece of work that enables the real estate communities for brand to compete in a compet- two days of sourcing, net- itive category. It is modern and working and education, plus relevant and really answers the innovation and best practices. brief of creating an aspirational manifest that highlights the IIDEXCanada takes place in brand. It would be hard not to Toronto from Nov. 30 to notice this one. Beautiful work! Dec. 1, 2016. IIDEXCanada is — REBECCA O’DONNELL proud to sponsor an award for in-house communication designers working in environ- mental design, construction and/or real estate sectors.
62 IIDEXCANADA AWARD 63 CANADIAN NATIONAL INSTITUTE FOR THE BLIND (CNIB) LAKE JOE DONOR IMPACT REPORT
The objective of this project As an organization that Designer was to create a piece that serves the blind and par- Simone St. Aimee would showcase Lake Joe’s tially sighted, CNIB’s work is Copy Editor camps for blind and partially designed using Clearprint ABOUT ACCESSIBIL-IT Stacey Sleightholm sighted Canadians (kids and guidelines. This means the Accessibil-IT is proud to spon- Print Producer adults) and report on a capital design was restricted from sor an award to recognize an Lynn Donald campaign that raised eight using fonts smaller than a in-house design team that has Project Manager million dollars to show donors 12-point size, faded images, developed amazing accessible Diana Rosales how their money had been script or serif fonts, tone on communications. We are the Photographer used. The piece would also tone, etc. The challenge was largest electronic document Edward Kowal be used by fundraisers as a to create a high-end design accessibility services provider Art Director tool for soliciting funds from on a budget, while working in North America, with clients Mariana Serra donors in Muskoka and the within these guidelines. The located across the globe. Our surrounding region. result was extremely well clients rely on our exceptional received, and to date it’s the technical skills, knowledge of most talked about Lake Joe relevant legislation and atten- piece that has been created at tion to client service. We part- CNIB. This resulted in so many ner with many design firms requests for the report from and in-house design teams donors that it became difficult to assist them with achieving to keep up with demand. their accessibility goals.
64 ACCESSIBIL-IT AWARD 65 COLOPHON
DESIGN Capital One Canada | PRINTER Somerset Graphics | PAPER Domtar – poster: Cougar Vellum, 80 lb text – catalogue cover: Cougar Super Smooth, 100 lb cover, inside pages: Cougar Super Smooth, 80 lb text.
© 2016 The Association of Registered Graphic Designers (RGD), 96 Spadina Ave., Suite 210, Toronto, Ontario, M5V 2J6, Canada.
No part of this book of award-winning selections for the 2016 In-House Design Awards may be reproduced in any form or by electronic or mechanical means without the written permission of The Association of Registered Graphic Designers, the designers or any individual or corporate entity holding the copyright of this work.
All work reproduced in this book has been accepted on the condition that it is reproduced with the knowledge and prior consent of the actual owner of the image; consequently no responsibility is accepted by The Association of Registered Graphic Designers for any infringement of copyright arising from publication thereof. Please note that the submissions in this catalogue are intended to illustrate the in-house design content of the individuals and organizations featured. Any dates, offers and claims mentioned may have changed and/or ended since the date of release.
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