Again, after another challenging year, the inspiration for this year’s illustration came from the ordinary things in our lives, most of which we simply take for granted.
The control panel of a commercial elevator is a marvel of simplicity, the ideal interface for the complex task of delivering people and cargo to different parts of a building. Logical, sturdy, standardized, modular, accessible to the disabled, a triumph of functional design, and we’re just talking about the buttons pad! I did take some license in my illustration, but most of the hardware is true to the original.
We hope this image will bring a renewed interest on the myriad of instances where functional design impacts our lives, but most of all we hope that it will be fun reminder of the importance good design has in our lives, personal and collective.
And with this message, we wish you a fabulous new year and the successful pursuit of everything you wish for.
Arietta Cinematografica Presents: “The Truth About La Dolce Vita” by Giuseppe Pedersoli
About the project
The need was to create a brief, concise pitch deck that would be used to present this fantastic documentary to international buyers. We chose to keep with the original poster’s palette and create a layout that would highlight the aesthetics of post-war Italy.
See the pitch deck for the project
See the trailer on YouTube
Giuseppe “Peppino” Amato, the man who helped define Italian cinema
A central figure of Italian cinema between the 20’s and 60’s, Giuseppe Amato was one of the influential players in Italian film production. A sensitive, intuitive and adventurous producer, can boast several masterpieces of Italian neorealism in his long list of credits. Classic titles such as: “Umberto D”, “Francesco Giullare di Dio”, “Don Camillo” and “The facts of murder”, to name a few. An elegant and charming man devoted to the art of filmmaking both an actor and as a director first, and to ultimately become great catalyst of Italian cinema.
The highlight of his forty-year career is carefully reconstructed in this docudrama, explaining why he was the only producer in Italy to understand the importance and extraordinary nature of the movie: ”La Dolce Vita” a larger than life gamble that created a myth, but that also came at great personal expense.
In this study I wanted to capture the personality and style of both Mariela Moodie the artist as well as the persona.
All marks are minimalist in their design yet this is achieved without sacrificing originality and style. Each one tells a slightly different story, highlighting different elements of Mariela’s style and personality. Color palettes are indicative and can be refined further, however I am satisfied with the results as presented.
The first concept is influenced by the Caribbean colors and art dear to Mariela, using bold colors and shapes to create a monogram which is playful and bold. The second concept is provocative, with the pursed lips as a red hearth with the M as a central element of the design. The third is the most ethereal and abstract, using three triangles and a n absent fourth one to create a wonderful tension as the M is not immediately discovered by the viewer.
To me each mark has its distinct character, offering enormous creative potential for use in both brand communications as well as in merchandising applications.
Their versatility can be easily understood just by imagining a wide variety of applications. I sincerely hope that you will be as excited with them as I am after designing them for you.
After such a challenging year, the inspiration for this year’s illustration came from the nostalgic world of amusement parks and arcades.
Will it be a ride in the hall of mirrors, the tunnel of love? A haunted castle, or perhaps a roller coaster? While we have little say on what the new year will bring, it will be up to us how we respond to its challenges and opportunities.
Enjoy the ride then, we hope it will bring more laughter than screams, but that most of all we hope that it will be fulfilling.
We wish you a fabulous new year and the successful pursuit of everything you wish for.
My family from my mother’s side has acquired farmland by way of cattle trading, an activity my great-grandfather pursued over a century ago with a good degree of success. Fast-forward to today my mother’s farm “Canestrello” is celebrating its 100 years anniversary, which is a milestone we wanted to celebrate with something special considering the fact no one of us will be present the next time the century turns over.
Canestrello and its surrounding areas have been known for their durum wheat (the bread and pasta making cereal to be clear) for centuries, this tradition has been maintained through our family’s history and is a source of pride to the present day.
The idea was simple and ambitious at the same time, turning a portion of our durum wheat into pasta to celebrate this beautiful crop which has defined our family and Italy too as pasta and pizza conquered the world. At face value this proposition seemed quite reasonable, that is if you don’t consider that given the type of product a “limited” production would require four metric tons of raw material to be transformed into roughly two metric tons of high-quality “artisanal” pasta. Some kind of family project, definitely up there with a kitchen remodel.
On my end I would contribute marketing, branding, and communications, which are my areas of competence, by building the brand from the ground up starting only with a name and a geographic location.
The project began with a qualitative and quantitative market survey that I developed with Survey Monkey. The objective was to investigate attitudes towards “artisanal” pasta—a small batch gourmet version of the product we are used to consume in its industrial form via commercial brands such as Barilla, De Cecco, or whatever your supermarket carries—as well as the types of shapes people favored in what I referred to as the Hit Parade of pasta. A mailing list was generated via Mail Chimp within our family and friends to create a pool of prospective customers, contact was made, the questionnaires disseminated, and soon enough we had a snapshot of what roughly 250 people thought about our idea. Not only the survey gave us an understanding of the attitudes regarding “artisanal” pasta, but it also informed our decision of what types of pasta (remember we are producing two tons of the stuff) and in which quantities we were going to produce it.
My sisters tackled all productions aspects, stuff like moving truckloads of wheat, finding the mill, and ultimately finding the pasta maker that would accept such a small order, since two tons in the pasta business is considered somewhat of a test production.
On my end I had to design the logo, develop a brand identity, including a package that had to be produced into two separate sizes, one for long and one for short pasta. As expected a Website to present the initiative had to be created together with some labels and a few other corporate identity materials
Logo design – final
Logo design – with tagline
Box Package – short pasta
Box Package – long pasta
Box Package – long pasta
Flyer leavebehind – front
Flyer leavebehind – back
Website – homepage
Website – history page
Website – product page
Website – catalog page
Moving forward we will simplify the packaging to control cost, likely we will move to a labeling system to go over the cellophane bag, eliminating the cardboard box altogether. Hopefully this solution is not only cost-effective but also more eco-friendly as well.
Packaging label only solution
Packaging label – light
Packaging label mockup – light
Packaging label mockup – light with product information
During my collaboration with the FILA brand—an Italian sportswear brand with an elite image here in the US—was going through several momentous changes.
At time the company had licensed a US company to produce FILA branded athletic footwear for the US market which quickly became so successful as to overshadow the Italian main brand for sales volume here in the US. This amazing success prompted the Italian management team to cash-in on the success by arranging to re-purchase the licensing rights from the US holder as well as their operations, which would later be integrated with FILA’s (far smaller) US operations.
The “original” Italian FILA had a niche “country-club” appeal, which made it desirable but not very popular in the mainstream market. While the US footwear operations had leveraged this Elite Euro appeal to target inner-city youth, which by then was revolving around the Rap and Hip-Hop culture being amplified nationwide through the popular MTV video channel.
A daunting task was at hand, how to integrate two radically different companies (one operating in Turin, Italy and the other in Baltimore ,USA) which shared the same brand identity but had implemented radically different strategies to achieve their success.
During my tenure as International Director of Advertising I worked to integrate both operations, merging (when possible) the communications efforts, and centralized the marketing operations with a brand management team that was based in the US and would serve all worldwide subsidiaries and importers for advertising and marketing materials. The objective was simple, centralize production to control the message and positioning, cut costs by avoiding duplication on ads and marketing materials produced in local markets.
To me the problem wasn’t creativity (FILA was a cool brand with lots of athletes as testimonials), the problem was logistics. How do I quickly involve all the stakeholders (subsidiaries and importers) in the production of advertising campaigns so that their input could help us make the most of the high production dollars we were spending in the US? It’s important to understand that this was happening in a pre-internet world, where instant communications were only happening via the telephone and fax.
AECOM is a global provider of professional technical and management
support services to a broad range of markets, including transportation,
facilities, environmental, energy, water and government.
With approximately 100,000 employees around the world, AECOM is a
leader in all of the key markets that it serves. AECOM provides a blend
of global reach, local knowledge, innovation and technical excellence in
delivering solutions that create, enhance and sustain the world’s
built, natural and social environments.
A Fortune 500 company, AECOM serves clients in approximately 130
countries and had revenue of $8.2 billion during the 12 months ended
March 31, 2013.
Ethos Factory has produced several award-winning projects for both
AECOM and its operating companies around the world. Here are some of the
Annual Reports; Semesterly magazine; Brochures; Video presentations.
This project is the typical startup story, an idea around which a whole brand needed to be invented. The idea was looking to improve on the successful coffee retail chains, not just a lounge with free WiFi, but by adding an art gallery and performance space to turn the space in a multi-discipline gathering place that could feed all the senses.
The first item of the list was naming, a simple catchy name that would immediately create a link between coffee and art, quite a challenge given the complexity of the concept and the fact that gourmet coffee was already a congested segment. The first name we proposed was “SMART – Art so fresh it’s never seen a museum”. Like SWATCH but with the added value that SMART also made the conceptual tie with art from young (inexpensive) artist. Art that is freshly made, like a good coffee, not something you’d see hanging in a museum. This meant art accessible to everyone, not just to the affluent collectors, what a perfect name! SMART.
To our bewilderment the client didn’t feel the name captured the essence of their concept, so back to the drawing board, feeling your best idea had just succumbed.
After a taking a break and resetting our creative clock we developed CANVAS Café and Gallery, to identify the space as place were interests, passions, lives combined to create. The space were all of this was to happen had to be aptly called THE CANVAS, and it stuck. The name was chosen.
Being a “concept” much of the brand identity was developed fairly quickly and without the opportunity of further refinements, also everything was on a shoestring budget, which never helps.
The client tried to develop the concept into a franchise and sadly after several years of operations the project was wound down.
Through the years The Canvas became an anchor for neighborhood activities in the University district of San Francisco, with many loyal customers and hosting well attended art openings, music concerts, and poetry readings. I remember reading many posts from longtime clients that were bemoaning the loss of one of their favorite hangouts.
Over the past seventy-seven years LACCD served as educator to more
than three million students. Affordable, accessible and practical, the
LACCD offers opportunity to all.
Our rebranding initiative intended to showcase the district’s new direction towards sustainability and innovation.
Our doors are wide open for a diverse student population eager for skills, knowledge and upward mobility.
LACCD educates almost three times as many Latino students and nearly
four times as many African-American students as all of the University of
California campuses combined. Eighty percent of LACCD students are from
Ethos Factory has helped develop several aspects of the new brand
identity and communications. Here are some categories of the work we
Logos; Naming; Corporate Identity Study.
Resource Recovery Initiative; Websites; Technical manuals; Digital slide shows; Merchandising.
Window displays; Building graphics; Store design.
Corporate headquarters – Branding project
Corporate showroom – Branding project
Corporate showroom – Branding project
Corporate showroom – Branding project
Corporate showroom – Display materials, print and digital