Brad Copeland

By Hank Richardson

I recently attended the 2007 AIGA-Atlanta SEED Awards, the premier design awards showcase for creative work in the Southeast. And, the highlight--the real excitement for me in the evening--was the presentation of the distinguished AIGA Fellow award to Brad.

I have thought a long time about how Brad has given his heart and soul to defining the ideal of distinction within our community of Atlanta, and throughout the Southeast for that matter. More than anyone else, he has represented the values and the importance of design as an integral business-to-art force, as he embodies that very standard of excellence he has helped raise.

It occurred to me, as I sat there in the audience at the Woodruff Memorial Arts Center auditorium, hearing the succinct introduction and his brief humble remarks of acceptance, that not everyone knows the unbelievable scope of Brad Copeland’s contributions.

Back in the old days—the early 80s, that is--designers and writers in this city had only two real choices of employment starting out— at The John Harland Company or The Atlanta Journal & Constitution. After arriving in Atlanta, fresh from Auburn University, and with a good dose of the wisdom of sage educator Ray Dugas, who taught him the intrinsic connection between art and design (Yes, Brad drank the Toomer's lemonade while there at Auburn--and if you're reading this and you haven't, you should take a trip to Alabama and indulge yourself), Brad went to work at Harland (I worked for the AJC). He did not stay there for long, though; he planned to create a third choice.

Most of you reading this probably don't know Brad was an amazing illustrator who came to understand the advantage of design. His first office wasn't as spectacular as it is now. It was located upstairs in what is currently the South City Kitchen restaurant... I seem to remember it was called 'Brad's Fine Design' (Can that be right?)... Brad at one end and designer Jim Wise at the other end of the hallway.

He soon teamed up with David Cooper to form the firm Cooper Copeland and worked happily until David was stricken with a rare form of cancer. After suffering the loss of his friend and business partner, Brad, the creative half of the team, had to figure out a way to grow the company by himself-- it was startling, impacting, and something that so many young creatives never fully contemplate early on.

And there was much to be said about the way Brad conducted business, commanding it in a most positive way, never allowing for reduced fees, constantly elevating the standards with work that was reaching out of the city, finding its way into national and international awarding. His was the first design firm or agency to have a marketing rep, something so revolutionary, we couldn't fathom it at the time- it was pure marketing brilliance.

He drew the most creative hearts and minds to him and employed them, giving them a sense of entrepreneurship. For in just a short while, they themselves would make their own footpaths to the highway-- but, it was the early nurturing Brad provided that gave them their own futures- even if they didn't totally understand it at the time.

These were people like Maxey Andress who went on to co-create EM2 Design; his first computer designer guy, Rich Godfrey, now the principal of Fuse; Shawn Brasfield of TVS Architects; Mark Ligameri, Design Director at Frog Design; David Butler, Vice-president of Global Design for all of Coca-Cola; and Sara Huie, President of Huie Design.

They were also Portfolio Center students (alumni today) such as Jenny Lam, now one of the principals of Jackson Fish Market in Seattle, and Dave Werner, currently the Creative Director at the helm of Minor Studios in San Francisco--who interned with the company, which has become Iconologic. We continue to place interns at Iconologic and follow their careers with the highest expectations.

Approaching the 90’s, Brad was a man with immeasurable vision--vision that allowed him to believe Atlanta could actually become the venue for the Olympics of ‘96--and that at a time when most others would not or could not believe. He joined with George Hirthler, and the two, along with a feisty team of visionaries who've now become household names and heroes in Atlanta-- Billy Payne, Andrew Young, and Ginger Watkins--put together the winning bid book. It was Brad who designed the original 5 A’s logo that connected Atlanta to the world and ultimately to the Olympic Games and which, most importantly, inspired the hope that we could actually do it in this City.

I can remember hearing that chilling live announcement when all the hard work was summarized in one proclamation, as in that moment the city transformed from being the gateway to the South to a gateway to the world: “The bid goes to the city OF AT-Lan-TA.�

Having helped us get those amazing games, Brad went on to help develop what became known as the 'Look of the Games' to complement the theme of Harmony, Radiance, and Grace. Five national firms comprised the overall team to frame that theme: taking the lead was Copeland Hirthler. Then there were Morrell, Jones Worley Design of Atlanta; Favermann Design of Boston; Malcolm Greer Associates of Providence, RI; and Primo Angeli of San Francisco.

From that think-tank came the excellent 'Quilt of Leaves' design, which evoked feelings of a down-home yet sophisticated South—a very diverse and warm people, a green city, the friendly host to the entire world. In the mid-90’s, Brad was named Design Director for the 'Look of The Games'--a position he still holds.

The Olympics provided countless opportunities for designers, as well as a better public awareness of the important role design plays in the success of such an event. During this time Brad's firm employed numerous designers and others. The Olympics also brought major improvements to our downtown area, a trend that keeps gaining momentum, so we continue to reap the benefits.

As the era of the Olympics wound down, the firm of Copeland Hirthler took the lead in redefining what a design firm might be, as we entered into a new era of communications-- first, heightening the importance of writing within a design firm; the infusion and importance of visual exhibits in different mediums, from the internet to screen based media, all that reach different lives from many different touch points; the emphasis on strategic thinking-- things that are now standards within any contemporary design firm.

Eventually, individual aspirations growing and changing as they do, Copeland and Hirthler parted ways, and the company was rebranded as Iconologic. Again, when every other firm was renting space in office complexes or--heaven help us--strip malls, Brad had the audacity to actually create something. Built by Ron Stang, the fantastic postmodern structure that houses Iconologic is indeed an icon to design in the city of Atlanta. Every time I see it peeking over I-85, it makes me smile.

Finally, I can’t talk about Brad without noting that he was one of the original founders of AIGA/Atlanta 17 years ago and further showcased his leadership by becoming a member of the first AIGA/Atlanta Board of Directors. Brad had vision; he understood what AIGA could do for designers in Atlanta. AIGA was in its beginning passion... pure passion personified in a handful of dreamers with a belief that we could use our talents in a combined way to make our community of Atlanta a better City...that we could define the value of design within this community. Brad led this effort--this small band of designers who were on fire with faith and enthusiasm.

So you see it's especially fitting that he be honored this year as an AIGA Fellow by AIGA/Atlanta. Leadership is a personal space, often a lonely space, and it demands the ability to transform in the face of change and competition...which are inevitable, pervasive, and ever accelerating. These are the qualities that define character, and these are the characteristics of his talents and soul, and things that should be said, as Brad has provided such significant contributions to the industry we're all part of.

I want to personally thank Brad for all he’s done—for his generosity as a designer, as a human being, and as a friend. He has inspired everyone who has the good fortune to know him, and I am one of them.