Margo Chase: Chasing the Bright Light Selected Bibliography
Books 2008 Gomez-Palacio, Bryony, and Armin Vit. Women of Design: Influence and Inspiration from the Original Trailblazers to the New Groundbreakers. Cincinnati: HOW Books, 2008. 117-119. Print. (illustrated in color) Adams, Sean, ed. Masters of Design: Logos & Identity. Mass: Rockport, 2008. 42-55. Print. (illustrated in color) 2006 Bucher, Stefan G. All Access: The Making of Thirty Extraordinary Graphic Designers. Rockport: Mass, 2006. 110-117. Print. (illustrated in color) Fishel, Catherine M. Design Secrets: Packaging: 50 Real-Life Projects Uncovered. Singapore: Page One, 2005. 6-11. Print. (illustrated in color) 1999 Harper, L, M.S. Jarrett, and K McCoy. “The Progressive Gothic.” Radical Graphics/Graphic Radicals. San Francisco: Chronicle Books, 1999. Print. (illustrated in color)
Newspaper and Magazine Articles 2016 Mooth, Bryn. "Margo Chase on Growing Her Iconic Business." HOW, December 14, 2016. http://www.howdesign.com/design-business/design-news/margo-chase-growing-iconic- business/. Web. (illustrated in color) Mohan, Anne Marie. "Design group answers question: ‘Can your eyes make your nose happy?’." Packaging World, 2016: 8. Print. (illustrated in color) 2015 Deseo, Jessica. "Spotlight: Chase Design Group." The Dieline, October 2, 2015. http://www. thedieline.com/blog/2014/9/24/spotlight-chase-design-group. Web. (illustrated in color) Kaplan, Michael. "Margo Chase Design: Cooler Than They Already Are." Graphis, Vol. 53, no. 307, 1997: 36-47. Print. (illustrated in color) Liederman, Erica. "Daughter Dualities." Create, Winter 1996: 30-35. Print. (illustrated in color) 1996 "Showcase: Margo Chase." Art and Design News, Jan/Feb 1995: 16-17. Print. (illustrated in color) 1995 Levine, Robin. "7th Annual Design Awards." Publish, 1995: 47. Print. (illustrated in color) "Margo Chase." Adobe Magazine: 6th Annual Type Issue, 1995: 46-48. Print. (illustrated in color) Eggers, Ron. "Sleight of Hand Lettering: Margo Chase’s Magical Designs." On Line Design, 1995: 18-21. Print. (illustrated in color) 1994 Gilman, Karyn Lynn. "An Interview with Margo Chase." Letter Arts Review, Vol. 11, no. 2, 1994: 36-45. Print. (illustrated in color)
199 Prendiville, Julie. "Margo Chase." Communication Arts, May/June 1993: 40-49. Print. 3 (illustrated in color) "Rich Vein: Undying Ads Lift ‘Dracula’ To a Spine-Tingling Opening." Adweek, Vol. XXXXII, 1992 no. 47, 23 November 1992. Print.
99 PASADENA AVENUE, SUITE 9 LOS ANGELES, CA 91030 323-668-1055 WWW.CHASEDESIGNGROUP.COM Page 1 of 2 "Specialty CD Packaging: Margo Chase uses Photoshop to design a Grammy nominated CD package, complete with “tarot cards” for Cher’s most recent album." Step-By-Step, Vol. 8, no. 5, September/October 1992: 110-126. Print. (illustrated in color)
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There ls a very controlled, organic quatlty 1980s when there were strong gothic edgy and experimental. My design was to your worh, and you were originat(JI a trends in fashion and interior design. I self-referential and there was lots of biotogymajor.Coincidence? know my early work influenced by room for personal expression. I everything going on around me, where I lots of design decisions based on gut not. I've always been fascinated was made traveled, I the fashions intuition rather than research. by organic form. I loved biology for many and Probably were. I think it's impossible and maybe reasons, but the beauty of natural forms, what read, what even counterproductive to try to work in a my clients are much larger and both living and non-living, intrigued me vacuum, so I paid attention to everything. more corporate, so the work isn't from the start. The influence of these forms Today One of the things I love most about de me anymore. I spend time listening to on my work was unconscious, however. I about sign is the excuse it gives me to become consumers and trying to figureout what never intentionally tried to make things a sponge. I love books and I have a huge they'll like. I use my skills, taste and ex feelorganic; they just out that way. collection that fills one entire wall of my pertise to make and direct design that studio. I collect books on everything from will connect with people I often have lit You have maintainedcame a uni que, hard-to- typography to textiles. Looking back, I tle in common with. Today I'm getting a describe aesthetic that is a medley, and chance to deliver on my belief that good , can see the influence on my work of my this is meant as a compliment of Goth and design can change minds and behavior. modernism. How doyoufeetyourworh has progression from one interest to another. evolved over the course a/twenty years? The look of the work I do now is much We have to ash... How coot is it to have I'm really not sure how I feel about the different from what I was doing when I designed the identity for one of the most Goth label. I've heard it a lot, so it must started. My first clients were all in the successful and pop-defining TV series, be true. I started doing design in the mid- music business, so the work could be Buffythe Vampire Sl�eri'
The team also explored Indian artwork, frescos, and textiles for • inspiration. From these sources, rich, detailed artwork was devel oped for use on canisters and bottle bellybands. Two different looks were built from the green paper and floral illustrations: The core product line-which includes Oil of Love, Pleasure Balm, and Honey Dust-is wrapped in the green ribbed paper. Each flavor has a different bellyband design to distinguish it and tie it into the second look, which was used on the gift product line. This line is decorated with similarly colored illustrations based on the art of the original Kama Sutra.
"We felt that color was an important aspect that was missing in the old packaging. The Oil of Love is manufactured in various beautiful colors, but they were hidden inside brown or black tubes, which are necessary to keep the glass bottles from break ing. We decided to bring the color to the outside of the contain ers," Chase says. She notes that the consistent green paper theme gave the client a single, ownable color on store shelves and helped him carve out an identifiable space. "But we wanted to break that up with floral patterns and illustrations to keep everything interesting, inviting, and friendly."
The art served another, more subliminal purpose. Many people are uncomfortable buying sex products. "We hope that the beau tiful art would help people feel like they were buying a gift or a piece of art rather than a sex aid. That's one big reason for Karna Pa.F'. Sutra's success: It still does a huge amount of business in sex - �Btillltd-"�� shops because its products are the only ones that look tasteful, and he has been able to break into the mainstream gift market - � ¥'\;l�twvt-vu-- for the same reason," Chase says. h-D\ J.-s ----beioU�
ot" Today, the Karna Sutra product line is found in high-end gift c.ol(eL:h Chase doesn't claim that the new packaging is the only reason for such impressive improvement, but both she and the client like to think it has had a huge impact. She also credits client Joe Bolstad-the only client she has ever had who graduated from Art Center with a degree in design-with being incredibly recep tive to their ideas. "We often make comps in several versions. He takes them away and sits with them until he's sure which one is right. He'll have thought everything through and offer great input, often making 0 Rich fabrics from India were one of the visual resources that Margo Chase and the designs even better than they were," she says. her designers studied for guidance on color and illustration. 0 A range of sketches completed during early discussions with the client. Mooth, Bryn. “Margo Chase on Growing Her Iconic Business.” HOW Design, December 14, 2016. http://www.howdesign.com/design-business/design-news/margo-chase-growing-iconic-busi ness/ Margo Chase on Growing Her Iconic Business By: Bryn Mooth | December 14, 2016 Margo Chase made a name creating iconic typography for some of the globe’s biggest mu- sic stars (hello, Madonna, Prince and Cher). That was 30 years ago, and Chase’s influence and creative integrity are still thriving. In between, she’s landed nearly every major honor in the design field and been recognized by HOW, I.D., Graphis and others. Very deliberately growing her business since 1986 from a solo practice, Chase now steers a bi-coastal design studio with 30-some employees. At HOW Design Live in Chicago, Chase will present Fired Up: Fueling Growth with Good Design, in which she’ll talk about finding the delicate balance between a financially successful firm and a creatively successful one. We recently asked her to look back at projects that put her on the map and to share what’s led to her success. Looking back at the start of your career, did you envision leading a business with 30- some employees? To paraphrase the Talking Heads, “Well, how did you get here?” It wasn’t really a plan. When I started, it was all about the work. I’m in LA, so the entertain- ment and music business was the place to be very self-expressive as a designer. I looked for a job when I got out of school and I expected to get hired in with a studio, but that didn’t happen, so I started freelancing. That work started to grow, so I started hiring people to help me with the design, and then I hired a bookkeeper and then there came a point when I knew I needed to hire more help. My business partner, Chris [Lowery] has been instrumental. Once we got to be 5 or 6, I sort of woke up and realized: This is a business. This is fun and inspiring. When you’re working alone, you get up super early and you have a great idea and you start to work and suddenly it’s 2 p.m. and you’re still in your pajamas … that’s a luxury but it’s also sort of lonely. I found that there was this whole energy of having more people and more ideas flowing around. People told me, “You better be careful because you’ll grow your business to the point where you don’t get to design anymore.” I’ve been deliberate about not letting that happen. My range of involvement varies a lot — there are times when I’m designing the whole project, and times when I contribute parts of the work, a logo or elements of typography, and times when I’m involved in just the creative direction. I get to pick and choose the projects where it makes sense for me to get deeply involved. I’d prefer wearing two hats — being the boss and doing the design — than not getting to design at all. Can you recall a watershed project — one that helped establish your reputation and put you on the map? How did you land that work? Did you realize at the time that it had the potential to transform your business? We’ve had a couple. Back when it was just me in the music business, getting to work with Madonna raised my profile not only in the music business but outside as well. After doing that for about a decade, I started to see the writing on the wall and I realized that I wanted to do work where design would sell the product — that’s not true in the en- tertainment business, where the movie star or the musician sells the product. I knew that consumer products and packaging was where design could make a difference. The first client we got was a brand called Kama Sutra. They were in a fringe market — sensual body products — but they were willing to take a risk on me because at the time I didn’t have packaging experience outside of music packaging. Our work helped changed their business dramatically — it took them from super niche to mass-market. I realized that we could then take that story and sell our capabilities in CPG. Califia Farms has been another watershed client — we’ve worked with them for about five years. Starting from scratch, we created their logo and packaging for their almond milk and cold brew coffee and other products, and it’s been very disruptive in the category. I love design and I love that we can see the results of our work make a difference every day. You manage to create really beautiful work for both mass-market brands like Nestle and P&G and for small brands like Atwater Village Farm. What does it take to produce quality design in the face of brand standards and corporate cultures and all those oth- er roadblocks to great work? I think that the fact that we advocate for design is part of the reason. We fight for the work, and a lot of that work the gets into the mass market still has high design quality. It’s a battle … forever. We’re always challenging, “Have you thought of this?” “Are you sure this is what you want?” I think it’s that level of dedication to quality first that separates us — we spend a lot of time talking about that around here. If we’re not going to do the work we feel good about, why are we in it? It’s about balancing a financially successfully company with a creatively successful one — and that’s what I’ll be talking about at HOW. There are projects we take where we don’t get to win those creative battles, but they fund other work that we love. But the real successes are where it’s a mass-market product and we still love the work. Chase will share more of her philosophy about balancing creative work and business suc- cess in her HOW Design Live session, Fired Up: Fueling Growth with Good Design, present- ed by The Dieline. Browse the HOW Design Live speaker lineup to see other industry icons whose work you’ve long admired who will be taking the stage in Chicago. Mohan, Anne Marie. “Design Group Answers Question: ‘Can Your Eyes Make Your Nose Happy?’” Packaging World, June 20, 2016. https://www.packworld.com/article/package-design/ redesign/design-group-answers-question-can-your-eyes-make-your-nose-happy Design group answers question: ‘Can your eyes make your nose happy?’ Refreshed graphics for Gain Laundry Detergent focus on the fresh scents for which the brand is known, delighting consumers with playful images and vibrant colors. By Anne Marie Mohan, Senior Editor, Packaging World Procter & Gamble’s Gain Laundry Detergent is a billion-dollar brand, largely built on its consumers’ love for the product’s fresh scents—Lavender, Ocean Breeze, Island Es- cape, and Apple Mango Tango, among them. But in 2015, the brand wasn’t dressing the part. That’s according to Chris Lowry, President of Chase Design Group, which was chosen to refresh the brand packaging. “At that time, the laundry category focused on cleaning efficacy, and the Gain packag- ing fit that mold,” says Lowry. “Unlike many laundry shoppers, Gain consumers love scent, but at the time, the package didn’t clearly communicate the great scent inside.” The core requirement for the redesign was to delight consumers and clearly convey the fresh scent profiles. The project encompassed 174 SKUs and included all of Gain’s product forms, including laundry detergent in a rigid plastic handled bottle, fabric soft- ener in an hourglass-shaped rigid container, and Gain Flings! detergent pods in a round plastic tub container. A key element of the project was the new logo. Gain’s existing logo was masculine and sharp, like many of the performance-positioned category logos. Chase updated the logo to a playful, friendly letterform along with a sunburst logo to better reflect the brand’s expressive scented products. Label graphics include lively and distinctive scent visualizations—flowers, ocean waves, and apples, for examples—against vibrant, color-drenched backgrounds. Ac- cording to Lowry, these distinctive visual identity elements also bring the same brand sensibilities to other communication touchpoints for the brand. The new package graphics for Gain were launched in 2015 to positive response. Says Lowry, “Gain continues to grow at retail, and consumers regularly express their love of Gain’s products and packaging in social media.” Deseo, Jessica. “Spotlight: Chase Design Group.” The Dieline, October 2, 2015. http://www.thediel ine.com/blog/2014/9/24/spotlight-chase-design-group In-Depth • Jessica Deseo • October 2, 2015 Spotlight: Chase Design Group Chase Design Group is a creative agency with offices in California and New York. With over 28 years in the design industry, the agency is dedicated to achieving client suc- cess through innovative strategy and breakthrough design. Their team crafts effective and award-winning solutions that are compelling to the end consumer and produce tangible results. We met with Margo Chase, Executive Creative Director and Paula Hansanugrum, Creative Director in their California office to ask them some questions on the agency’s beginnings, and how their work has impacted the consumer brand sector. WHAT INSPIRED YOU TO START kick ass job and never did. I wouldn’t YOUR OWN DESIGN FIRM? recommend just stumbling into running a business. I didn’t know anything and had Margo Chase: “It was an accident for me to learn by making mistakes, lots of them. really. I was a biology major and I took I’ve been fortunate to find smart people some design classes as an elective to to help me along the way. I wouldn’t be keep my GPA up. I fell in love with design. here without them.” I tried to combine biology and design in graduate school by studying Medical HOW IMPORTANT IS IT FOR DESIGN- Illustration. But it wasn’t as creative or ERS TO BE ABLE TO TALK ABOUT exciting as graphic design. Most medical DESIGN? illustrators spend a lot of time in hospital basements…definitely not as glamorous MC: “It’s incredibly important. While there as design! is a place for a talented designer who is not particularly articulate, they run the risk After I realized I wanted to be graphic of always being just a designer. In order designer, I started interviewing for jobs to move up the food chain, you must be with a portfolio full of surgical procedures able to talk about your work to clients. In and drawings of the human foot. None of the end we are designers creating work the design firms in San Francisco would for clients who can’t do it themselves. touch me. The remains of my student Clients hire us because we are experts loan were disappearing fast so I moved at the visual language that is design. We to LA and couch surfed with friends until have to be able to translate our visual I got a freelance job at a small ad agen- vocabulary into words that our clients can cy in Long beach. The agency handled understand.” packaging for Ralphs grocery stores. I ended up designing plain wrap, not the HOW HAVE BRANDS AND CONSUMER glamorous work I had dreamed of! PACKAGING CHANGED? Friends from college came to my res- MC: “Design has become a mainstream cue and connected me with a publishing conversation. Both clients and consum- company where I was hired to do some ers are more visually literate now. Clients book design work. In that same network- come to us and say, “I was on the dieline ing circle, I met a woman who worked as and saw…”, or they’re collecting imag- an art director at Warner Brothers music. es on Instagram or Pinterest and making She hired me to design logos for bands moodboards for themselves. Designers and music packaging. That was my big can’t get away with just making things break. I spent the next 10 years of my pretty anymore. It has to be more than career designing music packaging. It was just pretty - it has to actually work.” a blast. PH: “Also, we used to be only focused on It was never my intention to start my own packaging, we’re now expected to think company. I kept thinking I would find a through how everything we do on pack translates to every medium – print, broad- MC: “Our basic philosophy is, “question cast, digital, even promotional events. It’s everything.” We come back to this man- much more ‘big picture’ world for design- tra a lot. If you don’t ask the right ques- ers these days since consumers are more tions you will never really understand design-savvy than ever.” the problem that your design needs to solve. Questioning things is important all WHAT’S A DREAM PROJECT? through the process. Ask, ‘Is this good enough?’ ‘Is there a better, simpler way to MC: “I would love to brand an airline.” communicate this?’ We try never to stop at ‘This is fine.’” PH: “A dream project would be branding a boutique hotel. I love the idea of being Paula Hansanugrum: “Margo really prac- able to design and curate a complete tices what she believes. She’ll be the first experience for someone – from the iden- one to look at her own work and say “Not tity and website, to way-finding and envi- good enough.” That sets a great example ronmental signage, to toiletries, in-room for all of us. It keeps us in the mode of materials – everything!” always learning and improving.” HOW DO YOU DEFINE PASSION? WHAT ARE YOU LOOKING FOR WHEN HIRING DESIGNERS? MC: “Passion is the belief that design can change the world. We have incredible MC: “A good blend of skills. Paula is a power as designers. It takes a ton of work very talented designer - when she in- but with the right message, in the right terviewed she had a good portfolio and place, we can change people’s minds and good work experience, but more impor- make anything happen. tantly, she was articulate and could ex- plain the why behind her work. We look When you’re passionate about something for right and left brain balance, good you don’t mind working hard at it. When designers who can think strategically and you work hard at something you get good explain the reasons behind their work. at it – which makes you even more pas- Clark Goolsby, Creative Director of our sionate. It’s a nice feedback loop. During NY office, is the same. He’s an incredible my first decade as a designer I worked designer who can also write great copy, out of my house. I’d get up in the morn- develop strategy and talk articulately to ing and start working and suddenly it clients. Some people on my team have a would be midnight. I definitely put in my classic graphic design background, but 10,000 hours. Today I have a lot of in- others have illustration, science, fine art credibly talented help but I still work hard. or even finance backgrounds. All of this It is all absolutely worth it.” diversity creates a smart well-rounded design team.” WHAT IS CHASE DESIGN GROUP’S PHILOSOPHY? YOU WERE NAMED ONE OF THE MOST INFLUENTIAL DESIGN FIRMS FROM THE PAST 15 YEARS IN TREND- sign there were no desktop computers. I ING USA. WHAT ARE SOME THINGS did logos and lettering by hand. We used THAT BROUGHT YOU SUCCESS? photo-stats and rubdown transfers for comping. It was a huge amount of work MC: “Some good luck and a lot of hard and took forever. work. I’ve been lucky to have the help of talented people and make a few good I got my first Mac in 1991. It was in- connections. We’ve been lucky to have credibly expensive even though it had a clients who have wanted to work with us 256Mb hard drive and did almost nothing. repeatedly over the years. For instance, Photoshop had been around about a year we have one client who started at Mattel, and was pathetic and slow, with only one then moved to Target, then to CVS and undo. It was unbelievably primitive but at finally to Starbucks. She brought us with the time I thought it was amazing. Ado- her to each new place. We have a few be Illustrator was another gift. Suddenly relationships like that and they are price- I could set my own type and didn’t have less. A good client relationship is just as to use a stat machine. Hand-inking sym- important as doing great design work.” metrical letterforms is really difficult (I was into symmetry at the time) so Illustrator HOW MUCH DOES LUCK PLAY INTO A was a huge improvement there too. DESIGNER’S CAREER? In the record business, CD’s emerged MC: “I think good luck is the thing that and that was a huge change. And then happens when you work hard and are the internet happened. The internet has willing to take risks and grab opportu- completely changed the way people nities when they present themselves. In think about brands and design too. The some ways it’s much harder to distinguish internet has made design and branding yourself now because there’s much more household words and put immense pres- competition. It was a lot easier when I sure on designers to keep up.” started because there were fewer of us. You still need to work at it, but today you can cultivate an online presence, which was impossible when I started. A lot of independent designers are getting smart and taking advantage of social media and inventing new ways to get their work out there.” HOW HAS DESIGN CHANGED THROUGHOUT YOUR CAREER? MC: “Style and trends always change but changes in technology have been truly dramatic. When I first got started in de- 20916 · V:) OOOMA 11DH N � t,61 ' 3A\f. 3NIM:II-L0L.,� 0)1SOW 'VlJlPIW-u •••+•• . ' ,t2tl 'E6:J30· d#!;t6101.62t0#� •20916 ll�IO-� 1H60SX8# ;"Vot XXXXII No. 47 WESTERN EDITION November 23, 1992 • $2.50 : THE FATEOF GRUSHOW'S ,•FRANIWN/STOORZA MARKETINGGROOVE .... : nae rivalrybetween W-ithFox Broadcast• top San Dieso shops RICH VEIN Ing marketingwldz, . , , . frankllrt/Stoorza and Sandy Grushowex : Phillips-Ramsey took pected to replacePe · 1aotber turn last ter CherniD as presi week withthe news dentof Fox, look for thatF /S c;reatives the network's auda John V"dro and John cious marketingto · Robertson are leaving By Kathy Tyrer-Going for . get bolder. F�s on tbe shop. 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H�_BAGS (See page 18) · Travel and tourism veteran Bill Vogel is Jolnlnc DDB Needham LA. folding his $10. mlllfon Vogel Commu nications Group/LA, By Shell)'Garcia-When Jay Chiat struck a deal to seJl Australia's M'ojo Into the agency, The MDA Group Ltd. to Foote, Cone & Belding Communications, he shed move P,HODB moreThe than theSale Mojo nameof Australia's on his agency's shingle. Mojo Mojo, MDA. the star to MeeilhamP/lS1POrl ii which Chiat/Day·hitched dreams of a Pacific H.irn conquest, never to a whole new busi Will AllowChiat to Focus on the U.S. ness territory.: yieldedthe hoped-for synergies and drained (Continued on page 6) (S.epage 3) �iJm•� "Ill JIii47 SrEP-BY-SfEl 1 SpecialtyCD Packaging Margo Chaseuse,s Photoshop to des'ign a Grammy nominaJed CD 1xw1�age, corn1Jfole ,with "tarotca:rcl ·, '' for Cher's most 't·ecent album. 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Typically manufactured in small batches of 500 to 1,000 unit.-;,the specialty CD package is targeted at people who can do an album the most good-radio MOTIF AND LEITMOTIF D.Js and record store buyers-in that won the 1991 Microtek De photo session, posing Cher in hopes of making a particular sign Contest and would eventu As Chase explains, the graphic two different costumes and then album stand out from the herd. ally garner Chase a Grammy themes for the original assign sandwiching the new images to Even stars with an established nomination. ment-the cover design-were gether, like the top and bottom following want to ensure a For Chase, specialty CD builtentirelyaround two words: halves of a playing card queen. strong"launch" foranew album. packages present a unique de "We started with the album title, But it was soon clear that Cher When Geffen recording star sign opportunity."Special pack 'Love Hurts.' Cher had a strong was simply too busy to schedule Cher contacted Los Angeles ages are wonderfuI because you 1"(1 li11g that it should be .ibo111. such a session, and Chase was based designer Margo Chase, it have a chance to work on a box, <>t posilcs: love ,m1·." way aro I lhc prohl m: Sim 11 mi l'.s. Th