When former Pentagram partner and Apple design director Robert Brunner founded Ammunition ten years ago, he noticed an increased emphasis on the “strategic importance” of design.
Hope Gangloff won’t let her face be photographed. Unlike some of her contemporaries, who cruise the fair and gala circuit to keep their names bold-faced in the art world, the 42-year-old American painter prefers to stroll the streets of New York solo.
In a nice contrast to the flashy super brands gracing Miami’s South Beach, The Plymouth brings out the city’s softer side.
Strategy + interaction design + engineering + product design = the backgrounds of the four founders of Portland-based creative agency Industry. While Meral Middleton, Tom Lakovic, David Thorpe, and Oved Valadez (respectively) may be a diverse group, their mission is streamlined.
When James Goggin earned his Master’s in graphic design from the Royal College of Art (RCA) in 1999, he was also in the midst of fighting the department’s decision to rename itself. “They wanted to call themselves ‘Communication Arts and Design,’ but I was interested in keeping graphic design as an emphatic name,” says Goggin.
Upon first glance and based on size alone, Instrument is impressive.
Huge’s Oakland move helped them focus on business + the new digital economy.
Work & Co’s DUMBO office is raw + modern with no hidden bullshit.
While visiting Pennsylvania Amish country in the 1970s, Alan Siegel, founder and chairman emeritus of global brand strategy, design and experience agency Siegel+Gale, saw a sign that struck a chord. It read: simple is smart.
In 1982, Portland-based friends and colleagues Dan Wieden and David Kennedy ditched their former advertising agency to launch their own, with just one client: Nike.