With the introduction of numerous new products into their sock range, Wilderness Wear adopted a change-over packaging concept for all items. There are sixteen packs in the new set, each with a unique photographic image, with the remainder being updated within production cycles. The packs are made up of two components: a custom designed and screen printed polypropylene hanging card, with a printed sleeve. Together these forms are a more economical packaging solution than previous and provide a stand-out presence for the product in one-to-one settings.
After an absence of update for some years, design of the 2016 product catalogue for Wilderness Wear took a lead from an impressive set of new product. Work on the project saw new content from cover to cover and involved extensive copywriting, location and still photography, along with updates to information relating to materials, design and technology.
Japanese builder Ichijo Technological Homes entered the Australian market in 2011 as an independent enterprise with a portfolio of house designs focused on high energy efficiency and world-leading ecological standards. The challenge for the company at the outset was to determine a product mix and communications platform that was relevant to a local market. The launch program, developed by John Frostell and James Gallagher under the banner of Gallagher Frostell consultants, took place over an 18-month period and featured a set of campaign materials applied to brochureware, outdoor signage, a new website, promotional materials and numerous photographic assets.
Recruitment advertising is an often critical exercise for Australian legal firms, with significant consideration and initiative appointed to gleaning shortlist candidates for interview. This campaign for Maddocks featured a cross-section of previous appointees to the firm and played carefully to aspects of capability as much as cultural fit. The project was typical of the 50+ projects conducted for the firm’s marketing team between Sydney and Melbourne over the three-year period of engagement with Dialogue.
If abstraction is a key driver in graphic design, then the hero of this endeavour in the field of fine art could rightfully be said to be Brett Whiteley. And as do many graphic designers, he owned themes that enjoyed repetition and reinterpretation over time. Among them was the humble match. Sadly, his burned too soon. (And from the opposite end.)