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Ed. note: This case study is a selection from the 2013 “Justified” competition, for which an esteemed jury identified 14 submissions that demonstrate the value of design in a clear, compelling and accessible way. To learn more about the jury’s perspective on this selection, see the juror comments.
The goals of this project were determined by the United States Postal Service (USPS). They asked for the following:
The audience for this project was all United States Postal Service customers. Although the high-denomination product would be used most often by businesses shipping small packages, it was one component of a larger stamp program, serving as part of the United States of America’s brand both domestically and internationally. Therefore, it had a much larger intended audience.
As a business, the USPS was facing a number of pressing issues, including a drop in first class mail use due to increased customer reliance on email and limitations imposed by the U.S. Congress on the USPS’ business model. We were aware of these issues when working on the project.
Another consideration was the fact that the actual users of the stamp product need it, but don’t care—or do not think about—the solution.
As the art director, my approach to the project began with asking about production limitations. For example, how was this stamp to be printed? Additionally, recommendations were made by members of the Citizens Stamp Advisory Committee to ensure that the stamp design somehow suggested its value.
There was no requirement that the new stamp look similar to the one it was replacing, or even to others in the series. In fact, I was encouraged to find a solution that looked different.
I researched currency design, early revenue tax stamps and intricate patterning. This led me to a general idea about approach, where I felt comfortable hiring a designer to work with me on the assignment.
There are three notable aspects to the solution.
First, at the initial design presentation, the stamp management team approved the design and asked that it be expanded to a set of four designs ($1, $2, $5 and $10).
Second, as the assignment was expanded, a decision was made to create the set so that the physical objects themselves alluded to their increasing value. For instance, the one-dollar stamp is physically the smallest and least complex of the stamps in the series, while the ten-dollar stamp is the largest and most complex. Each denomination has a distinctive color palette, and the ten-dollar stamp includes a metallic ink. These elements make each stamp feel distinctive yet part of a set. They also allow for easy identification by both postal clerks and consumers.
Third, it is worth noting that these are the first completely abstract designs issued by the USPS. The stamp program is notable for the breadth and variety of subjects celebrated on stamps. However, this set presents no defined subject. Instead, it allows each viewer the freedom to determine meaning. Visually, one may believe it represents fabric, architecture, scientific diagrams or something else entirely, but really it can be anything. It’s abstract. What could be a better representation of a country that celebrates freedom?
Most of the creative work for this project was done by Michael Dyer (the designer) and myself (the art director), with additional help from a color consultant. The remaining members of the project team were responsible for oversight and managing the approval process.
Key challenges included developing a design approach appropriate to the assignment while also bringing the fresh and unexpected to a product that has been around for 166 years
It’s difficult to measure the success of the product using standard metrics. There are no “competitors,” as this is the only set of $1, $2, $5 and $10 stamps available in the United States. However, the design was enthusiastically embraced by the USPS, and it was rushed to print on a compressed production schedule.
The stamp designs meet the project goals by using complex patterns to evoke the perception of high value. They also succeeded in expanding the design vocabulary available to designers of USPS stamps now and in the future.
Learn more about the jurors’ thoughts on this 2013 “Justified” selection.
Section: Why Design -
AIGA’s “Justified” competition recognizes case studies that demonstrate the value of design in a clear, compelling and accessible way. The 2013 “Justified” competition honors 14 exemplary case studies that successfully demonstrate the value of design.
Section: Events and Competitions -
“Eclectic” and “diverse” are perhaps the best words to describe this year’s submissions to “Justified: AIGA Design Competition.” Examining clarity of concept, quality of execution and ability to engage and inspire, the jury selected 14 works from nearly 300 submissions.
Entering AIGA’s annual design competition just got a whole lot easier! Learn about changes to the competition structure in 2014, how to prepare your work, and what criteria the jury will use to determine who moves on to the semi-finalist round. The 2015 call for entries will be announced in late November.
AIGA’s national design competitions celebrate exemplary design and
demonstrate the power of design.
Section: Events and Competitions -
Illinois Wesleyan University faculty taught courses on the topic of food, instructing students through the lens of their own discipline. Graphic design students branded the theme, providing visual, experiential and social media to enhance awareness of the course cluster on campus. Students also designed a campus movement to promote local food.
Section: Why Design -
advertising, design thinking, marketing, print design, Design for Good, college, logos, mass communication, posters, print advertising, education, health, social issues, social responsibility, student work
Students seem to be always stressed out. Tight deadlines, poor time management, balancing school and life, taking too much on. As an educator, I may be on the other side of the fence, but I can totally relate.
Section: Tools and Resources
Good design has the ability to define a great product, service or cause. AIGA member Sara N.A. Suttle shares some thoughts on why skimping on design is never, ever a good idea.
Section: Why Design
This high school design studio teaches students to use the creative process as a
method and develop smart communication
solutions that better their communities. The students work on projects in teams, with support and guidance from a professional design mentor.
Section: Tools and Resources -
communication design, design thinking, experience design, graphic design, K-12, mentoring, posters, video, diversity, education, social issues, student work
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External Resources (cont.)
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