The Artful Joy of Appreciation

Literally.

Appreciation is always a lovely thing. But how can one not be thrilled by one that’s hand-drawn?!

I was raised by a writer and learned early on to write out my thank-you’s. Friends may even think of me as a bit of thank-you note nut. Just the same, there’s an art to it, and over my lifetime I’ve seen the dwindling of that art. First there was the phone call, then the email note. Add to that the inundated-with-to-do’s, fast pace of people’s lives that doesn’t allow much room for proper thank you’s ~  especially challenging for people who don’t have a natural affinity for writing ~ and the way of thank you note gets lost.

But of course it’s important to realize that appreciation takes many forms. Not everyone draws a picture, or writes a beautiful note. Sometimes they say just the right words, or do something marvelously selfless and generous. People are good at heart; they show it in different ways.

Still … there’s nothing quite like a real thank-you! So I’d like to show a little appreciation for a very special one, by sharing it with you. It’s a card I received from a young girl I’ve never met, who’d received my books and toy as a gift. Hopefully the exuberant art will brighten your day, as it did mine!

(I especially enjoyed the serious, unassuming cover opening to a delightful surprise inside.)

 

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When It's Wrong to Redesign a Brand

Much time, and probably a lot more money, was spent making recent logo changes on some big company re-branding efforts.

EXHIBIT A:  Tetley Tea.  Tom’s of Maine.  The GAP. (old on left, new on right)

The question I ask: “Why”? Have sales been down? Was company morale low? Were they experiencing a scandalous attack? Were decision-making-someones simply bored?

Now, don’t get me wrong ~ I’m all about  presentation and the power of “look and feel”, and if any one of these companies had asked me to give them a redesign, I would have gladly obliged. But – not to sound immodest, as I believe most designers given the opportunity would say the same thing– I would have handled it quite differently, and I’d like to think, more effectively.

One lesson I would apply: “if it ain’t broke, don’t fix it”. This is the part of “Branding 101” known as consumer recognition.

Brand Connections …

Big Brands elicit a kind of personal connection – for better or worse, we make mental, even emotional, associations with how they look. And that association comes from recognition, which stems from the basic concept of consistency.

For high-profile brands, the success derived from established logo/packaging recognition can seriously outweigh whether or not a look is amazing.

As shown in “Exhibit A”, Tetley’s old package was far from hip or upscale ~ but, as a tea drinker who personally loves the smooth, full-bodied flavor of Tetley’s British Blend, I can vouch that the old package says “rich flavor” much more than the new package, which (I truly hate to say) looks more like packaging for a feminine product.

Tom’s, another brand I enjoy, previously used friendly, round shaped bottles and a graphic treatment that worked well with its natural product, whereas the new look reminds me of a bad Web 2.0 design in an oddly shaped container.

As for GAP, the logo may not have been exciting, but it was solid with really nothing wrong.

Doing it right….

For companies/products with already high recognition, rather than reinvent the wheel, redesigns would best be served by tweaking and updating.

EXHIBIT B:  Morton Salt.  Ronzoni.

Morton and Ronzoni made changes with the times, without shocking overhauls. They’ve retained their original intent and managed to successfully alter their look by doing it gradually, with key elements maintained and integrity in tact.

The message being, don’t send your customers on a wild goose chase trying to find your *new and improved* packaging, OR throw them into a tizzy because their familiar, trusted product got a makeover and a new doo, like a friend who’s trying to be, or is turning into, someone else.

Beyond the fact that many people don’t like change, there’s something to be said for the comfort of familiarity in a world that moves too fast and holds many a slick deal.

On the other hand, improvements can be refreshing. Kind of like when you’re loathe to part with an old, favorite shetland sweater ~ but that nice new cashmere in a similar style and color might be hard to resist.

Refreshing is good. But different and unfamiliar is not a smart promotional move. Why discombobulate, and possibly alienate, your audience? For what purpose?

To redesign or not to redesign?

Okay, so maybe the Tetley, Tom’s and GAP folks had good reason for the change. Let’s go ahead and assume the most practical reason: lagging sales or market competition.

But let’s also put it out there that the cause of lagging sales or struggle with market competition just might have more to do with things much less glamorous than a logo or fancy packaging ~ things like business plans and marketing structure, advertising strategies or customer awareness issues.

So that usually, and particularly in the case of well-known companies/products, changing the logo is not the remedy.

(Worth noting at this point … if you’re a start-up company, or your business has been around but floundering in a sea of mediocrity, by all means, run to a great designer. Boosting the look of your branding may be just what’s needed to boost momentum and shift the energy.)

Well, what’s done is done (except in the case of the GAP, who apparently quickly reverted to their original logo after public outcry! ) … but the questions remain:

1. Is it worth the shake-up to completely re-brand a good thing? (I think not.)

2. Will re-branding a good thing turn the consumer away? (Again, I think not… although you may whine, as I have. But if you love Tetley tea, you won’t stop buying it because you don’t like the new package.)

3. In the end, was it worth the time and money to do all that dramatic re-doing?  (Right … I think not.)

4. Could that time and money have been more wisely used? (Most definitely, yes.)

Conclusion: Sometimes it’s wrong to redeisgn a brand. I rest my case.

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Inside My Head / 1

Been burning the candles at both ends. Late at night, early in the morning… many projects, many ideas, lots of hot fudge to keep me going.

And it occurred to me this morning that my overwrought brain might indeed have its own image… so if  the inside of my head were a picture today, this is what *came to mind*.

It’s colorful, for sure. But like my thoughts, the colors are alternately colliding, competing and complementing. Kind of interesting (I think.).

Then I realized that as the day wears on, the inisde of my head will change – because nothing ever stays the same, does it. So, around noon, it might look like this:

And later still …

And if I’m lucky, by the end of the day, it will calm down to a restful glow…

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National Breast Cancer Awareness Month: It Isn't Just Pink

It’s an honor to be working with one of the country’s foremost physicians making great strides with many of today’s most prominent health issues. Dr. Sherri Tenpenny, based in Cleveland, Ohio (be proud, Ohio) is a uniquely strong, positive voice in the medical community ~ and with this month’s spotlight on breast health, it’s both timely and appropriate to acknowledge Dr. Tenpenny’s leadership in breast health treatment.

Utilizing the safest and most effective methods, earlier detection is achieved ~ painlessly and without radiation. I encourage all women in driving distance to make an appointment to visit her clinic in Middleburg Heights, Ohio. Phone # 440-239-3438.

My role with Dr. Tenpenny has been all about branding. For her breast health clinics in particular (and in light of the fact that Tenpenny’s testing is fairly revolutionary), a main goal was to eliminate the intimidation associated with breast cancer screening. To that end, enter the IRBI girl. She is *every girl*, she is fun, she is strong. She stands for Infra-Red Breast Imaging, and I think you’ll be seeing a lot more of this smart gal.

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What I Do When Not Painting The Sky, Swimming With Mermaids, Spotting Fairies and Dragons, Making Peace Signs or Devouring Hot Fudge Sundaes

In other words, how I keep food on the table and a roof overhead.

You can always see a full portfolio at saxtonstudio.com, but thought I’d share a sampling of some recent design projects. They range from branding & identity to powerpoint presentations, graphic murals to event themes, book covers to websites.



Got a project that needs to shine? Visit saxtonstudio.com and call us or send an email!
All art copyright © Saxton Studio and client trademarked.
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Book Trailer for "13 Words" by Lemony Snicket

An altogether fun and delightful book promotion video (reminding me how much I would like to find time to make my own…)  from bestselling author of A Series of Unfortunate Events, Lemony Snicket and esteemed illustrator and New York Times columnist Maria Kalman…. Enjoy!

Thanks to Brain Pickings (a great site for curious things!) for this find!

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"Where Is My Vote?" ~ A Powerful Design Exhibit at New York's School of Visual Arts

Inspired by an email from an Iranian photographer reaching out for worldwide artistic support to raise awareness for Iran’s Green Movement following the 2009 Iranian elections, the School of Visual Arts has put together an incredible collection of posters, designed by some of the greatest names in graphic design, including R. O. Blechman, Cathie Bleck, Seymour Chwast, Ivan Chermayeff, Milton Glaser, Robert Grossman, Anita Kunz, Yossi Lemel, Jennifer Morla, István Orosz, Woody Pirtle, Andrea Rauch, Ralph Steadman, Gary Taxali, James Victore and Massimo Vignelli, among others.

This display is “design as a social tool” on a grand scale and at its most impressive.

Below are just a few of the 150 potent pieces. You can see them all Social Designzine,  as well as watch the video below of author, design historian and SVA MFA Design Dept. Co-Chair Steven Heller discussing an interesting, in-depth look at the show’s meaning.

Copyright, Cathie Bleck

Copyright, James Victore

Copyright, Massimo Vignelli

Copyright, Milton Glaser

Copyright, Yossi Lemel

The exhibition runs through September 25 at The School of Visual Arts, Visual Arts Gallery, 601 West 26th Street, 15th Floor, New York, NY.  For more information, call 212-592-2145 or visit SVA’s exhibit  site.

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Brooklyn Book Festival: Sunday, Sept. 12

This Sunday will be a great big day for book lovers. Along with top literary stars, a rich conglomeration of authors and publishers gathers together each year at one of the east coast’s most visited book festivals: The Brooklyn Book Festival.

The Festival runs from 10am – 6pm on September 12, outside Brooklyn Borough Hall: 209 Joralemon Street, Brooklyn, NY.

And there, nestled in Booth #70 will be some of the most beautiful children’s books at the fair… So if you make it to this cool event, be sure to stop and see my publisher, Shenanigan Books ~ you guessed it, at Booth #70!

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Funny How The Universe Conspires…

On a recent day off, embracing the freedom of being un-plugged and fully enjoying some new scenery, I kept seeing things that seemed to say … okay, get working on that next book!

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"52 Weeks of Peace" Full Circle

It’s official now ~ we’ve come full circle from September 1 2009 to September 1 2010. And while all 52 Weeks have been posted, something didn’t quite work out with the math (which could explain why I’m in the arts and not a mathematician?). So here’s the bonus week as promised (and created with joy by my lovely daughter I have to say!). Besides, it’s only fitting to end, as begun, on my birthday.

And here are my wishes this year ~  That thought by thought, action by action, this nutty, misguided, confusing, troubled, hopeful, amazing, strange and beautiful world may become a better place for our dreams to thrive. That we all choose to participate in the unfolding of what brings us our own individual peace. That we take a bite of something good and make a delicious offering of that something to ourselves, our friends, families, neighbors, co-workers….  That we uplift and respect and care and appreciate. That we smile on one another more.  Imagine the peace that would bring! … and if it only brings peace to a few, know that within those few, the circle has already widened.

Sweet peace to all ~


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Week 52: "52 Weeks of Peace"

As the “52 Weeks of Peace” series comes to its inevitable end, it’s my hope that the spirit of mindful peace will carry on long after the last posting. I hope you’ll find peace in unexpected places ~ and nurture its presence. I hope you’ll seek it, recognize it, allow it, and share it. There’s great power there… beginning with you, me, our families and friends. It doesn’t have to be a movement you join; more importantly, it’s a movement you feel within.

Here’s to planting, growing and tending gardens of peace ~ within ourselves as well as “out there”.

Thanks for sharing this journey together. Cheers all!

PS: Because the series started on September 1st, there will be a “bonus” posting next week.

PSS: Remember, all 52 Weeks are posted here!

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Winslow Homer Commemorated

One of the great American painters, Winslow Homer (1836 ~ 1910), has his own US postal stamp. I’m glad to see it. Despite post office troubles, there’s still something quite honorable about what goes on a stamp.

Looking at this piece, so reminiscent of less complicated times, feels somehow exuberantly refreshing in today’s world.

The stamp, a reproduction of his 1874 painting “Boys in a Pasture”, was revealed a few days ago at the Maine’s Portland Museum of Art, in conjunction with an exhibit of 28 of Homer’s watercolor and oil paintings.

To see more of his work, here’s a nice slide show from the National Gallery of Art.

……………………………………………….

And in case you want to know more…*

Winslow Homer was born in Boston, Massachusetts, in 1836, the second of the three children, all sons, of Henrietta Benson and Charles Savage Homer.

At the age of 19, Homer apprenticed with the  J. H. Bufford’s lithographic firm in Boston. Although the superior quality of his work earned him more and more responsibility, he found the work stifling and tedious, and upon attaining his majority he left the shop to become a freelance illustrator.

In 1859 Homer moved to New York City, where he studied briefly at the National Academy of Design, took a few painting lessons with Frederic Rondel, and set up a studio at the 10th Street Studio Building. For the next 17 years, his major source of income came from drawings for illustrated weekly magazines, such as Harper’s Weekly, Frank Leslie’s Illustrated Weekly Newspaper, and Appleton’s Journal.

He devoted increasing attention to painting, however, and in 1865 was elected a member of the National Academy of Design and was further distinguished by the exhibition of his Prisoners at the Front in the Paris Exposition of 1866.  Homer went to Paris that year, but little is known of his activities during the ten months he spent abroad.

Domestic travel for the next 15 years included trips to the White Mountains in the summers of 1868 and 1869, the Adirondacks, and Gloucester, Massachusetts, in 1873.  In 1875 he submitted his last drawing to Harper’s Weekly, ending his career as an illustrator. He traveled widely in the 1870s in New York State, to Virginia, and Massachusetts, and in 1881 he began a two-year stay in England, living in Cullercoats, near Newcastle.

(According to another bio, it is significant that, when Homer returned to Europe in 1881, he did not go back to Paris, which was bursting with American art students at the ateliers. He chose, instead, the small fishing community of Tynemouth, on the cold gray northeast coast of England.)

Returning to America in 1883, he settled on the rugged coast of Prout’s Neck, Maine, where he would live for the rest of his life. He continued to travel widely, to the Adirondacks, Canada, Bermuda, Florida, and the Caribbean, in all those places painting the watercolors upon which much of his later fame would be based.

In 1890 he painted the first of the series of seascapes at Prout’s Neck (the most admired of his late oil paintings). Homer died in his Prout’s Neck studio on September 30, 1910.

* References: http://whitemountainart.com/Biographies/bio_wh.htm and http://www.nga.gov/cgi-bin/pbio?15100

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