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Costa Mesa, CA 949.614.0759
Column Five
Turn your meaningful stories into real results.
GOLD VERIFIED
Founded in 2009, Column Five is a B2B-focused creative agency that helps ambitious brands find and tell their best stories to drive real results. We believe businesses can shape our world for the better with strong communities of people behind them. By using the power of story—one of the last competitive advantages—we help brands meet their lifelong customers, build deep relationships, and make good choices for people, profit, and our planet.
150 Paularino Ave, Suite D170
45 Main St., #1024
5% Print Design
5% Small Business (<$10M)
25% Business services
15% Advertising & marketing
10% Education
10% Non-profit
15% Other
Advertising Focus
75% Other advertising
15% Print advertising
10% Broadcast video advertising
Animation Focus
50% Motion Graphics
25% Stop Motion
15% 2D Animation
Branding Focus
50% Brand strategy
25% Brand messaging
15% Corporate identity
10% Naming
Print Design Focus
75% Annual Reports + Newsletters
25% Brochure & Pamphlet
15% Casting
15% Directing
15% Filming
15% Scriptwriting
15% Storyboarding
15% Voiceovers
5% Sound Effects
5% Visual Effects
15% Corporate Video
15% Educational / Training Video
14% Branded Video
14% Commercial Video
14% Documentary
14% Explainer
14% Interview / Testimonial
Zendesk, Dropbox, Dialpad, Bill and Melinda Gates Foundation, Intuit, Pearson, LinkedIn, FigLeaf, AppDynamics, CrossFit, NEC Corporation of America, World Bank, Github, Salesforce.com, Irvine Company, Experian, Guardian Life Insurance, Uber, Schneider Electric, Bill.com, Microsoft, United Capital, SAP, UC Berkeley, TurboTax, Teach For America, Netflix, Kaiser Family Foundation, Zip Recruiter, BetterUp, Blizzard, Code2040, Reuters,
VideoAmp Website Design & Development
VideoAmp, a software and data platform for marketers to optimize their media investment. Their mission is to empower the world's largest marketers to give them the information that they've always wanted but never had.
VideoAmp approached us with the tall ask of helping them create a brand new website that wouldn't make them blend in with their competition but instead stand out from their competition. They wanted a website that would ultimately win design awards. From the start, we saw an opportunity to help with their brand strategy and core message, something that ended up really driving the creation of all of the content across the new site.
VideoAmp's passion for the work they do and the people they partner with and serve really got our team excited to build what is now a longstanding relationship with amazing people and a winning brand. Our work on the website has led us to kick off a new content strategy and marketing campaign to drive their target personas to key solutions on the website.
Beyond a new website, VideoAmp needed a design system and messaging guidelines that could be carried across future pages on the site, external collateral, and in the way they communicate to their internal team of 200+ employees. From content creation to design, to interactive development, our work for the site itself included the following:
Core messaging and content strategy
Copy and editorial guidelines
Website animation
Website development and interactivity
VideoAmp marketing qualified leads have increased 850% through the new website in the first month since launch. We've achieved two of our original goals:
Increase MQLs / month by 200%
Drop bounce rate from ~60% to 45%
The third is to increase avg. time on site to 3 minutes - we're not quite there on that goal but this is where our future content marketing campaigns will help!
Annual Report - Pacific Life
For the past two years, we've partnered with Pacific Life to develop their annual reports. Our goal was to position Pacific Life as a living, breathing, energetic entity and to remind the audience that Pacific Life is more than a life insurance company. It's long term solutions move and evolve with you in life. To meet this goal, we experimented with hand drawings and gestural compositions that are human-centric, authentic, and organic.
For more, check out our Pacific Life's case study.
Anatomy of a Breach - Microsoft
This HTML native site analyses the various stages of a company security breach from the hacker's POV. Highlighting the systemic weaknesses hackers look for most, the site presents Microsoft's solutions to avoiding and overcoming such gaps in security.
Applied Innovation Brand Identity - UC Irvine
UCI Applied Innovation is a unit of University of California, Irvine with an exciting mission "to bring campus-based discoveries together with Orange County's vibrant business community to support job creation and economic growth." This venture includes The Cove, a workspace hub. We partnered with the team to establish their website and a fresh visual language, including branding elements such as logo, colors, font, iconography, photography, etc. to be used for all collateral. Visit UCI Applied Innovation's website and read all about this project on our blog.
Motion Graphics | Stand Up to Cancer
We were honored to work with the amazing folks at Stand Up To Cancer to create a motion graphic that dives into specific cancer treatments, the research about the treatments, and how we can battle cancer together.
Video Direction and Production | Dialpad
We had a blast working with Dialpad to audition for their newest AI tech. As you can see, finding the right robot wasn't quite as easy as we thought.
10 Year Anniversary Reel | Column Five
From commercials, to data visualizations, to motion graphics, video lets us put our creativity into hyperdrive, helping brands tell their stories in all sorts of unique ways.
Luckily, we've been able to collaborate with partners who are game for anything, whether it's a '90s viral video for Microsoft/Internet Explorer, a Rube Goldberg machine for Nokia, some Failed VoiceAI auditions for Dialpad, or a documentary about a grandmother eager to see the Cubs win the World Series. Each project posed a unique challenge (and we learned some lessons the hard way), but they also gave us an opportunity to grow and experiment in ways we hadn't before.
So, to celebrate 10 years of video projects, we've put together a fresh reel featuring some of our favorite pieces throughout the years. Whether promoting a new video game or offering a behind-the-scenes look at cancer research, these videos span a variety of industries—and we're grateful to have had a hand in producing each and every one.
We hope you enjoy taking a look back as much as we do.
Branding - OC United Way
We connected with OC United Way in the Fall of 2017 to hear more about the great work they're doing on a subject that's close to our hearts: ending homelessness in Orange County.We learned that their goal is to rally nonprofits, faith-based organizations, the business community, and the general public around a unified solution for ending homelessness. After this meeting, we immediately explored ways we could help them launch a campaign to get the word out.There are a lot of people and organizations doing good work to try and end homelessness. But one thing we learned from OC United Way is that having more than one solution for a single problem can delay progress and cost a lot of money. OC United Way's goal is to rally the community to agree on one solution: permanent, supportive housing for chronically homeless individuals.Leveraging findings from a Cost of Homelessness Study conducted in partnership with UCI and Jamboree Housing, OC United Way is equipping the community with detailed insights so that the overall system of care can significantly improve.View the case-study here.
$50,000 to $199,999 (5) $10,000 to $49,999 (3) $1,000,000 - $9,999,999 (2) $200,000 to $999,999 (1) Confidential (1)
Branding (3) Content Marketing (3) Video production (3) Advertising & Marketing (2) Design (2) Digital Marketing (2) Web Development (1) Web design (1)
Phone Interview (12)
Digital Marketing Advertising & Marketing Branding
Ad Placement & Branding for Global Nonprofit
"They feel like a true partner in the work."
Column Five came on board to create and place ads for a global organization's summer festival. They're currently producing a sizzle reel and helping the company update their brand and brand messaging.
Director of Marketing and Comms, Narrative 4
Column Five has proven to be a responsive partner that tailors their services to the client's business and goals. They're incredibly organized in their scheduling, budgeting, and reporting. Customers can expect a detail-oriented partner that will value their work and mission.
I'm the director of marketing and communications at Narrative 4, a global organization that uses storytelling to promote empathy.
What challenge were you trying to address with Column Five?
We hired Column Five to create and place ads.
Column Five produced ad creative for our summer festival, which is called Summer of Impact. They also placed those ads.
They're currently working on a sizzle reel, so a three-minute and a one-minute cut highlighting our culminating event. We're also working with them to update our brand. They're developing some brand messaging for the organization.
We work with 3–4 people from Column Five.
How did you come to work with Column Five?
I found them online last year when I was looking for a company to help us with our annual report.
We've spent about $50,000.
We began working with Column Five in June 2020, and it's ongoing.
To date, I've been very happy with them. They're responsive to our needs, and their attention and work feel very personalized to our organization and goals. They feel like a true partner in the work.
How did Column Five perform from a project management standpoint?
They're incredibly organized in terms of timelines, budget, deliverables, and reporting. We had certain benchmarks for our summer campaign, and they reported back on how the ads were performing. Those spreadsheets were very detailed.
We're a nonprofit, and I feel like they value our work and our mission in the same way that they might value a more established corporate client.
No — they've been doing great.
Any advice for potential customers?
For someone thinking about working with them, I'd just say to do it. Provide as much information as you can about your project and goals, and they're going to do their best to get that work done and help you achieve whatever you set out to.
Web Development Web design
Website Rebuild for Advertising Technology Company
"My favorite part about working with Column Five is their team. They went above and beyond from the get-go."
Oct. 2019 - Ongoing
Column Five rebuilt a website from the ground up, creating a custom WordPress CMS. The team also assisted with the content strategy, design, and website launch.
Michelle Kim
VP of Brand Design, VideoAmp
Column Five leveraged their creative and strategic expertise to deliver a high-quality website that was featured by a top awards platform. The team is structured, adaptable, and responsive, enabling them to manage the project well, and they've fostered a professional yet personable relationship.
I'm the VP of brand design at VideoAmp, an advertising technology company.
We hired them to redesign our website.
Column Five rebuilt our new website. Nothing from the old website was carried over; it's a completely brand new backend system. They created a custom WordPress CMS.
They did content strategy, created design systems, interactive design, and full website development and launch. Right now, we're currently in the second wave of additional page releases of our website.
We worked with about 11–12 teammates. Amongst them were copy editors, strategists, designers, interactive specialists, developers, a senior producer and an account director.
I sent out a formal RFP and picked eight agencies that I felt could handle the project based on their portfolio. I then interviewed them, and it came down to three finalists. Column Five provided the most thoughtful response that was curated to my company.
They went above and beyond from the get-go. We also liked that they had a good background in content strategy, which is something we were missing at my company. They had a lot of industry knowledge, so I felt that our content would be easy for them to handle.
The first phase was about $250,000. The second phase, which will go live in September, will be about $38,000.
We formally kicked off the project in October 2019, and we're still working with Column Five.
Column Five has expertise in copy, creative work, strategy, and execution. I've done big corporate web designs all my career, and this is my favorite one to date. I love the quality of the design and the thoughtfulness in their consideration regarding our users' experience. In our first month post-launch, we successfully generated more qualified marketing leads than we previously were able to do in a full quarter.
They are very organized, which is in line with my working style. We use Slack and email for communication. The team is very responsive, and I never felt like I was chasing them down. They are flexible and understanding with us, especially because we're a startup.
We use Toggl for longterm scoping of the entire project, and I wrote weekly recaps to all of the stakeholders. I've never felt any resistance from them, and if there was an update, they immediately put in on our shared timeline software. I couldn't have asked for a better partner.
My favorite part about working with Column Five is their team. I always tell them that I can't believe I found them. They are a very professional partner, but we also have a casual and friendly relationship. We're able to celebrate birthdays with them and set aside time to have virtual Happy Hours.
We talk candidly about life and family, and we can check in on each other. That's something that people take for granted because they hire vendors, and after the job is done, the relationship ends there. I don't see that happening with Column Five; I see us continuing a longterm friendship.
No, not that I can think of. I honestly don't think they could do anything better.
If you're working in an industry that's different from a creative one, have a little bit of flexibility — they're not always going to match your mindset and speed because it is not their norm. Our company runs on an extreme schedule with many fire drills and you have to level-set expectations that this isn't normal for everyone. If this is your first time working with a creative agency, take ownership of updates and communicate clearly.
If you're thinking about working with Column Five, make sure you have a good relationship with their senior producer, because they're the gatekeeper for the entire team on their side. Additionally, be vigilant with payment terms and what you're signing. Our team is so appreciative of the flexibility Column Five's team demonstrated on the accounting side of things. Money talk is never fun, but they always made us feel secure in whatever terms we agreed to.
I've already recommended them to a friend.
Design Digital Marketing Advertising & Marketing
Creative Talent Branding Campaign for Software Company
"They've been super innovative in their suggestions to us."
Dec. 2017 - Ongoing
Column Five is focusing on content marketing and rebranding a large software company to optimize its recruiting appeal. Additionally, they have undertaken social media and web maintenance work.
Employer Brand Specialist, Large Software Company
Through the regularly-updated written blog content alone, the company received about 500 applicants from potential hires. This success, along with applications garnered from other strategic methods, exceeded the partner's expectations. The team's regular communication added value throughout.
I'm the talent brand specialist, for a large software company.
We needed help with brand strategy.
We use traditional brand strategy, planning, marketing, and communications to position the company as a great place to work. Over the last couple of years, we've used Column Five to help us define and execute our overall brand strategy as a means of achieving our goals. In 2019, this process was focused on communicating to potential employees that not only is our company a great place to work, but it is also the right place for them to take the next step in their careers.
In 2018, they worked on establishing our employee value proposition. There wasn't much to work with other than our company's mission and values. When we came up with our value proposition of "We believe the world could work better," they helped us develop supporting narrative strategies to tell that story. In 2019, we created different storytelling models to spread these narratives. Along with this assistance, they helped us identify partnership opportunities to share our value proposition. They also reworked any content that we'd share so that it aligned with the value proposition.
We also worked with Column Five to convene focus groups and analyze feedback from them as well as survey responses. Every year, we would use this analysis to refresh our strategy, holding brainstorming sessions at least twice a year to think of what we could do next.
Other than the previously-mentioned pieces, a huge part of the work has been content production. They've helped us write short-form and long-form blog posts as well as helped produce videos. Once they create the content, they assist with posting it on platforms such as LinkedIn, Facebook, and Glassdoor. They've created content in several different formats, such as motion graphics, paid ads, and infographics. They've also provided web design assistance and helped refine presentations for our senior leadership team.
We just signed an agreement for our partnership to extend into 2020 and beyond.
There are about nine people that work with our team on a regular basis. Some of the founders will get involved at times. Up until January 3rd, it was two of us on our side, but now it's only me.
They were working with our consumer marketing team and we were looking for an agency to work with us specifically on talent branding. We even talked to a number of agencies who specialize in talent branding.
Column Five hadn't worked in talent branding before, but they were really good at brand storytelling. We were just giving them a different type of product to sell. We liked a lot of what they had to share in terms of their strategy and process. After meeting with all the agencies, they won.
We spend $1,000,000 annually with them.
We started working together in December 2017, and the work is ongoing.
They delivered on the benchmarks set. This year, we had more content on our blog than we've ever had before due to their support.
They captured our vision and our company's mission. We attracted 500 applicants from the blog alone. The blog isn't even meant to attract applicants; it's designed to drive awareness. This was definitely a win we weren't expecting. Of course, they also helped us gain applicants from a number of intentional avenues. They've ensured that we consistently have new content on our site, which has helped us get even more applicants than expected.
They're really good at keeping us on task, keeping everything moving, and making sure I know what I need to move forward.
Additionally, they're able to adjust to different people's work styles to get the most out of them. We have a standup meeting every Monday morning and a Slack channel for quick communication.
We also have an agenda that we use while we're in that Monday meeting. On their end, they use a virtual whiteboard. If their work is relevant to us, they'll share it during the meetings.
They've shown outside-the-box thinking with regards to marketing and brand strategy. When we began looking at agencies, we were considering employment brand agencies and marketing agencies.
Column Five really understood marketing and branding in general. They've been super innovative in their suggestions to us. They really understand how to properly tell a story and plan for a brand.
No, they're pretty great. I couldn't imagine doing this job without them. We communicate well, and I never feel the need to withhold any feedback.
They are experts at what they do. You just have to be an expert on your brand to get the most out of them. Don't micromanage.
I let them work independently. If something doesn't feel like it fits with our company, I feel comfortable telling them. I trust their expertise in suggesting new ideas.
Data Animation for Documentary on Asian Elephants
"Column Five is the best in the business at bringing data to life in a way that is interesting and engaging."
Jan. 2017 - Ongoing
Column Five provided animation services for a documentary on Asian elephants. After providing sketches and a storyboard, they delivered a short data animation that is featured at the beginning of the film.
John McCarthy
Co-Founder, Change for Balance
Most compliments that internal stakeholders receive regarding the award-winning film is on the animation, which seamlessly introduces the documentary. Meanwhile, Asian elephant experts have remarked that they've never seen the topic covered so succinctly. Column Five led an effortless process.
I'm the co-founder of Change for Balance, a commercial production company. We work with agencies like Column Five doing video production services and anything regarding commercial production needs.
A side of our company is dedicated to creating content that can make the world a better place. Most of these projects entail producing documentaries and docuseries that put forth a good message, such as stories of people trying to make a change in our planet.
My company was producing a documentary on how Asian elephants are going extinct. We went to Thailand and rescued an elephant, which we used to reflect the broader story of what all Asian elephants are going through.
As we were making the film, we realized that we needed a section to explain what was happening to Asian elephants. We also felt it was important to explain the difference between African and Asian elephants, as most people don't know that these two species, nor the fact that Asian elephants are going extinct. We wanted an engaging and dynamic data visualization that wouldn't be too brutal, so we hired Column Five for animation services.
First, we sent Column Five a script that our writers had written and explained that this was how we wanted to bring our idea to life. We also sent them a few animations that we thought were cool, many of which Column Five had actually done, and a rough cut of the movie so that they could get a feel for it. They started doing sketches, and they sent us a few options to look at. For instance, one was paper craft, so the animation looked like it was made out of paper. Another was Asian-inspired. We ended up choosing another one of their sketches and blending a few designs.
Using the script, Column Five built out a scene for us to see. Once we approved it, they started building out the storyboard of rough sketches before fully designing it, so that we could see how each scene and even line would play out. We're not Asian elephant experts, and we didn't expect Column Five to be either, but we were working with scientists to make sure we were phrasing everything correctly. My team went to Column Five's office and had a meeting with the designer and animator to go over the subtle nuances, such as how an Asian versus an African elephant looks. From there, Column Five built out the final storyboard. They made small motion designs of the way the elephants would move and delivered a two-minute animation.
We had a lead producer and a designer/animator. During the strategy meeting, there was a team of 4–5 people.
We've been doing video content with Column Five for a while. When they have video production needs, they call us, and we either direct or produce. We've also done spots for some of their clients. They're our friends, and we know the quality of the people they have working there. They're the type of people you would want to work with, so it was a no brainer for us to hire them for this project.
This project cost $25,000–$50,000.
Our work with Column Five began in 2017, and we still work with them to this day.
Our work experience with them was incredible, and what they did for us was genius. We gave them a lot of data, and they came back with the most brilliant, succinct animation that we'd ever seen. Their animation work is just a few minutes into the documentary, and it sets up a solid foundation for the rest of the film by explaining what an Asian elephant is, how it's different from an African elephant, and the crisis that they're facing. Most of the compliments we get on the film are actually on the animation. Asian elephant experts who have worked in this space for a long time have said that they've never seen the topic broken down in such a way that is so easy to understand. We wanted to make an argument that a child could understand, and Column Five brought that to life.
Our documentary has won a ton of awards, including a Humane Society Genesis Award for Best Feature Documentary. It got brilliant reviews in well-known publications and played in over 120 theatres in the US and abroad. The film is also playing on Chinese and South American airlines, and it's currently available on STARZ.
We're not animation people and don't know much about the process, and Column Five guided us through all of it. We communicated via email and phone, and we had two face-to-face meetings to kick off the project and get on the same page. Once they were off and running, they regularly touched base and asked for feedback on their work. They managed the feedback process well; they told us what kind of feedback they were looking for and specified exactly what we should look at, which made our lives extremely easy.
I've referred them to so many people because they're amazing, and Josh (Co-Founder, Column Five) is an incredible guy who was willing to take this project on amid all the other work they had. We felt very lucky that they managed the process extremely well. Their ability to manage a process like this and deliver such high-quality work was impressive.
We signed them on, and they took it from there. Their project lead knew precisely what to do. They built out the schedule and how they were going to do the work. It's one thing to have that, but then to back it up with such quality work made our lives so easy. The process was stress-free because we knew we were in the hands of absolute professionals. Column Five is the best in the business at bringing data to life in a way that is interesting and engaging.
Honestly, there aren't. There's a reason they're so busy and have such a big team, and it's because they're amazing at what they do.
Column Five is incredible because they're interested in being an extremely efficient business and making the most out of their relationships with partners. If you're thinking about hiring Column Five, don't think about it anymore; just do it, because it will be the best decision you've ever made. They're going to do everything they can to make the most out of the partnership. They don't succeed unless you succeed, and they're not just interested in completing the job and getting paid. They're invested in their partnerships. Their founders and all of their producers care about the brand.
Overall Score They made us want to make the movie better because the animation was so good.
Branding and Media Planning for Education Management Company
"The time, effort, and attention to detail they put into this project stood out to us."
Sep. 2018 - Apr. 2019
Column Five provided branding and media planning services to an education management company. Their team was also responsible for providing reporting and analysis on creative campaigns.
Neal Pickle
Campaign Manager, Pearson
The creative campaign exceeded the client's expectations, resulting in a high clickthrough rate. Column Five provides excellent customer service across the board, form their communication to their organization. The team goes above and beyond to deliver results tailored to the client's needs.
I am a campaign manager on the inclusive access piece of Pearson North America marketing. This entails B2B markering to higher education faculty. I help facilitate the development and dissemination of strategy into advertising and creative.
We sometimes don't have enough people from a creative standpoint to help us develop ideas outside of things that are crucial to our business. We sought outside help us with that and to provide us with a level of reporting and analysis on that creative after it had gone into the market.
Column Five came up with creative that was similar to the branding we were creating internally but took it to another level. They had helpful access to outside parties that provided us content or access that we might not have necessarily had on our own. It took our creative further and provides a different level of experience.
We provided Column Five with our internal style guide and past pieces of creative we had done and liked. We provided our overall marketing strategies and what we were looking to deliver on and they ran with that. They created a social media plan focused on Facebook.
Their team put together a channel plan for how we would deliver on our overall strategy for higher education courseware. Column Five provided a level of analysis that my team doesn't have time to dedicate itself to.
Day to day, we worked with 3–5 members of the Column Five team. Overall, there were probably 10 people on the project.
Column Five had done previous work for Pearson. My content manager had done research in the market about who would be good to work with that had done work in the education sector before and landed on Column Five.
We have invested between $10,000–$15,000.
This particular engagement with Column Five ran from September 2018–April 2019.
The campaign drove a lot of people who wanted to learn about that particular content, which at that point was centered around world languages, to our website. We were specifically focused on engaging with education faculty. It was good to put ourselves out there and provide them with a level of content we thought was relevant.
Our social media plan on Facebook was successful in getting people to click through to our site. We were able to lower our costs while driving up our conversions. Those types of KPIs that we were most interested in went up.
Our teams primarily communicated over email or using PowerPoint or spreadsheet presentations. Column Five is organized. Any feedback we provided them with was well received and they were able to quickly make changes. Their means of communication and providing feedback were stellar.
I come from an agency background, so this type of work is very familiar to me. The time, effort, and attention to detail they put into this project stood out to us. Column Five was willing to work with us and hear us out. The fact that we exceeded our total number of downloads for the kind of asset they developed was beyond what we expected to accomplish. It was a really great experience working with Column Five.
There were a few areas where they could have been more succinct and less wordy, but that's a pretty minuscule thing. For other people, the detail went a long way. Everything else, from the communication and timeline to their attitude, was excellent.
Be open and honest. Tell them what you're looking for and don't hold back. If they put something in front of you and it strikes a chord, provide them with that praise.
Branding & Visual Identity Creation for Internet Company
"Their preparedness was excellent."
June - Aug. 2019
Jun. - Aug. 2019
Column Five provided logo design, naming, and graphic design services for a company's new conference. Using existing style guidelines, they created a unique name, look, and feel for the conference.
Nawal Fakhoury
Senior Manager of Employee Experience Team, Linkedin
Column Five's work was extremely professional. Their team was very talented and selected high-quality names for the conference. The creative process was detailed and methodical. Their team was always prepared and hit all deadlines without any problems.
I'm a senior manager on LinkedIn's employee experience team. This team is responsible for fueling LinkedIn's amazing company culture.
We're in the process of launching a brand-new external program, which is a new experience for our team. Thus far, we've things that are strictly internal, but we reached out to Column Five to help us design an identity that represents what we want to showcase externally. We launched a new program that specialized in bringing companies together to have discussions about company culture, a topic that many businesses are interested in.
Throughout its history, LinkedIn has been constantly thinking about how we could build, define, and evolve our culture. By using strategies from LinkedIn's best practices and information from various companies, we're preparing to launch a one-day conference to bring together talent leaders and think about company culture. We were looking for a tagline and ideas that represent what companies could get out of the program and a visual identity to both bring them in and represent our own company culture.
Column Five helped select a name and tagline for the conference. They also developed a visual identity for the conference, creating a unique look and feel. This centered around the logo, iconography, font choice, and other ways to match our internal brand style guidelines while speaking to a general audience.
We started with a few kickoff calls to share the purpose of the program, our objectives, end goals, and our ethos. Then we worked on a variety of ideas for names. After three iterations—we provided feedback along the way—we landed on Culture Mark, which was something we were really excited about.
They created mockups, visuals, and a new font for us. The designs and colors they created were later used in our marketing materials and email communications.
Our main point of contact was Jonathan (Senior Producer, Column Five). Beyond that, we had 3–4 other people on the call. When we moved from the naming and tagline to the visual design, two other team members joined the team.
Members of the LinkedIn employee experience had used them before and they came as a highly recommended team.
We invested $18,000 in the first phase (the naming and tagline). The visual identity was $35,000
The engagement ran for two months in the summer of 2019.
Everything was extremely professional. It felt like all of the money we were spending was going to a really talented team that also cared about the craft. It was interesting to see the context and meaning behind it. We got to see the literary background behind the naming that helped us see the full picture. They were cutting-edge and creative but knew how to balance something corporate with personality and verve. They also made it very fun. The experience was great; there was a lot of laughing and some singing. They were also very receptive to feedback.
How did Column 5 perform from a project management standpoint?
It was fantastic. They were always on-time because of their great personality. It was fascinating to go through a detailed, methodical, and thoughtful creative process because I'd never worked with an agency like Column 5. We could see the whole process: deadlines, prioritization, etc. They also pulled in the head of HR from their own company to our meetings and contribute to the discussion. She opined on what would resonate and excite her during the conference, which was a unique experience.
We made sure we hit our deadlines. When there we needed to have another round of iterations or they needed more time, everyone was accommodating. They were very upfront and transparent about why we needed to do something on a specific deadline and how they were using time efficiently.
Their preparedness was excellent. They also seemed to work very well together as a team, even as they had different creative styles. Thus, there was some diversity of thought included in what they brought into meetings.
As someone who doesn't know the technical language quite as well, it would've been good if they spent more time breaking the terms down for me and my team. There were a few times where they used words that we didn't know the meaning of.
I'd be really clear on what your project is. You want to know who the stakeholders are going to be and they'll make sure they have an appropriate timeline based on that.
Content Marketing for Financial and Accounting Software Company
"We generated over 1,000 leads from the project."
Column Five Media works on content marketing for a financial software company, focusing on engaging visual content and a long-term content strategy to improve lead generation and social engagement.
San Francisco, Califorinia
Mackenzie Pedroza
Content Marketing Manager, Accounting Software Company
The content marketing produced a significant increase in the leads generated and the engagement on social media sites, with many positive comments and interactions. The team manages the project professionally, keeping on track and communicating effectively while producing innovative content.
I am the SEO and content marketing manager of a financial software company for accountants and businesses.
What challenge were you trying to address with Column Five Media?
We were looking to develop really strong content for a new site, that is essentially a blog site. We wanted to create some new and engaging additional content that was more visual in nature.
We didn't have the internal bandwidth to complete the project. The site is all about content strategy and we are in that for the long haul. We needed something to address a longer-term strategy.
Our site is very new and we were looking for both lead generation and social engagement. We were hoping we would be able to share the content on social to raise awareness of the new site.
They are wonderful to work with. We have a producer, who is phenomenal, as well as a few design and coding resources who do the frontend design, backend design, and visual design. We have also had copywriters as well.
How did you come to work with Column Five Media?
I believe they were referred to us by another team. Many different teams at our company work with them.
How much have you invested in them?
We spent between $20,000–$30,000 on the last project.
My team began working with them in 2016 and the work is ongoing.
We generated over 1,000 leads from the project. It might not sound like a lot for many, but for us, most of our leads up to this point have been generated from the content Column Five designed.
Part of the goal was great social engagement and we received such great feedback. People loved it on Facebook and Twitter. One woman commented that the interactive content ( a quiz) was so fun, she wanted to put her quiz results on her business cards. Overall, we had great social engagement, great feedback from our customers, and it was definitely a different take on a typically traditional industry; it really livened up the conversation.
How did Column Five Media perform from a project management standpoint?
They keep us on track and manage us more than we ever have to think about managing them. Deadlines have never been an issue as long as we are talking about what that they can control. We have missed some deadlines, but that's only when we have changed the scope. More than anything, they are more likely to beat a deadline rather than miss it.
They are true relationship builders. They are wonderful to work with: extremely friendly, creative, and constantly pushing the envelope in a way that gets us thinking outside the box. The team they have built is incredibly talented, they are all experts in their individual worlds, so when they come together they really deliver a stellar product.
I can't think of anything. They really do a great job of learning your business so that what they are suggesting is out of the box, but not wildly inappropriate. They do a lot of research and pride themselves on knowing your audience, which is something I have not experienced with another design agency.
Read the reviews, and maybe have some budget conversations upfront so that you know that your expectations are aligned. We have worked with other design agencies before and although they might seem cheaper, they're not comparable on the output. It is good to know what you're going to get for exactly what amount of money, then everything else can be negotiated.
Data visualization is huge in our industry because our audience really values numbers. If your audience cares about really strong data, make sure that your design firm or creative agency that you are going with have a really strong grasp of data visualization as Column Five does.
Content Marketing for Customer Service Software Company
"[T]hey're really friendly… and are proactively reaching out to make things better."
Column Five was brought on as a partner for marketing content creation. They've contributed across the board to long-form pieces, interactive components, advertising and social assets, and much more.
Program Manager, Customer Service Software Company
Feedback has been well received across the company. Both the marketing team and the branding teams are excited, and have felt the content work has been significantly helpful. The team is proactive and always trying to stay one step ahead of the curve.
I am the program manager for our brand team at a customer service software company. We provide better customer relationships, a live chat, help centers, and more.
What challenge were you trying to address with Column Five.
We were growing pretty fast as a company, and our brand team functions almost an internal agency. Marketing was growing particularly fast, and we were getting a lot of requests, many of which were for content. To produce and design content, it takes a long time and was too much for our internal team to handle. We were looking for a partner to be an extension of our team and help us with content creation and long-form content production.
The main goal was content creation for marketing purposes. Our content ranges from high-level thought leadership about customer service down to tips and tricks to improve your customer service department. They have acted as a partner to work on creating these content pieces.
They'll produce content for us and send it back over. Then, we have our content team add it to the website. If it's a static PDF we'll post it, but also they've created a couple of interactive pieces to our web team specs and we send over the package files and our web team hosts it.
They're like a big extension of our team. They work on any kind of advertising assets, display banners, and social assets. For the most part our team will help with concept and messaging, but their team is really supportive in building out whole suites of ad sizes. They've been helping us with our asset libraries, sizing a bunch of photos for us, making sure the files are perfect. It's been really helpful.
What is the team dynamic?
Geoff is our main account director. Then, we have a team of about 3 stable producers that we work with on a consistent basis. We have a dedicated creative director and a couple of designers that frequently work with us, but I also know they do some work on the backend as well.
A couple years ago, some of our marketing team had worked directly with them for a small one-off project. Then, about a year and a half ago our marketing teams were working with 15 different agencies and we realized this wasn't the most efficient way to work. Our VP stepped in and we did a full agency audit across the company budget.
We sat down and thought about how we have a lot of really creative, conceptual thinking people in-house and we really needed a production partner who's great with content. Column Five was on the top of our lists. We really liked their work and their people. Our VP went down to meet with them in person and it felt right. We decided to move forward with them.
A simple asset will fall in the 2–5k range, but a longer form e-book is around 10k. Then, for the real interactive stuff it's more like 17–20k.
We started working together in June 2016, and the engagement is ongoing.
They've been really great and helpful. They know content well, and they care about the small details in terms of the layout or for some of the interactive components we've released. We've gotten a lot of really great feedback across our company, and our marketing teams have been really excited about it.
From our brand team perspective, it's been super helpful having them take up some of the workload. We really appreciate that. On a personal standpoint, they're really friendly and often are proactively reaching out to make things better. Overall, it's been a really positive experience.
We're regularly in communication. They are always proactive every time, even with a scope change or a change in schedule. We meet once a week to talk and discuss what's coming up next. It's been good.
Often times our creative time will push the boundaries, and we'll send them in a certain direction. On occasion, their writers and content hasn't quite hit the mark – but that's a hard mark to hit. I can't fault them too much, but it's been somewhat of a challenge for a few projects.
When you're just starting out working with them, spend as much time as possible up front having them understand your brand, your processes, and simple nuances. It might seem normal for your team, but other teams might not understand.
Video Production for Multimedia Nonprofit
"Their graphic designs and animation have the most personality and nuance of any I've seen."
Column Five designed custom animations and graphics for a documentary film in order to increase audience investment in an otherwise dense topic.
Column Five's extraordinary artistic vision turned data into an immersive and engaging experience for film viewers. Combining technical expertise with excellent project management, the end product wowed.
Our company is called Change for Balance Productions. I'm the co-founder. We're a video production company with two components. One part of our business is a nonprofit that provides media resources to individuals and organizations that are working to better humanity. One project we did was a trip to South Africa with Charlize Theron to help her with her HIV/AIDS relief efforts. And we were just in Cambodia with the world's foremost expert on Asian elephants; that was actually the project we engaged Column Five for. The other aspect of our business is commercial production, so we'll direct spots for various corporates in fashion, lifestyle, and commerce.
One of the main challenges with film is getting necessary background information across in an interesting way. For this film about Asian elephants, we had a lot of data that we needed the audience to understand so that they would be invested in our story. We engaged Column Five to do it in a fun, engaging way.
Column Five packaged information in a palatable way and communicated it efficiently to the audience. We gave them all these statistics about Asian Elephants and they made animations for the movie. They really provided solutions. I know that's a generic business term, but I mean it: they really bailed us out.
The project was really pretty intense, and the team at Column Five was incredible because they listened to our somewhat nontraditional ideas, interpreted them, and produced something brilliant that we could never have imagined. They had a fantastic project lead who kept us in the loop on everything all the time. He had a detailed feedback schedule, and we really moved forward on that schedule to a position where we could do our test screenings for our Hollywood team.
They actually hired us on previous projects; on this one, we came to them. They were the only ones on our mind. We did look into other firms, but Column Five was our top choice. We didn't know if they'd want to take this on, but we were so excited when they did. Their artists are extremely talented; we were blown away by what they created.
How much have you invested with Column Five?
It was $50,000-$75,000.
We began around August 2016. It took about a month and a half; they're so efficient, it was incredible.
Could you share any evidence that would demonstrate the productivity, quality of work, or the impact of the engagement?
The movie hasn't been released yet, so I can't give any numbers about that. But I can say that from test screenings, audiences and producers who have seen it at this point have all been blown away. It made the information understandable, sweet, and funny. It's an animation that has so much emotion. We were all terrified that this part of the movie was going to slow down and drag and just be a boring data dump, but they took it to a point where kids and adults all say this is one of their favorite parts.
When it comes to business, you're talking about people. People have goals and ideas and deadlines, and Column Five has the best people working for them. Their team is incredible. They've been working together for a long time and they communicate effectively. I was just impressed. I would highly recommend them. Their whole team, from the co-founder Josh Ritchie, all the way down to their project managers and artists, sat with us and heard us out. They added their own flair to our vision, and it was more than we ever could have imagined.
What did you find most impressive about Column Five?
What they create is beautiful. A lot of people are doing a similar style of work, but I really feel that Column Five's is the best. Their graphic designs and animation have the most personality and nuance of any I've seen.
Are there any areas Column Five could improve?
I really don't have any criticism. We're worked with other vendors in a variety of areas, and Column Five was a dream come true. Sometimes you'll get your deliverable and you're kind of dreading opening it; with this, we couldn't wait to open what Column Five would send us because we knew it was going to be incredible. We'd celebrate; we'd send it to everybody we knew; it was an incredible experience.
Overall Score <p>The best. Incredible.</p>
That's one of their strongest things.
On a scale of one to five? 105. Absolutely.
I already have recommended them quite a few times.
Video Production and Branding for Cornell University
"I haven't worked with another production company that's provided better quality than Column Five."
Jan. 2015 - Jan. 2016
Column Five created a logo and video promotional package for a university fundraising campaign. The design team used in-house guidelines for all animations to ensure creative cohesion.
Ashley Budd
Director of Digital Marketing, Cornell University
The videos generated great social media engagement, attracting praise from alumni and donors. Column Five's streamlined workflow, timely deliverables, and ability to incorporate feedback contributed significantly to the event's success.
Please describe your organization.
I am the director of digital marketing at Cornell University in the division of Alumni Affairs and Development.
What business challenge were you trying to address with Column Five?
We were looking for identity assets and video assets for Cornell's first Giving Day. That was in 2015. Column Five created the mark that we used and used Cornell's branding guidelines to build out the identity for Giving Day. Then, we looked for them to do the video assets for that campaign. We ended up using them to do all sorts of animations for us.
Please describe the scope of their involvement in detail.
For our logo for Giving Day, Column Five selected the color palette and what colors were going to be primary and secondary. They designed email headers and banners. Then, for the video component of the project, which was the bulk of the work, they did a save the date video, three teaser videos, the actual Giving Day video, and a thank you video after it was over. It was animation – no live action.
They also delivered a video bumper. It was a 10-second animation of the logo that we could share with people who were creating their own Giving Day videos. That was nice. We actually only scoped two teaser videos with them, and they delivered three because they came up with another fun concept that they insisted we use. That was an added bonus.
We were working with a digital strategy consultant on other aspects of our work, and they referred us to Column Five. After we saw what they could do, we were comfortable just going forward with them.
Could you provide a sense of the size of this initiative in financial terms?
We also did this work with them the following year for another Giving Day. Each year, we spent about $40,000 with them, maybe a little bit more last year [2015] – closer to $45,000.
Last year was the first Giving Day, and then we used them again in 2016.
Could you share any statistics or metrics from this engagement?
We got great feedback from our alumni. This was something new that we hadn't done before – using animation as part of an awareness campaign. We asked them to build our videos for social media. The teaser videos we wanted to be short – very little dialogue if any at all – so people could watch them silently. They pushed the concept, especially on the teaser videos, to the next step by making them something that would be really shareable on social media.
When they delivered storyboards for us, the stories that they were building weren't about Giving Day or giving at all. They were more about fun little snapshots of our bear mascot doing silly things. They had a subtle tie to Giving Day so that it was hitting that awareness mark. It was like subliminal messaging about Giving Day to make it more sharable on social media.
They were probably one of the best companies – one of the best vendors – I've worked with as far as project management goes. From the start, we scoped out the whole timeline. We picked dates for review and for delivery. For each review, their project manager gave me exactly what was going to be delivered and exactly what kind of feedback they wanted at that point, which was super helpful for me. Because I knew when the turnaround time was, I could go to my team and say tell them exactly what sort of feedback Column Five needed from us. They had their process down to a science, and they're clear about that upfront so that you know what to expect.
What distinguishes Column Five from other providers?
They do a good job of listening to feedback, trying to capture exactly what you're describing. Especially in video creation, I think many clients will come in with an idea in their head, and they do a good job translating that, but they also present their own ideas. They did all the script writing for us – the writing was fantastic. They're super professional.
I mentioned they gave us an extra teaser video the first year. That was above and beyond, and they ended up going above and beyond the second year, too. They gave us all of the Illustrator files for the animated video assets so that we could use the graphics that they designed in other places in our marketing.
Is there anything Column Five could have improved or done differently?
No – not really. They also have a product called Visage, and they offered to us for free for the amount of time that we were working with them. They've just got a ton going on, and it helps keep us wanting to work with them. They just always keep making things easier for us. They're not very pushy, which is a good thing, but I also don't know if I used their other services to the extent that I would if they had been promoting the sales of that other stuff more aggressively. I'm not someone who would promote aggressive sales, but there are people that I know have a lot going on, and they would probably benefit from being a little bit more persistent with some of their other products.
Overall Score They listened to our feedback, and we've been happy with everything they've done.
If there was any a time when the deadline slipped, it was because of me, not them.
They are expensive. We can't afford to work with them for live action, which is unfortunate because they're awesome.
The work that they did we couldn't have possibly done on our own, and I haven't worked with another production company that's provided better quality than Column Five.
I refer them all the time.
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text:
San Luis Río Colorado is a city and also the name of its surrounding municipality in the state of Sonora, Mexico. In the 2020 census, the city had a population of 176,685. The city is the fourth-largest community in the state, and the municipality is also the fourth-largest in terms of population. Lying in the northwestern corner of Sonora, the city marks the state border with Baja California. It also stands on the international border with the United States, adjacent to San Luis, Arizona. It is located about 75 km from Mexicali. The municipality covers an area of 8,412.75 km² (3,248.2 sq mi) in the Sonoran Desert.

History
Awarded city status in July 1958, San Luis Río Colorado serves as the administrative center for the surrounding municipality of the same name.  The city is located on a mesa, characterized by a flat and sandy terrain.

San Luis Río Colorado was once an important inland port for steamers traveling the Colorado from the Gulf of California. Since the early 1900s the Colorado has been completely or nearly completely drained for irrigation. The once-formidable Colorado is usually dry or a small stream.

On Easter Sunday 2010, a 7.2 magnitude earthquake struck the region. The Sears department store (formerly Dorian's) and 5 schools were destroyed, affecting approximately 30,000 people in the region.

San Luis Río Colorado is home to four regional medium-wave radio broadcast stations, among them 1350 XELBL-AM, all of which are popular long-distance reception targets for medium wave DX radio enthusiasts.

Josse, a Mexican Latin beat singer recorded a song called "San Luis Río Colorado" as a tribute to the river.

Climate
San Luis Río Colorado has a desert climate (Köppen climate classification BWh), with extremely hot summers and mild winters; it is one of the hottest and driest cities in Mexico. The record high temperature is , recorded on 25 June 1951. The record low temperature is , recorded on 2 January 1950.

Economy
Maquila factories in San Luis Río Colorado include TSE Brakes, Daewoo Electronics, Bose, Flextronics, Yazaki, SANA International, and Gaming Partners International.

Transportation

San Luis Río Colorado Airport is the general aviation airport serving this city. The nearest International airport to San Luis Río Colorado is General Rodolfo Sánchez Taboada International Airport near Mexicali. San Luis Río Colorado has highway connections to other parts of Mexico (State highway 40 and Mexican Federal Highway 2). There is a border crossing with San Luis, Arizona. Several intercity bus companies (including TUFESA) stop at the San Luis Río Colorado bus station.

Notable people
Alfredo Aceves, professional baseball player for the New York Yankees.
Paty Díaz, telenovela actress.
Efrain Escudero, MMA fighter for the UFC.
Jorge Páez, former WBO and IBF Champion.
Azriel Páez, undefeated Welterweight prospect and the son of former Champion Jorge Páez.
Carlos Palomino, former WBC Welterweight Champion and member of the International Boxing Hall of Fame.
Rogelio Medina, boxing Middleweight contender.
Ignacio Mondaca Romero, writer, author of Relatos de Ocio among other books.
Jesús Sánchez García, professional footballer for Club Deportivo Guadalajara.

References

Link to tables of population data from Census of 2005 INEGI: Instituto Nacional de Estadística, Geografía e Informática

External links

La Cronica.com

.
Populated places in Sonora
Populated places in the Sonoran Desert of Mexico
Populated places on the Colorado River

redpajama_set_name: RedPajamaWikipedia


text:
Q: JMeter: Sampler for JMX/MBeans? I there a possibility to access MBeans of the system under test from JMeter? I have a system which has several deployments, but needs a MBean call to do final initialization and startup. I need to access and run this. Addtionally, it would be great to get some information out off MBeans for testing.
How is this possible? Do I really need to write an own sampler?

A: To init your component you could use à jmeter setup thread group and use a jsr223 sampler using groovy as underlying package.
With groovy it's very easy to call jmx operations:

*

*http://groovy.codehaus.org/Groovy+and+JMX
Otherwise there is a plugin:

*

*http://code.google.com/p/jmeter-rest-sampler/
It contains a jmx sampler in it.

A: There's a project with a set of plugins for JMeter one of which supports JMX: http://code.google.com/p/jmeter-plugins/wiki/PerfMonMetrics#JMX_Metrics

A: The PerfMon mentioned above by mvmn will access MBeans of the system under test, but the preferred JMeter Plugin solution is to use the new JMX-specific plugin.
The following link shows how to identify a jmx metric in JConsole MBean tree (using ObjectName, attribute name, etc..) and then add that info to the JMXMon interface.
http://jmeter-plugins.org/wiki/JMXMon/

redpajama_set_name: RedPajamaStackExchange


text:
Support training programs on gender based violence and institutional violence for my staff members at the Permanent Mission of Argentina to the UN in order to promote the implementation of the "Micaela Law 27.499", which has the name of a victim of femicide from Argentina, Micaela García. The commitment is focused on implementing this Law, which is mandatory for all the officers that are part of the Executive, Legislative and Judicial powers.
Ensure the meaningful participation of women in all their diversity in every meeting and side event organized by the Mission of Argentina to the United Nations with other partners. Gender parity must be guaranteed at all levels, not only in panels but also at key decision making meetings.
Create a work environment in the Department that is supportive of professional and career development of women by promoting work and life balance for women and men, supporting flexible work arrangements, and not calling meetings on weekends, in late working hours that could run into the evening.
Advocate for gender equality and gender sensitive language in the work of the United Nations Department of Economic and Social Affairs in support of the implementation of the 2030 Agenda in its social, economic and environmental dimensions.
In our dialogue with, and in governing boards of, international organizations in Geneva, encourage organizations to: 1) Attain gender balance at management levels (P5 or equivalent and above) through both short- and long term measures, including the creation of a more conducive work environment, 2) Integrate the gender dimension in programmes, policies, and normative and operational work, and 3) Put in place comprehensive and transparent policies to prevent and address sexual abuse and exploitation.

redpajama_set_name: RedPajamaCommonCrawl


U.S. President Donald Trump has announced that "it is time to officially recognize" Jerusalem as the capital of Israel.
The Iranian currency has taken another dive against major world currencies, by breaking through 42,000 rials to the U.S. dollar on December 6.
Turkish President Recep Tayyip Erdogan has called the New York trial of a Turkish banker accused of conspiring to help Iran evade U.S. sanctions "blackmail" and a "blemish" on his country.
Turkmenistan has agreed to seek international arbitration of a dispute with Iran over $1.8 billion Ashbagat says Tehran owes for deliveries of natural gas, Turkmen news media reported on December 5.


text:
2020 was undoubtedly an unprecedented year, the year of online and the virtual.
Like all sectors, the world of art was also affected by the pandemic, we have seen a new initiative and a re-directing of resources, an adaptation to new display and communication methods.
In response to the lockdowns that forced us at to stay home, museums, galleries and institutions quickly organized themselves to offer visits to their collections on virtual tours.
Not only the exhibitions, but also the fairs have become visitable and commercially available in viewing rooms. I believe that this phenomenon could remain active even after the reopening of the spaces.
Social networks like Instagram and Facebook have become the meeting place between artists, organizations and the public, offering interesting live broadcasts and other forms of communication and it is good, because the art world was almost the only sector not yet operating in this mode. Many museums around the world have immediately turned to these platforms to give access to their collections without borders.
Other major exhibitions, such as the retrospective at the Tate Modern dedicated to the South African artist Zanele Muholi, the dialogue between Tracey Emin and Edvard Munch at the Royal Academy of Arts, Artemisia Gentileschi at the National Gallery in London, have been canceled, postponed or reopened for short periods.
There has also been a lot of talk about the traveling exhibition on Philip Guston which would have opened in June at the National Gallery of Art in Washington, canceled due to the pandemic and further postponed due to some works depicting the Ku Klux Klan that could be misinterpreted by the public and attract criticism in the year of the "Black Lives Matter".
The movement engaged in the fight against racism has in fact also involved the art sector, triggering reactions of solidarity from many artists and institutions. In recent years we have already witnessed a great growth in Afro-American art – a sign that something has been changing for some time – and now I think they will have even more visibility. Just during the London auctions in February we witnessed new amazing personal records for the most popular black artists of the moment, Tschabalala Self, Amoako Boafo and Jordan Casteel. It is no coincidence that this year the Black Lives Matter movement is at the top of ArtReview's Power 100.
Tschabalala Self, "Princess", 2017
Fabric, acrylic, hand hair and oil on canvas
Sold for £ 435,000 including tax at the Phillips auction in London on February 13, 2020
Amoako Boafo, "The Lemon Bathing Suit", 2019
In addition to the exhibitions, the Biennials have also been postponed, first of all the Venice art review that will take place in 2022 – henceforth it will always be held in "even" years.
Almost all fairs have been canceled – places par excellence for collectors and gallery owners from different countries – with a few exceptions such as Manifesta 13 in Marseille, which in any case closed one month early.
After canceling all three 2020 appointments, Art Basel also postpones the Hong Kong edition scheduled for March 2021 and postponed to the end of May. But there is also good news, as Online Viewing Rooms and other multimedia experiences have brought a decent level of sales, confirmed by the lively exchanges at Art Basel Miami.
Frieze Art Fair for the London appointment has combined virtual tours with small events in the city and for the first time the galleries have transformed their London offices into real booths to be visited by appointment.
Frieze then postponed the Los Angeles stage to the end of July 2021, while in February there will be 3 days of special (online) programming to celebrate 30 years of activity.
2020 has therefore triggered many changes and all the actors of art – artists, gallery owners, curators, directors of fairs and museums – have had to rethink organizational methods, the maintenance of existing structures and the development of new strategies.
But as we well know: not all evil comes to harm.
Some have allied themselves and almost all digitized. And thanks to this, a new era of communication will begin also for the world of art, which had remained among the last in modernization.
Of course there were some difficulties to face, such as the staff cuts also made by art giants – from large galleries such as Perrotin, David Zwirner and Pace Gallery to important institutions such as the Guggenheim in New York, the Tate Modern and the Royal Academy of London – all forced to close for a very long period.
Probably, when they can reopen and return to normality, things will return to the way they used to, but digitization will certainly remain an additional service forever.
In addition to the Coronavirus, Brexit is also destined to partially change the geography of European art.
Some galleries have in fact decided to close their offices in London, such as Marian Goodman, who will close the space at the end of the year to give space to a new exhibition mode – "Marian Goodman Projects". The initiative will organize exhibitions in different places in London depending on the nature of the works and the project.
David Zwirner, a gallery with offices in New York, Hong Kong and London, to cope with Brexit has also opened a gallery in Paris, a city destined to become the European center of contemporary art. Pace Gallery and White Cube also followed his example.
A news that closes a chapter is the closure of the famous Blein/Southern gallery founded in London in 2010 with offices also in New York and Berlin. In February, the closure of all three galleries was announced and there are rumors that the causes are serious financial problems, to the point of having to return the works to the artists with the shipping costs to be borne by them.
Another certainly unexpected announcement for the entire art market is the closure after 26 years of activity of the New York gallery GB enterprise of Gavin Brown, a great dealer and pioneer to join and become a partner of Gladstone Gallery (by Barbara Gladstone). It will present only 10 of its artists: Joan Jonas, Ed Atkins, Arthur Jafa, Rachel Rose, laToya Ruby Frazier, Kerstin Brätsch, Alex Katz, Frances Stark, Rirkrit Tiravanija, Mark Leckey.
Laura Owens, Jos de Gruyter, Herald Thrys instead will not be part of Gladstone Gallery.
The value of collaboration between different realities was therefore rediscovered – even among those that were previously considered competitors.
In Italy, for example, Italics was born, a consortium that brings together over 60 Italian galleries of contemporary, ancient and modern art aimed at enhancing the territory of the Bel Paese with advice to tourists ranging from historical and artistic beauties to visit to food and wine excellences not to be missed.
The "Milano Art Community" was created in Milan, a platform managed by some of the most important galleries, foundations and non-profit spaces in the city to promote the initiatives of its members.
As we have seen, in this atmosphere of great uncertainty there was also no lack of positive implications such as the many solidarity initiatives that involved established artists such as Wolfgang Tillmans, Tracey Emin, Marlene Dumas, Martin Parr and others, but also galleries and houses of art auction like Christie's, Sotheby's, Artcurial – all engaged in numerous charity sales.
Hauser & Wirth recently launched the "Artists for New York" fundraiser: more than 100 artists have decided to donate their works for a charity sale in support of some institutions in the city including MoMA PS1, the New Museum and the High Line Art. (Hauser & Wirth has waived any sales commission).
Also Italy has activated many initiatives of charity, from the personal mobilization of artists such as Alessandro Piangiamore who sold the work "La cera di Roma" (purchased by Veronica Siciliani Fendi) on Instragram, the proceeds of which were donated to the Hospital Spallanzani in Rome, up to initiatives by auction houses such as Blindarte with "Art To Stop Covid-19" – the proceeds went to the Lombardy Region and the Pascale Institute in Naples; or the Cambi auction house with "Design Loves Milano", a charity auction to help the Luigi Sacco hospital.
In a year hit by so many losses, Italy and the whole world have also mourned one of the greatest curators and art critics in history. Germano Celant passed away at the age of 80 precisely because of Covid-19, perhaps taken in New York during one of the last fairs in attendance, the Armory Show.
Theorist and founder of Arte Povera, Celant had made Italian artists known to the world. Curator at the Guggenheim in New York and of many exhibitions in foreign museums, director of the Venice Biennale in 1997, since 2015 he was the artistic director of the Prada Foundation.
The major auction houses – forced to cancel or postpone scheduled appointments as early as March – have run for cover by taking on different forms rather than traditional ones. The use of online, private rooms, the growing Asian market and the launch of "cross category" auctions – an approach that has changed the offer model by merging the various departments – have partly leveled the situation. However, the top three auction houses suffered a significant decline in sales – for Christie's – 25% compared to 2019, Sotheby's -27%. In numbers, compared to $ 4.4 billion in 2019, 2020 generated sales of $ 0.9 billion.
The lack of live auctions has therefore generated a decrease in turnover, also due to the fact that many customers have preferred to give up selling important works while waiting for better times for their valorization.
While ten lots exceeded $ 50 million in 2019, this year only two lots exceeded this figure.
First place was the "Triptych Inspired by the Oresteia of Aeschylus" (1981) by Francis Bacon, which reached $ 84.6 million on June 30 at a live auction at Sotheby's.
After the Chinese classic masterpiece – which took second place on the podium – we find Roy Lichtenstein, with "Nude with Joyous Painting" (1994) sold for $ 46.2 million at Christie's on 10 July.
David Hockney follows with "Nichols Canyon" (1980), which was changed hands for $ 41 million on December 7 by Phillips, which reached the highest total for a NY auction in the history of the auction house.
A sign of a lively market despite the complicated year, capable in some cases of surprising and exceeding expectations.
Francis Bacon, "Triptych Inspired by the Oresteia of Aeschylus", 1981
Roy Lichtenstein, "Nude with Joyous Painting", 1994
David Hockney, "Nichols Canyon", 1980
Fortunately, there was no shortage of successes, such as the 8th edition of "Contemporary Curated" by Sotheby's which on April 22 broke the record for the most profitable online auction ever totaling $ 6.4 million (estimate of 5, 75 million), thanks to a catalog full of masterpieces and Margherita Missoni as Guest Curator.
Online auctions have brought in an influx of new buyers – many millennials – and seen a 20% increase in profits over last year, apparently high, but lower than the revenues of a traditional auction – a way to stem the crisis – so much so that Sotheby's fired around 200 employees in March (around 12% of its staff).
For the first time, the Turner Prize was divided into 10 scholarships of £ 10,000 each, awarded to as many artists: Liz Johnson Artur, Oreet Ashery, Shawanda Corbett, Jamie Crewe, Sean Edwards, Alberta Whittle, Sidsel Meineche Hansen, Ima -Abasi Okon, Imran Perretta and the Arika collective.
The traditional collective exhibition dedicated to the finalists has not been organized but the winners of this edition may be re-elected in future editions of the award.
The winner of the 2020 Hugo Boss Prize is Deana Lawson, an American photographer whose research focuses on social issues and family intimacy in African American culture.
Emma Talbot wins the eighth Max Mara Art Prize for Women. The English artist explores inner landscapes full of thoughts, emotions and personal stories in delicate works painted on silk or other textile media and include sentences written by the artist or taken from other sources.
Canadian artist Kapwani Kiwanga wins the Prix Marcel Duchamp – an award born in France in 2000 – with "Flowers for Africa", a project that reflects on the political and social history of African countries.
Returning to Italy, Palazzo Strozzi in Florence was able to adapt to the times and extend the long-awaited "Aria" exhibition by Tomás Saraceno, which was suspended a few weeks after its opening and which at the reopening received a great response from the public.
The highly anticipated monographic dedicated to Carla Accardi at the Museo del '900 in Milan, scheduled for the beginning of October, was also able to bring a sigh to culture, precisely in the window of openings between one lockdown and another. Over 70 works on display by Accardi – the first internationally recognized Italian abstract artist – will be open to visitors until the end of June 2021.
2020 was a special year and it is clear that it will take time to reach a new balance, but each period of crisis always brings new opportunities and allows us to see things in a new light. We still have a period of transition and many other changes ahead of us – certainly positive!
… The art does not stop!
Linda In Art Basel
What do you know about Art Basel?
As every year, the appointment with Art Basel is back, open to public from 13 to 16 June, with the most important contemporary art fair in the world, born in 1970 thanks to the intuition of gallery owners and collectors Trudl Bruckner, Balz Hilt and spouses Ernst and Hildy Beyeler.
The founders – eminent personalities and avant-garde figures, were looking far ahead and sensed the great potential for a new market destined to change the history of art.
Legendary personalities such as Trudl Bruckner, a Swiss gallerist who during her 44 years of activity made "Basel zuliebe" – "for the love of Basel" – her slogan, is one of the female figures standing at the origins of the fair's conception.
Together with her on the way to transforming Basel into an international center of contemporary art, the spouses Beyeler, cultured and sophisticated "old style" collectors – both patrons and merchants – created a collection of over 200 absolute masterpieces by artists such as Rothko , Klee, Giacometti and Picasso, with whom the couple had developed relationships of friendship and mutual respect.
In 1997, the Beyelers established the Foundation named after them, which has become the most visited in all of Switzerland and the most international, with 52% of foreign visitors.
Created as an answer and alternative of the German Art Cologne, the Swiss fair was successful from the very beginning, with over 16,000 visitors to the inaugural exhibition, 90 participating galleries and 30 publishers from 10 different countries.
The numbers were destined to grow exponentially within very few editions, if we consider that to date the participating galleries have risen to 290 coming from 34 countries.
Basel, from a typical town on the Rhine, becomes an international meeting and exchange place for all art dealers, art lovers and collectors and after 49 years it continues to be the most important international event in the field of art, not only in terms of the market, but also research.
The exhibition includes all forms of artistic expression such as painting, graphics, installation, photography, performance and video art, developed especially since the late 90s with "Video Forum", a section dedicated to the interaction of art with technological media and first of all with the video art, then "Art Unlimited" was launched, giving space to large-scale installations created through the use of a wide variety of means of expression.
Demonstrating its international character, since 2002 the Basel fair has expanded overseas for the winter edition that takes place in Miami under the name of Art Basel Miami Beach (scheduled this year from 5 to 8 December). It was also in those years that Art Basel Conversations appeared, discussions with the main representatives of the art world – among the art collectors, museum directors, curators, artists, art critics and architects – providing access to information first hand on various aspects of the art world.
If prior to the Art Basel fair all the fairs were of a national character, then since its foundation the meaning of artistic manifestation has changed, and all the directors who have followed one another over the years have wanted to impress that seal of internationality and of superlative quality that is still maintained intact in its primacy. The commission carefully considers the candidates – galleries, artists and related works proposed for the exhibition – and this selection guarantees and protects the requirements necessary to participate in the prestigious fair.
The international character of the event is once again is emphasized by Art Basel Hong Kong, launched in 2013, allowing for a privileged observation point of the dynamics of the Eastern market. The next appointment is from 19 to 21 March 2020.
The turnover of millions of dollars for each edition and the huge capitals that revolve around Art Basel are amazing, with astounding numbers that reflect the economic impact the big fairs have on the global art market.
The main actors are mainly three: Art Basel – which belongs to the MCH group – Frieze London and Tefaf Maastricht: continuous expansion across continents and support from financial institutions (UBS in the case of Art Basel) are just some of the factors that determine the constant increase in growth.
Among other things, it became known these days that MCH Group, the company owning Art Basel and Masterpiece London, has decided to sell the Art Düsseldorf fair in order to focus more on the two "flagship horses" of their team.
So, what role do non-commercial events play in the art market?
The question could be answered with the statement: "See in Venice, buy in Basel", this is the collectors' motto that can serve as an example suggesting of the close link between the non-profit Biennale and the most famous commercial fair.
Venice, with its prestige, provides good visibility to the participating artists and gives an overview of the news and new interesting names.
There is no doubt that sales are made earlier in the Serenissima (Serene Republic), a fact that is confirmed by over one hundred exhibitions held in addition to the official Biennale program of this year.
For example, the Thaddaeus Ropac Gallery supports artists such as Lee Bul, Baselitz, Vedova and Ghenie present in Venice, and three of them are offered for sale in Basel.
Just as the Carpenters Workshop Gallery offers to buy the work of Maarten Baas, an artist presented at the Biennale. Equally the White Cube offers the artist Ibrahim Mahama, who represents the Ghana Pavilion.
At the exhibition we also find other artists participating in the 58th Biennale, such as Zanele Muholi, Kemang Wa Lehulere, Mawande Ka Zenzile, Frida Orupabo, Kris Lemsalu, Tamás Waliczky, Cathy Wilkes, Arshile Gorky, Günter Förg, Martin Puryear, Christoph Büchel.


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Words of Radiance Philadelphia signing ( March 21, 2014 )
#1 March 21, 2014 Share Copy
NutiketAiel
If you could write something, whatever you're willing to tell us, about the Moon Scepter that we haven't already heard?
(Writes, amidst oohing and aahing)...I run into problems with some of these things, because there's not much to say, but what there is to say can be very spoilery, you know what I mean. Like it's like...and so... (possibly pointing at what he has written)
This is probably going to be a RAFO but is that the one...the stick with the writing...seen in Mraize's collection?
(continues writing)...well, at least I gave you something...
But it is not Mraize's stick.
#moon scepter #mraize
Skyward Seattle signing ( Nov. 10, 2018 )
#2 Nov. 10, 2018 Share Copy
Khyrindor
So, I was hoping to get a confirmation on Mraize's age?
I'd probably-- Well, what did I say before?
Not sure, I was just asking the question.
Okay good, I didn't think that I had confirmed this. I'm going to RAFO it.
Like, is he older than a normal person?
I will RAFO it, yeah. Let's say though, that, though he has been off-world, he himself is a Rosharan.
A Roshar native?
#mraize #rafo-plus
Shadows of Self London UK signing ( Oct. 19, 2015 )
#3 Oct. 19, 2015 Share Copy
Questioner
[Mraize's] cosmere treasure room had a white tree branch-like thing, is that the bones from Sel?
It is not from Sel, it's from Yolen.
#mraize #yolen
Skyward Atlanta signing ( Nov. 17, 2018 )
Has Mraize ever Ascended?
RAFO. So it's not a yes or no. It's a yes or no or other.
#mraize #rafo
It is not Mraize's stick.
Footnote: In response to entry 2944, regarding the Moon Scepter
Shadows of Self San Jose signing ( Oct. 9, 2015 )
#6 Oct. 9, 2015 Share Copy
In the <third Stormlight book>, are we going to learn more about the Ghostbloods, and about the organization Mraize is in?
Yes, and yes.
#ghostbloods #mraize #oathbringer
Stormlight Three Update #4 ( Oct. 11, 2016 )
Mraize is said to come from Thaylenah. If it is true, then what about his eyebrows? 'Cause we didn't see any related descriptions from Shallan's PoVs. Did he cut/shave/dye his eyebrows?
Mraize...well, let's just say that much about him is mysterious. But no, you would not place him as Thaylen by his eyebrows.
#mraize
Sources: Reddit
/r/books AMA 2015 ( Aug. 9, 2015 )
#8 Aug. 9, 2015 Share Copy
ccstat
Would Mraize have recognized mugshots of the "thugs" who accosted Jasnah and Shallan in WoK?
RAFO
Orem signing ( Dec. 21, 2017 )
#9 Dec. 21, 2017 Share Copy
JoyBlu
Is Mraize's Aviar from First of the Sun or is it from another planet?
If it's called an Aviar, its origin is First of the Sun.
#aviar #first of the sun #mraize
Sources: JoyBlu's report - 17th Shard
Emerald City Comic Con 2018 ( March 1, 2018 )
#10 March 1, 2018 Share Copy
Mraize's Basement Emporium. Is that more like a trophy room or a "In case of emergencies" room?
Multiple people
Or a bank vault?
Or a weapon's vault?
Or both?
So, yes...
I mean, he can't use the Aether, right? ...He can't use the Aether, he doesn't have an Aether. But the sand, the sand does stuff. So a handful of sand is a really useful amount of sand to have if you're not a sandmaster. Because sand reacts to Investiture. So if you let it fade and you take it somewhere, as soon as Investiture goes kinetic, it'll turn white again. So you'll be able to use it to tell who's using Inve-- it works just like a Seeker, like bronze pulses...
So having white sand, having sand around is really good. If you can keep the little beasties that are growing on the sand around, they will react to basically the Investiture equivalent of radiation. So that's handy.
#mraize #white sand
Shardcast Interview ( Jan. 23, 2021 )
#11 Jan. 23, 2021 Share Copy
Weiry Writer
Kelsier and Thaidakar. At what point did you decide Kelsier would be part of The Stormlight Archive?
Thaidakar isn't; his minions are! Pretty early on, there's a whole lot of Kelsier in Era 3 and as soon as I decided that when I outlined the original nine books as I was working on the original Mistborn trilogy I knew that there needed to be some more of him influencing the world/universe at large. He is a really fun character to write because he does not fit in boxes very well. He does like meddling. There are a lot of things I want to do with Era 3.
One of my big concerns when I was building the outline with Kelsier, when I was building the outline for all 9 books before I added the Wax and Wayne books, back in 2004 when I was doing a lot of the big outlining for the cosmere - Emily's got to dig out that paper I once wrote out for her - I guess that would have been 2004 to 2006, because I got married in 2006, and it was 2007 where I drew that thing out for her. No actually it was summer 2006, because I didn't have my laptop with me which I wasn't allowed at the family reunion, so I instead had a notebook, because if I'm not allowed my laptop, I will have a notebook, and that's why we have a physical copy of this thing.
But when I was doing all that one of my big concerns was how to make sure people kept interested in Mistborn while I was potentially spending years and years away from it, at that point in the outline I was going to write Dragonsteel before Stormlight. And I started trying to do that in 2007, either way we're talking 5 to 10 years away from Mistborn at that point. How can I make sure that this stuff-? So I outlined Secret History that I could release in the meantime, and a potential Secret History follow-up. That I've mentioned before that I don't know if I'll ever write. It wasn't until 2010-2011, that I was like "why don't I write some short stories in this world to keep people focused on it?" And I tried one and it was bad, and I'm like "what if I just wrote a little novel?" I can do a little novel, right? And that's where Alloy of Law came from.
Technically speaking these are all solutions to the same problem, which is people can't forget about Scadrial it's really important. They can forget to an extent about Sel; it's still important, but it's not important on the level that Scadrial is gonna be. Scadrial has so many fingers in the technology of the future. So this was another method to make sure we had some Scadrian influence happening while I was in other worlds. Turns out we ended up getting ALL of them, we got Secret History, and The Alloy of Law, and the little fingers in The Stormlight Archive. But it was important to me that the fingers in The Stormlight Archive be through the frame of reference of The Stormlight Archive.
I definitely think Shallan learning about cosmere stuff is a good intro for Stormlight-only readers to get interested in the cosmere, kind of like Mistborn: Secret History is for Mistborn-only readers.
In Roshar if you learn, "Hey, there's more planets out there," and they see Roshar as something with a very valuable resource. That's enough of an intro to the cosmere to make it work in Roshar, and to make you prep for the future. That's why I did it the way I did. And also knowing people were more okay with this. But also I needed to get it in, I almost should have done it earlier. I saw people guessing that one by Words of Radiance. But by the time I was releasing Words of Radiance I was seeing fan theories that were like, "What if this."
So like throwing darts on a dart board. "Ah, like this person's this other person."
Yeah, it might be that. The whole philosophy of the Ghostbloods was suppose to dove-tail with Survivorism. Survival of the fittest type stuff very much. I'm hoping from the things they've read in that they were able to connect the philosophies rather than throwing darts at a dart board, but it could have been the dart board thing.
FeatherWriter
It's funny because we already recorded the Kelsier podcast, but it's gonna come out after this one. You've put me in a very weird situation, because loved the Ghostbloods. I guess I still love the Ghostbloods, I have a terrible villain crush on Mraize, he's one of my favorite characters and Kelsier drives me crazy. So finding out they are intrinsically linked I'm like "Noo! Kelsier is ruining my favorite thing." But it does make sense I have to admit.
It's okay. Mraize does not have to do what he's told, and Iyatil who - that's the other thing once I dropped Oathbringer, and this is a southern continent Scadrian running around, this is pretty obvious connection to Scadrial. I had to eventually canonize that. Iyatil is -
Don't consider people in the Ghostbloods flunkies. That's not a very Ghostblood-ish philosophy.
I guess that makes sense, they're all trying to backstab each other. Well no I guess not.
No, they're not allowed to backstab each other. [too many people talking at once] [Ghostbloods have]? specific rules, because they need them to be very strong specific rules. If you have an organization of people who are drawn to the way Kelsier works you need some really strong rules. [Hosts laugh] When he is just with his crew, his force of personality, and the people he individually picks you're not gonna have that problem.
I always imagine-you can relate it to Tor Books, they're all assassins. When Tor really functioned well, back in the 90s, it's because Tom Doherty could keep a close eye on everything. And he liked his editors being a little bit in competition with each other. And he structured his organization so that if you picked an author who did well, you got bonuses, based on how well the authors did which is just a way of working that could really lead to an unhealthy office environment, if you think about it. But if you have Tom there making sure that that doesn't become the case, and if you have Harriet watching and making it a good incentive, not a bad incentive, then it all works really well and you have one of the strongest sci-fi publishers that's ever existed, because everybody was incentivised to find really good stuff. But they were corralled by Tom Doherty and kept it from becoming toxic. But now that Tom retired I think they're changing a lot of that, because its grown too big for one person to watch over.
And it's the same thing with Kelsier, in an immediate organization of Kelsier's you're gonna find a well bonded crew of people hand picked who are going to work together as a team, and you aren't going to have to worry about too much about backstabbing - less than average for the type of organization that they are. But if his structure is outside of his direct manipulation, the type of people who would be attracted to the organization he makes...
...Are not gonna be nice.
...You're gonna have some problems. Mraize would not say that he's not nice. [hosts laughs] Mraize would just say that his niceness is an analogous threshold that does not intersect with the threshold of competence and capability of things he's trying to achieve, those things don't need to overlap in his life.
He'd say he's a very nice person. He was very nice to Shallan by his definition. [hosts laugh] He was very nice to Lift by his definition of things. Think of all the things he could have done with Lift, and what did he do? He gave her as a present to an ancient being who ruled the tower, who could properly take care of one such as Lift.
Mraize is very nice.
You heard it here, it's canon. Mraize is nice.
Mraize is nice, and he also wanted to keep his fingers and he felt that was a better way to keep his fingers, was to make sure Lift was someone else's problem. He got what he wanted, which was being able to capture her, which was not that easy, he would say. So he deserves to have whatever reward, because it was quite a difficult enterprise on his part. She is not easy to capture.
You know those Scadrians gotta keep an eye on things, they like to meddle.
#ghostbloods #kelsier #mraize
Oathbringer release party ( Nov. 13, 2017 )
#12 Nov. 13, 2017 Share Copy
JoyBlue
*written* What Aviar power does Mraize's green chicken grant?
*written* RAFO!
*spoken* But it is an Aviar, so it does have one.
#aviar #mraize
Orem signing 2014 ( Dec. 6, 2014 )
#13 Dec. 6, 2014 Share Copy
Arthur Dent (paraphrased)
Is [Mraize] a worldhopper?
Brandon Sanderson (paraphrased)
Yes, he's been to a few planets, highly supervised by his babsk.
So what planet is she from?
Well, that's kind of a hard thing to say. She has 3 planets she's "from". For example, she's living now on Roshar, but then she's from a different planet, but that's not a planet that her people are from.
So there was a mass exodus to that planet?
Not exactly. If you were to find a Japanese American, where would they say that they are from? Her people did not have a mass exodus.
Have we seen mass exoduses before?
Yes, there are some in the cosmere. There's a mass exodus that is mentioned in one of the interludes in [Words of Radiance].
Footnote: Zas678 intially reported that the mass exodus was discussed in The Way of Kings, Arthur Dent later corrected this as Brandon actually referred to Words of Radiance.
#iyatil #mraize
Sources: zas678's report - 17th Shard, Arthur Dent's report - 17th Shard
Oathbringer Glasgow signing ( Dec. 2, 2017 )
Hoidonalsium
Is Mraize's strange chicken Invested? Like the birds of Sixth of the Dusk?
It is an Aviar.
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