2015 has arrived; a time of resolutions, hoverboards, and new beginnings. So, it seems more than appropriate that we take this time to announce the changes here at Hexanine.

It’s been nearly six amazing years, and we’ve had the pleasure and good fortune to work with dozens of great clients on amazing projects that inspired others, won awards, and moved the needle for organizations large and small. And now it’s time for a change.

After thousands of miles, millions of Skype sessions, and tons of wonderful memories, we are are bidding Hexanine a fond farewell, and moving on to new opportunities.

Both of us are heading off in different directions, with new challenges and other teams, as well as exciting solo endeavors. You can keep in touch with both of us in a variety of ways, so please drop a line or give a call.

Best wishes, adios, good night, and good luck!

“There is no real ending. It’s just the place where you stop the story.”

— Frank Herbert

We mentioned back in August that our work for AIGA Chicago and Unisource had been selected as an FPO Award winner. Our copy of the award book finally arrived in the mail a little while back, and we’re so superjazzed that we had to share. Another great shout out is due to Armin and Bryony for all the great work they do with FPO and all their other design-loving endeavors. You can purchase your copy of the book here. Or you could also set one of the images in this post as your desktop wallpaper. We did.

More beautiful pics after the jump.

AIGA, the professional association for design, is the country’s largest community of design advocates, uniting practitioners, students, and enthusiasts to behind common goal: advancing design as a professional craft and a vital cultural force. It was founded in 1914 in New York City, and has since grown to encompass 68 chapters including over 25,000 members. Here in Los Angeles, our chapter has a rich history dating back 30 years, involving such design legends as Saul Bass, Deborah Sussman, April Greiman, and Sean Adams, among many others.

Last month, while serving as Vice President of AIGA Los Angeles, I was asked by Noreen Morioka to assume the role of President as she stepped down to focus on personal and business matters. It was my great privilege to say yes, and I want to thank Noreen for the countless hours she’s devoted to our chapter over the past few years; AIGA Los Angeles is where it is today because of her leadership.

I joined AIGA four years ago because I wanted to see change in our local design community. We live in exciting times. Design is everywhere, and has crept into the public consciousness and everyday language. People are more aware of design and designers, and there are many more opportunities to make a difference with design, both inside and outside of the industry. This is also a transformational time for the design field which presents unique challenges: the increasingly-fractured nature of the profession, the rise of crowdsourcing, and ongoing economic struggles. LA itself suffers from segmented creative industries and distant communities.

Now, surrounded by a fantastic board of directors and dozens of talented, amazing volunteers, I’m excited to help chart a new course in the history of our organization while facing those challenges head-on. Through a strong and united design community, we can address these issues directly — through relevant resources, events, and partnerships.

Together, we can elevate the profile of our profession, benefiting everyone in the creative community, no matter their role, whether they’re students, in-house designers, freelancers, studio owners, art/creative directors, or anyone in between. 

If you’re a design professional, I invite you to join AIGA, and add your voice to the mix. Our community is what we make it, and there’s plenty of room for more.

Onward,

Jason Adam

Last week I had the privilege of moderating the panel discussion at the premiere event in our AIGA Los Angeles Blueprint series. We brought four of LA’s finest independent designers to NextSpace in Culver City, CA for a two-hour discussion on the business of freelancing.

While freelance designers love to talk about their creative work, they’re often less fond of talking about their businesses. Such “boring” topics as accounting, taxes, legal issues, business strategy and client relations are often considered necessary evils, reflected by their time spent in the conversational spotlight.

And that’s no good.

We at AIGA think nuts-and-bolts business information is vital to any self-employed designer, so we created the business-focused Blueprint series to find out if the rest of the self-employed design community does too.

Turns out they do: The event was sold out, and we practically had to kick attendees out the door after it ended, they had so many questions for our panel.

Speaking of the panel, I can’t say enough good things about this talented and experienced group, and I’m honored to call them my friends.

• Petrula Vrontikis founder of Vrontikis Design Office, an Art Center professor and AIGA Fellow
• Heather Parlato founder of Parlato Design Studio, a boutique design agency
• Spencer Cross, founder of TokyoFarm and Kernspiracy
• Mark LeRoy, the founder of Escape Hatch, a luxury travel company, and silverECHO, a brand strategy, marketing and design agency.

The discussion was lively and thoughtful, stocked with behind-the-curtain, practical insights and suggestions. We could have easily talked another hour or two, and barely scraped the surface of both the topic, and the panel’s collective knowledge on it.

Above: AIGA Los Angeles Blueprint: Freelance panelists from left to right: Jason Adam (moderator), Mark LeRoy, Heather Parlato, Spencer Cross, Petrula Vrontikis.

Among my favorite insights for freelancers:

You’re a business owner, not a designer. On average, all four panelists spend about 30% of their time designing. The rest is spent running their business, or in business development.

Titles are important. Not one of our panelists refer to themselves as a “freelancer,” opting instead for terms like solo-practice (or in Mark’s case, Contract Marketing Director), which offer elevated positioning.

Where you decide to work is a personal decision. The panel was split on working alone from a home office, or working from a co-working space or shared office. Heather recently gave a shared office space a go, but found it too distracting. The consensus was this is a very personal choice. For those opting to work at home, Spencer suggests dogs.

Freelancing allows you to keep a larger portion of your earned money. For those considering making the leap to freelancing full-time, and concerned about financing the jump, Heather suggested that one can expect to pay significantly less in taxes as a freelancer than she did as a full-time employee.

Flat fees vs. billing hourly. Our entire panel typically bills projects on a flat-fee basis, vs. billing hourly, with a few small exceptions, such as revisions or production work.

Effective positioning and communication helps attract the right kinds of clients. Mark suggests using analogies: “I sell Mercedes’. If you want a Ford, this might not be a good fit.”

“Work directly with the client” except when… Petrula explained: If you have a very specialized skill, such as an illustration style, etc., you can command a premium fee for your work, and it may be beneficial to subcontract through other agencies. Just ask lots of questions and make sure you can use it in your portfolio.

Staffing Agencies are great in a pinch, but watch the strings. If you’re going to work with a staffing agency, read the whole contract. They likely have strict non-compete clauses included.

And we covered that in about 10 minutes. This is one smart group, and I can’t wait to get them together again.

Here at Hexanine, we’re also committed to elevating design as a professional craft through a focus on design thinking and brand strategy. We feel strongly that the more our clients utlize us as strategic consultants, the more value we can bring to the table — and their organizations.

Many thanks to AIGA LA Event Programming Chair René Quintanilla, and event producers Janette Jackson and Jenn de la Fuente for producing the event, and to all of our AIGA Los Angeles volunteers for their hard work as well. If you’d like to learn more about AIGA Los Angeles, visit our spiffy new website.

Finally, a huge shout out to Paul Dimalanta who provided the fantastic pictures.

While this season’s Lexus December to Remember holiday campaign is being panned, ridiculed, and parodied, we took notice on the astonishing long-term brand ramifications of it all.

Team One, a unit of Saatchi & Saatchi, created the commercials, in which an unsuspecting husband or wife is confronted by the Lexus December to Remember jingle (you’d know it if you heard it), while their partner watches and waits in gleeful anticipation. The delivery method varies from spot to spot (a rock-band themed video game, a crystal music box, and oddly, elevator music), but the hook remains the same — slowly, the gift receiver recognizes the music (as does the viewer) and realizes they’re about to receive a $30–80,000 present. The big reveal is the couple walking towards a brand new Lexus, as always, topped with a big, red bow.

The messy societal issues of such a campaign aside, the ads are a brilliant example of how short-term brand coherence can pay off in the long run, in surprising and unexpected ways.

Lexus first began using the jingle, a shortened version of songwriter Steve Kujala’s “Family and Friends,” for the local Los Angeles market in 1999, taking it, and December to Remember, national in 2001. Year after year, come November, Team One and Lexus returned to the jingle, and now, 13 years later, it’s built up massive amounts of brand equity.

13 years is an eternity in the advertising world, and most jingles — even those supporting entire global brands — don’t have a shelf life half that long. Here we have a single seasonal campaign whose theme music has become so recognizable, that it itself can act as a playful hook supporting an entire campaign, almost singlehandedly.

It’s these kind of results that show why brand equity is so important, and why sticking to your branding year after year can yield unexpected — and invaluable — results. No amount of money could have bought Lexus that kind of consumer recognition in a year, or even two. In branding, just like cooking, time itself is an essential component that can’t be replaced.

So what do you think? Are there other seasonal campaign jingles that can hold a candle to Lexus’ December to Remember? Let us know by leaving your thoughts in the comments below.

Halloween is a hoot — let’s just get that out of the way. But for a seemingly-superficial holiday (dress up and get candy/get drunk), there’s quite a bit going on behind the scenes culturally. And for those of us in the branding world, that’s even more intriguing than the sweets (though less delicious).

This Halloween, we’ve noted the increasing trend for Trick-or-Treaters and Halloween partygoers to forego the traditional fun and/or scary character costumes, and don brand-specific consumer product attire for their once-a-year holiday getups. More and more Xbox consoles, Hershey Bars, Facebook pages, iPhones, and Schlitz beer bottles are sprouting arms and legs each year.

Picking a costume is a fun and personal decision, and with no lack of choices, what does it say about our society when someone shimmies into a specific representation of a branded product? What’s behind this shift away from mummy and princesses towards McDonald’s fries and walking iPads?

Here are a few reasons we think are worth highlighting:

Consumer Products Are A Shared Cultural Currency
As entertainment markets have fragmented into dozens of sub-genres, film and TV references are naturally more obscure than they used to be. So, if a Halloween party-goer is looking for recognition, attending a party in a DIY Aquafresh tube outfit will probably be received better than a meticulously-created-yet-little-known Star Trek character costume.

Better and More Thoughtful Branding
Over the past decade, consumer products have been branded in more distinctive and clever ways, and we’ve wholeheartedly accepted these items into our daily lives with gusto, building ever more robust emotional (and subconscious) attachments to such products as electronics, cleaning supplies, sports clothing, food and beverages, and countless others.

People Are Seeking Comfort and Familiarity
Culturally speaking, it’s often been suggested that uncertain economic times draw the public away from film dramas, and towards escapist comedies and fantasies. With the global markets still tenuous, to an anxious public, horror costumes like witches and Wolf Men may seem less desirable than a walking Coca-Cola can.

Halloween Now Aims At Adults
Marketers have succeeded in pushing Halloween as an adult holiday, and the results have been predictable. After all, it’s adults who buy all the candy and decorations, and it’s adults who purchase the costumes, and it’s adults who use most consumer products. The more grown-ups involved in Halloween, the more their fingerprints will appear on its various aspects.

So that’s the landscape, but how does a brand get in on this action?

Producing a licensed costume seems like an obvious choice. Though branded Halloween digs are becoming increasingly common, an organization rushing to market with a branded getup may be missing the point. It’s not the availability of a costume that’s going to entice people to wear it — it’s their feelings towards the brand in the first place. The stronger and more personal connection we foster towards individual products, the more likely we are to see those products as extensions of ourselves. And with a strong enough bond, we’ll create the costume ourselves, as the thousands of homemade iPod costumes from a few years ago demonstrate.

Branded Halloween costumes aren’t a tool in which to build your brand, they’re an end result of strong brand fundamentals in the first place. The connections people make with their brands and those products happen in the dark recesses of the brain, but they’re not random — they’re based on a few, essential practices that any great brand manager holds in the back of her mind:

Make a Great Product
Whatever opinions you hold about Apple as an organization, the design of their products is second-to-none. Consumers often pay a premium for the design, but the resulting bond that ensues is a powerful force that even today many other manufacturers have failed to realize. It’s not just the devices, though — Apple customer service routinely ranks high in surveys, which further imprints the company’s value and and friendliness amongst their customers.

Have a Consistent Visual Identity
Facebook page costumes have flourished over the past few years, in a way that we never quite saw with MySpace, even at the height of its popularity. Facebook’s consistent color scheme and standard visual look allow it to be recognizable from a distance, with the quickest of glances (A blue and white page with a sidebar, and bam — you’re a Facebook page). A MySpace costume, on the other hand, would not be nearly as identifiable, as they all looked so different. You want your costume to be recognizable.

Be Strong in Your Brand Message
Twenty years ago, bottled water barely existed. Today, it’s a multi-billion dollar industry and people are dressing their kids up in as Fuji water bottles for Halloween. This is a direct result of two decades of singular messaging: Bottled water is the freshest, cleanest, safest water you can buy. Despite this being demonstrably false, the powerful and consistent message has cemented itself in the public psyche, and the results speak for themselves.

Halloween only comes around once a year (as of this writing, anyway), and there’s no lack of costume choices. Those consumer brands that have made the leap from shelf to costume have accomplished something incredible. But it’s not so much the result of fickle consumer choices, as it is the byproduct of strong and consistent brand platforms, visuals, and messaging. With those in place, there’s no telling what people will be wearing come Halloween.

And that’s half the fun.

Brand books are awesome. As proof, we submit the Skittles brand book created by TBWA.

This strange and inspirational manifesto crystalizes the personality of a brand whose average consumer is “12–17 years old,” “wears large hats and other popular clothing,” and “fears long-limbed animals, such as giraffes.”

Sadly, TBWA recently lost the Skittles account, but not before producing some of the most memorable oddvertising the world has ever known.

More images after the jump.

So are they trolling us? Or is this genius at work.

What do you think?

After nearly two years in hiatus, the iam8bit art show is back, with a high-profile gallery opening next Thursday, August 11th! This show will be one for the ages, and definitely worth checking out. Started by our friends at iam8bit in 2005, the art show has featured hundreds of artists’ interpretations of their favorite 1980s video game heroes, heroines, villains, and damsels in distress — and this show should be the best yet.

Peep the awesome poster art above, created by our buddy Dave Crosland.

Also, the new iam8bit book, which we designed and co-published, will be officially released at the show.

Take a look for more info on the opening, and the evening’s festivities, which will include all-night ambiance by DJ R-Rated. Both Jason and Tim will be in attendance, so come down and join us for the festivities!

Video games are no longer a niche market. They’re big business, having long-since eclipsed Hollywood blockbusters in revenue. Culturally, we’ve grown used to video game franchises with their own storylines, plots, and characters — a complex web of merchandising, marketing, and gameplay.

It’s easy to forget that these paths were forged by a cast of simple, clever little characters of ’80s videogames. Their screen time may have been short, but Pac-Man, Q*Bert, Mario, and many other characters were bursting with personality, fun, and an ethos that we wanted to capture in the book, SUPER iam8bit: More Art Inspired By Classic Video Games of the ’80s. With our client-partners and co-publishers, iam8bit, we designed the entire volume, helped curate the mass of excellent artwork, and launched our creative imprint, Plastic Highway.

For more details about this project, power up to our iam8bit portfolio page.

And if that’s not enough ’80s video game goodness for you, be sure to check out iam8bit’s 5th art show in Los Angeles, where the book will be officially released and available for sale.

Squaw Valley 1960 Winter Olympics

sneje
Designer: Russ Lobachev, Client: sneje

Snowrider

Reykavik Winter Lights Festival
Firm: Tunglid Advertising Agency ehf., Designer: Tomas Tomasson, Client: Reykavik City

Mt Buller
Firm: SOS Design, Client: Mt Buller

Luxair Snowflake
Firm: Vidale-Gloesener, Client: LuxairGroup

FishFlake
Firm: Bulletpoint Design

Asahiyama Zoo
Designer: Susumu Endo, Client: Asahiyama Zoo

Salt Lake City 2002 Winter Olympics
Firm: Landor Associates

NixOS