"Surface/Subsurface" presents the nine major projects that Weiss/Manfredi have completed since their first monograph, published in 2000. Each project is fully documented via photographs, drawings, details and texts. Provocations was the keyword throughout design development. The layering of inspiration and outcome was mirrored beautifully in the woven landscape of the Seattle Art Museum Olympic Sculpture Park, which translated into a dynamic grid structure and cover design. The book work led to a website overhaul, which was also predicated on layering and organic interactions.

In only thirteen short months, the NYC2012 in-house design team created more than a dozen international direct mailings, mounted one city-wide advertising campaign, gave New York City the look of the Games for three full days in the Fall of 2004, designed every piece in a minimum of two languages - and a maximum of six - and created more merchandise than is possibly archivable. Brian Collins and his team at Ogilvy created the logo. Brian then served as a leader throughout the bid. Most notably, he pulled together the team that laid the early foundation for the campaign, which included Charles Hall and Giampietro + Smith. RG/A did all of the work on the website. Trollback + Company executed every bit of motion graphics. Rick Boyko provided power and inspiration. And TwoTwelve Associates supported the bid before the final look and feel went into effect. Erika Lee, Kristin Johnson and Christine Koroki held down most of the in-house work with support from Luis Moya, Abigail Smith, Stuart Rogers, Jessi Arrington, Merry Davis and Mark Mako among countless, wonderful others.

Towards the end of the the first season in Jazz at Lincoln Center's new venue, the luster of being in a new theater was wearing off and the ticket sales were getting slower. The organization was then faced with the task of having to sell a whole new season of jazz to a New York audience that was much more interested in going to a hole-in-the-wall club than they were in attending a concert in a fancy large theater in the posh part of town. In order to make jazz seem more relevant, and too better communicate the true experience, we had to tap into the emotional benefits of attending a Jazz at Lincoln Center concert. We worked with the musicians to better understand the soul of the music and we learned that when jazz is played at its very best, musicians referred to it as "Killin." We developed a campaign around the idea of "When Jazz is Killin, You Feel More Alive Than Ever!" Then we developed a graphic approach that combined black & white photography with bold gestures of hot pink typography that expressed the feeling of live music across all of the different season materials.

Tina Ramirez was born in Venezuela, the daughter of a Mexican bullfighter. She was also the founder and creative director of Ballet Hispanico. And, in 2008, she was beginning to wrap up her tenure with the organization. The team was in limbo between an out-dated look and a redesign, so we had the opportunity to create a full identity system to support just one year in the life of the company. It appeared on New York City buses, in magazine advertising and on the Joyce Theater marquee. And, of course, we picked up on the bold typography of old bullfighting posters.

The Kink exhibit curator, Katharine Gates, had spent years collecting all her research on various sexual kinks into one complicated, color-coded Excel spreadsheet. We transformed the spreadsheet into a provocative roadmap that explains the kinks and helps organize the exhibit. The museum takes its civic and academic responsibilities quite seriously, so the exhibit was complete in content, which could be scary and off-putting to some museum-goers. The pink and playful look helped invite engagement with even the most controversial musings of the erotic imagination.

The Spring 2010 Season at Saks was rollouted with a new, more gentle, promotional campaign: "Think About...". Fashion-friendly folks will recognize that the new theme recalls legendary fashion editor Diana Vreeland's "Why Don't You..." column for Harper's Bazaar. It just so happened that the spring series of catalogs numbered ten, as did the letters in "Think About..." We used collections of small silhouettes to build individual letters, then used the collection of catalogs to spell out the campaign name. The catalogs were mailed in order from A to T..., then the assorted letters were used in Spring 2010 advertising and the silhouettes appeared throughout in-store displays.

In 1990, Rev. Calvin Butts, pastor of the Abyssinian Baptist Church, lead an initiative to wipeout advertising of cigarettes and alcohol throughout the Harlem community by literally painting over the billboards. As part of Bobby Martin's thesis for SVA MFA Design, he proposed an opportunity to do just the opposite by encouraging the church to post a campaign of positive messages to inspire and empower the community. The project funded by a Sappi "Ideas that Matter" Grant, gathered hundreds from the upper Manhattan community to proudly march through the streets standing up for love, respect and the celebration of family values. Martin then took advertising space from consumer brands and replaced them with images of the people carrying passionate calls to action and encouragement. We continue to work with Abyssinian, most recently developing the identity for their 200th Anniversary Celebration.

The Girl Scouts of the USA is the nation's preeminent organization dedicated solely to girls. More than 3 million strong, GSUSA builds girls of courage, confidence and character, who make the world a better place.

GSUSA recently revised both their programming and advertising to better engage girls today. To support this shift, Laurel Richie, GSUSA Senior VP / Chief Marketing Officer, approached OCD to reassess their identity.