Visual design: Goldman Sachs’ 10K

When a corporate reputation is under scrutiny, could slick communication save the day? Goldman Sachs is hoping with their annual report design.

Goldman Sachs 2010 Annual ReportThe intended message
With all the accusations, Goldman’s messaging strategy is crucial. To sum it up: “We performed for our clients in 2010 and we’re hell-bent on continuing that. Also, we’re looking into where we might have gone wrong.”

To support this, the words harmonize with visuals: a steady dose of well-dressed people in well-dressed offices; global imagery exhibiting power; and some balanced touches of community outreach.

Their interactive version feels like it’s built for tablets, with spacious navigation and features designed to slide along a touch screen. If the medium is the message, then this is just one bit of proof that Goldman still cares about the details.

Is it working?
To put it crudely, Goldman’s visual message is one of stubbornness. They acknowledge a need for oversight and transparency with their words, but most of their content is geared to profit-driven clients and investors. They aim to be seen as unbreakable, unwavering, able to weather the storm without flinching. Concerns of the “general community” are addressed, but that isn’t their main point.

The question is, has it helped? The current media environment is none too flattering, so on the surface it doesn’t feel that way.

On the other hand, if you’re a client or investor, it could be comforting stuff.


The Goldman Sachs 2010 Annual Report


MW News: My seminar on communication design

Thursday night was nerve-wracking but worth it, as I was given a great opportunity to present to 20 or so eager grad students at Baruch College, my recent Alma Mater. The hour-long lecture covered graphic design in the communication context, and attempted to pin down as many concepts as possible in the time allotted. Lots of great Q&A at the end, so hopefully they got a lot out of it. I know I did.

The lecture was organized by the Baruch Corporate Communications Graduate Student Association, or the BCCGSA.

Want to see more? Download the slides here.

Pfizer: annual report connections

Pfizer’s new Annual Review document is out, and it’s time for shareholders to pay close attention. Some will focus on governance, others on amortization. I’m focused on the cover.

Pfizer Annual Report CoverThe design
Two red-magenta spores, connected by a strand, explode visually over a dark background. We won’t know they’re cancer cells until we open and read. For now, they’re abstract objects representing science, art and fascination. Ditto for the typeface; the white dots on black evoke a movie marquis, or points of light in a dark, unknowing sky.

Intended meanings
LogoLounge talks about the spore shape as a major design trend of 2010, its multiple arms “reaching out to convey a sense of connectivity and of serving multitudes.” That seems in line with Pfizer’s general message of science serving people. It could also be about product differentiation, to emphasize Pfizer’s point that “it is unwise to rely on one or two blockbuster drugs” (p17).

The connecting tendril may be the link between life and science. It could be a reassurance to people affected by the Pfizer-Wyeth merger. Or a battle cry of pharmaceutical researchers, like the ones pictured inside the book, who are challenged to connect the dots.

The general point is this: Pfizer based their cover design on this semi-abstract image, knowing that it would be seen by investors for at least the next year. It stands to reason that they would try and leverage the powers of emotion and ambiguity. Choices like these are rarely made by accident.

Of course, the rational fact that these are cancer cells should be compelling enough on its own. Here is a foe worthy of your investment dollars, no artsy interpretation needed.


Pfizer Annual Review
LogoLounge 2010 Logo Trends
Critical review of the Pfizer Logo Redesign

Print ad analysis: finance and art direction

Back in 2008, I noticed something about financial print ads. In almost every case, the ad design included a strong upwards movement: the way a photo was cropped, or the angle of a background. In one case an office building had been photoshopped into a giant up arrow.

It made sense. After all, if you’re reaching investors, why not link your brand with the concept of “upness”?

We all know what happened next in the economy. Suddenly all that optimism seemed misplaced. Now that the post-recession ads have been out for a while, I thought I’d assess their use of directional design.

Most in-your-face is the “Turn Here” campaign from Fidelity. The green arrow is the beacon, a navigation system built into your retirement plan. Few executions show the arrow going straight up or straight ahead; there are bends in the road. But surely if we stay on the line, we can all be saved.

Fidelity 2010

Ally turning things around

Then there’s Ally Bank, a brand introduced in 2009—and GMAC’s way of moving on from difficult times. Take a look. A giant logo visually turns things around. After that, everything will be “Straightforward,” as promised by the multifaceted tagline.

Barclays Capital (below) mentions the road to success in its headline, as we’re faced with the ups and downs of suspension bridge cables. Still, the road points straight up on the page, leading to some tree-covered hills.

Credit Suisse

And finally, Credit Suisse has at least three executions, all in love with whitespace, and all using models who have the audacity to look up.


A great article from 2009 talks some more about financial campaigns at large: