Graphex 2010 Winners Site

Rolando Diep - The Suitcase Series Volume 1

The Suitcase Series Volume 1: Camilla Engman, client
Janine Vangool, designer
Camilla Engma, illustrator
Camilla Engma, photographer

Design Requirements

This series presents, in glorious detail, the lives of artists and designers from around the world. Small and intimate, each book contains special treasures. Each book in The Suitcase Series is a precious souvenir of a creative journey shared between the artist and you, the reader.

Solution Rationale

The book is sketchbook-like in size and format. In this edition we have included a glassine envelope of postcards with which you can create a Camilla-inspired collage. You’ll also find a booklet of the adventures of Morran, the little Swedish dog with a big imagination.

Judge's Rational

My first thought was...I love books! Once I saw the piece in detail, it made me realize that designing this artist’s biography took quite a bit of personal integration between the designer and its subject to fully understand the author’s point of view; spending a lot of time reflecting on the artist’s work, looking inside the artist’s life, craft and vision. To me, that is passion for design. This is a piece you want to keep in your library.

Louise Fili - Cena D’Chez Nous

Théâtre du Nouveau-Monde, client
IDENTICA Montreal, cesign firm
Julie Brassard, Françoise Cournoyer, designers
Barbara Jacques, creative director
Julie Brassard, Art Director
Julie Brassard, illustration
François Forget, writer
François Lattaro, production artist
Louis Dorval, producer
K2 Impressions, printer

Design Requirements

The challenge was to create an enticing piece for a fundraising event that would encourage participation of the business and financial community, as well as demonstrate the theatre company’s creative vision and cultural involvement. This challenge was even bigger in 2009 due to the recession.

Our objective was to convey the “French” nature of the show, give a sense of the event (tasting new cuisine and attending a theatre performance) and present a fresh and dynamic design to convince 2008 contributors to come back in 2009.

Solution Rationale

The team decided to go French at 100%.

All communications pieces presented codes from the French culture: colours, illustrations, tone and manner, even the two Québécois actors who played in the video (Normand Chouinard and Rémy Girard) used French accents to make it come to life. The pieces are simple and smart: the invitation can also be used as a coaster and aprons were created for the staff in order to re-create a typical Parisian atmosphere.

Judge's Rational

I love this piece’s exuberance and originality and the fact that everything was done by hand. They created a whole personalized typeface for it and looking at all the permutations that were created to deliver the concept makes it very exiting and very refreshing. They did a great job... makes me smile!

Mark Randall - Qmunity Identity

Qmunity, client
Rethink, design firm
Kim Ridgewell, designer
Ian Grais, Chris Staples, creative directors
Creative B’stro, programmer
Keri Zierle, writer
Sheila Santa Barbara, producer
Justin Renvoize, studio artist / typographer
Justin Young, account services

Design Requirements

Qmunity is a leading provincial resource centre that offers community services and programs that celebrate, support and enhance the diverse cultures of queer communities. The services and programs they offer support healthy and active living, provide leadership, increase awareness, advocate where needed, and promote arts and culture.

Solution Rationale

Qmunity is where members of BC’s queer community can make themselves heard, so we designed its wordmark to include a speech bubble. This graphic element then made its way onto posters, buttons and online, where people could fill in the bubbles with what their community means to them.

Judge's Rational

What I like about this piece is that it goes to the heart of the matter, which is giving this often marginalized group of individuals a voice. The symbolism of what this entire program is trying to address is so powerful but at the same time simple, accessible and practical, and I think that for a small non-profit it’s very cost-effective, clean, friendly and engaging. It works on a lot of levels and serves its audience in many different ways. I wish this entry had been part of the Social Cause category—it really works great at that level. What I like about this piece is that it goes to the heart of the matter, which is giving this often marginalized group of individuals a voice. The symbolism of what this entire program is trying to address is so powerful but at the same time simple, accessible and practical, and I think that for a small non-profit it’s very cost-effective, clean, friendly and engaging. It works on a lot of levels and serves its audience in many different ways. I wish this entry had been part of the Social Cause category—it really works great at that level.

Matt Warburton - Mountain Equipment Co-op Bicycle Branding & Graphics (Series)

Mountain Equipment Co-op, client
Switch United/MEC In-House, design firm
Felix Heinen, Terry Walker, designers
Blair Pocock, Judy Snaydon, creative directors
Ian Hoffmann, illustration

Design Requirements

Mountain Equipment Co-op (MEC) is one of Canada’s largest outdoor retailers, helping people enjoy the benefits of self-propelled wilderness-oriented recreation. MEC required an overall design direction and logo/graphics package for their line of bicycles, a completely new product line developed and produced by MEC.

The MEC-brand bikes needed to look unique, and be easily differentiated from lower quality entry-level and mid-level bicycles carried by competitors such as Canadian Tire, Costco, and Wal-Mart. The look and feel should not only convey MEC’s brand qualities of outstanding value and quality, but also a sense of accessibility as these bikes are primarily aimed at the average bike buyer and rider. The graphics should get noticed and have a distinct appeal while complementing the existing MEC logo/brand.

Solution Rationale

We proposed two design styles to differentiate the two main types of bikes—urban and road/mountain—and appeal to their respective target markets.

For the urban models, we suggested a playful, illustrative West Coast style. The hand-drawn graphics convey an easy-going, non-technical approach to riding which fits well for the target market of more casual riders who primarily use the bikes to get around town. Presenting the bikes as fun, accessible, and cool was a priority, and this creative approach gives the bikes a hip look without detracting from MEC’s focus on product function and performance. Tone on tone colour palettes add interest while keeping with MEC’s traditional product look.

For the mountain and road bike models, we recommended a bolder, more geometric approach. The strong lines and solid, contrasting colour blocks of these designs fit well with MEC’s other product offerings. This look has a slightly more technical edge, with graphics sizing and placement accentuating the design and contours of the different bikes frames in this category. Higher-end performance models boast multiple colours and additional racing-style details.

Judge's Rational

This was a tough decision, but I gravitated towards this project for a number of reasons.

One, I’m a cyclist.

Two, I’ve done bike design and bike graphics and I think the designers on this project came up with a branding solution for these new bikes for MEC in a really unique, innovative but totally appropriate manner. They are urban bikes, they are supposed to be stealth—you don’t want loud splashy graphics—and I like the fact that these guys don’t have to compete against other bikes in the store so they were able to go quite understated in the design. With this design you would have no problem worrying about locking these bikes on the street because they don’t look that fancy from the distance, but when you have a chance to get closer and see the graphics details come together, it is like a very intricate and subtle tattoo that not many people get to see up close, and you keep discovering new things on it every time.

And three, they are lots of fun...I’m jealous!

Julia Hoffmann - 2009 Holiday Season Handle with Care, wine bags

Paprika Communications, client
Paprika Communications, design firm
René Clément, designer
Louis Gagnon, creative director
René Clément, art director
Transcontinental Litho Acme, printer

Design Requirements

For our 2009 Holiday Season gift, we decided to play on the all-too-common “bottle of wine” gift idea.

Solution Rationale

The joke was that our gift came with no bottle and no wine… just a big box with 8 thought-provoking, smile-inducing wine bags inside — each one a concept on its own, such as:

- In case of emergency, pull the handle… but be careful. It may contain traces of cheap wine.

- Did you know it takes 10 minutes of skipping to burn off the calories in a single glass of wine? Fortunately the string on the handle can be used as a skipping rope.

- A kick from champagne… before they’re pulled, the handles are shaped like a champagne flute.

- It’s all there and more. We wouldn’t string you along. Honest!

Judge's Rational

I like these because they are fun, really playful and evergreen. They are timeless and have different playful components that keeps them interesting; either with the handle, the graphics, the colours, the inside. I like them because they make me smile and make me feel warm inside and ultimately that is what I like about graphic design.

"Graphex 2010 Passion for Design Award" in Memory of Leo Ostbaum 1969-2009

“My name is Leo, and I am a dreamer.”

This is how Leo Obstbaum used to introduce himself at every meeting in his role as Design Director for the Vancouver 2010 Olympic and Paralympic Winter Games. Whether he was meeting a new merchandise licensee, or embarking on a collaboration to design the torch, he was a dreamer. He saw endless possibilities in everything and everyone he encountered.

Leo was born in Buenos Aires, and grew up in Barcelona. He studied at the Institute of Integral Communications of Barcelona, specializing in corporate identity. In 1990, he founded his multidisciplinary design studio specializing in fashion, music, and film design.

Leo – short for “Leonardo” – was truly a modern-day Da Vinci, designing in a wide range of media and industries, always learning and mastering new creative frontiers as a result of his boundless energy, curiosity and intellectual agility.

Whether he was designing an exquisitely elegant issue of a skateboard magazine, or creating an arresting, futuristic film installation for Barcelona Fashion Week, Leo was in his element whenever he was able to stretch his imagination and that of others.

The combination of Leo’s enormous passion and the speed with which he worked produced a long list of spectacular creations, big and small. Just a few of his highlight projects include the wardrobe design (comprising 300 costumes) for the multimedia opera Don Quixote in Barcelona (by theatre company La Fura dels Baus), the graphic identity for the film Son de Mar (by renowned director Bigas Luna) and the wardrobe design for the Barcelona Olympic Games 10th Year Anniversary. A collaboration with composer Miguel Marín resulted in a personal video art project called Beyond Identity, which was featured at the Sónar Music Festival (Barcelona), in Paris and the Lovebytes Festival in Sheffield (UK).

It is perhaps a testament to his talent that he was so often the designer of choice for other creative stars and artists; however, Leo also remained loyal to many of his first clients, including a pizza parlour for whom Leo designed flyers between designing album covers and fashion shows. He also had a soft spot in his heart for designing wedding invitations and baby announcements for family and friends.

Leo came to the Vancouver 2010 Organizing Committee (VANOC) in 2006, a few months after moving here from Barcelona with his wife and daughter. Nine years earlier, Leo and his Canadian wife (who grew up on Vancouver Island) came to the west coast on their honeymoon, and he instantly fell in love with the region and country, and its values. As he said in his cover letter to VANOC, “I wanted to give [my daughter] the chance to grow up in Canada”. So the young family decided to move here, coming as early as possible so Leo could fulfill a lifelong dream of designing for the Olympic Games.

In Leo’s first interview with VANOC, his passion and warmth were unmistakable. Beyond the undeniable experience and talent that he brought to the table, it was also clear that Leo brought an infectious enthusiasm and love of working with others that would make him the perfect fit within the Vancouver 2010 team and extended family.

As a designer, Leo had it all. His imagination and creativity was unparalleled. His mind was always going; he saw inspiration in everything. Once, he came back to the office after a doctor’s appointment and told colleagues that he had just read the hunting section of an outdoor equipment catalogue and had an idea for designing some Vancouver 2010 camo-print for the Olympic licensing program.

Leo had eureka moments everywhere, all the time. His VANOC team mates received a steady stream of emails, phone calls and “interruptions” at all hours of the day and night, whenever he wanted to share his latest discovery or idea. He took hundreds of pictures everywhere he went – from Saltspring Island to Beijing, and they were definitely the pictures of a born designer. From the wrapper of his sandwich to the pictogram on the bathroom door, to the title graphics of the airplane movie, he absorbed ideas – for the present or future – wherever he went.

Leo often said “God is in the details”, and he lived by that mantra no matter what the project. His files could be blown up to the size of a skyscraper, and you wouldn’t find one extra space or errant node. He educated himself on all aspects of a project, taking painstaking care to align the design and production processes, which allowed him to deliver world-class creative on a tight budget and extreme timelines. Whether it was incorporating the Vancouver 2010 emblem into a tattoo on the mascot Quatchi’s arm, or suggesting a maple leaf shape for the air intake hole of the torch, Leo found a way to take something that was 95% great, and make it perfect.

Leo was also the ultimate problem-solver. He was stubborn and clever enough to turn the boldest of visions into reality, or overcome the biggest of challenges in record time. He was an incredible team player, never wanting to let anyone down, never thinking himself above anything. The words “No”, “I can’t” and “It’s not my problem” were not in his vocabulary. This generosity of spirit resulted in many late nights on his computer, responding to an emergency request with the same conscientiousness and creativity whether it was a T-shirt label or an Olympic medal.

Another one of Leo’s many gifts was his ability to find talent. Although he could’ve single-handedly done an exceptional job of any of the Vancouver 2010 projects, his desire to achieve the best possible design for our Games resulted in many great collaborations – both within VANOC and externally. He didn’t seek to be alone in the spotlight. He sought the magic of combining the ideas and talents of many to showcase the best of today’s Canada.

This was Leo’s ultimate vision – to celebrate all that he admired about Canada and the Olympic ideals through unique and inspiring Vancouver 2010 design. He wanted to capture Canada’s magnificent land, its cultural diversity, its progressive social attitudes, its artistry, its youthfulness, its “coolness”, and even more, its warmth.

Leo described his mark of success in this endeavor. He said he would know VANOC's job was done if grandparents and grandchildren alike were wearing Vancouver 2010 T-shirts by the end of the Games. For those who knew Leo, this dream undoubtedly came true, like so many of his wild and beautiful dreams.

“The brightest of eyes. The biggest of smiles. The warmest handshake. The proudest father. The cool hunter. The king of design. The king of the party. But most of all a dreamer. He helped each of us realize a dream, and how fortunate that the biggest dreamer realized so many of his. He remains an unstoppable inspiration to all of us. Leo, you are an icon. You will be missed dearly, but through us your dreams live on.”

– Ben Hulse, Designer, Vancouver 2010

Many thanks to our Graphex Sponsors of all levels: Primary (Domain7 and Hangar 18), Secondary (Kwantlen University, Functionfox, Ampco Grafix and 3S Printers), Media Sponsors (Taxi + The Creativie Finder), Supporting (Fierro Photography, AJ Graphics, LiFT Studios), Mohawk, Phil Chin Photography, Kirk, John Peachey & Associates