"Ikea, with the help of ad agency Instinct, created a new website to launch its PS 2014 collection and the website is built entirely through Instagram. The agency released a short video to show how the Instagram site works. Each of the 34 items in the PS 2014 line has its own Instagram account so shoppers can take a closer look at the products and get inspired when decorating their own spaces at home."
(Katie Richards, 27 June 2014, Business Insider Inc.)
"Procter & Gamble Co.'s Always today is launching 'Like a Girl,' a video ... that takes issue with generations of playground taunts about people running, throwing or fighting 'like a girl.' It asks: 'When did doing something 'like a girl' become an insult?'"
(Jack Neff, 26 June 2014, Advertising Age)
"I believe that design education, at the most fundamental level, views complexity as a problem to be overcome through reductivist artifacts, not as an inevitable and pervasive attribute of life in the post–industrial community. So if the future is about an ever–expanding web of connectedness, how are we preparing students for meaningful work in this complex world? I'd like to suggest that we're not. Despite the obvious emotional impact of Glaser's poster, he belongs to a generation in which the goal of design was to make things simple. Negroponte, on the other hand, is a technologist for whom the design goal is to render the complex manageable and to make complicated things meaningful.
Almost everything about today's graphic design education is matched to Glaser's worldview. We structure both curricula and projects in craft–based progressions from simple to complex, from the abstract to the contextualized. In typography classes, for example, we begin with the letter, and then advance to the word, sentence, paragraph, and page. Sequences of typography courses are built on this simple to complex progression, when opening InDesign demands that students address the formal and interpretive issues of publication design simultaneously; how do you defer a discussion of leading, of column width, of the modernist preconceptions of software, of language? The only option is default, and what kind of typographic lesson is that?
The reality is that our strategy for teaching typography is residue from how students could comp type in predigital times; by drawing. It is the organizational structure for every type book since James Craig's 1970 Designing with Type, but it holds less relevance for what students need to know about communication in a digital world. Typography today is a complex relational system that depends on the interplay of formal, technological, linguistic, and cultural variables. Yet we persist in teaching this progression of scale, isolating such variables within their own distinct conceptual frameworks and rules.
The same strategy exists for how students progress in other studies of form. Foundation lessons begin with abstraction: point, line, and plane; color wheels; and paper–folding exercises. We defer discussions of meaning and context until later levels of the curriculum and beginning students learn these abstraction principles only through patterns in what makes their teachers smile. Nothing about these studies resembles what students know about in the real world, and as a colleague recently suggested, what the clients of design see in our work. So what if we begin with the familiar and complex?"
(Meredith Davis, 4 April 2008, AIGA Boston Presentation)
Presentation made at W/Here: Contesting Knowledge in the 21st Century, Emily Carr University of Art+Design, Vancouver, Canada, 7–9 December 2011.
"A new video has been released to showcase Lithuania to foreign investors. The video was developed in collaboration with current investors and it presents the country as it is perceived through their eyes. It focuses on forward thinking people, who are full of ideas, drive and energy. People who are self–starters."
(26 September 2013, Invest in Lithuania)
"[United Airlines commercials have been] created by artists from around the world, including South Africa and India, each of the six spots paints a picture of optimism and exploration using unique artistic forms such as shed bird feathers, colored sand and plastic modeling clay on glass. Custom scores of George Gershwin's Rhapsody in Blue were performed by members of the L.A. Philharmonic Symphony and in one of the ads, Grammy award–winning American jazz legend, Herbie Hancock, and the classical world–renowned Chinese concert pianist, Lang Lang, who is performing live during the opening ceremonies, played a piano duet. The voiceover tag line is read by Robert Redford. ...
 'Sea Orchestra' (60 seconds)–'Sea Orchestra' is a lively and visually rich commercial that introduces United's new international first and business class cabins. In it, a United airplane crosses the ocean and is serenaded by an orchestra of animated sea creatures that are playing a unique version of Rhapsody in Blue using tubas, violins, French horns and the Indonesian gamelan. The score was created by Shy the Sun, a South Africa–based directing team, which used hand–drawn textures, computer animation characters and photographs of water, reefs and skies.
 'Heart' (60–seconds)–'Heart,' United's new brand ad, portrays the connection between a husband and wife and United's role in reuniting them. The commercial depicts a woman leaving her husband to fly to Europe for a business presentation. As she says goodbye, she leaves her heart behind as a symbol of her love. The musical score for 'Heart' is a piano duet of Rhapsody in Blue performed by Herbie Hancock and Lang Lang, who recently performed Rhapsody in Blue together at the 2007 Grammy Awards. Using stop–motion animation and paper puppetry, California–based director Jamie Caliri and his team, place dimensional cardboard puppets in miniature sets that were shot frame by frame.
 'Two Worlds' (60 seconds)–'Two Worlds' is a celebration of color and beautiful images that portrays United's effect on international travelers. In it, a weary business traveler leaves a mundane, monotonous black and white world and enters a fantasy of color, representing United's new international first and business class service. When he lands, he is once again in a black and white world, but has brought a bit of the magic of the new United experience with him. The commercial combines two different and distinctive animation styles created by directors SSSR, a Norwegian and Japanese team, who was responsible for the monochromatic world that was mostly computer–generated with a hand–crafted feel, and Gaelle Denis, a French director, who was responsible for the colorful fantasy world that uses using live action, computer generation and matte paintings, including textures such as Japanese rice paper.
 Moondust (60 seconds and 30 second)–'Moondust' is a luminous, dreamlike commercial with an artistic interpretation of flying in United's new international first and business class cabins. The spot focuses on United's 180–degree, flat–bed business class seats and is animated to a spare, intimate interpretation of George Gershwin's Rhapsody in Blue. Ishu Patel, an Indian–born and Canadian–based animator, used his world–renowned back–lit technique in which a thin layer of plastic modeling clay is applied to a glass plate that has a 1000–watt light positioned beneath it and an animation camera above it.
 Butterfly (30 seconds)–'Butterfly' is a fluid, animated commercial with an artistic interpretation of flying in United's new international first and business class cabins. The spot focuses on United's 180–degree flat–bed business class seats and comes to life against a violin version of George Gershwin's Rhapsody in Blue. In this spot, the Polish director Aleksandra Korejwo manipulated colored salt using shed condor bird feathers on a black canvas positioned under a downward–facing camera."
(United Airlines press release, 8 August 2008)