Projector

It’s been almost 4 and a half years since the London 2012 Olympics logo was launched (no really it has!) and as the competition draws near we were wondering how opinions to the brand identity might have changed as time has passed.

Take a step back to 2007; Jade Goody is in trouble over alleged racial abuse on Celebrity Big Brother, Madeline McCann disappears from an apartment in Praia da luz, the final Harry Potter book is released and the world is teetering on the brink of a financial crisis. On June 4th the London 2012 Olympic Logo is unveiled; a representation of the number 2012 with the Olympic Rings embedded within the zero.

Early reaction to the design was (to say the least) less than positive. A poll on the BBC website resulted in 80% of voters giving it a negative rating, it was likened to a distorted ‘Swastika’ and numerous unofficial competitions we’re run, suggesting alternative designs. Worse still, animated footage released at the same time as the logo and used as a TV sequence resulted in a number of epileptic seizures.

So, not the best reception to a brand launch then, but what do we think of it now that we’ve had a chance to live with it?

Back in 2007 I was firmly in the camp of ‘what were they thinking?’ I thought it was garish and brash, ‘london’ in a bespoke typeface squeezed into the 2 of 2012 looked odd. But, looking at it from purely a brand consultant point of view (with constructive criticism) it did tick the box of being unique and memorable and it certainly was adaptable to work alongside sponsors brands. No matter how much I tried to find merit in the mark though, I couldn’t quite get past the initial shock of my first reaction.

Re-visiting the logo now and seeing how the brand’s visual style has developed in the years since it’s birth, I must admit I do seem to be warming to the energetic appeal of the bright colours and sharp shapes used. As a visual style for the worlds greatest sporting competition in 2012 I believe these elements are relevant and appropriate. No love has been lost regarding the typeface however; it reminds me of the graffiti I used to see scratched into the wooden desks at school.

Looking at how the brand identity has been applied to marketing collateral I’m left with the sense that nothing quite fits; the elements seem to fight each other. The logo shape itself has actually faired quite well over the years, as a stand alone element it works; it’s bold, recognisable and full of energy. However it’s the execution and application that is letting the overall brand look and feel down for me; perhaps it’s been made too adaptable, resulting in a dilution of what could be a strong identity. I fear the London 2012 Olympic brand identity may be destined to go down in history, remembered alongside the iconic 80′s shell suit phenomena it so closely resembles.

It would be great to hear your opinion – did you hate it and now like it?

With the latest round of Graduate shows taking place I wanted to ask the age old question… do graphic design graduates possess the vital technical skills to succeed when they progress into the creative industry? Or is it still a case of Technical Skills 0  Creative Flair 1?

From my first-hand experience, the answer would have to be unfortunately no. Although these highly-creative junior designers have learned the skills to create logos, brochures, packaging and campaigns, they often don’t have the knowledge to output their work. This has proven to be a huge barrier for graduates, now that they are working for paying clients.

The majority of graphic design graduates boast a creative and diverse portfolio when they head off into industry, but with the current state of global finances, they are now, more than ever, required to possess a portfolio of technical skills to match their creative flare. These technical skills range from being efficient in the major design applications to be able to artwork jobs and to understand print techniques so that the their jobs can be set up correctly for print.

These may not seem like the most fun and attractive components of being a creative, but before any of the ‘good stuff’ can be produced, these fundamental technical skills must be mastered to avoid costly mistakes, there is no ‘cmd + z’ in print.

When I speak to most graduates they often look at me with a blank expression, when I refer to words like CMYK, RGB, spot colour, lithography, Pantone, bleed, diecut, pagination, stock, kerning, leading and perfect bound to name a few.

The solution to this problem, needs to be addressed at a college / university level, so graduates are more prepared. I’m not saying they should be experts by the time they leave education, but they should have the minimum knowledge to undertake simple tasks. Other disciplines such as life-drawing are encouraged, sometimes mandatory, in some institutions, which although I agree is an important area to study, it’s no more important than the essential technical skills needed to start a successful career in graphic design.

What draws people to certain clothing brands? The style and quality of the garment? Celebrity’s wardrobes influencing how you wish to look? There are a multitude of factors. A large part of the decision you make is based on the brand. Fashion brands make a statement about the kind of person that wears the clothes.

We’ve recently been working on a project for a client launching a High Quality Menswear online store and while it’s different to what we’d normally tackle it’s a project which we’ve greatly enjoyed and we came across great brands and their logos during research.

1. Albam

Based in London, Albam design menswear with hints towards workwear. A very simple and clean brand, very much in sync with their fashion design.

2. Our Legacy

A lovely clean brand from Swedish brand Our Legacy, contemporary menswear, with a look back to traditional wear.

3. Baracuta

A distinctive logo and brand work from British menswear brand Baracuta, with nods to traditional British imagery and also British Pop Culture of the 70s and 80s in the overall brand, using celebrity endorsements such as Steve McQueen and Frank Sinatra.

4. Filson

Seattle, Washington based Filson base their brand on pioneering American settlers, delving into a deep and rich history. The marque evokes a nice feeling of the classic American outdoors environment.

5. Heritage Research

Heritage Research base their collections on certain periods in recent history, and it’s mimicked in their logo, which evokes a certain feeling of nostalgia with a characterful illustration. The brands itself draws on the particular period of history they are covering with each collection.

6. Penfield

Penfield have a background in producing outerwear for the outdoors and their logo. Fashion and function dictates their garments. The logo and brand is completely in sync with this offering, a mountainous range and bear hidden in a contemporary typeface, and brand imagery of outdoors situations mixed with high fashion.

7. Brooks

Brooks’ marque and brand hark back to their founder’s age the 1860s. John Boultbee Brooks developed a comfortable leather saddle to help cycling comfort. The brand is now synonymous with the recent trend of fashionable cycling. They manage to tread a fine line of being contemporary, but also evoking a vintage classy feel.

8. Edwin

Japanese brand Edwin endeavour to create the feel and rigour of well worn vintage (they invented stone-washing) denim but in newly produced jeans. The brand marque definitely exudes a sense of classic denim and has an ageless quality, despite obviously being of a period.

9. Nigel Cabourn

Newcastle’s own Nigel Cabourn’s designs are created from a love of all things vintage. The logo and brand fit the collections perfectly. Just perfect.

10. Gitman Bros

Gitman Bros Vintage brand is entrenched in Americana as shown in their classic typographic logo. Washed Oxfords, muted madras, bright plaids.

11. Sperry

Sperry Topsider’s take their brand from a passion for the sea, everything to do with sailing. Their marque gives nudges toward the painted style of boat names, which gives an enduring style.

12. Universal Works

Universal Works is based on the concept of good quality honest British workwear and outdoors wear. The typewriter style typeface automatically conjures up a vintage feel.

13. Dockers

Dockers fashion is based around the preppy high status university fashion. A very much business casual style of clothing, for the kind of man that likes to spend his summertime aboard his yacht, as denoted by the anchor marque.

14. Engineered Garments

New York’s Engineered Garments create their collections from their obsession with American Sportswear. Creator Daiki Suzuki aims to create clothes people love, that they repair when damaged. Again, with the stamped type, it creates a real feeling of nostalgia and heritage.

15. Belstaff

The original creator of the waxed waterproof and motorcycle fashion specialist, Belstaff, are a highly sought fashion brand. The abstract symbol of the Phoenix shows Belstaff will continue through good and bad times, an enduring label of quality. Belstaff are often seen in the films, as they use features such as Iron Man, The Expendables and The Dark Knight.

We hope you’ve enjoyed this showcase, we’re going to unveil our final logo for our client’s brand very soon, so keep your eyes peeled!

Projector are currently: Waiting for the curtain call for the week. Busy times!

The spatula’s and whisks have been out at Projector and Union Room over the last week in an effort to raise money for Comic relief. We were kindly offered space in the local Clock Tower café to sell our homemade cakes and bakes for £1 a piece with all profit going to the charity. The event was a massive success and we raised £112 which Projector have doubled, so we’re donating £224 this week! Thanks to everyone involved for a great effort.

Projector are currently: Glad to be on the same team as Glen “The Destroyer” Stovold at 5s tonight

Times are tough; tough for consumers, tough for businesses, tough for the private sector and the public sector – it’s tough for everyone. Shops have shut, people have been laid off, profits are down and this year is likely to get tougher. As a brand consultancy we thrive on helping to keep businesses booming. So, to help businesses in these tough times we’re going to write a series of articles examining creative ways businesses have built their brands and thought out of the box to stay ahead of the game.

We’re working our way through 2011 and with nearly two months under our belt I thought I’d share with you that I made a new years resolution. I’ve decided to try and be a bit more socially responsible. Just a tad.

To set the scene, imagine a large double spread Guardian infographic. It shows a spectrum, one end displays someone buying a Pret A Manger King Prawn Avocado sandwich (the sandwiches are given to charity if unsold at the end of the day) and the other end selflessly giving up all your possessions to charity and quivering under a tree at night with nothing but the warm feeling of selflessness to heat yourself up. I’d be positioned just to the right of the Pret sandwich marker. So I’m not exactly the poster boy for giving, but I’m trying my best to change my ways.

Social Responsibility is the deliberate inclusion of public interest into your (or a company’s) actions ensuring active compliance with law, ethical standards and moral behaviour/attitudes. In addition it promotes public interest by encouraging the growth and development of society at large. This would involve avoiding activities that are socially harmful (pollution and human rights violations etc) and performing activities that have positive social goals (sharing profits and sustainability). I’m going to concentrate on the latter.

A recent consumer study showed that over half of the participants were unsure of the meaning of Corporate Social Responsibility. Which is understandable, as you can’t imagine a member of the public remarking in pure brand speak, that they prefer a certain brand because of “a tactical and well handled approach to social responsiblity by building interactive brand relationships”. Nevertheless, awareness of the issue really needs to be improved, as ultimately, without people giving up their own time and money, help would not reach people in need. This has in the recent past, been highlighted by programs such as Channel 4′s “The Secret Millionaire”. It is compulsive viewing, as everyone loves an inspiring, feel good story. It’s also great PR for the business owner concerned. The same idea can be applied to brands. In the current climate of government cut backs, brands have a real chance to propel themselves ahead of the competition. Generosity – where affordable – will gain an appreciative audience. They can gain the reputation of being the honest and up front businesses, making a positive impact amidst the doom and gloom.

Take for example Waitrose. They operate a monthly “Community Matters” scheme in which each store gives £1,000 to local charities/community groups. The customers nominate these themselves each month. Then store go-ers are given a token with each purchase, they then drop the token into any of three perspex tubes, each one being a charitable organisation. At the end of the month the tokens are weighed and the money distributed amongst the organisations proportionally. It’s a simple premise, but through generosity and showing that they care, Waitrose are forging a strong link between the local community and their brand. This is a cohesive strategy, showing Waitrose are in it for the long run, rather than just making a one-off gesture.

Innocent adopted a different approach with “The Big Knit” which began in 2007. Innocent bottles were topped with tiny knitted woolen hats (brilliantly fits in with their brand image), and with each purchased, 25p is provided to Age Concern. Age Concern run a winter campaign each year to help make winter warmer for thousands of older people across the UK. Earlier dark nights, bad weather and perilous pavements lead to increased social isolation for the elderly. With around 3.7 million elderly people living alone and 17% having less than weekly contact with family, friends and neighbours, it’s a big problem. It’s very morally just of Innocent helping out to support Age Concern. A great PR win for the brand. Not only this, but there is cleverness in the intergration of the social responsibility, alongside a fun interactive campaign. Instructions on the packaging then prompts the buyer into taking funny photos of the hat, and uploading it to the Innocent Big Knit Facebook page. The winner is announced at the end of December and is given a crate of their delicious smoothies. Not only are they being aware of social concerns, but they are also rewarding their customers for caring too!

So, what about us? At Projector we’re always trying to better ourselves and are happy to help charitable causes where we can. We’ve completed various pieces of work for charity – and had a near death experience up Snowdon too –  over the years, right now we’re working on a project for CHUF, the Childrens Heart Unit Fund, and alongside our sister company Union Room we’re providing a full communications overhaul for Give Hope. Give Hope help communities in Africa and are in themselves part of a CSR policy for a Banana plantation, so you can see how the idea starts to snowball.

What does your brand have to say? Are there any causes which are particularly close to you, that you feel like you could help with and maximise the appeal of your brand? Using resources at your disposal can enrich the lives of many, as well as netting you positive brand recognition.

References

http://www.landor.com

http://www.waitrose.com

http://www.innocentdrinks.co.uk/thebigknit

http://www.adweek.com/aw/content_display/news/strategy/e3id9db7bed8e9402cbcc7cd65342f1cca4

Projector are currently: Hoping Union Room don’t have more semi-pro ringers in 5s next week.

I thought I’d write a short post as I was lucky enough to be asked by D&AD to attend Northumbria University yesterday – and take part in the Portfolio Surgery they were running. I’d never done anything like that before and as I was in the company Rodrigo Sobral, Creative Director from The Mill I think I felt as much under scrutiny as the students.

On the whole, the session was very well ran and it went by without incident – for the students and myself! What interested me most in participating – as well as doing my duty –  was the chance to talk to some current students and see what they thought of their course. We’ve blogged in the past (here) about the gap between graduating and being ready for the real world, and since we wrote that 2 years ago the world we live in has moved on apace - we’re thinking hard about adapting clients’ brands that need to work across social media and mobile apps, looking at the changing role of designer in the modern world, so, what I wanted to know is; were they thinking about it too?

I met 6 designers, including students from Australia, Costa Rica and of course good old Blighty, and aside from the very different levels of talent (it’s a brutal industry so let’s not beat around the bush) there were huge differences in the outlook of the bunch too. I happily looked through their portfolios, and the confidence they exuded in explaining the thinking and ideas behind their work was refreshing. I know first hand that this course really hones the thinking process, there’s never been an issue with that – it’s more the realisation of those ideas that becomes the stumbling block.

So, to the matter in hand – finding out what they think the future holds. I asked each designer “what do you think the future holds for designers”. I realise this might have been unexpected, but no one really had any answers for me. And before anyone says ‘you weren’t thinking about the future at that age either’ I’d stress these guys are looking to move into the industry in 8 weeks time. I thought they’d be even more excited about fusing disciplines and media than me, but the fact that one guy – obviously talented – was questioning if he wanted a career in graphic design at all, as he enjoyed imagery and laterly had began thinking about moving image. I suggested that he could easily use the skills to add to his work. Only this week we were talking to a client about making cost-effective short videos for creating a YouTube channel and the fact we’d need to outsource and manage, rather than create. I explained this to him and he said he’d like to combine those skills, but didn’t think it was possible? I can only assume that this is due to the same thinking that means the guys I met were learning bookbinding rather than how new technologies will transform their thinking. This was accentuated by the presentation – out of 6 people, only 1 person (the Australian student) showed me their work on screen. This wasn’t due to a lack of hardware either, the whole floor looked like an Apple store, no, when I asked one student who’s work clearly didnt suit being showed in a portfolio why they persevered with it they replied ‘the tutor said we have too’. That’s disappointing.

So while I think the students are doing a great job – and I believe they’re thinking about what the future might have in store for them, I’m not convinced there’s enough future thinking going on ‘up high’ about the future (job) roles of graphic designers.

Projector are currently: Suffering after football.

Here at Projector, we’ve been on a packaging research mission. It’s been a long time since we’ve produced any packaging work, usually staying in the realm of graphic design. But with some prospective design work for one of our clients in Newcastle we thought we should have a look through our archives and highlight some really great pieces of work. Whilst on our travels, we’ve come across some really beautiful examples of packaging and decided to give you our Top Ten Packaging examples. Let us know if there’s any great examples we’ve missed! We haven’t given rankings, as all are winners in our book.

A great solution for getting just the right amount of spaghetti from design student Neal Fletcher.

Buddy Mulled Wine using inspired copy and measuring jug graphics.

A minimalist, beautiful solution from BVD for Restylane, with some nice print finishing.

Traditional illustration livening up tortilla packaging for United Supermarkets by Imaginaria.

Love in Manchester suggesting some fun ways to re-use your Silver Cross packaging.

Pentagram introducing a bold typographic look to Budgens own brand wine range.

Albion producing the lovely looking, category breaking, gourmet dog food brand Lily’s Kitchen.

Pearlfisher with a very rustic typography route for Jamie Oliver’s Jme range.

Dentsu Young & Rubicam Pte producing an innovative use of the bikini string for tan-thru bikini brand Buttcheeks.

My favourite of the lot, Panasonic Earphones packaging, brilliant use of shape from Scholz & Friends Berlin.

We hope you enjoyed the Projector Top Ten Packaging!

Projector are currently: Preparing to head off to a conference!

Now we come to our second part in a three-way article on sustainability and green issues on design. As the wider business and brand community is evolving, so should we. Brands should be held accountable and responsible for their actions, in maintain high standards of ethical, social and environmental performance.

The General Impact of Print

In the Envirowise Attitudes 2000 survey, print came at the foot of the table in terms of industries that had adopted environmental policies. Paper and print is the UK’s 4th largest industry. A large quantity of the print industry is dictated by the jobs we spec as Graphic Designers, so essentially we are in a position to do something about it. I’m going to take a look at the values of the various kinds of printing, to show you how Projector is working with their suppliers in improving environmental performance.

We work with our partners Statex Colour Print who are proud of being ISO 14001 registered. ISO 14001 is an internationally recognised scheme which provides the accredited business with ongoing environmental monitoring and continual improvement. They are up to date with suggested improvements. These improvements cover recycling rates, reductions in energy useage, water consumption and general efficiency procedures. Not only does this help Statex be actively conscious of their impact upon the environment, but also reduces the overall costs of their day to day running. In addition to this Statex are part of the FSC’s (Forestry Stewardship Council – see part one of this article for an explanation) Chain of Custody which ensures there is no contamination of their business with non-FSC approved paper.

Lithography/Offset Printing

There are five main areas of Lithographic printing which prove troublesome for the environment. First of all there is the overall use of energy. As with other large industries, print uses significant amounts of energy. But when considered alongside other large industries, it is estimated in a recent 2009 World Resources Institute Survey Chart (link) that the Paper and Print Industries are only responsible for 1.1% of Greenhouse Gases due to it’s activities. Our printers Statex, as mentioned above, endeavour to reduce their carbon emissions, if not offset them.

The Print Industry generates quite a high level of waste. A lot of this can be recycled, but some still ends up in landfill. Waste inks can be recycled as low grade fuel. The tins which contain the ink are crushed and recycled. Ink Cartridges, which are usually preferred over tins are occasionally classed as hazardous waste and sent to ‘special waste landfill’. Environmentally conscious printers will have these collected and recycled into things such as drainpipes etc.

Waste chemicals are a big issue. If your printer is conscious of the impact the chemicals used in printing can have on the environment then they will choose to use ‘bio-digestable’ chemicals for cleaning. These can be made safe before being flushed into the water system. Plastic wrapping for palettes is mostly sent to landfilll, but if washed it can be shredded and be recycled into more plastic wrapping.

Isopropyl alcohol (IPA) is a harmful solvent that is used as a dampening solution within print. When it dries releases Volatile Organic Compounds (VOCs) colourless gases that contribute to the production of ozone gases as well as being dangerous for pressroom workers. This is completely avoidable, as if printers maintain their equipment to a high standard then they need not use the dampener. Alternatively they can use alcohol-free technology.

In terms of inks there are five main areas of concern. Barium, copper and zinc are contained in certain pigments of inks and cause environmental as well as worker health hazards. Metallic and fluorescent inks are usually the most toxic. These inks do not decompose as well as other inks and the metal component causes problems in Groundwater. VOC’s as mentioned previously are a problem in petroleum based inks if used. Soya inks are the most prevalent in recent times, rather than petroleum based inks. These are generally three parts linseed to one part soya. By using soya inks you’re reducing health and environmental hazards plus avoiding using a non-renewable harmful resource. But part of the Soya industry has had some international pressure, so it isn’t entirely a black and white decision to make. Finally, there is the wastage of ink. You can recycle ink and make it into low grade foil, or use remnants to form black ink. But as some inks are quite toxic, it’s usually entombed underground with concrete in hazardous waste landfill sites.

Digital Printing

The downsides are that digital inks are quite difficult to remove in the recycling process. Also, the choice of papers you can use is limited to digital approved papers which are rarely recycled or FSC certified. The printers themselves take large amounts of energy to produce. But there are increasing advancements being made in this area which reduce the amount of energy being produced in their production.

However you can run a job as and when it is needed with reprinting costing no extra. This means you don’t have to worry about running out of extra copies. In addition to this, there is no make ready waste as that of Lithography/Offest Printing.

Screen Printing

The inks used in screen printing traditionally has contained more solvents than litho inks. However these days, many screen printers use UV inks, that are cured underneath a UV lamp. This uses more energy, more positively however, it removes solvents from the printing process. However in the reclamation and cleaning of the screens for re-use, solvents are still abundant in use. It is important, when using solvents to clean screens to use the least hazardous. When we opt to use screen printing we have a good relationship with Northern Print who’s expertise guide us to acheiving top quality prints, which can be environmentally conscious in production.

With the resources at our disposal, don’t hesitate to ask us how we can help you ensure that your printed communications reduce their carbon footprint. We’re more than happy to help.

The final part of this article will be based around how we can suggest gearing the specification of your communications to be more environmentally conscious.

References and more information

Lovely as a Tree

Two Sides

The Guardian – What’s the carbon footprint of…the internet?

World Research Institute

Statex Colour Print

Envirowise Attitudes 2000 survey

1. Demoralised employees, confused customers? – it may be time for a re-brand.

We here at Projector take pride in the fact that we are well known for combining creative skills with an underpinning of business knowledge which we’ve built up over a number of years, working within a wide range of sectors. We’d never tell you that simply a new logo design is the one magic answer that will turn around your fortunes and solve any problems you’re having. However, a good (and thorough) rebrand process will work to unearth the issues that you may be having that could be solved through a number of key changes, including a new look and feel. This can lift spirits, re-focus aims and offer a new beginning.

2. Name or Design Weakness

The company may be doing extremely well with no issues, record profits, loyal workers and happy customers. So why would they want a re-brand? It could be something as simple as the logo growing old fashioned or creating technical problems, i.e. failing to reproduce well in print. This could be the result of a logo simply being designed badly in the first place or being designed to fit in with the style of the moment. For example in the early 90′s a lot of logo’s were designed to look ‘grungy’ with distressed edges and textures. A few years down the line and these logo’s show their age, they have no ‘timeless’ qualities. This approach to branding can pay off in the short term but will require a refresh several years later. 

3. Legal Requirement

Occasionally, but very rarely there may arise legal issues that require a company to make changes to their branding. Reasons for this might be down to similarities between naming or designs resulting in the need for change or perhaps the break up of a company which leads to a loss of the right to use it’s logo mark. One of the most famous examples of this was in 1984 when the US government forced the telecoms company AT&T to break up, resulting in several smaller regional companies. The AT&T bell logo had to go after over 100 years representing the company. 

4. Publicity Stunt

There are many examples of well known companies changing their brand (or the branding of one of their products) in order to drum up publicity resulting in, sometimes positive, sometimes negative public response. Pizza Hut/Pasta Hut, Marathon/Snickers, Pollack/Collin (Sainsbury changed the name of a fish), Opal Fruit/Starburst. The saying goes that ‘all publicity is good publicity’, in the case of the examples I have mentioned and similar cases I would have to agree or at least say that I can’t see that any permanent damage would have occurred as a result. Although initial public response may have been negative in many of these cases, they have all been propelled to the forefront of media attention and are all the better known because of this. Bad publicity usually results from individual human error and not from structured, planned marketing – i.e. Gerald Ratner of Ratners jewellery stores stating their products were cheap rubbish at a press conference.

5. Merger or Acquisition

When two companies merge or if a company is acquired by another the question is usually raised as to how the merger will affect the brand values of either business. There can be a lot at stake, especially when one or both companies already have strong brand personality within the public eye. It’s essential to know the market and assess the pros and cons of making any changes if at all.

One example of where the wrong decision was made was the Royal Mail re-brand to Consignia; in 2001 the company ceased to be run by the government and became semi-independently owned. A re-brand was commissioned and the new name Consignia unveiled. It was a total flop with widespread derision (even the new chairman disliked the name!). The decision was made to revert back to the Royal Mail.

And now for the concluding part of last week’s screenprint blog epic. After much enjoyable and laborious work at the North’s finest screenprinting studio, Northern Print, over the weekends of the and the 30th of Jan & 6th Feb a final 3 colour screenprint was produced! The character conjured up can only be described as a gene splicing experiment between Jeremy Beadle, a monkey and a Mexican Lucho wrestler gone terribly, terribly wrong. Next time I think I’ll prepare a design in advance! I can’t recommmend the course enough to anyone who wants to dabble in screenprinting as this is an excellent crash course, or a great refresher to get you back into hand printing your work. Hopefully this will be start of a fruitful printing career.

Projector are currently: Having a bit of a desk reshuffle.