ml haynes design

I recently had the pleasure of working as a Pro Bono Consultant for the Taproot Foundation with the executive team at Marin Agricultural Land Trust. I chose to join this team as one of two Graphic Designers, feeling like I wanted to dive into a richly creative project and learn about this 30-year-old brand from the inside out. As you can see from the “before-and-after” examples above, it was quite a journey. And the arrival was a delight for all involved, myself included.

What started as an exercise in rebranding and reinvention became a deep and engaging process of discovery and development. And ultimately, for me, it became a process of re-confirmation: that to truly represent a brand, wholly new or decades old, I must find what is authentic and true to that brand and bring it to life in a way that sacrifices none of the essence and, in fact, illuminates and elevates that core in a way that resonates completely and without the need for guidance or instruction.

As the new identity is activated we will see how this refreshed brand is embraced and championed by existing stakeholders and supporters and understood by those who will only now discover it and come to learn about the brand and what it means to them.

The new integrated campaign for Dickies launched via online video “tough tests” last week. This initial offering — the first round of work from Goodby, Silverstein & Partners — shows 874 Work Pants taking a beating, literally, as they’re ripped apart by squealing choppers, torn and shredded by massive wrecking balls, and rolled down a meticulously groomed hillside.

Each black-and-white clip is a combination of the old “don’t try this at home” instructional film and “don’t try this with stuff you’ve paid decent money for” product demonstration. Taking what has been a staple of skaters, surfers, hirsute tradesmen, and wannabe rockers, the GSP team brings this brand to the hard core. You know those guys and gals: the ones with the biker chain clipped to their belt loop, the steel-toe boots, and the compostable lunch bag in their recycled rubber messenger bag.

Watching the series, I couldn’t help but think brand loyalists aren’t the type to be sold with old-school show-and-tell demos like these. They’ve been trained over a lifetime to be skeptical of these well-choreographed tests and product performances. Folks new to the brand are probably in the same place in regard to what influences their purchasing decisions. The rough characters who star in these films aren’t buying it either, and they certainly are not watching videos online. Hell, they’re still rocking classic rock radio in their pickup trucks for a good time.

What’s going on here? Choppers pulling a pair of pants apart. Levi’s denim tags sport a mule team doing the same and have been for decades. Product is attached to a swinging steel ball and aimed at a thick concrete wall. Check out classic commercials of the ’60s and ’70s, and you’ll see this has been a staple for more than half a century. It didn’t get more tough than a Timex watch attached to an arrowhead, shot through a pane of glass by a gentleman wearing a plaid flannel shirt.

What was that last “test” again?

That’s right. Those tough twill pants are worn by a gravity-loving, bearded hipster who simply cannot resist the urge to rock, roll, and bounce down a beautiful hillside obviously landscaped by a professional film crew and production team. Parkour, I think not. This guy likes a good tumble it would appear, and, well, it just isn’t that easy to get yourself a chopper at the last minute, let alone a wrecking ball without calling ahead. What better way to show the world that you — and your new pants — have earned the badass Dickies label?

“I’m a Mechanic.” A simple statement of fact, a powerful declaration of affinity and a message of belonging in a time of insecurity. It also happens to be a small, but hard-working microsite developed by my team at the nine-to-five.

We are about to develop and deploy the next phase of content and interactivity —with a side of social — for this brand portal. And as we kick-off this next round I’m thinking a lot about the creation/celebration of culture — the culture we identify with, the culture we gravitate toward, the culture we establish and define against previously mandated boundaries and borders. Experiencing the power of this brand in people’s professional and personal lives, it is no inconsequential task to steward the culture of both consumers and clients, people who have built this brand over generations. To authentically represent the brand and the people who have created culture around it continues to be our challenge.

Makes me think about the brands in my life. The brands that I would stand up for, declare an unwavering believe in, that encourage a feeling of “insider” for having stayed true and loyal. Not too many these days; how about you?

One of the more interesting, and creative, areas of work for me is in naming — products, services, events or companies. The challenge is to conjure something never-before-heard-of yet comfortably familiar and resonant. Add to that the fact that any and all of these “things” must survive and thrive on the Internet and the project takes on more complication.

Being around long enough to have survived the time when clients insisted on names that began with the ubiquitous lowercase “e” and later the lowercase “i,” I remember (and not fondly) the painful twist the web put us all through. Thank goodness folks came to their senses — persuaded by the likes of me, another interesting aspect of this work — and adopted a more long-term view of the import and influence the process and outcome of naming has upon both brand and business vitality and longevity.

I’ll come around to visit this topic again, as I’m certainly keen on this type of work and the process required. That said, I had a good chuckle when I came upon this decade-in-review article from MarketingProfs and thought I’d share. Knowing your history — the good, bad and ugly — and taking the lessons learned is invaluable as I continue to find myself in this game of “name that company.”

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27 jan 2010 2pm

As if to prove my point, Apple announces what will be one of the most talked about — and laughed about — names yet. Kudos to MadTV for having conjured this years ago.

Started the week (didn’t we all?) watching Avatar in a 3D IMAX theater. Ended the week watching Aurélia’s Oratorio (we all should!) in a small rep theater. Probably the closest I could get to two extremes of storytelling. Made for a lot of thought on how we do this as producers of stories and how much we bring as consumers of stories.

I’d heard the hype on James Cameron’s new movie and was struck by the harsh critique of the storyline. I was more interested in the technology and effects, but found myself paying more attention to the storytelling than I might have had I not heard the criticism. Bottom line: The story is a simple one, and one that we’ve been telling each other for a long, long time. I believe that anything more complicated would have weighed down the story, pulling us away from some of the most telling truths of the film. Using just one visual metaphor — that of light and illumination — the film-maker has captured so much, and tells us so much, about life and truth.

I had not heard one word about the live theater piece I saw nearly one week later. Reading the program as the venue filled to capacity it became clear that I was about to see the latest in a long line of performance pieces spawned from cirque and ancestral to so much modern-day big-top entertainment. And while there were words uttered during the 70-minute show I found those sounds so unnecessary. The colors of the spare set, the simple props told so much of the story. The movements of the performers — just two for the vast majority of the piece — did more to communicate than any dialogue could. The producer of this story certainly had a point-of-view and a story to tell, but the space that was allowed for each of us in the audience to bring our own experience and expectations was such a counterpoint to the tightly scripted and structured tale I’d taken in just days before.

As storytellers we could all take a minute to consider the silent spaces between lines and the import of the audience in filling those spaces for themselves. If what we’re truly trying to accomplish is an experience — a positive and memorable one at that — shouldn’t we be inviting the collaboration of our consumers (the listeners, viewers, users, guests) and creating authentic and available space for them?

Grace Coddington, Creative Director and visionary of American Vogue, spoke with The Times recently about working at the iconoclastic fashion and culture magazine, her life and pursuit of her creative vision. A reluctant hero of this year’s documentary, “The September Issue,” Coddington embodies the always-on perfectionist and never-satisfied creative — a woman struggling to tell a relevant and rich, visual and visceral story in the context of vanity, ephemera and the superficial.

Art directors would be well served — and schooled — to study the photo shoots, spreads and narratives created by this brave and bold woman. The attention to detail and pursuit of the perfect shot make for incredible lessons in meticulous design and style. As the photo above illuminates she is truly in tune with the popular culture (yes, that is Lady Gaga), myth and fable, composition and lighting and capable of creating a scene of depth and meaning beyond a simple showcase of labels and luxe.

If you have yet to see the movie, I highly recommend “The September Issue” and if you’re unfamiliar with Grace Coddington’s work, pick up an issue of Vogue next time you’re in purchase range. Buy it, bookmark it, tear it up and study the photo spreads as if they were from a well-informed text book on seeing and storytelling. Teachers are out there, we simply need to open up to them from whichever direction they might come from.

Finally got the call and couldn’t be more excited. As allowed, I’ll use this forum to post my experience putting my superpowers to use for good.

Check out this fantastic organization, The Taproot Foundation. Think about joining me and many others who will do it pro bono.

Now screening in select art-house theaters across the U.S. is an 86-minute documentary entitled, “Art & Copy.” No stranger to the documentary genre and familiar with commercial film as advertising, director Doug Pray points the camera at ad legends and affords us, the viewers, an opportunity to see and hear from the creators of iconic campaigns and cultural game-changers.

I sought out the film, having heard about its release post-Sundance, and found myself sitting in a tired, old movie house amongst what appeared to be kindred spirits. There’s a certain stature to advertising creatives — or I like to think so — and we all seemed to carry the same attitude of reverence for the masters in front of us with a touch of show-me-something-new cockiness. All casual and laid back, but all knowing and up front about it. I was actually surprised at how many of us showed up for a Wednesday 8pm showing. I thought we’d all still be hunched over our keyboards, working out one last thing before the holiday.

I was also surprised to learn about two amazing women who pioneered this testosterone-heavy business — Phyllis Robinson and Mary Wells. It’s not often that women or their work are showcased, but here they have quite a bit of screen time. Robinson, the first copy chief at Doyle Dane Bernbach and originator of the “Me Generation,” speaks gracefully of how her process was not so much one of complete creation but of reflection. Mary Wells, first woman to own and run an ad agency, first female CEO to take a company public and creator of the “I Love New York” campaign, describes how an ad campaign turned into a complete re-branding and changed an industry.

Two other favorites — Hal Riney and Lee Clow — get plenty of attention as they explain what creativity is, how it works (and doesn’t work) and what makes a brand, a company and an agency successful. Riney passed away in March 2008; Clow will retire in 2010. Both men created some of advertising’s most memorable campaigns and have some of the best backstories on those campaigns. And while each man’s distinctive style may not sync with the quick-cut, hyper-speed sensibilities of today’s creatives — and certainly the brands trying oh-so-hard to stay current — they will both be missed.

Art & Copy, a film by Doug Pray. Worth the wait. Worth the search. Order the large popcorn.

Much has been written about AOL’s new logo, debuting December 10th. Just weeks away, this Internet dinosaur will attempt its third re-branding.

Common wisdom has it that the first logo was an inside job; no one has come forward to claim that iconic pyramid with mirrored swooshes and Mistral-like typography. The first logo re-design was done by Desgrippes Gobé, a 3D pyramid-to-pointer-effect and script-to-rounded-sans-serif and the identity went boldly, if not generically, into the future. Next month, as the brand spins off from the Time Warner mothership, the logo will see another reinvention.

The first, and most obvious, change is in the typography. Enough of a household name to go by three letters alone, AOL will now be represented by title case, sans serif letterforms followed by a period. And much has been made of this period, for sure. Sam Wilson, managing director at the Wolff Olins New York office — AOL’s go-to branding agency — claims the period in the logo was added to suggest “confidence, completeness… AOL is the place to go for the best content online, period.” Completeness, yes, when used at the end of a sentence or within an abbreviation. I’ll even go for the end of a phrase, heck, it’s advertising. But at the end of three letters? I would’ve loved to have been in that pitch and heard that rationale hit the fan.

The second change is in the visual representation of the brand, the changing images and backdrop to the letterforms. Counter to the plain and accessible typography, these images represent everything from finger-paint swirls to vignettes of fish. The type knocks out of each of these images in varying degrees of legibility and logic. I get the metal fist (AOL does music) and the scribble (AOL does self-expression) but I’m still wondering what AOL’s going to do with that fuscia blob of brain matter. Or is it bubblebum? Jordan Crane, Wolff Olins New York CD, describes it as “a mix of do-it-yourself and high production values, crazy stuff and elegant stuff… simple and engaging and bizarre — all the things the Internet is.” Again: rationale meet fan.

Tim Armstrong, AOL CEO, in an interview with paidContent.org, supports the decision to launch this unorthodox identity program as an expression of corporate creativity. “The hardest part about brands is everybody’s got an opinion. What really matters is how well you like our products and services… We looked at a lot of different brand treatments. We felt this was the one that captured what was happening at the company underneath the surface. People see AOL as a big turnaround, but there is so much creativity at the company now.”

A campaign rollout is still under consideration. You’ll need to go to the AOL web site to see the changes as the transformation takes place the evening of December 9th and into the 10th. This revolution will not be televised. Instead it will go out to the already converted who will be looking, as Armstrong suggests, for improvements in service and product offerings. If that means that they’re greeted by fish and rockers, and their email is announced in some auto-tune robotic tone, so be it. For the rest of us — and clearly those of us interested in the process and politics of corporate identity — this could be an interesting way to ring out 2009.