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January 8, 2025 - Comments Off on Four in Twenty-Four

Four in Twenty-Four

We had some fun and success last year working on a diverse array of projects for our clients, using a variety of skill sets. Here are four 2024 highlights.

Time & Talent
For their 50th anniversary in 2025, FCCS wanted a fresh take on their popular custom desk calendar. Featuring captivating facts and photography, its purpose — beyond marking time — is marketing their events, conferences, programs, and people. This signature project, in its ninth year, is a smart and proven tool to connect with their clients on the daily. 

Logos & Lifesavers 

Two dams and a problem walk into a bar … or our design firm, in this case. The project? No small task: communicate that the Beaver Creek Dams in Newport, Oregon, are failing. We worked with Morris Operandi to create a campaign that provides clarity on the threat to Newport’s water supply and engages the public to support the city’s replacement plan. 

Pages & Pies

Each season, we design five issues of the NSAA Journal, the National Ski Areas Association publication that provides relevant news to their members. This year, we added their visually-rich Annual Report to the mix. Its pages are filled with an abundance of photos, facts and figures, including bulleted sidebars, bar graphs, and pie charts. Mmmm … pie!

Time & Talent

For their 50th anniversary in 2025, FCCS wanted a fresh take on their popular custom desk calendar. Featuring captivating facts and photography, its purpose — beyond marking time — is marketing their events, conferences, programs, and people. This signature project, in its ninth year, is a smart and proven tool to connect with their clients on the daily. 

Art & Assets

CoBank needed to update their branding assets library, so we assisted their internal marketing team by art directing fresh photography of their headquarters. We hired TG Image to capture their gleaming exterior, both from the ground and the air, then moved inside their light-filled lobby to document a half-dozen spaces featuring their art collection throughout. 

December 9, 2024 - Comments Off on It’s official. We’re 100% woman-owned.

It’s official. We’re 100% woman-owned.

EnZed Design is now your certified MWBE, SBE, and DBE creative partner.

After three months and several dozen uploads to complete the application, I received notification that EnZed Design, LLC is officially certified as a Minority/Women Business Enterprise (MWBE), Small Business Enterprise (SBE), and Disadvantaged Business Enterprise (DBE) by the City and County of Denver’s Division of Small Business Opportunity. 

That means when you need a MWBE, SBE, or DBE certified partner to provide graphic design, communication and marketing services, I’m your gal. One hundred percent. 

— Helen

* * * 

Officially it means:
EnZed Design, LLC is eligible to participate as a DBE on USDOT’s financially-assisted projects in Colorado and as a SBE and/or MWBE on City funded projects and contracts, and/or certain privately funded projects on City owned property in the following NAICS Codes:

NAICS 541430  Artists, Independent Graphic

NAICS 541430  Communication Design Services, Visual

NAICS 541430  Corporate Identification (I.E., Logo) Design Services

NAICS 541430  Graphic Art And Related Design Services

NAICS 541430  Graphic Artists,  Independent

NAICS 541430  Graphic Design Services

NAICS 541613  Marketing Consulting Services

* * * 

September 18, 2024 - Comments Off on Challenges, Triumphs & Spin

Challenges, Triumphs & Spin

The Paris 2024 Olympics included a strong use of patterns in their branding.

Tuning into inspiration 

I relish the Olympic games. From the nuanced steps of dressage to the resilience of rugby 7s — New Zealand took Gold! — the Olympics bring out our best qualities. I watched these sports … and badminton, tennis, judo, basketball, table tennis, fencing, swimming, gymnastics, soccer and diving … all on the first day. The branding of the games in Paris is captivating, expertly marking the venues throughout the city. Aerial views of the Arc de Triomphe, athletes floating down the Seine, beach volleyball in the shadow of the Eiffel Tower: This was 16 days of heaven. And the Paralympics start on August 28th! Now we can watch even more.

Hearing athletes’ stories of overcoming obstacles and injuries helped ease my recovery from meniscus surgery. A summer without tennis? Noooo! But setbacks are all about perspective. “What can I do?” I challenged, while RICEing each day. Serving up a fun summer required a bit of spin. I scheduled my procedure around our trips and worked with a trainer to keep up some level of fitness.

Meet Squidknee: This fanciful KT tape design reduced swelling.

Summer = travel = adventure

June brought smooth sailing along Croatia’s Dalmatian Coast where the sea is beautiful, deep blue, clear and … calm. Preferring excitement to still waters, we spent time adventuring through small, illuminated caves exploring the charming coastal villages that dot each island, and sampling the local fish. Black risotto? Yes, please! The trip ended with negotiating Dubrovnik’s 1,000+ steps — a last hurrah for the meniscus — while touring the walls of the city. Enchanting!

A calm Croatian bay anchorage.

Then it was home to Denver, a breath-catching day with the dog, and back to design. This challenge was a custom wallpaper for CoBank, a spin-off of the Flywheel Installation completed earlier in the year. The images behind the Mogul were redesigned into a repeat pattern, spanning three 48” panels. They printed tone-on-tone in a hue from their interior space on linen-textured, commercial-grade wallpaper. Nocerino Editions did a beautiful job color matching a paint chip, and it was installed in mid-July. Now we’re printing even more.

Gaining a kneeded perspective

The next week, I rolled out of surgery and departed for Breckenridge, our home away from home … with everything conveniently on one floor. Not hiking was getting me down, so I had to create joy another way. The view from my “Boffice” inspired a “Christmas in July” pattern collection of dancing ornaments, pinwheeling poinsettia and a classic harlequin motif. Transported and refreshed, I could tackle recovery with a bit of optimism. After several weeks of focus on PT, my bend and extension were close to normal. Now I’m doing even more.

The view from our Breckenridge bathroom, or “Boffice”, drew me to draw here.

As I wrote this, I was taxiing on a plane bound for New York to meet up with family. We had a great visit with my dad and brother here from New Zealand. I filled up the inspiration coffers at the MoMA, the Guggenheim, The Met, and the theater. Then we ventured on to Cape Cod to catch up with more family & friends. Sailboats. Sandbars. Seafood. A salty pattern collection is in the works. 

Cheers to plan Bs and calm seas! Now be inspired even more. Visit my Instagram.

May 9, 2024 - Comments Off on The Little Engine That Did

The Little Engine That Did

How many hands does it take to start a 1915 International Harvester Mogul engine? 

Mogul engine installation

If we’re talking about the bright green machine that’s welcoming guests to the CoBank Center in Greenwood Village, Colorado, the answer is more than a dozen. And it all began with an EnZed client’s challenge. 

Helen Young has been creating unique marketing projects for CoBank for more than 15 years. So she wasn’t surprised when Arthur Hodges, chief of staff, asked what she knew about flywheel engines. She admitted she knew zip, being a Kiwi from New Zealand and not a kid from the Heartland. But when he explained how the organization wanted to acquire one of the historic farm implements for their office tower’s lobby, she was in. The right one, he explained, would do three things: pay tribute to CoBank’s agricultural cooperative clients, stand as a symbol of the momentum ag lending creates, and be the story-telling focal point of a built display in their art collection.

The wheels in her brain began spinning. 

This cart-mounted Mogul flywheel engine weighs 2,526 pounds and is 8’6” in length with a detachable 4’6” front pull. Harnessing a horse to the front pull gave early 20th century farmers a portable power source to saw lumber, milk cows, run shellers and more.

Helen scouted vintage farm equipment online, made calls, and discovered a community of machine-loving history buffs stretching nationwide. A fine flywheel example was being auctioned by Gene and Renae Rosenberg of Spirit Lake, Iowa. She conferred with CoBank’s team who confirmed that the engine would, indeed, fit through the lobby’s glass gateway with all of two inches to spare. Installation? Check.

She then called Carla Carwile, EnZed’s writer for the past two decades and an Iowegian by birth, to start the project narrative. Whereupon Carla called her friend Brenda Davis DeVore, director of Prairie Trails Museum in Wayne County, Iowa, picked her brain and connected her with CoBank’s Hodges to get the grist of early 20th century farm implements. Storyline? Check.

Helen, meanwhile, watched the online bidding window draw to a close (whew!), flew to Iowa to finalize the deal, and found Brandon Slepicka, a collector of flywheel engines in Johnstown, Colorado, to operate the Mogul in its new Rocky Mountain home. Logistics?  Check.

You can see it running here. 

Next, she met with Denver’s Make West team to collaborate on design and bring the display to life. In tandem with Leslie Wirtz, senior manager of CoBank’s creative services, Helen would direct the overall installation plan and design the text, colorways, surface patterns, and graphics explaining the Mogul’s role as both ag-changing machine and CoBank metaphor. MakeWest would engineer and craft the curved wall anchoring a walk-around pedestal base for the Mogul, integrating all with the center’s glass-and-stone interior. The finished work would display the green machine, original tools in the toolbox, and CoBank CEO Tom Halverson’s own vintage family photos of a flywheel assisting with Iowa farm operations in the 1930s. All involved shared the goal of a finished conversation-starting display worthy of a place in CoBank’s stellar art collection. Success? Check.

The moral of this story? Maybe it’s that many hands do, indeed, make light work. Possibly it’s that the past still has a presence. Or perhaps it’s that momentum — like crops and companies and creativity — grows when the right energy is set in motion.

— Carla Carwile

August 23, 2023 - Comments Off on Cover Story: An AI Challenge

Cover Story: An AI Challenge

Prompts and perseverance

A client called in June asking for help in creating an original illustration for a magazine cover. I’ve done this countless times in my career, but — for this project — talent sourcing and art direction was much different. The “talent” was AI. 

For the Summer issue of the NSAA Journal, editor Heather Fried dipped her toe into the wild west of AI imaging software. Her challenge: to create a cover image to represent the issue’s editorial content. When she first shared her idea, I thought “brave,” but was quietly hoping not to get involved. I could see a warren of rabbit holes larger than Watership Down on the horizon. 

Heather’s first attempts involved placing the desired items into the image with the prompt mountain biker in the summer accessing the lift through RFID gates with their phone, but the results were way off the mark. They were also comical in how anatomically incorrect they came out. “I had to throw in the towel on my original concept completely and go with something a lot more basic to get to an acceptable cover,” Heather explained. “This was a surprise realization because, before using AI, I really thought it could produce anything I could dream up on demand.” Frustrated, she shared her results after multiple attempts and a sizable time investment. We jumped on a Zoom call to discuss what to try next.

“Before using AI, I really thought it could produce anything I could dream up on demand.”

Enter Art Direction 

With additional prompts taken from the art world — composition, color, style, perspective — the images instantly improved and soon she had a collection of real options: a dynamic profile portrait, a dreamy impressionistic painting, and a realistic alpine meadow — a few potentially cover worthy. She discovered one big hiccup in the process: “tweaking” is difficult. AI tends to start over in lieu of making isolated changes like a human illustrator would. Perhaps more practice with the software will yield more finesse. Or not.

“I am not a robot.”

While there’s much angst and discussion about artwork made with AI – such as what careers will be disrupted or replaced, who owns it, and the dangers of reality vs fantasy imagery and facts – I think we hold the key to reining it in. If we tap heavily into our humanity and take responsibility for molding AI, we can use skillful interactions — creative direction of the software — to make AI-assisted writings and artworks our own creations. Just as Heather experimented with visuals, her team also put AI writing to the test, producing a rote overview with the tone of an uninspired eighth grader. Clearly not the level of a seasoned editor. “If you keep tweaking/prompting what it spits out, you'll eventually get to something that is acceptable, in your voice, and accurate.” said Heather, adding “I could write volumes on this already, but the biggest takeaway so far has been: AI isn't coming for our jobs, it's people who are capable using AI that we need to worry about/work on eventually becoming ourselves.”

The NSAA cover image finally got there with the right prompts (art direction) and some retouching (a good eye) to get to an artistic, finished product. A masterpiece? No, but it fits the bill for a nonprofit budget and usage of two months on a trade magazine cover. Context matters. The novelty of an illustration on the Journal cover and the backstory of AI-generated artwork intrigued the members. “Though the cover was a compromise, it's also one that has generated a ton of great feedback — maybe the most praise in my four years with NSAA,” said Heather. 

“AI isn't coming for our jobs, it's people who are capable using AI that we need to worry about.”

My Optimistic View 

Because AI has no inherent talent of its own, individual humans (IH perhaps?) can use this tool, just like any other — software or paint brush — to execute their singular vision. Perhaps AI can open up a new world to those who see art in their mindseye, but lack the mobility to paint a canvas. Or help translate written works to enable sharing of more ideas across cultures. Which gets to the root question: Will you use your time, talent and AI for good or for evil? 

Now, about copyright issues … how much time do you have? 

Read about a recent ruling in federal court: AI cannot hold a copyright.
View an inspiring use of AI that gave a woman with paralysis her voice back.

_____

Share your experience and opinions of AI assisted creative works below. I’d love to start a conversation. (There may be a delay in your comment appearing to avoid the dreaded bots.)

April 26, 2023 - Comments Off on Grit & Collaboration

Grit & Collaboration

Combining talents for delectable outcomes

Last summer, the Méli Mélo Charcuterie Boards — a lively collaboration with 600 Grit fine wood design — debuted in the art festival world. Maria Garcia, my former tennis partner and expert woodworker, had applied as an emerging artist to two of the nation’s most prestigious fairs — the Fort Worth Main Street Arts Festival and Denver’s Cherry Creek Arts Festival. A Colorado native now at home in Texas, Maria clearly had soaked in some of the “go big or go home” Lone Star attitude in targeting these events, but even she was slightly overwhelmed to be accepted by both. 

Our 600 Grit/EnZed collaboration began with volleying ideas on the tennis court. It went something like “wouldn’t it be fun to take some of your wrapping paper motifs and translate them to wood?” After a few years of playing with the idea, mostly in our heads, we found ourselves mixing epoxy and pigments in her Dallas workshop. We experimented with maple and walnut hardwoods, metallic and solid pigments, and two designs. Maria prepped the boards for the CNC operator who used my vector artwork to rout the inlays. After several prototypes in which we adjusted motif sizes and color palettes, played with depth of routing and angled edges, we landed on the finished product and perfected the silky finish. 

Méli Mélo translates to “an assortment,” which captures the essence of charcuterie and the nature of our collaboration. Once the boards began selling, Maria envisioned expanding the concept to furniture. The board motifs enlarged beautifully onto coffee, cocktail and side tables, and she received a commission for wall art at this larger scale. Maria’s furniture designs are inspired by the Arts & Crafts and Mid Century Modern movements, but the rich walnut hardwood and bright resin inlays transition across many interior styles.

What started as a friendship on the tennis court quickly became a delicious meeting of minds and materials. Talking with the art lovers venturing into our tent was energizing and Maria secured several furniture commissions in each city, a primary goal for showing at the festivals. (Prior to that, we had a brief foray into wholesale and set up shop on PaperieZ.com, selling directly to friends and others.) 

While I’ve enjoyed seeing my designs in three dimensions as Maria has added new, unique product offerings, the best part of this experience by far is the collaboration. Each bringing our best to the table (saw) inevitably yields tasty results.

For more about Maria, follow her on Instagram @600grit and visit 600grit.com. She’s available for custom charcuterie board and furniture commissions. Let us collaborate with you, too!

Join my mailing list to receive monthly reads about adventures, design, marketing, other creative musing, and how they all relate to and inform one another. Follow my antics on Instagram. — Helen