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A Call for a Community Coloring Book

Our very own graphic designer/copywriter/baking extraordinaire, Alison Raaen, has been selected as one of two recipients of the South Dakota AIGA’s Idea Fund, a grant that helps fund designer-initiated projects that impact the community.

Her goal is to create a Sioux Falls coloring book inspired by the culture, landmarks, and ecology of the Sioux Falls community. Each page will be based on something found in the Sioux Falls area. This may include Falls Park, the Great Plains Zoo, the Butterfly House, farmer’s markets, or local cuisine. Alison has had the idea for a while, but the grant gave her the motivation she needed for the project to come to fruition.

As the designer of this project, she is focused on the “colorability” of the book, or how she can make people sit down and experience Sioux Falls in a brand new way. She wants as many people as possible to be able to share in the community and activity that the City of Sioux Falls brings. Raaen swears that this entire project is a learning process, so the book will evolve as time goes on.

“It’s tricky because I’ve never been formally trained as an artist by any means,” said Raaen. “I’ve just been sitting down and drawing each page off an app on my iPad. I think this also brings a message that this book is for everybody, not just those who are artistically inclined.”

She is focused on using her personality of naturally being a “maker” of doodles and design and channel it into a project. Though anybody can take a picture of a Sioux Falls landmark, Raaen hopes to bring a sense of abstract and vibrancy to the pages through her illustrations.

Raaen has six months to complete the project and will present the completed book at 2018 Sioux Falls Design Week. Beyond that, she is working to find cost-effective printing options with vendors and looking to have local stores carry the coloring book upon completion.

“It’s a mix of exciting yet scary being both the designer and director on this project,” said Raaen. “I’m not usually wearing both hats simultaneously at MJM, just because my projects are dictated by client need and now it’s just me and my imagination.”

As for long-term goals, Raaen said she would consider making a series of these books, one for each season. For now, she is just thankful for a beautiful city for inspiration, monetary support from AIGA, and a sense of community that goes along with Sioux Falls.

“I think it’s great that AIGA wanted to support the community to get people like me who wouldn’t have the time to create something we can share,” said Raaen. “With projects like this, it just gets everybody to care a little more about design.”

Check out the video below to learn more about Alison’s inspiration!

You make the MJM office proud, Alison! We can’t wait to stock up on coloring books come October.

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Designers Tackle the 36 Days of Type 2018

#36DaysofType

Each day a new character, and in our case, a new designer as we passed around the alphabet to explore type, animation, illustration, storytelling and more. Designers and illustrators around the world participated in 36 Days of Type by posting to instagram and connected with the #36DaysOfType hashtags. We decided to tackle the challenge as a team this April and May. Repetition invites creativity and crafting. We also invited the opportunity to try new techniques. We stuck (somewhat) to our original color palette and prescribed dimensions and dove in.

Each designer chose their favorite letter and gave some background. (Check out this reference for a quick guide on technical type terms.)

C

Joel

I always appreciate projects like 36 Days of Type for creating opportunities to try new tools and solutions in a design setting. I used much of that opportunity to explore computer-generated three-dimensional design and animation. While there are quite a few examples of this in the library of type we created, this “Inflatable C” is one of my favorite results of that exploration. While it’s quite minimal, it shows off some of the new options that the third dimension can create for designers like convincing depth in the subject and a more robust use of simulated physics. Along with all of that, this piece just makes me think of summer.

G

Kirstie

The double-story (or looptail) “g” is one of my all-time favorite letterforms. Even though it’s mostly superfluous, difficult to write and unrecognizable to the majority of population, I love how it seems to capture all of the personality of a typeface and its designer. For this illustration, I wanted to take full advantage of the letterform and do something playful to link the two counters. The shapes reminded me of pools of water, so I turned them into little ponds and, in the name of the letter “g,” added a goldfish leaping between the two. It’s a quirky little fish at home in a quirky little letter.

J

Alison

I think the most interesting part of a capitalized J is its arm. Many sans serif fonts do away with it for simplicity’s sake, but I like the way it can balance the otherwise asymmetrical form. I started with a grid paper sketch to articulate my idea. On paper I could visualize how to fit the two scoops of each J shape together and experiment with softly curved terminals. Then I moved to the Procreate app for iPad. I used a chalky brush to give body to the letter, and then used the eraser tool to define the edges and corners. Procreate allows layers so I could add illustrated florals between the tall, narrow J and the more squat, overreaching J tucked in where I wanted—and still have each piece editable. I fit organic shapes and ornaments in and around the ribbons to complete the bright composition.

K

Tim

One of my favorite aspects of the 36 Days of Type project was that it gave us freedom within a rigid structure. That sounds like a contradiction but it’s not—the project was completely open-ended, with no direction or client feedback, but at the same time, the content was inflexible (the letter of the day), the timeframe was limited (one letter each day) and as a team we also chose to limit ourselves to a common color palette. Freedom within constraints can lead to remarkably creative solutions.

For some of my letters I tried to build a formal letter shape, conforming to typographic traditions and crafted for legibility and grace. This K is an example. After looking at other K shapes in a variety of fonts and calligraphy I identified some of the geometric “bones” that I wanted to build my K around.

In other letter explorations, I chose a more conceptual approach. I thought it would be fun to build the letter P shape out of large, oversized pixels. In the animated version of this “P is for Pixels” composition, I created a digital sort of shimmer by slowly fading each block between a few different values of blue.

X

Brady

I love projects that require a series of explorations around the same prompt. Eventually your typical approach to the problem starts to feel tired and uninspired and you are forced to try something you might not normally consider. 36 Days of Type was that sort of project for me (even in just the 7 or so iterations I completed as part of our team approach).

Part way through my initial explorations began to lose their initial spark and I started looking around my environment at home for inspiration. We have a variety of patterned fabrics and other materials around the house, from curtains to coasters, and while studying them one evening I started to imagine how those patterns would look in motion. One pattern in particular happens to feel very much like a grid of geometric letter X’s.

Once I tested the idea with X, I wondered about the same concept applied to a different pattern-letter combination. It was interesting approaching the problem from the other direction the second time around, starting with a particular letter or number and trying to discover it in an already existing pattern.

You can see the whole set from the MJM design team on our Instagram account or by watching the video below!

A Designer’s Guide to Finding Great Images

Much of our print and digital design work is complimented by compelling images. Great campaigns might only need one, while a set of brochures is helped by a few dozen. They can add a touch of real life to abstract concepts or evoke a visual feeling about the subject.

Like any other part of the project, we work with parameters allowed: time, budget, authenticity and quality.

How can you find the best photos for your project? Here’s a designer’s perspective on where to go.

Search Engine Results

Search Engine Results

Where do you go when you need something quick and free? Not here. Google images, Bing images, Facebook, Pinterest are places to visit when searching for inspiration, but will rarely yield an image you can legally use. Taking someone else’s image is copyright infringement (Learn the basics here). The only time it’s okay to use a search engine to find photos is when compiling ideas. Even then, it’s important to remember to replace the ones you found in a basic search with a photo you have a license to use before your project is published or shared.

Free Stock Photo Websites

There are a few places to find licensed quality photos for free online. These can be great for background photos and for social media posts if you have a limited budget. You may not find exactly what you’re looking for, however, and other people may be using the same photos.

  • Pexels: Pexels provides a wide variety of photos and is simple to search. The quality and selection of photos continues to grow. The downside? The secret is out and you may find other businesses using the same photos for different purposes. There are no advanced search options, so it may be tough to find exactly what you’re looking for.
  • Unsplash: Warning! These photos need attribution and may not be the best option for your project. Unsplash was a reaction to obviously staged stock photos. (You know, the ones featuring someone in a business suit in an unlikely and totally staged situation. You’ve seen them, you know.) But now it’s created a new kind of cliché: the hipster stock photo of woodsy landscapes and moody vibes. Background images are abundant here and it might be a good place to find ideas.
  • Death to the Stock Photo: They take a similar approach to Pexels and Unsplash, but instead curate photos into themed packs for free users and emails them out in a newsletter or subscription-esque model. These photos are always interesting but pop up frequently in other people’s work.
  • Flickr commons: Anyone can contribute to the growing nebula of the photo stockpile that is Flickr. Use this platform with caution! Only photos listed with a “Creative Commons” license can be used without attribution. While the photo selection is wide, the quality varies greatly from professional photography to archaic digital camera photos. We have been able to take advantage of some of the vintage artwork (posters, illustrations and books) that can become part of a larger classic look or feel.

Paid Stock Photo Websites

Most paid sites offer the best advanced search options and perhaps the largest photo selection. Want a photo with one Asian man in his 60s on a fishing trip? You got it. Want a photo of a group of people camping in the wintertime? Done. When a project calls for specifics (i.e. a man old enough to have cataracts enjoying his daughter’s wedding without glasses because his cataract surgery eliminated their need), paid stock photo sites are the fastest and most cost-effective way to get the job done. They all have advanced search options that let you choose whether you want a photo with people, how many people, plus their age, gender, even ethnicity. Most sites also allow you to search by hex color code so you can find a photo that has elements that match your brand colors perfectly.

A license for this photo has been purchased and it’s ready for use!

Stock photo sites also make it easy to test out an image by downloading it with a watermark. Many early drafts contain watermarked images until they get approved. Using a watermarked image in final artwork is a huge faux pas.

There are some drawbacks to paid stock photo sites. Many have criticized stock photo sites for perpetuating stereotypes or lacking options for various ethnic groups. They also pose questions about transparency. When flipping through pages of stock photos, designers have to ask: “Does this photo help illustrate true information for this company? Is it sending the right message even if it’s staged or not from this business?”

This photo uses a spot-color effect so that it can feel like part of a set. Other photos in the set of brochures where this one was used have a similar red pop.

Some stock photo models are more successful than others at portraying a natural look and end up all over. The same woman in your ad might end up getting used to advertise hand soap or athletic apparel or a prescription medication. Stock model Ariane, for example, is so popular that someone created a Facebook page to collect examples of her photos as people came across them all over the world.

I provided just a few examples; there are many places to buy stock photos online. Prices vary based on the number of photos you purchase at a time, the quality of photos, and whether you want to buy exclusive rights to a photo. You can spend anywhere from around $10 to hundreds on one photo.

  • Thinkstock.com
  • iStockPhoto.com (owned by Getty Images)
  • Shutterstock.com
  • Offset.com

Smart Phone Photos

  • …work great for social media post or email newsletters. In fact, they may be more interesting to your audience than stock photos. Cameras on smart phones have improved greatly in the last few years. If you can capture a photo with good lighting that’s social media or newsletter appropriate, it will nearly always beat out a stock image. Examples: Your office holiday decorations, a staff birthday celebration, your company-wide service or community event. These photos need to feel real and this is the fastest, easiest way to produce digital sharing-ready photos. Someone on your team might already have a repertoire of good phone photography skills. Check their Instagram and see if they’re willing to be on-call when something post-worthy happens.
  • …do not work for most print publications. While you may have captured a great candid of your company’s founder interacting with a new employee, it may not be the thing for your brochure cover. Photo quality—both in content and file size—are important here. Phone photos may not have a high enough resolution to make it beyond Facebook and usually have no business on a postcard, brochure or banner. There may be an obvious difference between a phone photo sitting next to a stock image or the resolution may simply make the image pixelated on a paper. Either way, the quality of the materials that promote your work should match the quality of the work you are doing.
  • So, when is the real thing better than a good photo? It all depends on what your audience needs and expects! An ophthalmic surgery center might share a phone photo of a surgeon using a brand new technology but needs a professional photo for their brochure about it. A non-profit that helps local kids is better off sacrificing photo quality for authentic images of their experience (with permission of course!).

Custom Photo Shoot

Custom Photo Shoot

An employee of Vance Thompson Vision sits in as a cataract patient model. The photo was used for a presentation by Dr. Thompson and it was important for the photos to feature their clinic.

Perhaps the best way to help patients or customers understand what their experience will be like with your business is to create your own custom photos. With a custom photo shoot you get to feature images of your actual business. (Crazy, right?) Instead of showing an image of a clean, empty reception area, why not feature a photo of your reception area? The familiarity helps build trust and confidence with a patient or customer’s first encounter at your facility by evoking a, “hey, I’ve seen this before,” reaction.

The same rules apply for shots of your doctors or employees. They may feel static and posed in a headshot, so creating a scene with a patient or customer interaction not only helps puts them in their element it also creates a more realistic image to put online or in a brochure. As a bonus, you won’t be using a stock photo model in place of your professionals and the whole set will have the same tone and feel. For obvious reasons, you should not use real patients in these photo. You’ll need to have everyone’s permission (with model release forms) to pull this off successfully.

Bridal Veil Falls Paul Schiller Photography

You may not need to invest in a photo shoot to be able to use excellent, local photography. Many professional photographers have already invested time in capturing the surrounding landscape and local landmarks.Vance Thompson Vision, for example, uses photos of South Dakota taken by local photographer Paul Schiller. His landscape photography features popular natural landmarks like Lake Sylvan and Bridal Veil Falls. They help unify a series of brochures on the various eye procedure categories available at Vance Thompson Vision.

While there are many ways to do it, finding the right photo shouldn’t be overwhelming. Like most design projects, it starts with identifying the image’s purpose, the available budget and time, and how it fits with the existing brand. Photography tells a huge part of a brand’s story. Used well, it reinforces your message and catches the eye. Happy photo hunting.

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Good Reads from 2017

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Three Design Lessons We Learned from Carving Pumpkins

We try not to take life too seriously here at the MJM office. We decided it was the perfect time of year to try our hand at carving some MJM-themed pumpkins. As it turns out, carving a pumpkin actually has a lot of similarities with design—as well as some unfortunate differences.


Here are a few things we learned while carving pumpkins:

1. Pumpkins Are a Blank Canvas

Just like in design, pumpkins allow you to start with a blank canvas to work on. And like with a project scope, your parameters are already set. In this case, the scope was defined by the size and shape of the pumpkin and what message we hoped our pumpkins would deliver to those who see it.
We wanted our pumpkin to be extra scary, so we carved Matt’s face into it.

2. There’s No Command+Z

Unfortunately, there are no undo buttons or shortcut keys when it comes to pumpkin carving. We learned this the hard way on our pumpkin featuring our brand new MJM logo. Because we couldn’t go back, we were forced to get creative in new ways and improvise—a welcome challenge.

3. Creating Is Fun

Okay, this one may sound silly, so hear me out. When you design on a computer all day, every day, you can sometimes forget that what you are actually doing is creating. A change of medium (to a pumpkin, in this case) is a surprisingly fun way to reconnect with the art of making things.

We love to see the ways other people choose to create, so share your Halloween creations with us!

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Happy National Coffee Day!

How do you take your coffee? Steaming hot, black, with cream, sweetened, over ice? Whatever your preference, coffee is a powerful and delicious, tool for building relationships.

Sharing a pot of coffee is a morning ritual at the office. We enjoy beans roasted down the road by our friends at The Breaks. So is meeting over a cup at Queen City Bakery or Coffea. We even map out the progression of economic value using coffee beans from their raw, harvested form through a full concierge-like coffee experience.

We think coffee is pretty great, but it’s even better with you (and donuts). Download our original Coffee Coloring Page. Color it in, take a photo, tag us and we might just have to have coffee with you sometime.

 

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Retro Reimagining with Lenticular Printing

Remember the old plastic-covered photographs you’d pull from a cereal box that would replicate motion or animation when tilted back and forth? This method of printing is actually referred to as lenticular printing. It creates this effect by using separate images or frames broken up into bars and pushed together as one single image. A transparent lenticular sheet added overtop the final sandwiched image actively isolates the different images when viewed from different angles and generates the impression of fluid animation.

Digram of how lenticular printing works

Diagram from Afga Graphics

The idea of lenticular printing fell into our lap as the most dynamic way to bolster the invite for the upcoming Vance Thompson Vision symposiums. ­The theme of this year’s symposium is Back to the Future, so this allowed us to explore and meet the middle ground of Drew Struzan’s masterful original poster work for the beloved film series and the illusion of animation through lenticular prints. We melded these concepts together to create an irregular yet striking print guaranteed to capture the eye of any invitee.

GIF of Vance Thompson Vision poster with lenticular printing

Lenticular printing is an effective concept for a number of reasons, the main being the appearance of animation or video. People have been using and appreciating video for more than a century. But the caveat of the medium is that it nearly always needs some source of power and a screen to function properly. Though brief (a few frames), lenticular prints allows video and animation to bypass this hurdle and creates organic animation powered by your own perspective.

Lenticular also opens up a world of possibilities for designers beyond animation. It creates an opportunity for truly dynamic typography and illustration. It can reveal different information or elements singularly within the same composition. For example, if there is a train stop that needs to provide travel information to passengers passing through the platform. They understand that passengers coming from one direction of the platform need different information than that of the passengers approaching from the opposite side. With the use of lenticular printing, a single sign could provide both parties with the information relevant to them based their different perspectives.

Gif of Rick and Morty poster with lenticular printing

Lenticular printing presents a number options to designers and creatives, many of which remained untapped. Whether for the printed illusion of animation or information control within compositions, it provides a number of interesting solutions. We’ve been enthused by our first foray into the medium and hope to implement it again soon.

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How to Fall in Love with Your Audience

I love being a graphic designer. But there are days when I find myself feeling listless—like everything I make is nothing more than meaningless, ephemeral “stuff.” To combat this problem, I’ve been trying something new: falling in love.

I don’t mean the fairytale romance kind of love. I mean the love that comes from genuinely caring about someone other than yourself. The kind of love that allows you to see the world from a different perspective.

Whether you’re a designer, content creator or business owner, falling in love with your audience can help reignite the passion for your work and allow you to do work that can actually make a difference in someone’s life.

1. Be Interested

Note that this does not say be interesting. Remember that this is about them, not you. Resist the urge to rattle off qualifications or experience and instead just listen. Treat every interaction with your audience—whether face-to-face or virtual—like a first date by giving them the gift of your full, undivided attention.

Ask them about their day, their likes, their dislikes, their hopes, their dreams. The more you’re able to see your audience as a complex, beautiful person and not just a customer or a patient, the more motivated you are to provide useful solutions to their problems.

2. Be Observant

If you’re meeting someone in-person, take notice of their surroundings. If you’re meeting in their home or office, pay attention to how they’ve created their environment. What people choose to surround themselves with can say a lot about them.

If you’re meeting someone outside of their environment, you can still pay attention to their mannerisms—the way they speak and carry themselves. Pick up on the little quirks and mannerisms that make each person unique. Hold onto these little gems and pull them out whenever you feel yourself getting frustrated and losing sight of who you’re working for.

4. Be Empathetic

As the creator of your message or service, you have the benefit of much more context than your audience. This divide is particularly striking when handling criticism or complaints. If someone comes to you with a problem, you likely already know that problem exists and have an excuse at the ready.

But rather than begin on the defensive, try to see it from their perspective. Reframe the problem and try to solve it in a way that most benefits them and not just in the way that is easiest for you. This will not only give you more compassion for your audience, but also provide you with greater insight into how to make your product or service better.

4. Fake It

Of course, there are many times when you don’t have direct access to your audience or it’s simply too vast to get to know them on a personal level. If that’s the case, you may just have to fake it.

Glean whatever information you can from customer surveys, user comments or social media followers and craft personas of who your audience might be. Think about what their lives might be like and consider how that will affect how they interact with your content or service. Find stock photos and stick them somewhere you can see them so you can put a face to your audience. The decisions based on these personas may not be authentic, but they will at least be sincere.

Remember that love is a choice. And when we choose to love the people we serve, it changes all of our lives for the better.

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Once the Dust Settles: A Post-ASCRS Review

Recently, a few members of our team made the west coast trek to Los Angeles to participate in the annual spring ASCRS conference. The conference is an opportunity for ophthalmic professionals to learn, grow, and network with peers.

As attendees, we had a lot to take in, from the exhibit floor to the classroom. We had the opportunity to hear excellent doctors present on their life’s work and to see live surgery being performed with the industry’s newest technology.

Exciting new refractive technologies, such as SMILE from ZEISS, were available for education and hands-on learning. Healthcare regulation and reform were hot topics of conversation, as we all wait anxiously to see what emerges regarding MIPS and changes to the ACA. And, as always, we were all learning and hunting for new innovations in patient care, surgical offerings, and best practices in ophthalmology.

The biggest challenge for exhibitors at ASCRS is getting your product or offering to “cut through the noise.”

With hundreds of industry partners present on the convention floor, the biggest challenge for exhibitors at ASCRS is getting your product or offering to “cut through the noise” and reach new potential consumers.

So how do you set yourself up for success? How do you ensure that your product and your booth will stand out above all others?

Do it well

If you’re going to spend the money to be present at the conference, you need to do it well. How do we define “doing it well?” There are four key components:

  1. Focus on cohesive branding and materials.
  2. Offer pointed messaging that clearly outlines your value proposition and ideal customer.
  3. Have something “actionable” at your booth; something for visitors and customers to do immediately to improve their skill, practice, or thinking.
  4. Learn from your successes and mistakes. Audit every conference you attend and determine what worked and didn’t work from a booth presence perspective. Ask your loyal customers what they thought of your booth. Ask what others thought the best parts of ASCRS were this year. Learn, learn, learn.

If you “do it well,” you will shine at meetings like this.

PRN booth at ASCRS

As part of their presence at ASCRS 2017, PRN included a number of materials intended to educate their consumers and to show how their unique offerings stand up against competitors’ products.

Create space for conversation outside the exhibit hall

Some of the best conversations we saw happen at ASCRS happened outside of the exhibit hall and over a shared meal. Relationships and trust are built when real conversation is allowed to happen, and the best place to build relationships and trust is over dinner.

Relationships and trust are built when real conversation is allowed to happen, and the best place to build relationships and trust is over dinner.

Some options for holding these coinciding events include round tables or additional presentations. As you plan your event, create goals of the amount or type of feedback you hope to gain. In this way, you can measure the success of your event. Answers to these questions should affect your materials, your way-finding, your room set-up and your presentations.

Another exciting option at national events like ASCRS is to plan “experiential meetings” where you combine some form of learning or content sharing with a locally sourced experience. The goal of these events is that attendees would become actively immersed in your brand and product. For example, work with a local tour group to book a double-decker tour bus of the city. Before or after the event, offer some exciting new thoughts about your product or company. Because ASCRS has many vendors and meetings competing for the attention of doctors and staff, give people an added incentive to attend your experience.

Visiometrics booth at ASCRS

With these long standing banners, Visiometrics extended the visual impact of their booth’s presence. This modular approach also allows them to reuse those elements separately in other events.

Your booth layout matters

Depending on your product and presentation, the floor plan of your booth matters. In smaller booths, like a 10×10, the options are limited. However, there are still decisions to be made. Some questions you should ask yourself as you design the layout include:

  • What’s the one message you want people to see and understand?
  • Do you want a table separating you from your potential customers?
  • Do you need a private space to meet with interested buyers?
  • How does your floor plan affect your ability to draw in passersby?
  • What will people be able to stop and do at your booth?
  • How can your booth be unique and different from any other?

Answering these questions clearly before you begin working on your booth design will help ensure you create the ideal booth for your meeting goals, at ASCRS and beyond.

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Designing the Future of Downtown Sioux Falls

When you grow up in a place like South Dakota, you grow up with a pervasive belief that if you really want to do “something” with your life, you had better go do it somewhere else.

But what if instead of focusing on all of the things we can’t do in Sioux Falls, we were to focus on all of the things we can do?

Clock in Downtown Sioux Falls

I have lived in Sioux Falls my entire life and I’ve spent most of that life desperately wanting to be anywhere else. But recently—in one of the most difficult and most exhilarating decisions of my life—I’ve made the choice to stay.

One of the most exciting things about living in a small city is that there’s still so much room to grow. Sioux Falls has yet to really figure out who it wants to be in the world. While bemoaning the lack of opportunities in the region, many miss out on the biggest opportunity of all: to shape the future of a city.

Man taking a photo of the Sioux Falls

Sioux Falls has already grown tremendously over the past few decades. I’ve watched with pride as it has developed into a more inclusive and diverse city. Nowhere has this been more apparent than downtown. What used to be one of the more run-down parts of the city has become a vibrant hub for local culture and businesses.

I’ve lived and worked in various parts of the city at various times, but with MJM’s relocation downtown Sioux Falls and my own personal relocation a block away, I’ve had the opportunity to really immerse myself in the ideas that are brewing there and what they might mean for the future of the city.

One of the ideas that energizes me most is walkability. If you have talked to me at all in the last few months, you have probably heard how much I love being able to walk to work. ARUP recently published a pretty thorough report about the domino benefits of designing walkable cities and it’s a great read for those interested in the topic, but my benefit is a simple one: happiness.

“As a fish needs to swim, a bird to fly, a deer to run, we need to walk, not in order to survive, but to be happy.”—Enrique Peñalosa

Even in the bleak South Dakota midwinter, I’m still more excited for a 10-minute walk than a 20-minute drive. We’ve written on the blog before about how instances of human interaction are dwindling and I think the biggest benefit of walking is that it has made me feel more connected to the community and the people in it.

While sitting in your metal box on the highway, it’s easy to forget about all of the other people sitting in their own metal boxes. But it’s a lot harder to ignore someone when they’re walking by you on a sidewalk.

A piece from the Statue Walk in Downtown Sioux Falls

Unfortunately, downtown is one of the few places in Sioux Falls that is pedestrian-friendly. But, there’s still time and space to change that. Will it happen? I don’t know. But I’m excited to find out.

And even if it doesn’t, I’m will continue working toward building a life and a future to be proud of. And I wouldn’t choose to do that anywhere else.